Reviews

Establishing new standards for the Indian OTT industry, "Scam 1992" raised extremely high expectations for its spiritual successor, audiences, including myself, were eagerly anticipating something even more special.

Regrettably, the sequel not only falls short of living up to its acclaimed predecessor but also faces its own set of challenges, mostly due to its meandering screenplay that tends to lose focus at regular intervals.

Whilst the initial four-five episodes are satisfactory and effectively lay the groundwork, the narrative begins to falter post halfway point, with repetitive occurrences becoming increasingly noticeable.

Despite their efforts to introduce new characters for a fresh perspective every now and then, none of these attempts yielded significant results. The damage was already done!

What have I just experienced? What was that all about? Was that really a 'Indian' action film? Without heroes flaunting their chiselled bodies, heroines looking glamorous, and without our protagonists fluttering to dance numbers?

My mind is blown and I am at a loss for words; this is our answer to "Raid - Redemption", undeniably one of, if not the best our country has to offer in the action space.

From its choreography of close quarter combats, to the cinematography in confined spaces, technically it's an achievement of its own, a genre defining execution that would be the benchmark to beat in the coming years.

Now, don't get decieved by the first 40 minutes, many might be persuaded into thinking, "what's all the fuss around the film, it's just your run of the mill action feature", wait until the title card appears and you will bear witness to something extraordinary.

I have seldom seen Indian movies, let alone Bollywood, tread such 'uncharted' territories. A treat for the gore fanatics and the action functions effectively because the storytelling is so emotionally impactful.

Every broken bone, every torn limb, every single stab carries a reason, a purpose, it's not violent just for the sake of being violent, there's grief underneath. I loved how the writing starts with the intent of being a crime thriller then turned itself into a dark tale of retribution!

One of the most satisfying 'tonal shifts' ever!

P. S. Lakshya and Raghav, two standouts of the show, watch out for them!

"Have you lost your mind? You are just a kid!" "A kid? I smoke, I snort. I've killed and robbed. I'm a man"

A set of fast-paced imagery, paired with its raw, unapologetic tones made way for an exhilarating two-hour adrenaline ride that rarely slows down and puts a break on its intensity.

Children taking down criminals, youths resorting to violence for power, cops driven by greed, and those who resist getting entangled in this bloody chaos perfectly symbolises how hatred spreads its seeds.

I adored how the writing competently portrays a crime-ridden slum and its detrimental impact on its inhabitants, particularly the young generation who grow up not with balls at their feet or toys in their hand but with guns to shed tears and blood.

The combination of stunning visuals and a spirited background score immerses us in a fantastical world filled with vibrant colors and enchanting creatures, all brought to life by the visionary director, Hayao Miyazaki.

While Miyazaki's creative concepts are indeed commendable, especially from a technical point of view, his writing fell short of its potential.

In spite of recognizing the allegorical depth of the film and appreciating Miyazaki's symbolism of the magical tower and the fantastical world as representations of Mahito's inner, psychological turmoil, the final outcome did not resonate with me as effectively as I hoped it would.

Characters lack likability, voice acting is occasionally jarring, and the screenplay suffers from pacing issues.

I generally refrain from bringing up comparisons, I shall admit that some of Ghibli's other films, such as "My Neighbor Totoro" and "Grave of the Fireflies," left much bigger of an impact on me in the past.

Perhaps, my exceedingly high expectations have weighed down on my perception.

Aside from the contextual symbolism (about nature preservation) shrewdly incorporated in the tale, it's one of those films where simplicity prevailed!

Not only did stunning artworks aid in its cause, but the music too helped to lay the groundwork.

I adore it when makers are able to take the most banal things imaginable and use them to make something truly magical, and director Miyazaki did that here.

And I shall praise the character writings too as Satsuki, Mei, Kanta, the Nanny; they were all so loveable, more importantly, relatable. If only they had more depth to offer, I would have cherished them even more!

An interesting amalgam of character study and courtroom drama, two distant filmmaking styles that synchronically procreate this unique blend, which attempts to elaborate on the concepts of corruptive transgression.

I love how the protagonist was put in a position that could be questioned from a moral point of view but cannot be labeled as good or bad, as her desultory conscience, rather the decisions she makes, places her in a sheath of ambiguity.

Once the film ends and the credits start to roll, all you will be thinking about whether Kelly Anne stood for the right or for the wrong; did she give in and surrender to her deviant infatuation? Or did she finally experienced feelings of guilt and overcome her unhealthy obsession?

I adore it when movies leave questions for the audience to ponder on and "Red Rooms" left aplenty to think about.

One of the weirdest and quirkiest films to come out in the 1990s, "Natural Born Killers" isn't only infused with remarkable creative vigour, it also presents itself as a 'meta' film that critiques the sensationalistic glorification of serial murderers by the insatiable media as well as the ordinary people who fantasize, or worse, idolise, such morally depraved individuals.

Although a lack of a coherent narrative hurts its greater prospects to some extent, audiences who are generally infatuated with blood and violence and prefer stylization over substance will still have their share of fun and pleasure!

"All right, listen. Does anybody mind if I scream here? Is that okay with you all? Cause I'd feel better for it. It won't take long."

I rarely have seen a movie that predominantly relies on verbal exchanges and character interactions, to the point where the narrative doesn't even adhere to the typical three-act screenplay structure.

Even though the absence of a coherent storyline bothered me, I found myself drawn to the various conversations that covered topics from petty tattoos to the queries of time and space conundrums.

While not all of the philosophical discussions hit the mark, most did, and that was sufficient to keep me engaged throughout two and half hours duration.

Speaking of which, I do wish the script was better paced, as a certain sense of sluggishness crept in from time to time.

"Daro mat ek naya yug aa raha hai"

Nag Aswin's 'Magnum Opus' built its foundation on the biggest scale Indian cinema has witnessed thus far. The Visuals, the grandeur, whilst highly inspired by the likes of Mad Max, Elysium, and Star Wars, are able to create their own identity through a competent set of world-building, accentuated by the stories deeply rooted in Hindu mythology and the associated culture.

I absolutely loved the Mahabharata references; the movie commences with one, and for that I got hooked from the onset. That said, the rest of the first half drags excruciatingly. Barring the initial 20 minutes or so, the editing has struggled to balance the humour, or rather, their intent to provide fan service, with the main objective at hand.

Moreover, the combat during Bhairava's introduction felt ineffective, and can somebody please remove that whole Disha and Prabhas sequence from my memory, the weakest 15 minutes of the entire movie in my opinion.

Things, however, take a turn for the better once we reach the second half; the urgency is restored, the focus shifts back to their core goal, and above all, the action choreography seems to be polished and tidily pieced together. Particularly the climactic segment, where things get heated up and we bore witness to delightful action extravaganza.

As for the characters, I adored how much importance is given to Ashwatthama, played brilliantly by Mr. Bachchan, though I can't say the same for the rest of the characters as they didn't have the 'backstory' baggage I was expecting them to! I hope that changes in the second part, which should come sooner as my patience is already wearing out.

The subpar narrative, a set of uninspiring characters, and disjointed screenwriting have hindered its actual potential, impeded its alluring premise, and dampened its truer prospects.

It neither works as a spectacle nor as a compelling tale of retribution. Apart from the impressive grandeur of the production and its huge scope, I found little to no enjoyment here.

Although I adore Anya Taylor-Joy and Chris Hemsworth as performers, both of their characters failed to make a lasting impression here, specifically the latter one, who I feel has portrayed a far more convincing antagonist before, "Bad Times at the El Royale" springs to mind.

The buildup's nice, the colour grading, the whole setup hit the tonality on point and I really liked how well the mystery surrounding the forest and its 'residents' are sustained for the first two acts, though everything gets a bit convoluted in the third, and the supposed "payoff" failed to leave an impression albeit that had more to do with the director's inability or rather 'inexperience' to handle dramatic discourse rather than what was on offer from the source material's side.

Ishana Night Shyamalan, as the debutant did a commendable job whenever the script concerns with any horror / thriller constituents. She knows how to build tension, she seems to be well aware of the intricacies involved.

It's the drama, however, where she fumbles, it is where her weaknesses become clear, it is where she misses her mark as the 'storyteller'. She's got so much to learn in that respect!

This may be a controversial perspective, but it might have worked better as a web series. The enormous world building, a dozen people with equally important backstories, coupled with some terrific action and an emphasis on visual storytelling; I believe the whole proposal would have had more of an impact if it had been shaped and formed in a conventional web show format.

I can't believe I'm saying this, but 'Three Hours' was inadequate to effectively employ its contextual complexity, ethical dilemmas, and numerous analogies. Even though the editing team did the best they could to keep everything under 180 minutes, the sheer scope of the source material necessitated additional space on screen.

P. S. If I had to pick my favourite character from "Watchmen," it would be "Rorschach"; he nailed every scene from from start to finish. He piqued my curiosity with each situation! I would really like to see a spinoff focusing entirely on his individuality.

For somebody like me who has never read the comics and has extremely limited knowledge about the origins of Superman, I have plenty of material to make an understanding.

Snyder did well by providing all the necessary information that would be necessary for first-timers. However, in doing so, the proposition became overstuffed, or rather overwhelmed.

By exposition, a constant feed of particulars, which made it less stimulating than it should have been!

Even though the visuals are extravagant and the action is mounted on an extremely large scale, the writing couldn't play the match-up game, as it seemed to have taken a back seat, confined within its own boundaries, weighed down by incoherence!

Perhaps a separate four-hour-long 'Snyder' cut was needed here!

Is it just me, or does this movie really lack the essence of a blockbuster? Maybe it's because my expectations were too high, or perhaps it's because the presentation did fall short of its objectives.

However, I must admit that I absolutely loved the visuals. The way the tales of the Spartans were portrayed here was captivating. It allowed us to delve deep into their culture, their mindset, and the unwavering pride they carried.

And the Action department did an amazing job in showcasing their skills on the battlefield. But at the same time, I can't help but feel that there could have been more done with the storytelling. There was plenty of room left for improvisations, numerous gaps that needed to be filled!

Even if we keep aside the allegrological implications, this is a pretty entertaining movie with Snyder's stylization and his trademark production value at the forefront.

I have kept a blank slate without any hopes or expectations, and I'll admit I am surprised. The action was engaging, and the storytelling was inventive, but it never takes itself too seriously and confuses its viewers and it rather straightens things up by the end.

The protagonists are likeable, and the slew of antagonists (particularly, Oscar Isaac) play their parts well. Had the editing been crisper and those 'dream sequences' (I think those can be deemed as dream sequences, correct me if I'm wrong) provided more in terms of their visual flair, I would have been more glad.

Regardless, it is recommended, especially to those who crave 'Women Empowerment' in a different form and shape.

I adore owls, and I'm also fond of narratives that allegorically incorporate real-life affairs into their fictional setups. Still, "Legend of the Guardians" felt mediocre since it failed to leave the impact I was hoping for!

The visuals are nice, the characters are likeable, albeit too many in number, and there are some moments that truly shine, but on the whole, the storytelling comes off as generic, or perhaps 'cliche' would be a better term to use here.

Even though the predictability did not bother me as much as its tonal inconsistencies have,.

The trajectory of the writing wasn't smooth, as a result, the structural integrity of the screenplay was hampered; coherence was gone, so much so that in a few moments it started to meander, at times almost cluelessly!

I wish Snyder had done better, he should have!

Although the premise conspicuously hints at a monotonous courtroom drama filled with cases and arguments, trust me, it would be a grave mistake to consider it one.

Why? Because the narrative stretches beyond the four walls of the courthouse, I would go as far as to say that the whole setup involving the judge, jurors, and attorneys was a backdrop to convey its real message, which is really about human nature.

More so relevant, when you look at the current state of our society, where everybody is blindly chasing fame and money without ever thinking about what's right and what's not!

It teaches about the consequences of greed and over-ambition. The lessons are uttered through events that transpire in Lomax's 'perfect' life, with 'Biblical' scriptures as an instrument to propagate the plot points.

Though I'll admit the third act could have been better structured, Appalling pace and a higher than usual pitch in performances did affect its efficacy to some extent.

Nevertheless, I liked it, probably more because I mistakenly presumed it as one run-of-the-mill courthouse feature. Suffice to say, I was quite surprised at my misjudgement!

Dear Mr. Hitchcock, you did not need to create a film to convince me that ravens and seagulls are incorrigible creatures, as I am well aware of their 'erratic' personalities.

Anyway, this happens to be my third Hitchcock film (following Rear Window and Vertigo) and unfortunately, it is yet another disappointment.

To be honest, I didn't even plan on watching it initially, but the abundance of positive reviews piqued my curiosity the other day, so I decided to give it a chance.

Little did I know that all I would get is a mediocre amalgamation of genres, where both romance and thrill fail to leave a lasting impact.

Maybe it's because I've been exposed to these specific genres too much, or perhaps it's due to the outdated approach that lies beneath, but I just couldn't connect with the tale or find myself caring for the characters, I adored the location, had fun with the technical sides but that's about it!

"One final thing I have to do... and then I'll be free of the past"

Following my disappointing time spent with 'Rare Window', I was skeptical about tuning in for the second 'Hitchcockian' session. Got to admit that I was pretty apprehensive, as doubts began to cloud my expectancies.

Fortunately, it fared considerably better than I anticipated!

I liked the story, loved the storytelling, felt for the characters, and was also privy to the romance portrayed on screen. This was a far better experience overall.

The major complaint that I had with my previous viewing (Rear Window) was that I could not feel the stakes, nor did I get a feel of the supposed suspense; however, here I did.

I liked the way the tale meets its end, a bit tragic, yes, but a befitting conclusion nonetheless!

My first introduction to the 'Hitchcockian' world, and I stumbled on the very first tour.

Perhaps it is the seven decades dated approach or my sheer incompetence to understand what this film truly stands for, but I was, for the most part, underwhelmed! Apart from the interesting cinematography and set designs, nothing else caught my interest.

Some scenes get repetitive, performances aren't as strong as I expected them to be, and above all, I could not feel the stakes (save for the last fifteen minutes) nor was I able to comprehend the supposed suspense!

It was a surprise to witness a film that has been deemed one of the finest of the genre, not work for my conscience.

"At some point, you gotta decide for yourself who you gonna be. Can't let nobody make that decision for you"

It was undoubtedly one of the finest examples of LGBTQ representation. The writing is excellent, the storytelling is even better! And then the visuals exude an indescribable tranquillity that I wholeheartedly cherish.

This film feels like it was crafted with immense care and passion. It feels as though it is being brought to life from someone's personal memories, feels incredibly personal, and I absolutely adored that. Despite revolving around sexuality and self-exploration, it never takes the provocative route. It remains sincere and sympathetic in its approach, which deserves some admiration.

My only complaint lies with the third chapter, titled 'Black'. It is where the intensity seems to die down. I loved the first two chapters, relating to the young child and teenage boy. I was able to empathize with their pain and rooted for their triumphs. However, in the last chapter, that connection suddenly fades away, as I couldn't get behind adult Chiron. I truly wish I could have!

This was quite challenging to sit through, and I say this with utmost respect to all the talented minds involved in here. Whilst I understand the intentions behind the project, the execution did not resonate with me as I had hoped or rather preferred.

Almost 95% of the screenplay is dedicated to lengthy discussions and character interactions that eventually become stagnant, redundant too as there was nothing exciting taking place from a visual standpoint.

Now, I do not necessarily have an aversion to dialogue-driven scripts, but there needs to be some context behind the words to make them meaningful, make them worthy. Otherwise, they would come across as nonsensical, nothing but gibberish, which unfortunately is the case down here.

Despite my best efforts to connect with the lead characters through dialogues, I struggled to find coherence in the overall story. Perhaps my lack of empathy towards our two protagonists further exacerbated the issue.

Make no mistake, I do have great admiration for both Buckley and Plemons, having enjoyed their performances in previous movies, but not here!

I like the versatility of the writing here, as it allows for multiple interpretations. It can be seen as a reflection of depression, childhood isolation, or even as a call for self-exploration, introspection. It can also be viewed as allegorical take on our tendency to hold onto nostalgia and the things that shaped our childhood and teenage years.

Having said that, inspite of having such compelling ideas, none of them realized their full potential, mostly due to the absurdly short duration of the film, it lasted around 90 minutes. The visuals were striking, and all the technical aspects were well-executed, thanks in part to the notable performances of the two leads as well. I have no complaint to make in those regards.

I feel, It is the narrative that would have benefited from more time to establish these concepts in a tangible manner. Perhaps, delving deeper into the psyches of the protagonists could have precipitated a more fitting outcome!

All the emotions, the witty exchanges, the petty arguments; it all felt incredibly authentic.

The storyline was simple, but it was a refreshing departure from the typical romantic tales we are so accustomed to.

The director excelled in capturing the dynamics of long-term relations, showcasing the nuances of married couples who have been together for over a decade.

Kudos to the actors as well, especially Vidya and Pratik, for delivering outstanding performances on their end which embodied the essence of a lifelike 'couplets'.

Having said that, the ending left a void, The final 25 minutes to be specific, were chaotic, lacking in consistency and tonal balance, which thereby disrupted the flow of the narrative, it leaves a lot to be desired.

If only it had taken a different turn...

The story had me captivated from the very start, but it was the ending that truly sealed the deal for me. When it comes to old school horror, this one will definitely rank among the finest.

The location is absolutely stunning, and the story itself is filled with clever twists and turns that will shock you at crucial intervals.

Furthermore, The script flows naturally, and the emotions portrayed by all the characters are so compelling that you can't help but feel for their pain and sufferings. And let us not forget about Nicole Kidman, she was fantastic, as she always is.

Now, I do not have any major complaints, but if I had to nitpick, I wished the writing here delved a bit deeper into the characters' backstories. Not that it didn't, but I expected more!