Murder on the Orient Express

Only one culprit in the murder of a movie made attractive by first-class cast, cleverly contained coverage and a talented hair & mustache department; the script. Less whodunit and more whocares, once the plot is set in locomotion, it’s promptly derailed by an avalanche of artificial action and useless clues.

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.

Dark Shadows

Burton’s fifth remake of the century is seventy percent Blast from the Past, thirty percent True Blood, and 100 percent underwhelming.  Standard white faced Sweeney Wonka returns in his least impressive Burton turn to date.  Green’s catwoman is great till she starts exorcising and Pfeiffer’s stardom is dusty and unimpressive. 

Stardust

The best comedy fantasy since Princess Bride and an outstandingly clever film. A cast of supporting superstars surround a relative unknown as he makes his way through an ingeniously funny fairy-tale land. De Niro and Pfeiffer provide two of the best performances, of the film, and of their recent years.