What I loved most: Tight suspense

What I really hated: Slender plot

After years of slogging at Spiderman blockbusters, Sam Raimi returns to his Evil Dead roots with this Grand Guignol horror comedy which showcases his unbridled imagination and flair for concocting an effective witch brew that blends horror and comedy harmoniously. Ever so adroitly, Raimi crafts a simple morality tale into a horror masterpiece, bound to elicit groans and guffaws with its nausea-inducing goos and well-orchestrated comic timing. The slender plot is hammed up by a laudable performance by Alison Lohman, in the role of a loan officer who denies a mortage extension to Lorna Raver's vengeful and spiteful gyspy, in a bid for the highly coveted assistant manager's position, and is turn cursed to burn in hell for eternity. This is a cautionary tale which warns against personal gains and callousness, though some may find condemning career ambitions and self-preservation to eternal damnation a tad overboard. The flawed and self-serving heroine may also leave audience less invested in her survival of the ordeal and unsympathetic towards her plight but one cannot help but acknowledge that it is an honest and accurate depiction of the dark and ugly side of human nature when driven by desperation and mind-numbing fear. Raimi has also deftly wound the suspense so tight, you will find yourself suffocating and gasping for your next breath of air. In a time of limp asian horror remakes and sadistic gorefests, this welcome return to old-school horror is unnerving and unsettling enough to make you wonder whether the gates of hell edge ever closer for every sin committed.

What I loved most: Technical wizardry

What I really hated: Lack of plot and dircetion

The latest Dreamworks offering is simply put, lacking. Compared to keen competitor Pixar, the characters in this animation have less personality and depth. The film is barren of plot and heart, although it is clever enough to infuse subversive humour through making reference to classic B-grade monster flicks. The characters themselves are iconic figures from B-grade flicks, directly lifted from 'Adventures of the 50 feet Woman' and 'Dr. Strangelove'. The wisecracks and slapsticks may amuse and appeal to kids but adults will probably find them tasteless and bland, resulting in a barely tolerable mirthless comedy for anyone older than the age of 12. The generic moral core on staying true to oneself by accepting and embracing one's unique qualities, no matter how aberrant they are, is honest but far from heartfelt and affecting. A word of caution to parents: This is strictly for the kids.

What I loved most: Brilliant cinematography

What I really hated: None

Tom Hanks reprises his role as the astute symbologist Robert Langdon in this tighter and faster-paced sequel to 2005's 'The Da Vinci Code'. The mystery this time involves the Illuminati, an asssociation which advocated progressive thinking through the use of Science and thus was conflicted with the Church which sees this radical departure from belief as akin to heresy and dissention, and so sanctioned the massacre of members of that society. Robert Langdon suspects that the Illuminati has resurfaced again to mete out retribution against the injustice inflicted upon them and the revenge could not have been more timely than when the Church has yet to elect a new Pope to lead the clergy. Ewan Mcgregor lands the role of the Carmelengo, an intermediary figure who wields the power and influence of the Pope until a new Pope is elected, and he portrays it with persuasive charm and forceful presence, giving an edge to the powerful dialogue he delivers. Ayelet Zurer replaces Audrey Tautou as the female sidekick character, playing a physicist in pursuit of a canister of anti-matter that can cause a cataclysmic event able to decimate the entire populace in Vatican City. The event sequences are deftly orchestrated and the suspense and intrigue wounded tight like a clockwork. However, the film still suffers from moments of narrative stagnancy and one cannot help but feel cynical at the sheer ludicrousness of certain plot elements. This film is neither overtly provocative nor controversial enough to be anything more than an average thriller, and feels somewhat tamed and diluted for fear of rousing the wrath of devotees and evangelicals. Still, the sight of the magnificent architectures coupled with superb cinematography which makes use of light and shadow to bring out reverence is alone worth the price of admission. The climatic resolution at St Peter's Square is grand and quite a sight to behold, with thousands of worshippers in imminent peril from the detonation of combustible anti-matter, the panic and chaos reminiscent of terror bombings. Amidst the action and shocking revelations, the denouement does not forget to bring across the insight that it is possible for Science and Faith to arrive at a conciliatory outcome.

What I loved most: Excellent visuals

What I really hated: Zilch

J.J Abrams has injected new life into this flagging franchise with this stupendous reboot installment that will more than satisfy and please the uninitiated and will probably make hard-core trekkies froth at the mouth. The plot kicks off with an introduction of James Kirk and proceeds on to tell the tale of how the hot-headed, brash, impetuous protagonist and the level-headed, stoic and logical Spock, a Vulcan and human hybrid genius, struggle for superiority and dominance on board the U.S.S Enterprise. It is interesting to watch how both characters, with extremely divergent temperament, come to terms with each other to form a budding albeit tenuous camaraderie and go on to cooperate with each other to fend off captain Nero, played with diabolical fiendishness by a superb Eric Bana. However, most of the credit still goes to the two engaging leads, who emanate palpable tension in their exchanges, escalating their clashes and conflicts of interest to a higher level of immediacy and exigence. Chris Pine exudes confidence and charm as the smug and assuming James Kirk and Zachary Quinto radiates cold-eyed intelligence with his portrayal of the apathetic and detached Spock, his performance so remarkable that you can detect a hint of barely contained emotion beneath his icy and stalwart veneer. The rest of the cast provides great support, playing pivotal roles that brings forth the narrative. The unparalleled and eye-popping visual effects create such realistic and exhilarating galactic battle sequences that you will be kept to the edge of your seat through the entire feature. The plot is simple, nothing too deep but it is way above serviceable popcorn entertainment. This visual effects galore is an extravaganza of the latest cutting-edge technology in the movie industry and will be well worth the price of the admission alone. Under the capable hands of a director who is clearly in his element and a creditable cast, Paramount looks set to have another lucrative money-spinner at hand. May it live long and prosper.

What I loved most: Great comic timing of the cast

What I really hated: Predictable ending

A middle aged man, Mike O'Donnell (Matthew Perry) is in the midst of a mid-life crisis faces estrangement from his kids, impending divorce and termination of employment. In a surprising turn of events, he is given the opportunity to return to his seventeen year old self, played by a suave and charismatic Zac Efron, to bring himself closer to his family and salvage what is left of his familial relationships. Even though the plot is simple, with a moral core on the importance of family that everyone can relate to, it is nonetheless a charming and affable production that everyone takes to. The supporting cast, boosted by a superb performance by Leslie Mann, allows the story to progress smoothly despite certain hiccups in the narrative. The complexities of the characters' relations is a hoot and you will find yourself laughing out loud at all the pratfalls and predicaments that Mike lands ihimself in. It also helps that Zac Efron tackles his role with verve, energy, great comic timing and seems to slip comfortably into his character. This light-hearted and mirthful comedy is every bit as entertaining as it promises to be.

What I loved most: Hugh Jackman

What I really hated: Unmemorable side characters

This latest addition to the lucrative Marvel franchise is a spin-off on the all-time favourite anti-hero, Wolverine. The plot is a recount of Wolverine's earlier days as a soldier of war and his brotherhood with Sabretooth, played with manical glee and sinister counternance by a superb Liev Schreiber. Hugh Jackman is undeniably the star and attraction of the entire feature, imbueing his character not only with the prerequisite feral edge and barely contained violence, but vulnerability and a welcome touch of dry wit as well. His raw and brutal nature is portrayed to perfection here, his lack of civility and savagery palpable, and together with his toned muculature, the bestial and barbarous quality of Wolverine becomes a terrifying power to behold. The secondary characters however are cardboard-thin and negligible, with most of them being snuffed out earlier on in the film or they just suffer from a lack of screen time. To say that the rest of the cast was underutilized would be an understatement as they were completely and utterly sidelined and trivialized. This film is of course at heart a story on Wolverine, but it is not too much to ask that some attention be spent on supporting characters in the film, otherwise why introduce them in the first place? The prosaic and pedestrian storyline goes on to become a series of trite and mundane fight-and-chase sequences, culminating in a final showdown between Wolverine and a mutant project gone wrong. Fans expecting more out of this latest Marvel offering will no doubt leave the theatre feeling a little letdown by this serviceable popcorn entertainment, nothing more and nothing less.