dhunjiwadia's reviews
This page showcases all reviews dhunjiwadia has written, sharing their detailed thoughts about movies, TV shows, and more.
91 reviews
Even at 94, Clint Eastwood is still Hollywood's finest. Known for his adept film-making he brings his energy to an old-fashioned courtroom drama.
Juror 2 is a nail biting and thoroughly engrossing examination of Clint Eastwood's career-long infatuation with guilt and justice. With a fantastic script from Jonathan A. Abrams, Juror 2 turns a courtroom drama, with its limitations of American law, on its head.
Sometimes it's good to go into a movie not knowing the plot; except that it happens in a courtroom. Juror 2 is a thought-provoking drama directed by Clint Eastwood.
The information trickles in as the movie progresses and the moral issues keep getting more pronounced. The question of what should be done when every choice leads to something unfair for any individual, is for the characters as well as for the audience.
Toni Collette and J. K. Simmons deliver equally fantastic performances. I'm a bit disheartened that Keifer Southerland's role was limited. But the main man is Nicholas Hoult. Not once does he overplay the torment boiling beneath the surface. His internal panic is seen by the viewers but doesn't get expressed to the others around him.
The movie could be more sophisticated given the potential of the story, but I have tremendous respect for what I received.
This movie makes one reflect on life and the choices one makes. It's a powerful story about facing tough decisions, taking responsibility for your actions, and the moral dilemmas that come with it. It's also a conversation starter, prompting discussions on how others would react given a similar situation.
Juror 2 is a nail biting and thoroughly engrossing examination of Clint Eastwood's career-long infatuation with guilt and justice. With a fantastic script from Jonathan A. Abrams, Juror 2 turns a courtroom drama, with its limitations of American law, on its head.
Sometimes it's good to go into a movie not knowing the plot; except that it happens in a courtroom. Juror 2 is a thought-provoking drama directed by Clint Eastwood.
The information trickles in as the movie progresses and the moral issues keep getting more pronounced. The question of what should be done when every choice leads to something unfair for any individual, is for the characters as well as for the audience.
Toni Collette and J. K. Simmons deliver equally fantastic performances. I'm a bit disheartened that Keifer Southerland's role was limited. But the main man is Nicholas Hoult. Not once does he overplay the torment boiling beneath the surface. His internal panic is seen by the viewers but doesn't get expressed to the others around him.
The movie could be more sophisticated given the potential of the story, but I have tremendous respect for what I received.
This movie makes one reflect on life and the choices one makes. It's a powerful story about facing tough decisions, taking responsibility for your actions, and the moral dilemmas that come with it. It's also a conversation starter, prompting discussions on how others would react given a similar situation.
I absolutely adore musicals. I don't hesitate to pay for the best seats. And it gets even more pricey when one books tickets on the net for Westend productions from here. But I don't mind paying because the experience is vibrant and I find it most satisfying. I know the money is not the same for movie tickets, but I mentioned this because of my love for the genre. And I had high hopes for this one.
The movie is wickedly average. It left me feeling drained.
The production design and costumes are great. The singing was perfect.
Cynthia Erivo is a wonderful pick for Elphaba - both, for her acting and singing. Ariana Grande as Galinda/Glinda brings various quirks and humour to her character. Jonathan Bailey as Fiyero was surprising and fresh. Rest of the characters seem superficial and hard to connect.
The plot was incredibly thin and unable to hold my attention. Towards the end I was loathing the idea of listening to another song. With the exception of the finishing number, 'Defying Gravity', I found most of the songs forgettable.
Overall, it's still a watchable film despite its long runtime. But I was disappointed after reading some of the reviews. I'm not sure what I was expecting, but it wasn't this. Having said that, there are people who feel this is the 'best-ever' piece of cinema. So perhaps it's just me.
The movie is wickedly average. It left me feeling drained.
The production design and costumes are great. The singing was perfect.
Cynthia Erivo is a wonderful pick for Elphaba - both, for her acting and singing. Ariana Grande as Galinda/Glinda brings various quirks and humour to her character. Jonathan Bailey as Fiyero was surprising and fresh. Rest of the characters seem superficial and hard to connect.
The plot was incredibly thin and unable to hold my attention. Towards the end I was loathing the idea of listening to another song. With the exception of the finishing number, 'Defying Gravity', I found most of the songs forgettable.
Overall, it's still a watchable film despite its long runtime. But I was disappointed after reading some of the reviews. I'm not sure what I was expecting, but it wasn't this. Having said that, there are people who feel this is the 'best-ever' piece of cinema. So perhaps it's just me.
A Real Pain is the story of two Jewish American cousins, Benji (Kieran Culkin) and David (Jesse Eisenberg), who go on a tour to visit their ancestral home in Poland.
The title, A Real Pain, can be connected on two fronts
As the cousins travel through Poland with their tour group, they are forced to confront their relationship, revealing pain and insecurity on both sides.
It would be a disservice to Eisenberg's nuanced screenplay and direction if I tried to describe the film. It's a sharply written character study that tackles the bittersweet examination of family; while the cousins uncover the layers of their shared past and the impact it has on their present lives.
Benji and David's personalities are drawn in shades of grey. Also, every character in the film, no matter how small or inconsequential, feels fully fleshed out.
Throughout the film, we get to hear piano pieces by the Polish composer, Frederic Chopin. The music is cleverly interwoven into the film and becomes a character in itself. The melancholic melodies heighten the drama of the narrative.
Michael Dymek's cinematography is as subtle and unassuming as the story itself. He captures some haunting imagery from Poland's streets and post-Soviet architecture to the cold cruelty of a concentration camp - underscoring the film's theme of trauma and history.
Robert Nassau's editing ensures that the film has a good pace.
Culkin as Benji is terrific with a blend of charm and 'charmlessness'. He's a walking contradiction who can light up a room as easily as he can drain all the life out of it. And very deserving of the Best Supporting Actor Oscar, among other awards.
In contrast, Eisenberg as David is the straight man, but not without his own issues. His outward composure belies an internal pain.
The supporting cast is equally strong.
Eisenberg's direction and screenplay make it an unforgettable piece of work.
The title, A Real Pain, can be connected on two fronts
- The tour group's brush with the holocaust
- Also Benji's embarrassing and disruptive behavior as he struggles to deal with the death of his grandmother.
As the cousins travel through Poland with their tour group, they are forced to confront their relationship, revealing pain and insecurity on both sides.
It would be a disservice to Eisenberg's nuanced screenplay and direction if I tried to describe the film. It's a sharply written character study that tackles the bittersweet examination of family; while the cousins uncover the layers of their shared past and the impact it has on their present lives.
Benji and David's personalities are drawn in shades of grey. Also, every character in the film, no matter how small or inconsequential, feels fully fleshed out.
Throughout the film, we get to hear piano pieces by the Polish composer, Frederic Chopin. The music is cleverly interwoven into the film and becomes a character in itself. The melancholic melodies heighten the drama of the narrative.
Michael Dymek's cinematography is as subtle and unassuming as the story itself. He captures some haunting imagery from Poland's streets and post-Soviet architecture to the cold cruelty of a concentration camp - underscoring the film's theme of trauma and history.
Robert Nassau's editing ensures that the film has a good pace.
Culkin as Benji is terrific with a blend of charm and 'charmlessness'. He's a walking contradiction who can light up a room as easily as he can drain all the life out of it. And very deserving of the Best Supporting Actor Oscar, among other awards.
In contrast, Eisenberg as David is the straight man, but not without his own issues. His outward composure belies an internal pain.
The supporting cast is equally strong.
Eisenberg's direction and screenplay make it an unforgettable piece of work.
It's never too late to pursue our dreams and achieve great things. Colonel Sanders started KFC at the age of 65. We have our very own Boman Irani making his directorial debut at the age of 65 with The Mehta Boys.
Boman Irani has proved that he can sit comfortably on the director's chair. He's also co-written and co-produced the movie. Boman Irani and Oscar winner Alexander Dilenaris' script is simple and lovable.
Just recently we watched Animal, the movie that portrayed a Father-Son relation in a disturbing and violent manner. And now we see The Mehta Boys which I feel is a gentler and better way to show a Father-Son relationship.
The Mehta Boys is a poignant exploration of the dynamics between a father and son.
The movie has no bold statements to make. It's just about relationships. Every actor does their bit to perfection.
Boman Irani shines as an actor and a director, delivering a beautifully crafted film. Avinash Tiwary proves his talent and is undoubtedly an actor who is here to stay. Shreya Chaudhary provides solid support.
Without undermining anyone's performance (they are all good), Puja Sarup's stands out in a small role. Her airport sequence will remain in my mind for a long, long time. I just wish she had more screen time.
The Mehta Boys is a heart-warming and emotional film that's a treat to watch. It is cinema with heart; the kind of storytelling we need more of.
More than a movie, it's a reminder to cherish those who are close to you and embrace every moment with them.
Boman Irani has proved that he can sit comfortably on the director's chair. He's also co-written and co-produced the movie. Boman Irani and Oscar winner Alexander Dilenaris' script is simple and lovable.
Just recently we watched Animal, the movie that portrayed a Father-Son relation in a disturbing and violent manner. And now we see The Mehta Boys which I feel is a gentler and better way to show a Father-Son relationship.
The Mehta Boys is a poignant exploration of the dynamics between a father and son.
The movie has no bold statements to make. It's just about relationships. Every actor does their bit to perfection.
Boman Irani shines as an actor and a director, delivering a beautifully crafted film. Avinash Tiwary proves his talent and is undoubtedly an actor who is here to stay. Shreya Chaudhary provides solid support.
Without undermining anyone's performance (they are all good), Puja Sarup's stands out in a small role. Her airport sequence will remain in my mind for a long, long time. I just wish she had more screen time.
The Mehta Boys is a heart-warming and emotional film that's a treat to watch. It is cinema with heart; the kind of storytelling we need more of.
More than a movie, it's a reminder to cherish those who are close to you and embrace every moment with them.
This movie is based on a short story by Satyajit Ray - Golpo Boliye Tarini Khuro (Storyteller Tarini Uncle). Shot in the lanes of Calcutta and Ahmedabad by director Anant Mahadevan who has chosen actual surroundings and not green screens, thankfully.
Paresh Rawal plays a middle-class Bengali who has just retired from a publishing house. To keep himself occupied he takes up a job as a storyteller to a prosperous Gujarati cotton businessman (Adil Hussain). He's hired as a storyteller by the businessman to overcome his insomnia.
The story is wonderful as it is written by a master storyteller. Only Ray could have conceived a plot as innovative and intriguing as this.
If one reads the original short story one would hardly find enough material to make a full-length feature film out of it. Credit for this goes to the principal screenplay writer Kireet Khurana. It blends the magic of storytelling with humour and social insights making it a heartfelt tribute to Ray's legacy. It's a pause in time and a departure from the mundane, pacy lives we live.
Despite the positives I just can't understand our obsession for mimicking accents. Either get into the character with in-depth understanding of nuances, mannerisms and accent (like Irrfan Khan in The Namesake), else just speak in normal Hindi.
Why does Tarini keep dropping a few words in Bengali at times and otherwise speak in Hindi with his friends and family. Also Garodia chooses to speak a few words or phrases in Gujarati. But chats with his man Friday in Hindi, and addresses a gathering of Gujaratis in Hindi. Don't get me wrong, both Paresh Rawal and Adil Hussain are terrific performers and I respect their talents. But this sticks out as a sore thumb despite having great actors.
Paresh Rawal plays a middle-class Bengali who has just retired from a publishing house. To keep himself occupied he takes up a job as a storyteller to a prosperous Gujarati cotton businessman (Adil Hussain). He's hired as a storyteller by the businessman to overcome his insomnia.
The story is wonderful as it is written by a master storyteller. Only Ray could have conceived a plot as innovative and intriguing as this.
If one reads the original short story one would hardly find enough material to make a full-length feature film out of it. Credit for this goes to the principal screenplay writer Kireet Khurana. It blends the magic of storytelling with humour and social insights making it a heartfelt tribute to Ray's legacy. It's a pause in time and a departure from the mundane, pacy lives we live.
Despite the positives I just can't understand our obsession for mimicking accents. Either get into the character with in-depth understanding of nuances, mannerisms and accent (like Irrfan Khan in The Namesake), else just speak in normal Hindi.
Why does Tarini keep dropping a few words in Bengali at times and otherwise speak in Hindi with his friends and family. Also Garodia chooses to speak a few words or phrases in Gujarati. But chats with his man Friday in Hindi, and addresses a gathering of Gujaratis in Hindi. Don't get me wrong, both Paresh Rawal and Adil Hussain are terrific performers and I respect their talents. But this sticks out as a sore thumb despite having great actors.
It's difficult to express in words how one feels about this movie. And since we all feel differently, I guess, there'll be many points of view on this work.
Here's my perspective about this film, which above everything else, made me feel human.
The film begins with the hustle and bustle of a busy Mumbai. Mixed with the colourful cityscape are voices in Hindi, Marathi, Bengali....of people who have moved to the city in quest of work.
Mumbai, one of the most cosmopolitan cities in the world, is also the home of two migrant nurses - Prabha and Anu. These ladies personify the aspirations and hardships of migrants in Mumbai. Finding it difficult to navigate their lonely lives in the city as the camera follows them in public places and their privacy.
Both the actors, Kani Kusruti and Divya Prabha, give great performances. They know each other. Know what to say. Sometimes words aren't even needed between them.
Adding to these 2 brilliant performers is a wonderful Chhaya Kadam as Parvaty. She's the hospital cook facing eviction from her own home having lived in Mumbai for ages - for lack of proper documents. Reflecting the grim realities of the big bad city. Parvaty has several humourous lines that form a critique's view of living in Mumbai.
Even the small roles are enacted with subtle perfection. Like Azees Nedumangad as Dr Manoj who gets his strong moment when he's willing to stay back in Mumbai if he can find his 'light'.
We feel the journey of the characters as they grapple with the suffocating confines of our culture and then replace with newness and hope that comes with acceptance.
Between darkness and light.
Between tradition and modernity.
Between the constraints of society and our individual needs.
Between the chaos of city life and urban loneliness.
Between the concrete jungle and the sea.
There's a set of dichotomies at play.
Writer, Director Payal Kapadia's work is up there with the best this medium of cinema has to offer. She's in control of every element of this film. Through a brilliant script dotted with humour, that doesn't take away from the seriousness of the moments. With mesmerizing cinematography (Ranabir Das) and sound that's like a warm embrace (Dhritiman Das, Topshe).
Everything unfolds calmly and there's always something more to be said and explored, whether in the concrete jungle of Mumbai or in the calm serenity of the sea at Parvaty's village.
We are all human with desires, illusions, disappointments, fears and dreams. We are all part of this ecosystem and it can be beautiful anywhere. Payal Kapadia makes us see life through alternative perspectives - without seeking judgment. Her work rightly deserved the Festival de Cannes Grand Prix, 2024, among other accolades the world over.
Here's my perspective about this film, which above everything else, made me feel human.
The film begins with the hustle and bustle of a busy Mumbai. Mixed with the colourful cityscape are voices in Hindi, Marathi, Bengali....of people who have moved to the city in quest of work.
Mumbai, one of the most cosmopolitan cities in the world, is also the home of two migrant nurses - Prabha and Anu. These ladies personify the aspirations and hardships of migrants in Mumbai. Finding it difficult to navigate their lonely lives in the city as the camera follows them in public places and their privacy.
Both the actors, Kani Kusruti and Divya Prabha, give great performances. They know each other. Know what to say. Sometimes words aren't even needed between them.
Adding to these 2 brilliant performers is a wonderful Chhaya Kadam as Parvaty. She's the hospital cook facing eviction from her own home having lived in Mumbai for ages - for lack of proper documents. Reflecting the grim realities of the big bad city. Parvaty has several humourous lines that form a critique's view of living in Mumbai.
Even the small roles are enacted with subtle perfection. Like Azees Nedumangad as Dr Manoj who gets his strong moment when he's willing to stay back in Mumbai if he can find his 'light'.
We feel the journey of the characters as they grapple with the suffocating confines of our culture and then replace with newness and hope that comes with acceptance.
Between darkness and light.
Between tradition and modernity.
Between the constraints of society and our individual needs.
Between the chaos of city life and urban loneliness.
Between the concrete jungle and the sea.
There's a set of dichotomies at play.
Writer, Director Payal Kapadia's work is up there with the best this medium of cinema has to offer. She's in control of every element of this film. Through a brilliant script dotted with humour, that doesn't take away from the seriousness of the moments. With mesmerizing cinematography (Ranabir Das) and sound that's like a warm embrace (Dhritiman Das, Topshe).
Everything unfolds calmly and there's always something more to be said and explored, whether in the concrete jungle of Mumbai or in the calm serenity of the sea at Parvaty's village.
We are all human with desires, illusions, disappointments, fears and dreams. We are all part of this ecosystem and it can be beautiful anywhere. Payal Kapadia makes us see life through alternative perspectives - without seeking judgment. Her work rightly deserved the Festival de Cannes Grand Prix, 2024, among other accolades the world over.
After the Pope dies, it's up to the Dean of the College of Cardinals to organise a Papal Conclave, through which the successor will be chosen. Thrust into a complex web of secrecy while navigating the agendas of those vying for the papacy, the weight of the Dean's decision will alter the future of the church, while testing his faith and moral compass.
Power plays, corruption and political stunts are all present as these Men of God go through the procedure of picking their next leader. Tension builds with each revelation and tarnished robe and secretive plot. The final twist maybe a bit out of the proverbial left field, but in a room filled with secrets, perhaps the makers thought that's as it should be.
Director Edward Berger's film cleverly explores the intersection of universal themes such as faith, doubt and personal ambition. It has a well-written screenplay (Peter Straughan and Robert Harris) with a thought-provoking narrative resonating on both an intellectual and emotional level.
Conclave is a stunning piece of creative with opulent production design by Suzie Davies. Silver crosses glint, while bloody reds and crisp whites contrast sharply. The sets and costume design are detailed and accurate, masterfully captured by cinematographer Stéphane Fontaine. The stark, minimalistic visuals create a sense of foreboding and tension, mirroring the high stakes environment of the conclave. Volker Bertelmann crafts an eerie, austere and sublime score. Additionally, incidental sounds - in this case breathing - have been exaggerated, heightening the immediacy of the narrative and amplifying its tension.
Above all these, it's the performances, especially that of Oscar-worthy Ralph Fiennes, that truly elevate the film. In him we see the internal struggles of a man caught between his duties to the church and his personal convictions. Stanley Tucci deserves a special mention for his performance as one of the contenders whose platform seems to be 'I don't want this' but who, underneath, really, really wants it. John Lithgow, Isabella Rossellini, among others, deliver powerful performances. The film is worth seeing for these alone.
Despite the ending being something of a let-down, Conclave is a worthile watch.
Power plays, corruption and political stunts are all present as these Men of God go through the procedure of picking their next leader. Tension builds with each revelation and tarnished robe and secretive plot. The final twist maybe a bit out of the proverbial left field, but in a room filled with secrets, perhaps the makers thought that's as it should be.
Director Edward Berger's film cleverly explores the intersection of universal themes such as faith, doubt and personal ambition. It has a well-written screenplay (Peter Straughan and Robert Harris) with a thought-provoking narrative resonating on both an intellectual and emotional level.
Conclave is a stunning piece of creative with opulent production design by Suzie Davies. Silver crosses glint, while bloody reds and crisp whites contrast sharply. The sets and costume design are detailed and accurate, masterfully captured by cinematographer Stéphane Fontaine. The stark, minimalistic visuals create a sense of foreboding and tension, mirroring the high stakes environment of the conclave. Volker Bertelmann crafts an eerie, austere and sublime score. Additionally, incidental sounds - in this case breathing - have been exaggerated, heightening the immediacy of the narrative and amplifying its tension.
Above all these, it's the performances, especially that of Oscar-worthy Ralph Fiennes, that truly elevate the film. In him we see the internal struggles of a man caught between his duties to the church and his personal convictions. Stanley Tucci deserves a special mention for his performance as one of the contenders whose platform seems to be 'I don't want this' but who, underneath, really, really wants it. John Lithgow, Isabella Rossellini, among others, deliver powerful performances. The film is worth seeing for these alone.
Despite the ending being something of a let-down, Conclave is a worthile watch.
The movie's had a great run at the festivals and awards forums and I was excited and intrigued to watch it. Art is subjective and some people have loved this movie.
Long story short - The acting is terrific. The cinematography is absolutely beautiful. The music is great. The film is strange.
If you want to know more why I'm saying this, then read on.
Brutalism was the name given to a style of architecture that flourished in the 50s and 60s. In a sense, The Brutalist movie is a work of architecture. It gives epic visions of the immigrant aspirations and the pros and cons of the American dream.
The Statue of Liberty is shown upside down on the poster because that's the way she first appears to the immigrants emerging from the steerage holds of the steamers bringing them into America.
The Brutalist never lets you breathe. The director builds it with such purpose that you see the care in every frame. He's a talented craftsman and crushingly serious. You watch the artistry turn into artifice. And that chokes out any feeling. The film is so obsessed with being a piece of art that it forgets to let you in. It's so heavy in it's own importance that eventually one sees a polished facade, thrusting it's own seriousness back at the viewer. It stood there, sealed off by its own sense of importance, leaving the viewer in me outside.
Adrien Brody is good. This feels like an extension of his performance from 'The Pianist'. (He'll perhaps get another Oscar for a similar performance 20 years from now.) Felicity Jones gives a powerful performance as we can feel the hardships she would have to go through to come to America. Guy Pearce is a commanding figure and one can always feel a sense of uneasiness around him.
Cinematography is remarkable. It paints this movie as an epic and makes it feel like a piece of art. That too with an abysmally low budget. The soundtrack is also a work of art in its own right. It features perfectly curated songs in its montage of historical radio broadcasts, advertisements and ambient sounds.
The Brutalist prioritizes visual spectacle over emotional resonance, leaving the viewer impressed but ultimately detached. It is less a moving story and more of an endurance test. It feels like a never-ending tour of a building you've already seen every corner of.
For me it came out as a movie made with the intention of taking home a ton of awards.....because it's 'Art'.
Long story short - The acting is terrific. The cinematography is absolutely beautiful. The music is great. The film is strange.
If you want to know more why I'm saying this, then read on.
Brutalism was the name given to a style of architecture that flourished in the 50s and 60s. In a sense, The Brutalist movie is a work of architecture. It gives epic visions of the immigrant aspirations and the pros and cons of the American dream.
The Statue of Liberty is shown upside down on the poster because that's the way she first appears to the immigrants emerging from the steerage holds of the steamers bringing them into America.
The Brutalist never lets you breathe. The director builds it with such purpose that you see the care in every frame. He's a talented craftsman and crushingly serious. You watch the artistry turn into artifice. And that chokes out any feeling. The film is so obsessed with being a piece of art that it forgets to let you in. It's so heavy in it's own importance that eventually one sees a polished facade, thrusting it's own seriousness back at the viewer. It stood there, sealed off by its own sense of importance, leaving the viewer in me outside.
Adrien Brody is good. This feels like an extension of his performance from 'The Pianist'. (He'll perhaps get another Oscar for a similar performance 20 years from now.) Felicity Jones gives a powerful performance as we can feel the hardships she would have to go through to come to America. Guy Pearce is a commanding figure and one can always feel a sense of uneasiness around him.
Cinematography is remarkable. It paints this movie as an epic and makes it feel like a piece of art. That too with an abysmally low budget. The soundtrack is also a work of art in its own right. It features perfectly curated songs in its montage of historical radio broadcasts, advertisements and ambient sounds.
The Brutalist prioritizes visual spectacle over emotional resonance, leaving the viewer impressed but ultimately detached. It is less a moving story and more of an endurance test. It feels like a never-ending tour of a building you've already seen every corner of.
For me it came out as a movie made with the intention of taking home a ton of awards.....because it's 'Art'.
Bob Dylan is an enigma. I was sceptical since a biopic of such a unique person could end up looking like a caricature. Then I saw the trailers and interviews. And my expectations went sky-high. The movie still surpassed my expectations.
Dylan once said, "Truth was the last thing on my mind, and even if there was such a thing, I didn't want it in my house....." This film is a mix of fact, fabrication, fantasy and supposition. This mixture has Dylan's endorsement - the man who has his own on and off relationship with the truth. The film mashes up events and characters without any regard for chronological order. And it's stronger because of the liberties it takes. All in keeping with Dylan's penchant for 'self-mythologizing'.
Director and co-writer James Mangold ignores the conventions associated with this genre, and which he has also used in his previous movies - 'Walk The Line' and 'Ford vs Ferrari'. Here he uses a non-traditional approach that gives him the flexibility to effectively address his non-traditional subject.
A Complete Unknown covers the period between 1961 and 1965 when Dylan moved to New York city. He meets Woody Guthrie and Pete Seeger. Also a chance encounter with Joan Baez, which gets deeper. He has a relationship with Sylvie Russo who motivates him to perform at the 1963 March on Washington and write 'A Hard Rain's A-Gonna Fall' during the Cuban Missile crisis. This culminates with Dylan performing with electric, and not acoustic instruments, at the Newport Folk Festival in 1965. This event has been heralded as the bridge between traditional folk music and rock music.
What distinguishes this film is the acting. Timothee Chalamet is outstanding as Dylan. Besides the singing, which is very good, is his ability to portray a man who is self-absorbed, aloof, uncaring and distant - embracing the negative traits with a charisma that keeps the viewer fixated. Edward Norton is too good as Pete Seeger. Monica Barbaro is extremely impressive as Joan Baez. With no formal training as a musician or singer she prepared for a year for this role. That too, to portray a singer whose voice has been described as 'incomparable'. Elle Fanning is admirable as the long-suffering girlfriend Sylvie Russo.
I'm sure the film will inspire debate and disagreement. And I'm certain Director James Mangold, as also the subject of this movie, wouldn't want it any other way.
If you know this era, and especially if you don't, please see this movie.
Post-script: Eight Oscar nominations and not a single win seems quite harsh for such a wonderfully alive film and a musical thriller.
Dylan once said, "Truth was the last thing on my mind, and even if there was such a thing, I didn't want it in my house....." This film is a mix of fact, fabrication, fantasy and supposition. This mixture has Dylan's endorsement - the man who has his own on and off relationship with the truth. The film mashes up events and characters without any regard for chronological order. And it's stronger because of the liberties it takes. All in keeping with Dylan's penchant for 'self-mythologizing'.
Director and co-writer James Mangold ignores the conventions associated with this genre, and which he has also used in his previous movies - 'Walk The Line' and 'Ford vs Ferrari'. Here he uses a non-traditional approach that gives him the flexibility to effectively address his non-traditional subject.
A Complete Unknown covers the period between 1961 and 1965 when Dylan moved to New York city. He meets Woody Guthrie and Pete Seeger. Also a chance encounter with Joan Baez, which gets deeper. He has a relationship with Sylvie Russo who motivates him to perform at the 1963 March on Washington and write 'A Hard Rain's A-Gonna Fall' during the Cuban Missile crisis. This culminates with Dylan performing with electric, and not acoustic instruments, at the Newport Folk Festival in 1965. This event has been heralded as the bridge between traditional folk music and rock music.
What distinguishes this film is the acting. Timothee Chalamet is outstanding as Dylan. Besides the singing, which is very good, is his ability to portray a man who is self-absorbed, aloof, uncaring and distant - embracing the negative traits with a charisma that keeps the viewer fixated. Edward Norton is too good as Pete Seeger. Monica Barbaro is extremely impressive as Joan Baez. With no formal training as a musician or singer she prepared for a year for this role. That too, to portray a singer whose voice has been described as 'incomparable'. Elle Fanning is admirable as the long-suffering girlfriend Sylvie Russo.
I'm sure the film will inspire debate and disagreement. And I'm certain Director James Mangold, as also the subject of this movie, wouldn't want it any other way.
If you know this era, and especially if you don't, please see this movie.
Post-script: Eight Oscar nominations and not a single win seems quite harsh for such a wonderfully alive film and a musical thriller.
Just when you want to give up Netflix they'll drop a piece of creative that's extremely applause-worthy. Adolescence is British TV at its best.
When a 13 year old is accused of murdering a classmate, his family, the detective in-charge, the therapist and everyone around are all left wondering what really happened.
One of the most astonishing aspects of this four episode mini-series is the cinematography. Each episode is mesmerizing, not only for the acting and story, but that each episode is done in a seemingly one continuous take - no cuts, no breaks in time. It can be argued that one shot throughout an entire episode could be considered as a gimmick. Over here, it's actually used as an effective tool. The amount of staging, coordination and preparation required is mind boggling. The camera is a silent participant, guiding us through moments of quiet devastation, fleeting joys and simmering tension.
I cannot think of another series that's been crafted with such a level of authenticity. What one sees does not feel like acting. There are no detectable performances. It feels like watching life itself unfold - raw, unfiltered and deeply human. The experience was so immersive that at times I forgot I was watching something scripted - I was in the room with them.
Without giving away spoilers, the van trip to the store and back in the final episode is a moment of sheer cinematic brilliance. What seems like a simple sequence on the surface, unfolds with such precision, layering tension and emotion that, in a way, completely blindsided me. This is how the show operated for me - never forcing drama, never resorting to theatrics but allowing the everyday moments to carry an incredible depth of meaning.
Stephen Graham is phenomenal as the dad. The difference in his character from the first to the last episode is incredible. Owen Cooper as Jamie is amazing. That too, in an on-screen debut performance. To show this range of emotions and acting talent at his age is rare and impressive. Erin Doherty does a great job as the psychologist. Christine Tremarco also gives a great performance. Every actor is first class across each episode.
The topic of this mini-series is extremely important. Technology has been overwhelming all of us. And all the tech experts want to go on like they have no responsibility. Social media is almost like a surrogate teacher. It is making victims of entire generations of kids and young adults, not to mention their parents. You'll have to watch the series to understand this.
I cannot recommend it enough.
When a 13 year old is accused of murdering a classmate, his family, the detective in-charge, the therapist and everyone around are all left wondering what really happened.
One of the most astonishing aspects of this four episode mini-series is the cinematography. Each episode is mesmerizing, not only for the acting and story, but that each episode is done in a seemingly one continuous take - no cuts, no breaks in time. It can be argued that one shot throughout an entire episode could be considered as a gimmick. Over here, it's actually used as an effective tool. The amount of staging, coordination and preparation required is mind boggling. The camera is a silent participant, guiding us through moments of quiet devastation, fleeting joys and simmering tension.
I cannot think of another series that's been crafted with such a level of authenticity. What one sees does not feel like acting. There are no detectable performances. It feels like watching life itself unfold - raw, unfiltered and deeply human. The experience was so immersive that at times I forgot I was watching something scripted - I was in the room with them.
Without giving away spoilers, the van trip to the store and back in the final episode is a moment of sheer cinematic brilliance. What seems like a simple sequence on the surface, unfolds with such precision, layering tension and emotion that, in a way, completely blindsided me. This is how the show operated for me - never forcing drama, never resorting to theatrics but allowing the everyday moments to carry an incredible depth of meaning.
Stephen Graham is phenomenal as the dad. The difference in his character from the first to the last episode is incredible. Owen Cooper as Jamie is amazing. That too, in an on-screen debut performance. To show this range of emotions and acting talent at his age is rare and impressive. Erin Doherty does a great job as the psychologist. Christine Tremarco also gives a great performance. Every actor is first class across each episode.
The topic of this mini-series is extremely important. Technology has been overwhelming all of us. And all the tech experts want to go on like they have no responsibility. Social media is almost like a surrogate teacher. It is making victims of entire generations of kids and young adults, not to mention their parents. You'll have to watch the series to understand this.
I cannot recommend it enough.
Writer, Director, Editor Sean Baker chooses to focus on a character who many of us would choose to dismiss in real life as trashy and someone to keep at a distance. Then he makes us spend time with them and see how our feelings change as they become less of a collection of annoying character traits and more of a fully fleshed out person.
Anora is a young woman working as a stripper without any grand illusions that her life is about to change dramatically. Then Ivan, the playboy son of a Russian oligarch, shows up and offers a promise of a sudden shift. He talks too much, is lost in his own privilege, but perhaps presents a glimpse of stability to Anora. His proposal is an impulsive decision that spirals into unexpected consequences.
Mikey Madison gives a career-defining performance in the title role. Capturing every nuance of a character who swings between toughness and vulnerability. For the entire movie we watch her convince the world and herself that she is tough as nails. She holds her own against all the heavies that her life brings on. You just want her to get her fairytale ending and hold on to the slightest shred of hope even as reality sets in at every turn. And then, in the film's final moments we see all that bravura collapse as she turns into a sobbing little girl when she's offered genuine kindness and affection.
There's a strong supporting cast. Mark Eydelshteyn makes Ivan seem nice despite his obvious flaws. Yura Borisov, Vache Tovmasyan and Karren Karagulian are a delightful trio. They have to deal with an awful job that quickly morphs into a dark comedy of errors.
Sean Baker as director has air-tight grasp of the tone. His editing is a standout. Drew Daniels cinematography captures a raw atmosphere of New York. As if we are peeking into the lives of these characters without filters.
The movie took my breath away, made me shed a tear and left me in a state of devastated awe.
Anora is a young woman working as a stripper without any grand illusions that her life is about to change dramatically. Then Ivan, the playboy son of a Russian oligarch, shows up and offers a promise of a sudden shift. He talks too much, is lost in his own privilege, but perhaps presents a glimpse of stability to Anora. His proposal is an impulsive decision that spirals into unexpected consequences.
Mikey Madison gives a career-defining performance in the title role. Capturing every nuance of a character who swings between toughness and vulnerability. For the entire movie we watch her convince the world and herself that she is tough as nails. She holds her own against all the heavies that her life brings on. You just want her to get her fairytale ending and hold on to the slightest shred of hope even as reality sets in at every turn. And then, in the film's final moments we see all that bravura collapse as she turns into a sobbing little girl when she's offered genuine kindness and affection.
There's a strong supporting cast. Mark Eydelshteyn makes Ivan seem nice despite his obvious flaws. Yura Borisov, Vache Tovmasyan and Karren Karagulian are a delightful trio. They have to deal with an awful job that quickly morphs into a dark comedy of errors.
Sean Baker as director has air-tight grasp of the tone. His editing is a standout. Drew Daniels cinematography captures a raw atmosphere of New York. As if we are peeking into the lives of these characters without filters.
The movie took my breath away, made me shed a tear and left me in a state of devastated awe.
I saw this movie in a single screen theatre on Eid day with his most devout fans to gauge their reactions.
Let me state right at the beginning I didn't have high hopes for this movie. I was expecting a masala movie. But the filmmakers had a different plan. If you are looking for a mindless action film, there are far better options.
The story is a marvel of medical science. The plot revolves around organ donation. Salman's wife donates her heart, lungs, kidney, liver and whatever else. And the wonder of it all - the same doctor performs every transplant - lungs, kidney, liver..... He's a one-man Kokilaben Hospital. One transplant is of a 30 year old woman's lungs into a 9 year old child. How they fit is a wonder of modern bollywood science.
There are many such wonders in this movie which apparently also has a social message. When I find this message, I'll post it on my page. The film is filled with moral lectures making it a pain to sit through. It's a two and a half hour long torture session with Salman walking in slow motion, pretending it is deep. While the supporting cast struggles with underwritten characters.
Sikandar should get the award for best CGI to make an actor look young (and yet failing miserably). Salman's face oscillates between a Madame Tussaud's reject and Maine Pyaar Kiya.
Even Rashmika Mandana, the lucky mascot of quite a few recent successful movies, can't help revive the fortunes of this film. Besides, there is zero chemistry been Bhoi and Rashmika. Katappa too looks confused and must be wondering why he chose to participate in this nonsense.
It seems like the director, writers and all other contributors decided to come up with a new idea every day. Then decided to shoot without any cohesion. And finally stitched it together into this chaotic mess.
Besides logic (forget understanding the meaning, I don't think the makers even know how to spell the word) the movie lacks sense and continuity.
Just when you think this cinematic punishment is over, comes the climax scene. After two and a half hours of logic-defying science, slow motion action, painful dialogues Salman finally faces the villain. And there is an ending of 'EPIC' proportion.
My lips are sealed. I never give out spoilers. For this you will have to see the movie.
Let me state right at the beginning I didn't have high hopes for this movie. I was expecting a masala movie. But the filmmakers had a different plan. If you are looking for a mindless action film, there are far better options.
The story is a marvel of medical science. The plot revolves around organ donation. Salman's wife donates her heart, lungs, kidney, liver and whatever else. And the wonder of it all - the same doctor performs every transplant - lungs, kidney, liver..... He's a one-man Kokilaben Hospital. One transplant is of a 30 year old woman's lungs into a 9 year old child. How they fit is a wonder of modern bollywood science.
There are many such wonders in this movie which apparently also has a social message. When I find this message, I'll post it on my page. The film is filled with moral lectures making it a pain to sit through. It's a two and a half hour long torture session with Salman walking in slow motion, pretending it is deep. While the supporting cast struggles with underwritten characters.
Sikandar should get the award for best CGI to make an actor look young (and yet failing miserably). Salman's face oscillates between a Madame Tussaud's reject and Maine Pyaar Kiya.
Even Rashmika Mandana, the lucky mascot of quite a few recent successful movies, can't help revive the fortunes of this film. Besides, there is zero chemistry been Bhoi and Rashmika. Katappa too looks confused and must be wondering why he chose to participate in this nonsense.
It seems like the director, writers and all other contributors decided to come up with a new idea every day. Then decided to shoot without any cohesion. And finally stitched it together into this chaotic mess.
Besides logic (forget understanding the meaning, I don't think the makers even know how to spell the word) the movie lacks sense and continuity.
Just when you think this cinematic punishment is over, comes the climax scene. After two and a half hours of logic-defying science, slow motion action, painful dialogues Salman finally faces the villain. And there is an ending of 'EPIC' proportion.
My lips are sealed. I never give out spoilers. For this you will have to see the movie.
Civil War is a 'what if' scenario where the USA could be if their divisive politics continue as they have over the past decade. It could very easily happen in other parts of the world too. In my opinion this movie seems to be where the world is headed.
Everyone should see this film. It is terrifying because it is a future that is possible. Collapse of government happens quickly. It is not limited to the US at all. It has some truly wild implications.
The United States is at civil war against its own rebellious states. Famous war photojournalist Lee Smith, along with her colleagues Joel and Sammy makes a plan to drive to Washington D. C. to capture the moment when the city falls and conduct a final interview of the president. Along the way she also saves Jessie, a newbie photojournalist, from a suicide bombing. Jessie decides to join the group. How they bond over the short period of time and how they take photographs so that others can ask the right questions, forms the rest of the story.
A truly immersive experience into what a civil war in America could be and feel like. A particular stand out of the film is the sound design. The movie uses its surround sound space as a vital part of its story telling. The gunshots surround you and rock the viewer. The soundtrack has explosive moments that remind you that you are in a place of chaos and instability.
All the technical departments are in sync.
Alex Garland is one of my favourite writers but his style is not for everyone. He is also the director here.
Kirsten Dunst is phenomenal. This is amongst her best work. The whole movie plays out through her reactions. Wagner Moura is equally brilliant. Stephen McKinley Henderson's beautifully wise tone and Cailee Spaeny's reverse mirroring her idol's journey add to the team's acting strength. Jesse Plemons (in an uncredited role) heavily evokes a character that could be straight out of Khmer Rouge.
Civil War and Kirsten Dunst are top contenders for best film and actor of this year.
Civil War is not an easy watch.
Everyone should see this film. It is terrifying because it is a future that is possible. Collapse of government happens quickly. It is not limited to the US at all. It has some truly wild implications.
The United States is at civil war against its own rebellious states. Famous war photojournalist Lee Smith, along with her colleagues Joel and Sammy makes a plan to drive to Washington D. C. to capture the moment when the city falls and conduct a final interview of the president. Along the way she also saves Jessie, a newbie photojournalist, from a suicide bombing. Jessie decides to join the group. How they bond over the short period of time and how they take photographs so that others can ask the right questions, forms the rest of the story.
A truly immersive experience into what a civil war in America could be and feel like. A particular stand out of the film is the sound design. The movie uses its surround sound space as a vital part of its story telling. The gunshots surround you and rock the viewer. The soundtrack has explosive moments that remind you that you are in a place of chaos and instability.
All the technical departments are in sync.
Alex Garland is one of my favourite writers but his style is not for everyone. He is also the director here.
Kirsten Dunst is phenomenal. This is amongst her best work. The whole movie plays out through her reactions. Wagner Moura is equally brilliant. Stephen McKinley Henderson's beautifully wise tone and Cailee Spaeny's reverse mirroring her idol's journey add to the team's acting strength. Jesse Plemons (in an uncredited role) heavily evokes a character that could be straight out of Khmer Rouge.
Civil War and Kirsten Dunst are top contenders for best film and actor of this year.
Civil War is not an easy watch.
There's something about the character Ripley. From the original 1955 novel by Patricia Highsmith to its many film adaptations, every adaptation, including the 1960 movie Plein Soleil (Purple Noon) takes artistic licence to put their own spin on the story. Anthony Minghella's 1999 version is a colourful feast well acted by Matt Damon, Jude Law, Gwyneth Paltrow and the brilliant Philip Seymour Hoffman.
But this version in stark, gorgeous black and white is more psychological and stunning. The plot of this version is truer to the novel than the 1999 adaptation. The black and white works well with this movie making it a more moody and sinister version.
We find ourselves rooting for Ripley, a detestable human being. He's got no redeeming features whatsoever. Yet as we grow to passionately detest him, we are hoping against hope that he'll get away with it all.
Steven Zaillian, the brilliant writer behind Schindler's List and The Night Of, writes and directs this truly wonderful version. We are used to seeing beautiful people playing their roles in gloriously, glamorous locations. However, this version is stark and Andrew Scott is like a replicant. Not even a hint of emotions. Invisible. As a consequence we do all the work. While we gasp or look away, he just goes on.
Andrew Scott is absolutely perfect for this role (probably a bit older than Tom Ripley of the novel). Dakota Fanning is perfect and more like Marge of the novel.
The real star of this mini-series is the cinematography by Robert Elswit, which conveys both the mood and atmosphere of the story. In addition, the interesting camera angles work well to highlight the beauty of Italian architecture and the coast. Each shot is like a photo you wished you had snapped - total eye candy.
The noticeable lack of music helps to connect with the characters and the sounds in their environment. The sound is like an additional character in the story.
I didn't want to see a remake of the 1999 version but rather a unique vision of the original story. And on that level this version succeeds big time.
This is the truest, most beautiful piece of art I've seen in a long time.
But this version in stark, gorgeous black and white is more psychological and stunning. The plot of this version is truer to the novel than the 1999 adaptation. The black and white works well with this movie making it a more moody and sinister version.
We find ourselves rooting for Ripley, a detestable human being. He's got no redeeming features whatsoever. Yet as we grow to passionately detest him, we are hoping against hope that he'll get away with it all.
Steven Zaillian, the brilliant writer behind Schindler's List and The Night Of, writes and directs this truly wonderful version. We are used to seeing beautiful people playing their roles in gloriously, glamorous locations. However, this version is stark and Andrew Scott is like a replicant. Not even a hint of emotions. Invisible. As a consequence we do all the work. While we gasp or look away, he just goes on.
Andrew Scott is absolutely perfect for this role (probably a bit older than Tom Ripley of the novel). Dakota Fanning is perfect and more like Marge of the novel.
The real star of this mini-series is the cinematography by Robert Elswit, which conveys both the mood and atmosphere of the story. In addition, the interesting camera angles work well to highlight the beauty of Italian architecture and the coast. Each shot is like a photo you wished you had snapped - total eye candy.
The noticeable lack of music helps to connect with the characters and the sounds in their environment. The sound is like an additional character in the story.
I didn't want to see a remake of the 1999 version but rather a unique vision of the original story. And on that level this version succeeds big time.
This is the truest, most beautiful piece of art I've seen in a long time.
It's rare to see a first time director get it all right on his first attempt. At the same time he has created something that has the potential to be discussed and debated for generations to come.
Jeffrey Wright does a great job in the role of Thelonious 'Monk' Ellison. He is a Harvard educated, California University literature professor, author of several books that no one, other than adoring academic critics, reads. Monk is placed on mandatory leave by his university for frequently arguing with his students on racial issues.
This draws him back to his family roots in Boston. That's where his writing career takes an unexpected turn. What starts as a prank protest of 'authentic' portrayal of black people in mainstream culture inadvertently transforms Monk into a caricature himself. He dumbs down every element of his otherwise intelligent story-telling technique. Which, to his dismay, is the path to the literary glory he has spent his entire life chasing. An intelligent man like Monk cannot wrap his head around the fact that black books pandering to white readers who are trying to follow the rules is the new path to success.
'The dumber I behave the richer I get', Monk complains to his agent. (This is not a spoiler - it's in the trailer.) Considering how intelligent the script is, it's ironic how a single word plays a crucial and hilarious role summing things up. You know the word, the unpublishable one that begins with an 'F'.
American Fiction stands as one of the best written, most damning satire about racial stereotypes. It's a brilliant commentary on a society that has twisted things to the point no one knows what to say and how to say it.
Filmmaker Cord Jefferson delivers the message in a smart, funny movie featuring a wonderful lead performance by Jeffrey Wright. With American Fiction, Jefferson has now established himself as a filmmaker to watch.
Jeffrey Wright does a great job in the role of Thelonious 'Monk' Ellison. He is a Harvard educated, California University literature professor, author of several books that no one, other than adoring academic critics, reads. Monk is placed on mandatory leave by his university for frequently arguing with his students on racial issues.
This draws him back to his family roots in Boston. That's where his writing career takes an unexpected turn. What starts as a prank protest of 'authentic' portrayal of black people in mainstream culture inadvertently transforms Monk into a caricature himself. He dumbs down every element of his otherwise intelligent story-telling technique. Which, to his dismay, is the path to the literary glory he has spent his entire life chasing. An intelligent man like Monk cannot wrap his head around the fact that black books pandering to white readers who are trying to follow the rules is the new path to success.
'The dumber I behave the richer I get', Monk complains to his agent. (This is not a spoiler - it's in the trailer.) Considering how intelligent the script is, it's ironic how a single word plays a crucial and hilarious role summing things up. You know the word, the unpublishable one that begins with an 'F'.
American Fiction stands as one of the best written, most damning satire about racial stereotypes. It's a brilliant commentary on a society that has twisted things to the point no one knows what to say and how to say it.
Filmmaker Cord Jefferson delivers the message in a smart, funny movie featuring a wonderful lead performance by Jeffrey Wright. With American Fiction, Jefferson has now established himself as a filmmaker to watch.
The Zone of Interest takes a unique angle in telling out the Holocaust story - through stark juxtaposition. Director Jonathan Glazer manages to create a story about the Holocaust not seen before.
It compares the matter-of-fact home making of the Hoess family against the horrendous tragedy perpetrated over their garden wall. Looking at the Holocaust from this angle shows how normalised it became to certain people.
Film opens on a long ominous musical overture by Mica Levi which transitions the viewer into a seemingly tranquil German home.
It's one of the most unsettling films in a long time. Rudolf Hoess was the commandant of Auschwitz and oversaw the killing of three million people. At the same time he was a devoted family man who lived with his wife and family in a large house just outside the camp. The camp itself is hinted but never seen.
In this story, the Nazis are banal, ordinary people who tend their gardens, bicker about normal things, spend the day bathing in the river with their kids, picknicking.... It just so happens that literally outside their backyard is daily mass murder which they can conveniently ignore since it's out of sight.
Christian Friedel and Sandra Huller give sensational performances as the commandant of Auschwitz and his pampered wife.
The film demands full attention from the viewer as the most important thing could be happening in the background or up in the corner of the frame - a column of crematorium smoke in the distance or ash floating in the atmosphere as the Nazis tend to their flower garden.
In the final moments one gets to see a glimpse of conscience in the commandant. A haunting scene to sign off a haunting movie.
Lukasz Zal let's a static camera capture wide frames. The setups are like a set-piece on stage. He deliberately keeps a distance so that the audience automatically become observers. There are a few departures from these regimented compositions when dark children's fairy tales are depicted as a camera negative getting projected.
As chilling as the visuals are the music and sound effects. Mica Levi contributes additional chilling cues with the music. Sound Designer Johnnie Burn creates a maelstrom of audio effects mixing gun shots, dog barks, human voices and mayhem. We never see the insides of the camp but the sounds are more than enough to carry the makers' intent. Levi's exit music will haunt much after it fades out.
It's a well thought out piece of cinema, but certainly won't be for everyone.
The film has a simple yet profound message, that is also terrifying at the same time. Hoess was as ordinary as any of us. The thing called civilisation is just a veneer. If we don't look after it, we'll lose it.
It compares the matter-of-fact home making of the Hoess family against the horrendous tragedy perpetrated over their garden wall. Looking at the Holocaust from this angle shows how normalised it became to certain people.
Film opens on a long ominous musical overture by Mica Levi which transitions the viewer into a seemingly tranquil German home.
It's one of the most unsettling films in a long time. Rudolf Hoess was the commandant of Auschwitz and oversaw the killing of three million people. At the same time he was a devoted family man who lived with his wife and family in a large house just outside the camp. The camp itself is hinted but never seen.
In this story, the Nazis are banal, ordinary people who tend their gardens, bicker about normal things, spend the day bathing in the river with their kids, picknicking.... It just so happens that literally outside their backyard is daily mass murder which they can conveniently ignore since it's out of sight.
Christian Friedel and Sandra Huller give sensational performances as the commandant of Auschwitz and his pampered wife.
The film demands full attention from the viewer as the most important thing could be happening in the background or up in the corner of the frame - a column of crematorium smoke in the distance or ash floating in the atmosphere as the Nazis tend to their flower garden.
In the final moments one gets to see a glimpse of conscience in the commandant. A haunting scene to sign off a haunting movie.
Lukasz Zal let's a static camera capture wide frames. The setups are like a set-piece on stage. He deliberately keeps a distance so that the audience automatically become observers. There are a few departures from these regimented compositions when dark children's fairy tales are depicted as a camera negative getting projected.
As chilling as the visuals are the music and sound effects. Mica Levi contributes additional chilling cues with the music. Sound Designer Johnnie Burn creates a maelstrom of audio effects mixing gun shots, dog barks, human voices and mayhem. We never see the insides of the camp but the sounds are more than enough to carry the makers' intent. Levi's exit music will haunt much after it fades out.
It's a well thought out piece of cinema, but certainly won't be for everyone.
The film has a simple yet profound message, that is also terrifying at the same time. Hoess was as ordinary as any of us. The thing called civilisation is just a veneer. If we don't look after it, we'll lose it.
Everyone's experience with this film may vary depending on how much this film can draw you into its world, its characters and their nuances. At the core is a mysterious death.
It could've been an investigative thriller but it's not. Director and co-writer Justine Triet is more interested in showing it through the eyes of the people involved. Rather than the quest for the truth, the script is more concerned with how people react to bits of information they come across. It is a gripping court room drama, an acute examination of a marriage, as well as a mother/son relationship.
It also demonstrates the complexity of human relationships and the paths that lead to certain decisions in the lives of couples that can never be understood by an external audience. What happens inside every home is known only to those who live there.
Triet doesn't use a classical and comfortable approach. The viewers are almost made to feel as intruders. The camera movements are unstable, approaching the emotionally unstable characters. For example, there's a scene in which a third party speaks about the deceased. The camera first focuses on the son who is visibly uncomfortable and tries to hide it. Then it shifts to the mother. And we can see the same discomfort in her as she tries to make eye contact with her son. It's very moving and can bring tears in one's eyes. The foreground here isn't the dialogue but how it is affecting the people.
The performances are first rate, particularly by Sandra Huller. She's extraordinary from beginning to end. Bewildering the viewer whether it is murder, suicide or an accident. It has one of the best child performances I've seen in a film. It has also thrown in free of charge, the best dog performance of a lifetime.
Taut, full of suspense and compelling right till the final moment. The film progresses like a heady puzzle that tackles the messiness of existence and the often elusive nature of the truth itself.
Anatomy of a Fall is truly exceptional filmmaking.
It could've been an investigative thriller but it's not. Director and co-writer Justine Triet is more interested in showing it through the eyes of the people involved. Rather than the quest for the truth, the script is more concerned with how people react to bits of information they come across. It is a gripping court room drama, an acute examination of a marriage, as well as a mother/son relationship.
It also demonstrates the complexity of human relationships and the paths that lead to certain decisions in the lives of couples that can never be understood by an external audience. What happens inside every home is known only to those who live there.
Triet doesn't use a classical and comfortable approach. The viewers are almost made to feel as intruders. The camera movements are unstable, approaching the emotionally unstable characters. For example, there's a scene in which a third party speaks about the deceased. The camera first focuses on the son who is visibly uncomfortable and tries to hide it. Then it shifts to the mother. And we can see the same discomfort in her as she tries to make eye contact with her son. It's very moving and can bring tears in one's eyes. The foreground here isn't the dialogue but how it is affecting the people.
The performances are first rate, particularly by Sandra Huller. She's extraordinary from beginning to end. Bewildering the viewer whether it is murder, suicide or an accident. It has one of the best child performances I've seen in a film. It has also thrown in free of charge, the best dog performance of a lifetime.
Taut, full of suspense and compelling right till the final moment. The film progresses like a heady puzzle that tackles the messiness of existence and the often elusive nature of the truth itself.
Anatomy of a Fall is truly exceptional filmmaking.
Sleek, cool, humorous - that's just what you would expect from Guy Ritchie. Caricature characters. Embedded with witty stories. In a pause and laugh format.
I love Snatch. I love Lock Stock And Two Smoking Barrels. Don't expect anything like them, though this mess pretends to be like them. The formula that works as a fun ride for a 90 minute Guy Ritchie film repeated over eight episodes wears extremely thin.
Guy Ritchie's signature brand of frenetic crime comedy gets a half baked TV production. Starts well with lots of promise in the first episode. Then rambles on to nowhere. What's worse, it gets worse and worse.
There are twists and turns where characters don't seem to make sense. They get angry. Get betrayed. Then a few moments later everything is forgiven only to be betrayed 10 minutes later. And repeat.
After a couple of episodes it becomes a ramble with each new episode bringing new characters and newer problems. And it begins to lose pace and cohesion. The last few episodes are annoying and the ending is pure garbage.
The characters are portrayed very well. And it's well filmed. The production is great. With exceptional soundtrack and locations. But the writing lets it down badly. There are funny moments but that's as good as it gets.
This is Guy Ritchie's worst work since Swept Away and I thought it was difficult to fall below that level.
The Gentle-meh.
I love Snatch. I love Lock Stock And Two Smoking Barrels. Don't expect anything like them, though this mess pretends to be like them. The formula that works as a fun ride for a 90 minute Guy Ritchie film repeated over eight episodes wears extremely thin.
Guy Ritchie's signature brand of frenetic crime comedy gets a half baked TV production. Starts well with lots of promise in the first episode. Then rambles on to nowhere. What's worse, it gets worse and worse.
There are twists and turns where characters don't seem to make sense. They get angry. Get betrayed. Then a few moments later everything is forgiven only to be betrayed 10 minutes later. And repeat.
After a couple of episodes it becomes a ramble with each new episode bringing new characters and newer problems. And it begins to lose pace and cohesion. The last few episodes are annoying and the ending is pure garbage.
The characters are portrayed very well. And it's well filmed. The production is great. With exceptional soundtrack and locations. But the writing lets it down badly. There are funny moments but that's as good as it gets.
This is Guy Ritchie's worst work since Swept Away and I thought it was difficult to fall below that level.
The Gentle-meh.
Dropped appropriately on February 14, Valentine's Day. Though every day would be a celebration of love.
Love Storiyaan is a celebration. No big stars or celebrities. But with something bigger - real people with their love stories; eventually triumphing against all odds. Like the TV series Modern Love, it's about relationships, love and human connections. But I found it more lovable and delightful.
6 episodes. 6 stories. Each one handled brilliantly by some of the finest directors - Hardik Mehta, Rahul Badwelkar, Vivek Soni, Shazia Iqbal, Akshay Indikar, Archana Phadke and Collin d'Cunha.
Very enjoyable, well formatted and constructed. With just the right amount of smiles and heart-warming stories. Each one could've been a full length feature film. But then the spontaneity and genuineness would get lost.
I love the way the individual characters are allowed to speak in the language they are comfortable in.
It's like a 'full course fine dining' of TV series. The dishes may be small but they are packed with flavours to satisfy the senses.
Each love story is special and different. If you have experienced a fair bit of life you will identify with the characters. And you will have a number of knowing smiles and nods as the characters navigate through the difficult waters of love.
The way some person enjoys the music of Elvis while another is a fan of The Doors, likewise everyone will have their favorites. My advice would be to just immerse yourself in the stories and not compare the different episodes.
There are moments in each episode that I will carry with me forever.
Special shoutout to the producers Karan Johar, Apoorva Mehta and Somen Mishra.
Love Storiyaan is a celebration. No big stars or celebrities. But with something bigger - real people with their love stories; eventually triumphing against all odds. Like the TV series Modern Love, it's about relationships, love and human connections. But I found it more lovable and delightful.
6 episodes. 6 stories. Each one handled brilliantly by some of the finest directors - Hardik Mehta, Rahul Badwelkar, Vivek Soni, Shazia Iqbal, Akshay Indikar, Archana Phadke and Collin d'Cunha.
Very enjoyable, well formatted and constructed. With just the right amount of smiles and heart-warming stories. Each one could've been a full length feature film. But then the spontaneity and genuineness would get lost.
I love the way the individual characters are allowed to speak in the language they are comfortable in.
It's like a 'full course fine dining' of TV series. The dishes may be small but they are packed with flavours to satisfy the senses.
Each love story is special and different. If you have experienced a fair bit of life you will identify with the characters. And you will have a number of knowing smiles and nods as the characters navigate through the difficult waters of love.
The way some person enjoys the music of Elvis while another is a fan of The Doors, likewise everyone will have their favorites. My advice would be to just immerse yourself in the stories and not compare the different episodes.
There are moments in each episode that I will carry with me forever.
Special shoutout to the producers Karan Johar, Apoorva Mehta and Somen Mishra.
This is a high quality movie - everything from the acting to the cinematography to the relatable and thought-provoking plot, to the impeccable and enjoyable writing is of top notch quality. It's a testament to the art of storytelling on the silver screen which showcases director Alexander Payne's ability to create an artful film. Here Alexander Payne is firing on all cylinders with his Sideways actor Paul Giamatti..
It's also a masterclass in acting from the three principal characters played by Paul Giamatti, Dominic Sessa and Da'Vine Joy Randolph.
This beautiful piece of creativity doesn't hold back on the drama, while delivering a thoughtful blend of humour, coming-of-age storytelling, with a touch of romance - all wrapped around a very human plotline that anyone can relate to.
I found myself deeply connected to both the main characters - one who is older and basically dejected with life and the other who is younger but feels lost and disconnected from his family and friends.
The Holdovers is a strong, warm-hearted piece of work that gives the actors roles with powerful lines, without relying on flashy editing or special effects. The choice of songs played in the background are apt and exceptional.
The Holdovers is a movie everyone can enjoy with endearing characters who share with us our moments about loneliness peppered with the possibilities of love, hope and happiness.
Heres hoping the actors and the movie overall, get remembered come Oscars time.
It's also a masterclass in acting from the three principal characters played by Paul Giamatti, Dominic Sessa and Da'Vine Joy Randolph.
This beautiful piece of creativity doesn't hold back on the drama, while delivering a thoughtful blend of humour, coming-of-age storytelling, with a touch of romance - all wrapped around a very human plotline that anyone can relate to.
I found myself deeply connected to both the main characters - one who is older and basically dejected with life and the other who is younger but feels lost and disconnected from his family and friends.
The Holdovers is a strong, warm-hearted piece of work that gives the actors roles with powerful lines, without relying on flashy editing or special effects. The choice of songs played in the background are apt and exceptional.
The Holdovers is a movie everyone can enjoy with endearing characters who share with us our moments about loneliness peppered with the possibilities of love, hope and happiness.
Heres hoping the actors and the movie overall, get remembered come Oscars time.
I had an epiphany while watching this movie. There is no surprise. The movie is entirely predictable and lacks any significant substance. Skipping an hour on OTT won't have any impact on understanding the story.
Almost seemed like Raju Hirani has outsourced this project.
Dunki is nonsensical and without any logic. The message - Western world should allow free entry of people. Can't believe a movie can be caught up in its own fantasy that the very meaning of legality to enter a country becomes unnecessary.
The movie's screenplay too takes the Dunki route right from the beginning to it's boring end.
Rajkumar Hirani along with writers Abhijat Joshi and Kanika Dhillon has created an over simplified story of illegal immigrants and their plight to find a better life of their dreams.
For a film titled Dunki, the scenes featuring the Donkey route get skipped over soon like a short TV commercial.
There's zero chemistry between Taapsee Pannu and SRK. SRK was doing his own mimicry but with an added fake Punjabi accent. Tapsee Pannu and Boman Irani's performances come off as flat. There is no naturalness or spontaneity. If this is considered Vicky Kaushal's career best performance then one would easily doubt the publicists rather than his acting capabilities.
I was traveling when the movie released in theatres and regretted not watching it. But I've never regretted so badly after watching a movie on Netflix. It couldn't have been worse.
Almost seemed like Raju Hirani has outsourced this project.
Dunki is nonsensical and without any logic. The message - Western world should allow free entry of people. Can't believe a movie can be caught up in its own fantasy that the very meaning of legality to enter a country becomes unnecessary.
The movie's screenplay too takes the Dunki route right from the beginning to it's boring end.
Rajkumar Hirani along with writers Abhijat Joshi and Kanika Dhillon has created an over simplified story of illegal immigrants and their plight to find a better life of their dreams.
For a film titled Dunki, the scenes featuring the Donkey route get skipped over soon like a short TV commercial.
There's zero chemistry between Taapsee Pannu and SRK. SRK was doing his own mimicry but with an added fake Punjabi accent. Tapsee Pannu and Boman Irani's performances come off as flat. There is no naturalness or spontaneity. If this is considered Vicky Kaushal's career best performance then one would easily doubt the publicists rather than his acting capabilities.
I was traveling when the movie released in theatres and regretted not watching it. But I've never regretted so badly after watching a movie on Netflix. It couldn't have been worse.
It's a romantic comedy. But I forgot to add family drama to the description. Even sci-fi. On second thoughts, I don't even know why I put comedy there. I mostly laughed at the unintentional awkwardness instead of the intentional wit. The genre of this film could be a great topic for a Group Discussion at a B-school.
Flashback to 2010. Shankar created the groundbreaking Indian sci-fi magnum opus, Endhiran. So, for Indian cinema, this human falling in love with a robot story is 14 years old.
(A quarter of a century, if you don't forget Artificial Intelligence (2001), Stanley Kubrick's pet project that he handed over to Steven Spielberg before passing on. What started in 2001 A Space Odyssey, where Dave Bowman is transformed into a 'super-being' and sent back to Earth; coming one full circle to a story about a robot showing emotions and feelings.) Worse, TBMAUJ seems like a high budget rip off of the Hindi serial Bahu Hamari Rajnikanth.
Wouldn't a robotic engineer know every aspect of a machine including threats and dangers? But don't expect Shahid Kapoor's character Aryan, to be aware of this basic concept. Begs the question - Is he born like this? Or has he done a special course in stupidity? How does he have sex with a robot and not even realise it?
At the age of 42, Shahid Kapoor returns to his romantic boy image. And flops. (That's still believable than this small built person taking on the great big baddies in action movies.) Kriti Sanon looks beautiful. Dimple Kapadia and Dharmendra have become like dhaniya - sprinkled on every dish. They are trophies with mediocre roles in most movies. The rest of the cast is added just to fill screen space.
As if this convoluted story is not enough, the movie ends with a 'To be Continued' announcement. There's a surprise 'Bawaal' entry in the final song to suggest a clash with Kriti Sanon in the sequel. I doubt this will get made given the lackluster box office performance of this movie.
Flashback to 2010. Shankar created the groundbreaking Indian sci-fi magnum opus, Endhiran. So, for Indian cinema, this human falling in love with a robot story is 14 years old.
(A quarter of a century, if you don't forget Artificial Intelligence (2001), Stanley Kubrick's pet project that he handed over to Steven Spielberg before passing on. What started in 2001 A Space Odyssey, where Dave Bowman is transformed into a 'super-being' and sent back to Earth; coming one full circle to a story about a robot showing emotions and feelings.) Worse, TBMAUJ seems like a high budget rip off of the Hindi serial Bahu Hamari Rajnikanth.
Wouldn't a robotic engineer know every aspect of a machine including threats and dangers? But don't expect Shahid Kapoor's character Aryan, to be aware of this basic concept. Begs the question - Is he born like this? Or has he done a special course in stupidity? How does he have sex with a robot and not even realise it?
At the age of 42, Shahid Kapoor returns to his romantic boy image. And flops. (That's still believable than this small built person taking on the great big baddies in action movies.) Kriti Sanon looks beautiful. Dimple Kapadia and Dharmendra have become like dhaniya - sprinkled on every dish. They are trophies with mediocre roles in most movies. The rest of the cast is added just to fill screen space.
As if this convoluted story is not enough, the movie ends with a 'To be Continued' announcement. There's a surprise 'Bawaal' entry in the final song to suggest a clash with Kriti Sanon in the sequel. I doubt this will get made given the lackluster box office performance of this movie.
They created art that night, and we still appreciate it almost four decades later.
I can't imagine something like this happening today. Even if a producer wanted to make one with many current artists, it would all be made with modern software technology that would make it easier to dissociate from, as a music lover.
This behind the scenes account of how Harry Belafonte inspired Lionel Ritchie, Michael Jackson and Quincy Jones is warm and beautiful. Along with some personal commentary by many of the artists that participated in that recording. It all happened in one night. That too after the AMA evening.
Lionel Ritchie and Michael Jackson did a fabulous job with the music and lyrics. It is amazing how Quincy Jones and the crew were able to find the unique combination of singers to put together for the (half) verses.
In addition, Lionel Ritchie played the role of the pacifier in this group, that too on the same night he hosted the American Music Awards and won half a dozen awards. Getting together pop stars would be even tougher than herding house cats. But Lionel Ritchie proved to be a master of the art.
Also a big shoutout to Bob Geldof who set the tone by explaining to the artists why they were there and why the song was so important.
The raw energy that is present in the archival footage will be very hard to replicate. There's even a moment when two blind musicians, Stevie Wonder and Ray Charles, accompany each other to the restroom - like where else would you hear this kind of a story?
You can see that the artists cared for the cause; cared even more for the craft and had the admiration and respect for each other. This despite their differences in age, skin colour or accolades.
We listen to the finished product and go, 'Wow'! But to see how it came all together is an even bigger 'Wow'!
One quote from the show that brings a lump in the throat - Be happy when you come back home because one day there'll be no home to come back to ....(it'll just be a house).
I enjoyed it. And it makes me sad that we are at a stage that some of the icons have left or will be leaving us someday. Nothing lasts forever. But it was good while it lasted. I'm glad the song is with us and will live for eternity.
I can't imagine something like this happening today. Even if a producer wanted to make one with many current artists, it would all be made with modern software technology that would make it easier to dissociate from, as a music lover.
This behind the scenes account of how Harry Belafonte inspired Lionel Ritchie, Michael Jackson and Quincy Jones is warm and beautiful. Along with some personal commentary by many of the artists that participated in that recording. It all happened in one night. That too after the AMA evening.
Lionel Ritchie and Michael Jackson did a fabulous job with the music and lyrics. It is amazing how Quincy Jones and the crew were able to find the unique combination of singers to put together for the (half) verses.
In addition, Lionel Ritchie played the role of the pacifier in this group, that too on the same night he hosted the American Music Awards and won half a dozen awards. Getting together pop stars would be even tougher than herding house cats. But Lionel Ritchie proved to be a master of the art.
Also a big shoutout to Bob Geldof who set the tone by explaining to the artists why they were there and why the song was so important.
The raw energy that is present in the archival footage will be very hard to replicate. There's even a moment when two blind musicians, Stevie Wonder and Ray Charles, accompany each other to the restroom - like where else would you hear this kind of a story?
You can see that the artists cared for the cause; cared even more for the craft and had the admiration and respect for each other. This despite their differences in age, skin colour or accolades.
We listen to the finished product and go, 'Wow'! But to see how it came all together is an even bigger 'Wow'!
One quote from the show that brings a lump in the throat - Be happy when you come back home because one day there'll be no home to come back to ....(it'll just be a house).
I enjoyed it. And it makes me sad that we are at a stage that some of the icons have left or will be leaving us someday. Nothing lasts forever. But it was good while it lasted. I'm glad the song is with us and will live for eternity.
Animal is brilliant but needs a team of psychiatrists to cure him.
We've all read thoughts on Toxic Masculinity and Misogyny in many of the write ups about this movie. Those thoughts stay. I don't have any new perspective to add. So let's talk about what the audience could be vibing about this movie making it such a big blockbuster.
The best part about Sandeep Reddy Vanga's story telling is he opens every scene with a surprise. He leads you into thinking of what's going to happen and takes you completely into a different space than what one could've thought about. He does this throughout the movie, with ease.
Everything from the story line, music, action sequences, performances are brilliantly planned and executed. The relationship between father and son is beautiful and the climax makes up for all its faults.
This can be counted at Ranbir Kapoor's best performance yet. He tears open the screen with his brilliance and ease, transforming from angry teenager to animal man. This role catapults him to the best Hindi cinema actor we have currently. Rashmika sounds like she's speaking with supari in her mouth. Anil Kapoor handles his role with stature and maturity. Bobby Deol delivers a career best performance in a role that's given him a very short screen presence.
Strictly for 18+ viewing. The adult scenes are forced and seem unnatural. The Alpha male kicks in with no worthy social message. Also wish some uncomfortable scenes were edited.
Addressing the question of logic, it can be acknowledged that this film, like many others, is inherently illogical.
Animal will have polarising views but, it's fresh and unique which is why the audiences are loving it. Also, it's aesthetically appealing and enjoyable.
Purely for theatrical viewing, may not be enjoyable at home, or worse, on the mobile.
We've all read thoughts on Toxic Masculinity and Misogyny in many of the write ups about this movie. Those thoughts stay. I don't have any new perspective to add. So let's talk about what the audience could be vibing about this movie making it such a big blockbuster.
The best part about Sandeep Reddy Vanga's story telling is he opens every scene with a surprise. He leads you into thinking of what's going to happen and takes you completely into a different space than what one could've thought about. He does this throughout the movie, with ease.
Everything from the story line, music, action sequences, performances are brilliantly planned and executed. The relationship between father and son is beautiful and the climax makes up for all its faults.
This can be counted at Ranbir Kapoor's best performance yet. He tears open the screen with his brilliance and ease, transforming from angry teenager to animal man. This role catapults him to the best Hindi cinema actor we have currently. Rashmika sounds like she's speaking with supari in her mouth. Anil Kapoor handles his role with stature and maturity. Bobby Deol delivers a career best performance in a role that's given him a very short screen presence.
Strictly for 18+ viewing. The adult scenes are forced and seem unnatural. The Alpha male kicks in with no worthy social message. Also wish some uncomfortable scenes were edited.
Addressing the question of logic, it can be acknowledged that this film, like many others, is inherently illogical.
Animal will have polarising views but, it's fresh and unique which is why the audiences are loving it. Also, it's aesthetically appealing and enjoyable.
Purely for theatrical viewing, may not be enjoyable at home, or worse, on the mobile.
I watched the movie without any expectations and yet was disappointed at the end.
Seems like the director got Netflix to pay for the launch of Bollywood star kids. And since it's created direct for OTT release, there's no pressure for box office collections.
It just became an annual day function for star kids. Not much effort needed when entitled kids express a desire to act. All they have to do is smile, blink their eyes and break into a song and dance at regular intervals. And speak in English accented Hindi. Expressions, emotions, voice modulation, acting - all take a back seat.
We Westernize our adaptations so much that finally they no longer seem like an Indian adaptation. It's all about Indians trying to be as non-Indian as possible.
The young faces are fresh. That's it. Suhana Khan, Khushi Kapoor, Agastya Nanda show promise. But they have a long way to go. Vedang Raina as Reggie makes an impactful debut. (But the Reggie Mantle character shows no mean streak.)
The song Sunooh has a lovely feel and introduces the key characters through a racy track. Rest of the songs seem manufactured on an assembly line. The dialogues give the term bland a new definition. Just pretty settings and costumes aren't enough ingredients for making a film interesting.
Seems like the director got Netflix to pay for the launch of Bollywood star kids. And since it's created direct for OTT release, there's no pressure for box office collections.
It just became an annual day function for star kids. Not much effort needed when entitled kids express a desire to act. All they have to do is smile, blink their eyes and break into a song and dance at regular intervals. And speak in English accented Hindi. Expressions, emotions, voice modulation, acting - all take a back seat.
We Westernize our adaptations so much that finally they no longer seem like an Indian adaptation. It's all about Indians trying to be as non-Indian as possible.
The young faces are fresh. That's it. Suhana Khan, Khushi Kapoor, Agastya Nanda show promise. But they have a long way to go. Vedang Raina as Reggie makes an impactful debut. (But the Reggie Mantle character shows no mean streak.)
The song Sunooh has a lovely feel and introduces the key characters through a racy track. Rest of the songs seem manufactured on an assembly line. The dialogues give the term bland a new definition. Just pretty settings and costumes aren't enough ingredients for making a film interesting.