1. What a pleasure to see that a horror film can be exquisitely and lovingly made in an age of cheap shots and shoddy thrills.
2. Definitely worth seeing.
3. With the new director's cut ... William Friedkin has found a way to make even more of your hair stand on end with some seriously creepy new scenes, improved special effects and a restored score.
4. ...Still a thrill to watch after all these years, so full it's hard to absorb in one showing, so affecting it will still keep you awake at night. But maybe for different reasons.
5. The movie's eerie quietude is gone.
6. I went prepared to be scared, and woke up sleep-walking two nights in a row after I saw it. Isn't that what horror movies are supposed to do?
7. Besides the performances, which are uniformly strong, what's so terrific about "The Exorcist" is how it's in no hurry to get to the meat of its horror. Unlike today's horror movies, it isn't exploitative. It's about its characters.
8. If you want to know what the 1970s were all about, this is probably required viewing. ...frankly, a reissue of "Earthquake" in Sensurround would have been a lot more fun.
9. An expanded DVD version of the classic tale about demonic possession and exorcism.
10. It weaves a frightening spell right from the get-go.
What is the critic consensus?
A: The Exorcist has withstood the test of time, and it still has that renegade feel and the power to shock.

1. The movie is all surface and trades on fortune-cookie wisdom and sitcom scenarios.
2. A sometimes-amusing moron.
3. It feels less like a coherent narrative than a series of vignettes in which the characters say improbably witty things and act in ways that aren't tethered to rational behavior. We sense them performing for the camera.
4. we don't care about the things they are worrying about...we are lost in the intricacies of Rudd's relationship with his corrupt p---- of a father (Nicholson)...a career disaster for Reese Witherspoon, who needs a flop like a hole in the head.
5. The ''funny'' moments are whiffed, the dialogue is ''scene-y,'' and each reaction shot is held a second or ten too long, leaving the actors hanging.
6. How do you know when a film is horrible? When it's How Do You Know, it's pretty obvious.
7. There are a couple of scenes of pure, sentimental genius, as well as appealingly boggled turns by Rudd and Wilson.
8. I expected this movie to be better.
9. How Do You Know gets by on witty and realistic dialogue even when its story is sloppy.
10. Misguided, frighteningly comatose tale of love and neuroses; a maze of bad ideas that Brooks robotically assembles. He's surviving this picture, not directing it.
What is the critic consensus?
A: How Do You Know boasts a quartet of likeable leads -- and they deserve better than this glib, overlong misfire from writer/director James L. Brooks.

1. For what it is -- a romantic comedy about the rivalry between a jealous ghost and a flaky psychic for the love of a veterinarian -- Over Her Dead Body is not bad.
2. A stumbling romantic lark about a bubbly psychic who throws down with the shrill ghost of her boyfriend's former fiancee, Over Her Dead Body is a stiff of a supernatural comedy.
3. Norman Z. McLeod, Constance Bennett, Roland Young, Alan Mowbray, and Co. must be turning over in their graves to see this is what their brilliance in the first two "Topper" film has wrought.
4. A harebrained rom-com diversion offering few laughs and little romance.
5. A one-eyelash-above-average supernatural rom-com.
6. This January has been surprisingly pain-free, a rarity for sure, but this heap brings matters back to a stark reality.
7. Unlike its stubborn corpse bride, Over Her Dead Body will decompose quickly in the memory before fading forever into video oblivion.
8. The quirky romantic comedy works largely because of good writing, and Rudd's deadpan delivery of same. That he can do so as slapstick erupts around him makes it all the funnier.
9. The movie's visuals and ghost jokes are a waste of time, but the delightfully kooky Bell and the wry Rudd occasionally strike spontaneous sparks.
10. What's really spooky is that even the weakest Desperate Housewives episode packs more heat than this tepid romantic comedy-fantasy.
What is the critic consensus?
A: With few laughs and little romantic chemistry, Over Her Dead Body lacks the ingredients of a successful romantic comedy.

1. In a field of films about drugs, car chases, and plastic monsters, Dead Poets Society is a good choice.
2. The best stories and performances, one of the greatest films of the 1980s and a rare classic that should be treasured.
3. Solid, smart entertainment.
4. The film makes us, the audience, take a long hard look at what inspires us, what governs our motivations and determines our actions. It emotes feelings rarely felt in the movies these days.
5. Not the worst of the countless recent movies about good kids and hidebound, authoritatian older people. It may, however, be the most shameless in its attempt to pander to an adolescent audience.
6. Celebrates nonconformity and freethinking as an adventure worthy of emulation  not your usual movie theme these days.
7. As consistent and nearly as understated a performance as Robin Williams would give later in Good Will Hunting.
8. Weir infuses the film with his customary mysticism, but more importantly, draws sensitive performances from his largely inexperienced cast.
9. Tom Schulman's heartfelt script takes the main character's relationships with Keating above and beyond the usual student-teacher connection.
10. Part of what makes Dead Poet's Society so great is that it challenges you to think. It can inspire you to be more than a simple cog in a wheel.
What is the critic consensus?
A:
Affecting performances from the young cast and a genuinely inspirational turn from Robin Williams grant Peter Weir's prep school drama top honors.