Change Your Image
arungeorge13
https://letterboxd.com/arungeorge13/
Ratings
Most Recently Rated
Lists
An error has ocurred. Please try againReviews
Twisters (2024)
A well-executed disaster flick with charming leads! [+70%]
Director Lee Isaac Chung's Minari is one of my favorite films from the pandemic year. When he's working with Mark L Smith (who has written some interesting screenplays, and some terrible ones) on a standalone sequel to 1996's Twister, the collaboration already has my attention. My only concern was how well Chung would utilize the $155 mn budget, and whether style would tend to precede substance.
To begin with, there are plenty of twisters in the film, as the title suggests. The lead characters-played by Daisy Edgar-Jones, Glen Powell, and Anthony Ramos-are slowly yet steadily established. The scenes featuring the tornadoes (and their raging impact) are staged well. While the CG work is solid and befitting the budget, what leaves an equally spectacular impression is the effort the production design and practical effects departments put in. I read that special effects supervisor Scott Fisher used jet engines and specialized water cannons to simulate the stormy effects. All the set pieces looked real, and more importantly, FELT real.
On the storytelling side, I loved the direction that Smith's screenplay took, almost as a diversion from its action-packed disaster-core. The way Kate (Edgar-Jones) re-connects with her mother due to geographical circumstances, and the exploration of further character layers to both her and Tyler, adds a much-needed emotional intensity to the proceedings. This also makes the final set-piece greater in stakes, both in effects and narration. Infusing country music as connective tissue between scenes was also a good choice.
All said, if you've seen the 1996 film, there's still a good chance that you may not enjoy the 2024 rendition just as much, since the plot carries that been-there-seen-that feeling.
The Instigators (2024)
Low effort, low energy plot and performances. [+46%]
The Instigators never veers into "unwatchable" territory, but with such as stacked cast, Doug Liman should've handled the execution better. His Road House remake, earlier this year, is a film I fairly enjoyed even with all its direct-to-streaming flaws. This one, however, fails to kick into high gear-be it with the stakes, or the actual heist. Calling this a heist film itself is pretty far-fetched. It has more to do with everything surrounding the heist, but the screenplay lacks both comedic and emotional punches.
Damon and Affleck are simply going through the motions, and since they're given very little texturing to work with, it's only the scenes that feature the duo alongside Hong Chau that even come close to being entertaining. Ving Rhames, Ron Perlman, Alfred Molina, and Toby Jones all show up in whatever roles, and none of them have anything memorable to do. There's some bad-looking CG explosions (the low effort ensuring it's meant for streaming only) that further drive you away from its core.
Phir Aayi Hasseen Dillruba (2024)
Equally underwhelming as the first, if not more! [+30%]
This needless sequel to the underwhelming Part One initially makes you think there's an interesting story to tell, with its retro music, the return of Taapsee's cotton saris, and the presence of the Taj Mahal in every third scene. However, I soon realized that there's absolutely no payoff to anything we see, whether with new or existing characters, their motivations, or actions. Everything is always part of a larger but insanely predictable twist, and it's just setup after setup after setup. This isn't pulpy anymore; it's just a plain-vanilla thriller pretending to be pulpy.
Taapsee looks gorgeous, but I'd rather see her in nicely shot saree ads than sit through a 2h 12m mess for this. For every 12th Fail that Vikrant Massey does, there's always a Phir Aayi Hasseen Dillruba and Gaslight on the other end of the spectrum. Sunny Kaushal was good as a naive pharmacist, but the shades his character took on in the acts that followed, somehow didn't feel convincing at all. Jimmy Shergill is also a pointless presence, playing a cop who's always seven steps behind the leads. The music department also does a very mediocre job.
P. S. To hell with this "Panditji." He's becoming a cinematic nuisance.
Turbo (2024)
It's standard watchable fare, saved by Mammootty's presence! [+51%]
Turbo needed to be a full-on campy action comedy rather than attempting to be sporadically serious. It's almost like Vyshakh knows the script lacks the emotional hooks, so it's up to his directional choices to jump in and save the day, alongside a fun, 90s-throwback protagonist played by Mammooka. Vyshakh definitely delivers when it comes to the action, and there are at least a couple of exciting set pieces (including a superbly staged car chase) that'll keep you engaged, if not invested in the leads' fates. Anjana Jayaprakash, who plays the leading lady, is also good.
Bindu Panicker is in fantastic form, getting the best one-liners (and pop-culture references) in the film. Raj B Shetty is simply exploring new avenues, and while his antagonist is pretty one-note, he's still a few notches above your run-of-the-mill psycho. Midhun Manuel Thomas' writing doesn't offer a lot of highs (or lows for that matter), but lucky for us, he's aiming for low hanging fruit. Christo Xavier's score worked for me in bits and pieces, and not as a whole. Turbo only intends to be a disposable entertainer, with hints of a sequel that doesn't really even need to happen.
MaXXXine (2024)
Mia Goth is fantastic (plus the '80s aesthetic is solid), but the trilogy concludes on a tame note. [+63%]
Well, it's safe to say that Pearl was always the most interesting character in this franchise. That was wildly confirmed in the solid prequel, which was less of a conventional slasher and more of a showcase for Mia Goth alongside its vibrant visual aesthetics. Here, we have Maxxine navigating Hollywood and its smutty intricacies in 1985 (six years after the events of X)-also the same year when the Night Stalker was running amok. Goth has "S-T-A-R" written all over her, which is also why it isn't THAT difficult for us to believe Maxxine would go on to earn her dues in mainstream Hollywood. The first two acts of the film had me hooked, with the mid-80s color palette and soundtrack heavily contributing to the engagement factor.
While I hoped for a fictional confrontation between Maxxine and the Night Stalker, the plot took a different route, still making you believe it was likely to happen. Kevin Bacon was fantastic, and I like how he's been showing up in memorable character roles lately. Maxxine starry aura is undeniable, and it becomes all the more evident in situations outside of shoots and trials - especially when she's dishing out gory punishments to people who keep troubling her (on separate occasions). I did not anticipate names like Giancarlo Esposito, Elizabeth Debicki, and Michelle Monaghan in a slasher, but they're always welcome additions.
Only in the final act does MaXXXine prove to be a letdown, going down a path no one would really care much about. I thought there would be deeper consequences for what she'd done in X, but the film basically decides to brush that aside. Well then, why not go Tarantino-esque and rewrite history with Maxxine and Richard Ramirez? Nope, Ti West takes the blandest, non-scenic route to reach its conclusion. Ultimately, we leave the trilogy with the takeaway that Mia Goth is a fantastic scream queen, and there are larger franchises awaiting her arrival.
A Quiet Place: Day One (2024)
A solid entry, but not the origins story I'd hoped to see! [+62%]
There are a lot of things that Michael Sarnoski gets right, but his film is also plagued by the same theoretical issues the rest of the franchise suffers from. Lupita Nyong'o (Samira) is always a good name to have on your cast, and so is Joseph Quinn (Eric). Sam is clearly the character worth getting behind but since a) we aren't new to the series and b) she's revealed to be terminally ill, we kinda know where it's all headed. It's only a matter of how smartly the screenplay chooses to get to its endpoint, plus how well Sarnoski makes use of the increased budget (for larger scope and visual effects). Also, brownie points go to the most important actor - the cat(s) who played Frodo!
For an origins flick, I feel this didn't offer a lot of insight into the arrival of the alien creatures (or their style of hunting). They just pop out of the sky one moment, and before we know it, most characters are already "behaving" silently. I think the screenplay should've taken a little more time to reach that conclusion, as well as to understand that they cannot survive in water. To Sarnoski's credit, the scenes featuring the aliens are neatly staged; however, I could sense some overexposure. That's something the earlier films smartly avoided, keep ing the (implied) tension levels high but their actual presence limited.
I also liked the payoff to the "pizza" angle - it's a good bit of writing and acting coming together as a whole. However, the ending could be seen a mile away, taking away a large chunk of the survival stakes. This could've easily been called A Quiet Place: Part III, because it almost never felt like a first-parter (read: origin story) to the franchise.
Deadpool & Wolverine (2024)
A winner - a definite crowdpleaser - Ryan & Hugh are awesome! [+72%]
Deadpool shoots and slices his way into the MCU in a largely fun comic-book film (after a long time, uff!) filled with great set pieces, a fantastic lead duo, one-liners galore, and a barrage of cameos (as expected). Ryan Reynolds and Hugh Jackman were born to play Deadpool and Wolverine, respectively-their yin-yang dynamic is used in marvelous ways (pun intended) throughout. Shawn Levy, who has worked with Ryan and Hugh before (but separately), is able to extract the best out of both, making the 2h 7m run-time almost fly by. A lot of the humor is self-deprecating, fourth-wall-breaking, and taking digs at both Fox and Marvel (especially, for their recent fumbles). When you look back at it, Deadpool & Wolverine is almost like a tribute piece to all those Marvel comic-book films made in the last couple of decades, regardless of who made (or acted in) them.
That is also why the film's smaller emotional beats might strike a better chord with millennials. The multiverse concept has REALLY run its course, and I'm only letting it slide because it finally brings this iconic duo together (in better circumstances - yes, I'm looking at you X:Men Origins Wolverine) alongside a few others (not going to spoil them - don't go looking for the IMDB cast list!). Considering that's the case, the plot is kinda messy, even when it offers plenty of holy hell moments. The screenplay also nearly forgets to flesh out its antagonist - Cassandra Nova (Emma Corrin) - and it does so in a hasty way as if just to have a character for the two dudes to finally take down when they're not fighting each other.
There's one set piece that randomly begins inside a car, and the way it was shot, particularly stood out to me. Levy and crew also exhibit inventiveness in bringing characters from other universes and timelines, without making a giant mess of it. Every cameo (or extended cameo) is a delicious cherry atop the humongous cake, and also leaves a lot of room for further exploration - now, Disney BETTER NOT go and make 76 films and 29 TV shows already! This is a crowd-pleaser by all means, and it's gonna rake in a lot of moolah at the box office. It's not the perfect comic-book film; heck, it's not even the best Deadpool flick (the first one STILL takes the cake, for me), but what it is though, is a sumptous FEAST for all those who have grown up on a steady dose of Marvel over the years (except for, well.. the 2020s).
Kill (2023)
Super violent and fast-paced actioner from Bollywood! [+74%]
The first 45 minutes of Kill presents itself as standard Bollywood action fare, with no real surprises in the screenplay. It's only when the title card shows up that the film shifts into high gear. Almost everything about it suddenly undergoes a transition - the lighting, the music, the ferocity in performances, and the bloodshed. The action thereafter, is brutal and unflinching - Lakshya truly showcases his "special set of skills" here. While he's somewhat basic as a cliched romantic hero (which thankfully is restricted to a few minutes), he dazzles when it comes to taking punches and stabs, as well as giving it back to the baddies in exponentially vicious ways. Also, while the plot might be fairly basic, there's added texture given to even the minor characters (read: a large family of thieving thugs) making the stakes higher and more interesting as the second act commences.
Raghav Juyal and Ashish Vidyarthi are the only other known faces - they're both solid, especially the former. There are scenes you'd remember just for Juyal's menacing screen presence. Tanya Maniktala also gets scenes beyond being a regular damsel-in-distress heroine, managing to leave a lasting impression. Oh Se-Yeong, the South Korean action director pulls off the unthinkable - executing believable stunts within the confines of a moving train, and making audiences feel the intensity of every slit, punch, kick, stab, hit, gunshot - whatever move one can think of. Kill offers a satisfying mix of gore and action, without spending time on typical Bollywood film checklists - that itself feels SO REFRESHING!
P. S. While the CG shots lack finesse, they're far too few to be bickering about.
Bad Boys: Ride or Die (2024)
Perfectly serviceable entry with some interesting action bits! [+61%]
Directors Adil & Bilall seem to have understood the assignment clearly, i.e. To come up with an entry carrying the storyline sensibilities of a 2000s throwback actioner but tailormade for audiences that enjoy buddy cop films in today's times. The plot is fairly basic, but well connected to the earlier instalment(s) - doing its job of making our lead duo move from point A to point B with instances of smartly staged action blended with Martin Lawrence's frequently nonsensical (yet hilarious) one-liners.
Not all emotional arcs leave a mark, though the film doesn't aim for the skies in that department. It shines in its execution of set pieces, which includes some Michael Bay signatures too (hello DRONES!). They're frenetically edited and woven together, not letting the pace dip even for a second. This actually works FOR and AGAINST the film - the stakes don't feel too high at any point; however, you won't find yourself reaching for your phone for a good couple of hours.
P. S. Loved the end-credit "donkey bit" and Marcus' whole story around it. Also, well done Reggie!
Thelma (2024)
What's not to like here? June Squibb, take a bow! [+79%]
Thelma is, what I would like to refer to, as a really wholesome viewing experience. It displays a lot of heart, has endearing characters, and is laced with plenty of funny instances. I particularly enjoyed how the lead characters (and even some who show up just for a scene or two) carry THAT level of detail and texture in a 1h 35m flick. We get to know a whole lot about Thelma, especially the adorable equation she shares with her grandson Danny (played by Fred Hechinger). And then there are some of her friends, one of whom - named Ben (Richard Roundtree) - has a meaty role to play in the proceedings. It's a road movie only in the quirky sense of it, as it also gives the characters the opportunity to showcase their vulnerabilities and (situational) strengths.
The film is a June Squibb show all the way. She absolutely shines as the titular character, navigating life (mostly by herself) in the internet-scams era. This scenario opens doors to simultaneously hilarious and heartwarming moments throughout its run-time, and they're put together in succinct-but-effective way that lets the characters' emotions fully register. The writing also carries solid commentary on the (lonely) lives led by old people, including their struggles, their lack of freedom in decision-making, and of course, the little joys that come in between. Writer-director Josh Margolin also gives Danny's (somewhat helicopter-ish) parents - played by Parker Posey & Clark Gregg - some amusing, eye-opening moments.
P. S. Loved seeing Malcolm McDowell. He gets his fair share of shine too. I guess Thelma 'X'-ing pop-up ads will remain permanently etched in my memory. Oh, and that Tom Cruise nod.. just WOW!
Lowlifes (2024)
Certainly among the more interesting horror films on Tubi. [+60%]
I'm genuinely surprised by this Tubi original's production quality, performances, and storytelling. It is better than it has any right to be, given how terrible the horror entries on the streaming service usually turn out to be. There are some slasher formula subversions, and those are best enjoyed by fans of the genre. For a 1h 30m flick, a decent amount of texture is attributed to each character, and the guessing game (of who survives) kept me engaged throughout. Some may also opine that the film does not offer much beyond its first big twist, but the gorehound in me was fairly satisfied. Of course, I wouldn't say it has a lot of recall value or anything; it's still way better than what mostly features on Tubi (..and oh yeah, I've seen A LOT!).
Indian 2 (2024)
A horrible sequel to a cult classic! [+27%]
In the past three decades, director Shankar's films have been considered textbook examples of commercial cinema, with all ingredients in mostly the right mixtures. His last two flicks, I and 2.0 which he wrote in the absence of his frequent collaborator Sujatha Rangaran, proved to be "big" only in scale, but not in plot. They lacked the rewatchability of Shankar's earlier flicks, which was already troubling for longtime enthusiasts of the auteur-Indian 2 cements that notion, undoing almost everything great about part one. This is the weakest Shankar screenplay I've had to sit through thus far.. and trust me, the words "grandeur" and "scale" mean nothing here.
Even though it's a sequel to the 1996 cult classic, Indian 2 doesn't do much to remind us of it, except for the occasional ARR score needle drops, garnished with Anirudh's flavoring. Honestly, listening to the old Indian theme, seeing Nedumudi Venu in a brief appearance (some of which is covered up with CG), alongside Vivekh and Manobala for the final time, and a few interesting frames in the Indian 3 trailer are the only "high" moments in this 3-hour-long spoofy snoozefest. I used to think Senapathy was a man of few words, but in Indian 2, he indulges in talkathons with one-note baddies before killing them. The killing methods are unimaginative too, and when the film takes a long time to dispose of these purposeless characters, it only results in *yawn* boredom.
There are excessively long subplots going on, featuring Siddharth, Priya Bhavani Shankar, and a few others. All these individual threads are equally predictable and overloaded with soap opera levels of sentiment, making their payoffs barely impactful. Siddharth is the only one who is at least trying to make us care, but the writing is so threadbare that not even an acting maestro like Kamal Hassan can do anything to elevate the proceedings. In fact, all scenes that involve Thatha (in cakey make-up) are unbearable-what the hell was that terrible interval block? I mean, it looked like Anirudh gave up early on (despised that Senapathy theme he came up with!).
The less said about the set pieces, the better. Each one is a mess in its own right, though nothing compares to the atrocious climactic chase. Shankar force fits a one-against-many sequence here too; an obsession he hasn't left behind since Anniyan. The abuse of Varma Kalai is apparent, and I can't help but appall at the sheer mockery that unfolds in every passing scene (in the name of "humour"). The idea of the mob turning against the vigilante is actually a solid one, yet it's barely explored because Shankar is busy showing off his budget. Good luck Lyca Productions, with Part 3 (oof!). Nammalilleeee! 🙏
The Exorcism (2024)
B-O-R-I-N-G with a capital B. [+31%]
Even with a premise ripe for a meta-horror flick and a bankable lead in Russell Crowe, The Exorcism doesn't come close to attaining the expected highs. The biggest drawback is that, as viewers, we don't get to see anything in this film that we already haven't, at least a zillion times. Everything, except for the one-line plot (and one particular jumpscare, which was well-crafted), carries that quintessential rehashed feel. Enjoyers of exorcism flicks might find this one particularly boring, and that's in no way throwing shade at a performer like Crowe. Well, The Pope's Exorcist at least had its visual side going for it. Plus, the vespa.
Beverly Hills Cop: Axel F (2024)
Reasonably fun while it lasts, though nowhere close to the first. [+59%]
Axel Foley returns to Beverly Hills to solve crimes and wreak havoc in this mostly engaging but barely memorable fourth instalment. Eddie Murphy (he's 63 now, mind you!) just doesn't seem to age, and thankfully, he still brings all the charisma to Foley that he can muster. The exploration of the dad-daughter-daughter's ex dynamic is very 2020s Netflix-esque, and the action is largely uninteresting (except for an intentionally shoddy helicopter chase), but there are also these humor-laden in-betweens that work (well, some of it at least). Joseph Gordon-Levitt is a fine addition to the mix, and the way the film handles its legacy characters is fairly alright. Kevin Bacon simply doesn't get enough layering to make his baddie act stand out. The Axel F theme song gets a neat synth-orchestral makeover, thanks to Lorne Balfe.
Malayalee from India (2024)
Nivin Pauly is the only saving grace in this predictable coming-of-age saga! [+40%]
Suppose the sole intention of the makers was to create an amalgamation of various YouTube videos and WhatsApp forwards that promote the themes of religious (and political?) harmony. In that case, they've managed to get that done at a surface level. All the screenplay-theft allegations kept aside, what any writer could've done here is to at least attempt to subvert some stereotypes and clichés in the film's second half. Sharis Muhammed does none of it, and apart from excessively depending on Nivin Pauly to drive this whole saga, the writing is as superficial and predictable as it can get. The (forced) satire in the first half, the progressive plug-ins in the second - almost everything's half-arsed here.
No, it wouldn't have been any better with Jayasurya and Nawazuddin Siddiqui either. Some of Jakes Bejoy's tracks are hummable while the rest are forgettable (especially, the Hindi track). This is undoubtedly Dijo's best-looking film thus far, and Sudeep Elamon's cinematography is wonderful except during a random fight scene in the desert. I think the fundamental issue with the film, other than its predictability, was its incorrect marketing. Everyone and their mom wished to see Nivin in a jolly, one-liner-cracking avatar, but what we got instead was him playing a lazy, pea-brained Sanghi. Dhyan Sreenivasan, playing his sidekick, was just as annoying. Anaswara shows up in a namesake role.
The Watchers (2024)
Visually shows promise, but there's plenty of room for the Shyamalan kid to improve! [+44%]
All those nights that Ishana Night Shyamalan must have spent reading up on Irish folklore (beyond A. M Shine's novel, i.e.) frankly get a disappointing payoff in the form of The Watchers. The debut director (+ nepobaby) exhibits a solid grasp on the visual side of things, and though the film isn't scary in the slightest, it gives you early hints of her style of framing and compositions. The material is more mythical fantasy than horror, and even when she attempts incorporating conventional horror tropes (like discolored eyes, distant howls, weirdly tall creatures, etc.), they fail to enrich the plot.
I don't know what kind of character development the protagonists get in the novel - none of them (including Dakota Fanning's) get any worthwhile emotional arcs in the film, that's for sure. It's not a good look when a golden conure exhibits more personality than any of the protagonists, is it? The film only works when it's mimicking moments from A Quiet Place (shhhh, don't move.. they're "watching" - what a bunch of voyeuristic fairies, I tell you!) but even they lack any thrilling outcomes.
There's also a lot of essential information held back until the final moments, which indeed hold a lot of storytelling potential. But it all unfurls so late in the game that the aftertaste it leaves isn't remotely close to the impact the makers would've hoped for. The writing, just like recent M N Shyamalan's works, needs better detailing and dialogues. The climax did nothing (except be mildly unintentionally funny) - even the last bit of dialogue leaves you hanging. The film draws to a close with the feeling of "wow, this could've been a lot better."
In a Violent Nature (2024)
Interesting concept, but doesn't go all the way with it. [+54%]
It's interesting to see a slow-paced, methodical slasher from the perspective of the killer (and not the victims), but that concept also leaves very little room for actual storytelling. So, we end up getting a Gus Van Sant-ish flick - filled with plenty of static shots and long takes of the killer just making his way through the woods - coupled with gnarly kills & bucketfuls of gore à la conventional slashers . The cinematography is solid, and we're subjected to some startling imagery especially when the twilight hours kick in. The 4:3 aspect ratio also works in its favor. The soundscape, entirely reliant on sounds of the forested outdoors, is ideal. Practical effects are put to great use.
There isn't much to chew on from a plot perspective, and the little we get is nothing but a callback to countless slashers of the '80s. Some of the kills are particularly brutal, and that left the gorehound in me fairly satiated. What left me befuddled is the acting by almost everyone (except the killer), especially the funny reaction shots - maybe, that was the intention? Even the expository dialogues, in between, are pretty bad. The final girl isn't technically even a final girl, to begin with. All said and done, I'd still be interested to watch anything Chris Nash makes next.
Ullozhukku (2024)
The revival of Urvashi, the POWERHOUSE performer. [+82%]
Ullozhukku, written and directed by Christo Tomy, offers a raw and sincere take on human vulnerabilities and their long-lasting undercurrents. All it takes is a solid screenplay for the magnificent revival of powerhouse performers like Urvashi and Parvathy Thiruvothu, especially the former. Urvashi, portraying a mother (and mother-in-law) dealing with her son's illness and eventual demise in a frequently flooding backwater town, is in a league of her own. She reminds us what an asset she is to South Indian cinema, with even the minutest changes in facial expression and demeanor wholly accounted for. On the other hand, Parvathy plays a character that's etched in such a way that she's initially difficult to side with, but the layered writing keeps telling us there's more to her than what meets the eye. She also brings a methodical yet gripping take on Anju, a woman who's forced to marry someone against her choice, and then left in a dire situation between her (ex) boyfriend and mother-in-law.
The writing carries the heft of a family drama with secrets unfolding one by one, and it even exhibits shades of a thriller occasionally, because we're led to think something drastic might happen with each little plot development. DoP Shehnad Jalal smartly plays with character focus, switching between Leelamma and Anju in intense scenarios featuring both. The constant flooding in and around their house also comes across as Mother Nature playing its own game and messing things up further, only to resolve them in due course. A delayed burial, a mistimed phone call, a conversation being overheard, an old medical report being found, a moment of familial reconciliation - every event has an emotional payoff. Death and birth begin to take different meanings in the household.
The supporting cast, including names such as Arjun Radhakrishnan, Alencier Ley Lopez, and Jaya Kurup, is also really good. Sushin Shyam's work on the score is a definite plus, and he brings his A-game. Kiran Das keeps the drama pegged at a good 2 hours and he's wise not to stretch a single scene to milk further sentiment. Christo Tomy and his 8-year journey with Ullozhukku ends on a highly satisfying note. I get the feeling he and his crew benefited big time by shooting the film in sync sound.
P. S. Did I expect things to go insanely overboard in the climax? YES. But, was I satisfied with the route Christo took to end the film? ABSOLUTELY!
Laapataa Ladies (2023)
Absolutely adored the way Kiran Rao has conceived the film! [+83%]
I might be the last person on the planet to watch this, but it was SOOO WORTH the delayed gratification. Lovely storytelling, intricate character sketches, heartwarming performances, and soulful music (by Ram Sampath) constitute Laapataa Ladies. Pratibha Ranta and Nitanshi Goel are absolute gems, and they're supported greatly by Sparsh Shrivastav, Chhaya Kadam, and Ravi Kishan.
Director Kiran Rao's decision to shoot on location helps paint a sincere picture of rural India. The houses carry an authentic lived-in feel, and even characters with minimal dialogue manage to leave an impact. What begins as a comedy of errors eventually becomes a layered dramedy with the leading ladies always at the forefront. Phool and Neelam are portrayed as strong and clever - despite the limitations imposed upon them by society, they handle the mix-up of their identities with resilience and creativity. What intrigues the most is how they manage to defy the usual roles expected of women in their community. The final 15 minutes of the film is just TOO WHOLESOME to neglect.
Maharaja (2024)
Textbook example of smart screenplay treatment! [+70%]
After Kurangu Bommai, writer-director Nithilan Swaminathan delivers a slow-burn emotional thriller that mostly works, courtesy of solid writing and performances. The screenplay is cleverly put together; several storyline threads are deliberately left open in the film's first half, only for them to be neatly tied together in the second. Every character, including that of Vijay Sethupathi's, gets more layering than you can foresee. The tonal shifts are almost sudden, but the transitions feel smooth. No time is spent on superfluous developments. Even the film's only major set piece (pre-interval) is smartly staged. I do wish sexual violence stops being used as a trope for the male protagonist to execute revenge in the most extravagant ways possible - that's the only aspect stopping me from giving it a 4.
B. Ajaneesh Loknath strikes a meaningful balance between thrills and emotionally affecting bits of the film (especially in the second half) through his work on the score. Sethupathi (who exhibits subtle shades of the performer we all loved in his earliest days in Tamil cinema) is in fantastic form in his 50th outing. Anurag Kashyap also shines as the main baddie, with more texture to his character than usual bad guys - his lipsync is off though but the essence of the performance is saved by Philomin's edits. Nataraja Subramanian, Singampuli, Abhirami, and the rest of the cast contribute to the film in fairly memorable roles. Mamta Mohandas feels like an add-on, just to tick off a female presence during certain proceedings. What could've been a basic revenge plot gets subverted by its screenplay structure and non-linearity in presentation, resulting in a violent (and occasionally disturbing) yet supremely engaging 2h 30m affair. Due to my exposure to Korean revenge thrillers of the last few decades, the climax twist didn't SHOCK me. Finally, Tamil cinema gets a winner in 2024, post Captain Miller.
Hit Man (2023)
Richard Linklater does it again. And again! [+80%]
Well, I'll admit I wasn't a fan of either Glen Powell or Adria Arjona up until right now. Richard Linklater, one of the most captivating writer-directors of our times, is the guy behind that (sudden) change of perspective. He brings them together in such a fun, quirky little rom-com that takes advantage of their sizzling chemsitry. Like, wow. I didn't think Powell could actually take on a role with not one, but two personas embedded within. Arjona is too darn hot, and I like her even more when she moves as good as she speaks. And then, there are the signature Linklater dialogues on life's little pleasures, and random stuff like the cosmos, fish, signing contracts, pies, slicing fingertips, and whatnot. Gosh, not many can treat ARTICULATION like the sexy skill it is.. King Richard Linklater and his intriguing philosophies, I'm forever SOLD!
The humor in the film is candid, subtle, and situational. There are some great puns and parallels drawn, with dialogues doing a lot of the work. What stops me from rating this any higher is the rather convenient ending (which I kinda foresaw) and it lacked the element of surprise that the rest of the film was nearly able to pull off. But for what it's worth, this once again proves that two actors who are better known for their physical appearance, can in the hands of a great director, impress you with their performances. The foreplay/sex scenes in the film are magnificently executed, and you'll almost feel the HEAT occupying the entire room. To think this was the exact opposite I felt when I saw Glen Powell & Sydney Sweeney together in Anyone But You.. speaks volumes!
P. S. Full marks for the Patrick Bateman reference.
Star (2024)
Kavin & Yuvan deliver. Elan's writing, not so much. [+53%]
Expected to see a fun, coming-of-age drama related to the struggles of an aspiring actor, ended up seeing more of a sentimental journey with its share of ups and downs (~unfortunately more downs than ups). Both the love stories in the film, while neatly performed, had problems in the writing. The "acting" struggles barely scratch the surface, and the screenplay rushes through these parts to focus on the protagonist's personal, physical, and mental hardships. While the writing feels somewhat derivative, the production design and locations carry a lived-in feel.
Lal puts in a worthwhile performance as the protagonist's father, even when his dialect seems to be a persistent bother. Kavin gets to showcase more of his acting chops here and proves he's ready to be moulded in the hands of Tamil cinema's capable filmmakers. The leading ladies (Preity Mukhundan and Aditi Pohankar) have good screen presence, and I'd love to see them featured more (in better scripts, i.e.). Aside from Kavin, the real star of the film is Yuvan. The songs and the score blend seamlessly with the visuals.
The Strangers: Chapter 1 (2024)
Do we really need more of these? [+32%]
Renny Harlin does nothing with the existing material that Bryan Bertino and Johannes Roberts already haven't. And we're getting a whole trilogy out of this? Meh. Chapter 1 basically rehashes the first film, which itself was fairly standard slasher fare, but at least it had more personality than this. There's always the initial eerie feeling about these masked strangers randomly knocking on your door and asking for someone in the middle of the night. But that freshness in setting is long gone now; completely stale if I may add. The leads are unbearably bad, both in writing and performance. The lighting is more befitting an action flick than horror - such odd choices. There's no lore or world-building at all, and it's just a 90-minute wait to get to the inevitable, predictable finale. This, in 2024, is forgettable as hell!
Varshangalkku Shesham (2024)
One more chapter in Vineeth's book of "feel-good cringe"! [+42%]
VS is a well-shot collection of excessively romanticized (and clichéd) moments masquerading as a film. This is the issue with Vineeth Sreenivasan and his "first draft" screenplays. For someone who writes his protagonist to be an accurate forecaster of their potential girlfriend's marital status just by looking into their eyes, that's TYPICAL.
There is zero effort put into writing characters that make you feel any emotion. It's like Vineeth almost understands this, and that's why he puts 90% of his efforts into the sets, the costumes, makeup (except Pranav's in the present), framing, music, and everything else. Even the lead performances lack soul (except during the final 15-20 minutes, and Dhyan's obviously better). When that's the case, should we even talk about supporting characters? Kalyani Priyadarshan gets the worst writing of the lot. Her character is so underwritten (and made worse by present-day makeup) and all her scenes play out so haphazardly.
The film is occasionally saved by the organic interventions of Nivin Pauly and Neeraj Madhav. Once in a while, we get a fun, self-trolling joke (like Pranav and his obsession with the hills). Once in a while, we get a whole meta scene that mimics various Malayali YouTubers who discuss cinema like they're a part of it. Nivin's viral rant is a hoot the first-time around, but Vineeth stretches that joke unnecessarily.
The Nyabagam song, however soothing, is a fairly overused in the film. The only time it should've been used (apart from its original placement) is in the climax, if you ask me. The rest of the album doesn't leave a lasting impression. The humour, for the most part, has more misses than hits. Pranav's older persona is as bland and weird (where the hell does he keep running off to, at the slightest inconvenience?) as his younger version, though the latter has a lot of Lalettan's beloved mannerisms infused.
The First Omen (2024)
The Omen prequel that's great, for the most part. [+68%]
Two nun-horror films were released a couple of weeks apart, with more or less the same plot structure. Is this a case of a one-line idea (co-incidentally) navigating the minds of several screenwriters or straight-up idea theft? We'll never know. I'm reminded of a storyline theft issue in the Malayalam industry earlier in May that made headlines. On the bright side, at least Hollywood seems chill about it (or are they?). If it's pure coincidence, then color me intrigued. Because, Immaculate and The First Omen follow the same "plot structure" (not plot). Michael Mohan's film had its merits and flaws, and that's the case with Arkasha Stevenson's too.
The First Omen is a better-looking film visually. It probably has a lot to do with Arkasha getting to work with a $30 mn budget as opposed to Mohan's $9 mn. This is evident from the very first scene - a heady reminder that it's a prequel to one of the most iconic horror movies of all time. Nell Tiger Free's got an incredibly expressive face, and that's a definite tickmark for a horror film protagonist. Novitiate Margaret arrives at an orphanage for girls in Rome, as clueless and excited as anyone that age would be. There are early signs of things going awry, but director Arkasha saves the most startling stuff for the film's second act.
That's also when it proudly bears its "prequel to The Omen" stamp, treating us to ghastly imagery (for sure, will stay in your head for a fairly long time). The film, by nature, has a lot to do with female body horror; therefore, the way the makers execute a particularly disturbing birth scene is worthy of applause. I completely enjoyed some of Arkasha's shot choices, and it's exactly the lighting, the camera positioning, the color palette, and the quick cuts that make it a thrillingly engaging ride (for the most part). The gothic-styled costumes were also an add-on. On the flip side, I didn't find the climax (and the epilogue) all that impressive (which is where Immaculate scored better IMO). It was honestly a writing (and not a performative) mess, until.. until.. until that Damien name-drop. I'd watch a sequel if Free and Arkasha return as the lead and the director, respectively.