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Gladiator II (2024)
Big Budget Cashgrab
When your creativity has depleted in your later years, you turn to your greatest creations and choose to destroy them in hopes of affording for the expensive lifestyle you have gotten accustomed to. That's what Ridley Scott has done with the legacy that Gladiator had. Its sequel's premise is as nonsensical as the progression of its inconsistent plot thereafter. The action sequences went from being awestrucking in the original to inadvertently amusing in the sequel.
The dialogues, which were one of the most alluring and iconic parts of the original, are unremarkable at best. The characters' tongue also go from old English to modern English within a span of about 2 decades?
Joaquin Phoenix played the insecure, fragile, egoistic villain so impactfully in the first part that despite the sequel's two villains following the same order as his character feel laughable. It's hard to buy how they have held on to the power. The movie's plot only makes it more and more unconvincing as it progresses. Lucilla loses the gravitas she had in the original and is reduced to being a one-note character. Pedro Pascal is grossly underused as Acacius. Paul Mescal frankly does his best in this mess of a film but, despite desperate parallels with Maximus, simply doesn't have the charisma of Russell Crowe to leave any real impact. The story around his character isn't helping him anyway - the single dialog turning point for his character is so beyond unconvincing that even the best actors wouldn't be able to deliver it.
If you were a fan of the original and you rue the fact that you would never be able to appreciate the film in all its glory as you did when you first watched it, perhaps watch the sequel. Its ridiculousness would definitely make you appreciate how great the original was.
Crew (2024)
Watch it for the lead actors!
Crew fits right into the comedy genre of films with signature bright colors, dazzling lighting, one-liners, melodramatic sequences that Balaji Telefilms Productions is known for. However, the film is far from balanced in these elements. The movie goes at a brisk pace and yet the screenplay isn't designed to keep the viewer hooked as it lays the inevitable in front of us. The film demands the viewer to suspend their disbelief as too many convenient happy accidents carry the script forward. The non-linear narrative is simplified and flows well.
The direction is genuinely good at times. Rajesh Krishnan's slapstick comedy lands well but the limitations of the writing do hold him back. What saves the film is its leading actors. Tabu is fantastic in the film. She brings her A game in acting provides the comedy a nuance that the film needed. Kareena Kapoor's charm works as well as Tabu's subtle approach. Kriti portrays her character's naivety and overachiever complex with finesse.
Bonus points for not being didactic about feminism for the cast itself does a fantastic job at portraying it for everyone to see. To the unionisation of the middle class!
Shaitaan (2024)
Trailer should've been flagged for containing all the spoiler
Applauding the confidence with which Aamil Keeyan Khan submitted the screenplay of Drishyam 2 screenplay for this movie and got away with it. The writing was so predictable that the shock factor (an important parameter for this genre of films) was completely lost. Also, kudos to whoever edited the trailer for showing the world how not to make a trailer. If you have watched the trailer, you have seen every watchable scene of the film.
Going with 5/10 purely for R Madhavan and Janki Bodiwala's fantastic portrayal of their characters and the aptly chilling background music. Haven't watched the original but maybe give it a go instead of this one.
Laapataa Ladies (2023)
Lost Ladies' Struggle To Find Themselves
Set in a small village in 2001, Laapata Ladies is a story of destiny, ambition, struggle and one of the oldest existing frauds of our society.
The movie moves at a brisk pace. The premise is set up within minutes, bringing our two leading ladies at crossroads with each other and the fate that completely changes the trajectories of their lives. The movie's script is simple and therein lies its beauty. Given the satirical nature of the film, it's a masterclass in "show, don't tell" narrative technique. The screenplay never loses the audience's attention. Kudos to the editor for keeping the film tight.
Every single actor has performed remarkably in this film. Phool's naivety is as convincingly portrayed as Jaya's nonconformity. Ravi Kishan is good as ever in the role of the inspector did but in the midst of such stellar performances, it was Chhaya Kadam's deeply realistic portrayal of Manju Maai that was the most satifying watch.
The movie explores some of the themes mainstream cinema has started taking up of late but it does so with the most faithful and sincere portrayal of reality. I recommend watching our lost Barbies find themselves in cinemas near you!
Jawan (2023)
Kollywood meets SRKism
Jawan is a welcome pivot in the genre of large-scale actioners that have been reviving Bollywood lately. The film is aware of the responsibility it has of showcasing the biggest star of the moment while delivering a point with the kind of bluntness that might make many amongst the audience that this name attracts flinch - at least in the first half.
The film carries star-referencing along with a touch of realism as well as it carries drama along with action. SRK manoeuvres the film to the best of his versatile abilities, often getting boosted by Atlee's fancam moments - which Telugu and Tamil grammar of cinema do best. This grammar also beautifully enhances the poetic delivery of the origins of a few in the supporting cast. Sadly, there wasn't enough time to get to all of them like we did in Money Heist. The screenplay, however, doesn't always get the same attention from Atlee. Song sequences mostly felt like unwanted interruptions.
Now it's not as if one expects too much nuance or lack of plot conveniences/armours from a mainstream movie but there was space to fill some of the logical gaps. The movie, which revolts against some very true incidents of the last few years, just seeks to inspire a positive conversation around populism without getting so direct that it starts attracting political attack. Its not as measured when it comes to delivering a statement from the star himself, though. In fact, its want for that made them spoil what could've been an actually surprising major plot twist in the trailer itself. Grabbing the last-laugh headlines took the frontseat.
The rest of the cast does a fantastic job with what they are given as well. Sethupathy does what one expects from him in his comfort zone. Nayanthara has a brilliant screen presence. Sanya Malhotra and Priyamani are simply fantastic. Deepika is charming in her extended cameo.
Zoya Akhtar had said in an interview a while ago that in the post-pandemic world where platforms are wanting creators to do "safe subjects" and anything you say is getting censored, you deal with it by getting subversive. I probably wouldn't have put Jawan in that category before the pandemic but today it lies amongst such tongue-tied mainstream attempts - including his own Pathaan from earlier this year - that it just makes it past the antiestiblishmentalist cutoff. Shah Rukh Khan is batting in his best form at the moment. That alone is reason enough to watch this film!
Gadar 2 (2023)
Now that's how you make a cashgrab!
I appreciate it when a film doesn't beat around the bush about its main purpose. Gadar 2 launches into its business from the get go. A montage of clips from the first film recap the prequel at the start of this film but don't worry if you walked in late. You will be seeing sequences from the first film throughout this venture all the way till climax. You might be thinking, "Great! I get two films for the ticket of one?" You don't. What you get is a film that sets stratospheric records in exploiting nostalgia.
For long, cinephiles like me have been cynical and critical of franchise cinema. Barring few exceptions, these films simply bank on the novelty of the original and add nothing new or of value to the film's universe. They are a glorified collection of self-sustaining fanservice moments. Gadar 2 actually made me appreciate those films for I have never seen a film rely so blatantly on the original to push itself.
Perhaps that's a good thing. It's honest. So, 30 minute of nothing but flashbacks and rehashing of chartbusters and popular moment from the original later, when the film starts to get towards its plot, it loses it instantly. We are met with the same grammar of filmmaking that the original had. Same slow motion and slip-and-fall-into-his-arms romance moments, same cutesy Punjabi family moments, same don't-ask-how-it-happened convenience in script progression, same unbreakable plot armours, same hero worship, you get the idea, right?
I believe in the school of thought that films must be analyzed for what they are. You don't assess a potboiler in the same way as you assess a docu-drama. Despite this, when the film finally detaches itself from the original for almost an hour in the first half, what we are met with is a snoozefest of predictable moments led by an actor who fails to make us care about him like we cared about Sunny Deol's character in Gadar. When Sunny Deol returns, we are back into the nostalgia ride with background music, parallel plots, flashbacks (of course), convenient plotlines and chest thumping nationalistic dialogues.
Bollywood has often been criticised for being bad at the art of subtlety. After watching Gadar 2, you might start appreciating the films we have watched in the last decade a little more. Almost every 10 minutes, we are met with a cut explaining which scene from the original AND this film is the current scene referring to. However, the film's flashbacks don't have a tone of condescension associated with them. They simply come from a place of knowing its core audience very well.
I went to watch this film under peer pressure and small amount of hope that this film might actually be a genuine sequel given that superficial summary of the plot suggested it is a valid continuation of the original. I came back enjoying just one scene which dealt with referencing of the original in an intelligent and humorous way. That scene truly handpumped 1.5 stars into this film's review. Watch at your own risk!
OMG 2 (2023)
CBFC harmed the film but it sailed through brilliantly anyway!
When OMG - Oh My God released, I was positively surprised by the film. It put religion in the witness box and redefined the meaning of God in mainstream cinema. It meticulously made points in the benefit of atheists and theists alike without sacrificing its own stance against Godmen. Ideally, OMG was a self-sufficient film in its universe and did not require a sequel so I was skeptical when OMG 2 was promoted as "this time God incarnates to defend His devotee". That made no sense. OMG 2, however, is so much more than that.
OMG 2 isn't even a spiritual sequel. The only thing it shares with its predecessor is the similarity in Akshay Kumar playing the supernatural character and the setting being that of courtroom drama. That doesn't mean the film doesn't stand on its own. In fact, it does so brilliantly. It intends to deliver a progressive message and employs God, ancient Indian culture and scriptures as the device to do so convincingly.
The screenplay is fantastic in the first hour. It sets up the conflict quickly and brings us to the courtroom drama without wasting any time. It presents a very sensitive topic packaged in light-hearted humour that actually lands. Akshay Kumar is better than he has been in many years. He provides his platform and does what Gods do in Hinduism - counselling a devotee in need. Pankaj Tripathi carries the entire film on his very able shoulders, delivering a benchmark performance for which he will be remembered.
The film's courtroom drama, however, isn't as sharp as this year's last courtroom outing Bandaa. Yami Gautam is that overachiever actor in this film who goes beyond the requirement of the script, inadvertently setting up expectations of a ruthless criminal lawyer character who comes off a little shallow in each hearing because the dialogue department simply didn't have enough for her to chew on. Her arguments start sounding repetitive after a point and her masterstrokes are scarce. The real enemy of the film, however, is CBFC which changed a major character too close to the release for the film to convincingly adjust to and cut several scenes abruptly leaving much to be desired.
Regardless, the film still makes for an essential watch. I am glad the current generation of teenagers and young adults are being exposed to a mainstream cinema like this. Watch it with your family! Discuss, resist, have faith in what is right!
Rocky Aur Rani Kii Prem Kahaani (2023)
An Ayushmann Khurrana movie set in KJo Cinematic Universe
Rocky Aur Rani is another addition to the gallery of Dharma films with cringe and wordy titles. Karan Johar is famous for making unapologetically formulaic potboilers with larger than life settings, unrealistic tropes, humour banking on audience's stereotypical and/or prejudiced mentality, scintillating chemistry, great soundtrack and score, extremely convenient resolutions and a buttload of melodrama. Rocky-Rani, however, does two things differently. It underwhelms on the music front and it ditches punchbag character-oriented humour for more progressive comedy.
The movie is filled with pop culture references, many of which were self-eulogising and relied on the feedback loop of celebrity culture whose torchbearer is Karan Johar himself. It also takes up certain plots that could potentially contradict each other and then dissolves them conveniently for the benefit of the main storyline that revolves around the lead pair. Half of the film's budget seems to have been spent on obtaining licenses to the many, many popular Bollywood numbers it used to set up the chemistry between its lead pair - something its average original soundtrack probably wouldn't have managed.
You walk into a Karan Johar film expecting all of this but where this film surprises is in its tonality. The movie feels like an Ayushmann Khurrana social comedy set in Karan Johar cinematic universe. You have a relatable, spoilt but receptive "raja beta" as the lead who falls in love with someone who transforms him into a progressive man. The main conflict then revolves around this man transforming the rest the regressive characters into doing better and the resolution is always acceptance and togetherness. Of course all of this involves extremely wealthy characters whose jobs turn demanding and non-demanding as per the plot's need. You even have a monologue or two by the leading man but Karan is calculative enough to know how much he should challenge this post-pandemic cinemagoing audience so he villainises the woman by making her impulsive at one point. He also chooses to dedicate one monologue to victimisation of the leading man who has been trying to change but the cancel culture would simply not let him catch a break!!! It almost felt like Karan was directly talking to those in the audience who have cancelled him for problematic tropes in his past films.
The film almost tips in the favour of the Bengalis in this ultra rich person's Vicky Donor but tries to add nuance to show it's not biased against Punjabis or views all Bengalis as progressive. You have good and bad on both sides. Its resolution positively surprises when it holds back from going completely Disney on you. It acknowledges incorrigibility in some people while also discussing (in its contrived Johari manner) the root cause behind it.
The performances deserve a special mention. You have incredible supporting cast from Jaya Bacchan to Shabana Azmi to Dharmendra. The leading pair too did well - specially Alia whose ethereal beauty and captivating screen presence was a character in itself.
Overall, the film makes for a fantastic one-time watch that stays with you for a couple of hours after viewing. You can watch it with your friends and family.
Tu Jhoothi Main Makkaar (2023)
Comedy hits, everything else misses
Tu Jhoothi Main Makkar is two films in one, promoted as a third completely different one altogether. You walk in expecting a typical Luv Ranjan film with the twist of both of its lead characters being anti-heroes but get confronted by a Rab Ne Bana Di Jodi-esque love story coupled with family drama.
The film shines the brightest during its comedy scenes (the FRIENDS finale inspired family banter in the car is the highlight of the film). The meta jokes land well. Bassi delivers one-liners like he did when he was at his peak as a standup comedian and while his own subplot in the film makes no sense, he chews whatever bite he's given well. The child actor, Inayat Verma, is the definition of chhota packet bada dhamaka. She plays her character with such ease and brilliance and hits both the punchlines and the slapstick comedy with such perfection, I became a fan. The supporting cast in general is fantastic. Shraddha, as always, looks gorgeous in the film and performs fairly until her shortcomings in the acting department get highlighted in scenes where she has to deliver purely through her expressions. This isn't anywhere close to Ranbir's best performance, in fact he puts his acting skills on the backburner, but apart from some scenes where he unnaturally breaks the fourth wall due to the director's insistence, he does fit in well.
The film, however, tests your patience in emotional scenes in the second half, completely losing both its tonality and crowd pull. Attempts at using songs to pick up pace and audience interest fall flat in the last hour. The film picked up a pretty relevant topic in the second half but chose a convenient way out of it. I would've preferred the realistic ending they were going for until the U-turn that they took in the last 30 minutes but that wouldn't have had the commercial appeal that is needed to carry Bollywood films to the Hit verdict these days. The background score of the film is fantastic and it does have some catchy chartbusters too but it has one too many songs for its own good. The direction is pretty mediocre as is the writing but I walked in leaving my brain in the fridge at home so I was able to look past that.
Overall, the film is a decent one-time watch constructed calculatively to make it flow with the masses and even if you aren't one of them you could enjoy it for its comedy.
Qala (2022)
Watch for its technical handling of the topic
Qala is a beautiful film and I am using the word beautiful to describe how easy it is on the eyes, however, sonically too it's very soothing to the ears. The many original and melodious songs on the soundtrack in the era of unimaginative remix culture that we live in is a refreshing sight. The actors have done a fantastic job as well. Tripti shines in her understated character while Swastika carries the film with her grace. Babil Khan shows immense potential. However, most of this is done injustice by sloppy writing and unfocused direction. The film often loses the grip on the audience and the symbolism feels contrived in several deliveries. Rare instances of intelligently writings are ruined by the adjunction of their explanation (the 'Koel' implication worked until it was explained). The climax felt anti-climactic because it was pretty much already implied throughout the film. Nonetheless, it's worth watching for the way it captures the topic of mental health issues through its visuals, through the actor's performances and their thought out characterisation.
Pathaan (2023)
Watch for King Khan's comeback
Gone are the days of intelligent theatrical releases. The pandemic has rolled us back to the times when characters would explain their obvious jokes, lest we miss them. When plots and their twists would literally be narrated by the characters, lest we are unable to connect the wildly conspicuous dots. When the lead has an unbreakable plot armour so strong that 10 men - many of whom are holding machine guns - scurry away as soon as he gets up to avenge his babe who has been shot in the belly by them. After all he's our hero whom we shall bow to. And no, the last part isn't sarcastic. Shah Rukh Khan is the life of this film. Man has been building his back and shoulder muscles for the past four years so he could singlehandedly and miraculously - much like the motorcycles that race so smoothly on the ice block - carry this film on them. John Abraham is the surprise of this film. He sells his character so well that you'd almost believe he's actually a noteworthy villain. Gone are the days when we could call him a furniture. Man's a cushy sofa now. Deepika is also there in the film, sometimes looking very hot!
The redeeming factor about the film - other than Shah Rukh's comeback, of course - is that it doesn't give in to the urge of turning jingoistic. It glorifies soldeirism but doesn't play into the easy India vs Pakistan narrative. Despite its very mainstream making, it tries to add some nuance. Although it's still in broad strokes and is also a victim of overcompensation, it's refreshing to see this in a mainstream movie.
Overall, the movie is a strictly one time watch. The meta jokes land, the self-eulogising attempts partially work, the making is a mess and the characters are nothing new. You'd be strongly reminded of many films of the past and not all of it would be intentional. You'd enjoy Pathaan thoroughly if you are an SRKian but even if you're not, you can put your brain in your fridge and go support King Khan's comeback!
The Imitation Game (2014)
A man I knew, a story I didn't
A few cheesy lines, Benedict Cumberbatch in his comfort zone of brilliant introverted arrogance and the story of the father of theoretical computer science and artificial intelligence. The man whom we have studied about as engineers comes so undone in this movie and we all cheer for that. We all find the inspiration behind the current tech buzzword - Artificial Intelligence - to be so much more moving than intriguing for the first time. That's where the film actually wins.
The first half of the movie is no different from the geeky-introverted-character led Beautiful Mind or The Big Bang Theory or Sherlock but it's when it actually deals with the human that was Turing that it sets itself apart from these flicks and wonderfully so.
Tightly edited, the film wastes no time to get to the point while giving just enough of the predictable storylines to catch people up. The performances are phenomenal and the unrequited love story set in WW2 is done right here. Neither too melodramatic nor too held back. Great watch.
Jojo Rabbit (2019)
Must watch for kids and adults alike
"You're not a Nazi, Jojo. You're a 10-year-old kid who likes dressing up in a funny uniform and wants to be part of a club."
This is a fantastic Intro To Fascism and Propaganda for kids which can, in today's difficult times, also be shown to adults who are victims (?) of brainwashing by fascist ideologues. The film can be very on-the-nose at times and the slapstick humor is probably to reel in the young audience but it falls flat when it indulges in them. Thankfully those tropes are limited and the film, overall, remains buoyant while telling a very simple, linear and heartwarming story of a lonely boy who wants to belong. The performances by lead as well as supporting characters are phenomenal. The writing very lucid and palatable. A must watch!
An Action Hero (2022)
Redefines the slick actioner genre in Bollywood
Over the years, we have watched actioners in Bollywood consistently leaving much to be desired so much so that we concluded that this genre just comes with its limitations. An Action Hero breaks that myth. Billed as a slick-actioner, this film doesn't reduce itself to worshipping of shirtless male bodies, genre-contradicting slow-motion effects, non-sensically infused item numbers, melodrama, unfunny jokes or lazy writing clubbed with flying cars and blasting CGI. Right from the start, the director Anirudh Iyer takes the genre seriously and moves at a hyper pace almost giving the audience no time to absorb it. There are punches flying as fast as the punchlines and most, if not all, of them land with perfection. Even when An Action Hero concedes to the Bollywood remix dance number formula, it doesn't let go of its strong grasp with reality and its conviction for the story.
It's applaudable how An Action Hero manages to tread the fine line between being condescending towards its own audience and being satirical towards the public at large with absolute finesse. The film is filled with references to real incidents but they aren't done in a self-eulogising manner - of which Bollywood is a repeat offender - rather it is a self-aware attempt at storytelling often critiquing itself along the way. Its critique through hilarious parodying of the ridiculous TRP-hungry media, fickle public perception and the corrupt establishment works as smoothly as Ayushmann Khurrana in parkour scenes.
This is the most different role in Ayushmann's career and yet he slips into it with such ease that you'd forget that he's the same man commonly known as the torchbearer of social change in Bollywood. He delivers the charm of a star, the narcissism of a rich and famous man, the slick actions of a fighter and moral greyness of the protagonist with neatness. His screen presence is remarkable but his winning scene is definitely the one in the boat. Jaideep Ahlawat is a gem who doesn't slip up even once. His thuggish demeanor doesn't cease even in more toned down scenes.
The only complaint is that when the film pivots in the second half, it forgets to take the audience along with it. The jokes remain funny and the action, bordering on the jumpscare, continues to be slick but the narration becomes less engaging. The film then rides on the very able shoulders of its lead actors until the climax when it all comes together in one swift flick.
The film is entirely devoid of melodrama and filled with grey characters that the sanctimonious section of the masses would find hard to side and connect with. The film, thus, is a courageous attempt in a plethora of ways and calls for a necessary viewing. Go for it!
Drishyam 2 (2022)
Not airtight but worth watching
Sequel to the much raved about Drishyam, Drishyam 2 redefines what it means to make a sequel. Bare minimum, yes, but in this age of constantly degrading depth and meaning in Bollywood, where sequels are nothing but a way to capitalise on the brand of a successful film, this is a heartening sight. That doesn't absolve Drishyam 2 of its flaws, though.
The pacing in the first half is understandably slow, given its genre, but at times it leaves you restless. The film does reward you for most of it in the second half - specially the climax - but I believe the first half could still have done with a bit more judicious editing.
There's also issues with direction. For instance, the film is naggingly obsessed with the slow-motion effect to the point that it overuses it and it inevitably loses impact even in scenes where it should have worked.
The film's cast is fantastic. Be it the lead cast of Ajay Devgn to Akshaye Khanna or the supporting cast of Kamlesh Sawant (Gaitonde) to Siddharth Bodke (Braganza). The background music adds perfectly to the film and the cinematography captures the magic of Goa (and its relentless rains) beautifully. The film also hits the buildup right and has definitely set up the third part well with the revelations in the climax. However, a key part of the denouement relies on suspension-of-disbelief which for a realistic thriller like Drishyam 2 is bothersome. Without getting into the spoilers, I would just say this film isn't as airtight as the first part was. It's also not as engaging as the first part which got to the point much faster.
Overall, Drishyam 2 is still worth watching for it is a rare thriller franchise that is both indigenously made and entertaining for the most part. I am going with 6/10. Bonus points for being the first film to use humor against the brainless and jobless boycottbollywood propagandists.
Sita Ramam (2022)
Glaring plotholes but watchable affair
Being brutally honest, Sita Ramam is largely a disappointing affair. The jokes don't land, the direction is abysmal, the screenplay is filled with glaring plotholes and overtly convenient tropes, the cinematography while ambitious leaves much to be desired. However, the saving grace for the film is its lead pair - specially Mrunal Thakur who is as good at looking ethereal as she is at delivering the grace and gravity of her character. Salmaan has done a decent job but it's his chemistry with Mrunal that brings the best out in him. Rashmika Mandana does fine with what she had been handed.
The film's script is fine mostly because of the climax and the romantic plot but the screenplay is so poorly done - specially in the first half - that one would feel compelled to turn the movie off. Don't. It gets better afterwards as the romantic plot takes off, the music takes center stage and the plot twists and slapstick humor finally begin to land. At least for a little while.
The director has done the film dirty. He is good in the romantic parts but is grossly underresearched and unconvincing in geopolitics as well as military sequences. He's also in a discomforting haste to get to the parts which seem to be his natural strengths.
Overall, the film is an entertaining watch if one is able to turn a blind eye (impossible) to its many inadequacies. I am going with 6/10 for the music, climax, romance and Mrunal.
House of the Dragon: The Black Queen (2022)
Went out well!
After what was unfortunately the worst episode of the season, episode 10 arrived and just proved the previous episode's climax to be even more hollow, anti-climactic and meaninglessly dramatic than it seemed when we had watched it. Post that however, what we got to experience was pure Game Of Thrones goodness and realness. Interpersonal relation, chilling background music, no unnecessarily poorly lit sequences, actions that fit the characterisation, an incident that is bound to be seen as nothing more than a (fatal) mistake by one side but a justifiably first major act of offense by the other. The war is afoot and convincingly so.
Oh and the episode belonged to Emma D'Arcy. Give them all the awards.
Doctor G (2022)
A necessary watch
Doctor G is a dramedy with our ever-earnest actor Ayushmann Khurrana at the helm of the narrative, enlightening every "progressive, liberal" man who is comfortable in his "at least I do not raise hands on women" and "they can work now, what more do they want?" level feminism about their casual sexism. Cleverly named "Doctor G", the film disguises as a doctor whose specialisation is in curing misogyny.
I have always appreciated Ayushmann's ability of providing his platform and taking a backseat after passing the mic to the person whose story is being told. Most actors wouldn't do this. They, like our protagonist, feel emasculated when the limelight moves away from them even for a second. In this film, Ayushmann pushes this ability of his to its peak. He enters the world of women and unlike how such stories usually go, he is actually shown passing by the female gaze.
There's a lot to like about Doctor G from its subtlety (which are bound to give you epiphanies if you understand them) to its sharp editing to its strong restraint against melodrama to the expertise with which it pulls off a complete shift in the tone of the film. The film's director, Anubhuti Kashyap, not only deftly manoeuvres the narrative change without making it too jarring as the breezy comedy turns into a dark thriller, but she also expresses a larger message that your growth as a person isn't necessarily all breezy and discrete but rather exists in a continuum during which it reflects in the tougher choices that you make when things get difficult and grim.
However, the film is also marred with noticeable flaws - the most conspicuous of which is the disappointingly terrible and distracting background score by Amit Trivedi, specially in the first half. Even his quirky music in the first half is harsh on the ears and often too loud when it's in juxtaposition with dialogues for us to be able to hear what the actors are speaking. The comedy writing in the first half tries too hard and the punchline setups are often either too predictable or just don't land. Anubhuti is in far more control of the screenplay in the second half and that includes the subtle and unobvious jokes which work really well in it. Watch out for the Zalima moment - easily the funniest sequence of the film.
Talking about the performances, Ayushmann is evergreen and moves the character arc as beautifully as ever. His efforts on the body language deserve a special mention as he retains an easy-to-miss "nerd posture" throughout the film and his comic timing during confrontational scenes is just phenomenal. Shefali Shah is a gem of an actor who deserves every superlative in the dictionary. More than her acting, it's her screen presence which is so bright that sometimes it even manages to almost eclipse a fantastic actor like Ayushmann. Sheeba Chadha is fantastic in her liberal mother role but she isn't given enough to chew in the first half. Rakul does well as the self-possessed but still figuring herself out character. Special mentions for the supporting actors who plays the teen girl and the nurse.
Doctor G on surface seems to be dealing with too many issues for a 2 hour film but its unshakeable conviction for the larger message of feminism and sensitising men towards it strings together all the subplots and makes it work. This film is a necessary watch. Go watch it with your friends and family. Go again if you feel like some aspect of the film didn't make much sense. There's a lot being said beneath the surface which many are bound to miss.
Humpty Sharma Ki Dulhania (2014)
Heavily clichéd, wannabe challenging, annoying, but cheerful at spots.
HUPTY SHARMA KI DULHANIA is a typical Dharma Productions movie. Fat Indian weddings, mehenga designer lehengas, meaningless interrupting songs and a lot, A LOT, of melodrama.
Eight minutes into the film and we have seen a boy selling question papers for kisses from girls and the female lead convincing her Dad to buy a lehenga on a dining table from which her divorced sister gets up and leaves because she chose a wrong man for herself. The guy who goes around flirting and kissing girls becomes emotional at a tragic DDLJ scene and feels guilty on a traditional lecture given by the female lead.The whole group and the father of the boy start making contributions for a completely strange girl.The love that was in the form of a bud until late, without any further development shows an intense bed scene. I mean, how can we not have a bed scene, it has been one full hour!
The minor amount of logic they were making in the first half goes on decreasing exponentially in the second hour. The climax is unbelievably stupid. There is no spoiler in this film, we have seen it all in Dilwaale Dulhaniya Le Jayenge, Kuch Kuch Hota Hai and all such Blockbusters.
Varun Dhawan famous for his flawed imitation of loud actors like Govinda was heavily annoying in the few starting scenes. Alia Bhatt who had been a surprise packet in the last two movies was strictly average in this flick. The supporting cast, however, is pretty strong.
Music is below average. Direction and cinematography needed much more attention. Editor must be fired quickly.
The movie, however illogical and irritating it may be at times, does have it spots of tickles. Despite brutally filled with clichés, the movie has its cheerful moments. The chemistry between the lead pair is warm(if not sizzling).
You may give this movie a miss but you wouldn't be wasting your time much if you have nothing else to do. A generous five-and-a-half-out-of- ten for the rare freshness.
Gunday (2014)
Gunday is about Bromance and not the Liberation War of Bangladesh.
Though the time is of The Indo-Pakistan war of 1971, the story revolves around the brotherly love the lead characters show for each other in the film. I don't see a reason why Bangladeshis hate this film so much. A writer has creative liberty to showcase his story by manipulating the history a bit. People see the language that Bangladeshis speak ads being wrongly showcased.I agree this is abusive on the part of direction, however the film is a mass movie and couldn't have been a success had it been picturized in real situations. Hindi language was used so that most people could understand what was being said.
One must note, Gunday is not a history lesson. It is a simple (and heavily flawed) story of two boys who were nudged into the wrong direction because of the circumstances. The director kept the main storyline real to a great extent and kudos to the director on that note.
Nobody questions the acting ability of any of the actor in the film. Though Ranveer Singh's dialog delivery is a bit incoherent.
The film could have easily been more entertaining had the director focused more on the script than on the emotions of the film, however the film is entertaining.
Highway (2014)
The eye-opener.
Highway is all about self-exploration. Rather, getting to know oneself. Imtiaz Ali, considered as the finest director of our times, very sharply registers his name among the finest directors of ALL TIMES after this. In Highway, he delivers a CLASSIC. His love for the road comes off in leaps and bounds in this film (we had captured a glimpse of that in Jab We Met). Maintain high versatility in the genre of Romance (not Rom- Com), he brings a winner in the form of this masterpiece. Truly, this film is completely his!
The next person who gets the major credit is Alia Bhatt. Exceptionally annoying in her first film, she comes off as, perhaps, the finest actresses of her generation. She pulls off the role with such perfection that Shabana Azmi might stand up in ovation for this girl. The girl has all the talent it needs to bring out a movie like Highway.
A.R. Rehman, who makes a HIT album of Highway, is not noticed much for his songs in the film (surprisingly, as we all have seen Imtiaz's films being a train of songs),rather for his background score. Truly soulful.
The "BITTER AND SWEET REALITY" (and not bittersweet) of the film, the double standard of the rich, the EVERYTHING is what finally forced me to give a film 9 stars after years.
Would have given an unprecedented 10 star rating had the film not had its flaws. The first half, amazingly shot, when leads to the second hour, where not MUCH is happening, it does seem a bit of a let-down. Yes, being a road movie it has to have its moments on the road, but it definitely needed to engage the audience. A very minor flaw, in this exceptional film.
I couldn't wait for Imtiaz Ali's next"Tamasha" (starring Deepika and Ranbir), already.
2 States (2014)
2 States is cheerful, fun, real and rugged
The story of 2 States is known to everyone. Even if one narrates it out in the review, it wouldn't be a spoiler, and so clearly that's not what I am going to do here. Clearly, adapted from Chetan Bhagat's best seller, the film is clearly not script-less. Like Yeh Jawaani Hai Deewani, the pace in the first half, representing youthful energy, is quite fast. So fast, that some, who have not read the novel, might find themselves in a confused state in some scenes . Too much has been tried to fit in a small hour. Second half, loses its pace at points, but it does have some tickling moments and some really inspiring notes. Acting by the lead pair is not extraordinary, but they do justice to their roles. Arjun Kapoor has stepped on the path of versatility and he is near perfect. Having heard a lot about Alia's acting in Highway (heard, not seen), I had my hopes high to search a Parineeti in her, I must say I was slightly disappointed. But yes, she has come light years ahead of Student Of The Year and she did excellently well. The parents do an outstanding job. Ronit Roy fills the loop-holes in the film with his finesse in the role of a drunken harsh father (reminiscence of Udaan?)
The cinematography is fine. Music is above average. Mast Magan is my personal favorite. However, Chandaniya's energetic music prevents the melodrama and the audience's tears. The background score suits well.
Overall, 2 States is a must watch for the script, the performances and the honesty of the crew. Though it could have been a better film, it does entertain you and if you are a forgiving viewer, you might love it. I am going with a generous three-and-a-half out of five. I don't want my money back ;-)
Eiga Doraemon Shin Nobita to tetsujin heidan: Habatake tenshitachi (2011)
One of the best movies of all time
Doraemon is a cartoon series that I've watching for years. I have seen many animation movies including most of the Doraemon movies, but no animation movie has ever touched me as deeply as this one did.
Even those who do not know Doraemon may watch the movie without feeling out of place. The story is excellent, the script is well-woven. The cinematography is excellent too. The music is emotion-evoking, the lyric of the three line-song are deep.
The movie shares a big message for both children and adults and may leave all age groups teary-eyed.
Overall, this is a masterpiece, the kind of movie I have not seen in years and may watch over and over again, infinite number of times. Released in 1986, this movie will live forever!
Goliyon Ki Raasleela Ram-leela (2013)
Fierce, Effective, Tapping yet Erratic is what Ram Leela is all about.
Goliyon Ki Raasleela Ram-Leela, one of the most anticipated movies of the year releases with all its bang and reveals itself as least related to stuff for which it had been declared controversial.
Sanjay Leela Bhansali's take on Romeo-Juliet, despite a known script, seems quite refreshing. The visuals, nobody questions, is by far Bhansali's best. Utterly flawless. You might want to compare the flawed VFX effects of movies like Krrish 3 and Ra. One and find Ram-Leela's visuals standing far ahead of them. The symmetry he puts in, the pattern he develops in every visual is like the best artist would.
SLB's poetry, dialogs and expression are so well that you might want other directors to get training from him. The professionalism is of Hollywood standard.
The songs are already chart-topping (Nagade Sang Dhol was No.1 on i Tunes for 7 consequent weeks), and when you watch them in the movie you feel mesmerized. So well choreographed are these dances that you couldn't stop yourself from thinking of performing them on some occasion. Though a bit raunchy, Ishkiyaon Dhishkyon seems more funny than vulgar. Priyanka's item number gives mph effect.
The strongest part of Goliyon Ki Raasleela Ram-Leela is the star performances. We do not doubt that Deepika Padukone, who has established herself as an equal of the Vidya Balan and Shaban Azmi only betters herself with this movie, giving her critics a yet bigger challenge. She, as Leela, is flawless. You wouldn't be watching Deepika Padukone, but Leela in the movie. Though in Cocktail, Ye Jawaani ha Deewani and Chennai Express, Deepika was the soul of the movie, here she has to share it with Ranveer Singh who acts equally well. This is his best performance so far. In fact, this is the best performance of the year by a male actor. Richa Chada is shockingly real as Leela's sister-in-law and Supriya Pathak, though sounds a bit like Hansa, is exhilarating and fear-inducing. Every dialog she delivers is pitch perfect.
The perfection that Bhansali has expressed in all the aforementioned topics gets polluted by the flawed script. Though in the first half you do not notice how time passes with the songs, acting and the chemistry setting fire to the screen, the second half takes a U-turn. The second half begins with impracticality, which moves on to deal with various serious topics, which is exceptional to a love story. What becomes a problem here is the absence of effective execution of these scenes. The sub-plots are in abundance but all last for so less time that the tears of Leela and Ram do not reflect on the audience's eyes. Before the audience could feel the pain, the scene changes. The ending becomes more like a fairy tale which ruins all the realistic happenings of the movie.
Despite its flaw, Goliyon Ki Raasleela Ram-Leela stands as WORTH WATCHING. One must definitely watch this class-and-mass movie for entertainment, visuals, star performances, songs, and by far the best adaptation of Romeo and Juliet by Bollywood. Go fall in love with Ram-Leela!