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SoumikBanerjee1996
That's How I Ended Up In Here!
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Children of Men (2006)
A strange encounter
It feels almost counterintuitive to watch a movie about infertility while residing in the most densely populated country in the world. Perhaps the main reason why the greater implications of the narrative failed to make a lasting impression on me.
To be honest, as a citizen of a nation that has always grappled with problems related to overpopulation, it is challenging to accept such a proposition, even more so difficult to envision a scenario where 'fertility' becomes a pressing issue.
Nevertheless, shifting focus back to the film itself and analyzing it from a cinematic perspective, I must admit that I was impressed by its visuals and the meticulous attention to world-building.
For a a post-apocalyptic feature, it undeniably exudes enough authenticity, and whilst the performances are credible, they do not break new ground. Instead, it is the technical dexterities that truly shine and carry the weight of the storytelling.
Article 370 (2024)
Yami is getting better day by day, what an actor!
Leaving the purported discussions regarding political agendas and propagandas aside, I believe we can all agree on the fact that the abrogation of "Article 370" was a landmark in our nation's post-independence history.
And for a movie to depict every detail about the article, every residue of the said bill, and every strategy that went behind before the final reveal was no mean feat, yet the makers were able to not only feed information in layman's terms but also make the entire proceedings enough interesting to keep the audience engaged for the whole two and a half hours duration.
Not to mention, Yami Gautam, as Zooni Haksar, merits commendation. Lately, she has been choosing meatier roles, and I couldn't be happier, as she tends to shine whenever she's given the spotlight, such a bankable performer she had evolved into.
Monkey Man (2024)
Exhilarating climax, but the rest...
I adore the way in which the narrative draws parallels to Hinduism and its ancient scriptures, I admire how Dev Patel, "the director", chose to juxtapose the opulent lifestyles of the filthy rich with the hardships of the underprivileged, and I absolutely cherished Dev Patel, "the actor", this time, for his devoted performance throughout, especially in the exhilarating climax.
Now, inspite of the technical prowess and the thrilling nature of the film, the storyline itself lacked originality. It felt like a typical revenge drama with an Indian twist.
While the film effectively evoked necessary emotions, the second act remained the weakest segment of the overall tale. The slow pace also presented challenges.
Asteroid City (2023)
The Wes Anderson I like and want to see more of
This latest Wes Anderson film is precisely what I've been craving the last couple of days. It beautifully combines his artistic flair with his literary genius.
While I won't claim it's one of his best, he still is far off from his peak, however, following a disappointing binge-watch session consisting of some of his earlier movies (the likes of Royal Tenenbaum, Moonrise Kingdom, Life Aquatica), this does feel like a breath of fresh air, a satisfying denouement to my week-long Anderson marathon.
I adored the unique visuals and the quirkiness of the tale, and I thoroughly enjoyed the talented ensemble. It was quite a sight to behold all those talented personalities coming together on-screen.
Having said that, I do wish there was more depth to the 'Play'. It felt somewhat, to put it bluntly, self-restraining, maybe a bit too 'safe' for its own good.
The Life Aquatic with Steve Zissou (2004)
Seems like I am in the minority again
The idiosyncrasies of the characters fascinated me to an extent, but I found myself indifferent towards the introspective quests they undertook and the objectives they aimed to accomplish. This has consistently been a problem in the last three Wes Anderson films I've seen in the last two days.
Whilst I greatly appreciate their unique styles, mannerisms, and overall presentation, I struggle to form any meaningful connections with any of these characters, and that's mostly due to their superficiality and lack of profoundness.
Furthermore, the internal dynamics among the characters also fell short, failing to create a captivating narrative for me to be invested in. If truth be told, I remained disinterested for the whole duration.
Rushmore (1998)
Didn't work for me!
When I sit down to watch a Wes Anderson film, I always anticipate being captivated by gorgeous visuals and their unique brand of comedy that he brings to the screen.
However, in this case, I was surprised to find that both of those elements were noticeably absent. The lack of humor and emotional depth left me feeling unsatisfied for the majority. Albeit, Jason Schwartzman and Bill Murray kept me invested in the story.
I so understand that this was only Anderson's second directorial effort, and I should not be too harsh in my judgment. However, I had high hopes for it based on the overwhelmingly positive things I had heard before and my personal admiration for Mr. Anderson.
Unfortunately, I can't help but feel disappointed here.
Rebel Moon - Part Two: The Scargiver (2024)
Considerably better than the first part
Second part of "Rebel Moon" has noticeably improved over his disappointing predecessor, and that is mainly because of two reasons; one, the characters are more fleshed out and presented with opportunities where they can shine and stand out, and two, the action set pieces for whatever reason seem more polished than the last occasion.
All those big explosions, gunfights, and hand-to-hand combats looked more pleasing to the eyes. The issues with the CGI and editing still linger, though, they have been managed slightly better this time around. And in case you're wondering about the Slo-mos, yeah, you still have plenty. It is made by Snyder after all; you know he has to put those slow motion into work.
Rebel Moon - Part One: A Child of Fire (2023)
Couldn't shake off the feeling of being 'generic'
Sofia Boutella did good, the action scenes were enjoyable, and the dedication to world-building was evident and deserves recognition. Nevertheless, the screenplay and the underlying narrative of Part One of Rebel Moon failed to meet my expectations.
This can be attributed to two main factors.
Firstly, the lack of character development makes it challenging to form a connection with the characters or their cause. Secondly, the storytelling itself lacks excitement, which is surprising considering the extensive effort put into constructing various realms and cultures.
Overall, it felt like a subpar amalgamation of numerous sci-fi and ComicBook movies I have watched before. There was a distinct lack of originality, and to top it all off, the film failed to evoke any emotional response. Except for a handful of sequences, the majority of it was unremarkable.
On a side note, it's clear now that Mr. Snyder has a penchant for slow-motion sequences. Perhaps Zack 'the slo-mo' Snyder would be a fitting moniker moving forward.
Under the Silver Lake (2018)
Excruciating
It attempted to convey a sense of mystery, striving to be profound and thought-provoking, yet unfortunately, it miserably fell short in its endeavour.
I usually appreciate unconventional movies, embracing their eccentricity when it is accompanied by genuine creative flair. However, in this particular case, I can't act the same.
From the very beginning, it appeared to be a fruitless venture, lacking clear vision and purpose, hopelessly meandering for a significant portion of its almost two and half hour duration.
If any of you managed to extract some meaning from it, well done, I'm glad for you, I wish I could say the same, but I couldn't.
Dune: Part Two (2024)
Just as epic as the first one
With gratifying battles, humongous scale, and a slew of astonishing cinematographic achievements, this much-awaited sequel is just as epic as the first one.
The only stark difference that I noticed is that the story this time delved much deeper; it shrewdly conveyed metaphors and had multiple layers to contemplate.
However, in doing so it lost its grasp on the screenplay, resulting in a handful of inconsequential moments that served no greater purpose than to extend the duration of the showcase.
Regardless, this was a gripping ride on the whole. Not only did the stupendous visuals hold my attention, but the storytelling too had enough to fascinate my inner conscience, and I dearly wish this streak continues in whatever comes next.
Immaculate (2024)
Should have broken the norms
The resurgence of Nunsploitation as a sub-genre is quite evident from the significant increase in the number of releases in recent years.
Whilst I am not complaining about their resuscitation, cause, I do believe that this genre has the potential to achieve greatness if handled with proper care.
However, it is important to note that 'Immaculate' does not reach the heights of the said greatness, nor does it come close. At best, it can be considered as a decent popcorn flick.
The primary issue lies in the lack of risk-taking in the writing. The film never ventures beyond the safe zone and fails to embrace unconventionality. It regrettably lacks the boldness and daring required to stand out.
I wish the makers had been more experimental in their approach. The genre is in dire need of fresh ideas and innovative storytelling, rather than repetitive iterations of the same formulaic dish.
P. S. Sydney did good though, she was in the character the whole time, never broke out of it, nor for once did she lose her hold, pretty commendable.
The Voyeurs (2021)
This was kinda weird
This was quite a weird journey. Whilst I understand the message the creators aimed to convey, highlighting the value of privacy and how being ignorant to it could put people's lives at danger, my experience was rather peculiar, and not necessarily in a positive way.
Despite the unexpected twists and turns, the lack of emotional depth in the characters prevented these moments from resonating, from leaving deeper impacts.
I found the ending enjoyable though, even if it seemed absurd and illogical, it provided a sense of closure and satisfaction which I usually crave from such suspense thrillers.
Nocturne (2020)
Could have been something very special
The way Sweeney's character (Juliet) and her motives were established right from the start was impressive.
Her vulnerabilities, intense jealousy towards her sister, and her relentless pursuit of perfection in her art were all skilfully shown, making it rather easy to root for her triumph.
If only the relationship between the twins had received the same level of attention, my overall opinion would have been more positive. The supporting characters, let's face it, were rather forgettable.
P. S. While there are supernatural elements in the film, don't go in expecting a typical horror movie. The tale is more of a psychological drama than a straightforward horror flick. Just something to keep in mind.
Bade Miyan Chote Miyan (2024)
Dear Prithvi, you deserved better!
During the initial 30-35 minutes (until the title card appeared), I was actually enjoying the ride.
The action sequences were engaging, the grandeur of the production was impressive, and most importantly, I found myself quite entertained by the friendly banter between Akshay and Tiger.
However, following this promising start, the quality of the film took a sharp decline shortly thereafter.
The writing, action sequences, and performances all suffered a noticeable drop in quality. The screenplay became sloppy and muddled, the dialogues became quite generic and cheesy.
For me however, the biggest surprise was to witness the sheer inefficiency of the action pieces. Inspite of their scale and intent, they failed to make a lasting impact on me.
For a movie that was specifically marketed as an action entertainer, it is disappointing to say the least.
P. S. I liked Prithvi in here, he did good, his commitment was more visible compared to others.
Mirza: Part 1 - Joker (2024)
They shouldn't have revealed all in the trailer
Looking at the sorry state of the Bengali commercial scene and taking the scarcity of mainstream cinema into consideration, 'Mirza' does come across as a devoted attempt, a naive effort to bring the masses back into the theater.
However, mass entertainers need more than ambition; they mandate proper vision, mass sensibility, and, above all, an effective script to aid in their cause.
"Mirza" regrettably lacked in all these aspects.
The biggest blunder they did was to reveal every twist and turn in the trailer, thereby diminishing all plausible scopes to blow audiences' minds and grab onto their attention. It indisputably had the style and the swag but faltered heavily on character backstories and emotions.
Shri Swapankumarer Badami Hyenar Kobole (2024)
Got a bit self-absorbed, self-indulgent towards the end
The story starts off on a promising note, it initially captivates with its unique and unconventional approach. The engaging dialogue and dynamic interaction between the characters, particularly the 'creator' and his 'creation', add a touch of brilliance to the narrative. The opening act exuded a vibrant and extravagant charm that truly delighted me.
However, everything takes a sharp turn once the plot reaches the intermission. The writing all of a sudden becomes excessively self-absorbed, disregarding larger implications of the tale. Subsequently, a sense of confusion seeps in, leading to incoherence and further befuddlement.
Maidaan (2023)
The last 30 Mins took it to whole another level!
In my opinion, the greatest accomplishment of any sports drama is to evoke heartfelt emotions from the audience and establish a deep connection not only with the actors on screen but also with the sport being portrayed.
"Maidaan", despite its issues in other segments, achieved this splendidly.
While setbacks bring about sadness, triumphs lead to feelings of childlike joy and excitement. These emotions are further heightened in the concluding act, especially in the last half an hour.
Whether it's the fast moving close-up or the wide-angle perspectives, every subtle body movement and facial expression is magnified by what could be considered the pinnacle of technical achievement ever seen in a Bollywood movie, it was truly magical. And the credibility brought by the performances made all of our experience even more so memorable.
The theatre I went to turned into a miniature stadium, with people cheering for the players as if the match was unfolding right before their eyes. It felt like we were witnessing history in the making. For a 'fictional' medium to instil such a high level of conviction is marvellous to say the least.
Possession (1981)
Isabelle Adjani is simply sensational
The thrilling journey I just experienced left me in awe, even though I must confess that I struggled to fully comprehend certain sections of the storyline.
There may have been subtle hints that eluded me, but now I am eager to seek out explanations. Despite this silly oversight, my fascination never wavered as I was invested till the credits began rolling.
I was simply captivated by the raw, unbridled energy that permeated every scene, and the performances, particularly of Isabelle Adjani's, held me spellbound.
Rarely have I seen such dedication and commitment on screen, she had me under her spell the whole time and I cherished every second of it.
Kung Fu Panda 4 (2024)
The charm has slowly diminished
Gorgeous visuals, fun combats, and lots of variety in characters; I feel children, especially those who belong to the age bracket of 5-10, will have a great time with it.
However, teenagers or matured adults may have reservations about the film, particularly those who have grown up with this series and hold the franchise in high regard. They would notice the diminishing charm, the losing essence, and the fading magic of the storytelling that was once prominent but now are gone.
The franchise has regrettably become a cash-cow, which serves nothing but one lone purpose: to mint money for the studio and their executives. I think they should stop now!
Underworld (2003)
Proper time was given for the world-building
Is it only me, or does it really resemble both Matrix and the Resident Evil series? It felt like an amalgamation of the two; the only difference was that instead of having simulated reality or hungry zombies, we get vampires and werewolves.
Not that I'm complaining; truth be told, I kinda enjoyed it. I like that proper time was given to the script, for the world-building specifically, which in return, helped us to gain knowledge on these fantastical creatures and their century-long rivalries.
The screenplay is quite eventful, and there is plenty of action to look forward to as well, and then you got Kate Beckinsale poses as one hot, badass Vampire for the entirety, well, I was happy and entertained!
Next Exit (2022)
Missed opportunity
Notwithstanding my overall opinion, it's indeed a fascinating concept.
I, for one, have always wondered about the possibility of an afterlife. In my teenage years I used to ponder, What if scientists, professionals researching in the field, suddenly get their hands on some concrete evidence, some irrefutable proof about life after death?
What would it be like to live in a world knowing that death wouldn't mean the end of it; it would all just be a transitional phase, merely a point of our existence from where we can start afresh?
"Next Exit" came real close to exploring those ideas in a way I crave, yes I used the term 'close' because if judged on the whole, the film did flounder its golden opportunity to be something significant, and the main reason behind its inefficacy was the human drama, or rather the faltering nature of it.
Now, I'm not blaming the actors; both Katie and Rahul tried their best, but the characters, particularly the way in which they were written. I could not sympathise with either of the leads, and that left me in a difficult situation because I really wanted to care, and to be honest, for these stories to work properly, it was imperative for me to build a connection, which I couldn't, and that's unfortunate.
Super Dark Times (2017)
Actors saved it
The story inherited a promising idea, and the creators had every necessary tool at their disposal to turn the same into something impressionable.
However, the poor screenplay and a weaker direction in general proved detrimental to their aspirations. Except for a couple of scenes in the middle (and in the climax), the movie largely comes off as stale, quite bland if I'm being honest.
The tension manifests, but the escalation is not there.
If not for the praiseworthy performances, it would have been an abysmal misfire. The actors (especially Owen Campbell) saved it from sinking to the bottom.
1922 (2017)
Underplayed
A husband conspiring to kill his wife and the son aiding in that sin itself is horrifying. I cannot even imagine what it must have been like for real-life victims, the ill-fated people who had to undergo such unspeakable pain and anguish.
Now, the idea was promising, and the film, to a certain extent, complements the merit of the concept.
However, on the whole, I feel the proposition is heavily underplayed. It surely demanded something more from the script; the depth was missing, although I am pretty sure the book this is based on did a far better job at exemplifying the crux of the narrative (remorse and repentance)
P. S. Thomas Jane did most of the heavy lifting, and if truth be told, his performance is the sole reason I am willing to be a bit generous with my rating.
Rosemary's Baby (1968)
Where's the horror?
Throughout the years, I have come across numerous opinions about "Rosemary's Baby." The majority of which consider it to be one of their all-time favourite films, emphasizing its terrifying and unsettling nature, particularly for expectant mothers.
While I agree with the latter part, acknowledging that it can indeed be a deeply unsettling experience for some, I cannot fully support the former claim. It is not terrifying, at least not in the conventional sense, especially when compared to other movies in the "Occult" genre.
Apart from the dream-like sequence, there's almost nothing that could potentially induce horror. It may make you uncomfortable to a certain extent, but it lacks the ability to truly shake you to the core. Personally, I believe it would have been more effective if it had been treated as a psychological thriller instead.
On a side note, Mia Farrow's portrayal of Rosemary is exceptional. To be honest, she was the one who held my attention until the last frame.
Once Upon a Time in... Hollywood (2019)
Reminded me of Chazelle's Babylon
It indeed reminds me of Damien Chazelle's "Babylon", Not only do they share similarities in terms of the core subject, but also in how both these movies seek to pay tribute to the industry and showcase the transitioning era of Hollywood.
Therefore, I would like to reiterate what I previously mentioned in my review of "Babylon" about a year or so ago. This will hold greater significance for those who have either grown up with Hollywood films, particularly with westerns, or possess extensive knowledge about the industry and the interesting history attached to it.
Casual observers, or individuals from outside the United States (like myself), may not connect with the narrative in the same way, but one thing is certain: we all will thoroughly take pleasure in watching Leo & Pitt deliver exceptional performances. They are genuinely two of the most talented actors of their generation, without a doubt!
P. S. The final ten minutes of the film are absolutely thrilling. I only wish the rest of it maintained the same level of energy and vibe.