Mother!

Moving cinematography puts viewers in the feverish nightmare of an unamused muse abused. Mediocre digital effects and inconsistent pacing damage structural integrity of a creative internal haunted house built on a foundation of densely packed symbolism which ultimately devolves into Boschian cinematic orgy where generating exclamation seems the main point.

Snowpiercer

Captain Antarctica leads fierce fight to put ‘gory’ back in ‘allegory’ as the metaphorical world hurtles around the real one.  Clever concept pits social structure caricatures (wounded Hurt and swine-like Swinton) against each other on fast-paced but farcical rollercoaster that even Christof can’t save from a train-wreck of an ending.

Gravity

Visually spectacular rollercoaster captures audience while cutting them loose in space.  Adherence to physics drifts away with less famous actors and Apollo Ed’s voice leaving only Bullocks’ (and the FX team’s) brilliant performance.  Condescending dream shrapnel drags audience commitment down, but otherwise delivers a thrilling albeit not quite airtight story.

Game Change

Roach recounts another modern political tale and Moore manages the impossible by not turning Palin into a caricature, almost as difficult an effort as those of the other characters to turn her into a politician.  Harrelson’s advisor manages to remain central focus amidst recognizable Harris and Palin, and supportive Paulson.

The Way Back

Should be 'Long Way Back' as fair warning that this subdued epic will be an exhausting journey. Cast fill worn-down shoes of their characters well as they sneak out of prison in a break even less exciting and noticeable than this film’s release. Hybrid Schindler’s Limp and Lawrence of Siberia.