A Perfect Little Movie

You may actually like A Perfect Getaway, if for no better reason than the fact that there is nothing obviously wrong with the movie. Cliff and Cydney (Steve Zahn and Milla Jovovich) and Nick and Gina (Timothy Olyphant and Kiele Sanchez) are two couples doing the long hike across a Hawaiian island, and strike up a friendship. And a (reasonably predictable) twist later, the couples find themselves in a race against time and each other on the island. A fact paced movie, reasonably believable, well-acted, uncomplicated, low-engagement, and with a comely cast. Time-pass fare and decent, even

12/20

Get The Formula Right

And how much better could London Dreams have been only if the music was right! In a country where, as far as I can make out, people are falling over each other trying to out-sing each other on every single (of two dozen) TV channels every single night, to have sub-standard music in a movie where the core is supposed to be musical talent, is a travesty that is unforgivable (and the audience did not forgive – this was one of 2009’s quiet deaths). And then there is the cast. Salman Khan is great as the foil who becomes the lead, Ajay Devgan is watchable, Asin – the third key character in the movie – has nothing to do except jive on stage with the group and show her obvious lack of fit for the role. London Dreams should have spent time studying Rock On and its likes to figure out what made these movies click – spending a bomb on the sets is no excuse for a surprisingly bad job

5/20

Normal Activity

There is nothing much wrong with Paranormal Activity. It is just that the horror genre is becoming woefully bereft of any fresh ideas. Yet again there is a movie that chooses to place you in a familiar setting – a regular couple in a regular affluent American suburb, and the gradual changes in their lives on account of an increasingly intensifying haunting. The “lack of originality” problem is compounded by the average cast and the truly mediocre script (for one, find the burning curiosity of a day trader continuing his incessant surreptitious solo investigation of a phenomenon that does not really concern him, less than believable). End of the movie, I felt boredom with the horror genre itself. Post Mirrors, I cannot think of a single movie in the horror genre that has not been an out and out disappointment

7/20

What Idiots!

3 Idiots is a perfect example of why Bollywood is not world class. Here is the perfect showcase for explaining what learning is all about. 3 students – one from a lower middle class background who desperately needs that job, another from a slightly “better” background and with an unrealized passion (wildlife photography), and lastly – the protagonist – Aamir Khan as the precocious nonconformist who time and again shows how engineering should be taught, while excelling at it in evaluation and in tests of real life. All great so far. What is incongruous is a full blown romance (and a poorly cast Kareena Kapoor whose large framed glasses cannot quite obviate her glamour quotient), a sloppy treatment of all subjects to do with medical care – insensitive vignettes on a paralytic, unscientific child delivery, and a second paralyzed man who comes to his senses through an improbable turn of events – the whole approach appears trite and insensitive – and not in the least uncommon in Hindi movies (though one would imagine that Aamir Khan and his ilk would have raised the bar by now, sadly the Indian audience seems inured to the insensitivity of this stuff). And the fairytale around our protagonist continues in science, in love and in being a general do-gooder. In the end I got the feeling that this movie is about as representative of the Indian middle-class struggle between the need to survive by being on the beaten path vis-à-vis the need to self-actualize, as some of the airy thoughts that I heard from many at various points of time in IIT and IIM – idealistic but only lacking in any real substance, depth or conviction. Saving grace – getting to see the alma mater (IIMB) campus all over again, including (improbably) a good deal of d-mezz (my ex-wing)

7.5/20

Dirty Rotten Scoundrels

No reviews of Bollywood movies for 2009 would be complete without a mention of Kaminey. Shahid Kapoor is in a double role (why is this so endemic to Bollywood?) as Guddu – the simple folk in love with the minister’s daughter Sweety (Priyanka Chopra) and Charlie – a man at home in a life of crime. Oh, and Guddu and Charlie are identical twins. But this movie is not about the inevitable and hackneyed faux pas that ensue between the brothers (and Bollywood has so much of that that that could emerge as a genre in itself). This is a movie about the sheer nature of people, and Vishal Bhardwaj’s (Maqbool, Omkara) triumph is about showing that people – or most – are inherently rotten out and out, and the movie leaves this message without a twinge of cynicism. Where Kaminey strikes out on its own it strikes a chord – it fails wherever it attempts a Tarantino – the kill ‘em all shootout for example does not click, by a mile

13.5/20

Talking about a Revolution

Eliot Tiber (Demetri Martin) and family are down and out. The man leaves a mediocre job uptown to salvage what he can of his parent’s motel in the Catskills. One nondescript day, upon a chance encounter, Eliot finds that there is the possibility of helping host a major hippie music concert in a neighborhood farm, and that would bring in business to the dilapidated motel. Things are not quite what they seem, and the few hippies metamorphose into the half a million visitors that would define a generation by Taking Woodstock and would change Eliot’s life forever. Another masterpiece from Ang Lee of Brokeback Mountain and Crouching Tiger Hidden Dragon fame. However, the movie could have done with a little more of Woodstock and a little less of the Tiber family – just to show what it all meant, if you know what I mean

13.5/20

Men without Women

Peter (Liam Neeson) has the perfect – or not quite so perfect – marriage with Lisa (Laura Linney) and Lisa is dying. All of a sudden, Peter has to contend with the trauma of the revealation that his wife’s various business trips were cover up for a raging 10-year long affair. Investigations lead to Ralph (Antonio Banderas) and what follows is a cat-and-mouse game where Peter tries to draw in his quarry to the final confession. It takes the eventual demise of Laura and subsequent vignettes, to uncover the fact that The Other Man was no other man at all. Intense exchanges between Neeson and Banderas – watch this movie if for no other reason than a study in the emoting ability of two great stars

12.5/20

B Grade beyond a Doubt

Michael Douglas in 2009 incongruously creeps into a B-Grade movie called Beyond A Reasonable Doubt, that captures two ambitious men – one a potential candidate for District Attorney (Michael Douglas – Mark Hunter) and the other a very ambitious investigative journalist (Jesse Metcalfe – CJ Nicholas) looking for his Pulitzer-winning scoop. As CJ relentlessly pursues his quarry, including using newfound love Ella Crystal (Amber Tamblyn) from the opposing camp’s office, the shocking truth about Mark’s rise to power is overshadowed by revelations from CJ’s own no-holier-than-thou past. And in the end, all the three in the lead cast end up losing in the game of life. Strictly onetime fare, and not particularly well made

10/20

Avatar = Reincarnation or Recycling?

Avatar does not seem to be a movie that is suited to the Indian cynic as audience. What of Ehwa (Gaia?) in a distant planet, an indigenous people with lifestyle and roots in the bounty of nature around them, their inevitable conflict with the human race and its endless quest for resources – this is all schmuck, says the Indian audience. And I cannot help but agree to some extent. There is a been-there done that aura about the movie – whether it echoes the indigenous tribes and fragile ecosystem of the Brazilian (and a dozen other) rainforests, or whether the unlimited greed for mineral resources brings to mind America’s global warmongering in search of oil, it seems that the core of the movie is drawn around a rehash of all-too-familiar elements and the fact that these elements are of course finding increasing resonance in an increasingly aware world does not take away from the fact that the core of the movie is somewhat unimaginative. But what is undeniable is the sheer quality of the graphics and the overall cinematography – the attention to detail and the sheer quality and complexity of the visual imagery bring to mind Jurassic Park – another genre-defining milestone in the use of technology by Hollywood. This is a movie that is likely to be a resounding commercial success in the short to medium term, but on a more measured inspection both critics and the junta may find it wanting

12/20

Hope this is the Twilight of This Series

In some quirky way, I can actually empathize with a vampire romance series. I suppose there are people out there who would find a love triangle with a vampire and a werewolf respectively, intriguing if not downright charming. And I also suppose that if I had the inclination to read the Stephenie Meyer novel that forms the basis of the series, or had watched the first part, some of the movie may have actually made sense to me. The fact of the matter is that none of these aforementioned wonderful things came to pass. So here I was, watching The Twilight Saga: New Moon wondering what’s going on. Which viewer in his right senses would be moved by the mediocre acting, the uninspired dialogue, and the downright horrific graphics. Was left wondering how the disjointed pieces that came together in the movie fit together. Wondered whether someone actually expected that the revelation of Jakob Black (Taylor Lautner) as a werewolf was actually a matter of suspense. In the end, I could not recall a single thing that I actually liked about the movie. And this is one of those reviews that I am glad I am penning down, because two weeks down the line I am not going to be able to recall a single thing about this eminently forgettable movie

5/20

Shoot thy Enemies

Jude Law, Rachel Weisz, Joseph Fiennes and Ed Harris capture both the all-out poignancy of war as well as the fraility of man in the face of personal and extraleous challenge, in Enemy at the Gates. Easily one of the best war movies that I have seen, young Vassili Zaitsev (Jude Law), sharpshooter from the Urals, finds himself the hero of the Battle of Stalingrad on account of his superlative sniper skills. He also finds love in the beautiful Moscow-educated Tania (Rachel Weisz) and the two catch some fleeting intimate moments in the midst of the horror. The fame and love awaken jealousy in no small measure in Commissar Danilov (Joseph Fiennes) who clears his conscience in one last cathartic act. And the showdown between the deer-hunting German nobleman sharpshooter Major Konig (Ed Harris) and Vassili is the piece-de-resistance of the movie. It is a rare combination of the depiction of the large-scale brutality of war coupled with the cat-and-mouse game of the two sharpshooters

16/20

Raining Ninjas

Expect high octane hand to hand combat with ample servings of blood and gore – possibly the first movie that is singularly focused on the Ninja for a while (leaving aside cameos in Kill Bill and Batman Begins) in Ninja Assassin. The story is stereotypical – a trainingground for Ninja assassins tucked away somewhere, a set of orphans in captivity being trained to be the soldiers of one of the nine ninja clans. Protagonist Raizu (Rain) loses love and questions the autocratic ways of the master, and leaves the clan - a battle with the clan ensues in Germany (why Germany??) and later spills over to the homestead. An eminently watchable no-holds-barred action movie with some brilliant combat sequences and consistently good cinematography

14/20

(Indian) Gangs of New York

The theme is hackneyed now. We have not forgotten Khuda Ke Liye nor New York. The cast may not be the best in the world. But what is remarkable about Kurbaan is the Indian cast fitting in seamlessly into what is a pure Western milieu – the archetypal American suburb. And for a Hindi movie, the pace of the movie can also leave you breathless. Saif Ali Khan courts Avantika (Kareena Kapoor) on Delhi campus, trails her to the States. A series of revelations later, Avantika finds herself, along with eponymous righteous and recently bereaved (of colleague and fiancé Dia Mirza) Muslim journalist Ayaaz (Vivek Oberoi) find themselves in a race against time to prevent an attack on the subways of New York. The performances are fair (Saif Ali Khan) to excellent (Kiron Kher) and the disturbing undercurrents of life in the American suburbia are well-portrayed

13/20

Reserving Judgement (Day)

Roland Emmerich of Independence Day, The Day after Tomorrow and Godzilla fame brings another doomsday magnum opus that seems to be pieced together from all three, with a few dollops from say Volcano and the likes. 2012 starts well and the heightening agitation of Jackson Curtis (John Cusack) as events start unfolding that give credence to barely believable theories, and the ame along with the sense of urgency of young scientist Adrian Helmsley (Chiwetel Ejiofor) are quite well depicted. In fact it is quite remarkable that the failure of this movie is identical to that of The Day After Tomorrow - a lack of believability in the emotional content - beyond the fact that Jackson Curtis does appear to be attached to his kids, every other interpersonal relationship in the movie for some reason appears contrived - and this is just why all of the one hour or so oard the ark is quite excruciating. In summary, it will be difficult for Emmerich/ Hollywood to keep attracting audiences to these doomsday sagas with ever-improving special effects alone - the movie needs to hold together with genunie human emotion - the rest is just programming

12/20

Uncharted Waters

..And every instinct in me tells me to warn you – don’t watch Blue (Hindi). The plot is non-existent. The players are bland and stereotypical. Words cannot describe Katrina Kaif’s lack of emoting ability. Akshay Kumar’s need to acknowledge that he is growing old. Sanjay Dutt’s insult to an action movie by landing up with a devil-may-care resplendent paunch. The fact is – the movie is spectacular. The diving scenes are as good as any (only minor shades of difference from a full blown Hollywood diving movie like Out of The Blue). This is allegedly one of the most expensive Bollywood movies ever produced, it is surely one of the most spectacular. And it is great to see that Indians look at home in what is an out-and-out adventure sport in an international location. Do not miss this movie – the visual spectacle (the Bollywood stars being at home in the water, not the marine life) is quite extraordinary

13.5/20

This is Not It

How much better a documentary could Michael Jackson - This is It have been! Perhaps the makers of the documentary, instead of being in a hurry to cash in on the inevitable interest following the demise of the superstar, should have spent some time and got this one right. While the lack of a voice-over lends authenticity, there is nothing in the documentary that shows any facet of Michael’s personality, nor does it show or purport to show any change in the superstar. What of the clashes with the media, the eccentricisms that finally culminated in the allegations that destroyed his life, the competition and the peers that he left behind. While this documentary is ostensibly oriented around a set of backstage shows in London, the fact of the matter is that this one could have made much more of its subject matter, especially given its timing

8.5/20

Come Confess

As Chuck Barris, Sam Rockwell given the performance of a lifetime, in this intriguing blend of cinema noir foreseeing the coming of the brooding graphic novel movies a half decade or so later, and blending it with a scathing indictment of the travesty that is modern television, in Confessions of A Dangerous Mind. The skewed moralities of adolescent sex, killing without compunction for the greater good of the United States, the numerous women and the singular lack of attachment and the double-crosses, and the overarching peddling of the “lowest common denominator” of reality TV brings to the audience a movie that swings from passion to global intrigue to self-flagellation. A movie that leaves me reflecting on the overarching question of seeking our own individual identities and the eventual price of fame

14/20

Sleepless Dreams

Trevor Reznik (Christian Bale is a haunted man. Of horrifyingly thin visage, tormented by illusions indistinguishable from reality, he has not slept in a year. He tries to come to terms with the present – but strange visitations, bodies in the freezer that do not exist, chased by cars that belong to him, visits to the coffee shop and the lady there, and her son and which of them is real – it is all difficult to make out what is reality and what are, well, the dreams of The Machinist. This is a role that has absolutely no resemblance to anything that I have seen from Christian Bale, and clearly shows just how great an actor this Hollywood find-of-the-decade is. A cathartic movie, that makes clear that the Machinist did sleep at times, and all the visitations were really about his darkest fears and greatest regrets

14.5/20

Little to Report

Observe and Report fits the mood for the lowest common denominator in popcorn fare. While I am about to trash the movie below, because of its sheer lack of imagination, the fact is that this movie does not pretend to be anything more than it actually is – a strictly “one time viewing” experience of a mall security guard and his fantasies of being a policeman, and his trying circumstances – an alcoholic mother, a group of misfits for friends, a bunch of chronic haters at the police force, a two-timing here-today gone-tomorrow girlfriend. Indeed Ronnie’s (Seth Rogen) life is so miserable that you almost end up wishing that the underdog would finally make it. And he does – somehow

5/20

The Strangest Resistance

Colonel Hans Landa (Christoph Waltz) gives a stunning performance in Tanantino’s latest – Inglourious Basterds, - that sees alternate history as two parallel and similar plots are hatched to put an end to the Third Reich. Rather limited in the insanity quotient, and actually serious in parts, the plot revolves around the Nazi-killer team led by Lt Aldo Raine (Brad Pitt) and their encounters. Typical chapter-based Tarantino narration – the first scene about the purge and introduction to the central character of menace, the long scene and encounter wrt Bridget von Hammersmark (Diane Kruger) in the basement, the showdown between Hans Landa and the German actress, are the most memorable. The inexplicable fact of Shoshanna owning a theater in the heart of Paris explained away rather trivially, the sharpshooter Pvt Frederick Zoller (Daniel Bruhl) and his mixed emotions, the ramblings on Goebbels’ propaganda, the strange silouhette of Marcel and his giant pile of inflammable film make sure that Tarantino’s quirky touch is very much alive and kicking. A mellower, more circumspect Tarantino, but enough to keep fans engaged

15.5/20

The Darkest District

In Metamorphosis, Kafka explores social reaction to a man being transformed into a giant insect. In Blood Diamond, bounty hunter Leonardo DiCaprio shows the best and worst of humanity as he races through strife-torn Africa to liberate a family. District 9 has a Blair Witch Project style reality TV format buildup – aliens land up in Johannesburg with little to offer and nowhere else to go. They are stigmatized (“prawns” as epithet), victimized (“humans only”), and isolated and forced to live in a giant slum on the city outskirts. Their only hope of returning to their planet finds an unlikely hero in the form of Wikus Van de Merwe (Sharlto Copley), who, largely motivated by his own desire to return to normalcy, brings hope of deliverance in a disturbing milieu. District 9 manages to showcase the best and worst of man – persecution and sheer human cruelty, the arms race, and the profiteering from vice, in sharp contrast to the coming of age of Van De Merwe and his last gasp effort that gives the “prawns” their only last vestige of hope for escaping from the cruelty of man. An outstanding movie and one that, irrespective of the analogies I began with, I find it hard to think of a parallel

17.5/20

Taking to Pasture

If U2 were to play in Mumbai or Bangalore, it would pretty much indicate that the band's shelf life in terms of live shows has run its course in the Western World. Why would the likes of U2 submit themselves to poor infrastructure, non-discerning crowds and possibly poor execution. In the same light, I would hope and pray that The Taking of Pelham 123 is not a dirge for two of the greatest stars that Hollywood has ever seen - Denzel Washington and John Travolta. A low engagement movie with poor visual effects, a very weak storyline, and - above all - extremely poor camera shots and - lo and behold - we actually saw two Hollywood greats in a B Grade movie! The list of the number of things that could have been done differently in the movie is endless, suffice to say that we hope that for the continuance of their careers, Denzel and John choose their next respective engagements with a lot more forethought
7.5/20

Go Joes!

Expect the usual blend of high quality special effects and hand to hand physicality from GI Joe - The Rise of Cobra. A circumspect Duke (Channing Tatum) is on a mission to deliver certain warheads, runs into a skirmish with the “Joes” and ends up joining them, an enemy mission with former flame Ana (the Baroness, ie Sienna Miller) steals back the warheads, and a race against time ensues to save the worls from destruction. The series sees the creation of the GI Joe core team as well as their arch villains (Destro and Cobra). This is straight-up unbridled action without the morality tales of the Marvel comics superheroes that held our breath all of 2008. Good entertainment without appearing too gizmo-laden for comfort

14/20

Laying Down, the Law

Rarely do you find a TV series that brings together panache, endless style, and in the same breath cold logic and quality of debate that at moments can leave you breathless. Boston Legal's little caselets seem to veer in one of two distinct directions. The first set throw really unexpected surprises, sometimes a trifle contrived, that nonetheless keep the viewer engaged. The second are the real piece-de-resistance - the cases where there is a slam dunk logical argument presented, where all the facts of the case, dear viewer, were available to you, and you were nowhere close to working it out. And it is this second set that completely distinguishes the serial - at times I fould myself pausing the DVD and asking myself - "What could he possibly say next? What could extricate him from this hole?" A serial focused on litigation sanitizes law, takes away the dust and grime of endless hours of grunt work, and displays the smooth polished surface of glamour and confrontational argumentation. This is a TV series that is near perfectly casted and scripted. Near impossible to better (till the next one comes along, I suppose!)

18/20

Vile Fare

Is Borat degenerate? Is it a bit too over the top? What has the movie tried to depict anyway? Has it poked fun at a particular community because they are the way they are? Or has it picked a community at random and gone over the top? What sense do some of the sequences make, anyway? You Dont Mess with The Zohan is a refined version of some Eastern-Europe bashing, that I happened to see some time before I saw Borat. And Zohan was reasonably entertaining without being offensive. But I come back to the original question - what is the purpose of this movie? What is the reason, notwithstanding all disclaimers, that the sundry communities who are denigrated in this movie, will not find the movie offensive? Sorry, but I tried to laugh right through, but somewhere down the line, felt that this was really tasteless fare

7.5/20

Alas!

Sydney Bristow (Jennifer Garner) is the sheet anchor central role in Alias. Without her tantalizing mix of emoting and physicality, this is a TV series that would simply fall apart. Consider the weaknesses in the plot. Do you seriously believe that something like the SD-6 is proliferant in the US in terms of the scale and scope? Are you expected to believe that it occurred to none of SD6's inmates that they have never been to, and never deal directly with, Langley (including to Sydney, for a period of (hold your breath - seven years))? Father and daughter, two double agents living under a knife, and their CIA handler, meet on an almost daily basis and even speak on the phone and exchange messages. And what on earth are the artifacts of Milo Rambaldi and the Nazi - allusion justifications of seeking the occult becoming a matter of national security? If it were not for Jennifer Garner, we would never have heard of this series. Having said that, one has to give some weightage I suppose to the sheer entertainment value of the series. The episodes, standalone, are engaging and if one simply skirts the complicity of believability, Alias is as good a timepass as any

10.5/20

Enemies of an Ineffectual State

Public Enemies tests the thespian skills of Johnny Depp and Christian Bale, but hardly to their limits. John Dillinger, hardened Depression-era bank robber pulls off audacious heists right under the noses of the law, and follows up with equally audacious escapes across state lines. The latter prompts the then head of the police forces, J Edgar Hoover, to set up a law enforcement organization that cuts across state lines called – what else – the Federal Bureau of Investigation. The romance with Marion Cotillard arouses a (on hindsight) misplaced twinge of sympathy for a hardened criminal. The movie is about the chase and how John’s world is slowly decimated, not only in the face of concerted legal action, but also on account of the return to prosperity of America that takes away several of his partners in crime. An interesting movie, but could have had a lot more to offer

13/20

Stalking and Entering

Mickey Rourke continues where he left off with The Wrestler, and in the tradition of gracefully ageing Hollywood stars, to deliver quiet menace as a cold blooded murderer in Killshot. Diane Lane and Thomas Jane (the Colsons) are witness to a crime, enter witness protection, and then are hunted down by Armand “The Blackbird” Degas (Mickey Rourke) and the hare-brained violence-prone character of Richie Nix (Joseph Gordon-Levitt). The performances are hard, the pace engaging, the outcome uncertain till the last minute. This is the return of the unadulterated thriller. Best watched in a movie hall, though. What next from Mickey Rourke I wonder? Or from John Madden (the class that brought you Captain Corelli’s Mandolin and Proof clearly shining through)

14.5/20

Echelons of the Inquisitive State

What is the Echelon Conspiracy? Max Peterson (Shane West) can hardly believe his luck as he receives phone messages from an unknown source – the first saves his life from a plane crash, the second makes him a lot of money in a casino. The gravy train abruptly ends and Max finds himself in the custody of the FBI trying to help track down the “sender” of the messages. Nothing is quite what it seems, and the messages are discovered to come from a wholly unexpected source on the lookout for an “upgrade” denied to it by Congress. A fast-paced movie with a somewhat lame ending. Shane West would have a future in thrillers, though

14/20

Faith Cures All

A modern day fairy tale, a heartwarming drama with a positive ending, a man with a terminal disease and sundry others cured, the power of prayer. It would be touching if it was not a trifle trite. A movie like Henry Poole Is here panders to a certain type of gallery. While I have all respect for faith, I cannot condone movies that take self-renewal to a level beyond believability. But then, I suppose that a movie like this is meant to be low on realism and high on faith. Whatever happened to Bucket List style pragmatism and courage in the face of adversity? Why the recourse to such easy ways out? But do listen in to the soundtrack

9.5/20

Four of Five was Enough

With twists that start about fifteen minutes into the movie and end in the last fifth, Five Fingers is an engaging drama that brings out the nuances of the war on terror and throws up questions on aspects of interrogation technique. On the surface, Ryan Philippe is this Dutchman with a Moroccan girlfriend and a happy idealistic life, a job at a bank and a passion for working with an aid program for “the children of the Rif mountains”. Scratch the surface and nothing is what it seems, and the twists in this movie and the cat and mouse game between Ryan Philippe and Laurence Fishburne will leave you spellbound. Once you figure out the context of the movie, I have no doubt that you will rank this among the best on the war on terror – the element of surprise taking it to a league above the likes of Body of Lies

16.5/20

Dino and Depth

In Ice Age: Dawn of the Dinosaurs, the lead pair of Manny and Ellie have a baby, whom they name Peaches. The other concurrent trail that runs right through is the discovery of a huge enclave (shadows of The Lost World) of dinosaurs that have survived the Ice Age, ostensibly by being proximate to a lava pool and below the ice shelf. The stand-out character of the movie is undoubtedly Buck, a weasel with an eye patch that sees himself as the somewhat indulgent caretaker of naïve mammals is what is a world of largely ferocious reptiles. Like the many Pixar masterpieces, this is another movie where the personality that is imbued in animated characters simply takes your breath away (not the least because of 3D – the first such movie that I can recall seeing). This seems to me like a good avenue for a hobby, or perhaps even a long shot career option, away from the relentless stress… but I digress. This is a remarkable movie in the way pretty much every animated movie out of America seems remarkable. While special effects in the context of action sequences has become somewhat been-there-done-that no matter which the movie, the world of animation is just about entering a Golden Age with the likes of the Ice Age series

16.5/20

The Free Generation

Harold and Kumar is one of the most interesting media to convey the immigrant dilemma in America with startling clarity. Here in Harold and Kumar go to White Castle, the intrepid duo escape inhibition and racist slurs, angsty trysts with extended families and oppressive Investment Banking bosses, run-ins with “white boys” that give them a hard time – all in their singleminded quest for those little things that embody the Great American Dream – coke and pizza, hash, and pussy. Yet again the movie trails off with Amsterdam and free will. Yet another entertainer, but not one that deals with quite as many issues as its successor (Harold & Kumar Escape from Guantanamo Bay)

12.5/20

Get This Message

I am bigoted, biased, or maybe plain discerning (:-))– but while I watch a fair number of Hindi movies, none seem to move me. There is the mediocre acting, the cinematography that is usually decades behind Hollywood, the emoting that is so contrived that I am shocked as to how it manages to consistently move people, but most of all – the movies do not seem to have anything to convey. And it is the last of the tests that New York fails to meet. Forget the acting, and do not even begin to compare the cinematography with the dozens of stunning Hollywood movies that use the Big Apple as backdrop. What will move you is the consistent message that terrorism just cannot be condoned, no matter what the motivations of the terrorist and no matter how much such motivations may draw our empathy. So, be it torture in custody or or be it abetting in the name of love – whatever be the insinuation or emotional reason – terrorism does not work. The positive message in all this – the dark shadow of this relentless persecution of terrorism shall not fall on the near and dear ones of terrorists – no matter how close the latter are. And this is the greatness of this movie, the way it rounds it all off and makes sense of the need to purge violence with violence, but highlights equally vehemently the need to show compassion for those that are left in the wake

15.5/20

Museum of Horrors

After the first edition, one could at the very lest expect that Night at The Museum II - Battle of the Smithsonian would only build upon the excitement of museum exhibits coming alive. After all, could the theme of a museum – with untold possibilities in terms of exhibits – possibly go wrong? Yes it can. It is possible to go overboard with too many characters, completely misplace characters (a pathetically funny Kamun-ra who is neither menacing nor amusing), a Capone who has nothing to do in the movie to speak of, an Amelia Earhart who seems to have confused irrepressible flirting with a sense of adventure, and, in the middle of it all, a Ben Stiller – why he is posited as a millionaire entrepreneur in the overall context of the movie is the only mystery that lingers in my mind after this movie. One movie that I will forget overnight, not in days

7/20

Someone Transform this Series

One part of me wants to trash Transformers II – Revenge of the Fallen so bad that Michael Bay and his merry men would think twice before turning this into a trilogy. Another part, however, asks – what is it we were expecting anyway. Sam Witwicky, vulnerable and quite the center of affairs. Megan Fox, sizzling, a modicum of dialogue also thrown in for effect. Relentless action sequences (with the added side effect of trashing the last of the Seven Wonders of the Ancient World). This is a teenage movie series, and we stepped in, forewarned of the same, and got everything that we might have expected. The question is – did this movie lift the franchise to a higher level? Did it lend character to Optimus Prime the way it clearly sought to do. Did you want us to make up our minds about whether humans should be taking sides in an extraterrestrial battle, or whether the Autobots should be sharing their technology with humans. I guess not, because this movie did not quite click

9/20

While You were Sleeping

Once in a while comes a low budget movie that literally sweeps you off your feet. While I cannot in all honesty accord such generous description to The Hangover, this is unqualified wholesome entertainment. After a long time comes a comedy that does not involve romantic tiffs and goofy slapstick. What makes The Hangover stand out is that a lot of the audience can relate to the overall theme, and the escapades are hilarious without being ludicrous. There is also the element of unraveling the events of the night past step by step, which, while not always consistent, does keep the audience engaged. One of the best comedies going in a while

12.5/20

You Wont Like Me When I'm Angry Part IV

I first saw X-Men Origins - Wolverine in a truly disastrous edition on the PC. The graphics were incomplete, and Hugh Jackman and the rest of the cast and crew were justifiably livid over the release of this pirated edition. Wolverine’s beginnings have shadows of that of Magneto – a repressive family bringing memories of a Nazi concentration camp. A complex relation with a brother who falls astray and a few twists later, one could well be convinced that there was sufficient provocation behind the coming-of-age of a truly angry (young?) man, But then, I don’t think the audience needed any convincing on that front anyway in respect of Wolverine. A watchable movie but superfluous in terms of its contribution to the X-Men franchise

12/20

The Franchise Stands Salvaged

What clearly stands out in Terminator – Salvation is the liberal usage of the last editions’ unforgettable snippets. From “I’ll be back” to the cryogenic freeze, to the eponymous bike-over-truck reversal, the elements mercifully do not appear out of context though. The one other aspect that stands out is the performance of Marcus Wright (Sam Worthington) who brings out his conflict and clear loyalties through a great performance. The movie is unmemorable in terms of the storyline, and, as may be expected, will lead to one or more sequels, and trails off that way. A movie that clearly keeps the franchise alive and kicking without Schwarzenegger, and with much more conviction than say Rise of the Machines

14.5/20

All Movie

Another good site abt the movies: http://www.allmovie.com/

Christendom Overdose

Dan Brown’s eponymous novels clearly do not translate to the silver screen. While The Da Vinci code was merely insipid, in Angels and Demons, the latest edition, the incredulity of generating antimatter in a pilferable bottle in Zurich that Implodes in 24 hours (remember cold fusion in Moscow in The Saint?), the agony of following antagonists that need to commit heinous acts in indecipherable patterns, the casuality of interaction between papacy and the hoi polloi, and the overarching theme of an irrelevant conflict in today’s day and age (Illuminati vs the Church) – if it were not for pleasant movie halls and the visual spectacle that is Rome, this would be agony compared to its predecessor’s light torment. Besides, Tom Hanks is ageing and in a merely ageing kind of way, ie not the graceful Harrison Ford way

9/20

The First Trek

The first thing that struck me about Star Trek is the simplicity of execution. For a TV series that I remember for its inherent complexity in terms of the issues depicted, the introduction to the key characters, their motivations and their budding interrelationships is surprisingly devoid of complications. The special effects though undoubtedly top of the line (and hence in sharp relief to the TV series), are by no means the focus of the story. This is about how young leaders take responsibility for thinking through and resolving challenging situations, well too aware of the consequences if they take a misstep. In terms of characters, while Kirk is a little over the top as a brash young man, Spock comes across as the conflicted half-man half-Vulcan with all the inherent conflict in such a character. Not worth # 46 all time on IMDB, but definitely an un-missable movie of the year

16.5/20

If Truth Be Told
Kate Beckinsale puts in a stellar performance in Nothing But The Truth, where a matter of principle is taken to its morally logical end. Much suffering is endured – a family broken, a child’s custody lost – because of the need to protect a witness. The identity of the witness, though, comes as a surprise to all. A movie that has overtones of Angelina Jolie in Changeling – and all the associated undercurrents of prejudices against a woman taking up a cause. This is a movie that gradually builds up in its intensity and rounds off with a delectable surprise. After a long hiatus, a thriller worth the time

14/20

http://www.youtube.com/watch?v=AQxdIjyujZA
Times We Are In

http://www.youtube.com/watch?v=AQxdIjyujZA
Times We Are In

Out of this World Consistency

What can I say about the Dreamworks franchise except that for me the name has become an eponym for the perfect animated movie. Monsters Vs Aliens is no exception. Will remember this movie for the fact that Rikk (all of 1.5 yrs old) watched it in total silence. And that is no mean feat for a movie, notwithstanding the large screen and digital audio et al. Reese Witherspoon anchors a near perfect animated performance that sees her co-star with a snob fiance, a genius cockroach, a "missing link", a jello and a giant larva. And it all makes sense, and mankind is saved once again, and none of it looks trite or boring. Rob Letterman (Shark Tale fame) roduces another near perfect entertainer. Go watch it irrespective of age. Any age

15.5/20

The Long Watch

To do justice to a critically acclaimed movie like Watchmen one should have done one’s homework – i.e. have read the cult 12 part graphic novel series. Perhaps that in itself explains the movie’s principal failure. Throught the movie, the viewer does not for a moment doubt that he is watching a remarkable visual spectacle and possibly the most intricate character portraits of superheroes since The Dark Knight. The additional challenge being that unlike The Dark Knight and its likes, Watchmen profiles several different characters at a difficult time for America, juxtaposing their individual moral ambiguities against the tribulations facing a nation. The failing is the attempt to try to condense a 12-part series into a single movie. It is a surfeit of emotions and animation, and the viewer would find it difficult to absorb any train of thought before the movie moves on. This is not a movie to be watched over a 2 hour popcorn munching session. This is incursion into serious moral territory and at the least one should have read the related novels and braced oneself for a 3 hour

10/20

Intrigue Entree

Clive Owen and Naomi Watts lead in The International, that dwells on a topic close to every Swiss Banker’s (at the time of writing) heart – the world of offshore private banking. A personal rant would be that the offshore private banker has really little chance of escaping vilification in this tumultuous economy. Cut to the movie. Fast paced script, action scenes that range from good to exceptional (the one at the Guggenheim in New York), great locales. On the other hand, not much of a storyline, a complete absence of suspense, and the rounding off in an unconvincing morality tale fashion. Worth a watch, but definitely not one for posterity

10/20

Charmed
Vicky Christina Barcelona, like good food or fine wine, lingers in the senses long after the movie. Vignettes stick in one’s mind – in no particular order:
- The beautiful sights and sounds of Barcelona, in a lovely yellow tint. Last time I remember it is the no less beautiful French countryside in A Good Year
- A strictly right-side-of-the-brain movie with art and spontaneity and passion
- Vicky’s confused affections that cannot reconcile till the very end
- Christina’s clarity about choosing ambiguity in relationships
- The torrid Hispanic Elena
- The matter-of-fact narration that lets you draw you own conclusions, unhindered
Watch the movie as a strictly sensory pleasure without judgement. With of course Woody Allen’s masterful hand at depicting relationships

14/20

Grappling with Fate

The hardest thing in life is to reclaim it from your own mistakes. Gradually, you fade into the sunset, or, in the case of Randy the Ram in The Wrestler, into an existence where reconciliation with one’s daughter and seeking means of leading a so called normal life with so called normal jobs, has become one’s raison-de-etre. And then, over a night of being spurned in love, relapse into the ghosts of the past, and estrangement all over again are all brought to a head over a minor incident at the butcher’s shop. And Randy the Ram becomes a wrestler again, and stops running away from his place in destiny. This is a movie without a definitive storyline, and without a definitive end. But you will share the journey of a man trying to find his calling, While the story is heartwarming, the vignettes are somewhat repetitive and the movie a tad too inconclusive.

13.5/20

French Fun

True to the first installment, The Pink Panther 2 begins with much promise by way of Inspector Clouseau’s own brand of semi slapstick humour, loses its way somewhere around the middle, and then finds it again to round off a fairly watchable movie. As far as humour is concerned, one gets the feeling that there is an overlap of far too many elements – the stereotypes, the action sequences, the warped logic, the karate kid family create sequences that are delightful but in certain instances a trifle too much. Good to see Aishwariya in a substantial role, not the least towards the end. The ending is definitely not guessable, though I am not sure whether it is entirely logical. Well, all is fair in Clouseau’s end-justifies-the-means-and-hilarity world

12/20

War of Conscience
What makes Valkyrie clearly stand out from the common or garden Third Reich movie is the depiction of the careful build-up and execution of a plot where a majority of the participants are engaged throughout in a zone of ambiguity where while they are fairly sure of what to believe in, they are not clear about what their role in the same should be. Apart from the clear ideology of von Stauffenberg (Tom Cruise), the indecision of the likes of Olbricht (Bill Nighy) and the ostensible undying allegiance to the Fuehrer from the likes of Fromm (Tom Wilkinson), make for immense viewing pleasure. In the end, this is a movie set in war where there is not a single genuine battle scene, just the air raids in different circumstances – with his troops and with family respectively – that reinforce in von Stauffenberg his belief in the futility of it all. Rather, this movie is all about strong and carefully constructed character portrayals of a set of distinct individuals who chose to differ from the establishment, but in their own separate ways

15.5/20