Reviews

This is rip roaring dystopian entertainment, which just happens to be so scary, as it portrays an uncomfortably realistic- looking picture of the civilized world, where the differences, real or imagined, have led to permanent societal fissures, resulting in the titular Civil War.

And who better to chronicle the fall of a nation, then its journalists.

It is a master stroke to set this via camera journalists' POV, as the story gets the license to traverse, from the open expanse of the country to the halls of the White House.

There are several scarring scenes that would remain indelible.

Car wash as a hanging spot Militia hunting down the military Military killing the citizens. Fire fights in the midst of cities.

It is hard to imagine that Alex Garland, it's director, was a best selling author once, who wrote _The Beach_, which was made into a Di Caprio movie. He has gone on to direct Ex - Machine and Annihilation before this. He has written and directed this and in all honesty, this is a league apart from his earlier ventures.

Dunst is superb as the battle hardened journalist.

I believe that if Trump wins in the '24 elections, as he is widely expected to, this will get an Oscar nomination for Best Film as a cautionary tale of what could happen. It should be nominated otherwise also, as it is one of the more thought provoking & gripping films of the year.

Winner of the 2021 Oscar for best picture, CODA is a true crowd pleaser, where you can predict the end, but will still be pleasantly surprised by the gamut of emotions that it ends up evoking in you.

Because of the richness of its characters, the trueness of their acting (the deaf cast is either completely or partially hard of hearing. The best supporting actor Oscars was won by Troy Kotsur who became the first deaf actor to win it), and the humor that they share & the laughs that they elicit.

There is nary a moment that you feel pity about those whom you might causally label physically challenged and that to me was one the biggest pluses.

Must watch. Very entertaining.

I hated the first 45 minutes. It felt as if the director was trying really hard to establish that this was a super intelligent film about the direction and stunts during film making, with huge dollops of romance thrown in.

But when the mysterious bit started closer to an hour mark, it was as if a switch had been thrown. I was mesmerized but the breakneck stunts, the super witty dialogues, the background music & the choice of songs and the chemistry between Blunt & Gosling.

Fell in love with it, by the time it ended.

However, it is not worthy of the extraordinary hype that was generated around it. It is crowd pleasing, but it demands patience. So those seeking instant gratification should stay away. It is not the best of this year, like its reviews proclaimed, but it is a good enough watch, which would leave you with a smile on your face.

Unlike the _inglorious bastards_, which had a somewhat similar plot of hunting Nazis behind enemy lines and carving them up in imaginative ways, but was a fantasy, this is based on real events and is populated by real world characters, one of whom was the author Ian Fleming and it's characters are supposed to have inspired Fleming to create James Bond and his boss, M.

It is well made, is very fast and has three solid action set pieces, which kept me entertained. Guy Ritchie has incorporated his trademark dry British humor and his selection of Henry Cavill to be his lead, is apt.

It is predictable, yet fun.

If is rare for a horror movie to give away it's twist in its trailer. And still rarer to hold your interest, after the aforementioned cardinal sin, for almost its entire length, because of the vivid characters, their banter and their gory endings.

The producers of Abigail did the first sacrilege before its release, leading to it crashing at the hustings.

The director and the script writers nearly pulled off a miracle by still making a gripping thriller, which looses some steam right at the very end.

This is an even- toned film. It maintains its momentum and its editing doesn't let the speed flag down. The last 20 minutes are slightly convoluted as if the writers couldn't think of a way to end it.

Liked it. Had the potential to be a real classic.

This is an average masala film that is lifted upon and carried for almost its entire length upon the strength of Fahadh Faasil's extraordinary act.

FaFa has a track record of delivering envious roles. But I was not prepared for this level of brilliance. Physically, he is not intimidating. Even after having witnessed his transformation as a ruthless Godfather in _Maalik_ , it is difficult to imagine him as a menacing gangster. His energy and screen presence will make a true believer out of every jaded viewer and require a separate note of its own. This is, undoubtedly, his best act, by some distance.

I found the movie problematic because it dealt with a super serious issue such as ragging in a light hearted manner.

Also, the multiple incidents of levity redirected towards Hindi, were unwarranted yet seemed intentional.

The background score and songs are catchy.

This is entertaining for the most parts. However, it will be remembered for long because of Fafa's bravura work.

I saw this with my family members, who are generally sceptical about my non Hindi / English movie viewing proclivities and include both septagenerians as well as pre - pubescent kids, on a family vacation. All of them were spellbound by the cinematic magic that first time director, Chidambaram, weaves on the screen and were jubiliant by the end.

The "rescue" genre is one that the Indian film industry has produced any milestone films. There have been recent disasters such as Mission Raniganj, which sank without a trace on the box office. This shows the way it should be done, with its laser focus on the characters as well as the screenplay, with deft movement between the present and the past.

The technical bits have been done very well. A triumph. Strong and early contender for India's Oscar nomination, where it should stand at par with the offerings of other nations.

A Godzilla movie that is so emotionally resonant that it brings a lump in your throat.

A Godzilla movie that is juxtaposed with the end of World War 2 and captures the mood of a defeated and devastated nation, yearning for its days if lost glory.

A Godzilla movie that has the most insane creature & destruction sequences and effects of all monster films.

A Godzilla movie that is as seminal as the original Jurassic park was, back in 1993, in (falsely, in retrospect) heralding the age of great storytelling, poignant characters, effective drama and heart stopping action.

Truly a cinematic event. Should have been nominated for the Best Foreign Oscars. Richly deserves it's win for the best C. G. I. At this year's Oscars.

Mind, blown.

Revisiting his theme of haunted homes after the amazing _Bhootkalam_, Rahul Sadasivan delivers another twisted gem, this time set in the 1700s, with elements of horror, mystic and regional folklore, powered by an extraordinary performance by Mammootty, who is evil personified, here.

The fact that it has little to no jump scares and has been shot in black & white, yet still manages to hold the viewer's attention for almost all of its 2.25 hours run- time is a testimony to the strangeness and unpredictable narrative as well as it's supporting cast, who have even more screen time than Mammootty.

Sadasivan reminds me of RGV of 90s when he gave two memorable horror classics, in Raat & Bhoot.

Liked it. Reminded me of Tumbadd, with its similar messaging of the perils of greed & the resultant horrors.

There is in-your-face propaganda movies. And then, there are films such as this.

Ostensibly inspired by Hanuman, this is a poorly made & at times, incredibly disparaging tale of revenge, against class enemies, which shape shifts to include favorite Western themes of Indian democracy being in peril and of the Indian minorities being subjugated all across the land.

There are two telling signs of this disrespect. There is a sex worker named Sita. Out of nowhere, there are montages of placards showing save Indian minorities. I couldn't understand the reason behind the first and the logic behind the second, in context of this.

As far as the story goes, you would have seen dozens, if not hundreds, of such films. Police raid a village, kill people, the young eye witness grows up and decides to take revenge.

Laughable to see it's critical reception and easier to understand why it bombed at the box office and how it has come on VOD within 3 weeks of its premiere.

Any innovative & path breaking film in the horror genre is rarer than an IPL trophy in the RCB cabinet and hence, perhaps, more to be welcomed. This 2023 movie, set in 1977, stays true to its spooky roots but is also an intelligent take on the syndicated, daily shows & the battle for the all important Ratings. The actors' pathos & terror comes through superbly. I loved the editing & the script and the manner in which it ratchets up the tension, dollop by bigger dollop. Would have rated it even higher if not for 1-2 unnecessary scenes at the end. Must watch for horror fans. Shudder films have outdid themselves.

Thevar Magan (Thevar's son) is one of the best dramas of Indian cinema. It is also not easy to find.

It is not available on any OTT or on YouTube. I found it on Telegram, via a random thread on Redditt. Also, I ended up manually adjusting the subtitles close to 200000 milli seconds on VLC to sync with the film. But, man, it is worth the effort and then, some.

Starring two of the top actors to ever grace the screens, Sivaji Ganesan and Haasan, along with Revathi, Nasar & Gautami, it has too many supremely powerful scenes to describe here.

It was India's official entry to the 1992 Oscars and was *remade in Hindi as Virasat*.

In my formative years of cinematic understanding, in the 2000s, I could never understand the craze for Kamala Haasan. I had seen _Appu Raaja_ (in Hindi), in the 90s and had been blown away by its technical brilliance. However, as Haasan didn't fit into the conventional _hero_ mould, in looks, I could never connect with him.

However, after watching his earlier cult classics, such as Virumandi, Naayakan, Heyy Ram and then this, I believe that he is truly _Ulaga Nayakan_, the hero of the world, the term that his fans use. He is breathtakingly brilliant in both his avatars, one of a urbane, fun loving guy and then, the uber serious Thevar.

This is truly a God level acting masterclass. Can't be recommended highly enough.

When the lights came on during the interval, I checked my watch. Only 70 minutes had elapsed, out of the 180.

The first half had been a breeze, very well made. It was a prime exhibit of extremely assured direction and storytelling, with no resorting to easy distractions , helped with brilliantly shot football matches, but I didn't realise that almost two hours of runtime were left. I was worried that the curse of the second half would come to alive.

However, this rises and soars to heights hitherto unseen for any Indian sports movie, excluding perhaps only _Lagaan_.

The almost two hour long second half is a testament to the power of great cinema to hold the viewer ransom and his eyes & mind glued, to even forego the call of the nature and to just sit, spellbound.

For those that don't know of this, it is a story of the decadal progression of Indian soccer, from 1951 to 1962, led by the Indian coach S A Rahim.

Ajay Devgan, who has given a series of top notch acts in his almost 3 decade long career, gives _the_ performance of a lifetime.

It has amazingly shot soccer sequences, almost as good as in any football related film made worldwide.

It is easily the best Hindi film of some time. I hope that it sets the box office on fire so that more such films get greenlit by the studios and more such inspirational tales are showcased on the big screen.

This is a fiendishly clever twist on the Memento / Ghajini concept, wherein a police officer loses his memory just after solving a case and hence, has to solve it a second time.

With its flashbacks that reveal a bit of the puzzle at a time and the present, which ratchets up the tension of the who-dun-it, it stays on track, building up to a devastating climax.

Prithviraj brings his A game to the fore and delivers a stunning act, as the ebullient police officer as well as the subdued sleuth searching for the truth. Rahman is super impressive as he has few dialogues but uses his facial expressions to convey a million words.

A top notch thriller, one that is designed to remain notched in the viewer's psyche, this is highly recommended.

Abrahams & Zucker, it's directors, can be considered the spiritual fathers of the _spoof_ genre. They began in the 70s with airplane (imo, one of the funniest films of all time) and followed it up with this, besides the Hot Shots films. They went on to inspire the makers of the Scary Movies. Although 40 years old, this is super fun for the most bit and feels dated only for small parts. It is a spoof on the _cold war- unwitting person getting caught in a battle between the two giants_ genre. The script is hilarious and has jokes - both bawdy as well as cerebral- coming at you at lightening pace. This has innumerable references to the Cold War, which seemed very relevant even today. Van Kilmer is riotously funny. Do watch this if you wish to laugh your heart out.

A below- average, yet considered cult classic for reasons difficult to fathom, film of the same name from 1989 gets a modern day makeover that dumbs it down even further and makes it almost comical. Jake Gyllenhaal makes it both promising and disappointing. He is excellent in action scenes but gets no chance at showing his acting chops. Conor McGregor, the UFC fighter, has, hands down one of the most irritating roles created for screen. His arrival marks the downturn of the film's fortunes. Strictly to be viewed for killing your precious time. Glad that it didn't release at the theatres. Would have been relegated to an OTT release in double time.

Seriously disturbing and novel take on the serial killer genre, this is set inside the lair of a serial predator for almost all of its run- time. The killer is played by D' Onofrio whom one would have seen, but not really noticed, as a crooked FBI agent. He is supremely effective as the deranged hunter, who is methodical in his madness. He is complemented very well by Farren, as a prisoner who has become a reluctant understudy. It is directed by Jennifer Lynch, the daughter of the legendary David Lynch, the maker of some of the most twisted films of the 20th century. She doesn't rise to the level of her father but her focus on keeping things as gritty and uncomfortable as they can be, is commendable. Is not recommended for the faint hearted or the easily disturbed. Might haunt your daily rthym of life.

I, like most other Indians, was an enthusiastic supporter of the abrogation of Article 370, in the state of J & K and was curious about the behind the scenes of this momentous decision and so decided to check this out.

This gives a blow-by-blow account of this historic act, by juxtaposing the security challenges, faced by the defensive forces on the ground, alongside the legislative and legalistic ones, faced by the government.

It showcases the highlights between the slaying of the social media savvy terrorist Burhan Wani, in 2016 and 5th of August, 2019, when this article was consigned to history.

It doesn't get into documentary / pedantic mode.

The screenplay does a solid job simplifying the search for the ways to take down this special status, within the limits of the constitution.

For me, the weak parts were the one in the second half where there are several unnecessary action scenes, which seem to be inserted only to heighten the drama.

Yami Gautam is growing as an actress and she is solid as the NIA agent. Arun Gowil as Modi and Raj Zutshi as Omar Abdullah put up memorable, little cameos.

I liked it. One of the better Hindi films of 2024.

Moronic. Encapsulates Salaar, for me.

From the story, set in a few mythical and several real cities, to the rhetorical dialogues, to the unkempt, wooden characters, who either snarl or shout, and hint at past mysteries and conspiracies, which are even more asinine than the present, this is a ride which is topsy-turvy, and can induce nausea, if one chooses to pay to close an attention to it.

Prabhas can play a robot in his next venture, as he has perfected this, first in Adipurush and then, this. He is a mindless killing machine and evokes no emotion. Prithviraj is wasted.

That this earned more than 700 crore on the box office is astounding. But, then there are films even worse than this, such as Gadar 2 and Jawan, which have beaten it to the punch in box office earnings.

Torture, worthy of being envisioned by De Sade.

The Academy nominates a few token films / actors every year, to showcase it's diversity. This is NOT one such movie.

That I got to see an almost perfect film about books, when the World Book Fair has kicked off yesterday in Delhi, seems divine provenance.

It is one of the funniest films of recent times, with an acerbic commentary about racism and the wokes' response to it, borne out of white guilt, as an undertow, across almost all its scenes.

Jeffrey Wright blew my mind with his portrayal of a black writer who pivots to give the readers what they wish to consume.

I have not laughed this hard, watching a film, in quite some time. It truly is heartwarming to see such films getting the recognition that they genuinely deserve.

Highly recommended.

First half has superb dog fight sequences but whose effects are marred by unnecessary songs, irritating characters and a villain who evokes laughter with his Tere Naam look. Hrithik is part time fighter pilot and part time planner of Balakot strikes, who has RAW level info, which he just divulges in front of top officers, probably for great appraisals.

If you have seen Animal and felt that its second half was pointless, this second half is set to lower the bar even further. There is unnecessary drama and futile attempts at reviving nationalist sentiments.

We were among the 12 persons in the matinee show here, at Gurgaon. I remember watching Pathaan by the same director, in a matinee show 10 days after its release and the hall was buzzing.

This will stream on Netflix by Feb end. Should be seen in the safety of your room, where it can be fast-forwarded at will.

One of the more clever and ingenious sci-fi films of the recent past, that cleverly interweaves humanity's fear of a.i. Along with the clash of the east vs west, the creator is one of those big budget movies that seems to offer much for both the masses and the sci- fi zealot who has been searching for something truly original. There are a few plot holes but they are generally papered over by mind-blowing action sequences. One issue- it begins with translating Creator into the Hindi _Nirmata_ and then crediting that word to Nepalese. Also, many characters speak Hindi which is mentioned as _New Asian_ in subtitles, where other Asian languages such as Japanese and Thai are mentioned as such. Otherwise, very impressed by this.

This appealed to both my head, with its wonderful lines and quirky characters and to my heart, with its realness.

Largely set in a school, the writing is magical. Payne soars with the script and the screenplay. It has many hilarious sequences, peppered with funny & erudite dialogues, which made my serotonin surge.

Giamatti is awe- inspiring as the often cranky, but also caring history prof. His nomination knocked out Di Caprio from the Oscar race and it is richly deserved.

Fans of great drama and sharply worded comedy would savor this masterpiece.

It reminded me of _Scent of a woman_, another masterpiece set in the holiday period.

The drama and the humor, unintended at times, backed by brilliant acting, will take your breath away.

The concept was intriguing to read. The execution is done well. It is akin to a play with generally two characters dominating the screentime, with a lot of back and forth. This has controversial, conservative (American POV) themes such as abortion as an insult to God et al and was predictably, panned by the critics. Flanery gives a masterclass in acting. He is unbelievably and scarily good in both the vulnerable and predator like avatars. 85 minutes long, it is well edited. If you are in the mood for a intellectual back and forth that touches themes such as existence, God, purpose, demon, give this a shot. Not bad at all.