SoumikBanerjee1996 Reviews

Shaitaan (2024)

A good suspense thriller!

[7/10 · 5 May 2024]

The screenplay is tightly crafted, with a narrative that captivates. What truly stands out is its ability to build tension in a gradual manner, keeping the audience on the edge of their seats from beginning to end.

The character development is tidy, evoking emotions and making us deeply invested in the characters and the pain and hardships they go through. Whether we find ourselves rooting for or against them, the script succeeds in forging a strong connection between us and the individuals onscreen.

However, there are moments where the film seems to hold back, perhaps out of caution. It feels as though the writers were hesitant to breach the boundaries, opting for a safer approach.

Given the dark and unsettling nature of the theme, I had hoped to see the filmmakers push the envelope even further. I haven't had the chance to watch the original Gujarati film, but I have heard it was darker.

I wish this remake upheld that approach and had taken more risks.

P. S. R. Madhavan's portrayal of Maddy steals the show. Seeing him play the antagonist for the first time was a revelation, and I have no doubt that he will be offered numerous negative roles after his stellar performance.

Along With the Gods: The Last 49 Days (2018)

Better than the first one!

[6/10 · 4 May 2024]

I had issues with the last film, mainly the writing, which felt incoherent. I had voiced my complaint in my earlier review too; therefore, it is good to see that they have rectified most of the of the problems here.

The action is more polished (visual too), the world has more layers, whilst emotional core remains intact.

However, what impressed me the most though is that they dedicated plenty of time to the 'Guardians' as the story wilfully courses back to each of their past lives and binds their souls in a millennium old connection.

I particularly like how they connected the dots, filled the gaps, and, in the process, made their 'afterlife' alliance meaningful.

Madgaon Express (2024)

It has enough to keep you invested in the story!

[6/10 · 3 May 2024]

People born in the late 1990s, particularly those who grew up watching comedies from the 2000s, may experience nostalgia for their younger years.

Credit goes to none other than Mr. Kemmu, the writer-director, for reinvigorating "comedy of errors" genre, which had been lacking its trademark in recent years.

"Madgaon Express" might not have reached its peak but it offered enough quirk and entertainment for its viewers.

The characters were eccentric, the punchlines hit the mark, and most importantly, the actors appeared to be enjoying themselves, especially, Pratik Gandhi in his 'Rowdy' persona, so ridiculous yet so much fun.

Godzilla Minus One (2023)

Deserved the Oscar Triumph

[8/10 · 2 May 2024]

A gargantuan (no pun intended) improvement over the last one. Those who have read my previous review are aware of my strong dislike for "Shin Godzilla". Despite my best efforts, I could not invest myself in it.

However, "Minus One" had me hooked right from the beginning. The director skillfully tackled the task and delivered one of, if not the best, "Godzilla" movies to date!

The visuals are terrific, the sound design is spectacular and above all, the human drama is impactful and leaves the intended impact. Unknowingly, you connect to the characters and begin caring for their well-being.

Now, our beloved Godzilla may not have had as much screen time as fans like myself would have hoped for, but he undeniably dominates every single scene and steals the spotlight every single time!

His Atomic Breath alone stole the show. The power and impact it had were out of this world, Monsterverse is nowhere near. I literally felt the vibrations, my room shook, and my jaw dropped to the floor.

I still can't comprehend how they managed to achieve such technical craftsmanship under $15 million. Mind-boggling to say the very least.

Shin Godzilla (2016)

Unpopular opinion!

[2/10 · 2 May 2024]

What I am about to write may and will provoke some disagreement, as it goes against the popular sentiment here. However, as I have always put my honesty first, I would have to express my views blatantly even if it ruffles some feathers!

I disliked it, to the point where it became unbearable. Despite best efforts to immerse myself in the story and the characters, I couldn't connect to either. The human narrative was so poorly crafted, and its execution was even poorer.

While I acknowledge, there were numerous instances of foreshadowing and clever critiques of bureaucratic figures and their inept responses to such calamitous events, none of that captivated me, as my primary purpose was to witness the original Japanese 'Gojira' in action.

Unfortunately, I was only able to see him for a mere twenty minutes, and even that was marred by annoying inconsistencies in the visual aspects. Although certain scenes appeared visually appealing and contributed to the believability of the film, a significant portion of the visual effects appeared cartoonish and

For instance, when Godzilla emerged from the ocean and made his way onto land, he was unrecognizable! Now, I would not have voiced my complaint if his design had been intimidating or, at the very least, effective.

His initial "version" literally resembled an oversized stuffed toy that had been pulled out from a child's closet. It was truly a horrific sight (and that is not in a good way).

A Hero (I) (2021)

Farhadi gets out of his comfort zone, but...

[5/10 · 2 May 2024]

The primary focus of the narrative centers around the dynamics of debtors and creditors, shedding light on the inner workings of Iranian prisons and the political complexities intertwined within.

However, the portrayal of the family and the dramatic elements they were supposed to be involved in is given very limited screen time. This startling departure from Farhadi's usual inclination to delve deeper into human connections and relationships is partly why it did not resonate with me as much as I had hoped it would.

Nonetheless, I commend his willingness to experiment with something new and step outside of his comfort zone. That said, As a devoted admirer of his artistic prowess, I would personally prefer if he sticks to his signature style.

The Past (2013)

Another Farhadi Masterclass!

[8/10 · 1 May 2024]

The writing effortlessly delves into the complexities of marriage, divorce, and infidelity, presenting a thought-provoking exploration of these critical themes.

Despite the supposed challenges, the writer-director, Asghar Farhadi, masterfully devoted sufficient screen-time to each element, ensuring that every relationship, every single dynamic is given enough space to flourish.

This meticulous approach allows for a comprehensive understanding of the characters, who all make almost equal contributions to the story, notwithstanding their initial 'role' and responsibilities in the script.

The topics addressed hereby hold significant weight, offering profound insights into our moral grounds, the choices we make and the consequences we bear.

Another 'Farhadi' feature that tops the list.

The Salesman (2016)

Inferior to 'A Separation'

[5/10 · 29 April 2024]

Coming straight from "A Separation," this does come off as an inferior product, and that was not because of the storytelling nor the direction; it is about the characters, who, unlike the earlier Farhadi feature I mentioned, lack conviction.

I appreciate that they have dealt with a sensitive issue and tried to put the audience into a moral conundrum, but unakin to the previous instance, it does not have the same kind of impact.

I would go as far as to say that the drama for the most part falls flat, except for the climax where it genuinely shines. If only the same could be said for the rest.

A Separation (2011)

Felt so authentic, it all felt so real!

[8/10 · 29 April 2024]

My very first exposure to an Asghar Farhadi feature has left a lasting impression, almost immediately made me realise why he is regarded as one of the most finest in this craft.

His skill in portraying diverse characters and engaging in simple yet profound discourses resonated with me deeply. Each conversation felt incredibly genuine and true to life, devoid of artificiality or pretension.

Throughout the film, the actors did not come across as mere performers reciting lines, but rather as authentic individuals grappling with real-world issues.

However, I found myself slightly disappointed by the fact that the core narrative, revolving around a father with Alzheimer's and the subsequent strain on his son and daughter-in-law's marriage due to moral dilemma, was somewhat overshadowed by a subplot involving a pregnant woman and her ill-tempered husband.

While this secondary plot had its own significance, I believe the film would have been more compelling had it delved further into the complexities of the husband and wife's martial struggles, their clashing ideologies, beliefs rather than diverting most of the attention to characters outside of their family circle.

Yodha (2024)

The climax should have been better!

[6/10 · 28 April 2024]

The storytelling is on-point, wasting no time on trivial matters. The screenplay keeps things interesting with well-executed action and deftly built anticipation that enhances the quality of the narration.

Additionally, I was enthralled by the writing's ability to consistently shock and surprise with its bag full of twists and turns.

That said, climax fell short, lacking the sophistication that was required. Not to mention logical fallacies and loopholes, which further diminishes the final impact.

On a side note, Siddharth Malhotra delivers, especially in action sequences, although he struggles to convey the same while acting in challenging scenes.

On the other end, Raashi Khanna's performance is fine, but it is Disha Patani who shines the most, proving that even performers who are often typecast can break free from their limitations with proper guidance and vision.

Children of Men (2006)

A strange encounter

[6/10 · 26 April 2024]

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!

[7/10 · 25 April 2024]

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...

[6/10 · 24 April 2024]

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

[6/10 · 24 April 2024]

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

[2/10 · 23 April 2024]

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!

[3/10 · 22 April 2024]

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

[6/10 · 21 April 2024]

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'

[4/10 · 20 April 2024]

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

[1/10 · 19 April 2024]

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

[8/10 · 18 April 2024]

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

[6/10 · 17 April 2024]

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

[5/10 · 17 April 2024]

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 (II) (2020)

Could have been something very special

[6/10 · 17 April 2024]

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!

[3/10 · 15 April 2024]

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

[5/10 · 15 April 2024]

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.