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An error has ocurred. Please try again(you might find some of these listed as being from 2022, but I've kept in mind their original language release date for consideration)
Reviews
Batman: Under the Red Hood (2010)
dark, gritty and vengeful
The story of batman's greatest failure is indeed a tragic one to say the least but, one that is extremely entertaining to watch. I basically knew who the red hood was the minute he showed up and quite possibly, you will too but, is the red hood's secret identity all the film's going for? NO. The film poses a shockingly devastating question in front of the audience and in front of batman himself, "Is his antiquated sense of morality clouding his judgement on criminals?" We all know Batman does not kill. It is his one moral code. A line he absolutely will not cross under any circumstances but, is that what he really should be doing? The film could've easily taken the easy way out by having batman say that, "Killing makes him like one of them" but, the film is smart. It doesn't outright deny this moral ambiguity batman is presented with but also doesn't stand by it rather, leaves it upon the audience to decide which is what I love about this film the most.
The traditional, hand-drawn animation is fluid and full of colour. I have always adored DC's animated projects because the one thing they've always been good at is creating animation. No one's ever come even remotely close and this film continues the trend.
The voice acting is just great. Bruce Greenwood, Jensen Ackles, John DiMaggio, Neil Patrick Harris, Jason Isaacs and Wade Williams all give excellent performances. Jensen Ackles and John DiMaggio felt particular standouts to me because of the roles they play in this story. John DiMaggio's role is brief but one that doesn't fail to leave an impact.
The Song of Scorpions (2017)
I don't know...
I feel like I might appreciate this film more on subsequent watches but for now, I think I'll go with the 7 stars rating. This isn't a bad film persay, but my viewing experience was a bit convoluted. To sum it up, make sure there are subtitles because you will miss out on important bits (one being a huge plot point which is essentially what drives the third act forward) and make sure to keep the brightness on max and no lights are lit because there are many, many night shots which are barely visible even if a little light is present.
The story of Nooran finding her lost song could've been quite a character-study but it transcends to something much more niche and something which may or may not connect with you. It almost connected with me until it didn't. I can't really explain what went wrong because it feels too convoluted and self-indulgent and I'll just leave that to you to decide. I was very confused as to where the third act goes as the payoff that was setup at the end of first act doesn't really seem like one. The end to this story (judging it for what it is and not for what I was expecting it to be) should feel very powerful and moving rather, it feels unearned and somewhat on the ambiguous side with much left for the viewer to decode. I love ambiguity, I really do but a filmmaker should atleast be competent enough to understand what a viewer might and might not understand. I feel like a dumbass who didn't understand the end but what I'm trying to say is, the ending could've felt a bit more earned and satisfying than it actually is.
The film very heavily utilizes the marwadi accent with it's characters and while Irrfan quite smoothly slides into his character, Golshifteh Farahani's dialect was more of that of an actor trying their best. This doesn't mean that Golshifteh's performance is awful, on the contrary, I connected with her the most since this is her story and Director Anup Singh does manage that quite firmly. The performances are all excellent. Irrfan as always is great, Golshifteh as the lead is quite the empathatic presence and you develop a significant amount of care for her throughout the film but, it was Waheeda Rehman who in particular stood out to me. She plays the role of Nooran's mother and although her presence is brief, she never feels out of place and works quite well in service for the story.
The songs and cinematography are also great. The folk marwadi songs were a somber tune for the ears and the cinematography is just beautiful. This film is absolutely ravishing to look at. DOP Pietro Zuercher takes Anup's vision a step ahead. It's almost on the same level as Greig Fraser marinated the dark and broody tones of Gotham with hints of shades of black in The Batman, The Song Of Scorpions follows the same visuals but the setup now moves to a desert. Costume design by Divya and Nidhi Gambhir, art direction by Mayur Mulam and Production design by Rajesh Yadav are authentic and near to perfection.
Haider (2014)
an INCREDIBLE tale of INTEKAAM
Haider's got everything. Vishal Bhardwaj directing Shakespeare, Gulzar Saab writing lyrics, Tabu, hard-hitting monologues, breath-taking setting, Tabu, deep and dark political undertones that'll shake your beliefs and question what you know and what you don't until you deep dive through articles and articles and articles and realise how messed up the world really is and... Tabu.
So, how does a film based on a play from 1599, set in 1995, released in 2014 and rewatched in 2022, still manage to be awesome? The answer is quite simple. TREATMENT. Instead of showing us the regular Kashmir Ki Kali that Shammi Kapoor would dance around in, the film takes the state's politics and history and wraps it up quite neatly in very very very high Shakespearian drama. In school, nothing was more boring than Shakespeare, but in the hands of veteran Vishal Bhardwaj, it all feels fresher than ever.
The film does follow the basic storyline of Hamlet, but the meticulous craft with which Bhardwaj manages to inculcate the separatist situations and the nation's reaction to those situations is just brilliant. None of the subplots feel like they shouldn't have been a part of the film because frankly, all of them buildup to an explosive and satisfying climax which I've rarely seen in Indian Cinema. To summarise, the film follows a chain of events that is driven by one mission and one mission only. INTEKAAM (REVENGE).
The acting is just phenomenal. It's in the film, that you notice, what an actor with a caliber of Shahid Kapoor can do in the hands of a good director. The Are We or Are We Not? Monologue is still etched in my brain due to the sheer impact of it's writing and the way Shahid delivers it in the film. He's always been good, just his film choices haven't been so "Shaandaar". Then comes in Kay Kay Menon. He is so good as the antagonist Khurram that even when he's acting all innocent, I wanna punch him in the face (he owes me a laptop btw). Sometimes, you feel that Shakespeare wrote the part specifically for him. Okay, let's talk about Tabu. She needs to be stored in a gold vault and protected forever. It is impossible to take your eyes away from her when she's in a scene. Now, talking about the show stealer, Irrfan Khan. His character in the film is brief but, he still manages to steal every scene he's in (as usual). Also, his entrance scene might just be one of the best entrances I've ever seen in out of all the 7 pieces of artform in existence.
Vishal Bhardwaj also manages to sneak in the Oedipus Complex that was also quite evident in the original novel without making it seem cringe. This adds an extra layer to Haider's character in manifesting his hatred for Khurram. Because, Khurram has done what Haider subconsciously always wanted. Kill his dad and marry his mom, which essentially is the definiton of the Oedipus Complex. This also makes the ending somewhat open to your own interpretation as to why Haider chooses to do what he does?
Now, talking about the music. It's just mind-boggling. Bismil, Aao Na, Jhelum Jhelum, each and every song is just marvelous. Especially Bismil and a rendition of Aao Na before the very end of the film. Gulzar literally said, I'll take on Shakespeare and write my own version of the song sequence where Hamlet reveals his true desires to everyone. And my god, Dil Dhadke Dil DIl Dhadke indeed.
I think everyone needs to watch this film atleast once in their lives not just to see the brilliance of Vishal Bhardwaj's adapting techniques but also to see the brilliance with which he does it. This also is my favourite among Bhardwaj's so called Shakespeare Trilogy each of which is a brillaint piece of work on it's own.
Aftersun (2022)
MESSED ME UP
Aftersun is a 2022 coming-of-age drama film about a woman named Sophie who is reflecting on a vacation she had with her father (Calum) two decades ago when she was 11 years old and it was Calum's 31st birthday. There is clearly love and joy in their connection but there's also this tension/pressure beneath the surface that's slowly building up throughout the course of the film that stems from the dad's mental health issues that he's quietly dealing with. By the end, this fairly languid film becomes deeply painful when we learn that this vacation was the last time the two saw each other. It's implied that Calum committed suicide leaving Sophie with just memories and video footage to pour over and piece together who he was and what she couldn't see in him before.
It is very clear throughout the film that Calum is quietly dealing with depression throughout their vacation. Moments in the beginning when he slides out the backdoor for a cigarette while Sophie is sleeping and does this dance subtly paints the portrait of a man trying to ease himself. The same goes for his interest in Tai-Chi. We see that he has bought several books on it and he practices it often while Sophie just thinks that he's doing his goofy ninja moves which speaks to the separation that exists between who Sophie thought she was looking at and who she was really looking at. Calum also says how he's surprised that he made it to 30 but doesn't think he will be able to make it to 40.
Calum's mental state is quite half-sketched but I think that was intentional because the entire story is told from Sophie's perspective and we only know as much as she does. The film doesn't give you a specific reason to point out to but what we can see throughout the film and can be some of the possible reasons for his state are as below:
- Calum's life is clearly not going according to plan, the fact that he became a father at the young age of 20 indicates that he may have missed out on some key moments in his development, he is separated from Sophie's mother, he also struggles financially which is very evident in moments when he beats himself up over not being able to buy a carpet or when Sophie loses the expensive swimming goggles where he spirals a little bit and is angry at Sophie.
- Even at the start of the film itself when Sophie asks him, "Where did you think you would be when you were 11?" It's pretty painful for him to even think about it and he doesn't seem to want to answer. To think about the time when he was 11 years old and he had his whole life ahead of him and now, he's in his 30's and is a financially struggling separated parent of an 11-year old girl.
- Sophie is almost at the beginning of her life whereas Calum feels like he is approaching a dead-end in his life. He feels lost in time which is why birthday's are so exciting to Sophie but so painful to Calum. This is also beautifully shown in the film when everybody sings Happy Birthday to Calum on Sophie's request thinking it'll make him happy but he just feels haunted.
The film also quite beautifully shows us that the perception of water to Sophie and Calum is wildly different.
- To Sophie, water is a calm and relaxing thing. It almost acts as a gateway for her to a new life that she is going to enter as if she can learn the ways of the world through the water itself. This is also shown in action when she's in the pool with teenagers and fantasizes about being in love and her having an all-access pass like them to obtain things.
- To Calum, the water is dark, menacing and bottomless. When Sophie loses the goggles in the ocean, which is a huge financial blow to him, he just watches them drift down into the dark sea. There's also this moment before the very end when he just wanders into the ocean at night when his problems are at their peak and the blackness of the sea fully engulfs him.
Although it is implied that Sophie doesn't understand what her father is going through, she doesn't always miss out on observing certain things as seen in some scenes:
- Sophie comforts Calum after she loses the goggles, even acknowledging that she knew they were expensive which comes as a bit of a shock to Calum because he didn't expect his 11-year old child to notice such things. Sophie also makes it a point several times that she is aware of Calum's economic problems and doesn't want to be kept away from knowing these things just because she's a kid.
- Sophie also knows that Calum smokes cigarettes and despite that, she isn't hard on him and tells him that it's okay. She also puts a blanket over him after she returns to the room after his spiral of a night and not waking him up from her bed.
The film's soundtrack is quite possibly one of the best aspects of the film as the characters usually don't say what they're feeling but rather it is implied more through subtext. Many of the songs chosen have been well-placed in thee film.
- Tender by Blur is almost a gateway to Calum's mind as the song is about one fighting the inner demons of his mind and trying to get through the tough phases of life.
- Losing My Religion by R. E. M. Comes at a very significant point in the film where Sofie is singing karaoke alone whereas Calum is just sitting in the back because he is just not in the mood and he can't bring himself to do it.
- The use of Under Pressure by Queen and David Bowie has to be the best because it is at that point you realise that it is indeed Sophie and Calum's last dance together.
When you finally realise that Sophie and Calum are having their last dance together, it destroys you a little bit; but, it isn't really their last dance together. Because, in Sophie's mind, this tension that she has with her father will never really go away. This is portrayed brilliantly through the use of raves and flashing lights where the frame dissolved between the past and the future where an adult Sophie is imagining her father dancing with her. There is a difference between the two timelines which I think really creates a devastating and powerful impact on the viewer where in the past, Calum is the one who doesn't want to let go of Sophie but in the present, it is inverted and Sophie is the one who doesn't want to let go of Calum.
Tetris (2023)
the holding out for a hero needle drop sent me into orbit
This film is a real fun time if you watch it with a right mindset. If you're expecting a grim and serious tale of how Henk Rogers got beaten up by the Soviet Union a couple times before he was finally able to get the rights for a seemingly simple video game called Tetris, then you might be disappointed but, if you go in expecting nothing but a good story, this might actually be a fun time for you.
First off, the visual style. I really dig it. It's eye-catching and you never really are bored looking at the film, the cinematography while nothing amazing is pretty good, the color grading is decent but what makes it interesting is the blend of 8-bit graphics to match with the real-time environments. The ending chase sequence while jarring is nothing short of creativity at its best. Jon Baird really did something unique with this film which makes it have a unique identity atleast in it's visual department.
Taron Egerton man, what can I say about him that hasn't already been said. He is slowly but gradually climbing up the ladders to become one of my favourite actors working in Hollywood today (If you haven't seen Black Bird, please do). His performance is simply great in this. Even though you whole-heartedly know that he is probably going to make millions after securing the deal while competing with other companies who have an equal chance to do so, you care for him because money wasn't his priority in the first place. He loves the idea of tetris and wants to share that idea with the world. The film very cleverly displays that when he first meets the game's creator Alexey in Russia and he's almost fanboying over him. Rest of the cast was fine. I don't really know anyone else except for Toby Jones but they were all good so no problems there.
The music is also just great. The original tetris theme is remixed to cater the more modern generation and it works wonders. And I was just sent into the orbit when the needle dropped playing Holding Out For A Hero. There were also some other songs which were used which felt like a nice touch.
This film does feel a bit long though. Even though it is only 2 hours long, I'd say it feels like 2 hours and 15 minutes. The first act is very well paced and goes by like a rocket but in the second act, the pacing takes a huge dip and you notice that all for it speed up again the third act. It feels incoherent and messes with the pacing a lot.
And while I personally love the 8-bit car chase at the end, I can understand why some people might find it jarring because you don't really need it. But just hear me out, inserting that 8-bit car chase shows that the director wanted this film's one and only chase sequence to have a unique identity and he made it sure that it isn't just another forgettable chase sequence that we've seen a million times in other films and admittedly, has been done better than in this film. I
just find it creative and would love to see something like this being incorporated in future films.
To summarise, I'd say this is a story which is worth-a-watch.
Raincoat (2004)
Almost Perfect
Raincoat, a re-telling of O. Henry's short story The Gift of Magi is a poignant story told in a woozy and quiet way about the pretensions that we put on while affected with occasions that we prefer not to confront but want to. It is also a story of the facades that we wear to pretend that we have moved on from that love. It is a melancholic rainy day's story of two unfortunate lovers who separated many years ago and meet after six long years in Kolkata.
Everything in this movie is kept fairly simple. The roads are dusty, the houses are small, the lighting is mellow and the attires are simplistic. This is about two people with a past trying to find some closure, temporary happiness or answers through this meeting. The estranged lovers reminisce about their youth and exchange falsehoods, attempting to recapture their past while protecting their fragile sense of ego in the ugly present. By the end they don't get exactly what they are looking for but they do get a sense of deep feeling and longing. Although this film does have a distinctive identity of it's own, it can be compared to The Before Trilogy, with much less walking.
Now, first off, let's talk about Aishwarya. You goddess, you queen, why are you so beautiful??? Her character feels like an extension of Paro in the first act of Devdas but much more grounded which suits this type of filmmaking and setting. She shuns her usual immaculate movie makeup and plays Neeru as a curious mix of a child and temptress, driven by capricious moods but ultimately broken inside. Ajay Devgan's role is intense and brooding, serious and determined yet unsure and he does it brilliantly. He is equally impressive and the scene in the opening parts of the film where he almost breaks down in the bathroom with his face covered in shaving cream was quite intense. Ajay plays the role with a simmering intensity and feels totally different in the flashback portions. One of his best performances. Annu Kapoor is a legend in his own right, so effortlessly charming in his mannerisms and the way he holds himself, and the other supporting cast as well, they make you connect with the characters even more, when the direction and script already do such a good job of sliding you into their shoes.
Rituparno draws a triangle in this film with love, loneliness, and life. The beauty of this film is its simplicity in terms of story and establishing a plot. The flow of the story runs very slowly. The film is packed with despair and tragedy. There's also this added element of empathy when you're dealing with characters that have to face hardships all around, but there's this singular comfort, and then that one comfort, is so abruptly taken away from them, it's not easy to rise up even for those that aren't already trodden down deep into the dirt. You begin to imagine or relate how it would feel like to be surrounded with that kind of an atmosphere. By the end, which I must say is quite possibly one of Bollywood's best endings that I've seen, I was just so into the characters that I couldn't feel anything but sorry for the both of them.
The music in this film is also just beautiful. To the point, appropriate and something that provides an added sense of depth to the already great scenes of the film. One thing that really helps this film is that none of the songs are used in the normal Bollywood fashion when a song just pops out randomly rather, most of the songs are used as background scores. And there's a section in the film when Gulzar Saab himself recites a poem and that scene gave me tingles.
One point I'd like to say though, is that this film does feel a tad bit too long. It's just 2 hours long but it would've flowed a little better if the film would've been like an hour and 45 minutes.
Anyways, just watch this one guys, it's beautiful, tragic and something to latch onto.
John Wick: Chapter 3 - Parabellum (2019)
The Raid 2 vs John Wick
The film begins after John in the previous film was quite literally thrown into the ninth circle of hell as each he's got a $14M bounty on his head along with being declared excommunicado from the organization he used to work for. I was pretty hyped for this because the concept was just so intriguing. The film although, only manages to barrel down that path for about 20 minutes before taking a rest stop that begins to allow John to crawl his way back up through the circles of hell and then...fall back down to the bottom? I really hate to be over-analysing this film but nothing much happens in this film except for the end even though it presents itself as being this really huge entry in the franchise. John's journey in this amounts to pretty much nothing and sending him up and down without any real consequence makes me feel a little disappointed, especially when I can't even feel fully satisfied by the two hardest actors from The Raid 2 turning up for a full-on brawl with Keanu. On the other hand, the world-building is again done quite well and the action is really, really good along with being the best-looking fight scenes I've ever seen in a film. All the action is once again, in-camera and hugely satisfying. The horse and dog fights were really creative and inventive along with a particular knife fight in the beginning which is now one of my favourites in the series with it ending in deeply satisfying way with John just throwing an axe straight in the skull of a hitman getting up after being unconscious for a while.
This film might be the weakest in the franchise but it's still better than most action movies that we've been getting lately.
John Wick: Chapter 2 (2017)
Somehow this is better than the first one!
He's back! Again. Except this time, his dog is alive. Thank God. Stop doing that to me movies. I love dogs. I don't want to get too much into the plot of this film so just to explain it vaguely, due to the events of the first film, a certain someone from John's past life has come back to settle their debts. When I first learned about this film, I was a bit skeptical thinking this might just be another cash grab for an already great first film. And although in some ways it is because the writers here have to really build up a strong motive for Jonathon to return, we get much more than just your average hollywood sequel.
First off all, the action. It is a significant improvement over the already great first film's action. The stuntwork and the way the action scenes are shot absolutely floored me. The film even begins with an old black and white Buster Keaton movie who was a known stuntman back in the day. It really establishes the tone of this film that this is going to be an action-movie lovers wet dream. Everything is extremely violent but Keanu in this film is a badass. He's just out there taking one headshot after the other on people and leaving a humongous pile of bodies behind. The finale set piece with the use of mirrors (which looked beautiful btw) reminded me quite a lot of Bruce Lee's Enter The Dragon and the way it was choreographed had me at the edge of my seat.
Now, as all great sequels do, this film just goes leaps and bounds ahead with the world-building. I love how well set up the rules of this universe are. This is a modern-day mob which adheres to a strict set of well-defined rules which cannot be bent for anyone and if a person breaks the rules, they die. It's that simple. Their life is forfeit. Although, I have to say that towards the very end, it did push some boundaries of realism and felt a bit too over the top. But, I'm excited nonetheless where they go with the third film because this one ends on a really cheesy and textbooky cliffhanger for an action film but the stakes just got higher and it will never hurt my eyes to not see Keanu kicking ass.
Let's talk about Keanu Reeves for a second. He is not my favourite actor on the planet. He doesn't even come close. I don't hate him that much but I have never particularly liked his performances. He always has a straight face in films with barely any emotions at all but from everything I've seen about him online, he seems like a genuinely nice guy. I've even seen people calling him the darling of the internet/the nicest guy on the planet. Although that is upto you guys to decide whether he is or not. I will say one thing. Only Keanu can pull off a character like this and no one else can take his place. Only he can deliver a cheesy one-liner and make it sound believable. His performance is in character and a treat to watch because he is so dedicated to these films and that shows.
I really had a blast with this film. I will say that the story is more focused than the first one but I feel that the personal stakes of the first film which really elevated the overall impact of that film are missing here. They do try to inject some emotional stakes but they weren't as impactful and convincing as the first one. Apart from that, I found this film to actually be better than the first one. Chad Stahelski's really onto something with this franchise and can't wait to see it.
John Wick (2014)
Dogs > Humans
A man on a murderous spree to get justice for his murdered puppy is peak cinema. And that peak cinema is achieved through simplicity, style, and lots of bloody good action.
This film is... amazing. The only thing that bugs me the most is the overtly simple plot. At times, it feels too simple, but don't worry, they fixed it by the 2nd film and I'm just glad when studios actually take into that criticism and try to make the product better instead of churning out IPs just for the sake of money.
Keanu gives the best performance he has ever had here. I've never seen him so good other than The Matrix and I think, he outdoes himself in this one. John's emotions, the body language, the action, everything is very skillfully performed by him. Willem Dafoe is in this film too and it feels nice to see him but I just wish he had a larger role considering he's such a cool guy. Michael Nyqvist is also really good here. That one scene of him just blazing into tears after setting up the death of his own dickhead son is another example of peak cinema. Simply, great.
Another thing which i really enjoyed was the soundtrack and the original score. Hotdamn what a score has been provided! The use of those drums is eargasmic and they sound so sexy. I just feel like punching someone on the beats everytime I hear this. And the songs used during the nightclub fight sequences? Goddd, they were so cool.
Check this film out for keanu, check this film out for the amazing action and above all, check this film out for seeing that justice is always served, even if it was for a dog and a car.
Chashme Baddoor (2013)
Classic David Dhawan Comedy
It's a remake of a classic Bollywood film, and in no way shape or form does it measure to that. But, I knew going into this one that I'm not going to get that because David Dhawan's directing this, and if you know his filmography even a little bit, you should know that this isn't going to be a natural, grounded, subtle rom-com. His USP is over-the-top, slapstick comedy and at times, I myself crave for some share of that dopamine which the genre provides.
The acting although nothing noteworthy is fun to watch at the very least. Ali Zafar is cute, Taapsee is cute (which is really hard for me to say since I have this image of her being the embodiment of female empowerment in every film), Divyendu Sharma is basically playing a totally opposite version of his character from Pyaar ka Punchnama but Siddharth was just annoying to say the least (he could've definitely toned it down a little bit).
The comedy is slapstick and at times, quite misogynistic but you can't really go into a film like this and not expect any amount of it because even though the film being released in 2013, follows old-school humour and thus, it was unavoidable. There are some moments which are pure laugh out loud whereas some just did not land. However, I will say that Anupam Kher is a legend. He is the least bit problematic in the film and he actually managed to get the most laughs out of me.
The songs are actually quite fun. Early Morning and Dhichkyaaon Doom Doom being the clear standouts with Har Ek Friend Kamina Hota Hai and Andha Ghoda Race Mein Dauda having a real whacky but fun vibe.
A nice, fun, time-pass for the weekend.
Kuttey (2023)
Aasman on his way to become an Auteur
I am really really confused on how to approach this review. On one hand, I am just mesmerized by this film's visuals and it's unique approach to the cinematography and it's non-linear storytelling (both of which are heavy influenced from Tarantino Cinema) with the last shot in particular taken straight from Scorsese's The Departed and the music being one of the best aspects of it but, on the other hand, I am also quite divided on the overall simple story this film follows and some hit and miss humour which it offers.
First off, the acting. It's ranges from really really good to just fine. We have seasoned veterans like Tabu (whom I absolutely adore in this film as she gives off vibes similar to those in Andhadhun but amped up to 11), Kumud Mishra, Naseeruddin Shah and Konkana Sen Sharma whereas we also have relative newcomers like Arjun Kapoor, Radhika Madan and Shardul Bhardwaj. The seasoned veterans are just off the charts in their performances here. There is not a single loose thread in here with Tabu being the show stealer. I don't know why but hearing Tabu just abusing the hell out of everyone around her gives me tingles. Kumud Mishra has never disappointed me in his roles and he does a perfectly good job here too. Naseeruddin and Konkana although having brief appearances don't fail to make an impact which was nice. Arjun Kapoor though. He was fine. I have only admired two of his performances (2 States and Sandeep aur Pinky Faraar) and while this character doesn't really reach those heights, he wasn't bad that ruined the experience for me. Radhika Madan and Shardul Bhardwaj are also just fine in their roles. None of the actors are doing a bad job because even a single weak link could've been fatal for the film.
The story is something I've seen before but not in a Bollywood film. The hindi film industry in particular has been afraid to take on non-linear storytelling because of the plot inconsistencies that come with it but, I think they really did something great here, even if it is fairly simple. You can pretty much predict where the story will go when you see those dutch angles (really sharp use of dutch angles btw) but what really intrigues you is, how the hell did those characters get here and where will they go next? This is exactly the type of thing tarantino uses to generate tension among the audience and keep them on the edge of their seats but I get that he's an auteur and has perfected his use of this whereas the director of this film Aasmaan Bhardwaj is still learning the ropes. Although, I would like to say this is a daring attempt for a directorial debut. Props to Aasmaan for trying this genre because I can really see him rising to be the new director of bollywood who creates a niche cult following for his films. Count me in.
The music and background score is absolutely bonkers. Reminded me of subtle use of music in films like Gangs of Wasseypur. I mean, what can you even expect when it is Vishal Bhardwaj, the man himself helming the score. He is one of the best composer-directors we have in bollywood and he is once again great at what he does best. Although, I don't quite like the remix of Dhan Te Nan created for the film, I do admire it's use as a cue for several situations.
This might also be the one film I've seen in bollywood after decades which actually manages to incorporate noir themes pretty well in the film. I mean, the character motivations, the use of dutch angles, the dark cinematography, and a really great opening sequence dipped in red silhouette is what gives me hope for noir in bollywood cinema. The director Aasman sure has talent just like his father and I'm excited to see what he does next.
I have to say one last thing though. This film is not for everyone. It is quite polarizing. Either you like it that you will want to watch this once every few years or you will hate it and will probably never watch it again. Even if this isn't a perfect film by any means, it is surely catering to the indian fans of auteurs like tarantino and scorsese and who want the quality of those films in some way be replicated here.
I liked it. I will perhaps like it even more on second watch but I can definitely say one thing that, this might just garner a cult following in the future.
De De Pyaar De (2019)
Best Luv Ranjan Production
First off, Ajay Devgn. He looks so incredibly sexy in this. Even being 50 years old, which is acknowledged way too much in the film, he looks gorgeous. I haven't always liked him in his older films even though his performances being impressive but I think it was after Shivaay that he really changed his image in Bollywood. He is tall, dark, handsome and his eyes are one of those which speak a million words without him having to say a single thing. His demeanor in this film is also quite a sight to watch as he manages to convey every emotion the script requires him to. Now, Tabu. What can I say about her that hasn't already been said? She is magnificent. Even though she has a smaller role in the film, she makes the film all her own. Right from the moment she appears on-screen, I couldn't take my eyes off her. Rakul also does a pretty good job but she just gets lost as an amateur stuck in between these two auteurs stealing the show. She is by no means bad in the film, but her performance just leaves a little bit to be matching the other two. However, I will say that I can't see any other actress playing this role which is always a nice thing. Other supporting cast members also do a pretty good job with Javed Jaffrey and Jimmy Shergill as standouts. It was nice to see them back to delivering comedic punchlines after so long. Aloknath couldn't bring the magic he did in Sonu Ke Titu Ki Sweety but just works fine. The performances are actually the main highlight of this film and I think even a slight miscast here and there could've ruined this film.
The story is pretty good and quite emotional at times. We've all seen this type of age-gap romance dramas in films before but here, instead of forcing the relationship to exist just for the sake of driving the plot forward, we get to see Ajay and Rakul interact with each other organically and in realistic ways. They don't just get together by the end of a song or some random romantic encounter but they actually talk to each other, flirt with each other and questioning if them being together is actually going to work for both of them or not. I was quite surprised to see such depth in establishing a relationship in a Luv Ranjan film. All this also leads to quite a satisfying climax when the both of them have to drift apart from one another which is also woven together in the screenplay quite beautifully and them getting back together is also handled maturely and not just thrown for the sake of achieving a happy ending.
There are a couple jokes and moments here and there which were quite misogynistic (not the characters, but some moments surrounding them) and I think I've come to expect those moments in Luv Ranjan films because he seems to have some sort of vengeance towards female characters in general but that doesn't really ruin the plot of the film. Ajay Devgn actually directly tells Javed Jaffrey in one scene that he's a misogynist so the film's actually acknowledging itself at times but that doesn't give it a pass. Also, I cannot thank god enough, that for the first time, in a Luv Ranjan film, none of the female characters are evil. They all have their own set of motivations and beliefs and they feel like actual human beings.
The music is passable. Some songs are good and some are just complete skips. The background score works well and provides support in the comedic and emotional moments which was fine. They also use some meta references in the score which was quite fun to vibe to considering the moments.
Overall, this is a nice, fun flick with a surprising amount of emotional depth and a mature take on the old-age relationships formula.
Tu Jhoothi Main Makkaar (2023)
Rom-Drama-Com done right
Although this is being marketed as a Romantic Comedy, it's not really that. It's actually romance first, drama second and then comedy.
The story is something I did not expect in a Luv Ranjan film. I was hoping for mostly a non-sensical drama with a few emotional elements but. It's actually the other way around; especially in the second half. The first half is good, follows the standard formula of building up a relationship but what bugged me was how the characters were talking. Is this really how people talk when they're in love? I mean sure, I myself have gotten cheesy at times irl but the dialogues were sometimes too cheesy, to the point of being cringe. I get it that they're doing it intentionally to create a facade among themselves but it just didn't work for me. I was not sold at their chemistry up until a scene in the bar came along where the characters are just gazing into each other's eyes and Ranbir's character mickey says what is quite possibly the best line of the film and that is what sold me on their relationship. The second half though. WOW. If it had not been for the second half, this film could've gone to the point of being a train wreck. The emotional punch the film packs along with the family drama that follows. It's almost like this film transitions into something else entirely but the themes the film is covering, I did not mind that transition at all because that's what interested me the most.
Let's talk about Shraddha Kapoor for a minute. She is a talented actress. Her roles in films like Aashiqui 2, Ek Villain and Haider have had a lot of impact in the hindi film industry but here, she just feels out of place, not because she is bad persay, but other people just outshine her in every way. In emotional scenes also, I couldn't feel for her as much as I should. Ranbir Kapoor though, is the absolute show stealer. His character felt like a blend of Kartik Aaryan's character from Sonu Ke Titu Ki Sweety and his own character Prem from Ajab Prem Ki Ghazab Kahani. He is the star of this film and the emotional beats are perfectly hit. A scene in the second half reminded me of his scene from Ajab Prem Ki Ghazab Kahani when Jenny tells her that "You don't know what Love is." I don't know but Ranbir's eyes have that perfect quintessential amount of emotions that make you feel for him. Absolutely loved his return to this genre which essentially was what made him the star he is today.
The songs are hit or miss. I like Tere Pyaar Mein and Pyaar Hota Kayi Baar Hai quite a bit, am skeptical about O Bedardiya and I didn't enjoy Show Me The Thumka and Maine Pi Rakhi Hai. Although they do work in the context of the film and they're quite okay. Pyaar Hota Kayi Baar Hai is quite the banger might I say because it really showcases Ranbir's talent as a dancer.
Some drawbacks tho, I did not enjoy the trope of long rants which the Luv Ranjan films have followed and this films uses them quite too often to be honest. I was almost annoyed at some points. Another thing was the decibel levels in the comedic segments. They were too loud and hearing Dimple Kapadia screaming at the top of her voice just to convince people that she's a caring mother is just annoying. Other characters also scream at times and I did not enjoy that. One other thing was that Anubhav Singh Bassi's character felt under-utilized. Although he is not just reduced to be the trope-filled best friend but he also didn't do much in the story. I mean, if you've included a stand-up comedian in the film, atleast give him something to do on that side.
Overall, an enjoyable film just don't expect much comedy. I found it cringe at moments but the meta references at some places were nice.
Scream VI (2023)
This is the 6th film in the horror/slasher franchise which has been going quite strong for far longer than I ever thought was possible.
I was a teensy bit disappointed by the previous film which was supposed to be this rejuvenating reboot of the franchise but was ultimately following the plot of the first film with just a few tweaks here and there. I will say that the previous film had some great acting and some stuff I was not expecting with some really clever meta stuff, I was left with a sour taste in my mouth that the franchise was officially at the point of stretching the material too thin but, lo and behold was I so wrong. Scream 6 was fantastic!!!
Right off the bat, the film opens in the traditional Scream defined phone call killing method. I was like yeah, this is pretty standard stuff for a scream film and I thought this was just another cash grab, but right when the first kill was done, my expectations were subverted. It was something I had never seen in a scream film before and I was instantly hooked. Sure, the scene was reminiscent of the past films but it was a different and might I say, an interesting take on that trope which dragged me in for the madness that follows and believe me, this film is the most fun I've had in a horror movie since like, Don't Breathe, which was in 2016 by the way. The tension just builds and builds to a pretty satisfying and gory finale. I loved it!
Also, the previous film had the trailers going like, "this ghostface just feels different." And in the same way, which is the franchise's tradition, pokes fun at that and again uses the line, "this ghostface just feels different." When I saw the trailer for this film, I was like yeah sure, what more can you do now. But, boy I couldn't be more wrong. This ghostface actually felt different and menacing (like he should be). Almost to the point of being angry. In the first few movies, he was like this unpolished killer who hadn't necessarily done this sort of thing before. He is tripping, bumbling and making mistakes in a funny cartoonish way before killing the person but here, that mf don't miss. He is a very efficient killer who will shotgun you directly in the face! WITH YOUR OWN SHOTGUN!!! The killings here are savage, they're bloody, they're violent, almost to the point of being vengeful. Loved how they nailed this new persona of ghostface which I had never seen before.
The performances were also really really great. Melissa Barrera and Jenna Ortega are obviously the standout performers here but I'd say almost everyone did a pretty good job! I had no idea Tony Revolori could actually act so that surprised me and seeing those legacy characters will never cease to excite me because let's just admit that they're awesome.
Now, something I'd like to add more to the review. This is probably the most anxiety inducing scream movie I've seen. None of the previous film has had set pieces like this and the ones which are in this film are full of tension and some masterful work on display. The creators went like, we will put you in this cat and mouse set piece, we will boil you to the simmer and we will keep you there for a solid four to five minutes. A couple examples are that Subway scene in the trailer (which was beautifully executed btw) and that scene in the local department store along with a really cool The Walk reference which I will not spoil. My heart's just pumping out of my chest, no time to breathe during the scenes and I was like, Dude... I need a minute, just slow down! But, they don't. AND I LOVE IT!!!
The meta references were something that were really clever too! This franchise has always been clever at that. Poking fun at the cliched horror elements but then kinda doing it at the same time is just fun to watch in a goofy, weirdly entertaining way. Although I will say, I was not expecting to see that one huge franchise-reference this film does and I won't spoil it for you, BECAUSE IT WAS BEAUTIFUL. A perfect culmination of the past scream films and in a place which was chosen very carefully to really appeal the franchise's fans. It felt like fan service a little bit but it was fan service done right and was incorporated in the plot wisely rather than the plot being incorporated in the fan service. Love it when filmmakers understand that good writing matters and fan service is there to enhance it and not the other way around.
I was willing to give this film a solid 5/5 but what stopped me was Neve Campbell not returning as Sidney Prescott in this film. Although the film does not completely deny her existence, the reason they give us is as well delivered as it was written which felt a bit bland and too cliched for writing a character out of a film. The issue was the actress not being offered an amount of money which she thought she deserved and quite frankly, I think Neve's character Sidney has been the pillar for this franchise she has earned that right to ask for a substantial amount of money to be returning for a film. Another thing which bugged me (this is a real nitpick btw) was that it kind of felt like the creators were afraid to kill some characters in this film. There are some instances in this film where some characters are stabbed multiple times and yet, they are up and running again. It doesn't happen all the time but it happened enough to make me want to notice it. I haven't felt like that ever in a scream movie and that's not necessarily a good thing.
Nevertheless I will say, this film is a wild ride if you don't nitpick enough like I do because this really reignited my lost love for the scream franchise and I am up for whatever the creators have up their sleeves next. They do establish some dark stuff at the end of the film and I am excited to see what ideas they have now after this requel (reboot sequel).
Prometheus (2012)
Big Things... Have Small Beginnings.
I admire this film. I really do. Ridley Scott presents some really interesting ideas about the origins of the terrifying being present in Alien (1979). However, it is something that will require a lot of re-watching and thinking to fully understand what the crew was actually going for.
First off, the acting, there are a lot of ups and downs here. Michael Fassbender completely steals the show. He is leagues ahead of everyone else as David the Android. Guy Pearce is interesting in the role and he's having fun with it, and so do we because of that. Although his role had a twist which I saw coming from a mile away but nonetheless it was an interesting take to further progress the story. Charlize Theron and Idris Elba are so terribly wasted in their characters that it is baffling considering the talent they possess.
The real problem here is the story. I'm sure the writers Jon Spaihts and Damon Lindelof along with director Ridley Scott knew what they were doing but still they had a tough time translating it onto the screen. After some fantastic buildup towards the 3rd act and some really gory sequences in the 2nd act, the film just loses track, the twists are still baffling and the end result is hopelessly convoluted. As an ambitious epic, it cranks up the style and scope of the Alien saga, to differing effects. In terms of positives, this is one of the best-looking fantasy worlds ever created, and is every bit as immersive as the previous films, if not more so. This makes for some ground-breaking visual effects and stunning production design, but as is the case with most technical marvels like Tron: Legacy and Transformers, less is invested in the story. The ending also doesn't make a lot of sense but it's like enjoyably audacious nonsense.
I would like to say although Ridley Scott presented us with new ideas he had for the alien franchise which were differing from the original alien presence, they weren't translated on-screen as polished as they should've been. I do want to know more about the Engineers but I guess Scott decided not to pursue this new storyline completely and hence just made Alien-Covenant afterwards which was a great decision considering the continuation of the franchise but also saddening that we just get back to the old Alien thing and the possibility of having a new, beautiful creature was lost. Prometheus is a preposterously preposterous film with preposterousness around every corner, but it's a fun ride.
Alien: Covenant (2017)
NO ONE DIRECTS SCI-FI LIKE RIDLEY SCOTT
This film takes what Prometheus established and builds upon it. Although I feel that Ridley Scott initially wanted to take a different direction with the overall story arc but opted to get rid of that in favour of the Alien story everyone wanted to see in the first place. I think that decision was made due to the divisive reaction towards Prometheus and it's very loose connections with the Alien franchise overall.
Keep in mind, Prometheus was announced to be a prequel to the original Alien (1979) and Aliens (1986) films which would explain the origin of the Xenomorph which was essentially a perfect organism. Everyone expected to get answers on the creature's origin but what we got instead was an overarching narrative which was supposed to be spread over multiple films which was not only going to give us the origin of the Xenomorph but much more i.e. The origin of human life itself and how everything was intertwined; and although I do admire Prometheus for it's bold move of subverting our expectations, I think it failed to make enough of an impact on the audiences to convince them about the pleasures of waiting for a story to unfold slowly and gradually which takes it's own time to get to the promised storyline. So, Ridley Scott just took things into fast forward mode and gave us what we were promised in the first place without sacrificing the narrative which was really surprising because that is very difficult to achieve in filmmaking.
First off, the worldbuilding and visual effects. The world Ridley Scott has created here is just amazing. You immediately get the vibe of Blade Runner with even the opening shot of the eye resembling his original film. The world I see here, even though being extremely hostile, is one I want to visit and live in. Everything on-screen looks beautiful and breathtaking. This has convinced me that, no one directs Sci-Fi like Ridley Scott. I think Disney is pretty dumb that they haven't hired this guy to direct a Star Wars film up until now. Give him a few characters and watch him expand a beautiful world which we already know and love. I think it would be a massive W for the Star Wars franchise to hire this guy because at present, Star Wars is not in it's best state right now and requires some much needed reinvention.
Now, talking about the story. Although it is not as consistent as Prometheus promised to deliver in it's end, we do get a pretty good narrative. As I explained earlier, the story has been fast-tracked in favour of the promised alien origins storyline but somehow, they made it work! I never expected to see the journey of a robot who learns to defy it's own creation and is on it's way to destroy them all. The gore and kills in this film is also just marvelous and beautiful to watch. The Xenomorph using it's retractable mouth to smash through a person's mouth who's having sex in a shower is just nasty and primal and an extremely satisfying alien hunt. Also, that backbuster scene which was clearly a nod to the chedtbuster scene from the original film, peak cinema.
Michael Fassbender is the star of the show. Again, leagues ahead of everyone else. Everyone else was also doing a good job but Fassbender just makes them look like amateurs; and the brilliant thing is, he has a dual role in the film. One of David from Prometheus and one of Walter. Both are completely different and Fassbender plays both of them with perfection. I just love him in this film even though he is essentially a mad evil scientist with a mission to create the perfect organism.
The one scene which I really loved in particular was the opening scene where Guy Pearce plays this power move of dominance over David and how powerful it was in establishing David's motivation. You immediately get the feel that this guy is not going to let go of the opportunity of creating a world-ending apocalyptic parasite whenever he gets it. Also, towards the very end, when you hear Richard Wagner's Das Rheingold Opera Act II, you know something serious is going to go down.
The Fabelmans (2022)
every picturemaker has an origin story
Steven Spielberg has to have the biggest flex in telling his own story of filmmaking through film itself.
Sammy is taken by his parents Mitzi and Burt Fabelman on his first trip to the movie theater to watch Cecil B. DeMille's The Greatest Show on Earth. A nervous sammy watches in horror with mouth-agape fascination, as a pair of circus trains collide. To us, as 2022 audiences, the crash effects are crude and the scene is pretty lackluster, but to sammy in 1952, it truly is, The Greatest Show on Earth.
On the ride home, sammy's parents are debating if the movie was too scary for him but sammy says nothing, still wondering what he saw and that night, he goes to bed dreaming of trains. We then see sammy screaming for his mom at the top of his lungs and we instantly assume The Greatest Show on Earth has given him the Greatest Nightmare on Earth. Alas, that isn't the case. Sammy is jauntily jumping in bed and he knows exactly what he wants for Hanukkah: A Train Set. He then recreates the crash scene from The Greatest Show on Earth with his train over and over until his mother gives him the family's 8mm camera to shoot his own version of the sequence. She thinks that the camera will get the crashing trains out of his mind, or at least encourage him to stop smashing the very expensive toy around. Although it does happen, it's not quite what you'd expect; instead, sammy has now transferred his interest from the train to the camera and once he did, he never let it go as evident from the film and his director itself.
What's most intriguing about this film is that you can tell, that even after 70 years, the real Steven Spielberg remains equally obsessed with movies. He's obviously learned a lot about how to make them since 1952; but he has never lost sight of the why.
The performances in this film are just heartbreaking and beautiful. Paul dano has never had a bad performance in his entire career and his streak remains intact. And what's even more impressive, he has given us the role of a psychopath on a murderous spree and that of a loving, heartbroken father wanting what's best for his boy both in the same year. Truly one of the best actors of our time. Michelle williams OMG. What an absolute icon. This might be her most nuanced, emotionally-wrecking role to date and that shows. She was obviously the best part of the film for me because although the film never antagonizes paul dano's character (because he truly is the nicest person to exist who thinks rationally and is confined to reality), you know that he and michelle william's character can't stay together for long. They eventually have to seperate. The film uses this plot point like a chekhov's gun waiting to fire, a powder keg waiting to blow and steven builds up to that moment of lives being shattered with utmost delicacy. Even the after-effects felt due to that are felt to the core and just brilliantly written. Gabriel LaBelle honestly is literally me. He is afraid, emotional, unsure of what to do in life if not following his true passion and even willing to sacrifice that passion for the sake of the family. Truly a standout performance and I wish to see more of him in future films. Rest of the performances are also really great and not a single loose thread.
The background score. 2022, a year of such great musical numbers and background scores. We have avatar 2' action packed score, babylon's trumpets, and the batman's epic and rousing theme (which I still think is the best score of the year and the academy does a real disservice to michael giacchino by not even nominating it). Just when we thought we had it done and dusted, john williams rose from the ashes and gave us the beautiful score of this film. Truly some exceptional work here. Each and every single one of the piano pieces are beautiful and I desire to have this on vinyl.
The cinematography is also beautiful and not wanting to say much here without spoiling the absolute beauty of the shots, the 2 best scenes of the film for me are michelle williams gracefully performing in front of the car headlights in a gorgeous white gown and the last shot of the film which skillfully shifts the horizon from the middle to bottom.
I'm just happy that even though I had the chance to watch this at home, I decided to wait for that theatrical experience and got the best out of it.
P. S.: truly bummed and shocked to see this film's box office failure. Cinema is truly dying and only we can save it guys. Please go for this film in the theatres if you can because this is spielberg's most personal film to date and it deserves your attention.
Under the Skin (2013)
Laura: When was the last time you touched someone? Me: Interlinked.
After watching this piece of terrifying arthouse cinema, it occurs to me that Jonathan Glazer might just be the Tarantino of arthouse films. He clearly shows signs of influence from other directors like Kubrick and Lynch in this mish-mash of a film but despite all that, Glazer has created something completely new and intriguing.
From the opening frames resembling 2001: A Space Odyssey to the gore-filled sluice reminiscent of that bloody elevator from The Shining, Glazer morphs the imagery in his own wicked way. He also adds neat little touches like the shedded skin of a victim floating in a viscous liquid and the painful close-ups of an eyeball which altogether create a terrifyingly real unsettling effect which most psychological horror/thriller films can only dream of achieving.
It becomes clear from the first few minutes that the director wants you to witness this tale through the eyes of Laura/The Female, and this is how he shoots it. We see what she sees. This film is shot so uncomfortably that you really need something to distract your mind towards after you're finished to take you out of it. It also amplified some feelings inside me and the best way to describe it would be "People are strange, when you're a Stranger." As the film progresses, you slowly start to get the sense why there was so much discomfort during the first act when it finally drops the bomb on you as to who actually Laura is. Although the film doesn't quite tell you why she does what she's been doing, I'd like to say that it was never thee point and if you are one of those who seek answers for everything in this indifferently cruel world, then you'll probably be disappointed. Although, the thing that does matter for the film is much more subtly placed and quite amusing. If you want to know my thoughts, I've written it down at the end in the P. S. section because they're huge spoilers.
Of course, none of the uncomfortable and eerie atmosphere could have been maintained without the committed performance of Scarlett Johansson. Her character is a walking contradiction. She seems infantile, alluring, fearful, cunning, wonderous, often all at the same time. At first glance, the performance appears poker faced, her work here is actually quite on point, dedicated and brave. I don't think I've ever seen her in such a role which is highly relatable (to some aspects) given the nature of her origin.
Mica Levi's score here is also what contributes a lot towards the unsettling atmosphere. Reminiscent of Kubrick's film scores due to its wailing overtones and bassy percussion, Under the Skin provides an experience you won't forget in quite a long time.
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P. S.: SPOILERS FOR THE FILM
The nature of Laura's origin is what fascinated me the most. There was always this sense of her being something different and although I was not expecting it to be something Sci-Fi like her being a literal alien in the film, maybe that was never the point. The themes that Glazer was trying to touch here that even if Laura is a man-consuming alien, she found loneliness. She felt emotions. Something she was not supposed to feel. She begins to feel things which, I think, is quite beautiful.
Captain America: The Winter Soldier (2014)
Character Deconstruction at it's Perfection
What do you get, when you combine a 70s paranoia thriller with a comicbook action film that completely deconstructs the protagonist's entire belief system and worldview in the cruelest way imaginable? You get, Captain America: The Winter Soldier.
This film is arguably the best marvel cinematic universe film to have ever been produced. It has everything you can ask from a comic-book film and not only that, it elevates itself by giving personal conflicts for almost every character in the film and packs a necessary emotional punch that you rarely see in these films.
As Steve Rogers struggles to embrace his role in the modern world, he teams up with a fellow avenger and S. H. I. E. L. D agent, Black Widow, to battle a new threat from history: an assassin known as the Winter Soldier. I just wrote the IMDb plot synopsis because it is the best way to go into this film without any spoilers. Although we all expected it and knew it, the moment we see that face, it's terrifying and heartbreaking at the same time.
The acting is just, phenomenal. Chris Evans gives the best performance he has ever given in these films and this film takes him to his darkest and lowest point of life because he loses his faith in the government, loses his best friend, is almost about to lose the love of his life, but he still has one thing clear in life and is still willing to give up his life for it which is, to do what's right, no matter if he has to go against the entire world for it. Scarlett Johansson also gives a great performance here, this is the first film in the entire MCU where her character actually seems to have some weight and stakes here. She never felt like a character before this and always seemed to be there just because she's black widow. Here however, she has some development and she begins a character arc that actually goes on to have a great end by the end of Avengers: Endgame.
The soundtrack composed by Henry Jackman is also really good. The gothic theme provided for the winter soldier gives me chills every time. Amazing work.
This, along with The Batman are what I consider to be perfect CBMs and I wonder if they can be topped anytime soon.
Fursat (2023)
could've been so much more
It clearly shows that this film was shot on iphone because of the poor video quality even in 1080p but keeping even that aside, there isn't much going on in this film. The film starts with an interesting cold open setting up some reasonably high stakes for a 30 minute short film but in the end transpires to become comical.
This film solidifies that vishal bhardwaj is really only bound by the commercialization of the hindi film industry but still, he brings life to an artificial studio set piece using some incredible lighting, costume, silhouettes and design.
My big takeaway from this film would be songs and nothing much else because I'm still conflicted about the performances and I don't really know what to make of them.
The Whale (2022)
a brand new Darren Aronofsky film! some light-hearted wholesome drama I'm sure!
Held together by a killer Brendan Fraser (don't worry sir, we will get you that Oscar), this film is a sweet poem of empathy that will leave most viewers blubbering. This film makes me feel awful inside and not necessarily, in a bad way. Aronofsky's films have always been known to make one feel empty, not in a dissatisfied way but in a way that someone just took everything that makes me feel warm and cozy and ripped it out of me. This film broke me.
This film is based off of a stage play written by Samuel D. Hunter which is about an obese man hiding from the world, staying in his apartment to the detriment of everyone around him, including his young and estranged daughter whom he left along with his wife to be with a man named Alan with whom he fell in love. When Alan commits suicide, Charlie's only remaining purpose in life is to make sure that his daughter Ellie is going to be okay even when he's not going to be around.
I knew I was not going to be able to hold back my tears when I first saw the trailer which gave me this impression of the film being dark and depressing and although it is dark and depressing with its undertones of guilt, remorse and religion; what essentially makes this film great is that in the end, it gives you a feeling that even though everything that has transpired throughout, Charlie's daughter Ellie is going to be okay, she is going to have a decent life. Making sure of this will atleast be the one thing that he, by heart knows, did right in his life.
Even if this film polarizes you in its approach of guilt or its treatment of fat people (which a lot of people online are discussing about), there is one thing that you and everyone who watches this film will agree in unison that Brendan Fraser has given a performance of his lifetime. That too at a time when everyone least expected it. This is one of those performances where either the most suitable actor (Brendan in this case) does it best or it does not happen at all. Brendan's grounded approach to becoming Charlie is what makes his performance seem so organic and makes you sympathize with all he's going through and even if you know deep down that he's not exactly doing the right thing but, from his perspective, it's the only thing that matters to him and you want him to succeed at that. Sadie Sink also gives a razor-sharp performance as Ellie which I think might be her best role to date which just further proves why she was the highlight of the incredibly mediocre Stranger Things Season 4. Hong Chau is also the one who delivers the character perfectly. Her performance is basically us as the audience reacting to all of Charlie's doings. There is not really any complaints at all, in the acting department at least because, Aronofsky really knows how to pull performances. There is always that one actor in his films that absolutely kills it in their roles and we've seen it all the way from Requiem for a Dream, Black Swan, Mother! And now this. I don't know how he does that but it's just incredible. He has always been one of those directors (with the likes of Quentin Tarantino, Martin Scorsese, James Cameron, Ridley Scott, James Mangold, David Fincher and many more) who whenever come up with something new, it's like an event to me. A celebration of the seventh artform and what it truly stands for.
This film's production design, camera work and lighting is also something that should be taken into notice. It really gives you that claustrophobic feel of being in one house all the time. The set lighting makes sure you feel that dark/depressed state of Charlie's mind and body and how tired he is of his own life committing one mistake after the other and just wants it to end.
The one thing I can't really contemplate is that some parts of the film didn't really make much sense to me except for them just being there for plot progression and pulled me out of the film's other more organic approaches. For instance, there is this scene with Charlie and is wife which doesn't really make much sense only until the very end which just makes the film's runtime 10 minutes longer and I wanted them to get to the point already.
I can't really recommend this to you because you might either find this film beautiful and cathartic (like I did) or you might find it empty and having no point to it. The latter can happen because the film wants you to empathize with Charlie after making him seem disgusting in the beginning by showing him masturbating to gay porn. It's either a hard hit or a complete miss and only you can decide it for yourself.
Jab We Met (2007)
Imtiaz Ali's Magnum Opus
I know I know there are better Imtiaz Ali films out there including the likes of Tamasha and most notably Highway, but you see, what I'm talking about here is not his best film, but it's certainly his magnum opus. To let you know the difference, magnum opus is something that is a large and important work of art, music or literature which is regarded as the artist's most important. Not necessarily the best, but most important. So, sure Highway might be Imtiaz Ali's best film, but Jab We Met just speaks to me in a different way.
Right from the start, this film drags you in. The opening montage of Aditya Kashyap just leaving everything behind and giving up on life is something I relate to on a huge, personal level. I too sometimes feel like just disappearing from everyone's life out of the blue and wanting to be left alone. It gives off a vibe that this might be a depressing, slow-moving film about Aditya's journey of self-discovery and coming to terms with various stages of his past life. Although that does happen, it doesn't quite happen in a way you'd expect things to happen. Right after the opening montage, we are introduced to Geet Kaur Dhillon. A character which is the polar opposite of Aditya and that's when you think that it is through Geet, that Aditya will finally learn about the value of life. Although, that also does happen, it does not just end there, it's actually only the first half of the film. The film transitions into something much more beautiful and emotional in the second half which shows what an amazing writer-director Imtiaz Ali truly is. After the first half, the situations are reversed and the tables are turned. It is now Geet that is facing what Aditya was facing in the first half and now it's Aditya's duty to help Geet learn about the value of life. This unique dynamic along with exceptional work from the leads is what makes this film work. The energy of the leads is so beautiful that they don't miss a beat in connecting with the audience and land a gut-wrenching powerful punch when the time comes. I was crying through most of the middle section of the film to witness all the situations reversed and seeing Aditya encouraging Geet to live again melts my heart.
The performances from the leads are absolutely fantastic. There is not a single loose thread in the acting and considering Shahid and Kareena were an actual couple back then, it really shows. Their chemistry is off the charts and you desperately want them to end up being together. Tarun Arora as Anshuman is also something that works really well. You'd think of him as that regular trope-filled character of a rom-com which is there just to act as an obstacle before the two leads end up together but he is so much more. His character has an actual stake in the film and his actions have some serious plot-thickening consequences. Which is what makes him different and unique. Although, whatever fate his character met, he deserved it. The rest of the cast is also good and provide ample support to the leads.
The music and background score oof. This is where the film excels again. Each and every track is soulful and eargasmic. Be it the romantic Tum Se Hi by Mohit Chauhan, heartbreaking Aaoge Jab Tum by Ustad Rashid Khan, the absolute banger party songs Nagada Nagada by Javed Ali/Mauja Hi Mauja by Mika Singh or the go-to vibe filled Yeh Ishq Haaye by Shreya Ghoshal; each and every song is great and contributes to the film in high values.
In the end, I'd like to say again what I said in the beginning. This film is indeed, Imtiaz Ali's Magnum Opus.
Veer-Zaara (2004)
Epic Love at it's peak.
What is the meaning of loving a film? I really don't know. But yes. I do know from the bottom of my heart that Veer-Zaara is an absolute masterpiece.
This film has everything. And everything comes beautifully in its perfect place due to the influence of the powerful man behind the camera, Yash Chopra. How can one man pull off such masterclass in storytelling that even though the concept and the story being so cliche feels so fresh and unique? You will always be missed sir.
First off, SRK and Preity Zinta are just magnificent in the film. There is no second guessing there. The story of Veer Pratap Singh leaving his entire life behind to protect the honour of Zaara Hayaaat Khan is supposed to be an emotional rollercoaster and both of them don't miss a beat. I can't not believe that there is a man alive who can love Zaara more than Veer and it is all due to the performances of these two actors. Truly exceptional work by both of them. The rest of the cast also is simply great. Although most of the screentime is given to the leads, amitabh bachchan, hema malini, manoj bajpayee, rani mukerji, boman irani, all of them do a great job to support the love story perfectly.
The music is also really good. An album so good it will make you wanna cry, dance, be happy and fill you with all emotions humanly possible.
Idk about you guys but, this film is perfect for me. A story I will never forget and cry everytime I rewatch it.
The Namesake (2006)
a series of emotions you might've rarely experienced before
This film reminds me of Rust Cohle's monologue from True Detective. It goes like,
We are things that labor under the illusion of having a self, that accretion of sensory experience and feelings, programmed with total assurance that we are each somebody, when in fact everybody's nobody...
It is through the means of this film, that Mira Nair completely proves this monologue wrong, and I couldn't be more glad. We each are, in reality, somebody. We all have some sort of identity. That identity may not be something you understand but it certainly means so much for someone else and you changing that just because you don't like it is the most cruel thing you can do to a person.
A story you might've rarely seen before and will ever see again. I fell in love with the aesthetics of this film and the themes it covers. Self-discovery, appreciation of one's own culture, family solidarity, the circle of life are just the tip of the iceberg. Mira Nair truly turns Jhumpa Lahiri's gentle, evocative novel into a gentle, evocative film. It makes you feel things. A bengali couple growing their children in the states only for them to be more inclined towards american culture rather than indian culture is something we've all seen before but there is just something about this film that gives you hope. It tells you that no matter how much one runs away from his heritage and culture, there will always come a time where it catches up with them and by then, it's too late.
The film's best parts for me are the subtle, loving performances by Tabu and Irrfan. They never overplay, never spell out what can be said in a glance or a shrug, communicate great passion with mere silence. Irrfan was the highlight of the film for me. He plays this reserved, quite-like, calm and wise person whose emotions don't betray him. His performance truly sells him as Ashok Ganguli, and when certain things happen in the film, make you cry your heart out. When Ashok was convincing Ashima to open the door, I was floored by how intimate that scene felt even though both of them were in different rooms. All that happened because of Irrfan's fantastic dialogue delivery and body language. Tabu, on the other hand, as Ashima, is perhaps at her best. I've seen her in many films and have praised the hell out of them but here, it's just on a whole different level. My God! Is she an amazing actress!!! I've said this before and I'll say it again, Tabu needs to be kept in a gold vault and be protected forever. Kal Penn was also really good. His character is the one who suffers the most dire consequences for his actions and it all starts because he chose to kept his name Gogol instead of Nikhil when he was 4 years old. The film provides us with impactful scenes as to why his name being Gogol matters and why does it mean so much to Ashok.
The music is also quite well composed. Being a blend of indian classical and western pop with a hint of hip-hop feels weird to achieve but the film somehow manages it with good enough results!
One thing I'd like to say is how well Smoking is used in the film. We know after a certain point in the film that Ashok is quite a smoker, maybe not extensive but he always has a couple cigarettes with him. This habit eventually leads to one of the most heartbreaking moments in the film sure, but it is those other little things that got me by surprise. There are a lot of things, but just for an example, take a look at the scene when ashok gives gogol a graduation present. We immediately get the sense that ashok is nervous because of the generational and cultural gap between him and his son. This is excellently conveyed throughout the scene where Ashok is constantly licking his lips which are a consequence of smoking which give dry lips in situations of nervousness. This licking of lips is played many times throughout the film to covey tension and nervousness. There are many little things like this but it'll just make this thing longer and quite possibly, boring for you.
Puss in Boots: The Last Wish (2022)
Beg for mercy from PUSS! IN BOOTS!
The concept for this film is simple, puss has run out of his nine lives and can only get them back with the means of a wishing star which is in pretty high demand among the bad guys of the shrek cinematic universe. The competition is Goldilocks and the Three Bears and Little Jack Horner who is not so little anymore along with a certain someone who is behind puss for a very specific reason.
The execution of this concept is what makes this film such a treat. The screenplay is straightforward and fast-paced, drags somewhat in the second act but manages itself by the end. The music is perfect for the aesthetic (chef's kiss to be more accurate). The voice acting is muy buena (very good). Antonio Banderas, Salma Hayek, Florence Pugh, Harvey Guillén, John Mulaney, Wagner Moura they're all just fantastic. I was genuinely invested in the characters and not solely on nostalgia. Not that this film does a few callbacks but those aren't some cheap fan-services but something that add a little substance to the greater story.
Now, the animation and the cinematography. Ughhhh, it's so freaking beautiful !!! Spiderverse swung in style so puss in boots could land purrfectly on it's feet. There is clearly inspiration for the animation here but instead of some cheap rip-off, it really feels like an artistic choice and comes off as an artist's fairytale come to life here. The movie literally starts with the words "this is a fairytale..." and lives up to it! The cinematography too is something to look out for. This film haz better shots than I can spot in a big budget Hollywood blockbuster these days. DreamWorks atleast never fails in that department and always manages to exceed expectations!
To be honest, I wasn't really expecting anything from this film because the shrek cinematic universe has been near-dead for so long, but this film gives me hope. This film gives me something to put my faith in. You'd think that years of development hell would usually mean bad for a film but not for PUSS!... IN BOOTS!
Just go and have a good time with this. And if you haven't yet seen the trailer for the film, don't do it. Just go into the film blindly like I did. It will surely give you a few surprises! In my opinion, this is the best film in the Shrek Cinematic Universe since Shrek 2, which isn't saying a lot, but it should since Shrek: Forever After was the only good film after Shrek 2.
P. S.: the new DreamWorks intro is so good. I just love it!