1. I'm still not 100 percent convinced that this wonderfully bittersweet documentary isn't entirely a put-on.
2. A complicated portrait of complicated men, an adeptly assembled character study that shows how limitless fame and fortune might not be the real recipe for happiness.
3. Gervasi misses a few beats that would elevate this from enjoyable to resonant, but he's the only filmmaker for the job
4. Anvil! is one of the sweetest, funniest films I've seen this year. Also the loudest and most foulmouthed.
5. There's just something utterly winning about the way the guys of Anvil hang on to their dream -- and when, in the movie's final scenes, they find it for a moment, it creates some genuine, headbanging joy.
6. Anvil! The Story of Anvil is a documentary about the moderate rise and long, long fall of their band, where musicians in the two other slots came and went, but Lips and Robb rocked on.
7. The movie is a small wonder, because it's not the work of a practiced filmmaker - Sacha Gervasi is a writer and Anvil fan who shot the movie on a whim, but he has a great eye, and is evidently an editing whiz.
8. Anvil! The Story of Anvil can't help but evoke This Is Spinal Tap, the classic 1984 mockumentary directed by the other Rob Reiner, in terms of both sheer hair-metal ludicrousness and indignities suffered by a not-so-successful rock band on the road.
9. The most stirring release of the year thus far.
10. An outstanding rock documentary that is as funny/sad as it is revealing.
Consensus: A touching, uplifting and inspirational rockumentary about an aging metal band, both hilarious and heart-warming in equal measure.
Q: 1. As a suspense film, there's virtually zero.
2. Heston [is] an uncompromisingly masculine presence as well as multi-layered mind who's always riveting. The Omega Man affected me in a way few movies ever had.
3. Reasonably good cheese.
4. Averagely competent exercise in comic strip sci-fi.
5. Despite being baked in early '70s cheese, The Omega Man is easily the most entertaining film version of Richard Matheson's sci-fi novel, I Am Legend
6. An extremely literate science-fiction drama.
7. Another misfired adaptation of Richard Matheson's fine science fiction novel I Am Legend.
8. A breezy film about the death of mankind in a way that only the '70s could have provided.
9. Not bad, but far from a classic.
10. Despite not having aged particularly well, the opening sections of this sci-fi allegory remain potent, although the rest of its apocalyptic storyline is decidedly leaden.
Based on these individual reviews, what is the critic consensus?

A: Consensus: It may not live up to its classic source material, but The Omega Man transcends its limitations often enough to offer some mildly entertaining post-apocalyptic thrills.
1. Ostensibly about Mobile, Alabama's annual Mardi Gras tradition, which dates back to 1703, Margaret Brown's documentary is actually an examination of the racial divide in a city that claims there is none.
2. On both sides of the Mobile Mardi Gras divide, people seem to be edging toward a desire for reconciliation, but there remain significant differences about what that might entail.
3. Engrossing if discomfiting.
4. The cast of characters trailed by the crew is a compelling batch.
5. An invaluable portrait of us-and-them America, a smart, generous, poignant, quietly disturbing movie about secrecy and hospitality.
6. Entertaining and provocative.
7. Less a vitriolic critique than a considerate, despairing depiction of the intractable sway exerted by long-held, unpleasant traditions.
8. Brown presents a complex, provocative view ...
9. To say each group takes this tradition seriously can in no way convey the absolute nuttiness and frenzy that filmmaker Margaret Brown has captured.
10. Wise and soberly affecting documentary about the separate but unequal Mardi Gras festivities that take place each year in Mobile, Ala.
Consensus: More than a documentary about the oldest Mardi Gras celebration in the south, Order of Myths encompasses the eccentric characters of Mobile and the still-lingering racial tensions that surround them.
Q: 1. Compelling performances and a manipulation of the narrative keep Clearing unclear, which keeps us interested.
2. Mirren gives a virtual one-woman performance
3. ...three engaging and rewarding performances.
4. The story is Redford's, but with [Mirren's] trademark brisk practicality and ease in her own skin, she ransoms the actor from the constrictions of his self-definition as a romantic movie star.
5. The Clearing is just an OK thriller, full of standard scenarios and cookie-cutter characters.
6. What eventually happens will emerge from the personalities of the characters, not from the requirements of Hollywood endings. Sensing that, we grow absorbed in the story, knowing that what happens along the way will decide what happens at the end.
7. It's a worthy effort, but by trying to do it all, both stories fail to offer a good payoff.
8. As fine a performance as Mirren gives -- capturing Eileen's apprehension and sturdiness at once -- Redford is the chief reason to see The Clearing.
9. It leans more toward a character study than an action or suspense movie. What you don't get is the wrenching emotional workout that you would expect from this kind of film.
10. There's nothing happening on the surface (something cued by Craig Armstrong's aggressively inoffensive tinkling piano score), and there's nothing happening underneath, either
Based on these individual reviews, what is the critic consensus?

A: Consensus: Though it has an excellent cast, this emotionally detached movie is the kind that one admires more than enjoys.
1. One of the best movies of the year with its extraordinary depiction of plight of Indian widows and their yearning for liberation.
2. artful in showing the positive side of belief and the negative responses to freedom and free thinking
3. Compelling in the way it gradually opens up, beginning as the story of a little girl's plight, wedging in some supporting characters, expanding to add some cultural perspective, and finally encompassing no less than the future of India and its people.
4. Here's yet another example of people confusing an honorable message with a good movie.
5. The film's visuals hold almost as much power as its story does.
6. With none of the joyous zest for life we encountered in Fire, or the emotional power from Earth, this intense story set in an ashram for widows almost drowns us with sorrow.
7. This work of gorgeous fury, about the virtual imprisonment of millions of Hindu widows in the years before independence, transforms Mehta's feminist rage into an eloquent testament to the hunger for freedom.
8. It could really use a dose of Fire's heat.
9. 'Water' glows from rich and natural lighting, warm and radiant colors, and powerful symbolic imagery.
10. Unjustly victim to the same religious system to which the main character is faithful, her confines are a strange necessity to her as is the water to the lilies.

Consensus: This compassionate work of social criticism is also luminous, due to both its lyrical imagery and cast.