Q: 1. A subtle, spooky movie with teeth becomes a subtlety-bashing war movie.
2. Scene to scene, encounter to encounter, its tension builds unrelentingly. So, fasten your seat belts. It`s a blast.
3. The first of these movies remains one of the great sci-fi horror achievements of the modern cinema, but its sequel, "Aliens," is that rare instance where a follow-up deviates from the formula and finds an effective rhythm in propelling the story
4. [Aliens] is a spectacular example of state-of-the-art science fiction simply because it never tries to be overtly spectacular.
5. It's blaster action, not Gothic future-horror. Fortunately, director-screenwriter James Cameron has shaped his film around the defiant intelligence and sensual athleticism of Weaver, and that's where Aliens works best.
6. The idea behind Aliens remains the scariest, dirtiest, most perversely funny one for a monster film, and the Rambo action further gooses us.
7. The result is a film that not only answers many questions raised by the original story, but also expands production values, amplifies special effects and weaves a new plot that is even more exciting than the first.
8. This film is also the best monster movie of the year and the best picture of any kind to open so far this summer. Put it another way: Aliens is the Jaws of the '80s.
9. Surpassing its predecessor in terms of sheer spectacle, this sequel to Ridley Scott's outer-space nightmare from director James Cameron is an outstanding science-fiction thriller.
10. So much for the theory that sequels never equal the original.
Based on these individual reviews, what is the critic consensus?

A: Consensus: While Alien was a marvel of slow-building, atmospheric tension, Aliens packs a much more visceral punch, and features a typically strong performance from Sigourney Weaver.
1. A wonderful, serious-minded romantic comedy-drama about a film director's uncertain relations with two successive women while trying to write a script at an off-season beach resort, this is Korean buff favorite Hong Sang-soo's most accessible film.
2. This film lacks Hong Sang-soo's usual insight and narrative innovation.
3. This witty Korean satire dissects men's self-absorption, insecure sexuality, and fear of intimacy with critical honesty, wry humor, and delectable irony.
4. Simple and nicely convoluted at the same time.
5. [An] immaculately constructed movie.
6. Hong paints a piercing portrait of impetuous, confused, selfish masculinity in which the thrill of the chase repeatedly proves more enticing than the rewards of triumph.
7. The story of how a self-absorbed Korean film director spreads chaos and disappointment into the lives of two women he seduces and abandons.
8. Ineffable, hilarious, and true.
9. Exhilarating. Hong's latest and most charmingly accessible drama [is] more honest about self-destructive obsessions, betrayals, and hypocrises than even a first-person confessional like Caveh Zahedi's I Am a Sex Addict.
10. Woman on the Beach, perhaps [director Hong's] most accessible film (and often a funny one, too), is a good introduction, even if it is not a masterpiece. Here's hoping more of his films see the light of an American day.
Consensus: Hong brings his usual light touch to this well-acted salvo in the battle of the sexes.
Q: 1. Lawson either needed to flesh out these characters or view their failings with stiffer cynicism.
2. ...this hypersexualized riff on Wild Tales is at its best when depicting the tenderness and sweet intentions of Maeve and Paul.
3. It's perched uneasily on a fence separating a rote comic sketch film from something weirder, stranger, and less engaged with offering reassuring domestic homilies.
4. "La Ronde" this is not.
5. A brightly performed, amusing and provocative entertainment that might have you rethinking what constitutes a normal sex life.
6. The set-up is a bit like that old Woody Allen's farce Everything You Always Wanted to Know About Sex crossed with Love Actually, though it's better than either because there's a disarming depth and poignancy here as well.
7. There are moments of bad taste black comic brilliance in this feature debut.
8. The film is truly much more than it reads on its surface, a far cry from the tired and formulaic rom-coms moviegoers have come to expect from Hollywood.
9. Overcooked at times and not always cohesive, Josh Lawson's debut feature about intimacy is a case of hit or miss, but in its favour, there are some very funny ideas coupled with some priceless moments
10. The Little Death is just a mostly laughless tour of unlikeable, depressive suburbanites.
Based on these individual reviews, what is the critic consensus?

A: Consensus: The Little Death may appeal to fans of dark, risqué comedy, but it's ultimately too rough and uneven to hang together as a wholly satisfying viewing experience.
Q: 1. The fact that one can think of a movie about a guy hooked on porn as charming is high praise.
2. The screenplay is generally predictable in its story of redemption, and it doesn't have an ounce of subtlety.
3. It's difficult to rate a movie that doesn't really start until its last half hour.
4. An impressive debut as writer/director/star.
5. Don Jon has attitude, conveyed as much through the solid performances as it is through the director's unflinching approach to some complicated subjects.
6. I find it a film that's much easier to admire than actually like.
7. Joseph Gordon-Levitt has teetered on being the Next Big Thing. He's finally there with 'Don Jon,' a grownups-only movie about addiction and compulsion in which he stars. He also wrote and directed this movie about a man's obsession with pornography.
8. This is a very funny, well-written film. Unlike most romantic comedies, it is both thought-provoking and introspective.
9. Very funny and with some social commentary, "Don Jon" is an admirable first effort for Gordon-Levitt behind the camera.
10. If Don Jon does not offer a lasting détente in the war of the genders, it does smartly delineate the gap between men's and women's respective fantasy lives.
Based on these individual reviews, what is the critic consensus?

A:
Consensus: Don Jon proves to be an amiable directing debut for Joseph Gordon-Levitt, and a vivacious showcase for his co-star, Scarlett Johansson.