The Hobbit: The Desolation of Smaug (2013)

Director: Peter Jackson 

Writers: Fran Walsh, Philippa Boyens

Cast: Ian Mckellen, Martin Freeman, Richard Armitage, Orlando Bloom

The Desolation of Smaug, Peter Jackson’s 2^nd instalment of the Hobbit series, takes us back into the ever familiar world of Middle Earth. Chronicling the journey of the dwarves, Gandalf (Ian McKellen) and Bilbo Baggins (Martin Freeman) the film portrays our protagonists making their way to the Lonely Mountain to retrieve the Arkenstone from the fiery dragon Smaug (Benedict Cumberbatch).

The Sequel:

Slightly shorter than last years’ An Unexpected Journey, this film is a lot more high-octane, foregoing much background story and picking up where the first film left off. We follow our protagonists journeying and making their way past skin-changers, giant spiders and mysterious hallucinogenic forests. 

Those familiar with the source material, may be slightly disappointed with seeming excesses and exaggerations, but they seem very forgivable as director Peter Jackson once again looks to create a spell binding universe and takes a few liberties that come with that. The dwarves march on, taking the help of Bard and eventually reach the Lonely Mountain.

Meanwhile, Gandalf is separated from the party and heads to the evil ruined city of Dol Guldur, where he encounters and is warned of rising evil powers, more of which we will see later (or earlier?). Bilbo and the dwarves eventually come face to face with the Smaug (surely an epitome of the possibilities of CGI) the fire breathing dragon.

The good stuff:

Sri: 

The strong points of the movie are the action sequences and stunning visuals.An intense encounter with elves and orcs at Mirkwood is truly one of the highlights of film, featuring some breath-taking choreography during the fight scenes. Made specifically with 3-D and iMax formats, it proves to be a visual delight, as are all of Jackson’s Middle Earth based films. All the locations are luscious and detailed, providing a vivid imagery and backdrop constantly during the course of the party’s journey. Some of the action sequences featuring Legolas (Orlando Bloom) are scintillating, and the rise of the evil Sauron in Dol Guldur is definitely a highlight.

Arora: 

The most enjoyable part of the film was undoubtedly the tense dialogue between Bilbo and Smaug within the Lonely Mountain, with Bilbo attempting to avoid getting eating by praising “his radiance”, Smaug, in a manner reminiscent of the messenger imp intercepted by Bartimaeus in Johnathan Stroud's “The Amulet of Samarkhand”, .while frantically searching for the Arkenstone in a sea of gold.

RS:

Peter Jackson brought back his characteristic wide tracking shots of the beautiful Middle Earth. Set in New Zealand, (the same place that gave us the stunning planet Pandora in Avatar) the landscape varies from breathtaking green canopies to the cavernous stone walls of Erebor. Not a single moment passes where the camera stays still as it pans, tracks and races through the scenes allowing for a beautiful perspective of each character. The flying and crashing barrels being thrown around everywhere were reminiscent of Gore Verbinski’s work in the second Pirates of the Caribbean movie. These flamboyant action sequences, while not Peter Jackson’s style, were very welcome although a few of them involved a little unrealistic CGI.

Wheee!

The not so good stuff:

Sri: 

One of the few let-downs of the film was probably the unwanted love triangle between the elves Legolas and Tauriel and the dwarf Kili. It felt out of place and rather forced, not really providing any real purpose or value to the overall narrative.

Arora: 

The most significant shortcoming is the unrivaled winner of retarded character numero uno, Tauriel the elf. Portrayed as a love-stricken, hasty and impulsive warrior, she'd probably fare better in a teenage apocalypse porno than as a daughter of Mirkwood. Of course, our beloved Legolas would disagree, seeking her approval for all the archery skill that they share.

The film was extremely conventional in its approach in comparison to Jackson's original trilogy, giving a lot of focus to action sequences, and less to dialogue and narrative, which is what one would expect from LoTR. Not to say that the adrenaline was a bad thing, but it really compromised the “epic” feel of the film. A lot of unnecessary, contemporary humour did serve to ruin the atmosphere, like the part where the dwarves enter Bard's home through the toilet.

RS: 

The one thing that really put me off even in the first movie was Kili and how he looks NOTHING like a dwarf as if it were an attempt to make a good looking Dwarf-Elf romance between him and Tauriel.

But dad! He's not like the other dwarves!

The cast:

Sri: 

While some people would concede that a beastly, intimidating dragon shouldn’t possess the ability to talk, Benedict Cumberbatch as Smaug manages to match up to the evil looks and snarls as he once again showcases his abilities as a superlative actor.

Arora: 

Martin Freeman has done a spectacular job in his portrayal of Bilbo Baggins. Although not the prime focus of the film, the ring's influence on him has not been entirely left out. Bilbo can be seen gradually accepting the ring as a means to power, and a solution to tricky situations, using it against spiders in the Mirkwood forest (where he begins to understand their speech which, according to LoTR lore, is a direct effect of using the ring), when escaping from the elves, and when confronting Smaug.

            

RS:  

Thorin was portrayed well by Richard Armitage and exudes the majestic Mountain king vibe. Legolas was again very well portrayed by Orlando Bloom and is probably the only non-pussy character he will ever play. The earlier Dwarf-hating character was very different compared to the Legolas-Gimli Bro-mance in the trilogy. 

Still a better role than Mycroft in Sherlock Holmes 2

The movie makes for a very entertaining roller coaster ride although it seems like it is aimed at a younger audience, compared to the much more mature LoTR trilogy. I think a good 3.5 on 5 does the sequel justice while we eagerly await the final part to come next christmas. 

Logic waalo, Tumhari Aisi ki Taisi

Title - Dhoom: 3
Direction and Screenplay - Vijay Krishna Acharya
Producer and Story - Aditya Chopra
Starring - Abhishek Bachchan ("Dhoom is my film and I am the hero"), Aamir Khan, Katrina Kaif, Uday Chopra, Katrina Kaif, Jackie Shroff, Siddharth Nigam
Music - Pritam
Released on - 20 December 2013

Note: Read this review only if you have contributed to the box office record smashing run that Dhoom 3 is on. Or if you do not care about the story.

The film begins in the year 1990 with Iqbal Khan (Jackie Shroff) welcoming you and the bankers whose loan he is defaulting on, to a special show of the Great Indian Circus - home to a never-before-seen magic trick. This magic trick has in fact had an entire movie dedicated to it previously.

An apathetic Mr. Andersen who helms the Western Bank of Chicago rejects Khan's plea to let his show continue and decides to shut the theatre down due to its insolvency. Crestfallen, Khan shoots himself leaving his son Sahir (debutant kiddo Siddharth Nigam) to fend for himself.

Years later, Sahir (now Aamir Khan) has made it his life's driving purpose to ruin the bank that drove his father to suicide by simply doing their job. Like several of his brothers in the hip-hop industry, Sahir makes money rain from the sky and runs down the bank in ultra slow motion with a strange horny expression on his face. He then proceeds to ride his impeccably engineered and well advertised BMW bike, and evades the cops with ease. Having reached the limits of their ability, the Chicago police authorities decide to ring in Supercop Jay (Abhishek Bachchan) and Sidekick Ali (Uday Chopra).

I'm on fire even if my acting career isn't

The first tinge of real emotion that the movie manages to evoke is courtesy Ali's typically comical entry. The feeling of joy however is evanescent as the movie wastes precious time on the improbable task of trying to make Abhishek Bachchan look cool. Ali's monologue to buy himself some time reeks of dialogues that were probably meant to elicit some applause from the director's contorted perception of the Aam Aadmi. When Jai does finally arrive, he does so in all his overacting splendour and performs comical, gravity defying stunts in full Rohit Shetty ishtyle. These scenes illustrate why some things are best left to Salman Khan, although I must admit that Bachchan Jr looks more at home in an auto rickshaw than on a superbike.

The duo are ushered into Chicago by Police Officer Victoria (Tabrett Bethell) who is completely inconsequential to the plot barring her leading role in Ali's erotic fantasies. Soon after, Aaliya (Katrina Kaif) treats us to a titillating 5 minutes of seductive striptease interspersed with some acrobatic dance moves that helps her land the role of Asian Goddess who can sing and dance like water and fire hot trapeze artist in Sahir's circus.

I'm sexy and I know it

The whole sequence involving Supercop Jai taunting Sahir into robbing again and Sahir posing as an informant who would help Jai find his 'Chupchap Charlie' makes both characters seem incredibly naive. Anyway, Sahir robs the bank successfully and gets shot in the ensuing pursuit but manages to escape with assistance from his BMW superbike/speedboat. The only reason I was able to suspend my disbelief through this scene was due to the fact that I had seen Dubai's wonderbus earlier in the day. The same night, Sahir opens The Great Indian Circus - now revamped and larger than ever before as his highlighted by this song that they spent Rs. 5 crore on.

Immediately after the show, Supercop Jai confronts Sahir backstage in an attempt to expose him as the thief but the lack of any sign of a bullet injury on Sahir lets him off the hook much to the chagrin of Jai who is once again in his overacting prime. It is here that the major plot twist of the film is revealed. The person shot was actually Sahir's identical twin Samar whose existence is a secret hidden from the rest of the world. Samar assists Sahir in his stage tricks and bank robberies, loves Aaliya and suffers from the same disease that plagues SRK in My Name is Khan and Hrithik Roshan in Koi Mil Gaya.

The second half of the film, although initially promising fails to deliver and epitomizes the feeling of anti-climax. Simply put, too much of the film is a buildup to nothing. Another song is superfluously introduced to drive home the point that Samar is besotted by Aaliya. Although the chemistry between Samar and Aaliya is anything but sizzling, the two do share a scene that qualifies as almost cute and ends in Aamir entering the elite list of men who get to kiss Katrina Kaif's luscious lips on screen.

The technical work is decent and apart from a few aerial shots of Chicago that seem grainy, the CGI ranks fair compared to foreign films (especially The Amazing SpiderMan 2). Nothing of note can be said about the acting. The ending leaves you feeling shortchanged, especially for an Aamir Khan movie. I was certainly disappointed by the platitudinous script and would rank it several notches below its relatively much classier and more exciting predecessor, especially considering the tremendous hype that the movie had generated prior to its release.

But even as I write this, Dhoom 3 continues to smash box office records and is clearly on its way to becoming the all time leading grosser. Moreover, the response it has received from critics and audiences is mostly positive. So this may still be a film that you would want to watch for yourself and decide.

The title song sung by Adita Sen Sharma (and its Arabic version by Lebanese singer Naya who has a striking resemblance to twerker extraordinaire Miley Cyrus) is as hummable as the previous ones and offers some much needed respite as Katrina Kaif gyrates to it at the end of the film.

Overall verdict on the film: Watch it, curse it, forget it.

The Great Game

Genre : Crime Drama

Created by : Mark Gatiss , Steven Moffat

Based on : Sherlock Holmes, by Sir Arthur Conan Doyle

Written by : Mark Gatiss , Steven Moffat, Stephen Thompson

Directed by : Paul McGuigan, Euros Lyn, Toby Haynes

Composer : David Arnold, Michael Price

Starring : Benedict Cumberbatch, Martin Freeman, Andrew Scott, Mark Gatiss

Sherlock Holmes seems to have caved in to his drug addiction because of the lack of ‘interesting’ cases and his eccentric behavior causes Watson to move out of the apartment and spend the night with his girlfriend. The same night, there is an explosion at 221B baker Street and it is clear that someone is after Sherlock’s life. Sherlock soon gets a series of calls from various victims controlled by a third party asking to solve various puzzles and crimes within a time limit in order to save their lives.

All the shortcomings of the second episode are all forgiven after this episode. In James Jim Moriarty, the creators have managed to create the perfect anti-Holmes. While Holmes is restrained and unflashy, Moriarty is flamboyant and swanky. While Holmes boasts the title of the world’s only consulting detective, Moriarty is the polar opposite - he’s the world’s only consulting criminal. 

Again, the writers successfully capture the essence of the original and the final confrontation between Holmes and Moriarty, which is supposed to mirror the exchange that takes place in The Final Problem,
has been beautifully executed by both Andrew Scott and Benedict Cumberbatch. Credit again goes to the creators Moffat and Gatiss to present an antagonist unlike any other to have appeared on screen.

The plot keeps you gripped from the start to the finish and before you know it, you’ll be watching the second season of the series(trust me, you just won't be able to help yourself!)

The Blind Banker

Genre : Crime Drama

Created by : Mark Gatiss , Steven Moffat

Based on : Sherlock Holmes, by Sir Arthur Conan Doyle

Written by : Mark Gatiss , Steven Moffat, Stephen Thompson

Directed by : Paul McGuigan, Euros Lyn, Toby Haynes

Composer : David Arnold, Michael Price

Starring : Benedict Cumberbatch, Martin Freeman, Andrew Scott, Mark Gatiss

Follow Sherlock (Benedict Cumberbatch) and John Watson (Martin Freeman) as they investigate a series of ciphers representing numbers in an ancient Chinese numeral system which have been left by a Chinese smuggling ring who seem intent on killing to retrieve an item that one of them stole.

After a brilliant start to the series, the second episode is somewhat disappointing and unmemorable. The story makes a few allusions to the ciphering techniques that Holmes applies in The Dancing Men and takes the concept of coded messages from The Valley of Fear (using book references), but apart from that the story is largely independent of any particular book. This fact clearly shows as the banal plot fails to keeps you engrossed and feels a bit dragged.

Although the episode comes nowhere close to the benchmark set by its predecessor it still makes a decent watch with Zoe Telford playing Dr Watson’s love interest and briefly bringing a strong female character into the mix.

Episode 3 : The Great Game

A Study in Pink

Genre : Crime Drama

Created by : Mark Gatiss , Steven Moffat

Based on : Sherlock Holmes, by Sir Arthur Conan Doyle

Written by : Mark Gatiss , Steven Moffat, Stephen Thompson

Directed by : Paul McGuigan, Euros Lyn, Toby Haynes

Composer : David Arnold, Michael Price

Starring : Benedict Cumberbatch, Martin Freeman, Andrew Scott, Mark Gatiss

“There's the scarlet thread of murder running through the colourless skin of life, and our duty is to unravel it, and isolate it, and expose every inch of it”
                                                              - Sherlock Holmes to Dr Watson, ‘A Study in Scarlet’

Across London, a number of ‘serial suicides’ are occurring which involves the victims killing themselves in the exact same manner, with the exact same poison pill. Sherlock forces Detective Inspector Lestrade to take his help by making a fool of him in front of the media while the Inspector is giving a press conference.

The rest of the episode follows Holmes and Watson as they try and solve this seemingly inscrutable case.

The main plot of the first episode is loosely based on A Study in Scarlet and it makes a few references to a few other stories from the original book series.

Doctor Who writers Mark Gatiss and Steven Moffat really have done a remarkable job adapting this victorian epic in a modern day setting. The suitably retain elements from Conan Doyle’s stories at the same time giving them a refreshing twist.

What really amused me was how they have explored Sherlock and Watson’s relationship - Mrs. Hudson presumes them to be a couple when they move in together and throughout the series people often jump to the same conclusion. Whenever this happens on screen Watson is invariably offended while Sherlock remains indifferent. And if you think about it, Sherlock being gay would perfectly explain his somewhat misogynist attitude. Its the 21st century and anything is possible!

The episode is full of innovative ideas like the one mentioned before and looks at the characters from a different, more relevant, perspective. The plot keeps you gripped throughout and even those who have read the original story have something in store for them.

Overall, there is almost nothing that the episode gets wrong and its freshness and originality leaves you thoroughly entertained and wanting for more!

Episode 2: The Blind Banker

Sherlock : Season One Review

Genre : Crime Drama

Created by : Mark Gatiss , Steven Moffat

Based on : Sherlock Holmes, by Sir Arthur Conan Doyle

Written by : Mark Gatiss , Steven Moffat, Stephen Thompson

Directed by : Paul McGuigan, Euros Lyn, Toby Haynes

Composer : David Arnold, Michael Price

Starring : Benedict Cumberbatch, Martin Freeman, Andrew Scott, Mark Gatiss

123 years after the world first heard of him, BBC brings to you a modern day rendition of the world’s most famous detective - Sherlock Holmes (just born in a different century and not so famous yet).

This 21st century investigator combines modern day technology with the classic “Art of Deduction” to solve bewildering crimes and catch bad guys. Featuring alongside him are all your favourite characters from the original series. Dr Watson (Martin Freeman), Holmes’ right hand man and perhaps the only person in the world who can solve the inscrutable puzzle that is Sherlock Holmes. Mycroft Holmes(Mark Gatiss) , Holmes’ elder brother who possesses powers of observation and deduction that even exceed Sherlock’s. And last but not the least Professor James Moriarty, Sherlock Holmes’ mirror image - just as Sherlock is the world’s only consulting detective, Moriarty is the world’s only consulting criminal.

Ever since Nolan’s Batman series came out, audiences across the world are no longer convinced with the smokes and mirrors approach to super heroes. I use the term super hero because Sherlock Holmes is in his own way as much a superhero as any other. This show presents Holmes as a more human and relatable person, even more so than the original series (at least in season 1). Holmes no longer relies on his memory for trivial matters such as the weather neither does he maintain an impractically large index of every criminal in the country. He now simply pulls out his I-phone and google's the information he needs.

Just as the creators have depicted Sherlock in a modern day avatar, they have done so with all the other characters. Mrs. Hudson is no longer their caretaker but has just leased out her room to Watson and Holmes and takes care of the duo out of fondness. While in the original, Conan Doyle only alludes to Mycroft’s association with the government, the series openly shows him as being affiliated with MI6, Britain’s Secret Intelligence Service. But the depiction of James ‘Jim’ Moriarty is perhaps the most captivating of the lot.

The creators Mark Gatiss and Steven Moffat, ventured out to present Moriarty as someone who is ‘absolutely psycho’ and need to be congratulated for their efforts. Easily the most interesting character in the series, Moriarty (no longer Professor) plays Holmes’ counterpart who has a criminal strain running through his blood which has been ‘increased and rendered infinitely more dangerous by his extraordinary mental powers‘; an evil so demented that you wish Sherlock had never crossed his path.

Benedict Cumberbatch plays the part of modern day Holmes to perfection and impresses with his impeccable dialog delivery (he does it without sounding like Tony Stark with a British accent). Another special mention goes to Andrew Scott for the portrayal of Moriarty in a never before seen avatar. From his dialogue delivery to his body language, everything about him seems nefarious.

The show’s principal virtue is that it preserves the original book’s integrity while at the same time presents it in a relatable and stylish manner. It possesses all the glitz and glam that viewers have come to expect from a prime-time show without reducing itself to a mere action series. That was one major complaint I had with the movies. Sherlock is someone who is skilled at martial arts but avoids physical exertion as much as possible. His boxing days were long over, he didn't go get into fights in underground joints for entertainment, he injected himself with a cocaine solution and sat in front of his fireplace. The series stays true to the original in this aspect and as a devout fan that is what I appreciate about it.

Apart from Sherlock’s fighting skills the series also eclipses some of his other talents. Several of the original stories involved Sherlock donning numerous disguises and spending nights just staking out, this is something that is rarely seen in the season. An anomaly in the show for me is Sherlock’s apparent cluelessness to his coworker Molly’s feelings for him. For the world’s smartest detective, this seems pretty stupid. However, these shortcomings are hardly notable and do not at all hinder the viewing experience.

A novel idea in the show was how text messages or emails appeared on the screen for the viewer to read instead of the actors having to read them out. This was the first time this was ever done on screen and has found its way to other shows and movies as well.

And last but certainly not the least, the music score. The theme song, when it came out, was perhaps the most widely hummed tune everywhere and due credit needs to be given to David Arnold for this musical masterpiece.

Overall, the conglomeration of brilliant screenplay, dialogues and solid acting performances along with a catchy background score make it one series you definitely should not miss!

Episode 1: A Study in Pink

The Pink Panther(2006) : A Diamond in the Rough

Director : Shawn Levy
Screenplay : Len Blum, and Steve Martin
Cast :  Steve Martin, Jean Reno, Emily Mortimer Henry Czerny, Beyoncé Knowles, Jason Statham (The Dead guy)
Run Time : 93 min

If you haven't watched this movie yet, I am not going to hurl obscenities at you.    I do request, however, that you close this tab, find the movie and watch it before you even consider going over the next few lines.

Classics are, by definition, fantastic, and you could hardly find a better example of this than Peter Seller's classic, "The Pink Panther". Don't panic if you haven't watched it. Most people haven't; they've seen only some snippets and that's okay. The humor is from a different period and you need to be in the right mindset to enjoy it. History tells us that remakes of classics are doomed to fail. Why? Is it because they are so good that you simply cannot compete? Or is it just that we have formed such an impeccable image of the movie in our mind that we are unable to accept that the remake can be anything but miserable. I am of the opinion that the truth is the latter. The "New" Pink Panther has fallen prey to this very idea. If it weren't to be the remake of such a fantastic movie, it would have been considered a comic masterpiece. But alas, such a movie ends up with a lowly rating of 5.3.

Stop browbeating her! Can't you see she is sexy?

The movie opens up with the high profile murder of a Football Coach Yves Gluant (Jason Statham) and the mysterious theft of one of the the world's largest pink diamonds, "The Pink Panther". Chief Inspector Charles Dreyfus (Kevin Kline) looks at this as an opportunity to make his mark as a great detective and assigns the case to the Village Dunce, Inspector Jacques Clouseau (Steve Martin), a man who has supreme confidence in his own abilities but lacks somewhat of a finesse in his execution. Dreyfus needed someone to distract the world press while he and his team pursued the "real" perpetrator. To keep an eye on Clouseau he assigns Detective Gilbert Ponton (Jean Reno) as his partner. Clouseau graciously takes him under his wing as "a simple farm boy who has come to Clouseau to learn". Xania (Beyoncé Knowles) who was the victim's girlfriend is now a suspect but chivalrous that he is, Clouseau refuses to interrogate her in the conventional sense. He instead uses his legendary powers of seduction to poomp her for imformasion. 

He is not 'pushing up the daisies,' he is DEAD !

Armed with the miracle pill for middle aged men, their "date" still ends up as a hot mess. Clouseau continues training his partner with surprise attacks in order to keep his senses sharp. But as it turns out, the farmboy's senses are a little too sharp for him. Nevertheless, as time passes Ponton's respect for the heavily accented frenchman only grows. The investigation continues, failing miserably but with style. Clouseau pulls out every trick in the book, including his own variant of the "Good Cop - Bad Cop routine" where he plays both sides. His investigation leads them to the United States of America where he finds bliss in the disgusting american food, The Hambuuger, no wait.. aambaaga, I mean dambuger. While returning to France though, Clouseau's new found affliction gets him arrested as he tries to smuggle a few burgers through customs. When he returns, he is proclaimed a National Embarrassment and stripped off his rank. He returns to his home, to his old friend "Ze Inzernet" to download some ringtones, when he notices something in a picture of himself at the airport. He immediately calls his sidekick to infiltrate the Presidential Palace and solve the case! Chief Inspector Dreyfus makes his move and arrests the wrong person, while Clouseau arrives just in time to prevent the 3rd murder and apprehends the true murderer, instantly becoming a National Hero.

          

Steve Martin has outdone himself in this remake with his supreme comic timing and Jean Reno rarely fails to deliver. With such a splendid cast and sublime execution, it is hard to imagine why the movie received such bad reviews. Perhaps it is the curse of the remake or perhaps I am wrong. But one thing is for sure, the movie will leave you grinning be it the first time you watch it or the hundredth. And if Clouseau was right about the gentle healing power of laughter, then I believe we have found here the cure for cancer!

Because Justice is Justice and France is France !

In Space, No One Can Hear You Scream

Title: Gravity

Director: Alfonso Cuarón
Cast: Sandra Bullock, George Clooney
Running Time: 90 minutes
Trailer:

SPOILER ALERT: This review contains material crucial to the plot of the movie.

Space - the vast, empty void where your revolutionary ideas and cinematic ambitions are merely insignificant specks of dust. Such may be said of Gravity by die-hard Star Trek fanboys who were terribly misled by its sci-fi label, thinking it to be an account of an interstellar voyage of epic proportions. To call it a blend of suspense and drama entangled with a lot of visual treats and pure cosmic awesomeness would be more apt. Apart from its rather mocking view of the laws of physics and the human mind, it's a great film to catch on the big screen.

Yes,yes, I used to work in a hospital, but now I sort out technical glitches under zero gravity.

The movie follows the series of unfortunate satellite explosions that lead to the well-portrayed and seemingly overqualified Dr. Ryan Stone (Sandra Bullock) being deserted by a bunch of cold, floating corpses that were once her crew mates aboard the space shuttle Explorer, and how she makes it back into Mother Earth's caring arms after inhumanly abusing her repeatedly ragdolled, oxygen-deprived body and suffering countless pangs of hopelessness and despair at the hands of cruel fate and fossil fuel depletion. As stated earlier, the film is a feast for the eyes, and one cannot help but gape at the ever-present Earth, in all her exaggerated, computer-generated beauty, as she bathes in the light of the sun and drowns in the shadows of its absence, illuminated only by lights from numerous cities. The scene which has Dr. Stone and Commander Matt Kowalski (George Clooney) slowly drifting towards the International Space Station serves to provide a reasonable amount of character depth through dialogue, and provides a vague sense of attachment to the protagonists – the hardship afflicted, warm-hearted doctor and the uncompromising, duty-driven commander, both very well portrayed by brilliant actors. The several tense, fast-paced escape/forced entry sequences, which strongly emphasize on holding on, in both the metaphorical and the literal sense, are very well made, keeping viewers at the edge of their seats throughout. The sound effects also help to make the movie quite the immersive experience, especially Dr. Stone's panicky breathing. Gravity certainly lives up to its expectations on the thriller front. Most importantly, it makes you feel involved till the very end.

I said 5% O2 left. Do I really have to keep talking to you?

There isn't much to be said about the negatives surrounding this film. One scene in particular which did provoke a facepalm was the rather convenient intervention of Dr. Stone's conscience, in the form of her commander's ghost, during her slow, painless suicide attempt resulting from several failed shots at salvation, which elicits a change of heart quicker than the speed of light, convincing her to live on to tell the tale of she who can tell herself not to kill herself when she wants to kill herself. Apart from this and several minor mechanical inaccuracies, which are not very relevant considering it's a movie, there's nothing bad to be said about the film. In my opinion, however, it is certainly not close to the "masterpiece" everyone deems it to be.
 

You and I, above this beautiful world, No one cares if we die, above this beautiful world

Gravity is one hell of a thriller, and must be seen in theaters, preferably in IMAX 3D, in order to thoroughly savor all that's been served. Taking the survivalist genre to new frontiers, Alfonso Cuarón has done a fabulous job as director. Gravity is an assured one and a half hours of pure entertainment.

Reviewer's Rating: 3.5/5

 

Elysium (2013)

Director     : Neill Blomkamp
Screenplay : Neill Blomkamp
Running Time : 109 minutes
Cast : Matt Damon, Jodie Foster, Sharlto Copley, Alice Braga, William Fichtner.
Budget : $115 Million

“Diseased, overpopulated, ruined”.

Welcome to Earth - 2154, the opening scene of Elysium, Neill Blomkamp's latest science-fiction thriller. Elysium is a man-made utopia orbiting around Earth, 'created by the super rich to preserve their way of life', according to the movie. The citizens of Elysium live in bliss, completely ignorant of the happenings on Earth, which has degenerated to a state of Malthusian disarray.

The movie lets you explore an interesting world with lots of thrilling action pieces. The design and technology of everything in Elysium  manages to balance between reality and futuristic cool stuff. The director has incorporated some stunning special effects that go along with the tone of the movie. The cinematography was simply superb and we appreciate the attention to detail in many aspects of the surrealistic world.

The protagonist Matt Damon plays a disgruntled citizen of Earth, Max, who has been obsessed with the idea of reaching Elysium since childhood. However, faced with the harsh reality that getting to Elysium (or rather, getting citizenship of Elysium) is next to impossible, he indulges in crime and later tries to reform himself. Forced into a life-or-death situation and into a perilous condition, he realizes he has a far higher purpose to fulfill than simply bringing his own desires to fruition.


Jodie Foster superbly plays the part of Delacourt, the ruthless, steely, corrupt, and power-hungry Secretary of Defense of Elysium(watch out for her accent!). This is in stark contrast to her role in Silence of the Lambs, where she is docile and at mercy to the whims of Hannibal Lecter. It is a tribute to her acting that she is able to pull off both roles with ease. The awesome William Fichtner (The Dark Knight, Alex Mahone of Prison Break) convincingly takes the role of her emotionless and equally ruthless co-conspirator.

The engaging Sharlto Copley (District 9, Murdock  of The A Team) also deserves mention for pulling off a villainous role with ease , acting as Kruger an earth-based agent of Elysium.

Society is split into the “haves” and the “have-nots”, and self-preservation takes precedence over any sense of civic sensibility. Each of the main characters is corrupt in one way or another, including the protagonist, providing a refreshing break from the archetypal heroes we’ve been exposed to recently in cinema halls. Matt Damon’s slow progression from a man interested only in keeping his own life to one who is ready to sacrifice it, makes the plot line almost a “reverse tragedy”, so to speak. After watching the movie, we felt that Alice Braga was not the only thing common between this movie and  Will Smith’s I am Legend.

Several things set this sci-fi apart. For one thing, the movie seems to be a political commentary on the world today. Delacourt seems uncannily like Angela Merkel: both are “iron ladies” chiefly interested in preserving their own state's way of life and prosperity. Los Angeles has become a ghetto where Spanish and English are interchangeably spoken. Latinos and Africans trying to overthrow the whites and gain control. Yes, we get the point Mr.Neill!

Bizarre observations :
For a movie set 100 years in the future, the Earth computers were ancient and basic - Running on DOS!
Also, the president of Elysium is an Indian(funnily named Patel).

Ultimately, the movie presents provokes thought about questions that are relevant in today’s time. Can altruism be justified in a world running out of resources? If protecting your own way of life involves killing others, is it right to do so?

Well, if you are one of those who just wants some good action and killer acting with your popcorn and coke, this movie does just fine.

Rating : 7/10

This One Glides Sublimely Over the Chicane

Director: Ron Howard
Screenplay: Peter Morgan

Starring: Chris Hemsworth, Daniel Brühl, Olivia Wilde, Alexandra Maria Lara, Pierfrancesco Favino

Music: Hans Zimmer
Running time: 122 minutes

1976. It was an age before strict safety standards, press room decorum and radio transmissions with the team. It was the era of the monstrous V-12 engines, uncountable overtakes, flimsy unstable cars, a Ferrari pit crew in striking yellow, and a nightlife that would make Hugh Hefner jealous. It was also the year that will go down as the most exhilarating, the most unpredictable and the most dramatic of all Formula One seasons, thanks to the legendary rivalry between Brit James Hunt and the Austrian Niki Lauda. And Ron Howard’s makes it all come alive in the sleek, finely crafted sports drama Rush.

Without spilling too much beans, the 1976 F1 season is ingrained in popular motorsport folklore for the bitter, fierce and tumultuous feud between Hunt and Lauda – both on and off the track; and it also saw one of the most amazing comebacks in the history of competitive sports. Going into the German Grand Prix at the then notorious Nürburgring circuit, Lauda, driving a Ferrari, had had a clear advantage over Hunt, who had been having a disastrous season up till then courtesy a very unreliable McLaren. Driving in precarious weather, in a race that would later go on to define his career, Lauda crashed his car and suffered burns that threatened to end his racing career, if not his life. His absence from the track helped Hunt gain in on invaluable points and bridge the gap in the Championship Standings. About a month later, however, against the advice of all his doctors, the phoenix of Lauda – quite literally – rose from the ashes to compete in the last four races of the season amidst universal shock and admiration and tremendous amount of pain.

But what makes this rivalry one for the ages isn’t just the battles in their respective cars, but the polar opposite personalities of the two men. Hunt – British wit notwithstanding – was the quintessential F1 playboy, living each day as if it were his last, with a hedonic lifestyle involving a lot of women (including a short-lived marriage), drugs and alcohol, and always drove an aggressive passionate and often reckless race. Lauda on the other hand was a level-headed tactician, an Alain Prost of that age.

And does Ron Howard capture all this in a movie spanning less than two hours? Bloody hell, he does!

After mediocre outings like The Da Vinci Code and Angels and Demons, Howard shows the skill seen in earlier films such as Apollo 13, A Beautiful Mind and Cinderella Man. The race sequences are adrenaline-filled, edge-of-the-seat affairs and yet keep you invested in the characters in a way no no-brainer action flick can do. You get more than a glimpse into the steely, stolid mind as the face disappears behind the visor as the drivers put on their helmets. Never once getting histrionic, there is enough drama to differentiate it from an insipid made-for-TV biopic, and I for one was engrossed as if it were all a real race being played out live before me. More importantly, the film manages to capture the evanescent nature of the whole sport; how it’s all so uncertain; how so much of it depends on luck. 

Peter Morgan (of The Queen, The Last King of Scotland and Frost/Nixon fame) crafts a screenplay that is engaging and well-paced, and never once does the movie seem prosaic or uninspired. The Hans Zimmer score, unsurprisingly, does not disappoint. The two leads cap off fine performances, with Chris Hemsworth stepping out of the pretty hammer wielding god image and effortlessly becoming the roguish, witty and likeable – and sometimes disturbed – Hunt, complete with a surprisingly good British accent (Hemsworth is Australian) and a mischievous twinkle in the eye to go along. The German actor Daniel Brühl (you might remember him as the German war-hero turned film star Frederik Zoller from Inglourious Basterds) is perfect foil as Lauda, with the characteristic level-headed obstinacy and no-nonsense speech that epitomizes the Austrian driver. The most memorable moments of the film are those where both actors share the screen and exchange nasty pleasantries.

Lauda (angrily, after their first race against each in Formula 3): Hey, what’s your name?
Hunt: It’s James Hunt. It rhymes with c***. And that’s what you are.

As a movie on Formula 1, Rush gets almost as good as the sublime Asif Kapadia documentary Senna. The vintage cars, the driver’s eye view of race sequences as the cars whiz past chicanes, and the glimpses into the lives of two antitheses of racers – both united in their drive to win, are all welded masterfully to present a smasher of a film. All in all, Rush is a well-made biographical action-drama, which ranks with The Damned United and even Chariots of Fire as far as sport dramas go, which never gets cloy or pretentious (like Remember the Titans), rusty, dry or brainless, and has more than enough poignancy, soul and mind, amalgamated with the right amount dry humour, to stay with you for quite some time.

Rush is worth every rupee and even more.

Rating: 8.5/10

PS. If any of you snicker at Niki Lauda's surname (as did many in the theater I went to), I curse that your mind doesn't mature beyond where it is right now.

Get Off The Express And Hit This Cafe Baby

Director: Shoojit Sircar
Writers: Somnath Dey, Shubendu Bhattacharya, Juhi Chaturvedi(dialogues)
Cinematography: Kamaljeet Negi
Editing: Chandrashekhar Prajapati

Starring: John Abraham, Prakash Belawadi, Nargis Fakhri, Rashi Khanna, Siddharth Basu 

Music: Shantanu Moitra

Running time: 130 minutes

Budget: INR 35 crore
Revenues: Hopefully more than Chennai Express


Let it be known up front that I give this movie a rating of 5/5. This, simply put, is world class film-making.

Shoojit Sircar's Madras Cafe is a political espionage thriller set against the backdrop of the Sri Lankan Civil War. It opens with an almost unrecognizable John Abraham, lumbering his way to Church, to confess that he could have prevented the assassination of India's Ex-PM (modelled on Rajiv Gandhi). Narrated by him, the film's first half does a fantastic job of getting the audience familiar with the two warring parties, the Tamil guerilla forces of the LTF, headed by Anna (Ajay Rathnam) and the Sri Lankan government/army comprising the Sinhalese people. Central to the story is India's role in trying to ensure a peaceful end to the strife, in the form of political elections. We find out how Major Vikram Singh (John Abraham) was appointed by the Indian intelligence agency R&AW to head its covert operations in Jaffna (a small island to the north of SriLanka, and the base of the LTF).

Vikram's meeting with his superior, the alcohol guzzling Bala (Kannada actor and director, Prakash Belawadi in a superb supporting act), is where the film turns it on, with Vikram being forced to take shots in the dark, unable to tell who's on his side and who isn't. R&AW, in its attempt to ensure an election, tries multiple strategies to dethrone the idealistic Anna, who rejects the idea of an election, believing that the army would swiftly eliminate his Tamil people, once the Indian authorities pull out. Parallel to this strife, Vikram's meetings* with British Journalist Jaya (a thankfully, solely English-speaking Nargis Fakhri) lead them to a massive conspiracy being hatched by international players and the LTF, complete with traitors cutting backroom deals at Madras Cafe, encrypted messages, and large sums of money to seal the deal.

While the first half focuses on the Sri Lankan civil war, the second half is all about the plot to assassinate the Ex-PM. Although you already know that this story does not have a happy ending, the unnerving pace with which the events unfold grips you till the very end. Saying anything more about the second half would probably ruin some of the magic for you. In the end, the film makes it clear that there are no winners in war, just innocent civilians caught in crossfire.

The cinematic beauty and tenderness with which the scenes depicting war and bloodshed are shot is reminiscent of Blood Diamond. There are absolutely no extra scenes in the entire movie.** It simply moves from one brilliant sequence to the next. Hats off to the phenomenal editing and cinematography for giving us 130 minutes of sheer brilliant story telling and visuals.

The actors all do a fine job, with John Abraham displaying remarkable depth in this role. A few of us noted a subtle South Indian touch to his accent, and kudos to him if it was intentional. Nargis Fakhri, slips into her small yet important role of a determined, wartime journalist (her minimalistic look accentuates her beauty). The unconventional casting of Siddharth Basu (more famous for his TV Quiz shows like KBC) as R&AW chief Robin Dutt works really well. So does Rashi Khanna as Vikram's wife Ruby, as she battles with her fears for her husband's safety.

So, stop wasting time and go catch this ASAP in a theatre near you. The teasers before the movie (Zanjeer and Boss) and during the intermission (Phata Poster Nikla Hero) will go on to reinforce just how amazing and different a film Madras Cafe is.


* Big shout out to the writers for resisting the temptation to let two of the most gorgeous people on the planet engage in a hot and intense one night stand, as they keep the relationship between Vikram and Jaya strictly professional and friendly.

**While some believe the 'blink-and-you-miss-it' love scene between Vikram and Ruby was unnecessary, I thought that it was the most likely thing that would have happened in a similar situation in a normal household. Also, can you blame innocent Ruby for wanting some action, when she rarely ever gets her hunk to herself?

Bhaag Milkha Bhaag

Director: Rakeysh Omprakash Mehra

Cast: Farhan Akhtar, Jabtej Singh, Pavan Malhotra, Sonam Kapoor, Divya Dutta

Music: Shankar Ehsaan Loy

Running time: 195 minutes

Rakeysh Mehra reclaims his place behind the camera for the much awaited “Bhaag Milkha Bhaag”. The movie recounts the life of champion Olympic runner Milkha Singh and the events leading up to his final race at a friendly Indo-Pak athletic event while also throwing some light on the Indo-Pak split which was the cause of Milkha’s traumatic childhood . The first thing that stood out about this movie was of course the length. But strangely enough, the 3 and a half hour film did not really feel long until the last 30 minutes or so. The chapters were pacey and just as long as they needed to be. The movie followed a pretty standard storyline with Milkha’s tale being discussed by his coach on a train journey. This would have been pretty bland if not for Mehra’s beautiful visual narrative.

Rakeysh Mehra brought the story to life with the use of warm and atmospheric colour (and a very unexpected cameo). Milkha’s troubled childhood was bathed in a dull, melancholic haze while his days as a lovelorn teenage troublemaker were full of colour. Mehra brought back the ‘Rang de Basanti’ vibe with some attractive black-and-white transitions during the story of the death of his parents. This was coupled with some innovative shots including a sped up tracking shot of the 200m circuit. He summarized Milkha’s victories in a stylish sequence of parallel shots in slow motion; and boy does he LOVE slow-mo. The film was riddled with innumerable slow motion shots and few too many songs (for a ROM flick) which probably gave the film its extra hour. The jolly Punjabi vibe was welcome.

Desi me rollin'

Farhan Akhtar hit the sets after a year of training with a vein popping chiseled body and a commendable performance. Following some very average acting in his previous movies, Farhan showed us a different side to his abilities with some intense bathroom mirror moments and insane running on the track. But he was defeated by the brilliant performances of Jabtej Singh as young Milkha and Divya Dutta as his elder sister. Sonam Kapoor reprised her Delhi 6 role as the ‘chulbuli’ village girl and makes a quick exit (just the way I like it). Pawan Malhotra was charming but Yograj Singh was very disappointing as Milkha’s Olympic coach. Prakash Raj had minimal screen time and a character that did nothing but lighten the mood with an exaggerated Southey accent while speaking Hindi. 

The storyline was quite straightforward and had some very touching moments and well-timed comic relief. The Farhan-Sonam love story was short and bittersweet which really pleased me. However the key message of the film failed to come through. The film intended to focus on how Milkha’s success was a result of his determination, perseverance and hard work but the idea fell apart. In a nutshell, Milkha lost a race because he had an affair with an Australian girl (The gorgeous Rebbecca Breeds) and won all the subsequent races because he said no to the Indian swimming champion. Parts of the movie describe Milkha’s gruelling training and his resolve, but him pulling a tire around a desert till he collapsed from exhaustion was not very provocative. Additionally, the Indian coach telling the Pakistani coach to F*** off after Milkha’s victory was in very poor taste, even if it was muted. Despite these shortcomings, Milkha’s story invited a lot of applause and left us swelling with patriotism as we exited the theatre.

When the screen went blank, I was left with a pleasant warm feeling which faded away as I got into the car. Bhaag Milkha Bhaag gave people a cause to celebrate one of the country’s most respected athletes and is a good candidate for the Independence Day special on Zee TV but did not leave a lasting impression. 

3/5

Quotes: 

Pakistani coach Javed: "Milkha, Yeh tumhare zindagi ki Aakhri daud ho sakta hai"

Milkha Singh: "Aur daudunga vaise hi" 

No need to 'Dredd' this one!

Director: Pete Travis

Cinematography: Anthony Dod Mantle

Based on: Judge Dredd byJohn Wanger, Carlos Ezquerra

Starring: Karl Urban, Olivia Thirlby, Wood Harris, Lena Headey

Run time: 95 minutes

Music: Paul Leonard Morgan

Release Date: 7th July 2012

PLOT

The movie is set in a post apocalyptic future where most of the world has now turned into a nuclear wasteland and most of the population now resides in mega-cities. With the explosion in crime rates, the traditional judicial system is no longer viable nor functional. Justice is now provided by 'Judges' who as the movie's tagline aptly says are the Judge, Jury and Executioners. In other words, let the gore-fest begin!

The story revolves around veteran Judge 'Dredd', an anti-character--who does not change or learn and his greenhorn partner as they're trapped inside drug-lord Ma-Ma's territory and must now find a way out. What follows is just 65 minutes of unadulterated splattering of blood and guts.

WHAT I LIKED ABOUT THE MOVIE :

1. The movie has no pretensions

lesser than three ! lesser than three! lesser than three!
(for those of you who didn't get it,  that's < 3)

about itself. It's an action flick and it offers you just that. No complex plot with multiple story lines, no grand schemes and thankfully no food for thought . It's just 95 minutes stuffed to the brim with action and bad-freaking-ass!

2. Judging from the trailer (no pun intended), I expected it to be an all brawn and no brain kind of movie, which to an extent was true but the movie nonetheless does manage to keep you engaged throughout and to my relief does not have any, "Wait a minute! that does not make sense" moments. 

3. Olivia Thirbly.  I think the picture says it all.

4. Some of the scenes in the movie are pretty funny and it does manage to win a few laughs.

WHAT I LOVED ABOUT THE MOVIE :

1. The cinematography

The drug induced slow motion scenes in the movie alone make it a worth watch. Never before has a guy getting shot in the head been made to look this aesthetically beautiful. Cinematographer Anthony Dod Mantle has to be credited with some brilliant and innovative work behind the camera.

2. The soundtrack

A movie with so much ass kicking involved needs a soundtrack that supports it and keeps the adrenaline going and man-oh-man does this movie have an epic background score. Paul Leonard Morgan manages to create something that in his own words is, ' a cross between a modern dance track and evocative soundscapes'. Now, I have no clue what that's supposed to mean but I do love the music in the movie.

WHAT I HAVE MY RESERVATIONS ABOUT :

1. The violence in the movie does become overwhelming and excessive. Towards the end, I tended to close my eyes before a kill and am not really sure what EXACTLY happens to ma-ma. Maybe you can tell me after you've seen the movie.

2. The acting performance by Karl Urban is mediocre and there is nothing standout about his performance. The perennial frown and enigmatic guise does seem forced at times.

Yep! that's how law officials in the future are going to dress up.

3. That helmet is just ridiculous.In noway does this shit have any functionality! That being said, this was just an after-thought and does not really distract you during the movie.

Hopefully, I have now said enough to make you go watch the movie. Also, the fact that you're still reading this review says a lot about how bored you are. So go ahead and watch 'Dredd', you certainly will not regret it.