1. A breezy time out with upscale audiences.
2. Bon Voyage, a rich, teeming French farce set in and around Bordeaux in 1940 on the eve of the German occupation of Paris, is a triumph of narrative ingenuity.
3. The acting is uniformly good and it's an absolutely gorgeous film to watch.
4. It's just plain exhausting to watch the admirably game cast members running around like headless chickens in chic period clothes, surrendering their dignity to the task of navigating the plot's frenetic contrivances.
5. Relies on its considerable star power to conceal its even more considerable lack of substance.
6. Posh, stylish, and with very little going on in its head, Bon Voyage is neither as dizzying nor as entertaining as it could be.
7. The generally light tone of Bon Voyage is the result of intense concentration on the part of Mr. Rappeneau and his collaborators.
8. A little too much pointless running around coupled with the underdevelopment of several key characters results in a movie that's never more than mildly diverting.
9. A rich cinematic blending of politics, war, love and farce.
10. The talk is too superficial to provide a hint of the characters' make-up.
What is the critic consensus?
A: It's froth, but stylish and giddily entertaining.

1. Hany Abu-Assad takes the broad political situation of Palestinian self-rule and terrorism as a tool to that end and brings it to a personal level.
2. never transcends its political posturing and finds the humanity as profoundly as it means to
3. Director Hany Abu-Assad doesn't make any apologies as he captures this journey into desperation and destruction.
4. The picture loses some points for an ending that rings false and undercuts some of the buildup, but, nonetheless, Paradise sure is nice.
5. He attempts with mixed results to get inside the psyches of men who would blow themselves up for the cause.
6. It is in no way an apologia for terrorism. But it's a character study that subtly nudges the viewer toward greater understanding.
7. This taut, ingeniously calculated thriller fixates on the flashpoint where psychology and politics ignite in self-destructive martyrdom.
8. A powerful, poignant, provocative drama, it gets its strength from its dispassion, from an uncompromising determination to explain rather than justify or condemn, to put a human face on incomprehensible acts.
9. A powerful film that's not so easily shaken or forgotten...an amazing achievement.
10. Paradise Now is an agonized inquiry into the minds of a dispossessed new generation of Palestinians, who come off more introspective and internally divided than you'd think.
What is the critic consensus?
A: This film delves deeply into the minds of suicide bombers, and the result is unsettling.

1. True to its Nickelodeon roots, each scene oozes with sight gags, oddly astute pets, and gallons of goo. For adults, the films offers a bloated Brady Bunch covered in slop.
2. Needless remake of a tepid original.
3. It's terrible.
4. [A] shrill family comedy.
5. ... it loses a good deal of humour along with its social relevance.
6. He's got eight kids, she's got 10 and Yours, Mine & Ours is completely by the numbers.
7. The script is not nearly clever or original enough and Gosnell's direction goes into panic mode each time he stages the chaos.
8. The director, Raja Gosnell, is the auteur responsible for the Scooby-Doo movies, Big Momma's House and Home Alone 3. Enough said.
9. Watching Dennis Quaid falling face down into vats of goop, getting kissed by a pig and talking baby talk in Yours, Mine and Ours is one of those experiences that causes you to question your faith in Hollywood's motives.
10. The remake of the 1968 hit comedy 'Yours, Mine & Ours' is pretty much the same movie as the 2003 remake of 'Cheaper by the Dozen,' with Dennis Quaid taking Steve Martin's place as the family patriarch and butt of several painfully unfunny, slapstick gags.
What is the critic consensus?
A: The initial set-up is unbelievable, the plotting is predictable and stale, and the comedy depends on repetitive pratfalls that soon get old.

1. It's a cry from the heart of an artist compelled to create, tell stories and respond to hostile, confounding realities.
2. What constitutes imprisonment and what constitutes a film?
3. This may not be a film, but it's a moving statement of defiance and despair.
4. The complex, brilliant, heartbreaking diary of Iranian filmmaker Jafar Panahi under house arrest in Tehran, and prohibited from making movies.
5. There is courage and cheekiness here. What there is not is a story, or much insight or even anger; anyone expecting an indictment of Iran will be sorely disappointed.
6. Truly and defiantly extraordinary in its own quiet way.
7. The truth of what is and isn't lies deep between the lines of this brilliantly elusive meta-commentary, arguably the greatest Iranian film since Abbas Kiarostami's masterpiece Close-Up.
8. Predictably, not much happens in "This Is Not a Film"; dude is under house arrest, after all. But it's absorbing and clever.
9. I find myself returning again and again to Jafar Panahi's apartment in Tehran, the defining location for the year in cinema, one of the defining locations in all of cinema.
10. "This Is Not a Film", but it manages to be a bloody great one, anyway.
What is the critic consensus?
A:
Through simple means and filming, This is Not a Film presents a vital political statement and a snapshot of life in Iran as enemy of the state.