Anomalisa

How do you present weirdness for the general public’s consumption? Well, it turns out a puppet show doesn’t turn the trick. This film is relentlessly strange, even down to the terribly-sung song over the closing credits—an act of aggressive refusal to conform to any standard of expectation that an audience might have for a movie. Under certain circumstances, that might be a description of brilliance; here, it seems to be Charlie Kaufman being a more outsized version of his usual, cryptic self. This flick's animation ultimately represents an awful lot of effort in the service of presenting a story that shifts away from mundanity only in so far as its characters are crazy—which is not exactly most viewers' idea of a good time. Whatever profundity others may have found in this outing, I personally could not get into. A major disappointment.

RED 2

Significant? Hell no. Enjoyable? Hell yes, especially given that it’s a sequel, and not necessarily one that follows an original that really cried out for a continuation. As it turns out, this crew made the best of what they had, and for a fun, breezy, somewhat dopey time, the result is certifiably good enough. I wouldn’t say, in the end, that this is a flick of any real consequence, and you might not remember much about it after the credits have finished their roll, but you won’t feel bad about having spent these two hours watching this movie. Sometimes, that’s about all you can ask, and all you really need.

Wonder Woman

Some kind of wonder, indeed. This film relies heavily upon the newfound star power of Gal Gadot, who makes for an impressive screen presence and very much carries the proceedings on her well-toned shoulders. She really is impressive to behold, so much so that the viewer will likely forgive a lot of weaknesses in the surrounding staging: the supporting cast is largely forgettable (minus Chris Pine, who holds up well despite being outshone by Gadot), the story indulges in clichéd triteness at the climax, and, as far as the "cinematic universe" world-building goes, the whole thing doesn't particularly advance anything much. But when you look at the star's lovely visage and bask in her charisma, you wind up not minding so much. At the very least, you can be assured that this side of the superhero street got one casting move correct.

War Horse

The visuals dazzle, the music swells, the story touches the heart...so what's the problem here? I'm not sure there is one, but it's impossible to watch this film without knowing that you're staring at very conscious Oscar bait. That fact hints at a cynicism floating just below the surface, a vibe that will always make the alert viewer feel like he's being used. But most folks don't watch movies in that way; a picture should be judged on its merits for the general audience who will view it--and there's no denying that this is a well-crafted movie. To be sure, the story is obvious--nothing really comes as a surprise here--though it is unusually dark. In fact, this is very much a movie about grief and sorrow, which makes it tough to watch at times. But as an example of the craft, as an emotional journey, as a statement of disgust against war and all its miseries, this film accomplishes its goals. That earns it enough respect for a positive vote here.

Restoration

An excellent screenplay, lavishly reproduced late-Stuart settings, and a rich cast (even in supporting roles) makes this film worth a look. And just in case you needed the reminder, here's the proof that Robert Downey Jr. is more than just a punch line; in his controlled moments, the man can really act.

Seven Years In Tibet

Most people didn't like this one, but I disagree. Brad Pitt makes an effective Heinrich Harrer, and even if the German mountaineer's relationship with the young Dalai Lama wasn't really what is depicted here, the story we do get is still pretty effective. Watch it and judge for yourself (but set aside some time--this is a long one).