House of Flying Daggers (2004): 8/10
More than makes up for its thin plot, characterizations, and cheap twists with the sheer magic and beauty of its visuals and the creativity of its elaborate fight sequences. Just on a purely visual level this may be one of the most beautiful films I've ever seen (complete with some of the most beautiful actors). There is one scene (regarding a sudden seasonal shift) in particular that steals the air from my lungs every time I see it. It's a shame the plot feels so cheap and flimsy--but honestly, if you're at all a sucker for a good looking film, the plot will probably only just barely register anyways--it does a good enough job of moving the audience from one majestically shot fight to another, and in this case, that's really all that matters.
Oblivion (2013): 5/10
In a study of contrast, here's a film that can't be saved by it's wonderful visuals--mostly because it doesn't want to be about them. It wants to be an 'idea' sci-fi--the problem being that Joseph Kosinski's best ideas are all about the design of his films, and not much else. (He also directed the vapid but visually fascinating Tron: Legacy.) Most of what this film does has been done numerous times (and much better) in sci-fi films before; for a recent example, check out Moon. I'm also quite certain at this point that the man doesn't know how to properly pace a film, nor has he yet come to realize the value of subtlety. (The final confrontation with the Big Bad is almost laughable in its symbolic obviousness.) Still, it's got its redeeming values. Cruise gives a decent performance, though its Andrea Riseborough's steely, creepy role as Victoria that steals the show. M83's soundtrack is fine, if too bombastic. And the aforementioned visuals are indeed quite stunning. Otherwise there's not much to write home about.
Nebraska (2013): 9/10
I always expect good things from director Alexander Payne and his dramadies, and I'm never disappointed. Nebraska may lack the slightly more star-filled casting of many of his previous films, but, a few minor roles aside, the performances are heartfelt and memorable, and Payne's assured direction and sharp (maybe too sharp) voice come through strongly (interesting, since as far as I know he didn't contribute directly to the screenplay). One could argue that Payne makes fun of his characters more than he sympathizes with them, which perhaps isn't exactly a point in his favor, but its hard to find fault in his style when its executed this well. One of the best movies I've seen in a theatre this year.