Poltergeist

A scare-less horror movie that paled in comparison to the original.

This was a remake that basically just updated the story to the 21^st century: with Apple products, flat screen TVs and drones. However, it lacked the creepy atmospheric feeling of the 1982 original and the few scares that it had was due to jump cuts and the always effective clown-dolls.

The trailer of Insidious III that played before the movie had more scares than this movie itself.

The clown-poster above is also scarier than anything in the movie, which is kind of sad considering that it's about poltergeist and not scary-possessed clowns.

The original movie itself was scary because of the build-up to the capture of the youngest girl, but in this update, there were barely any hauntings in the beginning, and we were told the background to the house almost straight-up.

Poor Sam Rockwell seemed almost as exasperated as us in dealing with the whole situation; Rosemarie DeWitt too.

There were many made-for-3D shots but I do not think even those moments would have added to the appeal of the movie.  

Ex Machina

An original sci-fi movie not in its concept but in its smart narrative and storytelling, and bolstered by great acting from its three principle casts: Domhnall Gleeson, Alicia Vikander and Oscar Isaac.

Alex Garland’s script was interesting and fascinating and leads us to question certain aspects of ourselves, our roles in society now and in the future, and the role of technology in our life. It is not a new concept but the storytelling behind Ex Machina was intriguing.

As a director, Garland has a very stylish aesthetics but the narrative could have been tighter with more focus placed on the “inventor” or the “sessions”. Although kudos for the design and filming of Ava without looking overly CGI.

The title of the movie itself is also a glib choice, playing both to the literal meaning as well as to the missing component of the more common phrase: deus ex machine. And in this case, even the missing God is a double-edged sword.

Gleeson is really going places and once Stars Wars VII hit the screen, his star may just get brighter besides all these indie flicks like Frank and Anna Kerenina, although he seemed to be getting typecast for the moment.

Which is the opposite for Isaac with his very different roles in the critical darlings InsideLlewyn Davis and A Most Violent Year. However, like Gleeson, Isaac has Stars Wars VII and X-Men: Apocalypse on the horizon, and I hope he will still keep doing these smaller, indie films. His maniacal portrayal here was instantly mysterious and creepy but never really evil.

Vikander is another rising star and a co-star of Glesson in Anna Kerenina. Her portrayal of Ava was surprisingly tender and believable, even all the way to the end, she leaves us with the question: Is she an AI?

With these three thespians having had acted opposite each other before, the chemistry was clearly evident and really an inspired casting choice.

Kingsman: The Secret Service [SQ Inflight Entertainment]

This was a fun and entertaining romp as long as Colin Firth was on screen, with great action choreography and snappy British quips.

It started off mildly campy but always had its British tongue firmly in cheek, even Samuel L Jackson was besides his usual bad-ass self and brought his game along for the ride. Jack Davenport had a small but highly entertaining role, and Mark Strong remained grossly undervalued.

The action sequences by Matthew Vaughn was very well directed especially Firth’s big show down at the end of the Second Act. Someone needs to make Firth the next Bond when Daniel Craig steps down.

Firth has the best suits in the house. Double-breasted suits are going to make a comeback. But, anyways, Firth has the amazing ability to be funny and yet keep that serious British façade going. This kind of suave, Bond-ish roles, with a side of humour and wry, is made for him – more so than the serious, Oscar-baiting roles which he too tackles with aplomb.

Taron Egerton played the young recruit and although he was interesting enough, not enough time was spent to develop his character to make him a strong character to anchor the Third Act, nor make his final show down climatic enough

A fun ride that would have been worth it to watch on a big screen.

Pitch Perfect 2

An entertaining piece of fluff that had a few laughs, but lacked the heart of its predecessor. With Elizabeth Banks at the helm, this felt like a very extended and highly unfocused MTV medley.

Banks directorial debut definitely helped saved cost, but the results was a poorly and messily directed movie especially during the choreographed bits. When the "action" slowed down, Banks was able to focus better.

However, the script by Kay Cannon was no better. There were one or two smart quips and asides, and genuinely funny moments courtesy of Rebel Wilson, but most of the laughs were cheap and mildly offensive - taking stereotypical, cheap digs at culture, race, gender and sexaulity. Just because there are a few laughs at yourself - "America" - does not make this smart, self-aware or satirical.

Furthermore, Cannon and Banks - and all the other producers - had decided to do what sequels are prone to do: bigger, louder and more, more, more! Throughout most of the movie, it felt like a mash-up of MTVs interspersed with some slapstick comedy.

Also, too many unnecessary scenes that dragged out the timing that served no purpose other than "let's add more music to the mix!".

If only more people followed the apparently unpopular choice of Joss Whedon and Avengers: Age of Ultron and made a sequel that dealt more into characters.

Banks must have gotten notes from Ryan Murphy (although she thanked in Shonda Rhimes - no big difference - in the credits), because ultimately this felt like the final three seasons of Glee: "I don't care about the process, just let me know how it all ends!".

In Pitch Perfect, we were at least invested in the story and Anna Kendrick's character's journey, but in this sequel, the investment was negligible. Newcomer Hailee Steinfeld's character was ostensibly not developed because she was not The Star. Even Kendrick's own storyline seemed out of place and interrupted the flow of the whole narration. Its only purpose seemed only to provide conflict and resolution, oh and to give Becca "purpose - which we then don't immediately care about anymore.

Kendrick is charming and very likeable, but here, she really was just going through the lines and singing the notes. Although at least she was more covered up than in the first one.

Wilson only got more toned down, which is really to the show's detriment. Wilson was the breakout star of the first picture.

The show got momentarily better when Anna Camp returned. Camp needs a show STAT! Is she still on The Mindy Project?

The boys were props and comic-relief, although Adam Devine and Ben Platt were cute/funny to watch when on screen. Devine had a hilarious mid-credits scene that outshone most other scenes of the movie itself.

Flashlight may have been co-written by Sia, but it just did not resonate as much as that annoying Cups.

Wayward Pines

Pilot: This pilot did everything a pilot was meant to do! It delivered on an intriguing and interesting premise that left you hooked and wanting more. A small town mystery that threw more questions up in the air than you would expect. There were mysteries in terms of plot, characters and motivations, with twists, turns and surprises occuring with such speed that I am concern whether M. Night Shyamalan and gang can keep this momentum up through all 10 episodes. Matt Dillon is convincing in his role and as equally bewildered as us in this evil-Storybrook-esque town, but the real standout is Melissa Leo. She is delightfully evil with the right amount of creepiness and humour. The plotting could use a bit more tightening, but stylistically this is a very Shyamalan film. It is smart of Fox to delay this till after Empire, with Terence Howard star-power drawing in more eyeballs. Juliette Lewis's and Carla Gugino's characters are the most enigmatic and interesting, but I am interested to find out how Shannyn Sossamon's character will tie into Dillon's storyline in Wayward Pines.

Episode 2, "Do Not Discuss Your Life Before": This show is addictive. What with its central mystery on what exactly is happening in Wayward Pines?! The acting is nothing to shout about, but the characters are slowly getting interesting. Carla Gugino is a mystery: friend or foe? Is Juliette Lewis nothing more than just an extended cameo? Melissa Leo is plain creepy and Terence Howard is plain crazy. Finally Shannyn Sossamon is heading out into the main thread.

Avengers: Age of Ultron

Disclaimer I: I was spoilers-free for this movie. Minimal news, no trailers, no teasers, as blind as one can get in this day and age.

Disclaimer II: I watched this as part of an Avengers Marathon, so the first part was very fresh in my head which helped a lot.

The real star of this sequel is Joss Whedon. Specifically, his script. The Russo brothers are going to have a really hard time topping Whedon. And yes, there was no end-credits Easter Egg this time round.

This is a sequel that is simultaneously smaller (more intimate with closer focus on the core group and its dynamics) and larger than the first one (world annihilation! again...), and Whedon was absolutely brilliant and on fire here. As a writer, he really is incomparable. He has given us a masterful ensemble piece, but yet he does not forget that this is still a superhero movie and large action pieces are required. His script was filled with the right mix of drama, humour and pathos. Although the casual movie-goer might lament the lack of action and awe-striking images/sets/action.

Whedon is a master of the words, continuity and misdirection. He excelled in the group banter and catching the emotional crux of the moment between two characters. He serviced the fanboys and the critics. There were in jokes, jibes, quips and wit aplenty, not only self-referentially to The Avengers, but also to Disney, Buffy(!!), and the rest of Marvel.

Most importantly, Whedon brings you to unexpected places and that was key to keeping the movie's pace tight and the audience engaged.

However, despite all the above effusiveness, Whedon - and this movie - does have faults.

With such a large cast and a comparatively short running time, things/scenes/moments would definitely have to be cut. But for the more attentive audience that can be rather jarring. Characters would appear and then disappear, and you would wonder what they had be doing before they reappeared again.

As a director, Whedon excelled in the quieter moments. There were some good directing choices and it was excellent that the movie started in media res  and got into the main plot/action quickly, but the larger action sequences tended to be messier and the blocking rather problematic. The one-one-one combats were much better.

Although he did take a leaf from Innaritu's Birdman in that pseudo-one shot opening sequence.

As said earlier, Whedon is a master of misdirection, and kudos to that in his directorial skill. He also knew really well how to diffuse tension and undercut drama, but sometimes a bit too much such that we end up expecting a moment. Thankfully, there were more moments where such occurrences were unexpected which were great.

And ultimately this does feel more like a Joss Whedon movie than a Marvel movie.

Great job by Whedon in introducing the four new characters: Quicksilver, Scarlett Witch, Ultron and Vision. We actually do know them a bit better without sacrificing the core Avengers, and it is interesting how this time around, Whedon focused on those without their own franchise. That was refreshing.

A few words about the cast:

Robert Downey Jr has finally toned it down. He still gets most of the good one liners, but at least his characterisation is now less annoying and smarmy. I would like to think that this is more Whedon than RDJ.

Chris Evans sadly has less heroics to do here than in his own vehicle. However, Evans has now truly owned the role of Captain America.

Same thing for Chris Hemsworth, and he does get some much better lines here than in Thor.

Mark Ruffalo nailed Bruce Banner again, although his Hulk here is more enigmatic and sadly a victim of editing and running time.

Scarlett Johannson's pregnancy is too distracting. Although I must admit that Black Widow's storyline started off a bit too left field, but Johannson sold it.

Jeremy Renner finally had a much better storyline and way better lines. Definitely most improved character.

James Spader nailed Ultron. Ultron would never have worked if not for Spader. His delivery was spot on and possibly the next best thing to Whedon's words. Although as a villain he was thin with his machinations and motivations swept under for wisecracking mania.

Paul Bettany as Vision remained an enigma, and no doubt will play a bigger role in future.

Aaron Taylor-Johnson and Elizabeth Olson had the strangest pesudo-Russian accent. Olson had the stronger character but Taylor-Johnson had the better lines. Their back stories would have been rather interesting to explore. Although they are now enhanced rather than mutants, so their powers have been tweaked a wee bit.Taylor-Johnson's Quicksilver is more rounded here than in X-Men: Days of Future Past, but there was not a standout moment for him unlike in X-Men.

Hayley Atwell was a sight for sore eyes. Cobbie Smulders and Samuel L. Jackson resumed their roles, although that would be interesting for the series Marvel's Agents of SHIELD. 

Marvel really needs to invest more in better music and cinematography. Brian Tyler and Ben Davis were good but there really wasn't anything spectacular or outstanding.

As usual there was a mid-credits scene, but nothing at the end this time round. No spidey.

This movie would definitely be worth watching it again after the initial hype has died to better appreciate the script. I lacked the surprised, untested, unknown magic of The Avengers and it has its expectations laden against it, but in the end, this is a brilliant character ensemble piece with one of the wickedest scripts in Marvel's history.

IMAX is worth it but not really necessary. 3D is optional.

The Second Best Exotic Marigold Hotel

Unlike good wine or cheese, this franchise, unfortunately, did not get better with age, but at least - again like good wine or cheese - it still maintained a certain level of standard. Some good laughs and some good bits of dialogue and witty one-liners, but it lacked focus and ultimately sincerity and heart.

With the same writer and director as the first installment, one would expect big things, but unfortunately, the difference here is that this is an original story as compared to the first which was based on Deborah Moggach's novel and so the characters were unfortunately less well written.

Like most sequels, Ol Parker and John Madden had decided to go bigger: more stars/characters, more storylines, longer running time! But for all that they sacrificed what made the first part such a big hit: the excellent chemistry between the core cast: Judi Dench, Maggie Smith, Bill Nighy and Dev Patel.

The few scenes that Dench and Smith had together were easily the highlights of the show, as were Smith's biting one-liners.

As much as we loved the other characters, they were unfortunately bit characters. Hence, their expanded storylines had less emotional investment for the audience. This is also unfair to all the brilliant actors that make up this wonderful cast.

Even the underlying "core" story of Patel and his fiancee was less interesting this time round as Patel became almost caricature-like and that plotline unconvincingly predictable.

Thankfully, we still had Dench, Smith and Nighy, but all three of them spent too much time apart - they burn so much brighter together than apart. Also, Dench and Nighy's characters - especially the former's - deserved a much closer examination. Think Meryl Streep and Tommy Lee Jones in Hope Springs.

Perhaps if they had shorten the running time by about a quarter and trimmed some of the other story lines this could have had been another big smash. Now it is just a little splash.