‘Quiz Show’ (1994) should very easily qualify as Robert Redford’s most enterprising directorial venture, and is a film that he would be revered and remembered for, for a very long time to come. Loosely based on the ‘Twenty One’ television scandal that rocked America in the 1950’s, it’s also a film that works wonders with its ostensibly parched material on the bewildering choices that human beings make in their lives! Continue reading “The Three Best Moments in Robert Redford’s ‘Quiz Show’”
What do you do when someone who had finally made your lonesome life tick, disappears all on a sudden? What do you do with all the stony silence that remains? What do you do with the million unanswered questions that squirm around in your head? What do you do with all the bitterness, anger and numbness that ravages you from right within? Continue reading “The Cakemaker (2017) German Movie Short Review”
Stanley Tucci’s film is set in Paris in 1964 , where during an encounter, the renowned Swiss painter Alberto Giacometti requests the American art critic and connoisseur James Lord to pose for a portrait. Quite taken aback and honoured by the artist’s design, Lord readily agrees, only to discover that the artist’s final portrait might take much longer to emerge on the canvas than he had originally expected it to. Continue reading “Final Portrait (2017) English Movie Short Review”
Darren Aronofsky’s ‘Mother!’ is a film that is bound to draw in the most extreme of reactions, and features a nameless couple, Him (Javier Bardem) and his wife Mother (Jennifer Lawrence), who lead an almost halcyon existence in a mansion, that Mother had been busy reconstructing all by herself, after a fire had charred it down some time back. Continue reading “Mother! (2017) English Movie Short Review”
Majid Majidi’s crash landing on Bollywood grounds takes the viewers by surprise, as his Hindi film ‘Beyond the Clouds’ strikes an uncanny resemblance to many a Bollywood underworld flick, raking up reminiscences galore for the Indian audience. It is this bland familiarity that works against the film, and for those of us who had grown up on the stark brilliance that underlay ‘Baran’, ‘Children of Heaven’ and ‘The Colour of Paradise’, the disappointment is likely to be even more intense. Continue reading “Beyond the Clouds (2017) Hindi Movie Short Review”
Asher (Asher Lax), in Matan Yair’s feature film directorial debut, is a fretful teenager with a penchant for causing trouble and grappling with multiple issues, his studies being just one among them. When Rami (Ami Smolarchik) walks into his class as his teacher in literature, Asher finds his attitudes and beliefs questioned, and in no time rediscovers an interest in learning. Continue reading “Scaffolding (2017) Israeli Movie Short Review”
The opening scene of Ilgar Najaf’s ‘Nar Bagi’ (Pomegranate Orchard) has a young boy reading out the letters at an eye clinic, and the doctor and the mother discovering that perhaps the boy could be color blind. Jalal (Hesen Aghayev) and his mother Sarah (Ilahe Hasanova) walk back home with this stark realization, only to find out pretty soon that the boy’s father Gabil (Semimi Farhad), who had vanished without a trace twelve years back, is finally back . Continue reading “Pomegranate Orchard (2017) Azerbaijani Movie Short Review”
Its astounding to see how all the love that bound two individuals so close together not long back, gives way to hate of a vicious kind, where one starts to abhor the presence of the other in unimaginable ways. Andrey Zvyagintsev ‘Loveless’ is a stinging take on the abomination and loathing that human beings are capable of, conveniently strangling every memory that they would associate with a love that had been long lost. Continue reading “Loveless (2017) Russian Movie Short Review”
With all the human presence, it’s the loud honking, smoke puffing monster centipede of a truck that grabs and keeps your attention all along. Despite a very odd guess-the-man game that plucks the fun out of it, ‘Overtake’ is a daring visual adaptation that does have its few moments.
It’s a nothing plot that evolves into nothing that messes up ‘Goodalochana’. Strange and sad, since all that colour, energy and flair that it had in store, looks regrettably frittered away in this stratagem sans a strong spine.
‘Vishwa Vikhyatharaya Payyanmar’ is a dismayingly frivolous affair that should disappear into oblivion much faster than it probably thought it would. Quickly running out of charms, it’s a disposable cinematic experience that is peeled and tossed away, the moment you walk out of the theatres.