Yarayaraman Reviews

Echo 3 (2022–2023)

Solid, and unexpected

[9/10 · 11 February 2024]

I usually write reviews based purely on my experience, not other people's reviews. However, the poor reviews here expose an element of human nature that is unfortunate. I watched this despite the trailer, which appeared on the surface to be a fairly simple plot device, entertaining but not necessarily that interesting. I watched this partly because it was an Apple TV production. Most, though not all, Apple TV series offer something deeper, and unexpected. They tend to focus more on the human experience, not just as a vehicle for entertainment.

Firstly, the ending (no spoilers). Yes, it could have ended at episode 9, but then it would have completely failed to complete its mission, which was to explore the deep impact of preceding events on the main characters, and the world stage. Personally, I would have been deeply disappointed if it had ended early, as it would have betrayed the depth of the story up until that point. Episode 10 was also the most stress inducing episode to watch, partly because of the way things wrapped up in episode 9. In short, it was essential.

The main criticism of the entire series appears to be that it was too slow, the script was uneven, and summed up as best I can, not consistently entertaining, in the way a typical CIA thriller plays out. For me, they were its strengths. The simple version of this story could have easily played out over a standard film runtime, but then it would have been a generic and ultimately forgettable story, lacking depth or purpose. Splitting it into part one, two and three was clearly and intentionally designed to signal to the audience a shift in tone and focus. From all-out gun fights, to human drama. I believe this caught many people off guard, forcing them to confront some uncomfortable truths. For that, I applaud it.

If you're looking for a shallow and easily resolved action thriller, you should either skip this, or fast forward to the "good bits". If you're looking for a deeper human story, that explores the impact of the actions of individuals and the industrial military complex, then you have come to the right place.

Speak No Evil (2022)

Speechless

[10/10 · 3 February 2024]

While clearly billed as a horror film, it wallows beautifully for quite some time in simply making you feel increasingly uncomfortable. Many comedy's achieve this, leaving awkward laughter as the pay-off. Not so here.

This film is masterful in its ability to allow you to experience, see, hear and feel exactly what the protagonists do. You question every decision in realtime with them, often knowing that each micro-decision is poor, convincing yourself that you would act differently, without being quite able to pinpoint the point of no return. Arguably the first and most innocuous decision sets an irreversible path, despite the thousands of opportunities to choose another one.

The film creates a unique feeling quite unlike any other horror film I have experienced. I have been shocked, disturbed, repulsed, entertained, educated, and surprised. Speak no Evil burrows into the darkest edges of the human psyche. Allegiances are tested between you and the protagonist's. Traditional horror tropes are both delivered and confounded, leaving a deep sense of unease, frustration, anger, and despair. It is hard to reconcile the outcome as anything but avoidable, while also being inevitable.

As one review stated, this is a very difficult film to recommend. This is not entertainment, and, I would politely suggest, not for everyone. However, it is one of the most cleverly constructed and beguiling horror films I have seen in a very long time.

Silent Night (2023)

No thanks

[2/10 · 23 December 2023]

Firstly, I stop reading reviews when they say they couldn't get through the whole film, because, I would say, how can you review a film when you haven't seen the whole story? I always watch to the end, though I also always choose a bit more carefully, and I picked this on a whim, based on the "John Wick" marketing and Joel Kinnaman. When "John Woo" popped up as the director, I actually got excited, as a very big fan of his early Hong Kong movies (and to a lesser extent his classic nineties ones). Then, I had to switch it off after about 30 minutes. So feel free to move onto the next review, or...

Having looked though some of the reviews here (after I switched it off), there are many valid reasons why this is such a mess. The opening sequence was silly but had that classic John Woo touch. What did it for me, was that the "emotional" build up was so overwrought and unbelievable, that I couldn't take it anymore. The acting was fine, but the film was so steeped in Technicolor, a la Wizard of Oz, that the world they existed was more like GTA. The "gangsters" were laughably stereotyped, which is ok in a video game when every character is an intentional stereotype to drive the gameplay, vs. This utter nonsense. It is a funny moment when the original Death Wish series manages to feel more emotional and connected with reality than this 2023 attempt, which played like a parody that was actually trying to be serious.

I am going to watch the rest, out of principal, and because I want to see at least a spark of John Woo's trademark gun opera, otherwise I will only be left with the 30 minutes or so of sugar laden emotional garbage I managed to sit through already. Though apparently, I have at least another 30 minutes of that to trudge through first.

Evil Dead Rise (2023)

Bored by dawn

[2/10 · 21 September 2023]

You have no idea how much I wanted to like this.

Evil Dead II is my favourite film of all time. It beats them all. It is the classic of all classics. None of the others compare. Evil Dead is good. Army of Darkness is ok. The Fede Alvarez remake was great. Ash vs. Evil Dead is brilliant.

Evil Dead Rises is a terrible incoherent mess. There are some good moments, some clever tricks, great gross out moments, and great references, but in the end none of it makes any sense and it's just not any fun to watch. It's not like the original was a narrative masterpiece, but it was tense, unpredictable and hilarious.

I am next level disappointed by how bad this was, and dumbfounded by the generally positive critic reviews. They seem to have rewarded the fact that it didn't hold back in the gore and horror department, despite the fact that it was a totally disjointed mess.

Knock at the Cabin (2023)

Seriously? No, obviously not.

[3/10 · 19 September 2023]

I really wanted to like this. Having generally avoided MNS's films for sometime, I had hoped that this might have evolved to offer something new.

Good acting (Wen in particular is fantastic) coupled with an utterly stupid premise, but maybe it could go somewhere?

In truth, it unearthed some really interesting ideas and concepts. Maybe in the book those ideas are carried effectively to their conclusion. From reading other reviews the book's ending was more ambiguous. While it is often satisfying to have clarity, some of the best films of all time have used ambiguity to deliver a bigger and more important message. The message here is as blunt as the messengers tools, and I honestly cannot recommend sitting through this. Despite its attempts to build something bigger, it is more likely to leave you frustrated and angry.

Liaison (2023)

One episode and done

[2/10 · 2 March 2023]

The first 10 minutes sets a great pace, and then it all falls apart.

For a series that is centred around cybersecurity, it is important that what the experts say at least makes some logical sense. For some bizarre reason, instead of having one person with a basic level of technical knowledge on set or at least reviewing the script, they opted instead to pick random words out of "Cybersecurity for Dummys"!

You don't "look for fragments in a Slack space", or "leave temporary back doors in the DMZ", and combining these sentences with the word "triage" doesn't make them sound more credible. Concluding that a system failed due to a software bug rather than a hack because it hasn't been updated for 20 years, is nonsense. Not updating software on critical infrastructure is not very credible, but the rather more obvious explanation is that this is the very weakness that a hacker would exploit!! So, the head of UK cybersecurity is so incompetent that they have NEVER used a computer before..... or they are a traitor? The latter would only make sense if the entire system was so corrupt that someone that incompetent could make it that far undetected.

Trying to ignore the above is very hard, but I accept that many people would not know or care about this if it propelled the story along. Unfortunately, this is simply a red flag for more ridiculous dialogue and situations throughout. The master of spy-craft, played by Vincent Casselle (a brilliant actor given very little to work with) seems to be quite incompetent. While I always love seeing London as a backdrop to a fast pasted thriller (and partly why I started watching it alongside the other usually great actors), the chases through central London were not believable and literally didn't go anywhere. Eva Green and Peter Mullan have marginally more believable lines, but little to do.

If you're looking for a fun spy thriller, watch Apple TV's Tehran or Slow Horses instead, which are both excellent. Don't waste your time on this though.

I Care a Lot (2020)

Entertaining, and delightfully dark

[8/10 · 21 September 2022]

I had no idea what to expect going into this, and watched it primarily because of the two main actors, who embrace their roles with gusto. I am glad I just jumped in without reading the reviews here, as it turns out that this film has clearly upset a lot of people!

While it has many layers, all of which are fairly easy to read and generally enjoyable to watch unfold, the underlying premise appears to be so unpleasant that many cannot see past it. I loved how much I disliked the main character, who will do literally anything to be rich. If she does have a soul, the devil will be there to meet her personally at the gates of hell to collect it.

It is a very entertaining ride, with great performances, twists and turns, and if you look just a little deeper, it also has an interesting and important message. Maybe some of the people that claim to detest it so much, find the mirror that it holds up a little too hard to look at.

Severance (2022– )

Wildly original and unique

[9/10 · 18 July 2022]

Apple TV has done it again.

TV series like this don't come along very often.

The pacing and premise is brilliant. The tone is unique and engaging. It feels as though the core structure of the story and universe it inhabits has been thoughtfully constructed. The mysteries are only a mystery to the viewer, revealing themselves slowly and deliberately over time.

The end of season one is beautifully done, and brutal. I cannot wait for season 2.

Suspicion (2022)

Muddled, silly, and unbelievable

[5/10 · 25 April 2022]

Since it's launch, the quality of Apple TV series has been consistently high, which is partly why I stuck with this. The actors are pretty good and I enjoy a good British thriller, but the story and tone is all over the place. Even by thriller standards, it is very hard to suspend your disbelief as the events unfold.

By the last few episodes I was simply watching it in the hope of a satisfying conclusion. While the story does conclude with a very clear and important message, it is delivered with the subtlety of a sledgehammer.

It is not terrible and retains a relatively good pace throughout, however, there is so much high quality television out there, it is very hard to justify investing your time watching this.

The Good Fight: And the Two Partners Had a Fight... (2021) Season 5, Episode 6

Always on the pulse

[10/10 · 11 December 2021]

Going right back to the Good Wife, this series has always been on the pulse. Addressing complicated and very current issues head on, but in a balanced way, and without ever taking a side. Most importantly it never lands in the middle either.

Often surreal, while somehow always remaining believable (like real life), this episode is a masterclass in quality writing, with great performances by all.

Succession is currently getting all the attention (and is also brilliantly written, and surreal), and the Good Fight stands alongside it as a brilliant cultural observation with all its strange and wonderful facets.

Run Hide Fight (2020)

RUN HIDE FIGHT THINK

[9/10 · 17 August 2021]

There is something desperately worrying about the disconnect between the "critics" and reality. Critics have hated on films for decades that have gone on to critical acclaim, or at least notorious status. The acting is strong, the narrative is well presented, and while it's far from unpredictable, it is a tense and engaging ride. The critics views are probably the most interesting aspect of our current society that this film exposes. It appears that no mainstream critic is prepared to accept that this is a good film (which it is), for whatever reason.

Yes, on one level, this is an exploitation film. In other words, it's entertaining. The critics seem so overwhelmed by the tastelessness of the central premise, that they cannot see any of the other messages. If this was a Korean movie, it would probably be hailed as a masterpiece, unpacking the political and social ills of Korean society. Because it is an American movie, about a very raw American problem, they are unable, or unwilling to accept that on many levels, this is saying something important. The villains are not glamourised or given a single redeeming feature (except one, that redeems himself), so why the hate? Because, and I would argue, only because, it is a well structured morally ambiguous film, that doesn't attempt to define absolutely what is right or wrong.

If you are easily triggered or your definition of right and wrong are so starkly and unequivocally defined that you cannot look a little deeper, avoid.

If you want to watch an unflinching and engaging action film that manages to ask some difficult questions, without judgement, watch.

Blood Red Sky (2021)

Enjoy the ride

[7/10 · 25 July 2021]

The critics reviews of this are far too harsh.

Having recently rewatched Train to Busan, which it will inevitably be compared to (among others), it doesn't have the same emotional weight, social commentary, tension or action. However, it still manages to deliver a relatively original and enjoyable mash-up of genres, with a heart. Maybe the second half could have been stronger as others have stated, however, I was hooked all the way through, and the ending was well done, given the limited options available.

While the back story was a little rote, it was still relevant, and helped frame the core mother / son dynamic.

The tone is always the biggest challenge with this type of movie - if it's too tongue-in-cheek, it loses all emotional investment, and if it takes itself too seriously it's no fun to watch. The balance was good here, and I enjoyed the ride.

I also enjoyed this a lot more than the recent Zak Snyder effort, the Army of the Dead, which also mashed up genres in a similar way. That had some fun moments but ultimately felt like a completely pointless retread of a very well trodden genre, offering nothing original and some painfully cheesy emotional family dynamics. Blood Red Sky was significantly better in my opinion, with relatively unknown actors and no doubt a significantly smaller budget.

The Leftovers (2014–2017)

One the best TV series I have ever seen

[10/10 · 13 March 2021]

What a tremendous achievement this is.

Manages something I have rarely ever seen done on TV. Closest I can think of is Nicolas Roeg's 1973 film "Don't Look Now".

This rare gem is engaging, moving, poignant, thought provoking and sometimes laugh out loud hilarious. It manages to walk an incredibly fine line between the credible and incredulous in order to explore themes of love, loss and the meaning of life, while remaining entertaining throughout.

The bravery of the storytelling is often breathtaking. All the more so when I discovered that the series creator was part of the original creative team for Lost, which I gave up on shortly into Season 2.

You do need to trust that certain things will be explained and others will remain a mystery, which is expertly laid out over the course of a 3 season arc. Unlike so many series that stretch things out or continue well past their sell-by date, you do reach a satisfying conclusion.

The Leftovers deserves its place alongside far better known classics such as The Wire and Breaking Bad.

The Twilight Zone: Point of Origin (2019) Season 1, Episode 8

Mores nut, more sledgehammers

[1/10 · 6 February 2021]

The previous episode was appallingly bad.

This one is just rubbish.

What is so frustrating is that it is, once again, atrocious storytelling. Right from the beginning it felt obvious what the message was going to be. From there the story did not expand, it contracted, doubled down, or more accurately, dumbed down.

Who are the idiots though, the people peddling this muck, or the ones eating it? Maybe this series is actually an alien experiment to see how seemingly intelligent beings can subject themselves to unimaginable mental stress in the hope of experiencing something resembling Black Mirror or the original Twilight Zone. There is no place like home, there is no place like home...

The Twilight Zone: Not All Men (2019) Season 1, Episode 7

Sledgehammers to crack nuts

[1/10 · 5 February 2021]

This is possibly the worst piece of television I have ever seen.

The punchline was so obvious from the start, that I just kept thinking, surely, it cannot be THAT obvious!

While the toxic masculinity message was painfully clear from the outset, I was intrigued to see how the story might unfold. In the end it folded in on itself, sinking literally and metaphorically. Inexplicably, it managed to become an oxymoron by attempting to be woke while also coming over as misogynistic, sexist and homophobic. I can only guess they didn't have time to write in some casual racism in too. As others have stated, it is a blunt instrument first and story way second. The ending was nonsensical and borderline hysterical.

This felt as though it was written and directed by an angsty male right wing nut, pretending to be a woke left wing loon. If this turns out to be true, then it's pure genius and I will change my rating to a 10 :D

I love Jordan Peele as a director. Get Out and Us are two of my favourite films of the past few years. I cannot fathom why he put his name to this garbage. Maybe he never saw the final episode before it aired? The series up until now has certainly not lived up to its namesake, but has been mostly watchable if silly imitations on the original. This episode though, is an abomination.

Outside the Wire (2021)

A mess

[4/10 · 17 January 2021]

Borrowing ideas from lots of films such as Training Day, The Terminator and Universal Soldier to name but a few, it fails to put any of them together in a meaningful way, leaving an incoherent mess. It could have been made in the eighties, and with the latest special effects could have brought something new, but lacks any of the reckless abandon or humour of that era.

Despite its relatively long running time, the pace of the film keeps things moving. So, while you're unlikely to be convinced or even clear about the jumbled up morality lessons, it it is relatively engaging throughout.

The acting is fine. The action is ok. The script is lazy, but not ridiculous. But despite the main character being a very human-like Android, with "more emotion than any human" it lacks heart or purpose. It doesn't present itself as a switch your mind off action film, but also fails to delivery a message.

All of the characters are so underdeveloped and clichéd to the point that it is difficult to care about them, or the outcome.

There are obvious and silly moments throughout, such as running away from exploding buildings just in time and supposedly tense moments where you can see what's going to happen a mile away, if you even care. The plot twists aren't that surprising, if you haven't guessed them already, and the done much better in other films attempts to unpack the advances in technology and AI on the battlefield, it lacks any weight.

Given how many great films are out there, it is not terrible, it just really isn't worth your time.

Bumperkleef (2019)

What a ride!

[8/10 · 11 January 2021]

This film starts and manages to maintain a genuine sense of menace throughout. The simple but clever way the audience is given advance notice of what is in store, works brilliantly. As things start to escalate, we know they would act differently if only they knew. But they don't, building up the frustration and tension as the story unfolds.

The way some of the main characters act isn't always logical, but people make stupid decisions in the moment, when they are stressed and face such extreme circumstances. I love how they underestimate and fail to comprehend what is happening, letting emotions, arrogance and pride cloud their judgement.

The simplicity and possibility this could, though very likely never would happen, makes it all more frightening.

The pacing is excellent too. You are on the edge of your seat the whole way.

There is a mix of very high and very low ratings, which is what often makes IMDB reviews hard to rely on when deciding what to watch for all but the most exceptional or abysmal films.

Watch it, and decide for yourself.

Carriers (2009)

Solid performances but goes nowhere

[6/10 · 27 June 2019]

Built on a well trodden end of days premise, without ever becoming caught up in the drama of the event itself, rather the aftermath. This movie is primarily a character study on human nature. What would you do? Or more importantly, how will this challenge what you think you would do in the same situation?

The production, cinematography and performances of all the characters is solid, and it manages to effectively convey the balance between hope and hopelessness.

While I was never expecting a final surprise plot twist or big bang finale, just as the story starts to develop, it just seems to slowly disappear from view. Not sure if this is based on a book, but the ending was presented more like a prologue than an ending. It was as if they metaphorically and literally ran out of road, without really knowing what it was they wanted to say in the first place.

It stuck with me enough to want to write a review, so if you're in the right frame of mind, it is worth watching, if only to remind us of our own frailty.

The 100 Year-Old Man Who Climbed Out the Window and Disappeared (2013)

Special!

[9/10 · 9 February 2015]

Rarely is a film this engaging, entertaining and unpredictable, in any language! The story, present and past, of Allan Karlsson grabs you from the start. It reminded me of Peter Sellers performance in Being There. In fact, all the performances worked, from the care home workers, dim-witted bikers, bored detective and world leaders.

I had no idea what to expect, only that it was Sweden's third biggest film after the Girl with the Dragon Tattoo and the Girl that played with fire (also both excellent films, in very different ways).

I really should rate it a 10, as there is nothing to criticise about the film, except to say that it is clearly not The Godfather, nor intended to be. However, for what it is, it is brilliant.

If you like to be surprised and entertained, I cannot really think of anyone that wouldn't enjoy watching this. Find it. Watch it. Enjoy!

Sync (III) (2012)

Wow

[8/10 · 21 August 2014]

Well worth checking out. Acting, story, pace and special effects are great, especially given that this is an indie movie with unknown actors and available free to watch on YouTube! I started watching this based on a recommendation from a friend and was instantly hooked. It is apparently based on a web series that was subsequently converted into a film. I never saw the series, but it works brilliantly as a single film. The makers/directors appear to do special effects for a lot of bigger films, and clearly decided to start producing some stuff themselves.

What are you waiting for?

Olympus Has Fallen (2013)

Fall Hard. Revisited.

[4/10 · 21 August 2014]

The first time I watched this, I found it very hard to like and gave it a scathing review and 2/10. Too much earnest flag waving, ridiculous story line, over the top special effects, and clunky dialogue, right down to the excruciating final speech. I can love all those things, bar the flag waving - Commando is a stone cold classic, but this film seemed to take itself a little bit too seriously.

Watching it again a few years later with my Son, I still cannot recommend it, but I cannot deny I did not enjoy it, despite its flaws. It is essentially a modern Die Hard rip off, and quite possibly a better one than some of the later entries in that series, which is still not a great endorsement. I was also disappointed because it is from the same director that brought us Training Day, which is a great film.

In the end, there are much better films out there that offer mindless entertainment in this vain, such as, somewhat ironically, the very entertaining remake(s) of the classic TV series, The Equalizer, by the same Director.

RoboCop (2014)

Worth watching but forgettable

[6/10 · 21 August 2014]

I was quite excited about watching this, despite one of my favourite films being the original 1987 version. I was particularly excited due to the director, José Padilha, who directed Elite Squad and Elite Squad: The Enemy Within. Both films I really enjoyed (and recommend), which delivered a decent mix of gritty action, story and character depth, while also making an effective political statement about power and corruption.

Maybe it was restrictions put on the director by the studio, or a lack of passion for the subject matter, but while visually stunning in places, and unique enough to separate it from the original, this film lacked something. The gritty hardcore nature of the original has vanished, a particular surprise based on Padilha's previous films, and as a result the film doesn't quite seem to know what it wants to be, the tone is off.

There are enough decent moments to justify watching Robocop, it is just a little disappointing, as it could have been so much better.

Oblivion (I) (2013)

Amazing visuals. Amazingly derivative plot...

[3/10 · 7 September 2013]

I went to see this in the cinema, knowing nothing of the plot except that it has Tom Cruise in it.

This film, as others have already suggested, is a mishmash of sci-fi films from the last 30 years. In itself, that is forgivable if it makes the story it's own. It doesn't. It starts well, and the special effects are stunning. It even does a fairly effective job of building up the suspense. Regrettably, once the reveal is done, or should I say started, thats not enough. Oh no, now they have to explain everything, literally spoon feeding the answers while you are tied to a chair. And then it turns into Independence Day. Despite my abysmal rating, it is a visual feast. However, it is so derivative and unbelievable, that it will likely leave you feeling a little cheated

Touch (2012–2013)

A final review of season 1 and 2

[5/10 · 18 June 2013]

Watching Touch has proven to be a frustrating and ultimately disappointing experience.

The first season focused on an episodic approach, showing how our lives are interconnected, through the relationship between a Father (Keifer Sutherland) and his Son, who is unable to communicate in the normal way. Using this premise, it presented some really interesting, cross-cultural and human stories. Unfortunately, while touching (no pun intended), the stories always felt a little bit too contrived. I liked the first season of Heroes (also by Tim Kring), and loved Fringe, both of which are much more far fetched than Touch, and yet still felt more believable in many ways. I stayed with the first season anyway, as embedded within each episode was an emerging story that (very) slowly revealed itself and kept my interest.

The second season switched format and became a more straight-forward serial. In some ways this was a relief as it now had time to focus on the over-arching story, which had felt neglected in the first season. It also now became apparent that there was never an over-arching story to tell, just a clever concept to glue the otherwise random events together. In an attempt to create a cohesive story, we ended up with a fairly unoriginal conspiracy theory, with some spiritual and science fiction elements thrown in for good measure. Somewhat like the first season, I kept watching in the hope that it would lead somewhere and/or say something new or interesting.

Touch was an ambitious and interesting concept, that at its best was able to deliver a simple message around how people, events and time shape our lives. Unfortunately the writing and execution never matched this ambition and so it is difficult to recommend. It is easy viewing, intriguing and entertaining at times, but ultimately disappointing.

I Spit on Your Grave (1978)

A notorious and brutal revenge horror that lives up to its reputation

[8/10 · 29 May 2013]

Having only recently seen the original 1978 film and then the 2010 remake for the first time, the review and comparison here is untainted by having an unrealistically nostalgic view of the original.

As a long term horror film fan, I have always found sexual violence especially difficult to watch. It is arguably an odd point of view for a horror buff, but if there is going to be sexual violence, it should be central to the story or point of the film, and is probably why it took me so long to see this or the remake. In this film of course, the point is crystal clear: Revenge. It has long been debated as to whether this is simply a disgusting and brutal exploitation revenge horror, or whether it contains some sort of feminist empowerment message. My view is definitely the former, as the horror is too sustained and harrowing to claim any moral high ground. However, what elevates this as a visceral film experience is that the 'victim' uses her own power of seduction and emotional manipulation to exact her revenge, just as her attackers use their power of overwhelming physical strength to violate her in the first place. While extremely hard to watch, it gives the film an incredible potency as the events unfold, right up to the closing credits. The original 'Day of the Woman' title in this context is arguably more appropriate, however, 'I Spit on Your Grave' clearly packs the punch that was intended to promote the film at the time.

The no-budget, no-score and primitive special effects actually add to the unflinching brutality of what unfolds, giving the film a cut-with-a-knife tension and almost documentary like realism. If you are able to sit through the film to the end, you cannot help but feel sympathy for the victim and empathy for her subsequent actions. Something that is sadly lost in the recent remake.

This was never going to be fun to watch, but as a classic and notorious revenge horror, that has divided viewers and critics for decades, it is an essential watch for any discerning horror film fan.