Vice

Bale’s Dick and Rockwell’s Bush don’t rock well enough to bail out Mckay’s Big concept which falls Short as present day politics Anchor down one Man’s character study. Stylistically opposed of its titular character, Vice’s vice is its reliance on heavy-handed set-pieces to set up its inherently obvious unitary message.

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Hostiles

Bale gets predictably Forgiven throughout this expansive episodic Eastward road-trip. Heartfelt performances and sweeping cinematography see the film safely through a plodding plotscape of genre clichés and redundant conceptual explorations. Small subplots carry more weight than overall arcs, but supporting players draw less emotional fire than the principal party members.

The Big Short

This economics lesson is kind of boring so here’s a half-dozen Oscar winners to explain it to you.  Interesting editing and solid performances anchor Crazy, Stupid Banks and mask the virtual absence of plot or character developments.  Shorting The Sheep of Wall Street’s awards chances would be a solid bet.

Exodus: Gods and Kings

After Jewish Bale is exiled for refusing to wear the family eyeliner, he rises out of dark desert night then enlists the aid of kinderGods and Kingsleys (just there managing Moses’ list) and sits back to passively enjoy a mediocre effects orgy crafted by Ridley Demille’s VFX crew of thousands!

American Hustle

O’Hustle rallies Silver Fightings Castlist as a batch of unlikely and unlikeable grifters in the poorly-paced Decentfellas.  Impressive performances are weighed down by a structure more cumbersome than any pot-belly, voiceover worse than any comb-over, and an unsatisfying B-Sting climax.  Neither crime-caper clever nor comedy funny, but perhaps it’s con-artistic.   

The Dark Knight Rises

Rises to challenge of tying in elements of both predecessors.  Nolan incepts outside cast, all of whom perform spectacularly.  Replaces technological faults of previous films with medical and logical gaps.  Geriatric batman’s recovery, Cathaway’s equipment, and strongman’s weak motivation lack conviction.  Regardless, powerful film.  Could have used a spinning top.

The Dark Knight

Three performances unhindered despite facelifts, one makeup, one CG, and one re-casting.  Cleverly philosophical story transforms Bat into symbol that Begins began.  Thematic elements, dark vs. light, chaos vs. chance, etc. sometimes overwhelm a plot which keeps rebooting through the film.  Disappointing last page of Ledger in film and life.

Batman Begins

The bat rises like a depressed phoenix in this gloomy resurrection of a previously kitschy saga.  Deep voiced Bateman, Caine’s Alfred, and Freeman’s Q provide performance highlights, while bad guys are bit underwhelming.  Phenomenal rendition of origin story overshadows weaker second act.  Clever twist, but not so clever realism-evaporating device.

Howl's Moving Castle

Another creatively conceived world rendered in what may be Miyazaki’s most astonishing visuals yet. Interesting American casting including far too masculine Bale. But viewer spirits pull away as Castle disintegrates to a Howling mess in the third act and then rewrites the textbook on deus ex machine to save itself.

The Fighter

That Bale, Wahlberg, and Russell didn’t kill each other is almost as miraculous as the performances they crafted. Of course Aronofsky had his hands in ring-fight where punches outside the match hurt more than those within it. Ends lighter than Wrestler cousin, and throws knock-out blow with vindicating documentary clip.

The Prestige

Wolverine vs. Batman in a chronologically complex dual to the death, masterminded by the screenwriting genius of the Nolan brothers. Odd appearances by Bowie and Gollum only add to this excellent film, and though a few of the twists feel contrived, the whole thing becomes more impressive upon repeat viewing.

Terminator Salvation

McG tries to reboot Terminator franchise with gritty Batman Begins treatment. His attempt is hampered by the absence of (real) Schwarzenegger, a decent plot, or any semblance of loyalty to original films. Bale and Yelchin inhabit their characters well enough, but Worthington’s strong heart can’t make up his weak character.

3:10 to Yuma (2007)

Decimus vs. Bateman in a western battle of the badass. Faithfully recreates classic western feel with enough jokes and explosions to keep today’s crowd happy. Fonda, Foster, and Tudyk add to the mix, but more amazing than their performances, is their survival of a set with both Bale and Crowe.

Public Enemies

Bale and Depp waste their talent in least compelling gangster story ever. Cinematographer apparently wore shock collar so Mann could zap him if he accidentally framed shots properly. Capped off by misused digital effect far less enjoyable than a hole in the head. Title refers to producers of this monstrosity.