Mr. Bug Reviews

Star Trek: Picard: Assimilation (2022) Season 2, Episode 3

Enough!

[18 March 2022]

Enough with the woke propaganda! And now transhumanism propaganda too? It's sickening! Almost every series and movie now has propaganda of one kind or the other. It's so crude and obvious.

Tales from the Loop (2020)

Kieslowski meets Garland

[12 September 2020]

If Kieslowski's "Dekalog" had a child with Garlands' "Devs" the result could be "Tales from the Loop". A scientific/fantasy background including a cutting edge lab and unusual artifacts in the landscape, and a focus on the essentials of the human experience. Slow arthouse style not interested in superficial glitz and hectic action, but not without humour. The minimal music by Glass fits it well.

Damsel (I) (2018)

Disappointing

[26 August 2019]

As satisfying the first half till the "Psycho event" mostly is as unsatisfying is the second half, which is also unnecessarily cruel. Subversive recreation of the Western? Why not, but the rules of good drama/comedy still apply. Losing your audience by making everyone unappealing and/or needlessly abused does not work. And adding slapstick elements does not fix the problem.

The Trident (2007)

Technical milestone

[9 September 2007]

This film is a technical milestone for cinema because it's one of the first films shot with a 4K digital cinema camera, the Dalsa Origin. The result when projected digitally in 4K is an extremely clean and sharp picture that looks like grainless 70mm film. It's wonderful. Clearly a glimpse into the future of film making when such cameras become easier to use and more widespread as digital cinematography replaces 35mm origination more and more (in sync with digital projection replacing traditional film prints). If you have a chance to see it in 4K do so. It looks like 8 Megapixel still frames coming alive. The story is about Indian culture being lost by Desis in US to the degree that a white man has to remind an Indian of his roots and how to solve a problem the way his Indian heritage and culture would deal with it.

Vexille (2007)

Not bad

[2 August 2007]

Saw this as world premiere at Locarno festival. In 2K DLP projection on 27m wide screen. Looked very good apart from some aliasing at times. The film borrows visually from "Dune" (sandworms) and some others but it's quite interesting with its mix of not photo realistic and more realistic CGI elements. Will look great on Blue Ray HD disc. The story is about a Japan of the future which has shielded itself from all foreign surveillance for 10 years so nobody knows what is going on. There are suspicions of illegal production of androids by a mega corporation with unclear goals, potentially dangerous to the human race on a global scale.

Dhoom 2 (2006)

Well...-

[29 November 2006]

Dhoom 2 is a mindless popcorn flick that asks for your brain at the door and hands it back 3 hours later when you leave, hoping you had a good time in between. I was amused more than once and I can appreciate several things in the film. But in the end the hard reality and number one rule of good film making is and always will be (and that really needs to sink in more in Bollywood): A GOOD FILM STARTS WITH A GOOD SCRIPT, EVEN IF ITS ONLY AIM IS CAREFREE ENTERTAINMENT FOR 3 HOURS. Dhoom 2's script is simply very half baked, full of plot holes so big the usual disclaimers for fantasy action fare are stretched too thin here and it becomes annoying. What should be a gripping tale of the psychology of cop and robber sprinkled with sleek action and display of technology (in the film and making the film) degrades into standard formula fare with unnecessary songs, forced comic routines, abrupt and unmotivated sight seeing orgies, and replacement of a main character. Let's ignore the heavy inspiration from many Hollywood films. That's not the main problem. The interference of the Bollywood formula and weak script is. Not all is bad, though, some parts are well done and in a better film would fit in very nicely. The Russian roulette scene is the emotional core of the film and delivers, ending included (bravo for going against the formula here). The statue scene is cool as well (unrealistic but in a way one can smilingly accept, l'art pour l'art). The Queen act at the beginning, unexpected, hilarious (the action afterwards less so). And this of course brings us to the main asset of the film, this Indian A list actor (and I mean international A list as far as potential is concerned) whose publicly announced goal is to lift commercial Hindi cinema to an international quality level so it can cross over, stuck in another local B grade effort (by international standards) limiting his impact: The one and only HRITHIK ROSHAN. He carries the film from start to finish and it hurts to see him work his ass off and exude more charisma with one finger than the whole cast of most films do with all they got, just to be let down by shoddy scripting and stylistic choices that might impress in some quarters but definitely not at others where international product is well known and fighting it out for market share with Hollywood. The rest of the cast is OK. Aishwarya and Hrithik are eye candy of the highest caliber. Abhishek, Uday and the rest have not really got roles though. 2 of the songs should be cut right away. 3 others are good. Film is well shot, stunts are OK although highly unrealistic most of the time and the fact many of them are really done by Hrithik himself is not obvious enough. He trains for 3 months and it's over in 3 seconds. Hm. See it if you like Ash and Hrithik, do not expect much and you will likely be impressed by some of it. 4 points for the film and 2 extra for Mr. Roshan. (By the way, Hrithik is NOT playing his first villain in this film as claimed in the promotions. He's not anymore a villain than Robin Hood. He's the hero of the film which you cheer on and want to succeed. If Robin Hood is a villain then Hrithik was a villain before in Fiza and Mission Kashmir).

In 3 Tagen bist du tot (2006)

New for Austria but not much else

[7 August 2006]

This is basically an Austrian remake of "I Know What You Did Last Summer". The basic story idea is the same, some plot details have been changed. Technically it's competently done and the cast is OK. But inventive or original it is not unless you consider that it's the first time this kind of genre film (horror slasher film but not (very) low budget) has been done in Austria. Which was the main motivation to do it anyway as the producer readily admitted at the press conference at the Locarno festival. The film is likely to do well with the Austrian/German youth as they can identify with the teenagers in the film acting out a fantasy usually only available from Hollywood. The film is gory at times but not excessively so.

Shree 420 (1955)

Timeless classic

[22 July 2006]

They rarely make them like this anymore in Bollywood. Meaningful cinema with a message but presented in a highly entertaining and artistically solid way with great song numbers and characters you care for. The cast is first rate, the direction inventive and technically the film is well done. Just two examples: The use of a ghost image to express Vidya's dilemma of having to condemn Raj while still loving him and the use of rain/smoke in the love song. The rain/smoke patterns are subtle but wonderful. The songs are among the most popular in Hindi cinema and not one is weak or a filler. A timeless classic that will never become outdated. Unfortunately there is no good DVD around and the film needs restoration (as practically all older Bollywood films (and most newer ones too)).

Krrish (2006)

Good sfx for Bollywood

[30 June 2006]

Krrish sets new standards for stunts and special effects in Bollywood. And probably also for dedication of a Bollywood actor to acquire the necessary body control to do very difficult stunts himself. But that's about it. The story is an assortment of old Bollywood clichés and masala galore. Lots of borrowing motives/ideas from Hollywood films, damsels on the verge of a nervous breakdown (I wonder if Almodovar would love it), an infantile sound effect for the comic sidekick and exaggerated emotional outbreaks. Rakesh Roshan knows how to tickle and milk the Indian masses and laugh all the way to the bank. I don't know if he knows how to make a better film, though. His own "Koi Mil Gaya" was more satisfying despite less money and worse special effects. Let's not be too harsh, though. Some scenes are very well done. And even more work some way or another. The circus sequence is technically solid and with a good score underneath. When the lead couple falls from the tree there is a moment of poetry only Bollywood can achieve. The Matrix-Style Neo (I mean Krrish) versus the Smiths (I mean Singapore hoodlums) has Matrix quality shots. No doubt, Hrithik would have been a great Neo. He masters the technical difficulties with apparent ease and even as an actor he is allowed to go a bit beyond the standard routines: His old and sick Rohit is a glimpse of how much more he's capable of if only he got a more sophisticated script and team to work with. A director whose vision does not stop at doing something new within the rigid conventions of formulaic Bollywood potboilers but breaks free of these conventions altogether and does something really new. If Rakesh Roshan were this director he would probably not laugh on the way to the bank afterwards, or maybe even more so. The risks are high. No longer appealing to the Indian mass market and not yet to the lucrative international/Western market is a real threat. No Bollywood film has yet mastered the art of pleasing these two masters at the same time with a box office result that measured up on both markets and would allow spending 10 Mio. $. And Krrish will be no exception. It does not even try. The effects are somewhat uneven. Some are great, and some are second rate with obvious artifacts/fakery. The fly/jump thing gets somewhat repetitive. Photography is mostly OK. Some shots are out of focus. The cast is strictly OK as well with the exception of Hrithik who carries the whole film on his shoulders and makes even the most far-fetched and corny moments believable or at least tolerable, and N. Shah with an above average villain act. Not really classy (that requires a better script) but also not as hackneyed as your typical Bolly-Baddie. Rekha isn't bad as well but how often can you cry your heart out till it's once too often? The 4 dance choreographies are on the mediocre side with the circus number coming out on top. The melodies are nice though. Overall let's say if your idea of superior Bollywood cinema are films like "Dil Chahta Hai", "Pyaasa", "Lagaan", "Lakshya" or "Rang de Basanti" you will likely be underwhelmed. On the other hand Krrish is quite successful at indianising the superhero concept and marrying it to the typical Indian values/ingredients for an entertaining potpourri of 3 hours, offering something for everyone from kids and teenagers to grannies. With the film on the way to become the biggest grosser in India this century so far the main goal of the Roshans has been achieved: Successfully launch the superhero genre in Bollywood and lay the basis for a franchise. 6.5/10 (extra 2 points for the stunts and Hrithik)

Rang De Basanti (2006)

Already ready

[3 February 2006]

A year and a half ago I commented on "Lakshya": Don't expect a rabid anti war or anti establishment film. The time has not yet come for this in Bollywood. With "Rang de Basanti" Bollywood has made a film that clearly does not shy away from pointing a finger at the holy cows 'army' and 'government' and dares to suggest that corruption and infamy extend up to the highest ranks and most respected institutions of Indian society. While the opening offers the usual disclaimer (fictional story bla bla) the end draws clear parallels to reality. And what the characters in the film think and say reflects what young Indians actually do think and say. This is not Bollywood fantasy land, running around trees and you know the drill. It's nonetheless a genuine Bollywood film. Just a far better one than the usual kind. Good performance from an ensemble cast all around, no superstar shenanigans, catchy music, an inventive visual style, technically sound execution and a quite realistic script make this one a winner not to be missed. Go see it on the big screen.

Parineeta (2005)

DVD Milestone

[19 November 2005]

Parineeta is one of the best Bollywood films this year. The story is nothing new with its familiar basic building blocks centering around such melodramatic stock items as a father-son-conflict, a greedy bad guy trying to lay his hands on what is not his and one of these contrived misunderstandings with final twist involving a badly suffering heroine and her out of line and abusive lover. Sounds familiar? Sure, it's in every other Bollywood film. The reason that Parineeta is nonetheless one of the finest Hindi films in 2005 is the execution which is most of the time very tasteful and does not resort to the formula masala shenanigans (over the top humor, fights, sound effects etc.) that may please the masses but are poison to any serious work of cinema. The cast is very good. Newcomer Vidya Balan is a discovery and Saif Ali Khan competent. Technical standards are high. The occasional slip such as the piano playing scene(s) (Khan is faking unconvincingly when in the picture while a professional's hands and arms during close-ups are correct and obviously someone else's) can not change the overall verdict: very good. The DVD is a technical milestone for Bollywood with its (almost) flawless picture quality and a DTS track. Well done. Stay away from rip off pirate discs! The original deserves to be purchased.

Rag Tale (2005)

nauseating

[13 August 2005]

There is hardly a shot in this film that lasts longer than 2 seconds. MTV style plus plus. A formal choice made to stress the hectic and crazy world of tabloid journalism. The cast is good, but when people get so much visually fragmented and reduced to mere short visual and aural stimuli it's difficult to care at all for them. Foul language is omnipresent and the ending is ludicrous. At least some of the film is funny as absurd headlines for tomorrow's edition of the "Rag" are discussed and a battle for power and control between the chief editor and management breaks out. A big headache is more likely what you take home from this experience than insight, concernment or merely a good time. Textbook example of style over substance.

Out of Hand (2005)

Disturbing and powerful

[4 August 2005]

This is a disturbing and powerful first film from a woman director who did no other films before that and went to no film school. You can't tell from the film. It looks like the work of an experienced professional who knows exactly how to direct the cast and use the language of film to get the desired effects. Two teenage boys meet and strike up a friendship in a short time. They are caught stealing in a supermarket by an employee, a young woman. They are thrown out by her. They follow her home... In no time the boys and we, the audience, enter another world as Jeffrey does in "Blue Velvet". A disturbing world of the human mind where the lines between victim and perpetrator, right and wrong, the normal and the abnormal start to dissolve. The film is deeply disturbing because it goes to extremes, but stays believable, even plausible till the end. The cast is excellent throughout. No doubt this film will be controversial which might cost it the main prize here at Locarno. But on day one we have already seen what might be the most important film in the competition this year.

The Village (2004)

not another Spielberg

[24 September 2004]

Spoiler....

The film is similar to his last. The premise is very unrealistic, actually absurd, if you think about it in some detail. But it's only the McGuffin of a Hitchcock film. It serves to tell another story where there are monsters indeed, but they don't hide in the woods. Shyamalan is not another Spielberg. More another Dreyer. The cast is good and Newton Howard's score a big asset. I hope he gets an Oscar nomination for it, because without it the film were only half as memorable as it is. Coming back to Hitchcock, Newton Howard is Shyamalan's Bernard Herrman. And you get the Hitchcock cameo in this one too, a voice and a reflection.

Promised Land (2004)

Not bad

[10 August 2004]

The film takes its time to get on its feet and capture the viewer. The film is about a former child star which still can't accept that his one film is likely the last he ever starred in. He drives around in a car that's one big ad for himself on wheels and occasionally makes the local news with some freak incident. When the film starts he has just burned down his trailer and caused a traffic jam. He then hits the road with a DV cam to capture real life. A friend promised him he could sell such material to an Italian TV station. When he meets a famous singer on the way and gets drawn into her story things get interesting. A good cast is the film's biggest asset. This is a reasonably well done feature film debut.

Lakshya (2004)

Give it a chance

[27 June 2004]

Lakshya is not "Dil Chahta Hai", but it might do the same for current Bollywood films with war as a major subject as DCH did for films about urban youth in search for love and fulfillment: Move the issues on a more mature level and do away with unnecessary commercial ingredients that go against realism and a differentiated treatment. Still, commercial considerations have left their mark with a good portion of patriotism (but not jingoism) and some lecturing not present in DCH. It can be forgiven, since every point that can raise an eyebrow or two is counterbalanced with another that puts things back into perspective. Don't expect a rabid anti war or anti establishment film. The time has not yet come for this in Bollywood. But what war means to all parties is shown in graphic and unambiguous ways.

Performances are good to excellent throughout. Special marks to Hrithik Roshan who is now clearly on his way to become a thorough- blood star ACTOR. He carries the film on his shoulders. Occasional overacting in the college scenes can not undo the splendid impression of his finely crafted and restrained performance in the rest of the film. The days of inconsequential roles in fluffy to crappy commercial candy floss seem to be over. Shabash. Of course he dances as divinely as ever. This time with one number choreographed by Prabhu Deva which will be talked about for years to come. And another by Vaibhavi Merchant that's as playful and enjoyable as it gets. What a treat! Bachchan and Zinta are in form. Boman Irani is great. Technically the film is sound and often on par with Hollywood product, especially pyrotechnics and sound effects. The use of digital special effects is sometimes seamless, sometimes less so, but among the best from Bollywood so far. The background music is fitting and enhances the mood often to the film's advantage. The film makers also know about the importance of silence and use it repeatedly. Lakshya is well made commercial Hindi cinema of international quality, but with enough Bollywood feel to be different. Don't miss it on the big screen.

Dogville (2003)

gave me a headache

[27 September 2003]

Von Trier must be the most overrated director by now. First the awful 'masterpiece' "Dancer in the Dark" and now this travesty. A narrator that does not shut up for ages, 3 hours of shaky hand camera (make that shaky HD 24p camera with motion artifacts galore thanks to the erratic shaking), a concept as sophisticated as early cinema 100 years ago (but with modern technology and sound) and characters as flat and cliched as a cartoon. Made me smile once or so and be touched zero times. In the end one should feel devastated, I guess. I did not care at all what happened to anyone. The film lost me a long time before that. It's not the cast's fault that this is a prime example of pretentious art house drivel, but neither can it do anything about it. Avoid at all costs unless different means automatically good to you.

Koi... Mil Gaya (2003)

A step in the right direction

[7 September 2003]

"Koi... Mil Gaya" is a step in the right direction for Hrithik Roshan and Bollywood in general. The former finally has found another role since "Fiza" that is worthy of his talent, a role that's neither purely fluff in a likewise fluff or worse film (AMALL,YAADEIN,MDK...) or a crass miscast (MPKDH), and the latter steps into new territory concerning suitable subjects and use of modern sfx. Both are rewarded with a superhit as a result. The film is not doing as well in UK and US as in India where it's on target to leave K3G, Devdas, Lagaan and KNPH behind. The reason is most likely that NRIs are more familiar with Hollywood films which KMG is a copy of, and stick more to mushy family/romance/love-potboilers than new Hollywood like experiments coming from the motherland. The usual description of KMG as a mix of "E.T." and "Forrest Gump" is mostly correct. The film adopts many ideas from "E.T." beyond the concept of an alien landing on earth and making friends with kids. It also borrows from several other Hollywood films. That's somewhat irritating if you are familiar with these films, but fortunately the indianisation and mixing has been done quite nicely, and there is enough material around that does not immediately ring a bell and looks fresh. Also irritating is the product placement, a necessary evil, it seems, to co-finance such a big film without banks or the Bollywood mafia. Technically the film is clearly above average for Bollywood and some of the sfx are near Hollywood quality. The alien can't compete with the original E.T.. It's too plastic and artificial for that, but it grew on me nonetheless. The wire (removal) effects in Bollywood films are usually amateurish and blatantly unrealistic. In KMG they look pretty professional, even when they are obvious (in the song "Idhar Chala") and help create a magical mood. (The song "Idhar Chala" is a little gem, by the way, an instant classic, that will surely get awards for best choreography next year.) The CGI birds look pretty fake on the other hand, and the integration of the CGI for the spaceship's landing crater is halfbaked with incorrect 3D perspective and visible seams. The performances are quite good throughout, but the film clearly belongs to Hrithik Roshan from start to finish. As a boy in a man's body he delivers a performance that can compete with good work from any actor anywhere. Award nominations galore next year are a certainty and wins hardly less. It's the kind of performance that triggers a reevaluation of what someone can and should do and it will hopefully bring him lots of good role offers beyond the stereotypical loverboy with biceps that shakes a leg before he walks into the sunset with his dulhan. KMG is quite enjoyable, not only for kids, and it will have its place in the history of Bollywood as a film that made a difference. And that is a nice achievement.

Devdas (I) (2002)

The film equivalent of candy floss

[7 September 2003]

One has to admire the technical execution of parts of the film, the sometimes stunning cinematography, the lavish sets and costumes. But the director forgets that form and content can not be separated, that more is not always more, that often less is more. And there is way too much here. Too much gloss, too much stylisation, too much glamour, and way to little heart, story and naturalness of acting and direction. On many levels it's excess squared. It's like candy floss. It tastes great for some time, but if that's all you get you will throw up and get sick quickly and yearn for something more wholesome. Next time, Mr. Bhansali, focus on the story first and then use the proper cinematic tools that serve the story best, not the other way around. You are visually very gifted, but window dressing on the surface is not enough for making a good film.

Humraaz (2002)

Quite decent till...

[24 February 2003]

Humraaz is a thriller from Bollywood inspired by Hollywood. It's a love story too. Of course it has songs and they are ok in the context. The twists and turns are well handled and together with a cast that seems to enjoy themselves the film scores quite some points. Helas at the very end it loses a lot of them again with a ridiculous over the top showdown that is quite indigestable unless you really dig that particular brand of violence that is so typically Bollywood. Too bad since the film has a couple of violent moments before that which are much more realistic and scary. More amusing than scary is the fact that the bad guy usually is accompanied by Gregorian chants when he goes about his business.

Road (I) (2002)

Nice try, but...

[14 February 2003]

The good: "Road" is different for a Bollywood film. It's a thriller and road film and not yet another sappy love story. The 3 leads are all good performers and breathe life into a script that has its share of holes and Bollywood nonsense. The camera work is ok (not counting that awful hair in one shot) and the 5.1 sound is quite effective as well.

The bad: The subject may be new for Bollywood, it has been done do death in Hollywood since Spielberg launched this sub-genre with Duel (1971/I) (TV) (see for example also Breakdown (1997)/Joy Ride (2001)/Friday Night Date, A (2000)/Hitcher, The (1986), etc.). So there goes the originality. The songs are there because a Bollywood film has songs, period. They don't do much for the story. They could be cut without any loss. They slow down the pace. The police shenanigans are tiresome, the ending is very Bollywood. Finally the cut and paste technique in the background score with straight lifts from existing Hollywood soundtracks is annoying. (For example check the scene where Bajpai forces Oberoi out of the car the second time and shoots at him. The music at that moment is a direct copy from "Rock, The (1996)".) It does not matter that the intended audience is not likely to notice this. It's unethical and unprofessional. If Bollywood has any aspirations to go global that practice has to stop at once.

Dil Chahta Hai (2001)

Dil Chahta Hai: Indeed!

[2 February 2003]

Why can't there be more Bollywood films like this? Real people, real issues, technically competent, but undoubtedly genuine Bollywood, with songs and all (some standard situations too), but never insulting the intelligence or using cheap tricks? More, please!

Freddy Got Fingered (2001)

I'm speechless

[15 January 2003]

If you think that child abuse, animal bowels and penises, child birth and paraplegics are really funny subjects, go ahead and watch this abomination of a 'film'. If not flee in horror. You have been warned. I had not, unfortunately.

Na Tum Jaano Na Hum (2002)

Pretty good debut feature film

[23 August 2002]

NTJNH is Arjun Sablok's first feature film. And it's a pretty good debut. The first half hour is the weakest part of the film, with a song that should be cut, too slow a pace and some tired Bollywood antics. But then the film gets momentum and starts to deliver. There are still lesser moments that pay unnecessary tribute to the 'formula' (silly comedy bits, a clichéd gay character, a hero-beats-up-multiple-adversaries scene...) but they are outweighed by moments which show that the director has at times a firm grip on the various aspects of cinematic expression and uses his tools to good effect (camera, editing, sound effects). There is a delightful party dancing scene which has only one fault, it's too short. There is an equally effective scene involving a zipper. There is a comic scene that makes fun of Bollywood film making which directly leads into the inevitable declaration of love between hero and heroine and its expression in a song number, all elegantly executed. Also impressive is the scene around the intermission and the tell-me-your-name-scene which culminates in a wedding song, to name two more examples. Technically the film is uneven like almost all Bollywood films. Sharp shots and out of focus and filtered shots follow each other in random fashion, without a recognizable concept. Color balance is off at times. Both can be seen on the DVD as well as on 35mm prints. The 3 leads are all doing a good job. Hrithik Roshan tends to overact in comic scenes, but is on the other hand excellent in dramatic and emotional moments. Esha Deol has not got beauty queen looks, but something better instead: personality and charm. She has got talent. Saif Ali Khan plays once more a playboy, which he can do on autopilot by now. He's good as well. The film is above average but suffers somewhat from using Bollywood cliches and a not terribly original story, a variation of so many other Bollywood love stories. On the other hand the basic conflict is well established, the drama works and the execution with a good cast lifts the material often on the level of solid workmanship and a few times beyond.

Company (2002)

one of the best Bollywood flicks of 2002

[22 May 2002]

"Company" is reminding of a Scorsese gangster flick. Sickening violence, clever editing, good story, good cast. The usual Bollywood cliches are largely absent. Technically the film is somewhat uneven. The one song number is among the best I have seen from a commercial Indian film. First rate photography and editing. But it is not always like that. There are some poorly focused shots and one whole scene is so much underexposed that they had to push it to a grainy mess during development. Almost perfect 35mm shots are followed by VHS looking parts. The cast is competent and not overacting. The background score is very good and with a recurring motive that is catchy and energizes some sequences considerably. Too bad the composer felt a need to plagiarize at times (Mission Impossible; Holst: The Planets: Mars). It's safe to say that "Company" is one of the top 5 Bollywood films of 2002 and will get loads of nominations in 2003. See it.