orko_dutta

Why to make such a trash ? To think - so much money and effort and people to make a trash like this - is painful.

And basic sense and science?? A door of a plane opens at 35000 feet and Mr. NTR is standing with a pose without any support - and then fighting. I mean YRF had a hidden message that the movie takes place in a parallel universe.

I would like to know what they were smoking up when they made the film.

There's a rare kind of magic in The Banshees of Inisherin - the kind that sneaks up on you, unfolding gently like the mist over the Irish cliffs. At first glance, it's a simple tale of a friendship gone sour. But beneath that quiet surface lies a profound exploration of the delicate balance between the simplicity of nature and the unforgiving complexity of the human mind.

Set against the breathtaking backdrop of Inisherin's windswept landscapes, the film captures the rhythm of rural life with a painter's eye. The fields, the sea, the stone cottages - they speak of a world that exists in stark contrast to the inner turmoil of its characters. Nature, ever steady and indifferent, mirrors the life that Padraic (Colin Farrell) once led - uncomplicated, content in the small joys of a pint at the pub or a walk with his donkey.

But Colm (Brendan Gleeson) embodies the opposite. He is the restless intellect, suffocated by the simplicity that Padraic thrives in. His desire to leave a mark - to compose music that will outlive him - feels like a quiet rebellion against the unchanging, almost eternal, simplicity of the island. The clash between the two men feels inevitable, as if nature itself resents the intrusion of too much thought.

What makes The Banshees of Inisherin exceptional is how effortlessly it weaves humor and heartbreak, lightness and dread. The absurdity of Colm's decision to sever his own fingers as a protest against Padraic's dullness is both tragic and darkly comedic. It's as if the film is whispering that intellect, when left unchecked, can consume itself - a reminder that the pursuit of meaning can sometimes lead to madness.

Farrell and Gleeson bring raw vulnerability to their roles, but it's the stillness of the island - the crashing waves, the lonely trees, the ever-present sky - that lingers. It's a film that suggests perhaps there is wisdom in Padraic's simplicity, even if the world favors those like Colm.

In the end, The Banshees of Inisherin doesn't offer easy answers. Instead, it leaves you sitting quietly with the question: Is it better to be remembered for something great, or to live a life unnoticed but at peace with the world around you?

There was a moment during Jigra when I thought, "This could actually be something special." The initial setup was gripping - a raw, emotional plot that promised a blend of intensity and vulnerability, anchored by Alia Bhatt's undeniable talent. But then reality set in. I remembered this was a Karan Johar production - and subtlety? Well, that left the building at the halfway mark.

Jigra starts off on solid ground. The premise hints at a complex, character-driven story, and Bhatt carries the first act with the kind of conviction that reminds you why she's one of Bollywood's finest. For a while, the film teeters on the edge of something genuinely powerful. But just as it starts to peel back the layers, the familiar Johar formula creeps in - irrational plot twists, exaggerated emotional crescendos, and tearful monologues under perfectly placed mood lighting.

By the third act, Jigra abandons any sense of grounded storytelling, plunging headfirst into a sea of emotional excess. And while Bhatt tries her best to anchor the chaos, even her nuanced performance can't save the movie from its own melodramatic tendencies.

It's frustrating because the foundation was there. The bones of a great film were buried beneath the gloss and theatrics. But instead of letting the story breathe, Jigra insists on cranking up the volume - a reminder that in Johar's world, more is always more.