arungeorge13 Reviews

Furiosa: A Mad Max Saga (2024)

Just bloody beautiful. George Miller's vision is incomparable. [+81%]

[8/10 · 26 May 2024]

Mad Max is a 45-year-old franchise, can you believe it? Here we are, in 2024, still looking forward to George Miller's new and improved takes on the Wasteland, especially after 2015's Mad Max: Fury Road. Now, that film redefined the action genre (for a lot of us), and with its incredible dystopian setting, it paved the way for some of the most iconic set-pieces to ever make it to the big screen. Furiosa is quintessentially an origin story, and it sticks to being a straightforward revenge parable rather than a character case study. That makes sense, because although the film feels somewhat lighter in its action quotient, there's a greater sense of detail imparted to the Wasteland, its two key dictatorial rulers, and how Furiosa gets embroiled in the faction war.

The orange-brown landscape makes an emphatic visual comeback, this time through the photographic eye of DoP Simon Duggan (replacing John Seale). Similar to Fury Road, the film has characters that are constantly on the move. Static shots are hard to come by, but when they do, it feels like a deliberate move to register changing character dynamics. As a result, we once again get to witness incredibly panoramic imagery, with swarms of extras appearing like ants in a shaken nest.

The handmade props, machinery, and vehicles also look their rusty-finest, and one of the main set-pieces featuring a war rig is an absolute blast. There are some hootworthy hyperlapses captured to indicate the passage of time (and hard-hitting labour), along with plenty of transitions. The film follows a chapterwise approach, which works both in favour and against it. The first three are crisp and well-defined, though the last couple feel ill-timed and rushed in parts. Eliot Knapman & Margaret Sixel (Miller's wife) edit the film into an engaging, briskly paced 149-minute flick, with a blink-and-miss appearance of a young Max Rockatansky (+ his interceptor) packed in. Junkie XL's score oscillates between subtle and bombastic, very much in line with the film's overall frenetic approach.

Alyla Browne plays child/teenage Furiosa to perfection, and in her silence, we sense the inner rage and subtle hints of her future badassery. Anya only shows up in the third chapter, and by then, the character motivations are already established. She's terrific in scenes where her eyes do the talking, and makes for a worthy predecessor to Theron. Similar to how Theron stole some (or a lot) of the thunder from Tom Hardy in Fury Road, Chris Hemsworth trumps Anya in several scenes. He puts on a pair of contacts & a prosthetic nose, and brings in shady mannerisms that made me forget Thor altogether.

Dementus is a character I was instantly intrigued by, and the way he conducts his savagery makes him the ideal blend of a smart yet menacing cinematic baddie. There's also a surprising amount of depth attributed to another character known as Praetorian Jack (Tom Burke, looking a lot like AEW wrestler Hangman Adam Page) and his interactions with Furiosa. He also comes across as the only character that Furiosa seems to care about, after her mother's demise early on. And speaking of the mother, Charlee Fraser does a remarkable job in the role (it's a rock-solid Australian ensemble, in short).

I could sit and watch a tonne of these universe-enhancing flicks within the franchise, but only if they're crafted in the capable hands of Miller. Whether we get another film or not remains in question, but I'd be mighty happy if we do. The action is definitely a bit more reliant on CG this time around, though the kinetically shot, smoothly edited long takes keep you on edge. I won't complain at all, since Miller continues to add his distinguished filmmaking vision behind each of these projects.

Thalavan (2024)

Jis Joy can make thrillers - point made! [+62%]

[6/10 · 26 May 2024]

A shoutout to Jis Joy for venturing outside the feel-good zone even when his last attempt at a thriller didn't work. Thalavan delivers the goods as a police procedural with plenty of characters, their details and dynamics. The first act makes you think it's yet another addition to the Malayalam Ego Clash™ universe. However, Thalavan properly gets going once the main murder plot kicks in. There's an unnecessary song and a mediocre fight sequence following it, but those are the only detractions. Asif Ali is clearly in fine form here, and once again proves his mettle as a performer when he dons the police uniform. Biju Menon is solid too, and since we've already seen him and Asif work together as leads before, their efforts here come across as no surprise. The same goes for much of the supporting cast (ft. Dileesh Pothan, Jaffer Idukki, Miya George, Anushree, etc.), even in instances of weakly written dialogue.

Deepak Dev's musical score makes you invested in the proceedings, though I'd have placed the Thalavan theme song at a different point within the film. The key antagonist gets a meaty arc and a well-established motive, though I wish Jis had exhibited greater finesse in the final reveal. From a writing standpoint, there are several decoys thrown at us. If you're a longtime thriller buff, you should be able to distinguish between an actual lead and a decoy without much fuss. Though this isn't a film with a lot of guns and fist-fights, they could've still done a better job with the stunts. Nonetheless, with all its flaws, the film is worth a watch on the big screen.

Civil War (2024)

Another Alex Garland audio-visual showcase. [+73%]

[7/10 · 25 May 2024]

Alex Garland is so good at creating stories that are driven by setting. Here too, it's the setting (of the titular civil war) that urges the protagonists to navigate through utter chaos, daylight murder, and disturbing experiences. We don't even get to know the reason behind the war (it's America, and according to Garland, that's sufficient), but we're thrown right in the midst of it. The lead characters are old-school photojournalists, and they're voluntarily signing up for a danger-filled journey across different cities (and towns), each with its varying stages of unrest.

As a storyteller, Garland can swing whichever way he prefers - he can take you into the deepest depths of the absurd (like Men or Annihilation, or he can stick to basic human reactions to unruly circumstances (like 28 Days Later, Sunshine, or Ex-Machina) and weave an engaging plot around it. We have so many shining examples already, and Civil War is yet another feather in his cap.

Garland is more significantly, an audio-visual storyteller, almost as much as he invests in his characters. The production design does a fantastic job of making us buy into the grim realities of the ongoing situation, and it's truly enriched by spectacular work on sound. If Zone of Interest made you feel things through its rendering of torturous cries in the background, Civil War is its antithesis. The sound is an equal counterpart to the affecting visuals. DoP Rob Hardy films all of it in a war journalistic style, and some of those wide shots are indeed magnificent. It's the little details here that Garland and team get right, and the universe they build is incredibly absorbing. I did find the musical choices to be at odds with the storytelling though.

Now, where the film may not hit the bullseye is in its theoretical setup. Since we aren't sure of the class/racial divide, the "regional" patriotism excesses, or the fundamental ideologies that create the chaos, some might find this excercise a largely empty affair with no real payoffs. There's a big plan to assassinate the POTUS, but how that changes anything is left unanswered. The action is solid; however, since the setup is perfunctory, the longevity of the latter remains questionable. Kirsten Dunst plays a PTSD-affected journo, and is predictably wooden almost throughout, except in a couple of scenes. Wagner Moura, Cailee Spaeny, and Stephen McKinley Henderson play the other leads, and all of them are fairly good casting choices.

However, it is Jesse Plemons, appearing in one scene as an ultranationalist militant that leaves a lasting impression. He easily embodies all facets of a civil war in that particular scene, which tangents from an earlier, mildly joyful diversion. Civil War is enthralling no doubt, but with issues that plague most of Garland's scripts (with the exception of Ex-Machina & 28 Days Later).

The Fall Guy (2024)

Worth it just for Gosling, Blunt, and some of the action. [+63%]

[6/10 · 22 May 2024]

I guess David Leitch specifically had every stunt in the film cranked all the way up to eleven, well.. just because he can and he's DAVID F'n LEITCH - the guy that big studios currently trust with their over-the-top action blockbusters. The Fall Guy is, by and large, a tribute to the stunt department in modern-day cinema, but it also tries hard to be a romance and occasionally, a thriller. The romance is very superficial, depending entirely on Gosling and Blunt to make it all work somehow, and to their credit, even without seeing them together for a good part of the film, it was enjoyable. There are some decently written bits here and there, like how they reconnect during a set-piece shoot after one of them ghosts the other.

The film also goes into another direction in order to justify its title, and these parts offer varying degrees of satisfaction. Aaron Taylor-Johnson and Hannah Waddingham get the short end of the stick, with both their characterizations particularly found wanting. The saving grace(s) in these stretches arrive in the form of Jean Claude the dog, a spontaneously fun set-piece featuring Teresa Palmer, the action-pairing of Winston Duke with Gosling, and the music choices. And yes, since it's an actioner, Blunt gets a short action scene (or two) as well. All things considered, it's an okay x not-bad watch; just like Bullet Train, it ain't all that memorable.

P. S. Is it just me or did Metalstorm really look like "a stupid movie" (as remarked by Blunt's character)?

P. P. S. I really wish there were more action hero references and Easter eggs.

Shaitaan (2024)

Maddy and the possessed girl are fine; the rest of the film is perfunctorily Bollywood. [+41%]

[4/10 · 19 May 2024]

Bollywood's watered down version of a voodoo flick, mildly powered by an energetic Maddy and a fairly solid "possessed" act from Janki Bodiwala. The film has no right to be over 2 hours long. The story progression ain't all that thrilling, and the twists aren't really convincing (Google Maps and Adobe Audition save the day?). What it should've stuck to, was being an unabashedly violent and over-the-top home invasion thriller (told from a supernatural perspective). I believe the Gujarati original already achieved that, but Bollywood had to add the saviour trope at the end for its hero, with a preachy little tail-end on what it means to be "parents". J-E-E-Z with a capital J. It's well shot, however. So, pass marks for that. Plus, I liked the scene where Jyo loses her mind and starts attacking Maddy. Well done, girl.. well done.

Guruvayoor Ambalanadayil (2024)

Kandittu prethyech onnum thonniyilla, saare! [+44%]

[4/10 · 18 May 2024]

I've never been bowled over by Deepu Pradeep's scripts - Kunjiramayanam was saved by a 10-minute Biju Menon intervention, Padmini was certainly an odd one, and The Priest was meh. I understand his and director Vipin Das' intention to create a colorful wedding entertainer like in the '90s, but with a premise this interesting and such a talented cast, one simply expects the output to be FAR, FAR BETTER. The music, for starters, is mostly a disappointment. And that's coming from someone who enjoyed Ankit Menon's work in Jaya Jaya Jaya Hey. The writing lets us in on an early twist (which is fairly nonsensical, to begin with) and then proceeds to stretch this one idea into a 2h 10m conflict with flat developments and a flat finish. I didn't find the use of Azhagiya Laila or the Drishyam dialogues to be that funny; maybe, it managed to generate mild chuckles.

I often wonder why the Priyadarshan entertainers of the '80s, '90s, and early 2000s work the way they do, even on an Nth rewatch. Yes, they often came from the smart brains of either a peak Sreenivasan, VR Gopalakrishnan, or Priyadarshan himself. They were beautifully packaged to suit our Malayali sensibilities, with fantastic songs, dance numbers, and a consistent supply of rollicking humor. A film like Guruvayoor Ambalanadayil aspires for the same, and it does seem like it has its share of happy takers. That said, I don't think anything or anyone in the film particularly stood out - including Basil Joseph (who's usually fun in his relatable, relaxed avatar but not quite the case here), Prithviraj (who still struggles in situational comedies), Nikhila Vimal (what a waste; she could've been the real difference-maker here if the writing was better), and Anaswara Rajan (who makes for an absolutely dashing bride, but the character sketch is so puerile). The Guruvayoor temple set design, however, was well done (+1 pt for the obvious Nandanam reference.

Even though the film boasts some reliable names in the supporting cast (like Jagadeesh, Baiju, Siju Sunny, Saafboi, Yogi Babu, and more), none of them get any memorable LOL scenes. It all boils down to bland writing that fails to extract the full potential of an organically funny premise. Vipin Das better get back to his own drawing board, as even from a directorial perspective, I couldn't find many creative decisions worth raving about. I wish folks didn't start branding this the new gold standard for humor featuring a large ensemble. Go and re-watch Vettam for the 78,463rd time, please.

P. S. I'm very clearly in the minority here, and that's OKAY!

Challengers (2024)

A sexy tennis movie you want? A SEXY TENNIS MOVIE you get!🎾 [+81%]

[8/10 · 18 May 2024]

Zendaya is probably one of the greatest findings of this generation. She embodies everything Hollywood, but with an unrivalled charm that makes you back every character she plays. The moment she's on screen, it's hard to look away - such magnetic screen presence! The film plays across different timelines, with the story revealing the salacious equations between the three leads - played to perfection by Zendaya, Mike Faist, and Josh O'Connor - in a slow-burn style. The drama that unfolds before you in the first hour instantly hooks you in, and you're left wanting to know how the fates of these characters keep getting intertwined.

Director Luca Guadagnino has a great eye for capturing sexual intimacy (his previous works include Call Me By Your Name, Bones and All, Suspiria, etc.) but here, he also showcases remarkable skills in shooting tennis showdowns. More than the actual match details, what intrigues is the hormonal playoff amongst the trio. Though it makes you feel like a Zendaya showreel in the first act, Challengers also invites Faist and O'Connor to rise to the occasion and frequently scorch the screen. Trent Reznor & Atticus Ross lend a techno-filled score to the proceedings, adding to the emotional flare-ups and spontaneous sex.

Sayombhu Mukdeeprom (Thirteen Lives, Call Me Your Name) films the tennis matches from various angles; however when he slow-zooms in on Zendaya, even the games stop mattering. The film fully acknowledges her presence as irresistible, regardless of the age she portrays. And mind you, the age transformations are fantastically handled by the lead trio. It may remind you of Woody Allen's Match Point in certain aspects, but the two films are entirely distinct in how they choose to tell their respective stories. The writing, direction, performances, and musical score make Challengers an absolute must-watch.

Kingdom of the Planet of the Apes (2024)

New story, new characters, new spaces. I'm liking it. [+70%]

[7/10 · 12 May 2024]

KotPotA does a more-than-decent job in honoring the legacy of Caesar, one of the few non-human characters (in a summer blockbuster) a vast majority of us cared about during the peak MCU era. In fact, it all begins with Caesar's funeral - I get the feeling that director Wes Ball took inspiration from the opening scene of the Batman: Arkham Knight game. The franchise veers in a different direction but Caesar is recurringly name-dropped. The writing (by Josh Friedman, who has several massive projects lined up) often equates Caesar to a leader & savior of truly Biblical proportions.

Generations later, we're introduced to young Noa (Owen Teague) and his falconry clan of chimps. Noa's coming-of-age ceremony is interrupted by the entry of a new human character and a troop of hostile, raiding apes - the first act is a spectacular treat for the eyes. Wes Ball takes us into previously unexplored spaces, with Noa and his clan speaking human language as if it were theirs from the very beginning. It took me a few minutes to buy into apes speaking like people, but the film doesn't waste any time doing it. The detailing of the apes' faces and physiques is mind-blowing. Things have majorly improved since "War" days, with the team at Weta FX delivering some of their finest work. Erik Winquist is once again at the helm of the visual effects department, showcasing his prowess as the go-to guy for big-budget monkey movies. The expanded universe also looks awe-inspiring, with several new landscapes rich in nature's overwhelming detail.

Wes Ball also reunites with his Maze Runner sequels' cinematographer Gyula Pados, who takes us through Noa's journey of learning, reunion, and redemption occurring across different indoor and outdoor environments. The human characters - Mae (Freya Allen) and Trevathan (William H Macy) - have their agendas, and they're painted in varying shades of grey. Proximus Caesar (Kevin Durand) is the main baddie, and this is one character lacking in development. He's interesting indeed, as a propagandist leader twisting the policies established by Caesar in his quest to unlock human technologies. He is shown to resort to tyrannical ways to achieve his goals, but the screentime given is fairly less for the character's intentions to fully acquire shape.

Editor Dan Zimmerman (another Maze Runner collaborator) slows down the film's pace in the mid-section, possibly in an attempt to add more emotional weight to Noa's journey. This doesn't always bode well, though I'll say I particularly liked all the scenes that featured Raka (Peter Macon). Raka is almost like a funnier, more relatable Maurice from the earlier trilogy, and the perfect elder compadre to Noa. I sincerely hope he returns in future instalments. I also liked how director Wes Ball chose not to go the "battle" route in the climactic showdown, instead handling it in the style of a calamity where rescue is paramount and revenge comes later.

While it doesn't scale the sentimental highs of Matt Reeves' works, KotPotA is mostly successful in setting up a new story with new characters that I'm sure I'll grow to love in the sequels. There's still plenty of storytelling juice left in the tank!

The Ministry of Ungentlemanly Warfare (2024)

In the "not-bad, not-great" territory for Guy Ritchie! [+63%]

[6/10 · 11 May 2024]

There isn't enough Guy Ritchie bite here to potentially excite his longtime fanatics, but any mission-driven film with a fairly large ensemble is something I'd automatically associate the man with. This one centers around Operation Postmaster in 1942, one which you should ideally read more about if you haven't already. The protagonists are a bunch of British covert operators attempting to disable some Nazi ships, and while they get a nice little introductory scene, not much texture is given to each of them once they get into the thick of things.

The characters I enjoyed the most are the ones played by Eiza González (Marjorie) and Babs Olusanmokun (Heron), who are mostly working on land while Cavill and crew operate on water. The action ranges from slick to serviceable, occasionally lacking the urgency and fluidity of a usual Guy Ritchie effort. Also, a large portion of the climactic set piece unfolds in the dark of the night, and some of it gets visually hindered by odd lighting choices. It's obvious by now that Ritchie thrives on style over substance (The Covenant, being the only recent exception) and his reliance on creating comedic camaraderie between the leading men doesn't always hit that sweet spot.

Ritchie isn't much interested in the details of Nazi operations since he's presenting the proceedings in the form of an action-comedy, and as such, the antagonists only function as worthy recipients of bullets from silenced pistols and slashings from jagged knives. This also applies to Til Schweiger's Heinrich Luhr, a token Nazi baddie with all the derivative attributes. It's the cheeky one-liners, the suave shootouts, the Ian Fleming nod, and a super-sexy Eiza Gonzalez (with guns, damn!) keeping the film afloat amid uncomfortable Nazi waters. Christopher Benstead's score also helps keep the film adequately lightweight.

P. S. Is it me or did Alan Ritchson seem like he walked straight out of an Expendables set in one of the scenes?

P. P. S. Rory Kinnear was absolutely unrecognizable as Churchill.

Abigail (2024)

Radio Silence purely playing to their strengths again! [+64%]

[6/10 · 10 May 2024]

A good chunk of Matt & Tyler's creative decisions in the film worked for me. The script features an all-too-familiar premise - a minimalist location, a motley crew of "kidnappers", and a really intriguing abductee. The film's logline already spoils a key twist, and even when that's the case, the ensemble (comprising Melissa Barrera, Dan Stevens, Kathryn Newton, Kevin Durand, Giancarlo Esposito, and Alisha Weir) puts in solid work to make their respective characters fun and memorable. Barrera has carved out a path of her own, effortlessly playing final-girl protagonists since 2022's Scream - I'm a fan, uff! Durand and Newton also bring in much needed laughs, adding to the plot's generally campy nature.

The surprise package, however, is Alisha Weir who undergoes the frightening transition (albeit momentarily) from kidnapped little girl to bloodthirsty, smart-talking vamp. The writing veers off course a little during the final act, at times, failing to make any storytelling sense beyond a certain point. But the action is neatly staged all through, and the bucketfuls of gore keep coming. A couple of early kills fail to pack a punch (resulting in some needless exposition), though Matt & Tyler redeem themselves soon after. At 1h 45m, this is yet another horror-comedy blend that I can easily watch any day; it's just my kind of enjoyable nonsense.

P. S. RIP Angus Cloud!

Madgaon Express (2024)

The comedy drought in Bollywood possibly ends here! [+61%]

[6/10 · 7 May 2024]

Bulletpoint review:

• This comedy of errors by writer-director Kunal Khemu is good fun while it lasts. His 2-minute cameo is fun too.

• Pratik Gandhi is the clear standout here. The man holds immense potential as a performer. Divyendu is good when he sticks to comedy (which is about 80% of his screentime). Avinash Tiwary is serviceable.

• Seeing Nora Fatehi in a non-item-dancer capacity is a pleasant surprise.

• The songs are all of the "loo break" variety.

• The antagonists (played by Upendra Limaye & Chhaya Kadam) are hilariously solid. The actors contribute more than what the screenplay has for them.

• Did NOT enjoy the whole "dress up as women" angle for the leads to infiltrate the Kombdi hideout.

• Most of the situational humour (keeping the previous point aside) and the dudes' bromistry work.

Godzilla Minus One (2023)

A solid Godzilla film, once again, from Japan! [+82%]

[8/10 · 5 May 2024]

From Takashi Yamazaki, the writer-director of the 3D animated ride film that plays at the flying theater motion simulator ride located in the Seibuen amusement park, comes a spectactular Godzilla flick that's high on action, emotions, and scale. The human protagonist here is a Kamikaze pilot who fled from his (suicidal) duty during WW2; the hideous aftermath of the war in Japan is showcased to believable effect. The protagonist's arc commences when he first encounters the giant Kaiju and goes all the way to the very last scene. It's a lovely piece of writing that elevates the human side of affairs in what's a dazzling Man vs. Monster feature.

At first, I thought the performances weren't all that great, but the third and final act really brought out the best in the cast. The supporting characters all carry sufficient weight in the proceedings, and I was thoroughly invested in their journeys once the screenplay took time to flesh them out. The Kaiju set pieces are incredible to experience, and their execution is worthy of praise. Takashi Yamazaki adeptly keeps the visual perspective from the ground level (i.e. From the human viewpoint) in the first two acts, but goes far, wide, and deep when the action shifts between Godzilla and the various human protagonists.

The director also handles the dramatic + emotional bits fairly well. There's a lot of timeline progression right from the end of WW2, and each of those "chapters" feel like they've something substantial to add. Again, when you also consider the fact that Yamazaki managed all this within a $12 million budget (as opposed to the $130-150 budgets of the Hollywood counterparts), it's all the more appreciable. I also liked how the writers thematically connected Operation Crossroads with Godzilla's mutation. A lot of factors have stupendously come together in what's an exceptional Godzilla film.

Arcadian (2024)

Need more Nic Cage, but it's a not-bad effort. [+53%]

[5/10 · 4 May 2024]

Well, I like to think director Benjamin Brewer (best known for directing music videos and leading the VFX efforts for Everything Everywhere All at Once) had a few neat tricks up his sleeve while conjuring up this creature-feature starring Nic Cage. It has a pretty interesting first act that reminded me of films like A Quiet Place and It Comes At Night, with Cage being the difference-maker.

I'd see anything with Cage in it at this point - heck, I've watched all his bad DTV-movies when was going through a career slump in the 2010s before reinventing himself towards the end of the decade. I just enjoyed seeing him turning into a red-hot act once again. Arcadian evidently descends into a B-horror territory, with deliberate campiness in the presentation of the creatures and a plot that only gives away bits and pieces of its lead characters. The action is layered with some shaky cam, just so that the creatures' appearance isn't entirely given away; that's a creative decision I can applaud. That said, the plot advancement remains utterly predictable.

It's an okayish affair that progressively sees less involvement from Cage, but they establish the brothers' equation fairly well for us to believe in their survival journeys. Jaeden Martell (from It), especially, is a promising talent. A needless love angle is also introduced, only to bring more characters that the monsters can munch on. I'm also curious how the dog in the film survived the whole ordeal, though I'm glad he did :)

Pavi Caretaker (2024)

Dileep badly needs to reinvent himself! [+34%]

[3/10 · 28 April 2024]

The protagonist Pavi is a clear mish-mash of several characters that Dileep has played in his heydays, with no texture in the writing to make him stand out. The bar is currently set too low for Dileep as a performer since he's been busy attaching himself to crap like Bandra and Thankamani, so anything marginally better will come across as "oh hey, we got our vintage Dileep back!" - HELLL NAWWW! Rajesh Raghavan's screenplays (3 Dots, Onnum Mindathe, Aravindante Athidhikal) have never appealed to me. How did a promising director like Vineeth Kumar decide to collaborate with him after listening to the one-liner?

Pavi Caretaker plays out like a typical Dileep film from the 2000s and early 2010s, with superficial writing. None of the characters other than the protagonist get any fleshing out. You'll find countless instances of drab, Dileep-brand™ humor that you've already seen in yesteryear blockbusters of his. There's reactionary humor, there's slapstick, verbal humor, self-deprecating humor, etcetera. But the real laughs are hard to come by. The only scene that mildly pushes the actor in Dileep is one where he and Johny Antony are standing on the terrace of the apartment, and he's exhibiting his emotionally vulnerable side. The sweet golden retriever (who goes by "Bro" in the film) sidekick is always an adorable presence, though he's hardly there when the film needs him.

One or two songs (by Midhun Mukundan) are nice compositions, and they're also captured well by DOP Sanu Thahir. A film like this can only work when you have extremely solid supporting talents (which Dileep had the fortune of working with, during the 2000s), and here, we don't really find any. For instance, the role played by Raadhika Sarathkumar would have been infinitely better if we still had Kalpana Chechi. Johny Antony's character would've been better if we still had Cochin Haneefa. The five heroines too, lack identity beyond their smiles, shrieks, and smugs.

Love Lies Bleeding (2024)

Rose Glass, you've created SOMETHING ELSE! [+77%]

[8/10 · 26 April 2024]

Rose Glass, in just her second feature film, leaves plenty of signs as to why she's one of the most promising filmmakers of our times. Saint Maud was something, but Love Lies Bleeding is SOMETHING ELSE! It's part lesbian romantic drama, part crime cover-up thriller, part body/psychological horror, part magical realism, the list goes on. The best thing about it is that the "concoction of genres" is a largely intriguing, tremendously entertaining one. Both Kristen Stewart and Katy O'Brian bring their A-game, playing lesbians lovers with troubled, traumatic, and crime-ridden backgrounds. The supporting cast is solid too, with Ed Harris (a walk-in-the-park for this guy), Dave Franco (jaw "literally" dropped at one point, LOL!), and Anna Baryshnikov (in particular) delivering the goods neatly.

Clint Mansell's score punctuates the proceedings in captivating fashion. There's a disproportionate blend of lust, grime, gore, and drugs in the film that spoke volumes to the aesthetics-observer in me. I couldn't make cinematic sense of it all in one go; this definitely is a film I'll rewatch, and the second time keeping the fundamental (sex + thrills) aside, but focused more on its storytelling brilliance. I think Glass' films will continue to remain difficult to classify, though the themes they discuss (violence is a vicious cycle, eh?) and the way she's able to extract such powerhouse performances from the cast are undoubtedly worth studying. It also really took me back to the year 1989, with its visual palette, costumes, and makeup.

Monkey Man (2024)

A must-watch for action fanatics! [+75%]

[8/10 · 24 April 2024]

What I particularly enjoyed about Monkey Man is Dev Patel taking an honest stab at sectarian violence in India, without holding back on where his perspectives stand. I've read about the struggles both during shoot and post, and it makes me want to understand the measures Dev and his team were forced to take, in order to lessen the blow on India's current ruling party which is notorious for its minority-targeting. For instance, whether the amount of saffron turning red in post-production was a call taken by Netflix (while they still were the distributors) who is investing big in India these days but not a lot on daring attempts - I think The Washington Post wrote a piece on this back in November 2023.

In essence, Monkey Man is a straightforward revenge actioner. But it also doesn't want to be simply tagged as an action flick and forgotten. The film's first hour intercuts between past and present, slowly divulging details on Kid (Dev himself playing the lead) - the childhood memories he shares with his mother, his obsession with Lord Hanuman and embracing the persona of Monkey Man while wrestling in an underground fightclub, and his attempts at exacting revenge on the cop (Sikandar Kher) who brutally murdered his mother. The politics of religion is strongly hinted at, with a godman (Makarand Deshpande) shown to be the mastermind behind enacting several vicious measures against the poor and the neglected.

To be on the safer side, Dev sets the plot in a fictional Indian city (called Yatana) that strangely resembles Mumbai and has a lot of Indonesians playing Indians (COVID production struggles, apparently). But he doesn't compromise when it comes to the set-pieces. There's a LOT of blood-letting when we get to the real deal - especially in the second and more decisive hour of the film. It strongly reflects classic action movie predecessors such as The Raid and John Wick but with an infusion of Indian culture and (Hindu) religious references. We also get some fantastic original rap compositions underlining some of the action and the drama, alongside actual songs from yesteryear Bollywood films.

The visual style reminded me heavily of this 2010 videogame called Kane & Lynch 2: Dog Days where much of the action unfolds in the perspective of a "handheld camera," but with Indian aesthetics standing out. The climactic set piece is spectacular, and truly the area where Dev Patel shines as an actor. Shobita Dhulipala is also present in a short but memorable role. Sharlto Copley also shows up as a feisty fight promoter. The writing isn't very deep, though there is some effort seen in the sections where Kid recuperates in the shelter of the Hijra community. Their presence in the final showdown also adds another intriguing layer, but choosing to resolve their issues by giving them a bagful of money felt like a convenient writing decision.

Rebel Moon - Part Two: The Scargiver (2024)

A little better on the action, but still terrible on the character side. [+38%]

[4/10 · 21 April 2024]

Lately, Zack Snyder films come across as dubious, "what-if" case studies rather than entertaining popcorn blockbusters. The Rebel Moon sequel that no one except Snyder asked for, is currently streaming on Netflix. It quite seems like the next batch of bland, forgettable films that'll enter the same league as the dreadful Transformers sequels. Part Two begins with Sir Anthony Hopkins' voiceover summing up the events of the first flick in a few lines. Snyder then takes a long time detailing Admiral Noble's resurrection (yawn!) and the village of farmers going about their business of cinematically harvesting grain. Snyder (who also puts on the DOP's hat) shoots them like music videos, lens-flaring the hell out of everything. Unlike the first, the action here unfolds mostly during the day, so the dark industrial grey aesthetic is almost replaced with what looks like a dusty, twilight-hour palette.

It takes exceptionally bad writing for the screenplay to focus less on what was supposed to be a "battle for grain" and turn into a Star Wars knockoff. That was already an issue with the first film, and nothing really changes here. The warriors supporting Kora in her quest to defeat Noble each get five odd minutes of a music-video-backstory, and I couldn't wait for the (long-ish) first act to just get over and move on to the action. The story arcs are terrible, the character development is bleh, and none of the performances are rousing. The film stays emotionally flat from start to finish - the stakes feel next to none, the deaths of key characters leave no impact.

Again, with writing this derivative and barebones, there's nothing Junkie XL could've done to make the proceedings any better. While nothing to write home about, the set pieces in the sequel feel less choppy (a typical Netflix trait) and even the excessive slo-mo didn't bother me all that much. In 2024, the same year where Dune: Part Two exists, it'd take a beyond-superlative effort to mesmerize audiences with a colonial space-warfare story. I acknowledge that Snyder is purely a "visual" director, and his writing efforts have been atrocious for the most part, but can the man learn a thing or two from his earlier big-budget mistakes, maybe?

Late Night with the Devil (2023)

Possession horror gets a smart, vintage spin! [+73%]

[7/10 · 19 April 2024]

I really liked the Cairnes brothers' commitment to the film's 70s aesthetic, adopting the style of a found-footage mockumentary that keeps you on your toes for the most part. The use of AI aside, the production design team behind the film has done a fabulous job. David Dastmalchian is in stupendous form here as the late night talk show host, and he's ably supported by a solid ensemble that includes the likes of Laura Gordon, Ian Bliss, Fayssal Bazzi, and Georgina Haig. The film shows how there are still interesting scenarios to create within the demonic possession subgenre, and in able hands, they can easily awaken the tired horror fanatic in me.

The visual palette of the film alone is solid enough to warrant a second watch, but what you wouldn't immediately expect to strike a chord is its (rather smart) blend of humour and cynicism. In a film that's set in the 70s, I definitely appreciate the gooey, bubblegummy practical effects over anything computer-generated, and therefore, the gimmicky payoff to the suspense built over the talk-show segment doesn't turn out to be as rewarding as expected. Nonetheless, the nightmarish epilogue, which also functions as a double climax, is wildly effective.

What Jennifer Did (2024)

Delivers the expected twist in an unsuprising manner! [+36%]

[4/10 · 19 April 2024]

As a true-crime documentary, I felt the presentation of the case was rather lacklustre. The title gives away the one obvious (and anticipated) twist, especially for regular true-crime content consumers such as myself. The reenactments are plain and straightforward, and while the makers do not attempt any ridiculous editing gimmicks, they still could've done a better job of keeping the proceedings crisp and engaging.

For a piece that's supposed to play out like a thriller, it fails at doing exactly that. What we end up getting is a mostly flat retelling of the entire saga, which has been tackled in a more engrossing manner by at least a few YouTubers. It only tries to play into the dramatic "shock-value-providing" side of the story, while treating all the other aspects such as parental expectations, poor state of mental health, and immigrant life as ancilliary. Also, to hell with AI-generated imagery!

Immaculate (2024)

This Catholic horror flick is fairly engaging, if not exceptional. [+60%]

[6/10 · 17 April 2024]

So, I get it. Director Michael Mohan makes good use of two major Sydney Sweeney expressions - deadpan and terrified. Immaculate begins with hints of being a supernatural chiller similar to Paco Plaza's Sister Death. However, as the proceedings unfold, it becomes evident that the final act has a few tricks up its sleeve. The transition to campy survival thriller isn't all that smooth, yet the gore is aplenty and the politics of bodily autonomy is explored to greater depths. The first act relies almost entirely on jumpscares, but they're fairly well-executed.

It also helps to see Christian accessories becoming murder weapons in inventive ways (LOL!). There wasn't any doubt regarding the pregnancy angle given the film's title, though the religious subtext regarding it is barely touched upon. A little extra runtime would've easily sorted that out, and I probably would've enjoyed this a lot more if that was the case. Sweeney is certainly not bad here - she confidently rises to the occasion as the "final girl + scream queen" combo. None of the other characters leave an impact, and more so, because they mostly speak Italian. I understand the intention to create an unsettling atmosphere overall, but the film undoubtedly needed a stronger key antagonist.

Aavesham (2024)

Ranga Annan is such a V-I-B-E! [+78%]

[8/10 · 13 April 2024]

I don't wish to write a detailed, eloquent review for a film that only tries to present itself as a pure, no-holds-barred entertainer with just the right doses of everything (save for a romance). The character sketch of Ranga, along with an insane range of unpredictable emotions, is safe in the hands of FAFAA. He embodies the adorable, fun-loving thug with a penchant for violence (although he's under oath not to inflict any himself) like no other performer can, at least in Malayalam cinema. We've seen him play solemn, serious protagonists with consummate ease, but Aavesham gifts him the opportunity to fully embrace his zany side. If his foray into Tamil and Telugu cinema eventually led to him signing up for such an unhinged role in Malayalam, then I'm all in for those decisions.

The plot can be summed up in two or three lines, but director Jithu Madhavan is adept at keeping the proceedings tremendously enjoyable. As a result, we get a well-cooked mix of terrific action blocks, plenty of laugh-out-loud moments (major credit to Sajin Gopu), and even a little unexpected emotional depth to the protagonist. Sushin Shyam's songs and score are every bit an essential ingredient, without which, the mass moments would lack the necessary knock-out punch. The three guys who tag along with FaFaa also manage to hold up their end of the bargain, and their exchanges especially in the latter half, left me in splits. There are occasional signs of the screenplay running out of storytelling steam, but the fun factor never takes a dip. Once in a while, Malayalam cinema needs an injection of packaged entertainers like Aavesham where you slip into your most comfortable sitting position, clapping and hooting at the antics of an electrifying FaFaa.

Wicked Little Letters (2023)

Quirky little British comedy that's definitely my cup of tea! [+67%]

[7/10 · 13 April 2024]

If you love your share of quirky British comedies, then you're in for a fairly fun ride with Wicked Little Letters. They could've done a better job with poster (something handwritten maybe, given it had to do with letters after all), but don't let that deter you from watching. The leading ladies - Olivia Colman, Jessie Buckley (big fan!) and Anjana Vasan - are in exceptional form here.

The plot neatly delves into themes such as repression, hierarchy, patriarchy (in religion especially), and oddly enough, the sophisticated cursing style of the British, which I'm fascinated by. It is a whodunnit, but the reveals aren't exactly what startle. It's how director Thea Sharrock chooses to present the reasoning that intrigues me more. The supporting cast (especially, the ladies who join officer Gladys in her quest to unravel the mystery) is a lot of fun. I'd love to see Vasan's large, expressive eyes featured in more films, please.

All of that said, I definitely don't know whether in 1920s England, a police officer (who's presumably of Indian heritage) was frequently shunned because of her gender alone. India was still under British rule, and it is quite surprising to me that she's never denigrated by the British officers for her Indian roots. Also, a black judge in those times? Gimme a break. Don't get me wrong, the casting choices are laudable, but the anachronism is quite in-your-face. That cinematic gripe aside, I'd say I enjoyed it for the most part.

Kung Fu Panda 4 (2024)

Doesn't justify its existence, but also fairly fun! [+54%]

[5/10 · 9 April 2024]

From a story development perspective, there isn't a significant reason for this sequel to exist. But of course, any beloved franchise with box office potential can never be left behind in Hollywood. Kung Fu Panda 4 still carries the fun vibe of the first three instalments, but it also commits the mistake of cinematically replacing the Furious Five with a new character Zhen (voiced by Awkwafina). Budgetary concerns, by the looks of it? The film is budgeted at $85 million, as opposed to the $130-150 million of the prequels. I also read somewhere that the film was supposedly planned as a live action/animated hybrid at one point; wonder how that would've turned out. In the current version, the makers haven't tried anything unexpectedly new; they've stuck to the basics of what made the earlier instalments work.

Anyhow, it's safe to say that sequel #4 isn't terrible. But it doesn't quite scale the heights of the previous three, even with a stronger antagonist (Viola Davis). Jack Black is still in fine form voicing Po, and the same can be said of some of the others like Dustin Hoffman, Bryan Cranston, James Hong, Ian McShane. Ke Huy Quan feels wasted. I especially loved the equation between Po's dads that led to some situationally funny moments. Po's persistent food obsession still finds the space for the occasional one-liner. The set-pieces offer some slick editing gimmicks which I've only seen in animes and martial-arts-based video games, but they aren't all that memorable, which is almost how I'd describe the movie altogether.

P. S. Hans Zimmer's score is overshadowed by Tenacious D's rendering of "Hit Me Baby One More Time" during the end credits.

Scoop (2024)

Scoop behind the "SCOOP" - not bad, Netflix. [+59%]

[6/10 · 9 April 2024]

Scoop is a largely decent retelling of events that transpired before the 2019 BBC Newsnight interview with Prince Andrew, Duke of York. It's mostly told from the perspective of Sam McAlister (played by Billie Piper), alongside fine interferences from the likes of Gillian Anderson and Keeley Hawes. Well, for starters, this isn't Spotlight, so any big emotional stakes are out of the way. It focuses on Sam's journey of unravelling the story behind the "unholy" connection between Andrew and convicted sex offender Jeffrey Epstien.

The storytelling style is mostly flat, but never dull. There's not much to experiment in the way of a visual perspective either, though it was fascinating to see the sudden switch to a studio camera lens (the lines are perceivable) when the interview gets rolling. The commendable aspects here include scenes that bring Piper, Anderson, and Rufus Sewell (in a terrific transformation) together in bold conversations prior to the sitdown interview. It's almost like an interplay of different kind of energies, with the actors rising above the screenplay. I also liked the post-interview epilogue that moves the story to its definite closure.

Baghead (2023)

Nothing much to see or appreciate here. [+30%]

[3/10 · 5 April 2024]

This takes the Talk To Me concept and turns it into a largely uninteresting affair. But apparently, this is based on a short film released in 2017, so I guess director Alberto Corredor gets the credit for the idea. The film's heavy reliance on CGI jumpscares was a sign that it'd get on my nerves quickly. The characters are all stupid and make the worst decisions possible, and now that I think about it, there are only 3 living, breathing characters in the film. The rest are supernatural and/or dead. And for a pub supposedly set in the middle of a (.. was it German?) town, I couldn't spot a single human being walking around. Like, none. Even on the rare occasion that a supporting character sets out on a side quest, she doesn't run into any people. There are plenty of dead people to compensate for that, however, with their typical demonic black eyes. The finale, with a bland twist, serves no purpose. Yawn!