The year is about to draw to a close, and it’s that time of the year when you loll on the couch and recount the best cinematic experiences that you have had in the course of the past twelve months that had swiftly flitted by. It has been one eventful year for sure, that saw many an appealing and inventive film, making it to the theatres and readily being applauded and acknowledged as first-rate efforts. What follows is anything but a comprehensive list, and what it endeavors to do instead, is to lay out five films that I deem as movies that are certainly not to be missed, and which make it to my final December chart this year!
In ‘Mayanadhi, director Aashiq Abu, armed with a dexterously penned screenplay, settles down to sensitively sketch a doomed tale of love. An impeccable reconstruction of an age-old narrative in an untested realistic setting, ‘Mayanadhi’ is the kind of film that holds a depth of meanings in those abstract gazes, a profundity of emotions in those unuttered words, and which leaves an inexplicable, seething sting at the upshot of it all.
Ajai Vasudev’s ‘Masterpiece’ has snippets from writer Udayakrishna’s former films, that the latter stitches together with a banal thriller thread and a few drained out jokes, making it appear a botched up film. And yet if you are the kind who might get goose bumps galore, watching Eddie hurl away a dozen goons all over the campus playground, you are more than welcome to grab that ticket right now.
An honourable try without doubt, but one which is strangely superficial, ‘Vimaanam’ strives to be exuberant, but turns out to be sluggish instead. A film that has its heart all over the place, this is an airplane that takes a while to take off, and which when it finally does, struggles to smoothly touch ground again.
‘Aana Alaralodalaral’ tries to make the best of what it has, but the sad thing is it doesn’t have much, and the little it has, has an outmoded air to it. The ultimate result of this trumpet that lasts for a couple of hours but which seems and sounds much longer, is nothing but mediocrity, and that too, stacks of it.
‘Aadu 2’ takes off not decidedly from where its former part had left off, since definitiveness certainly isn’t something that ‘Aadu Oru Bheekara Jeeviyanu’ could pride itself on. It’s a celebration of nothingness again, and through all the noise, clamour, hoots and wolf whistles, Paappan and his team vanish, perhaps to reappear a couple of years later, in another sequel.
Duszejko (Agnieska Mandat), without a first name is what the woman protagonist in Agnieszka Holland’s film ‘Spoor’ calls herself, and would prefer others to address her as; a quaint old woman who has taken to teaching English to school children in a lonesome mountain village in the Klodzko Valley in Poland. She used to build bridges once, we are told, hinting of a former career in engineering. Holland sets her film going with the sudden disappearance of Duszejko’s pet dogs, who never return after wandering off on a routine morning stroll with her. Continue reading “Spoor (2017) Polish Movie Short Review”
‘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”