sudip_rulz's reviews
This page showcases all reviews sudip_rulz has written, sharing their detailed thoughts about movies, TV shows, and more.
13 reviews
Seinfeld is one of the most important TV comedies ever made. It was first called "a show about nothing," but it became much more than a classic-it became a "cult classic" with a huge, dedicated following.
People still love it because it looks very closely at everyday life and completely turned the rules of TV comedies upside down. The creators, Larry David and Jerry Seinfeld, took small, simple problems from life in the city-like trying to find parking or dealing with bad restaurant service-and made them high art. The show is basically a comedy about four strange friends living in New York.
The main characters-Jerry, George, Elaine, and Kramer-are the biggest change. They are very selfish, they don't like people much, and they never learn any lessons or try to be better. George is constantly failing. Kramer is wild and causes trouble. Elaine is smart but has many problems, too. The humor comes from enjoying their bad behavior and their constant mistakes. They are the ultimate "anti-heroes" who do the mean and selfish things we all sometimes think about doing but never actually do.
The show had a massive impact. Many of its phrases, like "yada yada yada," "master of your domain," and "low-talker," became words people used every single day. The show gave us new, funny words to talk about all our social problems.
By making fun of the small details everyone else ignored, Seinfeld changed the TV comedy world forever. It is still a brilliant example of comedy, proving that a "show about nothing" is actually about everything important in life.
People still love it because it looks very closely at everyday life and completely turned the rules of TV comedies upside down. The creators, Larry David and Jerry Seinfeld, took small, simple problems from life in the city-like trying to find parking or dealing with bad restaurant service-and made them high art. The show is basically a comedy about four strange friends living in New York.
The main characters-Jerry, George, Elaine, and Kramer-are the biggest change. They are very selfish, they don't like people much, and they never learn any lessons or try to be better. George is constantly failing. Kramer is wild and causes trouble. Elaine is smart but has many problems, too. The humor comes from enjoying their bad behavior and their constant mistakes. They are the ultimate "anti-heroes" who do the mean and selfish things we all sometimes think about doing but never actually do.
The show had a massive impact. Many of its phrases, like "yada yada yada," "master of your domain," and "low-talker," became words people used every single day. The show gave us new, funny words to talk about all our social problems.
By making fun of the small details everyone else ignored, Seinfeld changed the TV comedy world forever. It is still a brilliant example of comedy, proving that a "show about nothing" is actually about everything important in life.
The film's sole redeeming feature is the innovative use of AI to bring Uttam Kumar back to the screen, but unfortunately, this is where the praise ends. The plot is virtually lame, nonexistent, and lacks coherence, leading to a disjointed viewing experience. Characters are poorly developed, with no chemistry between the leads, making it hard to engage with their stories. While the first half of the film shows some potential, it quickly falls apart in the second half, devolving into a chaotic mess. The cinematography, production, and sound design are underwhelming, and the integration of old footage feels forced and awkward. Overall, it's a significant disappointment, failing to live up to the promise of its nostalgic concept and leaving viewers frustrated with its many shortcomings.
The film's first half was quite disappointing, marred by clichéd storytelling and overacting, particularly by Shakib Khan and several other cast members, including the fight directors and the hero of the cinemas. The performance lacked subtlety, resulting in an unengaging viewing experience.
However, the film took a significant turn for the better in the second half. The entrance of Chanchal Chowdhury marked a shift in the narrative's pace and quality. Chowdhury's acting was nothing short of mindblowing, particularly in the final scenes where his top-notch performance stood out remarkably.
One of the film's highlights was the beautiful and well-matched background music. The sound department team deserves praise for their work, which enhanced the overall viewing experience. There are rumors that the film drew inspiration from Indian movies like "Animal" and "KGF," but I cannot confirm these accusations as I haven't seen those films.
Overall, the movie was entertaining. The performances of Shahiduzzaman Selim, Masuma Rahman Nabila, Fazlur Rahman Babu, and Gazi Rakayet were commendable. These actors, some of the finest in the Bangladeshi industry, once again proved their talent.
While Shakib Khan's portrayal of Toofan, a rough and tough mafia Don, was good, it was Chanchal Chowdhury who truly stole the show. The film's 2-hour and 25-minute runtime could have been shortened, especially in the first half, which felt unnecessarily loose and dragged out.
In conclusion, despite a rocky start, the film redeemed itself with strong performances and excellent music, making it a worthwhile watch.
However, the film took a significant turn for the better in the second half. The entrance of Chanchal Chowdhury marked a shift in the narrative's pace and quality. Chowdhury's acting was nothing short of mindblowing, particularly in the final scenes where his top-notch performance stood out remarkably.
One of the film's highlights was the beautiful and well-matched background music. The sound department team deserves praise for their work, which enhanced the overall viewing experience. There are rumors that the film drew inspiration from Indian movies like "Animal" and "KGF," but I cannot confirm these accusations as I haven't seen those films.
Overall, the movie was entertaining. The performances of Shahiduzzaman Selim, Masuma Rahman Nabila, Fazlur Rahman Babu, and Gazi Rakayet were commendable. These actors, some of the finest in the Bangladeshi industry, once again proved their talent.
While Shakib Khan's portrayal of Toofan, a rough and tough mafia Don, was good, it was Chanchal Chowdhury who truly stole the show. The film's 2-hour and 25-minute runtime could have been shortened, especially in the first half, which felt unnecessarily loose and dragged out.
In conclusion, despite a rocky start, the film redeemed itself with strong performances and excellent music, making it a worthwhile watch.
"Last Defenders of Monogamy" presents itself as a promising addition to the comedy-romance genre, offering an engaging narrative for the majority of its runtime. However, despite its initial charm, the film stumbles in its third act, delivering a disappointing conclusion that ultimately undermines the enjoyment of the entire viewing experience.
Director Farooki showcases his talent throughout much of the movie, demonstrating a keen eye for storytelling and character development. Yet, it becomes evident that he falls short of crafting a satisfying resolution, exposing a need for more careful attention to the script's coherence and pacing. While Farooki is undoubtedly a seasoned filmmaker, his writing in this instance lacks the maturity needed to elevate the film to its full potential. Especially in the third act of the film.
One of the standout elements of "Last Defenders of Monogamy" is the remarkable performances of Xefer and Chanchal, whose on-screen chemistry breathes life into their respective characters. Xefer, in particular, shines brightly, delivering a nuanced portrayal that resonates with authenticity and depth. Meanwhile, Chanchal brings his trademark charisma to the role, further enhancing the film's appeal.
Despite these strengths, the film is marred by its reliance on lackluster humor, with many of the dialogues and jokes falling flat and failing to elicit genuine laughter from the audience.
In conclusion, "Last Defenders of Monogamy" offers moments of enjoyment and entertainment, thanks in large part to its engaging premise and talented cast. However, its shortcomings in the third act, coupled with its reliance on stale humor, prevent it from reaching its full potential. While Director Farooki demonstrates his prowess as a filmmaker, there is room for improvement in his approach to writing and storytelling. Nonetheless, the standout performances of Xefer and Chanchal ensure that the film is not without its merits, providing viewers with memorable characters and moments amidst its narrative shortcomings.
6/10.
Director Farooki showcases his talent throughout much of the movie, demonstrating a keen eye for storytelling and character development. Yet, it becomes evident that he falls short of crafting a satisfying resolution, exposing a need for more careful attention to the script's coherence and pacing. While Farooki is undoubtedly a seasoned filmmaker, his writing in this instance lacks the maturity needed to elevate the film to its full potential. Especially in the third act of the film.
One of the standout elements of "Last Defenders of Monogamy" is the remarkable performances of Xefer and Chanchal, whose on-screen chemistry breathes life into their respective characters. Xefer, in particular, shines brightly, delivering a nuanced portrayal that resonates with authenticity and depth. Meanwhile, Chanchal brings his trademark charisma to the role, further enhancing the film's appeal.
Despite these strengths, the film is marred by its reliance on lackluster humor, with many of the dialogues and jokes falling flat and failing to elicit genuine laughter from the audience.
In conclusion, "Last Defenders of Monogamy" offers moments of enjoyment and entertainment, thanks in large part to its engaging premise and talented cast. However, its shortcomings in the third act, coupled with its reliance on stale humor, prevent it from reaching its full potential. While Director Farooki demonstrates his prowess as a filmmaker, there is room for improvement in his approach to writing and storytelling. Nonetheless, the standout performances of Xefer and Chanchal ensure that the film is not without its merits, providing viewers with memorable characters and moments amidst its narrative shortcomings.
6/10.
"Something Like an Autobiography," a remarkable film helmed by Mostofa Sarwar Farooki, unfolds a compelling narrative about life and the quest for self-discovery. It tells the story of a real-life couple, Farhan and Titi, who live in Dhaka. They work in movies, and their lives are influenced by the conservative and patriarchal Muslim society around them. People criticize them for not having children, even though they've been married for more than ten years. The pandemic makes their work slow down, and Titi decides it's a good time to have a baby. She talks to Farhan, and after some convincing, they both agree to become parents. This decision changes their lives and adds a touching layer to the film's exploration of personal and societal challenges.
While the cinematography captures the beauty of Bangladesh's cityscapes, the actors also excel in infusing authenticity and genuine emotion into their characters, particularly in portraying the main character's struggles. Farooki's nuanced storytelling suggests a personal touch, as if he shares his challenges, adding a unique and intimate dimension to the film. A minor drawback emerges in the occasional difficulty in discerning Farooki's voice. This slight issue sometimes posed a challenge for viewers aiming to catch his every dialogue.
The film adeptly balances universal themes with Bangladeshi cultural elements, providing a glimpse into the country's traditions and daily life, as well as the social and political problems, like how the common people are helpless in front of the power exercises of rich and powerful people. This dual perspective makes the narrative engaging for both local and global audiences.
The film's personal touch is palpable as if Farooki and Tisha share a fragment of their own lives. The depicted struggles feel genuine, adding an authentic and sincere layer to the storytelling.
In conclusion, Mostofa Sarwar Farooki's 'Something Like an Autobiography' triumphs in storytelling and visual artistry. I will encourage the viewers to ponder their own stories within the broader canvas of life.
While the cinematography captures the beauty of Bangladesh's cityscapes, the actors also excel in infusing authenticity and genuine emotion into their characters, particularly in portraying the main character's struggles. Farooki's nuanced storytelling suggests a personal touch, as if he shares his challenges, adding a unique and intimate dimension to the film. A minor drawback emerges in the occasional difficulty in discerning Farooki's voice. This slight issue sometimes posed a challenge for viewers aiming to catch his every dialogue.
The film adeptly balances universal themes with Bangladeshi cultural elements, providing a glimpse into the country's traditions and daily life, as well as the social and political problems, like how the common people are helpless in front of the power exercises of rich and powerful people. This dual perspective makes the narrative engaging for both local and global audiences.
The film's personal touch is palpable as if Farooki and Tisha share a fragment of their own lives. The depicted struggles feel genuine, adding an authentic and sincere layer to the storytelling.
In conclusion, Mostofa Sarwar Farooki's 'Something Like an Autobiography' triumphs in storytelling and visual artistry. I will encourage the viewers to ponder their own stories within the broader canvas of life.
"Saturday Afternoon" is a deeply emotional film directed by the talented Mostofa Sarwar Farooki, exploring a similar context to "The Holy Artisan Attack" which refers to a terrorist attack that took place on July 1, 2016, in Dhaka, the capital of Bangladesh. The target of the attack was the Holey Artisan Bakery, a popular café located in the Gulshan diplomatic zone of Dhaka. The attackers entered the café and took several hostages, including both locals and foreigners.
The storyline unfolds as a diverse group of individuals becomes trapped in a restaurant on a Saturday afternoon in Dhaka, Bangladesh. Farooki's skilled direction creates a palpable sense of tension within the confined space, effectively using it as a backdrop to delve into the characters' innermost fears, regrets, and desires.
The stellar performances of the cast, especially Nusrat Imrose Tisha in one of the lead roles and Zahid Hasan also, both contributed to the film's emotional depth. Infusing the film with genuine emotion, and the chemistry among the rest of the cast enhances the impact of the unfolding drama.
Visually, "Saturday Afternoon" offers a stunning cinematic experience. "Saturday Afternoon" is noteworthy not only for its compelling narrative but also for its remarkable camerawork, particularly the ambitious use of a single-shot technique. The film is crafted to appear as though it unfolds seamlessly in real-time, shot in a continuous take without any noticeable cuts. The cinematography and editing contribute to a seamless narrative flow, immersing the audience in the characters' lives.
However, opinions on the film's reception vary. While some laud it as a masterpiece that leaves a lasting impression, others express disappointment in what they perceive as a lack of story build-up and scattered plot elements.
I really liked the film personally and will recommend it to everyone.
8/10.
The storyline unfolds as a diverse group of individuals becomes trapped in a restaurant on a Saturday afternoon in Dhaka, Bangladesh. Farooki's skilled direction creates a palpable sense of tension within the confined space, effectively using it as a backdrop to delve into the characters' innermost fears, regrets, and desires.
The stellar performances of the cast, especially Nusrat Imrose Tisha in one of the lead roles and Zahid Hasan also, both contributed to the film's emotional depth. Infusing the film with genuine emotion, and the chemistry among the rest of the cast enhances the impact of the unfolding drama.
Visually, "Saturday Afternoon" offers a stunning cinematic experience. "Saturday Afternoon" is noteworthy not only for its compelling narrative but also for its remarkable camerawork, particularly the ambitious use of a single-shot technique. The film is crafted to appear as though it unfolds seamlessly in real-time, shot in a continuous take without any noticeable cuts. The cinematography and editing contribute to a seamless narrative flow, immersing the audience in the characters' lives.
However, opinions on the film's reception vary. While some laud it as a masterpiece that leaves a lasting impression, others express disappointment in what they perceive as a lack of story build-up and scattered plot elements.
I really liked the film personally and will recommend it to everyone.
8/10.
"Billion Dollar Heist" is a thought-provoking documentary that delves into the intricate world of high-stakes financial crime. The documentary combines interviews with experts, surveillance footage, and reenactments to piece together the complex stories behind these daring robberies. It explores the methods, and consequences of these crimes, shedding light on the mindset of the perpetrators.
But. While "Billion Dollar Heist" is a compelling documentary, it does have some negative aspects worth noting:
The documentary occasionally revisits the same information or anecdotes, which can lead to a feeling of redundancy. This repetition can make the viewing experience less engaging, particularly for those looking for a more streamlined narrative.
Also, while the documentary does an admirable job of explaining the basics of the cyber heist crimes, it may leave more knowledgeable viewers craving a deeper dive into the intricacies of these heists. It could benefit from more in-depth analysis.
I will rate this 6/10.
But. While "Billion Dollar Heist" is a compelling documentary, it does have some negative aspects worth noting:
The documentary occasionally revisits the same information or anecdotes, which can lead to a feeling of redundancy. This repetition can make the viewing experience less engaging, particularly for those looking for a more streamlined narrative.
Also, while the documentary does an admirable job of explaining the basics of the cyber heist crimes, it may leave more knowledgeable viewers craving a deeper dive into the intricacies of these heists. It could benefit from more in-depth analysis.
I will rate this 6/10.
They just simply can't write the f*king finale right. What a disaster just like the original series! All of the build ups from the past 9 episodes just got washed.down by the drain. This is even worse than the original series season finale.
Utterly disappointed! I do not write reviews in general, but this finale made me so angry that I had to login to my imdb profile and.write these words so that I can release some of my angers without shouting at anyone or breaking things at my home.
I'm completely pissed off!
Utterly disappointed! I do not write reviews in general, but this finale made me so angry that I had to login to my imdb profile and.write these words so that I can release some of my angers without shouting at anyone or breaking things at my home.
I'm completely pissed off!
Kubrick is a real connoisseur, a genuine masterclass. Just think about the execution level of this movie, with the presence of tension and emotion, how skillfully he shifted the essence of the story-line from the war zone to the trial scene. How gifted and talented Kubrick was in his early days!! The movie has only 85 minutes of running time. But considering the short span of time, the whole movie was quite intense and engaging. The script was excellent, the story-line was brief and concise and the whole casting ensemble was marvelous. The best thing about the movie was, the singing from the German girl at the end sequence. How brilliantly it changed the tone of the whole movie from a War movie to an Anti-War. This is Magic of Kubrick. Hats off!!!
Amitabh Raza: He is one of the finest maker in Bangladesh. Previously he made so many excellent TV dramas and commercials, so when I heard that he's coming into the big screen and making his debut film, I was so thrilled and excited. Besides that, Rashed Zaman, the cinematographer (whom I call Bangladesh's Emmanuel Lubezki) was the other captivating element of this film which entices me even more. Today, I went to see the film which was the very first day of it's release and came back home with wide wonderment and joy.
The lead actor, Chanchal Chowdhury is one of the brightest actor in this generation. Before, he was so good in Monpura (2009) and Television (2013). And now in Aynabaji he simply enchanted and stole the whole show single handedly. I can guarantee, he will win The National Award for sure. The story line was so unique and had so much depth, which allows Chanchal to make it more blazed. Chanchal is a sheer virtuoso of acting and this is obviously his best work so far.
Not only Chanchal, the others actors, actress also put up a good show. Lutfur Rahman George, Partho Barua acted very well. Masuma Rahman Nabila was surprisingly good. There were some teeny tiny irrationality with the story line, but they are absolutely negligible, because if you want to compare with Bangladeshi Standard, Aynabaji was exceptionally good. In camera work, in sound editing and mixing, in casting ensemble, in costume, the whole film so skillfully mastered. The songs are pretty good, the script has so many punches and humors.
Hats off to the whole team. This movie is highly recommended for all, to the general viewer and also for the other people who kind of love to see different tracks of movies.
The lead actor, Chanchal Chowdhury is one of the brightest actor in this generation. Before, he was so good in Monpura (2009) and Television (2013). And now in Aynabaji he simply enchanted and stole the whole show single handedly. I can guarantee, he will win The National Award for sure. The story line was so unique and had so much depth, which allows Chanchal to make it more blazed. Chanchal is a sheer virtuoso of acting and this is obviously his best work so far.
Not only Chanchal, the others actors, actress also put up a good show. Lutfur Rahman George, Partho Barua acted very well. Masuma Rahman Nabila was surprisingly good. There were some teeny tiny irrationality with the story line, but they are absolutely negligible, because if you want to compare with Bangladeshi Standard, Aynabaji was exceptionally good. In camera work, in sound editing and mixing, in casting ensemble, in costume, the whole film so skillfully mastered. The songs are pretty good, the script has so many punches and humors.
Hats off to the whole team. This movie is highly recommended for all, to the general viewer and also for the other people who kind of love to see different tracks of movies.
I liked your short-film, someone might question about the running time whether its too long or not, but to me I found the whole time span quite perfect. This sort of slow pace is very much appropriate for the expression of teen-age love stories. The acting was not that up to the mark, but at this level you can't expect professional acting from this newbie artists.So I get that. I loved the leading actress's performance, the boy also did well. I also loved the idea of being make it as a silent film.It added an extra flavor into it.Camera work and the music score was good. Some shots were really impressive, specially when the girl was walking the shadow of that boy also following with her, very nice idea indeed.
Overall a very nice attempt. I am giving it 7/10.
Overall a very nice attempt. I am giving it 7/10.