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Batla House (2019)
A lost opportunity for JA and Advanj
The encounter that happened almost a dozen years ago, is seared on my memory. There had been a series of blasts, which had been claimed by the IM, in 2007-08. When this terror module was busted, there were a lot of tears, human and crocodile, which were shed.
The film begins on a tight note. Abraham, acting as only he can - by not emoting at all- seems to be a great fit for his role as the ACP who oversees the encounter. The other actors get bad lines and give worse performances.
It is the second half, which sank this for me. Especially the court scenes. The actual court sequences must have been thrilling. Here, JA seems to fight his own case and wins it hands down, with extreme non chalance.
This is a better than average film, which could have been great if the writer, who also happens to be the director, would have been less lazy.
In the Tall Grass (2019)
Intriguing idea. Poorly executed.
The intriguing central idea fails to make the desired impact because of shoddy script, too much repetition and half baked characters.
It could have worked wonders a 30 minute episode. However, it does not have meat on its bones to last for almost 100 minutes.
Waste of time.
An almost cult classic
Sometimes, being too authentic can be a major problem.
Sonchiriya, IMO, has been wrongly promoted as a Hindi movie. All the dialogues are in Bundeli, a dialect of Hindi, which is very difficult to pick without use of head phones. So, those who are willing to watch this should be mentally prepared that.
The first half is the best that I have seen this year, amongst all Hindi films. It is mindblowingly and mind numbingly relentless, with a posse of policemen set upon a gang of dreaded dacoits. The opening sequence, which lasts close to half an hour is Godfather like, with it's ambition and scope.
This is set in 1975, when emergency was declared by Mrs Gandhi and when Phoolan Devi was hunting down Thakur men who had violated her, by forming a gang of so called lower caste dacoits. All this is hinted at, sometimes peripherally , during the run-time.
Like many could-have-been-cult-classic Hindi films of recent times, this is also struck by curse of the second half, which is direction less because of lazy writing and no big pay off.
The acting is almost uniformly top notch, with the exception of Sushant Singh, who looks ill at ease. Ranveer Shorey is awe inspiring.
The action scenes are extremely raw and reminded me of the first Gangs of Wasseypur.
There are strong overtones of class and caste conflicts, which is a reality of life, even today, in Chambal, the area that includes Gwalior, Morena and Bhind.
This could have been another win for the director after Udta Punjab. However, this is more in the lines of Ishqiya, his directorial debut, which promised a lot but was let down by the second half and the climax.
Spectacular display of Indian valor
Kesari has it's flaws- such as it's eagerness to paint Akshay Kumar's character as the proverbial do-gooder, who helps the enemies construct their mosques in peace time and who orders that water be given to the fallen enemy soldiers. Another flaw is it's length, which could have been trimmed from 142 minutes to 120.
These are outnumbered by many positives, such as Akshay Kumar's performance, which in my opinion,is his best performance. There are these ten minutes, close to the end, when he is facing off a crowd of hundreds. The intensity in his eyes is a physical thing. May leave the hair on your arms (if there are any to begin with) raised.
The action scenes are aplenty, with almost the entire second half of 75 minutes a series of battles. They are very well choreographed, with surprisingly high amount of gore, for a UA film.
The dialogues are meant to appeal to your inner Manoj Kumar. And appeal they do, mostly.
I believe that it would been out of scope for a 2.5 hour long film to do justice to all 21 of the brave Sikhs who took on the 10000+ marauding Pathans. The film tries it's hardest, but doesn't succeed spectacularly.
However, it would leave you with a lump in your throat, because of Akshay and those action scenes. Courage of the desi variety has seldom been more spectacularly shown.
La habitación de Fermat (2007)
Lame stab at intellectualism
Prima facie, the premise of this Spanish thriller is very intriguing.
Four mathematicians, in a room that is gradually shrinking. This must be checked out, I said to myself.
Now, after having spent close to 2.5 hours trying to finish an 85 minute long mental ordeal, I am mentally exhausted and can come up with only platitudes.
Such as effing s*it. That's the quality of questions that are posed to these so called geniuses inside the room. I believe the members of this group would solve most of these puzzles in their sleep.
What I found hilarious was that with their lives on line and the time running out, people keep wasting time by telling stories to each other.
The end and the "reveal" are as terrible as the rest of the run time.
Can be safely recommended to people you want to put off films, for years.
The Interview (1998)
Weaving at his Best
A hidden gem, I got to know about this while I was searching for thrillers on Netflix.
Partly Inspired by Kafka's The Trial, a man is picked up by the police and isn't told the reason why. Then begins a battle of wits between the man and the detective .
Hugo Weaving, agent Smith from Matrix, is quite outstanding as the confused Man. His character evokes and provokes and definitely, this must be amongst his strongest performances.
The other actors, all Aussies, are quite competent in their roles.
The real victor is the script. It is gripping from the get go.
The feeling of claustrophobia pervades almost all scenes and is like an invisible , yet important character.
If there were one change that could be made, I would delete the last one minute.
Check it out. Definitely worth your time and broadband data.
When Okja premiered at Cannes, it got a standing ovation that lasted for 4 minutes.
This happens to be among the most highly rated Netflix original, both among the regular public and the critics
It's easy to see why, but I won't spoil the fun here.
Suffice to say that the combination of corporate greed, animal activism , bonding between the child and Okja , helmed purposefully, create a heady concoction.
Very subversive, yet effective messaging.
Bhavesh Joshi Superhero (2018)
Quite decent, with many sucker punches
Why to watch:
A. The build up, which lasts for close to an hour, leading to the Advent of the Superhero, is surprisingly gripping and made me invest emotionally
B. The action scenes, which are very well shot. Especially a bike chase sequence that happens first on the road and then continues in a local station and then finally gets back to the road. Good stuff, there. C. The excellent background score
Why to skip: A. The unusual ending, which didn't satisfy my blood lust B. The ease with which Harshwardhan Kapoor's character learns and applies high grade Kung Fu was not in sync with other realistic elements of the film and left a jarring effect C. The 2 or 3 songs that are there would make you pull your hair out D. another Hindi film that is afflicted by the curse of the second half
Overall, worth a watch.
One of the better Netflix originals.
Relatable characters whom you empathize with and root for, Tarantino like scenes of violence that just explode unexpectedly, easy to follow yet unpredictable screenplay and moments of warmth, tinged with sense of humor. Quite a lot that the viewer shall get in this 90 minute Netflix original movie.
Er ist wieder da (2015)
Hitler as a comedian?!!
Hitler wakes up in 2014 and is mistaken for a brilliant comedian, because of his uttering and is taken to be a method actor.
This incrediblr premise is executed blemishlessly. There are moments of genuine hilarity, coupled with those that would make you feel that a Hitler like figure can get elected easily in today's times, too after all the history lessons. A true hidden gem , this German movie is a must watch for fans of black comedy
Creep 2 (2017)
But for the ending, this is a gripper.
Pretty high on the disturbing count, low on the gore.
Should keep you on your tenterhooks till the end, which is not as gripping as the rest of the fare.
At a run time of 75 minutes, there are far many worse ways to waste your Sunday than watch this.
Also, titulary, this is supposed to be a sequel. But it's not connected to the first one and is more gripping than that.
Fans of found footage/ disturbing thrillers should give this a try.
Baahubali 2: The Conclusion (2017)
Gripping palace intrigue, below par war scenes
Rejoice, because until you are a very patient listener or an extremely fast reader, or have uncomplaining friends, who are willing to spend a good chunk of the day, explaining the palace intrigue, verbally or in the written form, that leads to the answer that everyone wants to know, you are safe. Prima facie, quite a lot of thought seems to have gone into writing the screenplay and fine tuning every scene, because of which the action and dramatic set pieces are awe inspiring. I don't wish to write about them, as I don't want to be a spoil sport. The director pleasantly surprised me by fleshing out Kattappa's role and peppering it with a lot of humor, which gave the proceedings a lot of levity and fun. My gripe with The Conclusion: The part that I loved the most in The Beginning was the war scene in the second half, which lasted for close to 3 quarters of an hour. There are no such extended orgasm inducing battle scenes, this time around. There are a lot of sequences that have been shot in the dark, and consequently, had much less of an impact on me. Also, the graphics seemed kind of tacky. It looked like a perfect example of the bigger not necessarily being the better.
Kannathil Muthamittal (2002)
I am a jaded viewer, one who has watched movies almost every day for the past 13-14 years. However, the Tamil movies that I have seen in the past week have been among the finest that I have seen and it has been their allure that has made me come back for more, day after day. This, for most of its run time, is no exception. Most parts of Europe, these days, are pre-occupied with the Syrian refugee crisis. There was a similar exigency, more on the lines of ethnic cleansing practiced by the reigning govt. that was brewing in Sri Lanka, from the late 50s and that brewed over in the early 80s. The film is set against the backdrop of this official pogrom against the Tamil minority of Sri Lanka. The initial portion is narrated from the point of view of a little girl, who is growing up in Chennai, but who is the offspring of a Lankan refugee. The backstory of how Madhavan and his wife come to adopt the child is extremely well done, with little histrionics, but a lot of love and heart. The romance never seems overdone or forced, but feels like an organic growth between the two protagonists. To make the viewer feel such strong emotions, in a span of 20 odd minutes, is Maniratnam's magic. The narration is so powerful and the drama so riveting that they defy you to look away from the screen. It is when the action shifts to Sri Lanka that the tenor of the film changes from drama to thriller and the proceedings become a lot predictable. It happened around the 3 quarter mark and this was when I found my interest level sagging. There was the suicide bombing, village evacuations and the mandatory anti- war statements followed by war sequences to fulfill the viewer's blood lust. I expected all these to happen and wasn't very happy when my expectations were met. The charm of the first half lay in the fact that the story had a hook and pulled the viewer. The second part lets go off the tight hold. A small aside. This movie was made in 2002 and a lot less was known, then, about the state sponsored murder. Perhaps, it was films, such as these, which exposed the public to what was happening in Lanka. Perhaps, it would have affected me lot more 15 years back. Madhavan expertly straddles the spectrum of hues that Maniratnam embellishes his character with. However, it is the female triumvirate, of Simran, Nandita Das and P.S. Keerthana, who dominate with its screen presence and the vigor and intensity of its performance. Simran is, to use an often misused cliché, masterly, both in emotional sequences, where she chokes up (and so would any sentient watcher) as well as in romantic scenes with Madhavan, wherein she warms the heart, with her banter and idealism. She and Keerthana broke my heart many times, with their exchanges about motherly and daughterly love. Nandita Das took me by surprise. I am not a qualified judge of Tamil accent and hence can't comment on hers. There is a scene towards the end, wherein she lets her eyes and tears do all the talking. She is scarily brilliant and gives a glimpse of her formidable prowess. This should be seen by everyone who loves exceptional drama, with slices taken from the world around us.
Rajnikanth's best and by a mile
This sets the relationship between Karan and Duryodhana in modern times, in criminal setting and tries to answer the age old question, "Why was a supposedly good person like Karan adamant on his friendship with Duryodhana? What bonded the two for life?"
Maniratnam's story, screenplay, dialogues and direction are meant to make you invest in and care for the protagonists, to pray for them, to be fascinated by them and also to be repelled by their actions and intrigued by their motivations. And he succeeds spectacularly. The drama is of the highest notch, with many a scene guaranteed to make you reach out for your nearest handkerchief or shoulder.
The action sequences are particularly intense, with no background score, the only sounds being of fists crashing against different body parts. I haven't experienced such visceral thrills in a long time.
Illyaraaja's music and the background score are beautiful. I had to look at the subtitles to understand the words and hence, I was a bit behind the curve on occasion. But, the music has been masterfully created to make you feel pathos and pathos you feel, upon hearing it. However, one of the few grouses with the movie that I had was the frequent song and dance sequences. I understand that this was a commercial potboiler, but, these broke the tension created by the proceedings. And the songs were longer than 5 minutes on most occasions.
The acting is, almost surreally, exceptional.
Like Kamal Haasan after him, the Hindi movie writers have tried to "Bollywoodize" Mr. Kanth rather than letting him be. Those who get surprised by the frenzy and emotions that surround his every release should watch him in this. They would come away enlightened.
I have seen only bits and pieces of Rajnikanth's acting prowess, in roles that were under cooked, such as those in "Hum" and "Andha Kanoon". The intensity of his performance, here, is like a physical thing, which crashed into me and left a mark on my psyche. It is breathtaking and barely believable. It must be easily one of his finest acts. This is all the more appreciable as there was ample opportunity for hamming it up. But, you only have to stare into the depth of his eyes to believe in the credibility of his threat.
Mamooty is excellent as the benevolent don. However, Rajnikanth is in such exquisite form, that he outshines Mamooty in almost all the scenes that they have together. Srividya shines in the role of Kunti. Arvind Swamy doesn't have much to do, in terms of acting. Amrish Puri is wasted. The film would not have been poorer, if his role had been completely edited out. The origin or the reason for his animosity with Mamooty is never revealed and that takes away some of the sheen of believability from his actions.
The editing could have tighter. Also, there were perhaps too many coincidences that served to drive the story forward. I didn't find a fault in them, as they helped to ratchet up the tension and the drama. But, perhaps, this could have been minimized.
Also, the production house / Amazon Prime Videos would do well to upload a better copy of the movie. The video often became pixellated, which wasn't expected. There are many scenes wherein the background score is missing. Thankfully, none of the dialogues have been affected.
One of the greatest gangster epics of all time
An aspiring director who wants to make a gangster epic that is different from the clichéd stuff, a brutal gang lord who becomes the subject of his fascination and who is also on the cross sight of the police and the rivals
the aforementioned gangster's right hand who is a porn addict, but is a family man and a teetotaler, another who is a violent alcoholic and the third who irritates the hell out of people by telling them stories from his distant past; novice who wants to start his career in chopping up people
Some of the most fascinating characters in crime genre populate this gangster epic and make the first half an incredibly enjoyable ride through the underbelly of Madurai.
Unlike the usual gangster movies wherein the mole who wants to infiltrate the group earns the trust quite easily and just gets in, "Jigar" explores the efforts that go into this much overlooked aspect of such films.
The second half is as diametrically opposite from the first as it can be. The denouement is real doozy and makes for a truly different, genre-crossing and rules defying visual experience.
Bobby Simha, who plays the gangster, is the beating heart of this epic. He gets the role of a lifetime and dazzles the mind with his brilliance. He, deservedly, won the national award for best supporting actor.
This is Mr. Subbaraj's second directorial venture (haven't seen his first, a horror movie, Pizza , which was remade in Hindi, too). He has written the script and the screenplay, too, and that is evident from the sure hand that he displays while helming this outstanding movie.
A mandatory watch for any person who loves gangster films, both of yore and of modern times, this is available with English subtitles, on Hotstar
Anbe Sivam (2003)
Landmark movie from an outstanding actor
This is the second film that I have seen in recent times (the other being Ikiru) that has the power to change the course of the life of its viewer, for the better. Haasan is breathtakingly brilliant in Anbe Sivam (Love is God), even more so in my opinion than his turn in the Godfather-inspired Nayakan. He traverses the entire gamut of emotions and is especially brilliant in the comic scenes. He is master thinker, too, which is evident from the screenplay that he has written. While the script prima facie seems to be a rip off of the classic "Planes, trains and automobiles" ("Due Date" was another recent spin on the same story), the depth that Haasan offers because of the inherent conflict that he introduces in the exchanges between Sivam, who is a communist, a "comrade" and Anbarasu, the quintessential child of free market, gives the happenings a rare gravitas, inspite of the comic incidences. And although the love story that plays in flashback runs in a predictable fashion and takes away some of the sheen, it ends in a spectacularly jaw dropping climax that stunned me. Hindi movie audience has been truly unfortunate as we have seen so little of Kamal Haasan. There has been the odd Appu Raja, wherein he blew away with his double act. Then there was the abhorrent "Abhay", which could have put an insomniac to sleep. Watching this is a penance that Hindi movie watchers who have berated Kamal Haasan as an overrated actor should perform, at least once. This is available, with English subtitles, on Amazon Prime.
Patriots Day (2016)
Wahlberg and Berg worked on two movies in 2016, both of which were based on real life tragedies. The first one, Deepwater Horizon, was about an offshore rig, which exploded and created the worst oil spill in U.S. history. #PatriotsDayMovie is about the bombings that happened during the Boston marathon and the subsequent manhunt for the perpetrators. For me, this is Berg's most gripping movie, surpassing the absolutely riveting Lone Survivor, based on Marcus Luttrell's eponymous book about a team of special commandos who get trapped in Afghanistan. Berg doesn't get into sermonizing or demonizing any community. The urban warfare is chilling & visceral. He keeps the focus razor sharp, on the tragic tale and keeps the thrills coming, one after the other. As he did in Deepwater Horizon, Wahlberg seems content on playing the second fiddle to the screenplay. The first scene of the film that shows Wahlberg hurting his leg while trying to barge the door open, sets the mood for the rest of the story. So, there is barely an action sequence where Wahlberg steals the limelight. There seems to be no "creative liberty" taken or facts twisted to portray Wahlberg as the "superhero", which is all the more creditable, considering the fact that Wahlberg has produced both this and Deepwater. The Academy has nominated the crappy "Lion" in six different categories, including Best Movie and Direction, which is a bloody shame. #PatriotsDayMovie had a rightful claim, in front of the shambolic fare that is Lion. However, thrillers have generally gotten the short end of the stick. And, in these times of Trump, to nominate a movie that tells the true tale of two immigrants who brought a city to a complete halt, wouldn't have made political sense.
SRK's death knell
First the great part: Nawazzudin Siddiqui is the lifeline of the film, its beating heart. His mannerisms as well as the wit that he brings in through his sometimes dead pan and sometimes sneer face dialogue delivery lift this below average fare and gives it much needed credibility.
And now the cribbing: The script was, reportedly, written over two-three years. However, there is, barely, a whiff of novelty in this moldering mess. There is a scene within the first twenty five minutes of the movie that redefines the term "barter". Its ridiculousness has to be seen to be believed. In another incredible sequence, the world's most incompetent sniper is hired by rival gangsters to take out SRK. SRK easily spots him, many floors up and then throws a chain / locket at him, to disable the scope. I had to pick up my jaw from the floor after witnessing this most unintentionally hilarious scene. SRK even channels his inner Mithun, by shooting two baddies with one bullet.
Raees is a true entrepreneur. He is a sharp shooter, planner and executioner, all rolled into one, while the rest of his mates are there to only shake their heads in disbelief or mumble platitudes about police and the rival gang members.
Grow a beard & wear specs - that is SRK's definition of getting into character. His age shows in scenes with the much younger heroine. He looks especially creepy during the first scene when the two meet and he "complements" her,"Mast lag e Che", His blackened teeth give the game further away, three quarters into the movie. I believe that he is personally responsible for the regression of Indian cinema by as much as a decade and I think by churning out such crap, in the name of gangster flick, in the short as well as the long run, he is doing the film industry a disservice. This is Myrah (is that the spelling) Khan's first movie. I pray to God that it also turns out to be her last. She is lamer than Katrina and that is a fuking achievement. Why the loud background music to underscore every emotion? We may be idiots to watch another SRK flick, thinking he would redeem himself. But, we are not that ninny? Or, are we?
The tag line is whistle worthy, but far from the truth. For if people had only that bit of brain that is on display over here by SRK, we would still be in the dark ages of business.
SRK has to stop living in his ivory tower of supposed stardom. He is losing it, film after film. Of course, this would earn more than 1000 million. But, that is par for the course for such a tent pole. It could have, perhaps, earned north of 2000 - 2500 million Indian rupees had more attention been paid to the substance than to the style.
Return to form for Mr. Raghavan
3.5/5 The last twenty minutes derail Badlapur and impede it from becoming one of the better thrillers of the "revenge-is-a-dish-best-served-cold" sub-genre. The first hundred minutes have many brutal, in your face moments. The first scene is in a master class of its own. It is immediately arresting and horrifying and dares you to turn your eyes from it. Shriram Raghavan's direction and his knack of storytelling were the primary drivers which kept me glued. He made me sympathize for even the worst of his characters. That says something about his Elmore Leonard like ability to create likable "bad" guys and repellent "good" guys. Varun Dhawan is a revelation. As the grieving husband and father, he pulls off the act with unexpected panache. His eyes glitter with hatred and the body language exudes barely suppressed menace. Nawazzudin Siddiqui's role is not that of a conventional villain. He does not froth or shout. With his white hair and frail physique, he demands sympathy. However, as usual he brings understated nuance to his character of an incarcerated bank robber. His anger barely broke the surface. But when it did, it left me chilled to the core. Radhika Apte steals the limelight. I did not know of her before viewing this. Amongst a cast which has, many other known female faces (Huma Quereshi, Yami Gautam and Divya Dutta), she clearly steals the cake with her portrayal of a wife who will go to any length for her husband. The build up to the climax and the denouement itself were anti- climactic, somewhat of a damp squib and took away a little something from what is likely to be remembered as one of the top movies of the year.
City Lights (2014)
Most consistently brilliant Hindi movie of 2014
4/5 Insanely brilliant. Extremely poignant. True to life. These expressions spring up in my mind as I begin to write this review. You see, I am still recovering from the emotional, thrilling and dramatic sledgehammer which is Citylights. To put it plainly, this is the most consistently brilliant Hindi movie I have watched in all of 2014. I was hooked from the first frame and loved the unpredictable turns the script took. The worst and the best of human nature are vividly portrayed throughout the length of Citylights and it makes for some heart rendering and some truly uncomfortable moments. It casts light on the plight of the rural migrant who comes to the city with high hopes. The contrast between the humane behavior of the so called vulgar elements of the society and the coldness, aloofness and predatory nature of the venerated high society is masterfully displayed.
The acting is as good as it gets. Raj Kumar is easily the best new actor in Hindi industry. He gives a superlative follow up performance to his class act in Shahid. The debutante Patralekha matches him and even manages to outshine him in some scenes. This has the best kind of music, which propels the story forward rather than acting as an impediment to the story telling. Hansal Mehta, the director, deserves the highest praise for acting on his vision and making his second path breaking film (after Shahid) in two years. This is one of those films which helped me reaffirm my faith in the present of Hindi cinema. I loved it.
Singham Returns (2014)
Could have been a cult classic
2.5/5 The first half of Singham Returns is high on entertainment and surprisingly, doesn't fare too badly on logic. Devgan's Singham is posted at Mumbai where he is friends with an Anna Hazare clone, Guruji (Mr. Kher in an impactful cameo) who is trying to cure the system of the malice of black money. Thankfully, the state's Chief Minister (Mahesh Manjrekar in a very restrained performance does a good job of portraying Maharashtra's CM Mr. Chavan) is his ally.Against him is a fake Godman and a corrupt ally of the ruling party. The movie starts on the right foot and builds beautifully up to the half way mark. There is an extended shoot out which has been shot very competently. Also, helping matters is the fact that the first song comes just ten minutes before interval. In the second half, the film, however, comes crashing down. It seems as if the writer / director Mr. Shetty suddenly ran out of ideas and decided to just display bullets being fired and the cars going kaput. As the body count started spiralling, I found myself losing all interest. The last thirty minutes of the movie are a joke and point to the paucity of new material in the "cops gone rogue for justice" genre. I liked the fact that the police are shown as the defenders of law for a change. Mr. Shetty obviously has a positive image of the police force and it manifests itself in nearly every frame of the film. Ajay Devgan is excellent and does justice to his character. His ever expressive eyes get to say a lot. There are a couple of jokes cracked at his age. However, his rippling chest and the trade mark swagger are a killer. Kareena Kapoor is a useless appendage. It would not have made an iota of difference if her role would have been scrapped. She actually starts the film's slide into mediocrity in the second half with her role as Singham's confused love interest. The hunt for the villains is not as thrilling as the first part and it all ends very tamely and predictably, which is a pity as this could have been an Indian action genre classic.
It's Entertainment (2014)
this is NOT entertainment
1.5/5 Perhaps I had a subconscious desire to torture my inner being. If that was so, I have succeeded spectacularly. I don't remember the last time I watched an Akshay Kumar(AK) movie. But, after enduring his brand of "Entertainment" , I know that I will not be subjecting myself to his brand of juvenile antics ever, in this life time or the next. My already low expectations were deadened within the first two minutes which show a morbidly obese AK thrusting his nipple into the mouth of a wailing child. Yeah, you read that right. The humor is low brow and crass. However, with some "so bad it's good" one liners in the first half, the film gallops along. Sitting through the second half was like trying to laugh with a mouth full of broken glass. The mindless script becomes maudlin and the sporafic fun vanishes. It is a torture, full of clichés. Sonu Sood and Prakash Raj play the loving brothers, Karan and Arjun, who throw a spanner in AK's wheels. Sood actually does a good job of playing the dimwitted younger brother and their banter in the first half brought smile to my visage. Tamanna should be prepared for the second dud of her career after the disaster of "Himmatwala". All she does is stand in a saree or a sarong and mouth dialogues mocking Balaji serials. Her act gets old in the very first shot which speaks volumes about her acting capabilities. AK should be asked to see his previous ten movies. He looks and acts the same in all the same, as far as I could glean from their trailers. He really needs to stop being a part of such shite as early as possible or else the curtains can come down really soon on his career. The real villain of the movie is the bloody script. Majority of Its dialogues rhyme like the cult classic Gunda. I just wish they were half as funny as that once in a lifetime experience.
Near miracle of a movie
Locke is an 80 minute long near miracle. Shot completely inside a car, with the car's occupant Ivan Locke talking to people over his car phone, this makes for riveting drama. It almost seems to be a motion picture representation of Y.AB. Keats's "Things fall apart". The writer director, Mr. Knight, brilliantly shows the unravelling of Locke's personal and professional lives, giving the viewer unalloyed, voyeuristic peek into Locke's demons, transgressions and attempts to redress them. Tom Hardy, who is present in every frame of the film, as the eponymous Locke, is A one. He makes the character come alive and confirms his reputation of being a method actor. But the real winner is the absolute gem of a script. This is one of those movies, which can and will never be remade in Bollywood as no director / actor can be so gutsy to create such a one character masterpiece. Very highly recommended.
Bhai Rocks; so does the movie
Kick marks Bhai's return to "top form" after the atrocious Jai Ho. Bhai shows some mean dance moves, leaves and then wins the girl, becomes pal with the cop who is hunting him down and does good for the country by taking out rogue state and non state elements who are playing with the country's health. Bhai, who is close to or more than twice Jacqueline's age, looks statuesque like a Greek God. His rippling muscles can still set hearts on fire. He doesn't sleepwalk through his role, which is a relief and puts visible effort. That is good enough, Bhai. Jacqueline looks really hot with those "sexy secretary" specs. She gets a lengthy role and doesn't screw it up which is the best thing which can be said about her acting. Hooda has become typecast as a cop. Nawazzudin, with his mean smile, is brilliant as the dastardly nephew of the home minister. The script has holes big enough to drive your SUV through. But then, searching for logic in a Salman Khan movie is like searching for a virgin in a whorehouse. You won't find any. On the plus side, there are many witty lines which had me cracking up. The music is catchy and thankfully, there are not too many songs to slow down the pace. The action scenes are frankly, childish and the chase sequence sucks. However, Bhai papers over all these cracks with his endearing stupidities and ensures you get your bang for the buck.
Day of the Dead (1985)
Pretty good follow up to the Dawn of the Dead
The third movie of the Dead pentalogy, this largely takes place in a military bunker. Like the cult classic Dawn of the Dead, Land
explores secondary issues like the treatment of minorities and exposes the dictatorial tendencies, the suppression of dissent and the racist and misogynistic streaks which run in people when they know they are not answerable to anyone. The screenplay is the real winner here as Romero writes a mean follow up to Dawn
which is commendable. There is a brilliant segment about the attempt to domesticate the zombie, echoes of which were present in a small sub-section of World War Z, the book. The gore quotient is remarkably high for a movie of the 80s with the last fifteen minutes straight from hell, thanks to Tom Savini, the SFX guru.