Glass

Lacks both shine and clarity of origin’s origins. Fractured characters are grafted together but rather than lending each other narrative strength, they take turns bashing holes in panefully fragile premise. Shyamalan’s characters fuse while he cracks open his neglected tank of tired twists and dramatically drowns his franchise in frivolity.

Bird Box

Bullock grasps Gravity of sightless situation as she struggles to accept children in The Even Blinder Side. Exceptionally eclectic cast gather in not so Quiet Place, instead filling it with clunky backstories while working out what’s Happening. Though the premise is outside the box, the payoff is for the birds.

The Post

Equal parts history lesson and current events commentary, this President’s Men (and Women) prequel delivers a good lead but fails to follow it up compellingly. Hanks and Streep easily traverse their tiny character arcs, while lesser roles are occupied by TV regulars, all on a quest to break something bad.

12 Years a Slave

McQueen incorporates themes and realities of Hunger and Shame into masterful epic that chains his cinematic genius to a more conventionally narrative true story.  Ejiofor’s nuanced lead is perfectly served by empowered innocence of newcomer Nyong’o and impressively humanized inhumanity of Fassbender and Paulson, while producer Pitt plays weakest link.

Mud

Drive By Me follows two kids, too dumb to know that M&M is full of crap when he swears that he never takes his shirt off.  Strong journey down the river before the pines gets bogged down in mud and recovers the pace by unintentionally adaptationing into clichéd action flick. 

Martha Marcy May Marlene

Other Olsen’s Outstanding Acting makes for an interestingly broken character(s) piece.  Brooding and deliberate if somewhat slow non-linear non-structure allows sense of foreboding to build while Hawkes soars as Manson-esque cult leader, sneaking closer to Ruffalo’s old seat as Indie king.  Paulson’s succeeds at supporting in ways her character can’t.