Nadine Labaki’s ‘Capernaun’ is a one-of-a-kind film set in the slums of Beirut, where a twelve year old boy named Zain, serving a five year sentence at the Roumieh Prison sues his parents for having ‘brought him into the world’. A tale of infancy robbed of all its innocence, ‘Capernaum’ is a harrowing film that dwells on the injustice meted out to hundreds of thousands of deprived children across the world. Continue reading “Capernaum (2018) Arabic Movie Short Review”
The humour is intermittently effective, and at times all over the place; there is so much happening on one side, and so little on the other. The context is as unreal as it gets, plenty of opportunities are missed, and grace is far from sight.
The structural elements of ‘Uyare’ are bound to be familiar and the genre expectations are all in place, in that it has all the essential prerequisites of a survivor story. And yet, it’s a story that needs to be told, time and again, in a world that has turned a bit too dark with relationships that have gone all adrift.
In a government storage house in Malawi, a thirteen year old boy sits with a hard earned bag of grain held close, as a not so lucky and extremely perilous mob that has gathered outside threatens to smash down the doors and barge in. The guards have no other option but to throw open the doors and instruct the ones inside to run for their lives when they do. Continue reading “The Boy who Harnessed the Wind (2019) English Movie Short Review”
And quite by chance I come across this gem of a tiny movie on Netflix, titled ‘The End of the Tour’, wherein two young men in their thirties – David Foster Wallace, much acclaimed writer and David Lipsky of the Rolling Stone – engage in some brilliant, revelatory conversations as to what it means to be a writer, to be famous, and above all, to be human. Continue reading “The End of the Tour (2015) English Movie Short Review”
Thiagarajan Kumararaja’s ‘Super Deluxe’ is a riveting and dexterously observed noir piece that spawns a sense of unease on its viewers with an unnerving subtlety. Building on the terror further, it pulls open a wardrobe of disquieting truths – on gender roles, fidelity, faith, morality and several others – that tumble down in heaps and bundles all around us. A bolstering black comedy that is also a twitchy exploration of tormented human lives, it is an exciting and excruciating film that would leave you squirming in the best possible ways.
Mass, double mass, and triple mass; all said and done, the final scene of ‘Madhura Raja’ is all suggestive – that ‘Minister Raja’ will follow. So much has happened and the next time, I tell an exhausted self – you should probably think of taking down notes.
Filmmaker Vivek proves beyond doubt that he has an eye for visual detail, and even does a brave crossover to a few alien realms, but what he seriously lacks here is a compelling tale that would keep the viewers dangling on the edge. Which is why, despite all the creepy moments, and that final mandatory twist at the end, ‘Athiran’ feels like it actually set out to be so much more than what it actually turned out to be.
Even with your basic senses locked up in a freezer, ‘Mera Naam Shaji’ is a laborious watch, because it repeatedly questions reason in all possible ways it can. The best you can do then, is to just let things be, and wait for the tangle to unknot, and it takes a bit more than a couple of hours for that to happen.
Prithviraj Sukumaran’s much awaited directorial debut ‘Lucifer’ is more than anything else, a blatant celebration of the star actor that Mohanlal is, and in laying out a feast that caters to the colossal stardom of its leading star, everything else, including inventiveness takes a back seat.