No one wants to be deemed second-best, yet there it is, right in the title of the film: The Second Best Exotic Marigold Hotel. The result when you succumb to sequel-itis: Let's take this delightful little surprise hit and try to duplicate its success without doing anything original.
Ol Parker is back as the screenwriter, and John Madden returns as the director. Both try to give this sequel the same feel as the first, but they've run out of ideas. Buying a new hotel seems like a giddy capitalistic exploit.
When Tom Sergeant (Bill Nighy) drops in on Kyra Hollis (Carey Mulligan) totally unannounced in the revival of David Hare's 1995 play Skylight, at Wyndham's, he's clearly there to fan the embers of a six-year affair that ended two years earlier.
Common threads of a romantic movie a man will watch: The screenplay is written by men, the film is told from the man's perspective and the male lead behaves like a man would in real life and the ending of the film is redemptive.
About Time is a romantic comedy -- a genre I feel is fading in quality and relevance as repetition, the modern realities of relationships, and the myth of couples living "happily ever after" have exposed the shallowness of the genre's clichés.
I heard a lot of critics sniff at the inclusion of Richard Curtis' About Time in this year's New York Film Festival. The same cadre, no doubt, uses Curtis' Love, Actually as an example of what's wrong with romantic comedy.
Director Bryan Singer delivered an exciting and entertaining movie with good performances, despite the fact that no one was calling for Jack and the Beanstalk -- or really any fairy tale, for that matter -- to be made into a movie.
Once again, America has taken a look at the latest revisionist fairy tale and sighed a collective, "Why?" Jack the Giant Slayer flopped at the box-office in its opening weekend, despite a mammoth budget and attractive leads.
The success of the movie The Best Exotic Marigold Hotel may yet prove to be the watershed moment when the movie industry gets the message that ignoring people over 60 is a profound marketing mistake, not only for the film business but for "everything."