As for the plot, well, a bad guy appears and the Avengers must defeat him, or her, or in this case a him-ish it. More or less like all Marvel superhero movies, and there is nothing wrong with that. There is enough sinew of a plot to hold the movie together and attach it to the previous Avenger exploits. There is even enough to keep it interesting, but not enough to bother with outlining here. It is an Avengers’ movie. I do not really need to say more.
I did not read comics as a kid or young adult, so I cannot speak to how this Joss Whedon script compares with the pulp version of the Ultron origin story. That said, it is interesting that these characters, even many of the new ones such as Ultron, did not feel new or unfamiliar to me. Knowingly or not I was aware of them, right down to their shape and demeanor.
The script is ripe with quip. I enjoyed Ultron’s flippant quality, played by James Sapder. The entire Avenger cast and crew put in good performances and work. There is no sense in discussing the special effects. Long ago, I mentioned that the technology has advanced to a level that the production of poor special effects would have to be out of shear laziness or lack of concern, and clearly, no one on this big budget movie was going to be that lackadaisical.
The action is non-stop, as you would expect. I cannot say there are great surprises or revelations, but once the ride starts you do not want to get off. The score is well done, though it is mostly a mix of each individual Avenger movie motifs.
The movie is PG-13, with limited four letter words and enough Marvel style crash and smash to keep even the young folk entertained, with little concern of offending young minds. The 3D work is worth the few extra bucks.
Worth the ticket, and the glasses if you are so inclined.
Additional note: My favorite theater in town is the AMC at Dutch Square, though I do go to other theaters at times. I cannot say that my favorite is the best, but it does have good quality projection and sound, with comfortable, though old, seats and I am generally treated very well there.
However, a little note to today’s young clean-up crew: Some folk like to sit through all the credits. Danny Elfman and Brian Tyler spent many months of their lives to put together the scores, and David Acord spent a great deal of the last year or two piecing everything together in a particular sequence. For example, my recent closing credit complaints with Chappie and Ex Machina were not realized in the Avengers – the closing credits were pop-tune free, thank goodness.
Just because the closing teaser has come and gone, and all the flashing lights have gone dark with only words and names on the screen, that does not mean the movie is over and there is nothing left to experience. The tune is not done until the last note is played and fades into silence.
Generally, the clean-up crews seem to respect and understand my desire to savor the final chord. However, the youngling today, like many folk today, seemed to think the movie – or tv show or book or what-have-you – is only about the action itself. However, there is flavor in the quiet before the overture, as well as the silence after the final note. The lingering hints of the ice cream after you have swallowed the last lick. If you young folk want to run out lickety-split, go right ahead. If your job is to clean up after the mob, have at it. However, do not say to someone, “Hey, there’s nothing left to see,” as if they foolishly think there is a second trailing teaser. They may be simply enjoying the music of the moment and waiting for the real last note.