Reviews

The Indian Police Force, or as I like to call it, 'The Rohit Shetty School of Explosions,' is a rollercoaster of emotions - if by emotions, you mean slow-motion sequences and robotic dialogue delivery. It seems like a group of enthusiastic kids got hold of some fireworks and decided to make a show.

In the first fifteen minutes, I aged ten years watching slow-motion shots that felt longer than a Monday morning meeting. The extras must have been recruited from the 'Acting Without Expression' school, because no one seems to realize they are acting.

Vivek Oberoi, felt like the only person capable of doing anything He deserves a standing ovation for surviving this debacle but deserves a better comeback. Rohit Shetty, the Jason Statham of Bollywood, seems to be recycling scenes like a broke college student recycling ramen packets. At this point, I wouldn't be surprised if he accidentally spliced scenes from 'Singham' into 'The Indian Police Force.'

Siddharth Malhotra, with the facial expressiveness of a brick wall, maintains the same poker face throughout 80% of the series. It's like watching a mannequin attempting method acting. As for Shilpa Shetty, it's impossible to take her seriously when the script seems to have mistaken drama for a comedy of errors.

In conclusion, 'The Indian Police Force' is a cautionary tale - a black hole of creativity that sucks the life out of your screen. Save your sanity, your time, and probably a few brain cells - don't subject yourself to this sorry state of Indian streaming originals. Your remote control deserves better treatment than being used to navigate through this disaster.

I did not expect it to be this good as I am very particular about documentaries, let alone a series. Amazing work putting together their story with photographs, eye witnesses and relatives. It makes you almost live the life of these horrific yet troubled criminals on death row. Definitely worth a watch for those who love true crime.

It's difficult to understand how bad a problem social media is. Especially when we are living in the times of fake news and propaganda all fueled by these websites. The Social Dilemma does an exceptional job of explaining how these websites are designed to keep us running like pigs on a hamster wheel.

The most important fact about the film is its credibility. It features top brass officials from Facebook, Instagram and other leading websites, including core people from their team. It's an eye opening conversation, watching people who might have helped built the AI behind the algorithms of these multibillionaire corporations acknowledging the monster they have created and how social media if uncontrolled will be an existential threat to humanity.

It is one of the most important documentaries I have watched in a long time which has completely reshaped my fundamental idea of using social media. It will make you aware of every scroll you take and every click you make and force you to have a conversation you've been ignoring for a long time.

If you live on the internet, this film is an absolute must for you!

Anurag Kashyap's choked is a stark reminder of how Kashyap's best days are definitely behind him. Choked was one of the first mainstream films that dealt with demonetization, a concept so intriguing that if someone plans on writing a thriller on it should have no problem dealing with so many engaging themes that are a part of this spectacle.

Instead Kashyap creates a sloppy thriller whose ending feels like Netflix was pressurizing him on deadlines and he wanted to just get done with the film. 'Choked' felt like watching Anurag Kashyap's biography. A once talented artist who untimely chokes and destroys his career the everytime he is brought into mainstream limelight.

I don't know what was more disappointing in watching a thriller as sloppy as this. Is it the fact that Kashyap is being paid by Netflix to create films that are equally mediocre to the ones he furiously critiqued before coming to the limelight or whether the fact that he thinks making films that criticize the government frees him from the responsibility to write a decent screenplay.

He was one of the first reasons, I had taken an interest in indie filmmaking and to watch him capitalize on the fame of his initial works to produce substandard fillers is just painstaking and infuriating. To have the opportunity and the platform to talk about something as important as demonitization and to throw it away in the drain (quite literally) is as bollywood as it gets. A better screenplay for Choked would be finding out how he ended up here from criticizing Bollywood on international circuits.

Mindhunter, like any other Fincher's projects is meticulously crafted, with compelling visuals, well developed characters and an intriguing screenplay that develops slowly but powerfully. The pace might seem a bit slow at times, but it is mostly because, more than the characters or the overarching storyline, the show is intended as a learning experience and a dialogue as what goes on inside the minds of the most infamous murderers and sexual predators of the world. Irrespective of whether the show continues into its third season or not, the show has created an exclusive following for a new genre in the field of dark, mystery thrillers where the detectives and the audience are equally clueless as the story begins but gain equal depth, knowledge and perspective as the series slowly grows and moves forwards. The parallel between them as well as the relatability of a real life crisis and situations is what makes this show exceptional.

In its essence, Tiger King tells the story of troubled, ruthless and evil people in the form of a thriller show with exquisite characters. The show does not promise to offer any resolution to the illegal big cat trade in America but shows the exotic yet despaired life of people who run cults and drug fueled shows at the expense of endangered animals. Rarely is this a story about tigers, but eccentric & selfish characters who have built a fortune on them.

Set against a rural backdrop, Panchayat narrates the journey and events in the life of an engineering graduate, who for the lack of any better jobs takes up the position of the secretary of the village panchayat chief. What follows is Abhishek's first time encounter with the life, dialogue and people of India's other side that that takes him closer to living life.

TVF is known to take alternative stories and push them into mainstream. They did it with Kota Factory and once again they have successfully managed to create a village comedy that is devoid of forced situational comedy or harsh stereotypical jokes. The comedy and light hearted relief exists not merely in the dialogues but the characters themselves and once you start relating with them, their interaction is what drives the show forward. Chandan Roy as Vikas, and Faisal Malik as Prahlad deliver breakthrough performances with their comic timings and innocent approach to the life and troubles of Abhishek played wonderfully once again by the talented Jitendra Kumar.

The scenes and stories are wonderfully executed as most of them revolve around insignificant events that become important only when you place them in the setting and the people around them. Apart from the comedy, the story also drives Abhishek's journey from hating the village to slowly loving and accepting the people around him. Obviously, the show will return for a second season given it ends with multiple cliffhanger, but what TVF does best is making a show that remains re-watchable because even more than the script or screenplay, you fall in love with the characters that would stay in your heart long after the end credits roll.

I had always considered Indian comedy series to be a lost cause given their need for slapstick humour and no emotional storytelling. However, TVF has once again proved that they can manage to create a story and characters that would re-define Indian television even if it is through streaming services. For anyone who has been having a tough time in 2020 with all that has been going around, nothing can be a better watch than Panchayat to lift your spirits up.

In spite of being recommended multiple times, I only got to watch this masterpiece during the months of quarantine in 2020 and I was really surprised. Alongside being a masterfully crafted film, the most important aspect was how this film was way ahead for its time being released in 1957.

It follows the tension between 12 jurors locked in a room who must arrive at a unanimous decision to convict an 18 year old who is accused of murdering his own father that at the first glance looks like an open and shut case. However, when one of them decides the other way, each one must face their own prejudices and moral burdens as reality is put into trial. It deals with multiple themes. most importantly the idea of democracy, racism, xenophobia and the dangers of preconceived ideas. The screenplay is sharp and the tension between the characters keeps you on the edge of your seat throughout the film. What results is a rare courtroom drama that takes outside of the court but creates more impact than a lot of new age courtroom films.

As a quick way to revise texts, I resort to films. That was wholly my intention when my roomies and I gathered around for a late night show of Justin Kurzel's Macbeth which was released in 2015 starring Michael Fassbender and Marion Cortillard. We had our shares of Polanski's Macbeth, Kurosawa's Throne of Blood and our very own Vishal Bharadwaj's Maqbool, so it was hardly expected that a newbie director would match any of the masterpieces above.

But what followed in the next two hours shook us to our core. Kurzel's Macbeth transported us into a lawless and savage Scotland, decorated with impeccable scenes of nature's wrath. His Macbeth became a symbol of the worst of humanity. Kurzel adapted his own screenplay and his renditions of the death of Macduff's children and wife left me utterly speechless. A raw, gritty and magnificent Fassbender accompanied by the equally heartless Cortillard as Lady Macbeth made us grab our hearts throughout the entire show. There were instances and scenes I could not forget long after the final shot was seen. This experience scarred me and left me intensely emotional which is what Shakespeare's plays are all about.

Justin Kurzel, take a bow

Civil War is a standalone movie drenched in a stupendous show of power, ideologies and action weaved into a meaningful plot and crafted with finesse by the Russo brothers.

Oh Captain! My Captain!

Captain America is the luckiest Avenger in the Marvel Cinematic Universe for three reasons. The number one being he never ages (Come on man! that's pretty cool. Imagine what you would do with that!), Secondly, he had to deal with only one real villain in his entire trilogy of films, and that also was kinda non existent (Red Skull was as ugly as he was stupid), and thirdly and finally, because two of his three films were directed by two visionary directors who appreciate the very aesthetics of Comic Book movies, and are not afraid to challenge the formulaic plot boiler; The Russo Brothers

Captain America: Civil War is a blockbuster, in every sense of the term but not because of Captain America or his prehistoric ideals, it is because of the dangerous and colorful array of characters that join him in this movie. Each scene and subplot are taken care with sterling craftsmanship, and not for even once you are made to feel that the story exists only to give mold to the action sequences. (Zack Snyder, are you listening?). Age of Ultron shoved a tremendous amount of information into our faces, which the Russo brothers slyly avoid. You can separate between the arc of story you should be following and the one that is on a need-to-know basis. The distinctions between the ideals of Captain America and Iron Man are clearly stated from the first arrival of either characters. We all had a little concern over how they would fit Bucky as the reason for the entire devastating stand off, but as it turns out, the film is actually Captain Buchanan Barnes: T'Challa War. Because both The Winter Soldier and Black Panther had a lot more to add than we were promised in the trailers. And nobody's complaining!

Chadwick Boseman as Black Panther has been a perfect example of casting. His grave, ideological approach to the Civil War is often needed, as he is the only character who supports neither Tony or Steve, but is dead set on his set of notions, which he carries on till the end. Tom Holland does a beautiful job as the new Spiderman. His quick witted replies, inquisitiveness in this hyper mumbo jumbo is often veered towards caricature but that is actually what Spiderman is all about. He is the guy who jokes about the Infinity Gauntlet as an 'old fashioned glove' on Thanos' face. So clearly we finally have a Spiderman which is much closer to the comics, not disagreeing to the fact that Tobey McGuire will always have a special place in our hearts. (Come on, Andrew Garfield was ehh!)

The tiff between Steve and Tony is something that will really claw you nerves. Even if you are steadfast on a single team, several moments will question your own decision making? Is Captain actually right? Does Tony actually mean well? there are moments when the singular line of their motives are blurred but each of them are stuck with their own set of beliefs, something each responsible and powerful being must do.

The airport fight sequence is hands down the best superhero action sequence you will ever see. And kudos to the duo for taking even a handful of characters from the universe so vast and creating such a perfect film. The only problem which I had with the movie that it was supposed to be the end of a Captain America trilogy; but honestly Steve reaches nowhere near closure. Maybe that was intentional, something to ponder upon, is a concrete ending necessary or is the legacy of Captain America as vast as his courage?

Captain America: Civil War is a magnum opus, something which changes the way you approach something fictional by incorporating it into the part and parcel of the world, and yet it does it with such splendour, you often wish it was true!

There is no doubt that 'Fan' as a movie is flawed, but the most surprising and assuring fact is that in this film, Shah Rukh isn't. We all have been a little concerned in these recent years. With no brainers like Dilwale, Chennai Express and that abomination of a film with Farah Khan, SRK was more concerned with his status as a superstar, rather than focusing on his acting attributes which is actually what his fans care about. 'Fan' is Shah Rukh's gift to all those lost people, reminding them that he hasn't forgotten his roots. He still can pull off the charm of a teenage, brawling guy from Delhi as well as he can portray the famous superstar, burdened with all the curses that come with it. Gaurav Chanda is the character you fall in love with, the guy who might not share the same passion for his idol as you do, but remind you of the universal wish, "We all want our '5 minutes' with our star." Shah Rukh pulls off one of the toughest characters in his careers with utmost ease and acting brilliance. Gaurav is a character people will talk about as long as Shah Rukh, indirectly what Gaurav wanted.

Aryan Khanna on the other hand is the character I enjoyed more. Shah Rukh pokes fun at his own personal tussles in the Bollywood industry. He displays his transparent yet controversial life for the whole world to see, and judge him, as people have done for the past 25 years. Avoiding the debacle made by Priyadarshan in Billu Barber's Sahir Khan, Maneesh Sharma's Aryan Khanna is closer to life, closer to our hearts and SRK does him a singular justice. Maneesh Sharma as a director did an okayish job; while the VFX and make up were beyond extraordinary, the second half of the film was drawn into 'post interval hell' due to unnecessary action chases and showdowns between Aryan and his fan. It gets pretty annoying at times, because by this time you already know that the film could have been a lot more. The cinematography seems repetitive at times, too many close up and reflection shots. But the focus is always where it needs to be; Shah Rukh Khan.

The irony is, 'Fan' is in fact the answer to all the prayers of Shah Rukh's Fans. To once again dazzle and mesmerize us with his surreal screen presence. We, the fans of SRK, wait for a year long to see him on screen, and we deserve something like 'Fan', he deserves something like 'Fan'. The world deserves something like 'Fan'.

"It's time, Robby! It's time! They knew and they let it happen! To KIDS! Okay? It could have been you, it could have been me, it could have been any of us. We gotta nail these scumbags! We gotta show people that nobody can get away with this; Not a priest, or a cardinal or a freaking pope!"

When Mike Rezendes (Mark Ruffalo) screams these lines to his boss Robby (Michael Keaton) you can almost feel the pain, anger and fear that is rushing through his veins at that moment. That is what happens when you are a true journalist who gets involved with the story he does, and especially when it is about 90 priests of the 'Holy' Catholic Church molesting hundreds of kids in Boston in the daylight.

Spotlight stands on the shoulders of its brilliant cast helmed by Mark Ruffalo and Michael Keaton, with flawless supporting stands from Rachel McAdams, Stanley Tucci, Liev Schreiber and Brian d'Arcy James.

The music and editing is impeccable. Tom McCarthy responsibly brings out the best from the entire team. I especially liked the way the ad hominem tone gradually transmutated into a single agenda to stand up against the entire institution. This is what the ethics of journalism should be all bout. The journalists of the 2001 Spotlight team are undoubtedly iconic figures in the field and Spotlight pays a humble tribute in letting the world know about what they did. It isn't surprising that many people are unaware of this movie before the Oscar win. I watched it just before Oscar and re-watched it again. There were simply too many moments to ponder upon. This is a movie with a limited scope in its locations and themes but every casual dialogue seems to remind you of the deep shadow lurking behind religion.

There is a scene where Brian d'Arcy James posts a warning notice on his fridge for his kids. It is haunting once you think what a father goes through amidst all this. Content in its compact yet powerful produce, Spotlight is the best film 2015 has produced. And I am sorry but I think that the Best Supporting Actor Oscar should have gone to Mark Ruffalo.

"How do you say no to God?"

From around fifteen minutes into 'The Gift', you begin to understand that it is not another thriller. The principle characters are way too less, the setting is confines to one house characterized by only too many glass doors and Joel Edgerton never appears too creepy as to scare you out. Then for a brief moment, you might wonder "Is this movie going to be as good as I expect it to be?" And this is where The Gift succeeds. In overwhelming your expectations, by doing everything a cult thriller does. Taking a non complicated story and converting it into a gripping suspenseful plot. Joel Edgerton successfully masters the craft of creating a thriller. "The Gift" is also backed by tremendous performances by Joel, Jason Bateman and Rebecca hall; with special mention going to Rebecca. I really loved her. I won't dive into any aspect of the story as it would spoil the purpose of the movie. You need to watch it quietly, alone with a clean slated mind. You will definitely be awed in its brilliance. I personally feel "The Gift" is one of the best thriller movies in the recent times and has all potential to become a cult classic in the near future. So if you love good, surprising, meaningful, sly, well crafted thrillers and you haven't seen "The Gift", I suggest you do it. NOW.

It's always a pleasure to watch a beautifully crafted neo noir thriller. And what adds greater to the pleasure is the fact that in spite having a radical approach, the movie stays true to its plot. The same happens with Director Joel Coen's latest. The story mainly deals with a succinct barber who is disappointed with his life and gets entangled in a web of murders and misfortunes which seem to be the part of something much bigger. Billy Bob Thornton is refreshingly addictive as Ed Crane, the laconic antihero supported with a petite but powerful performance from James Gandolfini.Special mention goes to Roger Deakins who does a tremendous job with the camera. He gives a certain charismatic aura to the monochrome effect with brilliant use of light.

That being said, the movie could have been a little stronger towards the end.What started out as a nail biting thriller starts veering towards the emotional.

The ending is a one to cherish. Taking away the concept of a happy ending, the film delivers the message it was intended to- "Karma always strikes back. Sometimes in a really creepy way!"

Watch it!

True Story is a trailer extended to a one and a half hour movie. You expect a story and in the end all you get is a tedious whodunit without any twist or turns or any thrill. Director Rupert Goold takes two fine actors but is not able to showcase any potential whatsoever. After reading the drastic reviews, the only reason I decided to watch the movie is because I wanted to see Jonah and James in a really serious drama. But the movie takes away all such aspirations. A storyline about the confusions of a journalist who finds a aggressive killer taking his identity could have been amazing. But all we are left with is two really fine actors who jostle for screen time without purpose. If you aren't die hard James Franco and Jonah Hill fans, you are advised to avoid this debacle of a movie.