1. We know what comic book movies are capable of being. They can have greatness in them. Fantastic Four has nothing more than okay-ness.
2. Before the inevitable and surprisingly anticlimactic battle with Doom, we are treated to two extreme-sports demonstrations, several training montages, [and] an ill-advised love triangle.
3. If I were to put the same amount of effort into my review that the folks behind Fantastic Four expended trying to entertain you, the rest of this page would be blank.
4. Weighted down with a turgid story and utterly middling special effects, The Fantastic Four isn't likely to be Stan Lee's favorite of the nearly dozen Marvel Comics adaptations either out already or on their way.
5. Fantastic Four is left passing off dopey comedy and performances as playfulness.
6. If exposure to cosmic rays made all women look like Jessica Alba, then every Lifetime movie should glow green.
7. Heaven forbid a summer blockbuster embrace its popcorn-munching appeal and rescue the industry from the 2005 box office slump.
8. Superheroes are only as good as the supervillain, so let's get these forces clashing early on and often.
9. Fantastic Four is a special-effects extravaganza, but its plot is mired in issues that only schoolboys care about.
10. Along the lines of such tongue-in-cheek action films as “Sahara” and “National Treasure.”
Consensus: Marred by goofy attempts at wit, subpar acting, and bland storytelling, Fantastic Four is a mediocre attempt to bring Marvel's oldest hero team to the big screen.
Q: 1. See this film with a friend so you can console one another afterwards.
2. oth Norton and Pitt deliver knockout performances, relishing the wry, cruel nihilist humor.
3. Hardcore masterpiece.
4. The film may be violent and funny, but it's never simple.
5. Even at its shallowest, the movie is fascinating to watch for its heat and movement.
6. The cool charisma of Norton and Pitt is ... vital in seducing us, and both actors carry themselves confidently while speaking their dialogue with tough, throaty assurance.
7. A bloody, hilarious ride into the twisted recesses of the modern male psyche.
8. Brutal, bracing, funny.
9. Certainly no movie in years has had this much subversive fun.
10. A fabulously berserk runaway train of a movie, David Fincher's Fight Club is post-MTV filmmaking at its most assured and courageous.
Based on these individual reviews, what is the critic consensus?

A: Consensus: Solid acting, amazing direction, and elaborate production design make Fight Club a wild ride.
1. For a film about women getting brutally attacked and dispatched, the movie has no sense of urgency or underlying dread.
2. Achieves an unlikely but ultimately successful blend of blunt-force comedy and desperate investigation.
3. The script is as sloppy as Song (Kang-ho)'s unkempt cop, sprinkled with intriguing ideas and imaginative details that, like the investigation, simply get lost in blind alleys.
4. What's most remarkable about it is the way Bong builds real suspense and plays the chilling moments straight while leaving himself room for nonsense and horseplay.
5. These are no gritty 'Dirty Harry' cops, nor are they kooky Keystone Kops. You know what they are? They're Columbo - if Columbo were the schlemiel he always pretends to be.
6. Horribly, gorily fascinating and slightly unfulfilling
7. Manages to transcend the popular and cliched genre by focusing on the emotional toll dealing with such crimes has on the detectives.
8. A refreshingly mature thriller that succeeds in its ambitious attempt to blend quips and killings.
9. Uneven movie has tonal problems.
10. Fledgling director Bong Joon-ho received the best new director award at the San Sebastian Film Festival and he shows a deft, talented hand at the helm.
Consensus: Memories of Murder blends the familiar crime genre with social satire and comedy, capturing the all-too human desperation of its key characters.
Q: 1. Frost/Nixon could be the best political film in a year that's had more than its share of good ones.
2. Avoiding staginess even as the subject matter threatens to turn it into such, Ron Howard opens up the film's world through Salvatore Totino's glossy cinematography and a firm handle on his mise en scene.
3. Remains an intelligent, evocative reminder of simple television appetites and the dynamism, the pure drilling ecstasy, of journalistic hunger.
4. It seems like an exercise mostly for its own sake. But there is also a sense of security with its own limitations.
5. Sometimes I worry that Ron Howard actually listens to every dumb 18-year-old drunk kid who tells him how to edit his movies
6. The film begins as a fascinating inside look at the TV news business and then tightens into a spellbinding thriller.
7. Howard keeps the pace brisk, light when it needs to be, heavy when that's called for. Along with Langella, he turns Frost/Nixon into one of the most entertaining history lessons imaginable.
8. Anchored by an outstanding performance by Frank Langella, this stage-to-screen adaptation doesn't feel rooted to the boards like so many others have been.
9. Langella inhabits the pouchy skin of the man he's playing, until soon any meaningful distinction between actor and subject disappears.
10. The two-hour plus running time zooms by as the so-called "thinking man's Rocky" plays like an intellectual boxing match with Nixon effortlessly dodging Frost's hesitant jabs and the young challenger looking like he won't last the distance.
Based on these individual reviews, what is the critic consensus?

A: Consensus: Frost/Nixon is weighty and eloquent; a cross between a boxing match and a ballet with Oscar worthy performances.
1. Can't overcome the fact that it's sending up a 007 series that -- with the exception of 2006's superb Casino Royale -- already plays like a parody of itself.
2. It's generally friendly and enjoyable, but it sags a bit.
3. Stupid, racist, sexist and yet weirdly lovable, bumbling detective Hubert de la Bath is back in O.S.S. 117: Lost in Rio.
4. The tenor, tone and immaculately lampooned art direction often make up for shtick that gradually grows thin in the belly-laugh department.
5. Time to retire OSS 117's license to kill before any more innocent people suffer.
6. ... when all else fails, [Jean] Dujardin's smug grin and oblivious conviction in his every knee-jerk prejudice makes the character work.
7. Laugh-out-loud funny.
8. All this is mighty silly, but there's something to be said for watching a French movie that, for a change, isn't about l'amour, existential angst, or madness.
9. Michel Hazanavicius's parodic return to the 1950s espionage novels of Jean Bruce is sharp, uproarious and outrageous enough to overcome its minor lulls and flaws.
10. By sacrificing the knowing anachronisms of its predecessor, Lost in Rio also sacrifices most of its wit.

Consensus: Led by another appealing performance from Jean Dujardin, this sequel offers more absurdly fun action -- and more politically incorrect humor -- for fans of '60s spy films.