sesht

Petta (2019)

No more Mr Nice guy

There are 3 points in the movie where I saw the main protagonist embrace characteristics that no mainstream hero has done in most commercial flicks.

To me, those are the only reasons this flick, otherwise a rote, by the numbers affair, stood out.

Though the main protagonist's characterization is consistent throughout (albeit 1 of the darkest shades of grey), it also has the unfortunate side-effect of highlighting his utter cruelty and callousness (watch until the very end to get this picture).

Simran, Sasikumar & Bobby Simha (Trisha as well) are completely wasted, and the so-called whistle-worthy moments only speak to the easily swayed.

Of course, I'm excluding all sequences with VSethupathy in them. He probably has the best role in this one, along with a near perfect denouement to his character, albeit a thankless one.

Though it's in keeping with the plot, all women go missing after the first half. Disappointing.

Imho, not this director's best, which has moments of entertainment (see above), decent background score, + decent production values. However, most of the action choreography sucks, as does the CGI. Miss the director who made Jigarthanda.

Pariyerum Perumal (2018)

Naan yaar

Right from the beginning, with the fantastic+true tagline that the film tries to engage with in each sequence, followed by the dog sequences (including the fantastic Santhosh Naryanan track, Karuppi), this one grips the audience right until the last frame, in such a way that the best viewing experience (aside from watching it on a large screen) is in 1 sitting.

It would be juvenile, nee, unfair, to dismiss this as just another love story (which many have already done), but I think this is much, much more, even perhaps what something like 'Sairat' aspired for.

All performances are fantastic, aided in no small part by the fantastic characterization (they are not commercial flick staples) given to them by writer+director Mari Selvaraj (though one can also argue that this one's a quintessential Pa Ranjith flick, which is always a welcome thing). I also found the reveal about a key character in the 2nd half to be very well done (a preview of sorts is given in the track 'Naan Yaar'), and the movie is full of such moments (the 'devathai' conceit, to think of another similar example).

Almost all tracks by SanNar (the aforementioned Karuppi, Potta Kaatil Poovaasam and Naan Yaar) are timely, and as is usual with SanNar tracks, contextual+memorable (tho 'Naan Yaar' might be disturbing for some, and in hindsight, even what is picturized around the dog)...

And, to me, the most meaningful twist was in 1 character talking about truth and honesty, but (nobly, in hindsight) while not adhering to it in key sequences, with many key characters, for a larger goal, which kinda smacked of something bigger (something, to be fair, one can see coming), among the other rewarding twists/turns from the viewing experience.

1 of the best in 2018, this is to be savored.

Fantastic Beasts: The Crimes of Grindelwald (2018)

3 more?

The CGI is really good, with both these instalments doing a much better job than the Harry Potter movies did.

Also, I recently got to know that this is the 2nd one in a total of 5. Why 5? We already know that the finale is 1 long duel between Grindelwald and DumbleDore. And we have them both introduced already. Why pad something which requires no padding?

However, in terms of detailing the world and its characters, Rowling seems to be doing a better job with her screenplays than she did with her epic books.

Johnny Depp seems aptly cast, even though many thought the opposite when the news of his casting was published initially. While I also felt the same, I did think he makes us see beyond Depp the star, when he wants to. He did take this paycheck seriously, and that's a good thing.

I did wish we got to see more of the titular 'crimes' from the villain, after all that's in the title. For some reason, we only get a couple (really serious ones, I might add).

We also really don't get much of the main characters' backstory either, and while that might be sequelitis, it's a pity for something as superior as I felt this was getting to be. Another example is the ditziness with which Queenie's character has gotten sketched. Does both her character and the actress an enormous disservice.

Ditto for 1 of the other French characters, a hench person of sorts.

I don't know if it's sequelitis, but the way certain supporting characters have been sketched did leave me wanting more, especially a key French figure (not the hench person), whose last name again connects this flick to the larger universe, but creates more confusion than anything else.

Was also confused by another key character who's setup both in the foreground and with multiple flashbacks, their family name used as a red herring (as indicated earlier), but is then dropped.

The score, other than its nods to the Harry Potter series, is magnificent. Especially during the (non) climax.

Dan Fogler is the pick of the performers, along with Redmayne. Jude Law's DumbleDore calls to mind his Watson, not just due to his makeup or the period setting, and it's déjà vu all over. Rowling seems to be correcting some lapses in her writing of his characterization (based on feedback?), and that adds some depth to his character. Something that conservative minds might find unpalatable, if they do understand it.

All in all, while it seemed unsatisfactory overall, I also feel that how the next one is structured will determine the final assessment of this one's quality.

Mandatory watching for Harry Potter completionists, like myself. For the others, the CGI might be the selling point.

The Nutcracker and the Four Realms (2018)

Heading to Narnia

1 of the best parts about 'The nutcracker and the 4 realms' is the actual ballet, filmed on Misty Copeland and team in 3D, that forms a ('an' inorganic) part of the movie (plus, at the end).

Prod design is top-notch. Music predictable, but decent. Casting good, performances average (McFadyen is fantastic, as always)....

Overall, other than a few positives, and the ballet sequences, both during the movie, and during the end-credits - meh.

But viewing the ballet sequences are worth the price of admission....go figure.

Most of the other things about the movie are missed opportunities, and as such, forgettable.

Thugs of Hindostan (2018)

Old wine, old bottle: Better than Mangal Pande, though

Plot as old as the hills. Nothing, absolutely nothing, New.

Bad songs, with surprisingly decent picturization (in spite of the uninspiring musical composition) / choreography on the first 2. On the other hand, the background score, initially, as well as sometimes jarring, still grew on me. A good thing.

Inconsistent characterization for supporting characters, especially in the case of a sounding board for the villain, which could've been so much more (interesting), in spite of its overall inconsistency.

The entirety of the characterization of the meatiest character, is so damn predictable, that even when part of it seems to get interesting during the 2nd half, giving us about 20 interesting minutes out of the interminable 165, I'd lost interest by them.

Bad casting of the female lead, topped off by a really weak performance. Director and casting ppl should shoulder responsibility equally.

Trojan statue copy was something novel, in spite of poor context setting. Needed more of that. With better context. Screenplay needed many more rewrites. I think ppl were in a hurry to get this made.

Great end titles. Needed it in the beginning. Great art too.

Weak CGI, surprisingly. Boring action choreography. Not really bad, but boring. Nothing new. Inconsistent sound design. Bad use of Dolby Atmos. Waste of additional ticket price.

In spite of all the negatives plus all the predictability, I confess to enjoying the coming together of the main leads, and about 20 minutes in the 2nd half, including the epilogue.

Hostiles (2017)

Never forgiven, never fogotten

The ultimate revisionist American western since 'Unforgiven' set that 'revisionist' trend in '92, and quite a potent work for the times we live in, which, for the observant who care, acts as an allegory for the 'hostiles' we live with, all around us.

Re-unites director Scott Cooper (Out of the furnace, Crazy heart, Black Mass) with Christian Bale, who gives this, like he does everything else, his all.

There's another reunion of sorts, Bale's again, this time with supporting character Ben Foster after their tryst in the superior remake of 3:10 to Yuma (as always, this 'Messenger' owns every scene he's in, though I do wish he was in more). Plus, performance-wise, there's quite a surprise package, and I'm not referring to the masterful veteran (Dances with Wolves), Wes Studi -YellowHawk, father of BlackHawk.. And no, it's not just Rosamund 'Gone girl' Pike either, who's fab, and the ending(s) is(are) 1(2+) for the ages. More on that in just a bit... So, while everyone performs well & then some, but 1 of the toughest roles has gone to Rory Cochrane, and he held me spellbound from the very beginning, and makes an impact even when he's not in-frame but influencing the in-frame action.

The cinematography and score are top-notch, scathingly (in a good way) evocative of other recent cult-classics which were served very well by these departments - Arrival (though its of a different genre) and the Coen bros. remake of 'True Grit', and most importantly, 'The Revenant'.

Not everyone belonging to the current generation is gonna find this meditative piece (most of the key action, when it happens, happens off-cam, a minimalist approach which is as welcome as it is effective).. From among the movies I've had the fortune to catch on the big screen this year, the best..

+, just when I was thinking why the movie was dwelling on the main leads after I thought there was no more story left to say, it turns out there was a sledgehammer of a tale left towards the end. The endings, both the faux one (in my head), and the real one, has to be 1 of the most poetic and profound, ever committed to the paper, and eventually, film.

"Sometimes I envy the finality of death, the certainty"... 1 for the ages.

Doctor Strange (2016)

Chosen by a thinking relic

Cumber-fans rejoice! Holmes, nee, Strange, is finally here.

Pulling double duty as both the titular superhero (of sorts) and the baddie (unfortunately, they do world-eaters again, notwithstanding the sequel the F4 a few years previously)'s voice, Cumberbatch is perfect in every frame in this huge foray of his, into mainstream cinema (notwithstanding 'The 5th estate' or 'The imitation game', not counting his supporting turns in flicks like 'Tinker tailor soldier spy').

Enough about the actors though. Suffice to know that Mads Mikkelsen, Chiwetel Ejiofor, Rachel McAdams, Benedict Wong, Michael Stuhlbarg (apt, but under-utilized, just like he was in 'Arrival') and the ever-fantastic Tilda Swinton (almost walks away with the entire movie), & even Scott Adkins, refreshingly being seen in something that's not gonna go direct-to- TV) are all perfectly cast in their respective roles, & acquit themselves admirably.

Now, from a Marvel stable standpoint, this is supposed to be the beginning, of a sort, being the 2nd movie in their slate of Phase 2 flicks, which is supposed to have begun with Ant-Man last year. The new crop is supposed to include the titular character here, Ant-Man (of course), Black panther (see in Civil war), the 2nd-time rebooted Spiderman, Captain Marvel, while phasing out, subtle/explicitly the older crop of heroes (Iron Man, Cap, Thor, Hulk, Black Widow, Hawkeye, et al).

This one does things most mainstream superhero movies haven't done, including those of the Marvel crop, in spite of Thor, haven't done. Mystical realms, timeloops, multiverses, planet/world gobblers et al. While staying true to the genre, within the confines of being an origin story of a new-age superhero, albeit with a whole chunk of mysticism and sorcery thrown in.

Scott Derrickson, who's made unconventional (still mainstream) horror/thriller work including 'Sinister' and the underrated/under- viewed 'Deliver us from evil' (not the documentary), in spite of the flat/underwhelming remake of 'The day the Earth stood still', proves he's more than just apt, or even adept, at playing with all the moving parts he's been handed by the marvel that's team Marvel (mainly the writers). Marvel seems to be hell-bent to better every movie they've made with their next work, including hiring unconventional directors to helm them, beginning with Joss Whedon's selection for the 1st 'Avengers' flick, to SD here, and James Gunn on the GotG flicks (which remain the best Marvel works to date, in my book).

There are, of course, the mandated/necessary nods to the other heroes present in this world, that still revolves around NYC, though it makes more than just 1 non-Sokovia like stop across countries, increasing scope to a level hitherto unseen.

The converted 3D is terrific, and this needs to be fully appreciated on large format 3D screens alone.

Michael Giacchino outdoes himself on the scoring front, though it is not comparable to other great, original works he's done. Apt.

The technical team excels, as they're wont to do, in movies of this scale and size, and all their efforts are available for everyone to enjoy.

The movie also dumbs down its high-concept storytelling, so that noobs to both Marvel and Inception-like imagery, or timeloops, can also have a good time at the movies. A few chase sequences are simply spectacular, though, for me, the conclusion (not including the 2 post end-title sequences) underwhelmed, and brought back bad memories of F4:Silver surfer.

There's a heady mix of humor inherent in almost every serious sequence in the flick, which kind of enhances the entertainment quotient in the overall viewing experience, though not all the jokes land as they should (Wong's response to a quip at the end, which was intended to be ironic, I'm sure, is an example). There are quite a few clichés, and this movie might just have been a notch or two higher without them.

I did wish they'd spent more time exploring exactly how the mystic realms connect to one another, the actual history behind how Dormammu became Dormammu (his true/initial identity, a la, something similar in the 'Deathstalker' books by Simon Green), more characters within, more explanations for why certain minions appear at will and disappear when convenient, but one cannot have it all.

A few of the digital effects harkened back to the much-reviled 'Green lantern' movie, so I was pleasantly surprised that they conceptualized/executed most of it nevertheless.

Having said that, I do think this is an absolutely fantastic effort, and hope to enjoy the sequel better, along with observing Strange's interactions with other heroes in the Marvel multiverse.

Moana (2016)

Giving back

From the minds of 'The princess & the frog', 'Aladdin' & 'Hercules', among others, this is quite an experience for an animated movie that sadly fell apart on reflection.

Make no mistake, this is pure entertainment for all ages, especially the beginning part with little Moana, her namesake supporter, & her grandma, but all of that only lasts for the duration of the movie. Works best if you do not look for reasons to various occurrences in the events that transpire over its runtime.

'You're welcome' was a royal hoot, and I did enjoy both renderings of the song.

Wasn't very fond of the cliché-ridden plot line though, & there are plenty of examples where I thought the movie could have used fresh ideas, especially during the writing stage/phase of the flick. Disney sure dropped the ball, imho, on this one.

The 3D rendering is gorgeous, and a Real D 3D viewing experience is a must (if not IMAX 3D).

Surprisingly, Dwayne Johnson's voice is not a distraction at all, and his voice-casting is as apt as Jermaine Clement's voice-casting as the middle-person crab.

The characters playing the lead's sidekicks (2) should have had more runtime, imho, along with the segment with the younger version of the lead. Not enough at all. Quite possibly few of the best sequences occur with them in tow.

Along with the sequences with the crab, the ones in the cave, and 1 on the island, but, imho, the movie peaked early, and underwhelms towards the end. This kind of a problem has afflicted other better movies, & I, for one, feel that these kind of problems need to be visualized at the scripting stage (I'm sure they were, just not sure about the extent to which it was done, or about the final sign-off from the execs) itself, considering the amount of time that is spent on these productions.

Another recent movie, 'Dear Zindagi', did not have a 'hook' compelling enough for someone like me to invest in the fate of the lead characters, & though this one does not falter as much as that one did, it sure comes close.

Worth 1 viewing. Decent, but way short of greatness, in spite of the potential it had to be another 'Frozen' or a 'Big Hero 6'.

Moh Maya Money (2016)

Flutter by

1st, the good news: Film noir is not dead. This neo-noir, released without fanfare of any kind, & perhaps destined for a week's run at best, is a very good reason to be a fan of good cinema, & optimistic about the state of independent cinema locally.

& what started, imho, for Ranvir Shorey, ages ago, with him making for a most unconventional lead, especially in local fare, seems to be in his comfort zone anyway with each new carefully-chosen flick of his, including this one, which could be classified as a spiritual sequel of sorts, to the magnificent 'Mithya' (& no, I'm not forgetting his powerful turn as 1 of the darkest characters he's player in lady year's neo-noir classic, 'Titli'). Not just because of his reunion with his costar from that one, the always magnificent-yet- understated Neha Dhupia (who, in addition to Mithya, was also fabulous in 1:40 ki last local, another neo-noir, but 1 that combined oodles of dark humor within the same structure).

So, other than this being a neo-noir, what it does well, is in terms of providing consistent characterization even for its smallest characters.

Another thing it does well is in highlighting minor things as well, like the comment about almonds at a point. Normal, day- to-day people talking, or voicing their inner monologues, subject to interpretation.

Also the way it unfolds it's minimalistic twists is subtle. The director, Munish Bhardwaj, is definitely 1 to watch out for.

The production/set design, cinematography and other technical values remain in the background, serving the narrative well. The score, on use other hand, imho, seemed a tad too understated for my preference. The makers would've done well to take a page from the (excellent) recent Bengali neo-noir work, 'Saheb Bibi Golaam', in this regard.

The flaws are few (see above, plus, for example, 1 of the leads' spectacle frames is diverting in 1 scene, the title also is too on the nose & not too memorable, imho), & never detract from the main tale, which, for all its predictability, packs a surprise or two, &, what's most important, it never takes its audience for granted.

The characterizations are also augmented by depictions of real relationships, mostly in the grey zone, with an underpinning of very real romance, which, to me, was as refreshing as manyof the other good things about this, along with being completely unexpected.

Definitely not to be missed, & worth multiple viewings.

Dear Zindagi (2016)

Just ain't enough

Well, thank god for a few small things. Alia Bhatt's performance is good, if not great. She's proved, time & again, that her talent, as evidenced from her turns in 'Highway' & 'Udta Punjab', is no flash-in-the-pan.

When the 'being Lebanese' joke played itself out, I wondered if Gauri Shinde watched the same comedy show I'd done, where a class-act Stand-up comedienne from Bengaluru had used (created?) the same schtick in her act about a mother and daughter discovering mature content (actually, mom doing the honors and putting the beti on the back foot) on the internet.

Until then, I was wondering where all of this was meandering, but then, I almost felt that this was a lost cause, in spite of director Shinde's excellent work begins the camera in 'English Vinglish', to which there's a strange & unnecessary callback.

Other than the editing & the strangely insipid score, the work done on the technical areas tries to detract from how flat everything else about this supposed affirmation of life is.

Platitudes are thrown left, right & center, & the local board also shows their favoritism by not peppering the frame like they're wont to, the way most big Bollywood flicks get away with, having alcohol & nicotine in the frame without doing all the explaining that other little makers have to.

But there's good stuff. The need for having a therapist, and individual interactions between therapist & patient, is something worth taking home, especially if one belongs to the school of not needing therapy. The locations are well-chosen, as is the production & set design, for a change, in spite of the candyfloss theme overall. The framing is just right, & the faux ending, perfect.

Just wish this one had something more substantial within. Also with it was relatable. There are so many places where better writing would've sufficed, but where, imho, no effort was made.

TV movie, solely for the lead actress' performance, which, like always, is sincere as it's fearless.

Arrival (2016)

Non-zero-sum game

Denis Villeneuve, justifiably hailed for his work on 'Sicario', 'Prisoners', 'Incendies', 'Enemy' (with some amazing sci-fi tropes that make this a companion piece to that, in my humble opinion), has quite possibly made 1 of the best sci-fi movies in decades (once again, imho - since there's something that happens during the movie that has kinda divided audiences majorly, even prompting walkouts in a showing I was at - something which I was initially skeptical of, but that grew on me as time passed by, making me a champion of sorts for its right now).

This one's been compared both to Nolans' 'Interstellar' and Zemeckis' 'Contact', but I feel it stands above the latter, and comes very close to being on par with, or slightly better than, the former. There is an element within the screenplay that you know belongs here, which plays out in a typical fashion, but the ultimate payoff, which divided audiences, & confused some, occurs towards the very end. Also, another observation made by unkind / unempathetic audience- members was that the epilogue goes on for too long, but, imho, it perfectly capped all that came before, making this more human (or species- centric, considering the subject-matter) than your average sci-fi flick.

The locations, effects, cinematography & editing perfectly complement the crisp, sharp narrative throughout, and every department in this flick has made Oscar-worthy contributions this year, I do hope they are recognized for their efforts.

The Leftovers ' Max Richter makes his presence felt in both the beginning & end credits, & the overall score by Johann Johannsson elevates each sequence it's used in. The sound design complements the score perfectly, life it's wont to, especially in Villeneuve's works, specific examples being 'Sicario' & 'Prisoners'.

Forest Whitaker plays a no-nonsense stock role here and makes it his own, as does Coens' regular Michael 'A Serious man' Stuhlbarg, and they both bring their respective gravitas to (imho, underwritten/stock) roles and yet perform well, but this movie belongs to Amy Adams, whole & soul (supported ably by Jeremy Renner, but this one's is all about Abbott & Costello, heh-heh); but more on her later.

I do wish there was more of Renner's character (I've read someplace that many scenes with him in it were edited out, & I do hope we get to see a few of those on the Blu-Ray at least, if possible, in- sequence, though the theatrical cut in this instance is supposed to be the director's cut, from all accounts).

I fondly looked back at first having watched Amy Adams in 'Junebug' & 'Enchanted' (interestingly, she's also got 'Disenchanted' coming out soon) around 8 years previously, when I was sure that this actress was gonna go places, and boy, she sure has, if you include her work in this alongside her efforts in movies like 'American Hustle', 'Doubt', 'The Fighter', 'The Master', 'Sunshine Cleaning' (to be fair, I loved Emily Watson's character better in that one, though Adams was the lead, along with the gr8gr8 Alan Arkin), 'Miss Pettigrew lives for a day', 'Julie/Julia', 'Big Eyes', 'Trouble with the curve' (a flawed work to be sure, but she was 1 of the best things about it); and in spite of being miscast in many paycheck movies ('Night at the museum', 'Man of steel', 'Batman v Superman: Dawn of Justice'). Absolutely looking forward to her being cast along with Jake Gyllenhaal, Michael Sheen & Isla Fisher in the upcoming 'Nocturnal Animals'.

It might have helped to understand more about the non- linear part of the paradox that is the central conceit of the flick. Kinda making it a companion-piece to the sci-fi cult classic, 'Primer'.

I'm sure I'll be watching this one many times more. Lookin' forward to those viewings.

Having seen this, I'm now quite sure that the sequel to Ridley's Scott's cult-classic 'Blade Runner' is in the right hands with Villeneuve. Can't wait.

Billy Lynn's Long Halftime Walk (2016)

War, what's it good for

A recent movie that I felt was profound, in spite of the fact that it mostly depicts (with an interesting narrative approach, and a relatable character like Shroom) what we know happens in today's warring world....

https://www.youtube.com/watch?v=veoPig2LJDU

However, this is not 'The Hurt Locker', though it uses a similar motif to comment on something else.

Imho, this is more about how lives' trajectories' are shaped by experiences (not just individual, but also those imbibed with your community) in times of mortal peril.

How a misfit in one world becomes a hero, a savior, albeit a reluctant one, taking on his/her new responsibilities almost as if he/she were born to it.

Debutant Joe Alwyn never miss an expression, and though much of that will be attributed both to the direction as well as the casting, credit must be given to this young actor.

1 scene that stood out for me was towards the end, when 1 character go to another, wanting t make a significant change in what happens next, but his/her take on their perception of the other subtly, but surely, shapes the next decision, which is the complete opposite of what was surely intended before that 'brief encounter'. I thought it was 1 of the post powerful sequences I've witnessed on film, not just for how it was written, shot and enacted, but for the way I saw each character's future (both together, &/or separate) trajectories play out (an extension of the plot covered within the movie), the very same way in which a reading a book makes one visualize the past, be in the present, and contemplate the future...Amazing! I get that feeling from very few movies, and a few of the ones I remember sending me in that direction were 'Tinker Tailor soldier spy', 'Prisoners', 'Zodiac', Red Riding' (all 3) & quite a few more, including the recent HBO mini-series 'The Night Of', & 'Westworld'.

All other performances are also great, with standouts being Garrett Hedlund's and Vin Diesel's. Stewart has always been a competent performer, and her good rendering of the role is no surprise, but people who know her from the atrociousness that was 'Twilight' might perceive her differently from now on, of course, depending on how they absorb her performance in this one.

Steve Martin has stepped outside of his comedy niche before (Shopgirl, for instance) and his stunt-casting has elevated many works, but the sincere turn given by Chris Tucker playing a Hollywood hack of sorts has to be one of the best he's been chosen for, and carried out. He allows you to look beyond his pigeonhole, for once, and I hope this is the first of many such turns.

Vin Diesel, known now for his mainstream work, has also stepped outside of his comfort zone quite a few times (Find me guilty, Knockaround guys), and makes this one his own. His characterization also is immensely novel, considering the setting, and quite memorable, in spite of his limited screen time.

Hedlund, on the other hand, is given immense scope, and an opportunity to chew up the scenery, and bites hard. It might not be fair to say that any actor would have relished doing what he got to, but you also have the effort of casting and directing that went into his work, and aside from Vin Diesel or Steve Martin or Chris Tucker, his is the role that most mainstream audiences will respond to (I did, as well).

The key conceit though, was a tad underwhelming, like, I'm sure, it was intended to be. Cannot fault this work on that front, but, this is not an epic work like, for instance, Kathryn Bigelow's 'The Hurt Locker' was, or Ridley Scott's 'Black hawk down' and Antoine Fuqua's 'Tears of the sun' aspired to be.

The way it was meant to be viewed though, is on 3D, with a projection of 120 fps. Unfortunately, the local distributors ha(ve)d no clue about having that copy out. So, I could not watch it the way it was meant to be seen..... &, many ppl I watched it with, did not 'get' it. While that's a recurring theme here for most Hollywood fare, this is possibly the most 'accessible' movie (barring 'Pi', or the much-reviled 'Hulk') that the great Ang 'The Ice Storm' 'Brokeback mountain' 'Lust, Caution' Lee has made.

Unsurprisingly, a flop. Greatness!

Not to be missed, for those with an eye out for cinematic experiences, not just movies....

Ae Dil Hai Mushkil (2016)

Tamasha Lite

Well, getting the comparisons to Tamasha outta the way first. That movie, in spite of its flaws, various flaws, is still superior to this one.

Not to say this doesn't have it's moments. It is, refreshingly honest about relationships among the 1%, & doesn't make the lead into the typical hero.

Role/characterization-wise, this seems to be a niche that Ranbir Kapoor has found, and he's been made to play in the same sandbox again & again since Sid woke up a few years back (which still remains superior to all house other works since).

Much has been written about Rai's role, accent & characterization. My 2 cents: she's well-cast, & surprisingly (for me: I've never been a fan, though I have appreciated her performances in Kandukondein Kandukondein, Guru, Iruvar, Raincoat, Sarkar Raj, Chokher Bali, Josh...) acquits herself well. I do wish there was more meat to her characterization, especially as the movie progresses, & the flashback style narrative didn't do the screenplay any favors either....

Anushka does a bang-up job in all of her roles (NH10, BBB...), & this is no different.

The music, the rendering, & picturization of 3 tracks is absolutely fantastic, & justifies the price of admission.

Fawad Khan, fantastic in 'Kapoor & sons', is great in the limited run-time he's saddled with, though he's wasted in a thankless role.

Overall verdict:

Good, but not great. From the perspective of examining how this compares to other works made by KJo, this could very well be his best, & maybe even the most mature work to-date....

Eklavya (2007)

Crisp......almost perfect

From the director of 'Parinda', Vidhu Vinod Chopra.

Based on a legend that is often considered a secondary tale to the grand Indian epic, 'The Mahabharata', or, in modern parlance, something I happen to agree with, a spin-off, of sorts, observing a character who could have played a major role in the epic itself, but was cut off, or not allowed in doing so, by the most revered person in society, even now - a teacher.

However, other than the name, this particular tale has nothing in common with the epic spin-off, which was more about betrayal, and killing talent (imho), while this one, is about, sacrifice, something that has been highlighted in too many stories, and movies, to keep count. And yes, once again, it has been glorified.

Nevertheless, it is in the telling of the tale, and drawing out effective performances, and constructing a few individual scenes, that this particular narrative succeeds. And the ensemble helps, big- time.

Amitabh Bachchan.

Saif Ali Khan.

Both have been given enough material to showcase their respective talents, and they utilize the opportunity to the fullest extent possible. Watching them act, interact, is simply Magnificent.

Sanjay Dutt - underused, and amazing at the same time. Like he's been in most movies where he's starred alongside the big B. Kaante, always comes to mind.

Vidya Balan - underseen, and underused, though vital to the main plot. This was before she broke out, even though she did have the success of 'Parineeta', her debut, behind her. Parikshit Sahani - criminally underused in most of his movies, and yet, like he always does, rising to the occasion in this one, holding his own, like he's always done, opposite the big B, no mean feat that.

The abruptness of the ending kind of takes away from most of the great ensemble scenes that play out before, including the twist of sorts (not really a twist in m opinion, but handled decently, almost expertly, in spite of the fact that the makers seem to think they have a bombshell, while, in reality, it does not pack as much a punch as they seemed to think it did, though, to be fair, it does not fizzle out).

The scenes between Raima Sen and Saif Ali Khan are of a quality rarely seen in Hindi cinema, and it is a testament to the talent on display that I strongly feel (not just from Sen;s work here, but also in flicks like 'Honeymoon travels') that she has not yet received her due.

Jackie Shroff, Jimmy Sheirgill and Boman Irani are fantastic, but once again, I strongly feel that they all could have done better with more scenes, more lines and better characterization, to their credit. Having said that, they literally come alive on the silver screen playing out what they've been given. Each and every scene they're in, quivers with amazing, resounding power.

While I absolutely love the movie, and its 3rd act revelations, I strongly feel that the entire exercise is 1 wasted opportunity, for, with the talent assembled both behind and in-front-of the scenes, this could have been nothing short of an epic tale, almost with more than enough power to be comparable with the original Mahabharata.

Pity.

In spite of that, worth watching, even more than once. On the big screen, though unless it plays festivals or midnight showings, there's no chance nowadays. At the time it released, I felt this did not get much of a push from its distributors, or its marketing team, in spite of being made by a mainstream producer (Eros, I think). More's the pity.

Westworld (2016)

Reset Sentience: Groundhog day, Lost, Memento

Skeptics might call this too early to say, but this one just might be one of the best examples of how well original material can be adapted to tell longer/more stories.

Just like the original one did, this one drops us, the audience, smack back into the middle of an already unfolding tale. Actually, make that already unwinding tales.

All the great names behind both this and the original material are heavyweights with illustrious resumes, & ATM to be firing on all cylinders, if the 1st episode is anything to go by.

Speaking of heavyweights, the ensemble is something. Evan Rachel Wood (Thirteen, The Wrestler), Ed Harris (The Yul Brynner role, I think), James Marsden, Jeffrey Wright, Thandie Newton & Sir Anthony Hopkins, among others are a treat to watch, & all this is just the 1st episode.

I still have many questions now, some of which I think will be answered over the course of the series. Perfect pilot. In for a penny, in for a pound, & no regrets.

(After the 1st 3 episodes)

Man! Layer on layer is peeled off, answering many questions raised in the 1st episode, posing newer, stronger ones, and slowly yet surely evolving into one of the best TV series ever put filmed.

This is the depth a concept like terminator should have had, but did not. What the guests can't do in the real world, versus what they're allowed to do in this one, while the hosts have to grapple with a new concept no one seems to understand their being capable of - memories, and how to differentiate those from dreams/nightmares, while continuously living out their loops.

From a casting standpoint, everyone is perfect, with layers & layers of depth being added to both Evan Rachel Wood and Jeffrey Wright's characters, with Borgen's Sidse Babett Knudsen, the best part of the recent Dan Brown / Ron Howard / tom Hanks misfire, 'Inferno', shining in episode 2. Thandie Newton, also, has not gotten her due for a long time now, but has been given one of the strongest characters she's played in a while, almost being a mute yet thoughtful witness to 2 worlds colliding, in a manner of speaking. Shannon Woodward and Luke hemsworth seem to be breaking out, but there are more episodes to note that progression/regression.

Not perfect, but sure comes close.

Queen of Katwe (2016)

Much, much more than chess

In the recent past, there was another engaging movie made on a chess prodigy, starting Tobey Maguire and Peter Sarsgaard, directed by Ed Zwick, called Pawn Sacrifice. It was amazing, as much a character study, as it was about chess, & absolutely engaging from beginning to end. It was also purportedly based on a true story.

It had flawed characters in the middle of it all, and the subject matter, in spite of the mainstream audience friendly rating, was dark, and bleak, at best.

Here's it's anti-thesis then, having more in common than the recent biopics Pele and Race (the 1 with Jesse Owens), in a very good way.

I've usually felt myself grow, & stay, a little distant from most of the characters in most of director Mira Nair's works, but I'm glad to say that this is perhaps 1 of her best works in a long, long time. It's not just the main protagonist that we end up rooting for, most of the time, but also her friends, fellow 'pioneers', family & teachers.

The characters played by David 'Selma' Oyelowo, & by Lupita '12 Years a slave' Nyong'O are as strong, and Coe to the central plot, as the main protagonist's. I did not expect that, and it reminded me of how the role played by Jason Sudeikis, & Jeremy Irons in 'Race'. A very pleasant & feel-good,contextual memory to harken back to, imho.

A classic, inspiring, rags-fortune saga, with 1 of the best parts of the movie being the relentless focus kept on the squalid living conditions continually inhabited by the main characters, the setting & the surroundings seeping into audiences' skin.

+, not painting the main protagonists as all good, highlighting their flaws in the open. All the time.

Another great strength this movie has going for it is the amount of time spent in building up the tale, without hurrying anything, allowing us to get to know the milieu & the characters intimately in a leisurely, realistic manner, and that makes everything that comes after all the more impactful. The run-time is a pleasure in this case, since all I wanted to do was to spend more time with our main characters.

Also, nobility is dealt with in a matter-of-fact manner, and u give that refreshing as well.

The score, location work, set design, editing and cinematography all complement the narrative ably, as do all the performances. Some of the chess games themselves are well fleshed out, & allow us to get into both the spirit & the nuances of the great game.

Another great thing about those is how the makers have found ample opportunities to inject real-time, contextual humor, without ever losing focus on the main tale being told, which involves delving into quite a bit of darkness. Which is all-pervasive, like life usually is, for ppl born into, & kept in squalor, the way our key protagonists are, for most of the running time.

Have 1 complaint though. Not being able to get a handle on the political climate of the place, though we all know that the main reason for all the squalor housing the under-privileged. But perhaps the makers wanted us all to focus only on the main theme of the flick. And forget all else, though important.

Not to be missed, & worth repeat viewings.

Miss Peregrine's Home for Peculiar Children (2016)

In the loop

Well, I liked this, though it's not great, by Jane Goldman's standards (Kick-Ass, Stardust, Kingsman, X-men : 1st Class).

But then, I liked the tremendously unpopular 'Dark Shadows', which was also adapted by Tim Burton.

It takes its time unfolding its not-too-dense narrative, doesn't do much with the time loop paradoxes (almost a crime of sorts, since, in my head, there's a treasure trove of possibilities to examine), criminally wastes artists of the calibre of Judi Dench, Eva Green & Samuel L Jackson, not to mention Terence Stamp, and yet, there's a lot to like.

+ Loved the way it took it's time to build to the 1st action set-piece. & the next, I & the final one.

+ Loved the underwater set special effects set-pieces, & how they're not just used for effect, but are contextual in nature.

+ Enjoyed the rapport between the young adult leads, though the not too apparent age difference, and almost irregular nature of the connecting relationships is left unexplored. Quite a bit of dark territory to mine into. This would have definitely benefited from having been visualized more as an R-rated romp. Why have the lady from Penny Dreadful if you're not gonna utilize her talents in this delicious role?

+ The final action set-piece! A whopper of a surprise, to say the least. Worth the price of admission on its own.

+ The background scores/themes, especially in a few sequences where characters' powers are being discovered/examined/utilized, is quite unique, for what's purportedly a been-there-done-that kinda mainstream exercise. Refreshing. And the trailers didn't give it away for me, which is always welcome.

Wish I'd watched it on IMAX or in cinemascope. This would've benefited greatly from either/both of those viewing options.

Watching it in 3d is definitely is treat. Tim Burton owns his framing, like he's proved time and again, especially in terms of 3d, he's outdone his work from 'Dark Shadows', imho.

Eva Green, Judi Dench, Samuel L Jackson have done better though, and this is a paycheck movie for them. The young adult lead pair though, are better served by having this on their resume, although Asa Butterfield has had a better movie in Marty Scorsese's 'The adventures of Hugo Cabret'.

Not to be missed on the big screen. Hope others are luckiest than I was with their fellow audience members.

Westworld (1973)

Free Will?

So, much has been spoken abt this, and written about it, and this kinda feels timely since this past week has seen the premier of the sequel/remake.

Nightmare scenario at a theme park comes true, and literally, before you can say 'Terminator' or 'Terminator 2: Judgment day' (I'm sure Cameron watched this before conceptualizing and executing those), all hell breaks loose for 'the paying guests' or 'the audience' or 'the newcomers'.

Yul Brynner plays a variation of his multitude of western performances, specifically referencing 'The Magnificent seven', and I don't mean just from a costuming perspective. Other than that though, this has to be, in spite of a few clichéed (by today's standards) and schlocky moments, one of the most relentless thrillers ever, calling to mind not just the 2 Cameron nouveau sci-fi action classics, but also characterizations like Rutger Hauer's in 'The hitcher' (its remake with Sean Bean in the lead was also not too bad). Movies like 'Duel' and 'Breakdown' and 'Joyride' also spring to mind, but this one got there first.

Both Richard Benjamin and James Brolin's characters are there to serve the tale and not the other way around, and what seems simple on the surface can be interpreted as an allegory of sorts for the modern world to, maybe, learn from, or just ponder.

The action, and thrills, are kept refreshingly minimalistic, and though some would hasten to describe this as a B-movie of sorts, I am more comfortable with categorizing it firmly in the list of grade-A not-too-mainstream blockbusters, maybe quite a bit ahead of its time.

The score, the editing, the effects, the cinematography, the minimalistic production/location design and all the performances serve the narrative without calling attention to themselves, and the result is a focused movie that refreshingly (once again, for its time) throws us smack-deep into the action without so much as a backstory, allowing us to fill in the blanks, which is the kind of thriller I've always enjoyed.

Not to be missed, and definitely a very good pre-requisite for everyone who wants to see how JJA and Jon Nolan have adapted it at HBO, for the modern world.

Parched (2015)

No end in sight, but there's assorted light

Kudos to Ajay Devgn for deciding to distribute this; otherwise, it was apparently lying in the cans for a bit.

Watching the trailer made me expect something like the Bollywood version of Ridley Scott's iconic nouveau cult-classic, 'Thelma & Louise', & while the main titles kinda resembled that, the tale thereafter, stays grounded, & rooted in 1/2 locations in close proximity. A road movie this is not. I confess I was disappointed initially, but the material is strong enough for me to overcome that initial sense of having felt let down.

The characters though, on paper, are caricatures of what one would expect in such a milieu, & it's a testament to the writing & directing talent of both Leena Yadav & Supratik Sen, that the content (along with the performances) rise above the predictability inherent in the material. While is this a move up or sorts for Leena, this is a major step-down, imho, for Supratik, whose 'Kaminey' & 'Kai Po Che' (from all accounts) were much superior, from both a writing & structural standpoint, when compared to this one.

Many are calling this Apte's best performance to-date, & from my understanding, she, apparently has the toughest role. I have to disagree, since that would make light of what the writing/directing team were trying to accomplish (and, in my opinion, have pulled off). Which is, ensuring that all the 3 main leads are given plum roles, casting strong actresses in each of those roles, & ensuring they perform to the best of their respective ability. Tannishtta Chatterjee, Radhika Apte, Suveen Chawla, and, in my own perception, Lehar Khan, have been perfectly cast in characters that challenge their abilities, & each one of them has risen to the occasion, performing magnificently, both on their own, and, this is very important, while playing off each other's performances.

Each & every scene where each of these characters is in the company of 1/more of the other, is a treat to behold, from observing great thespians interact. This is one of the best ensembles assembled, in recent memory.

Surveen Chawla, as one third of the leads, has been typecast in her role, but is fantastic, to stay the least. She needs to display various layers in her performance, evolving/devolving over time & events, & is more than up to the task. This, to her, is definitely as companion-piece to her performance in Anurag Kashyap's masterpiece, 'Ugly'.

Performance-wise, I also felt that there were strong supporting turns from Nancy Nisa Beso, Sumeet Vyas, Sayani Gupta (her post panchayat sequence is gut-wrenching, not just because of what is said, but from the look her characters gets from her previously- skeptical mother), Mahesh Balraj, Chandan Anand, Devendra & Daddi Pandey.

Adil Hussain, on the other hand, seemed miscast to me, though the sequence he's a part of is beautiful (though the local censors have had their way with it, & many other sequences), though it actually ought to be creepy & weird as hell.

This definitely makes for a stronger entry on writer/director Leena Yadav's résumé, compared to her earlier works, 'Shabd' & 'Teen Patti' (21). In fact, it might be a little unfair to compare this work to her earlier works, since this is perhaps miles ahead of either of those, deeper, & richer, not just in terms of content, but also in terms of characterization.

The cinematography by Russell Carpenter (Ant-man, 21 - on which Leena's 'Teen Patti' was based, Titanic, True Lies, The Negotiator, Hard Target…) captures the on-location choices & work magnificently, & I've read a few reviews mentioning that his lensing keeps the audience at an arm's length, & that, in my perception, is grossly unfair. I felt caught up on all the action inherent in the flick, even the ones that were calculated to remain clichéed.

The score, courtesy Hitesh Sonik, who also scored the background for great works such as Omkara, Hunterr, Paanch & Kaminey, among others, also is some of the best I've got to listen to in a while.

The climax, & the finale, is mostly wishful thinking, & reminds us that this is a film after all, but, imho, is a much-needed respite from the all-pervasive darkness that inhabits our leading ladies' lives. Dare I hope for a sequel?

No point watching it at the local cinema, though I did. Instead, I'd try watching a version that retained the makers' original vision + execution intact.

Oru Muthassi Gadha (2016)

Welcome back, Hrishi-da, this time with a bucket list

Well, I've been awaiting Jude Anthany Joseph's follow-up to his fantastic homage-of-sorts, yet wholly original nods, to PG Wodehouse as well as Hrishikesh Mukherjee, 'Ohm Shanthi Ohshaana' (OSO).

This movie, imho, though not superior to OSO, was well worth the wait.

The title didn't, & still doesn't, sound apt, imho, but that may just be because I am not as familiar with the Malayalam language as I'd like to be. The tag-line, on the other hand, I'm sure, is could-have-been-better written communication, or phrased that way to mislead audiences & hide spoiler-ish info from them.

1 of the hallmarks of a great screenplay, to me, has always been the playwright's ability to take something clichéed/routine, & make it engaging for the audiences in order to keep the material fresh in spite of swimming in known waters, & (to continue to use that metaphor) suddenly (& pleasantly) display unexpected depth. OSO had that in spades, as do most remakes which are superior to their source material ('The Departed', True grit' & 'Scarface' immediately come to mind, among many more, I'm sure). When viewed through that lens, this movie takes its time to get going.

Anthany Joseph's homage to Lal Jose continues with this, & his self-referential scenarios in the beginning, along with a (partially) 3rd wall breaking titles sequence, to me, felt more stilted than cute of original (to be fair, many audience-members enjoyed it).

It actually took me some time to get into the spirit of the movie, when I gradually began appreciating the consistency of the characterization attributed to all the roles, including the supporting characters. The makers take their own time, peeling layer-upon-layer, though there are diversions aplenty, & quite a bit of ground-reality-yet-in-your-face racism thrown in for good measure, the peeling of layers actually has a few surprises in store, that a thoughtful viewer might see coming from a way off, & yet, manage to evoke much-needed surprise, &, yes, a grudging respect that Jude Anthany Joseph has, yet again, pulled off a memorable piece of work that will stand the test of time.

However, the climax could have been less heavy-handed (don't get me wrong - absolutely love the idea being propagated), the homage paid to Jack Nicholson & Morgan Freeman less obvious (or, more subtle; though, in my own head, I also was seeing snapshots of the more-recent 'Bad moms', in spite of that one being an on-the-nose-yet-inferior work, in comparison to this).

One great thing about the movie, other than the climax, is that it progressively gets genuinely funnier, & that's, a huge feat. Sequences like the one in which 2 fathers are discussing TV channels (won't say more), a group prayer sequence, 1 twist towards the end (a resounding 'ring' of sorts), cars stammer-starting (almost brought down the entire house)...

Initially, the casting of Aparna Balamurali (fantastic in a smaller role in 'Maheshinte Pratheekaaram') in more than one role seemed diverting, but not calling undue attention to that trick-casting, in spite of the available opportunities, is praiseworthy. Casting both Vineeth Sreenivasan & Sreenivasan, as well as Jude Anthany Joseph himself playing caricatures, after a similar role tailor-made to the talents he's chosen to exhibit, after 'Premam' (albeit, with surprises), also, surprisingly, does not call attention to itself much (it does, initially, before he reins it in). The cameos by Lal Jose & Renji Panicker, on the other hand, have the disappointing effect of taking us out of this tale & into another, in spite of the fact that Panicker is a welcome presence even in 1 scene (he was grossly under-used in more sequences in the recent 'Oppam', in spite of his characterization being quite apt). I confess to enjoying the side-quell aspect of this segue.

The period sequences do evoke a certain kind of nostalgia, & Joseph's attention to detail shows up in every frame. It has been his strength, & is going nowhere anytime soon. So looking forward to his next.

In terms of the score though, while both the background score as well as the songs are decent, they're not gonna be as chart-busting as it was in OSO. To me, that was a disappointment. More work could have benefited the music album, but there's a chance that the numbers might grow on one.

The main lead, Rajini Chandy, is perfectly cast, & gives a pitch-perfect performance in each & every frame she's asked to shoulder. Not sure, but since this is her debut, she could not have asked for a better showcase for her amazing acting talents. Here's to hoping she gets more roles worthy of her, & keeps working for a long time. Bhagyalakshmi, who makes an appearance almost halfway into this tale, & becomes a staple thereafter, is simply superb as the tolerant, yet firm foil to the main lead, & this takes on the shape of a buddy-comedy of sorts after her character's entry into this tale, combined with an unorthodox road trip (amazing locations, as usual, & no surprise - this is God's own country we're talking about).

Vijayaraghavan, Lena (I've seen her earlier in 'Airlift', 'Ennum Eppozhum', 'Iyobinte Pushthakam' & '2 countries') & Suraj Venjaramoodu (recently seen in 'Kochchaavu Paulo Ayyappan Coelho' in a fairly standard comedic role, but who was amazing in both 'Perariyaathavar' & 'Action hero Biju') are all good, along with being aptly cast.

Joseph also weaves in subtle political commentary, that one can find if one looks for it, & not otherwise, a la Hrishi-da or PGW, without us getting any kinda whiplash from each of those observations.

Definitely worth 1 viewing at least, with the entire family, at the local cinema. 1 of this year's very best.

The Magnificent Seven (2016)

The Devil's breath

My mistake. Fuqua's adaptation of the TV show 'The Equalizer' was so good, so rousing that I had, dare I say, hopes for his take on Kurosawa's original, and Sturges' remake / homage.

Before Scorsese's 'Cape fear' and more to the point, 'The departed', I was not a fan of remakes, and at the time of watching Scorsese's take on J Lee Thompson's 'Cape Fear' in the 90s, I'd not discovered Kurosawa. Still preferred the original to the remake, in spite of watching the remakes first, in terms of watching both 'The Magnificent Seven', as well as 'Cape Fear'.

Another mistake I made, in terms of approaching this work, was to raise my expectations from noting the involvement of Nic Pizzolato (both seasons of 'True Detective' with the jury being out on whether seasons 2 was good, or even necessary to follow-up his master-work on season 1; 2 episodes of the fantastic 'The Killing') and Richard Wenk ('Equalizer'; remake of 'The Mechanic', which was pretty good; '16 Blocks', which was not bad, yet underseen/under-appreciated: now I'm curious about how his involvement has influenced the upcoming 'Jack Reacher: Never Go Back') in the writing department; the presence of Denzel, Hawke, D'Onofrio & the under-used Sarsgaard in the ensemble.

Was looking forward to how the iconic Elmer Bernstein soundtrack was gonna be used. Well.....

Let me cover the part I thought were good about the movie.

+ The acting - Denzel, D'Onofrio, Pratt, Hawke, Byung-hun Lee (another western after 'The good the bad the weird')

+ Sequences between, and banter among Pratt & Garcia-Rulfo, Pratt & Hawke, Hawke & Lee

+ The mid-runtime action sequence in-town, and the final 20 minutes.

+ The somewhat unique scoring from veteran James Horner and Simon Franglen.

What didn't work for this (but should have, if treated right):

• What came before, in terms of the original, the John Sturges remake and an unofficial local remake (which was an iconic landmark of sorts, 'Sholay') making it possible to have multiple frames of comparison. What came before, in terms of Fuqua's own (superior) body of work ('Equalizer'; 'Training day'; 'Tears of the sun'; 'King Arthur'; 'Brooklyn's Finest'; for all their flaws, even 'The replacement killers' and 'Bait'). What came before this, definitely does not help its case. What came before in the recent past, in terms of westerns - the remake of '3:10 to Yuma', which was fantastic; 'The Revenant' (a western of sorts); 'The H8ful 8'; 'Bone Tomahawk'; 'Meek's Cutoff'; 'Django Unchained'; 'The proposition'; 'Open Range' (Kevin Costner is almost ubiquitous in westerns - read further in this section); Cormac McCarthy's perceived-unfilmable works got translated to the screen with both 'The Road' & 'No Country for Old men' turning out to be nothing short of fantastic; Tommy Lee Jones acting in and directing (not all) 'The Missing' (inho, Ron Howard's best yet), 'The Homesman' and 'The 3 burials of Melquiades Estrada'; 'The assassination of Jesse James by the coward Robert Ford'; the Coen bros. remake of 'True Grit' (for my money, better than the original); 'The Salvation' (Euro-western, with the great Mads Mikkelsen); the 80s and the 90s gave us 'Unforgiven', 'Silverado', 'Dances with Wolves', 'Wyatt Earp' (the last 3 with Kevin Costner) and 'Tombstone' (initially perceived as a low-rent 'Wyatt Earp' or low-rent 'Gunfight at the OK Corral', and turning out to be so much more, especially in the cult circuit), 'Maverick' etc.; TV gave us 'Justified' and 'Deadwood', among others including the Kevin Costner + Bill Paxton mini-series 'Hatfields & McCoys'. Even the underseen/reviled 'Appaloosa' (Ed Harris acting and directing, Viggo Mortensen, a miscast Renée Zellweger); and Western- lites or mash- ups like Kevin Costner's 'The Postman'; Sam Raimi's 'The Quick and the dead' with Sharon Stone, Gene Hackman, Leonardo DiCaprio & Russell Crowe; 'Slow West', which has been getting mixed reviews (another Euro-western?); Walter Hill's 'Last man standing' (another Kurosawa nod, along with nods to Sergio Leone's remake of Kurosawa's work 'Yojimbo' as 'A fistful of dollars') and the popcorn-mainstream underseen/underrated 'The Lone Ranger', from the genius mind of Gore Verbinski (who also lovingly made the animated western-of-sorts, 'Rango'). All, imho, tough (mostly-recent) acts to follow, but most importantly, part of an ongoing trend of good quality material to mine from, if Kurosawa's material was not going to prove enough. And yet.......

• The (lack of) characterization of (in descending order) Peter Sarsgaard's character (why cast an actor of his calibre if this is the role you want him to play - that of a cardboard-cutout villain), Haley Bennett's character (just plain sad), Denzel's own (though the actor tried, imho, to rise above the lack of material, a surprise, considering all the material he has been provided before by Fuqua), Byung-hun Lee's, D'Onofrio's and the townspeople's. Even a derivate local remake, 'Sholay', managed to conjure up memorable supporting characters like one played by AK Hangal, another played by Sachin, and yet another by Satyen Kappu; each of whom only got about 2/3 scenes in which to make a mark, in the 70s, and boy did they go all out!

• The set/production design, which gave me the impression of being a set, rather than real locations (the expansive outdoors, on the other hand, have been located and shot well by DOP Mauro Fiore); which works for a movie like 'The Quick and the dead', but not for something like this.

• What's the point in remaking something iconic, if you're not gonna update it for a new generation, and use the tools you have to command? This, to me, was a colossal misfire, redeemed only by a few things (listed above).

Still, worth one watch at the local big screen. 1. To be fair, ppl I watched this with, who'd either had limited/no exposure to what came before (see above) did enjoy this movie, and felt it was worth the price of admission.

The Shallows (2016)

In, too deep

Well, this was a pleasant surprise.

Jaume Collet-Serra, the director of tight little flicks, categorized as mainstream B-movies, include 'House of wax' (the remake), 'Unknown', 'Non-Stop' and 'Run All night'. I've enjoyed them all, and think they've not gotten their due, along with the man himself not getting his.

The good news? Not getting his due has not deterred him in the least. He knows what he's good at, what's his schtick, of sorts, and plays around in his wheelhouse that he's perhaps made one of the most engaging thrillers I've seen all year (and the list includes Fede Alvarez's 'Don't breathe'), which might just come undone if you show this to die-hard 'Jaws' fans.

Blake Lively, fantastic in 'The Town', 'The age of Adaline', 'Savages' (the Oliver Stone flick, not the Laura Linney/Philip Seymour Hoffman one), wasted in 'Green Lantern' (and yet effective), is one of the most expressive actresses around, and fits the role of the empowered individual with a soft/vulnerable core, to a T.

The movie completely focuses on her (sort of a 'person vs Wild' thing going on for most of its running time there), and she gives no one any reason for dissatisfaction about her being cast as such.

There are ongoing conversations about objectifying her, but what do you expect when you go to the beach?

The writing (this is a marked improvement for writer Anthony Jaswinski, from the unable-to-meet-its-potential 'Vanishing on 7th street'), Location work, Effects, Editing, Cinematography (Flavio Martínez Labiano - Unknown, Non-Stop, The Gunman, Timecrimes/Los cronocrímenes) are all pitch-perfect. That's refreshing (ideally, it should Not be, it is something we should take for granted, in this day and age), especially in the recent past, since most big-budget movies have been undoing their good work by not investing as much in good special effects/CGI (Mechanic: Resurrection', anyone? Though it could be argued that the Dolphin dives look like bad CGI). The visualizations of characters texting one another, video-calling one another, showing the timepiece in terms of 'x' hours to low/high tide (the last part, imho, could have been considered unnecessary) is very pleasant to behold. We need more of that.

The narrative decision to start from some other place in time, is not something I'm a fan of, usually, but works very well in the context of this movie.

Brett Cullen, in 2 of his scenes, reminded me a lot of Chris Cooper, in a good way. But the backstory, though strong, could've used a little more meat.

The concept of not having the creature as a generic monster, but only as someone who is protecting its own (feeding) turf, and only then makes its presence known (in spite of most of the imagery after, including the surfing one - which is fantastic), and begins, plus stays with, its aggressive approach, is very refreshing, and veers close to being as realistic in this context as possible.

The initial tone of the flick, with happy pop songs peppering the soundtrack when everything is bright and cozy on the private cove of sorts, is something pleasant, though I wasn't too comfy with it, seamlessly transitioned into something like the thriller we get to see, about 20/30 minutes into the flick. That kinda transition, is only good with seasoned/talented people at the helm.

Collet-Serra has repeated most of the talent he's collaborated with before, and that always translates to work that seems sure-footed, and this also falls in the same category.

All in all, it is not a perfect movie, but is still worth multiple viewings. On the big screen, with good projection and sound systems.

Pink (2016)

Shine a light

Anirudha Roy C, Ritesh S & Shoojit S have, together, perhaps crafted an almost-perfect modern-day flick, a work of cinematic art that chooses, in spite of all the temptation to go mainstream, not to play to the galleries, instead ensuring that everything is kept grounded, & that's no mean feat.

This, is what concerted efforts by truly-collaborative teams look like, when each & every draft of their work is sharpened, until it becomes such a razor-sharp edge, till it's time to begin production, in the end, showcasing a gripping tale, while also acting as a testament to 1 of the issues that ail us as a society today. While it does need mature minds appreciating it, it also needs attn from those with an empathetic heart willing, and ready, to receive the message.

This might just be, for this generation, what 'The Accused' was to the earlier one, where the victim, someone who was only being herself, turned out to be the 1 put on trial, not just by her accusers, but also by her peers. 'Pink', holds a mirror up to who we, & those we regard highly, actually are truly like, deep inside. The discussions it invites, after the end-credits have rolled, are as important as what the movie showcases.

A few seemed to focus on there being no-one-home when observing a protagonist's observation/stare. It's a testament to the writing & the person's characterization, along with the amazing performance, that this character is the 1 person who's actually all there, who, almost belatedly decides to take matters into his/her own hands, coming to the aid of someone who really needs it, rather than choose to be overcome by what society & age demand of him/her, not even using those crutches to stand on the sidelines as most of us in his/her situation are wont to do.

This perfect work also delves deep into details, including the inner workings of the legal process, which doesn't just end with putting our victims on trial, in & out of the courtroom, especially if it's someone we perceive as 1 being unable to ever fight back. It shows us each & every hoop that someone in their situation has to go through, & how that process, & (some of) the laws prevalent within our society today, coerce even the mature & the forward-thinking among us today (epitomized by more than just 1 character in this great work of art) to become dehumanized, mostly willingly, since the sidelines are our chosen home.

And, there are minor sequences that stand out: All the courtroom sequences (pleasantly evocative of 'Jolly LLB', & its under- appreciated official remake, 'Manithan'), with the closing arguments being the most evocative of that, along with 1 sequence where a character performs a gesture protecting the dignity of another, without any words, just by ensuring that he/she does not have to cover their identity from casual, prejudiced onlookers. Almost teared-up/applauded/both.

Shoojit Sircar, behind-the-scenes, seems to respect/worship Amitabh Bachchan, so much that he has been instrumental in making the thespian up his game with each of his movies made for him - 'Piku', 'TE3n' & now, this.

All performances are bang-on, with Amitabh's author- backed role standing out for obvious reasons (he doesn't have more than 3 lines in the 1st half, & in the 2nd, the chickens come home to roost, with the supporting characters, & the audience-members, including those who professed to need subtitles to understand him when he was expressing something thoughtful in a low tone due to his mysterious mental condition, hang on every word of his - each & every word!). His best performance to-date. Pannu, Kulhari & Tariang are pitch- perfect in their roles as well, & this could well be Piyush Mishra's best as well (he's always been good - his comedic timing & diction in 'Happy bhaag Jaayegi' is a testament to that, in recent times). Contrast the Amitabh of his last 3 movies, including this one, to his roles in his earlier works like रेष्मा और शेरा, through mainstream works like याराना, artsy stuff including बेमिसाल, & other mainstream stuff, including इन्कलाब & इंद्रजीत.

The editing, the production design, the location work, the cinematography, the background score (Anupam Roy, of 'Sheheb Bibi Gholaam' fame, Shantanu Moitra etc.) are amazing, and augment the narrative whenever it needs their support. Now, having said all that, this is not perfect. Surprisingly contriving set of circumstances exist, which lead to a halfway point where a knight in not-so- shining armor gets to arrive, in time to effect a rescue. Up until that point, the makers seemed to have eschewed the mainstream staple of ensuring that contrivances drove the narrative.

There was also, perhaps, no need to add moral ambiguity within a fairly real & simple narrative, something that ends up getting highlighted ultimately, trying (but thankfully failing) to dilute the overall impact. Perhaps a symptom of over-writing, going beyond the last perfect script-draft?

Make no mistake, this is as serious as it gets, along with being perceived as being quite heavy & depressing (there were ppl, who, perhaps not understanding the concept of patience, walked out during, or, even worse, sat thru it, complaining all the time, or being on their phones). However, while this is not a mainstream flick, this just might find appeal among thoughtful moviegoers, even in the mainstream realm.

Sure hope it not only triggers conversations we should've been having since 1947, but also ensures that chauvinism (not just the domain of the male gender, imho) is addressed in otherwise normal, slightly-prejudiced people. In these days of the 24-hour news cycle, which has successfully erased any semblance of empathy from most of us, there's not much left to root for. In the meantime, some of us get to welcome works like this one.

The Newsroom (2012)

Absolutely riveting

Quite possibly one of the amazingly best shows on television, right from the 1st episode, when Will McAvoy, played by a curmudgeonly Jeff Daniels, launches into a justifiably righteous tirade, that arguably takes his character, and those around him into a vicious tailspin of sorts, this series, written powerfully, and executed even with more vigor than I'd have thought possible, never rests, and takes us from one powerful sequence to the next with breakneck pace, and those among us starved for quality storytelling and in for the ride from start to finish.

While Season 1 deals with how the main characters have an arc of sorts, having known 1 another before, and relating to each other differently now they know the other in completely altered circumstances, it, like the subsequent seasons, intersperses live footage of true political events in the world's pop culture, with fictitious amounts of what each of the main leads does, to deal with those revenue in a way befitting an almost legitimate news channel, while skirting an on- the-nose preachy tone about the responsibilities of doing something like News night, every night.

Like its subsequent seasons, it also provides a fantastic/fascinating insight into what goes behind how the news is delivered to us on TV, and, if that weren't enough, it gleefully puts our lead characters through the blender more often than not, and we cannot flinch away after.

Make no mistake though, it's not all perfect. When dealing with the open threads of relationships that the leads find themselves in, it takes so many missteps and falters so many times that it even becomes intended comedy, and a self parody of sorts, even venturing, surprisingly into vaudeville territory, that thankfully never detracts from the main tale in play.

All the technical departments, including the production design, Thomas Newman's score, the camera-work, the cinematography, all fall over each other in the telling of this tale, but make no mistake, this is one of the finest examples where the written content lords over everything else.

Oozham (2016)

Ho-hum Specialist

Jeetu Joseph, the director of this one, made a decent movie with Mohanlal and Meena a few years previously, a blockbuster that is supposed to have broken many records - Drishyam. It was not perfect by any means, but it engaged everyone from beginning to end, especially by having an everyday Joe as the one who finally turns tables on what typically bogs today's everyday Joe down.

The telling of the take was gripping, especially towards the end, when one begins to feel that every move and counter-move that our Joe has made is being outmaneuvered, he simbly does not give up, and keeps adapting himself to the situation.

In spite of the fact that it was loosely inspired by 'The devotion of Suspect X', the telling of that tale was riveting. Jeetu Joseph directing the Tamil remake also was a good thing, with that being a decent adaptation as well.

Now, for this.

What I liked:

+ The relationship between the main leads, played by Prithviraj, Neeraj Madhav, Divya Pillai on one end, and also Rasna at the other end.

+ Sticking close to the characterization of the main lead, who uses prepped bombs for exacting his revenge.

+ Virumandi's Pasupathy is the JamesWoods-like foil to Prithviraj's Stallone-proxy (keeping with the 'Specialist' comparison, which also used the motif of controlled explosions for exacting revenge, albeit more engagingly, and with better effects, a couple of decades ago) is perhaps one of the best things about the movie. Not completely menacing, but almost being in-step and in-sync with the hero's machinations, makes the cat-and-mouse game a little more riveting that the pedestrian script allows for both characters to play with. Bang- on casting, and an amazing performance, but Pasupathy's always been that way in each and every role he's performed.

+ Tackling the issue of bio-terrorism in an almost-meaningful way, and the attempts made to make it seem topical and relevant, which it surely is.

What, imho, ultimately let the movie down, ultimately:

• The pathetic CGI/VFX. I'm sure they were visualized greatly, but nothing was spent in trying to bring them to life. Good CGI is when you don't even know its been used. Here, you know every-time, in every scene, and its also unintentionally funny. We get to watch better CGI in international TV shows.

• Love Jayaprakash's acting, most of the time. Right since his fantastic performance in 'Pannaiyaarum Padminiyuum', with Vijay Sethupathi. Even his performance in 'Run Raja Run' as well as 'Thegidi' elevated the material. Here though, while he's wasted by both the writing as well as the directing, he also fails to bring anything special, leaving the heavy-lifting to Pasupathy (thankfully).

• Pathetic detailing of the overall medical/bio-terrorism plot. Made the half-baked Organ-smuggling plots of both 'Yennai Arindhaal' and 'Thani oruvan' seem better etched in an epic fashion, in comparison.

• Short shrift given to the cops conducting the investigation (contrast this with how even inept cops and mortuary owners are given to do in 'Oppam'). A movie's as good as it allows its supporting characters to be. This one fails in that department.

• The (gripping-in-the-beginning, to be fair) narrative technique, unfolding the tale while a penultimate action sequence is playing out, all the way till the mandated intermission, seemed novel for all of 15 minutes, and then proceeded to become a very tired exercise in pretentiousness. It also did not help that the action sequences with the uniformed bouncers was artificial (except for a couple of moments, which looked sincere, raising my hopes for those moments), and devolved into something predictable and boring.

Overall, this was a missed opportunity for all involved. Yet, worth one watch.