The Beaver

Gibson pulls head out of ass and puts hand into Beaver.  Foster’s directorial debut and Gibson’s return to acting begs for jokes on multiple levels.  His performance(s) is/are deeper and funnier than the story itself.  Beaver leaves Lawrence and Foster wanting while Yelchin remains indie guy amidst frequent warrior co-stars.

Adaptation.

Writing fifty words about Adaptation.  Could be difficult.  Would have to be introspective and witty.  Cleverly self-referential perhaps.  Can’t employ Kaufman’s witty plot-structure.  Must handle subjective abstract concept in concrete form.  But that would be a boring review indeed.  No.  Brilliant editing! Ingeniously crafted!  Streep, Cooper, Cage and especially Cage!

Take Shelter

Shannon remains go-to crazy guy in this brooding drama.  Feels like a co-directorial effort between Terrence Malick and Roland Emmerich.  Brilliant performances from the three leads and beautiful cinematography, lend the film a creepy, Hitchcocky feel.  Cleverly ambiguous and freaky on multiple levels, this may be Shannon’s best psycho yet.

The Adventures of Tintin

Spielberg infuses 3D animated venture with the energy and tone that Crystal Skull sorely lacked.  A clever fast-paced story with witty dialogue and clever exploitation of motion-capture technology make for a fantastically fun film.  Bad guy who looks like Spielberg and good guy Peter Jackson evoke questions of producer-director relationship.

21 Jump Street

Hill cleverly spearheads re-imagining of once serious show into slapstick drama that actually has a few things to say.  Tatum finally finds a place for his charming doofus, while Larson, baby Franco and alarming Ice Cube provide solidly comedic supporting performances.  Action scenes are weak, but cameo blows minds, literally.

A Dangerous Method

Cronenberg assembles wondercast playing fascinating characters and somehow delivers his least interesting film to date.  Aside from Knightley’s English/Polish/Russian, performances aren’t bad, but considering the players, are nothing astonishing either.  Whole film feels tied down, and trapped in a claustrophobic play setting.  Far from dangerous but should still seek analysis.

Carnage

Trapped in a tiny apartment, Oscar winners perform a charming play.  Foster leads the pack performance-wise while Reilly and Waltz play it heavy, but it’s difficult to make such an underwhelming story truly compelling on the screen.  Bookend shots leave apartment but stay far from kid subjects.  Director Polanski’s choice?

In Time

Niccol creates another gattacan future, with another incredible premise.  Unfortunately surrogate of plot drags film down and on and on into a cheesy underwhelming sci-fi action.  Beautiful young population are well-cast, but there’s little they can do to improve on a weak story.  Finds time for plenty of clever puns.

War Horse

Saving Private Stallion is long and meandering and while a few beats fall flat, plenty of others hit intended emotional chord.  Great effects and brilliant horse-action carry audience on a ride through all facets of European World War II.  Shameless stabs at heartstrings hit all-time high in orange silhouette finale.

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.