Transcendence

Pfister pounds a heavy-handed reverse Matrix out of No-lan’s Land.  Sludge slow pacing, artificially injected character arcs, and unsatisfying set-pieces fill the space between the unnecessary bookends like so much bland code in a self-destructive program.  Or perhaps it simply transcended human audiences and would be better enjoyed by machines.

Ted 2

McFarlane stuffs the same used plush formula with the same loveable live action Family jokes, but forgets the heartfelt story that made the first coming so accessible.  Amusing anecdotal episodes and silly celebrity cameos mesh horribly with the shoe-horned messages of the courtroom scenes and the bearly tolerable third act.

Lucy

The Transcender.  Besson goes Luc-y goosey in wacky attempt to incept Nikita into  Earth Odyssey.  Freeman delivers expansive expository pseudo-scientific excrement and is punished by having to watch someone else play God.  Scarlett uses 10% of her talent to deliver poorly evolved performance.  Story falls apart even before she does.

Now You See Me

Leterrier tries transporting again with Ocean’s Prestige, an occasionally slick, mildly entertaining festival of irrational effects and grandiose camera moves.  Unfortunately, the plot points are too predictable and explanations too contrived for the arsenal of amusing performances to trick the audience with the illusion of intelligent scripting.  Now you won’t.

Oblivion

Tom takes his shiny space sperm on a cruise through a series of sci-fi clichés and a tour of geographically incorrect historical landmarks.  Remarkable effects and solid cinematography are enough to entertain, but the story would have been stronger if its elements weren’t all clones of other science fiction greats.

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.

Red

Intentionally quirky performances by venerated actors create necessary defining kitsch. Story is as vapid as Parker’s character and the otherwise well-shot fight scenes often degenerate into infinite ammo machine-gun fire. Basically an action party for Oscar winners and a film well worth watching when it reappears ad infinitum on TNT.

Invictus

Freeman and Damon perform excellently in another well directed Eastwood film. Handles racism topic extremely well and though Mandela’s dialogue is a bit too pointed, the film avoids being preachy. On the downside, the rugby matches are hard to follow, the story too direct, and the music cues overwhelmingly melodramatic.