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SoumikBanerjee1996
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Mind Boggling Films
Reviews
Amaran (2024)
Sai and Sivakarthikeyan, the standouts!
The film strikes strong parallels with URI and Shershah, particularly the latter, as both share an identical plot and thematic approach.
Both these movies equally prioritise personal lives and relationships of martyred soldiers, placing them on par with the valiant tales of their unwavering dedication and service to the nation.
Amaran excels in two areas: it devotes ample time and resources to build a firm foundation for its characters, and performances of Sai and Sivakarthikeyan resonate exceptionally throughout.
What's not though is the action, don't get me wrong, it's sleek, has good cinematography but I was expecting more creativity and impact in that front.
The screenplay too occasionally suffers from exaggeration, making certain segments feel unnecessarily prolonged. A reduction of 25 to 30 minutes would have surely enhanced the overall pacing and flow of the narrative.
You Should Have Left (2020)
Couldn't hit the deeper notes I was expecting for!
Guilt, doubts, and Uncertainty; while it tried to explore a number of themes pertaining to love, loyalty and relationship, lack of narrative depth acts as a roadblock to its planned trajectory.
Now, the symbolic image of a desolated house as an imprisonment for those who have sinned was an honourable twist, indeed, but it fell short of the deeper notes the writing desired all along, from the very beginning.
And this is entirely due to literary ineptitude, for which the film ran out of ideas in the middle on how to go farther with the concept in question.
It's quite unfortunate, if you ask me!
Disconnect (2012)
Not all stories work on the same level!
So bascially there are three different stories here with each shining a light on the darker sides of the Internet, particularly the not-so-great aspects of the social media 'bubble'.
Even though all three tales feature the same set of characters as they go about their own journeys and occasionally bump into each other, I wouldn't necessarily consider this an "Intertwined Narrative." It could have been one, had the writing added more depth and gave more efforts to interconnect them.
The issue is, connections between the stories feel pretty loose and insignificant, to the point where I think it they would have worked better if they were told separately through three short stories.
As for the subjects that are discussed, they are definitely relevant. Even though it was made back in 2012, the themes still resonate today, especially the one about school kids, and risks of sharing private photos with strangers online. That story had the most heart as well as the most impact on me. The other two did try but could not land themselves on the same emotional plane.
Mud (2012)
Good writing!
'Mud' represents one of those movies that exemplifies the "idea" that you do not need exceptional depth or elaborately constructed storylines to make you feel something, and you certainly do not require characters with multiple layers or conflicts to deal with.
Even with the most simplest plot imaginable, you just need to focus on getting the basics right, and the rest will fall into place on their own.
Just like this one, it's an ordinary tale with no complexities, but we become engrossed in it, we begin to care and root for the characters and their adventures even before we realise!
Signs of a good writing!
Megalopolis (2024)
A film made by Coppola, only for Coppola himself!
We frequently hear directors talk about their body of work in interviews, and when asked what exactly motivates them to make movies, some acknowledge doing what they do, not for audience's sake, but for themselves; these are what you may wanna consider as 'passion projects'.
Megalopolis looks to be one of those passion projects of Coppola, whose significance and rationale behind its very existence could only be comprehended by the filmmaker himself.
As a mere spectator, I could only comment on the tantalising visuals, which were glittering in shimmering gold and bathed in bright, vibrant colours; unfortunately, that will be the end of my praise.
The less said about the remainder, the better.
The Monster (2016)
A mishmash that didn't work!
A "creature feature" that aimed to spotlight the "monster" but ended up giving it only a small 'fraction' of the limelight, since the script's priorities were placed elsewhere.
I get that they wanted to flesh out the lead characters and their relationship to avoid the usual one-dimensional roles that often plague these kinds of movies, but unfortunately, their attempts fell short of realizing their ambitions.
And that ultimately led to a messy storytelling that struggled hard to wrap things up by the end. On the bright side, I did enjoy the nighttime setting; adds up to the overall ambience.
The Apprentice (2024)
Watch for Stan and Strong
One of those movies that exemplify how exceptional performances can elevate a narrative that may otherwise lack proper depth and meaning.
The work of Strong and Stan deserves high praise, particularly Stan's portraiture in the latter half, where he convincingly embodies the real-life figure he wishes to represent.
I prefer not to delve into the political aspects or analyze the film through any other lens, but rather to applaud it as a character study that highlights the journey of an ambitious young lad with nothing but aspirations in his mind.
I was particularly impressed by the evolution of the 'mentor' and "mentee" dynamic. They began at opposite ends of the spectrum, then converge in the middle, only to diverge again and find themselves on opposite sides of the 'command' chain.
This shift in their personalities and viewpoints is what I find compelling about the character development here.
A Different Man (2024)
Admirable for the message it tries to convey!
The underlying message of the film resonated with me more than the film itself.
The core idea encourages people to strive for personal improvement and to embrace their true identities, notwithstanding any physical imperfections or deformities beyond our control.
It suggests that one should not dwell on these things, as others will quickly move past them once they recognize the individual as a good person with unique talents and qualities.
Ultimately, it is not our outward 1appearance that defines us as a person, but rather the depth of our character and the strength of our inner selves that provide solace during the darkest times of our lives.
I appreciate how the movie highlights this important lesson and constructs a nearly self-referential narrative around.
While I cannot say I was entirely satisfied with the overall execution, as there were elements I would have much preferred to see handled in a different manner, I do acknowledge and admire the effort that went into this project.
His Three Daughters (2023)
Expected much better!
When a film relies heavily on dialogue for 95% of its duration, it is imperative to either craft engaging conversations or develop a strong understanding of the characters and their unique backstories.
'His Three Daughters' falls short in both those areas. Apart from a few standout moments, the conversations tend to be repetitive and lack the emotional resonance I had hoped for.
While the characters are given distinct traits and qualities which in turn help define their personalities, it's ultimately the performances of Olsen, Lyonne, and Coon that propel the narrative forward.
Remove these three from this equation, and the remaining elements would struggle to hold their own ground.
Devara: Part 1 (2024)
Second half lets it down!
The initial segment leading up to the intermission block is quite commendable. There is this palpable sense of urgency and focus in the development of the world, and the characters are engaging, undertaking actions that foster nothing but intrigue.
However, upon entering the second half, the writing terribly loses its appeal. The intended impact of both the action and humor fails to resonate. While there is an effort to captivate the audience in the concluding moments, it appears to be a desperate attempt to entice viewers for a potential sequel rather than a progressive step for the sake of the narrative.
From a technical standpoint though, the execution is generally satisfactory, with only a couple of shortcomings in CGI. I must commend NTR Jr.'s performance, as he undoubtedly embodies the charisma and flair that these movies strictly require.
On a side note, what was Janhvi doing there?; aside from partaking in two dance sequences with the lead, her character served no greater purpose. It would have been preferable if the narrative had focused more on Vara's relationship with his mother and grandmother rather than fiddling with inconsequential liaison.
Citadel: Honey Bunny (2024)
First time a Raj&Dk production felt mediocre!
This may be the first Raj & Dk production that I consider to be mediocre.
And this perception may as well stem from their constrained creative freedom, as Russo brothers serve as executive directors, or it could simply be a consequence of limited opportunities for experimentation within this espionage space.
Now the action sequences are well-executed and effectively hold onto viewers' attention, the screenplay, however, particularly in terms of character development (barringa couple of exceptions), does not succeed in delivering the desired emotional impact.
It becomes challenging to connect with the characters, as they lack the necessary depth to support their arcs.
And this issue is further exacerbated by the limited screentime, as the series spans just over five hours. More time and additional material were essential to establish a solid foundation.
Therefore, I do not wish to hold the actors accountable; they have performed admirably, but the rushed writing failed to compliment their sincerity.
The Buckingham Murders (2023)
Had everything to go beyond, but it couldn't!
The script heavily depends on its background score (which is appreciable by the way) and Kareena's capacity as an actor to portray a character experiencing emotional turmoil.
As for the investigation, it is handled rather poorly, with most of the tropes coming off unnecessary or even superficial in certain segments.
Whilst the themes; homosexuality, communal tension, and domestic violence are important, and hold greater significance, the writing fails to effectively incorporate them.
As a result, none of those themes end up serving the purposes for which they were included in the first place.
Apocalypse Z: El principio del fin (2024)
Little room for experiments in this space!
Main caveat of zombie apocalypse movies is the diminishing originality of the concept, as we have already watched countless retellings from numerous directors all around the globe.
This leaves little room for innovation, and not all makers possess the ability or willingness to introduce new elements.
As a result, many efforts tend to feel generic and cliched and frustratingly so. Apocalypse Z unfortunately falls into this category.
However, the film's most significant flaw lies not in the lack of opportunities but in the ones it failed to prioritise on.
With themes such as a deceased spouse, a lost pet, and protagonist's internal conflicts, there were a myriad of elements to enhance the foundation of the narrative, yet the film did not capitalize on them, or perhaps it simply lacked the capability to do so!
Joker: Folie à Deux (2024)
If only this weren't treated as a Musical!
The solitary, despondent man, shunned by society, took control of his fate and birthed a fractured identity within from which he is now slowly retreating, as agonising cracks in his conscience widen and his doubts regarding his true self intensify.
I find the depiction of Joker's personal arc to be compelling, as his tumultuous mental state begins to grant him a clearer perspective on his grim circumstances. If only this were not a musical, my enjoyment would have surely been heightened.
The elements pertaining to Music not only diverted the narrative but also represented a stark departure from the penetrative and much darker vibe of its predecessor, which I cherished and longed to explore this time around as well.
Unfortunately It feels as though these musical components were awkwardly shoehorned in, merely to accommodate Gaga and her character's inexpedient inclusion as Harley Quinn.
While I cannot speak for the authenticity of this adaptation to compared to the comics, I do wish the focus was placed more on the psychological elaboration and dissection of the "Joker", the persona, rather than prioritizing a flashy, musically charged spectacle!
Stowaway (2021)
Failed to evoke necessary emotions
I value the concept and admire the fundamental teachings regarding empathy, compassion, or humanity as a whole; however, the issue lies in the fact that the novelty of their intention is scarcely reflective in the final outcome. The execution is middling and ineffective, resulting in those moralistic notions yielding minimal impacts.
Moreover, the project is hindered by its multifaceted objectives, as the imprudent choice to balance out the display of the space's beauty with the complexities of human nature detracts its from its predetermined course. A singular focus would have been more advantageous.
Bhool Bhulaiyaa 3 (2024)
Climax saved it!
The first half leading up to the interval block was tedious, characterized by one-liners that lacked the necessary punch & impact. Inspite of Karthik's best efforts to propagate humour, his abilities too had hit the wall.
However, In contrast, second half improved considerably, primarily because of the grand introduction of Madhuri as 'Mandira' and the dynamic conflict between her and Vidya aka Mallika.
I loved how the writing effectively obscures the true nature of the plot from the audience, employing clever subversion to keep the 'final revelation' at bay until the climax commences, which ultimately enhances the impact of the conclusion beyond our expectations.
That said, several issues still exist throughout the execution. For instance, the comedy often fails to land, with only a few moments working as intended.
Musical numbers felt out of place, awkwardly inserted into the narrative. The screenplay too appears stretched, with certain scenes unnecessarily prolonged.
And above all, there is a lack of logic behind every event that unfold; if you are scouring for any logic or coherence, just do not, it's best to abandon that pursuit, as they are unlikely to be found.
The Double (2013)
Not for everybody!
'The Double' serves as a poignant critique of the solitary and monotonous existence that many individuals gets trapped into.
It explores the strange paradox of striving for our goals while simultaneously sacrificing our identities and truer selves in the pursuit. More so true for the blue collar jobs, a theme which resonatesd deeply with me.
However, the biggest caveat with unorthodox narratives is, they do not resonate uniformly with all kinds of viewers. Interpretations can differ massively, leading to varied emotional responses.
Even with a well-crafted script that astutely examines a range of societal issues, if the audience fails to engage with the material, the efforts invested may ultimately prove futile.
And I am afraid. Not everybody will grasp the underlying messages here; the effectiveness of the movie hinges on the viewer's ability to connect with its symbolic insinuations and its allegories.
If you can do that, you would certainly have a great time, rest assured!
Vacancy (2007)
The nature of the premise does half the job!
Imagine this scenario...
It's very late at night. You are driving your car, exhausted and depleted of sleep, and you are now desperate to reach your destination, but suddenly your engine starts to act funny and eventually breaks down in the middle of the road, far off from any signs of civilisation.
Now, with no people in sight, you decide to stay in a cheap motel nearby, but soon after, you realise there's something terribly wrong there and your life might be in danger.
The circumstances aren't unfeasible; it could happen to anybody, anywhere. Not the movie, but the idea itself induces dread and tension and makes the proposition daunting.
However, if the film is to be judged solely on its cinematic merits, then it's not as smooth sailing as one would hope it would be.
Generic writing, generic characters, and more importantly, not enough stakes taken.
The kind of subject it deals with necessitated a braver, more ambitious approach, which was not offered here.
Deep Impact (1998)
A different take on apocalyptic movies!
This disaster flick focuses more on the human drama than the acts of destruction, which is a refreshing change from the usual barrage of apocalyptic movies where CGI usually takes the centre stage.
But that does not necessarily mean the story is offering anything significant. In fact, a lot of the subplots and storylines just do not hit the mark because they're poorly woven into the main narrative at play.
Aside from the last thirty minutes, I struggled to connect with the characters. Mainly due to their lackluster development and that made it hard for me to buy into their struggles and the dire circumstances they had to face.
Everest (2015)
Misses out on the narrative strengths!
For a movie titled "Everest" naturally invites expectancy for a equal depiction of both the majestic beauty and the fierce power of the awe-inspiring mountains, and it certainly fulfills that expectation.
The cinematography here is nothing short of spectacular; those with a passion for trekking or an affinity for mountainous terrains will find themselves captivated. More importantly, the visual effects are crafted with much precision, showcasing barely any imperfections.
However, as a survival drama, it falls short of capturing the gripping tension and intensity these kinds of films usually require. Whilst there is indeed a sense of thrill, it primarily stems from the perilous environment rather than the narration.
The Accountant (2016)
Enjoyable in parts, overall it's a disappointment!
The film has its enjoyable moments, primarily due to the masterfully choreographed action sequences and Affleck's skill in making those scenes feel authentic. However, overall, "The Accountant" fell short of my expectations.
The primary issue for me was its unclear and somewhat disorienting ambitions. At times, it strives to be a heartfelt drama that highlights the daily challenges faced by specially abled children, while at other times, it leans heavily into high-octane intensity and gunfights.
There was also a futile attempt to introduce a romantic subplot, which ultimately led to no meaningful resolution.
Another significant drawback was the lack of opportunities for the supporting cast to shine; the writing did not provide them with enough material to contribute, as the focus remained predominantly on Affleck and his character.
While it is perfectly acceptable to emphasise your protagonist, but when you are laying the groundwork for auxiliary plots, it is imperative to provide the supporting ensemble adequate space and resources to flourish.
Do Patti (2024)
Good intentions weighed down by poor writing and execution!
It may not be as abysmal as some critics may like to claim, the film certainly presents a mix of strengths and weaknesses.
On one side, the relevance of the core theme (Domestic violence) and Kriti's notable double role enactment uplift its appeal, on the other, the shortcomings in screenwriting and editing detract from its positive qualities.
The first half is commendable, competently establishing the characters and their unique traits, but the latter half stumbles in crafting a compelling narrative as one would expect at that juncture, and it was primarily due to the lackluster writing that fumbles to give justice to the prior buildup.
With a more skilled writer and director at the helm, it could have yielded a better outcome, as the potential was undeniably present!
Transformers One (2024)
I like to see more now!
To be honest, I had no prior planning to watch this, primarily to my weariness with the recent Transformers additions that have consistently fallen short of my expectations.
However upon discovering this one's decent to encouraging reception and the plethora of positive reviews circulating over the internet, my curiosity was piqued, drawing me here.
The first thirty minutes felt generic; despite my attentiveness, the enjoyment I sought eluded me.
The point at which "Bee" makes his entrance, the narrative springs to life. The thrill and joy I had craved finally began to emerge, and the movie kept on getting better and better with each passing minute.
Perhaps it was my inner child awakening, but I found myself exhilarated by the unfolding of each character's journey, one after another.
I had a great time here, and unexpectedly so!
Jeon, Ran (2024)
They had too many priorities to take care of!
While the script aims to present an intriguing interpretation of the 'Master-Slave' dynamic through an unexpected companionship, it ultimately becomes sidetracked by various other elements, particularly the Japanese invasion and the complexities of post-war politics.
Now I don't intend to criticize the writing, as it responsibly sought to delve into the historical context; however, it could have better focused on the core of the story, the intended theme of the film so to speak, which, to my surprise and disappointment, became overshadowed by a myriad of tangential plotlines.
Regardless, I thoroughly enjoyed the sword fights, they were skillfully shot and expertly choreographed.
The Substance (2024)
A commentary on misuse of shady drugs and genetic treatments!
The Substance intricately weaves psychological drama with elements of body horror, serving not only as a gripping narrative but also as a poignant critique of the pharmaceutical industry and the entertainment business. It highlights their complicity in promoting untested genetic therapies and de-aging treatments with alarming fervor.
At the heart of the tale is Elizabeth Sparkle a once-glamorous star now in her fifties grappling with profound depression and a waning sense of self-worth. In her desperate quest to reclaim her former fame and vitality, she discovers a 'substance' that promises to restore her youth in the most outlandish manner imaginable.
This narrative is a masterful fusion of drama and visceral horror, destined to leave audiences reeling, especially as it hurtles toward a nauseating end where stakes soar to unprecedented heights, a moment of pinnacle.
The artistry of the makeup and prosthetics team deserves special recognition; as their work is nothing short of extraordinary, Cronenberg would be proud. Additionally, accolades are due to Moore and Margaret too, whose stellar acts significantly enrich the storytelling, adding much needed layers of complexity and emotion.