Roman-pc Reviews

The Age of Adaline (2015)

Not that plausible or well-written but a good diversion

[6/10 · 22 November 2023]

Saw it for Blake Lively but ended up loving the Harrison Ford role--in fact, the moment when Ford shows up the movie got better simply with his presence, showing us what a genuine film star could do in a few seconds compared to regular Janes and Joes earlier. In other words, the contrast presented by his superior acting skills--and Ellen Burstyn's too--as opposed to that of the main protagonists (Blake Lively and her beau) was incredible to witness.

The theme is intriguing for sure--what if we stop aging when we are in our prime--but the movie totally ignores the potential philosophical ramifications of this amazing conceit. Blake Lively looks good and stylish and hot, but not until Harrison Ford walks in well past the halfway point does the movie show traces of any poetic or contemplative elements. Did not mind the dumbness of the movie as such, but still seemed like such a missed opportunity.

The Holdovers (2023)

Executed with almost an understated perfection

[10/10 · 12 November 2023]

Saw this on its limited release at the Alamo Drafthouse in Downtown LA--one of Alexander Payne's best, and easily one of the best movies I've seen in a long time. That said, the story and the plot is simplicity itself, and not all that remarkable or new--it's in the execution that the whole crew hits it out of the park. Now as if my own voice as an academic isn't pretentious enough, here's channeling the POV of a stuck-up film critic from my next life:

Been a fan of Payne from the beginning--I remember driving all the way to Omaha Nebraska in the middle of one of those thick midwestern fogs to catch ABOUT SCHMIDT in the theatre--so I was favorably predisposed towards the movie, not to mention towards Paul Giamatti as well after seeing him in SIDEWAYS. But the story and the movie still had to earn my trust--which it did by the time the young lead, Dominic Sessa, appeared in his initial scenes. Giamatti was funny as the teacher (some would call him cranky but I would only call him real, having taught for more than twenty years myself)--but Dominic really sold the character of Angus because watching him I was reminded of my nephew a lot who also happens to be in high school right now.

Again, the plot is simplicity itself: Dominic who plays high school student Angus ends up staying over on campus between terms because his mom and stepfather switch plans at the last minute, opting to go on their honeymoon instead of staying home for the holidays. To watch over Angus two adults stay over at school too--the aforementioned teacher Paul (essayed by Giamatti) and the cook (played by Da' Vine Joy Randolph of MURDERS IN THE BUILDING fame). The latter, a single mother, also just lost her son in Vietnam. With these three main characters in the mix--admittedly very different from each other--the movie's magic is about how the drama and even comedy develops organically as a result. The fineness of execution I mentioned earlier is key here--everything works so well for us precisely because very little is overblown.

Must mention that I was slightly disappointed to learn this was shot digitally with film grain added later--but I understand the choice better now after hearing the DP discuss the matter in a Cinematography podcast, where he explained how they experimented with shooting on film at first, but then realized that they would have to alter things in post-production anyway given the "70s film look" they were going for.

Taxiwala (2018)

Thrilling, original until the end

[10/10 · 25 October 2023]

This is an edge-of-your-seat thriller--and has nothing to do with Robert De Niro's classic taxi driver by the way, but a really bonafide Telugu original that holds its own.

What a relief to see a leading lady in Telugu cinema that actually can speak Telugu--not sure if this actress (the admittedly chunky but sizzling hot Priyanka Jawalkar) does her own voice or not, but she definitely knows the language, having grown up in Andhra to the best of my knowledge. My biggest turnoff in Telugu cinema is the squeaky cartoonish female dubbing voices routinely chosen for non-native heroines (it's bad enough that they think only a North Indian girl or at least a girl from the Hindi belt fits their exacting criteria for a leading lady)--so the normal human being, husky tones of Priyanka are doubly welcome.

Vijay Deverakonda has an everyman appeal especially here--and we relate to him every step of the way. Keeps your interest until the end.

Eedo Rakam Aado Rakam (2016)

Hilarious comedy on the raunchy side

[9/10 · 25 October 2023]

Genuine laugh-riot (if you like raunchy comedies) involving two hot young couples (played by Sonarika & Vishnu, Hebah & Raj Tarun) well-supported by others including veteran Rajendra Prasad.

Some viewers (including reviewers here) might not like so-called double-meaning jokes even though the jokes here feel mostly situational (there's a significant self-righteous streak in Indian society/media that irritates me sometimes). If you like your entertainment to be oh-so-holy though, steer clear of this movie. But if you'd like to relax and kick back after a long day of work, this movie fits the bill nicely without giving you a headache.

Eega (2012)

Betters talking-animal animated bug movies

[8/10 · 8 September 2023]

If you've seen talking-animal animated bug movies and Spielberg movies and Telugu romances this combines all three genres and comes up with a new, one-of-a-kind film that in a lot of ways transcends genres.

You can actually see Rajamouli's inspirations--but the way he proceeds is not by copying or even borrowing but by paying homage in the best possible way: namely making the material his own. With the frame story of a little boy asking for a bedtime story, I was reminded of The Princess Bride--but then the story itself becomes more of a Telugu romance until the villain kills the hero, after which save for the part where a kind of witch-doctor appears reminiscent of Amrish Puri/Temple of Doom--Eega charters its own path. The reincarnated fly can read/write English and Telugu--this was a bit much and didn't bother me too much, but a couple of needless off-notes for me: the Jaws-type music and the Telugu villain-chorus that recurs throughout the last act. Rajamouli, you're a world-class storyteller in your own right, you don't need these bad industry-frills.

Mr. Deeds Goes to Town (1936)

A pure delight

[10/10 · 23 January 2023]

Rarely does a movie leave you feeling that it had your attention throughout its length and that you had watched something really significant--for this one our entire family (some whom don't watch movies in the English language regularly) was glued to the screen from start to finish.

Gary Cooper, in one of his earlier roles, plays Longfellow Deeds so well, he in fact anticipates the artistry of method actors only appearing several decades later. I mention this because his reaction shots alone--when the actor is saying nothing but simply listening--are worth the price of admission. Also first-rate as well is the physical aspect of his acting (he memorably slides down the staircase balustrade of his mansion a couple times). Add to this a brilliant script that does not waste a moment, and you have a true gem of American cinema.

What a Way to Go! (1964)

Nearly unwatchable

[1/10 · 18 January 2023]

I usually enjoy 60s movies, but I found this nearly unwatchable--maybe I am the wrong audience for this, but I did not laugh one single time, did not find it romantic in the least, and stopped after the Robert Mitchum sequence.

The attempted humor/satire/cultural commentary came across as plain dumb to me, the all-star-cast was wasted I thought--normally charming actors are reduced to episodic futility, including the worst moments on film I've seen I think from Paul Newman and Dean Martin. The one saving grace was Newman speaking French.

Saw this movie only to accompany my Dad, and the previous night we saw a genuine gem ("Mr Deeds Goes to Town") so this was a huge let down and just the wrong genre I guess.

Made for Each Other (1939)

Well-done but somewhat dated domestic drama

[8/10 · 15 January 2023]

A young Jimmy Stewart fits his role beautifully as the soft-spoken lawyer John Mason in this somewhat dated yet rare and watchable domestic drama--which also features the always excellent Carole Lombard.

I called it somewhat outdated because so much of the movie involves domestic challenges and pressures, the kind that belong to an America of the past in a lot of ways--a live-in mother-in-law, a merry-go-round of housekeepers, and a long third act having to do with a life-saving medicine.

Still, this focus on domestic pressures is rare according to me in the Golden Age of Hollywood, especially starring two of its biggest names. I mainly watched this movie because of the leads, but kept going till the end because the story was intriguing to me. I used to live in the US for nearly 20 years, after which I moved to India a few years ago: I mention this because the domestic and work pressures etc depicted here make sense to me in ways they wouldn't have when I was in the US (especially the housekeeper business).

The long third act--when we wait for the medicine for the baby to arrive from Salt Lake, Utah--seemed needlessly long though. Still, it kept me interested throughout.

Casanova Brown (1944)

Hilarious in parts if you can ignore the over-the-top ridiculousness

[7/10 · 11 January 2023]

This one gets a lot of flak for being simply ridiculous--and I can see why--but if you come with a healthy dose of suspension of disbelief you will enjoy it.

A case in point--a cigarette butt ends up burning an entire house--which some viewers might see as over-the-top but I thought was simply laugh-out-loud hilarious. There are other laugh-out-loud moments for me too, but the movie nosedives when the Gary Cooper character kidnaps his own baby: he's a college professor and is unable to understand the rate of growth of a newborn baby? Seriously stretches credulity, but watch it for Gary Cooper and the earnest Teresa Wright.

The Big Combo (1955)

Late-noir masterpiece

[10/10 · 10 January 2023]

"The Big Combo" is a lesser-known late noir masterpiece--after trying to finish watching it for nearly two years, I just now got done seeing it finally. And I was glad I did. (Every time I started watching in the past, something or other would come up and I'd never get around to it again--nothing to do with the movie though, as I always found the beginning super intriguing.)

So the beginning: we start with the mob boss's girl, Susan and her attempt to go out/leave on her own. We find out that Brown--the mob boss--likes to keep an eye on her at all times. Seeing her, I wouldn't blame him. She is a looker indeed--but in a robust, kind of able-bodied way--played to a T by Jean Wallace. Wallace is emblematic of the movie in many ways--not big-budget, not super iconic, not well known enough--but that is her and the movie's charm. While better known actresses and movies tend to have smoother operations attached to them-including co-stars and movie sets, both the female lead here and the movie are much more modest. In other words, Jean Wallace is stunning but no Audrey Hepburn--thankfully so. I am sick and tired of watching pencil-thin leading ladies on film. Jean Wallace--and other women in the movie--have hips and shoulders and it was so nice to see that.

Anyway, the movie has many memorable scenes, some of them brutal--including a murder scene of total silence--that at no moment do we feel like we're watching anything extraneous or unnecessary. A nearly pitch-perfect noir.

Brief Encounter (1945)

Lean's lesser-known classic

[9/10 · 6 January 2023]

Along with "The Fallen Idol" and "It Always Rains on Sundays" this film represents the best of British cinema. (By the way, I wrote "movie" and then replaced it with the word "film" in the previous sentence because in several ways the excellence here has much more to do with the art of filmmaking than usually seen in commercial cinema.) Don't get me wrong, this thoroughly engrossing, intense film is enjoyable and even entertaining too: if you like some depth in your entertainments.

Two points for me make this film soar over usual fare and linger in our minds long after watching it: 1) interiority of character and 2) single-minded focus in the narrative, devoid of diversions or sub-plots.

Re: interiority, here the entire story is reflected and refracted via the character of Laura: reinforced by countless filmmaking choices, from extended voice-overs to long reaction shots, we get the kind of insights into one character's mind more typical of literature than the medium of film. From the opening scene in a suburban train station cafe, where we see the camera focus on the expressive face of Celia Johnson's Laura, the film frequently succeeds in unearthing the submerged layers of society life--in one instance using the device of Laura's face reflected in the train window glass to delve deeper into her psyche.

Re: the singular narrative focus derives as much from the format of the original material as an actual choice per se: in other words, the fact that this was based on Noel Coward's one-act play works further in its favor than we realize at first. By its very definition, a one-act play cannot really have multiple climaxes and sub-plots. And thankfully so: because unlike some British fare from the era featuring nearly impenetrable British local slang and accents, here we have the kind of clarity we expect from watching an English-language film. No subtitles needed. (The lack of too many digressing sub-plots means that the chances of us viewers getting lost following the voices of sundry London or city folk is minimized too.)

Ticket to Paradise (2022)

Enjoyable diversion

[7/10 · 9 October 2022]

Saw "Ticket to Paradise" with my wife at the theatre yesterday (released a couple weeks early here in India)--movie was fun and an enjoyable diversion. If you're a fan of some of the retro rom-coms like I am, you will have fun--just don't expect too much (or any real) originality.

It's still a pity this movie doesn't quite land all the way though. Here's what I mean. So you know the basic outline from the trailers right: Divorced couple Georgia (Julia Roberts) and David (George Clooney) get together to break up their daughter Lily's upcoming wedding in Bali. Georgia's beau Paul accompanies them to Bali--he's the pilot flying the plane--but his characterization is so weak that it's an insult to storytelling. There's so little tension in the Georgia-Paul plotline that it ends up making the rest of the movie feel worse. They would've been better off thinking up some other way to complicate matters.

And like Amanda Seyfried/Meryl Streep oh so many years ago Kaitlyn Dever (of BOOKSMART fame) also plays the onscreen daughter of a Hollywood icon. While Dever does a great job here, the mother-daughter connection in this film is wafer-thin.

So overall it's a by-the-numbers offering--which is maybe both the worst thing about it and the best thing too--you don't need to think too much. Stressful work week? This is an easy watch, and will go down smooth.

Closer (I) (2004)

Beware: Closer is a profoundly unromantic rom-com

[6/10 · 4 October 2022]

If you walk in knowing the above, I think you will find this movie less disappointing than I did. But my wife and I saw this with mostly a kind of easy-going rom-com expectation--not exactly easy-going I must say or even a traditional expectation given this is a Mike Nichols' film--but we were so wrong.

The word "romantic" is of course a profound lie, and the situations/motifs supported and nurtured for decades even centuries of human civilization do not tell you about the ugly side of love and relationships. That love could be fickle, that we are human beings and ultimately don't really know what we want.

This movie feels more like literature than film actually--hence the relatively low score--because what would make a great contemplative meditation on the theme of love has dubious merit as a film featuring some of the most photogenic people out there merely to drive home a philosophical point. "No matter how we look, we humans are still sh** at love and relationships." It made think of Graham Greene's beautiful novel, The End of the Affair--in real life relationships are often ugly, I know that, I have lived that.

The movie well acted, the cinematography is great, and even the script crackles. But by up-ending our easy expectations this one does a great disservice to all the millions of couples out there who DO get that love begins when we transcend our own selfish considerations. The characters here are all exemplify the worst aspects of ourselves--yes I think 90% of the time humans do fall into the dangerous tropes depicted here honestly--but it's an ugly sight. We come to the movies to escape a bit, but this has too much of that dose of reality.

DJ Tillu (2022)

Laugh out loud funny

[10/10 · 2 October 2022]

Engaging and hilarious, this movie kept me on the edge of my seat pretty much throughout. Sidhu Jonnalagadda delivers a winning performance as the titular DJ Tillu and everybody else supports him well. Didn't expect this movie to be so good--was curious as I gathered it was a box office hit and so decided to check it out. Glad I did, as both the male and female leads were new to me and I have been on a Telugu movie and stars discovery path the past few months. So in addition to Allu Arjun & Ram Charan I will watch out for this guy Sidhu in future.

Things get a bit preposterous in classic Telugu movie fashion midway but still an enjoyable ride.

HIT (2020)

Fun thriller that delivers

[9/10 · 2 October 2022]

Watched this with my wife and it was so much fun. I am glad I watched this original Telugu version and not the remade one in Hindi--because the remake just looks too slick. Part of the appeal of the original is the gritty nature of it--a smart thriller on the level of Drishyam (also the original Telugu version starring Venkatesh). Everybody including the supporting characters do a good job keeping things even-keel and without veering into the melodramatic histrionics I am used to seeing in Telugu movies. Hopefully such histrionics are a thing of the past--most good Telugu movies I am seeing of late stay mostly grounded in reality. Amen to that.

Knocked Up (2007)

Catching up on Apatow

[9/10 · 2 October 2022]

For some reason I missed all those Judd Apatow movies back when they were released--I kind of got into his comedy only a lot later. In fact, I've only now warmed up to his work by way of recent podcast appearances, and so I am very glad to have finally discovered a true comedic talent.

When I first heard his laugh on a podcast a few years ago it annoyed me--but then drew me in. The laugh is actually an endearing aspect of his persona as an actor--combined with that, you have a great script here, and a smoking Katherine Heigl relatively early in her film career all making this a real winner that scores.

How to Lose a Guy in 10 Days (2003)

Run-of-the-mill rom-com

[5/10 · 2 October 2022]

Nothing new to see here--actually given the fact this was a pretty big hit back in the day, I was disappointed to see there was very little tension from beginning to end. Matthew McConnaghey was great in his role but at no point did I feel or care for Kate Hudson's character. She looked too svelte for me to root for--in the sense why should I be looking at or worry about the love life of this skinny b****? The premise of a girl doing all the things that would push a guy away was the one that brought me in and kept me watching though. It's probably the reason this movie sold so many tickets when it was released, and the reason I watched all these years later.

Hustle (2022)

One of the trio of must-see Sandler movies

[10/10 · 2 October 2022]

Resisted a long time to see this for some reason--but the hype is right, this is one of a trio of absolutely must-see Sandler movies along with PUNCH-DRUNK LOVE and UNCUT GEMS.

I like Adam Sandler and his persona as an actor so much that like many others this actor's native appeal alone has been enough for me to go see his movies. That appeal has been the detriment in his career though--we so associate him with a kind of sophomoric brainless and shallow boob-obsessed story that does a massive injustice to the real acting talent he possesses. Don't get me wrong, I go to an Adam Sandler movie with the same kind of airy light expectation like anyone else too--and I like that quality about his movies. The lightness is what draws me in when I am either stressed or want to forget about my work week, but so often such comedies are mostly hit and miss to say the least.

But not this one--HUSTLE is solid drama, with some minor jokes that are ACTUALLY funny. The basketball is top notch, the editing, the acting, everything. Don't let the documentary-style camera-work in some of the scenes fool you though--yes, it's cinema verite-style but this time there's real content and story behind the form.

Swallow (I) (2019)

Disturbing pre-covid masterpiece

[8/10 · 2 October 2022]

So much of this movie is so good--it sits well above any run-of-the-mill pictures you're likely to see from Hollywood. Eg, the emphasis on character study rather than on hi-jinks, the understatement, Haley Bennett's performance, the exquisite cinematography (incidentally a young female DP helmed this project) not to mention the actual house on the Hudson functioning as the main location of this movie.

The plot concerns a young newly wed bride--the housewife to her businessman husband's high falutin' career as the son of the CEO--trapped in a family of such revolting navel-gazers that it made me want to scream. To western audiences the quiet villainy of the in-laws might seem over-the-top but from my point of view as an East Indian male it makes total sense. I was really curious to learn the reason why she swallows dangerous objects--and later on in the film when we find out, it proves not less than revelatory. Disturbing watch yes, but unmissable.

7 Days 6 Nights (2022)

Better than I expected

[8/10 · 2 October 2022]

Enjoyed this more than I thought I would. Even as a male, the way one of the characters treats and talks about women was jarring to me--especially in the original Telugu. Granted, seeing women and talking about them as sex-objects has been kind of baked into world media culture decades ago, but at least in Indian cinema I've never seen anybody verbally talk about them in this way.

Having said that, the movie succeeds in portraying a kind of New India--where young professionals are just now emerging out of the cocoon of tradition and carving out their own futures personally and professionally. The protagonist and his love interest acted very well--that thread is strong enough to balance out any incidental drivel the filmmakers decided to include. So kudos for that.

Sita Ramam (2022)

Passable but still run-of-the-mill melodrama

[5/10 · 2 October 2022]

Been watching a LOT of Indian movies specifically Telugu language ones lately--many of them surprisingly good, but this one was only so-so. As melodramatic love stories go, this one stays pretty close to form. I like the premise--a soldier (Ram) receives letters from the mysterious Sita claiming to be his wife. But this one does very little different from expectation--there are echoes of The Notebook and pretty much every well-known love story including Roman Holiday. But while the latter remains a delicious vignette in a princess's life, Sita Ramam drags it out and overstays its welcome. Is it watchable? Sure. But ultimately forgettable.

Shiva Baby (2020)

Visceral gem of a film....

[10/10 · 2 October 2022]

Content not for everybody but this film and the cinematography achieve a kind of visceral portrait of the main character, a young college co-ed. That aspect alone--of how masterfully the interiority of a character is shown and portrayed is worth the price of admission. Outside of literature I have never really seen any visual medium succeed so much in revealing the inner life of a character. Bravo.

You get the plot from the logline: a young co-ed (Danielle) attends a Jewish Shiva event post-funeral and bumps into among other people: her sugar daddy and an old flame from high school (Maya). The camera is so tight framing the face of Danielle that we feel and experience everything with her. The movie is short--less than 80 min--but feels hefty and significant because every moment on screen is earned and imbued with meaning. No need of climactic explosions--just solid filmmaking from beginning to end. This is a gem of a film.

The Curious Case of Benjamin Button (2008)

Finally saw this movie

[9/10 · 2 October 2022]

Heard about this a lot back in the day but finally managed to see it the other night. Somewhat rare for a Hollywood movie, the story treats us to a full circle of a person's life--no coincidence that the screenwriter also wrote Forrest Gump--but I found this movie held its own against the more heralded latter film (although Gump has its own detractors too). True, you could watch Forrest Gump any number of times and still think you're watching a great movie--but this one feels less repeatable, less of a canonical entry. Having said that, I am so glad I watched it because not just the age-related makeup but also the performances and the actors (peak Pitt and Blanchett) are well worth your time.

The Ugly Truth (2009)

Formulaic yes and predictable but a fine rom-com still

[8/10 · 2 October 2022]

70-80% of this is engaging and entertaining enough that for the most part we overlook the unbelievably unrealistic female character (who looks like Katherine Heigl and has such a difficult time getting dates apparently?). Gerard Butler is great in his role, although some of the "guys like b****es" trope feels really dated watching this in 2022. (Especially because of that lens, I am being particularly generous with my rating.)

That said, I really enjoyed the movie--came here for Heigl and Butler and both delivered--although the last act felt hurried. (The chemistry between the two leads though left a lot to be desired--Heigl genuinely doesn't seem interested about the Gerard Butler character in the beginning that the way she falls for him at the end is a bit of a stretch.)

Bullet Train (2022)

Fun ride

[8/10 · 2 October 2022]

Been looking forward to seeing this for awhile now, and it did not disappoint. The ensemble cast adds to the fun element--everything is so fast-paced and light and airy that you don't even have time to get bored--the characters are engaging enough, and the ample plot twists keep you on your toes.

Yes, the Pulp-fictionesque dialog especially between the Lemon and Tangerine characters feels unearned, but there's enough originality in Ladybug's (Brad Pitt) reluctant-warrior trope that this feels like a worthwhile addition to the canon of action-comedies. The action scenes were fun to watch, although some of the stunts beggared disbelief even in an action movie. A man jumping on to and holding on to the nose/tail of a moving bullet train, and said man successfully punching through the windshield glass with his bare hands even though I understand he is an action movie-elite-assassin character? Really?

But this was such a fun ride I didn't really mind the cartoonish elements.