Iron Age - Part II

Director Jon Favreau clearly realizes that he has a good (read lucrative) thing going, and wants to keep his powder dry for later installments, as far as Iron Man 2– the second installment of the irrepressible Robert Downey Jr as Tony Stark aka Iron Man, is concerned. This superhero clearly differentiates himself from the rest of the save-the-world pack on two counts (a) his identity is out in the open (b) he is singularly immodest. With a cast that clearly “trades up” from the first installment, Iron Man II runs through Tony’s idiosyncratic jaunts, in particular handing over the Stark empire to Pepper Potts (Gwyneth Paltrow) on what appears to be a whim, and an impulsive participation in the Monaco GP that reveals potential supervillian Ivan Vanko (Mickey Rourke). Lt Col James Rhodes (Don Cheadle) brings the voice of reason, the Hammer empire headed by the unscrupulous Justin Hammer (Sam Rockwell) is all about bare-knuckles corporate rivalry, and Natalie Rushman (Scarlett Johansson) ups the glamour quotient substantially. Endnote – this movie keeps you wholesomely entertained, and waiting for more from Tony Stark. Mission accomplished for now
13/20

Universal quandaries, Irish soul

I caught this movie on a flight, and then had a hard time tracking it down – the unknown cast, and the fact that no one I know has come close to watching this movie, did not help. In Happy Ever Afters, a wedding reception brings two couples close – one is re-marrying the same guy on somewhat dubious grounds, the other is a single mother in an unlikely pairing with an African American for purely commercial (read, legit immigration) reasons. Through a series of faux-pas and misunderstandings, the weddings both culminate in an unlikely turn of events. In the process, each of the cast gets to know the others a lot better, and finally come to terms with who they are and what they really want. A rare comedy that is hilarious nearly in full, while delving deep into believable characters, all delightfully Irish, and carefully develops their interrelationships and the eventual outcome. You could watch this movie for laughs, for understanding marriages, or for a hilarious take on the Irish, and be none the worse for it. If it was not for the utterly unknown cast, this should have been a must-release in India

14.5/20

Get that Marriage Right

Remember Tina Fey? The woman who rocked the world by her hilarious impersonations of Sarah Palin? Well, here is Tina Fey as Claire Foster, in a quiet New Jersey existence with husband Phil Foster (Steve Carrell). A humdrum daily routine, quiet careers, a book club, and a Date Night every week make up their existence. This movie is about one date night that does not quite go as planned. Driven by an irrepressible desire to try something different, the couple head off to New York for a dinner at the super-exclusive “Claw” and pose as the Tripplehorns (?) in order to get a table. Accosted by two perfect strangers who believe that they are actually the Tripplehorns, Phil and Claire find themselves running for their lives across New York at night. Diving headlong into adventure, and with a little help from security expert Holbrooke Grant (Mark Wahlberg), the couple end up heroes in an unlikely adventure that, while unraveling intrigue at the highest levels in the big city, more importantly, rekindles their romance. This movie would have been a forgettable popcorn flick except for the universally recognizable nuances thrown in, about marriages and why stress arises in them, and how couples who want to make it work, well, can. Have fun with this one

13/20

Body of Lies II

Chief Warrant officer Roy Miller (Matt Damon) finds himself stonewalled when repeated missions to unearth weapons of mass destruction (WMDs) in post-war Baghdad draw a blank, in the Green Zone. An impassionate representation to that effect to his superiors falls on deaf ears – well, almost. CIA officer Martin Brown (Brendan Gleeson) lets Roy know that his hunch (about WMDs or the absence of them) is right, and a related tip-off by an Iraqi national leads Roy to the formidable Al-Rawi (Yigal Naor) of the Republican Guards. Fast-paced chases ensue – the murky truth behind the very core of why America went to war against Iraq is unearthed. Loosely based on true events, Matt Damon again pulls off an anchor role with effortless panache. The movie continues a series of takes on the dubious warmongering by America in Iraq/ Middle East on the lines of The Kingdom, Lions for Lambs, and others – and could perhaps have been titled Body of Lies were there not another movie of the same name on the same subject. The stirring honesty in America’s immediacy in soul-searching on the war in Iraq is a well explored theme now – which does not take away from sterling performances and a fast paced action thriller. Eminently watchable

14/20

Timeless De Niro

Take a family of four children dispersed across America – of blue collar origins, but now a successful (?) quartet – one a part-owner of an ad agency, one an artist (as opposed to a painter), one a composer (or is it a drummer), and one a dancer (in Las Vegas? And perhaps a lesbian?). Now throw in Frank Goode (Robert De Niro) as their father, a man of blue collar origins who pushed his children hard, to get to where they are, and ostensibly Everybody’s Fine. So what does one expect when, seeing that the children are too busy in their careers for a reunion, the ailing father sets out across America – by road – to catch up with his children individually. And finds the truths of their individual realities. And while all does not end well – what remains of the family is re-united, with their realities out in the open, and accepted. Even as De Niro just keeps adding to the roster of why he is a living legend, the all-star cast takes the movie to a different plane. A movie about paternal authority and the demands of career, and the varying reactions to the same, and the eventual result of acceptance all round, reminding us yet again that while success matters, in the end its all about the family. Miss this one and you miss something vital about valuing the ties that bind family

15.5/20

Family, Heaven, Anger, Love

A few weeks back there was Shutter Island. Now comes another movie - this time from none less than Peter Jackson - that is truly enthralling in its scope, brilliant in its execution, poignant to the core, and genuinely moving. Susie Salmon (Saoirse Ronan), teenage daughter of Jack and Abigail Salmon (Mark Wahlberg and Rachel Weisz), is brutally murdered by George Harvey (Stanley Tucci), and finds herself in the afterlife, in a zone between earth and heaven, in The Lovely Bones. With the power to influence the emptions of her parents and siblings, the anger in her heart against her murderer, the love for her classmate Ray Singh (Reese Ritchie) unrequited, and the call from those in the afterlife to her to cross over to heaven, Susie must face the full complement of her emotions, while allowing her family to move on from the tragedy. I felt weak watching the depiction of a father’s love for his daughter, the great anger of Susie and the humble contrition as her anger leads her father into danger in the real world, and the quiet revealation and eventual poetic justice in respect of her captor. A movie to cherish for a long long time, beautifully woven, not a hint of superfluousness, on human relationships, coping with personal loss, and eventually moving on

17.5/20

Bruce Willis = Funny Cop

Jimmy Monroe (Bruce Willis) and Paul Hodges (Tracy Morgan) are longtime partners in the NYPD, and the former is on the verge of selling his rare baseball card to pay for his daughter’s wedding. A heist at the shop lands the card in the hands of a drug cartel, and after a long chase with much setbacks and hilarity thrown in for good measure, the goal is attained and all live happily ever after. Cop Out is Bruce Willis in an out and out comedy, that is strictly popcorn fare, that does not fall apart

12/20

Titanic ask, passable effort

Perseus (Sam Worthington), son of Zeus (Liam Neeson), finds himself in a family of fishermen, and the latter are annihilated on the periphery of a battle of the kingdom of Argos with the Gods. The Gods have held sway over men for too long, and King Cepheus of Argos launches a campaign to destroy their all-pervasive influence. Faced by the destructive forces of Hades (Ralph Fiennes) and the Kraken, the king calls upon Perseus. Perseus with a band of remarkable men (the Titans) makes a perilous journey to the Stygian Witches, and based upon their advice, slays the Medusa and uses her head to destroy the Kraken and save Argos – not without some help from his father along the way – in the epic Clash of the Titans. Hades’ covert agenda is foiled and Perseus lives on as the hero of Argos. Like all other adaptations of Greek and Roman history and mythology, held to a very high standard, the movie does not make the cut. Notwithstanding the fact that all the characters play their parts admirably, and even the graphics hold together, the movie lacks emotional appeal – moving quickly through the milieu of characters and events. To be fair to the creators, the attempt has been to showcase the character of Perseus herein, rather than attempt a magnum opus. A decent watch, but not quite in the league of the timeless, as all heroes and their eulogies, be they mythology or movie, ought to be

12.5/20

Talent will Out

The Damned United centers around Brian Clough (Martin Sheen), the irrepressible coach of Derby Country and fierce vocal critic of Leeds United and their playing tactics under Don Revie (Colin Meaney), and in a twist of fate, asked to take over Leeds as coach. Cut to the past and Derby United, where Brian, against all odds and far in excess of expectations, takes the club from the bottom of the third division to champions of the League Championship and the European Cup semi-finals. The same brings Brian the opportunity to run Leeds United – an effort that is a disaster from the word go – fierce loyalists of Don and brute football, the team never gets round to Brian’s philosophy, and after a series of disasters, Brian is sacked and takes over at relative newcomer Nottingham Forest, where he again metamorphoses a marginal team to a barely believable two European Club wins. The film is memorable for the roles of Brian and his assistant Peter Taylor (Timothy Spall), and their differences and eventual realization that they are indeed the perfect complememts for each other. An interesting movie, that showcases Martin Sheen well in a highly successful yet barely likeable character’s role, and a must-watch for football fans in particular

13/20

Bring Home the Book

Eli (Denzel Washington) is a lonely man in a post-apocalyptic dystopia. He hunts his own food, and works his way westwards across the wasteland that America has become. Also, he carries a King James Bible – The Book of Eli – and through many readings of it comes to know of its power to motivate, and it becomes his purpose to hand the book to that which lies west. On the way he reaches a hick-town dominated by one tyrant – Carnegie (Gary Oldman) – who is in search of the book himself, as he looks for a means to control the minds of people. On threat of much pain to the mother (Jennifer Beals) he sends daughter Solara (Mila Kunis) on an errand to find out more about Eli. Eli and Solara end up destroying the little evil empire of Carnegie, and deliver the Book into safe hands that hopefully hold the key to humanity. Very clearly a very Catholic movie for the God-fearing kind, the morality tale does not fall through because it never is pretentious nor pompous, but continues in the even dark backdrop and, adjusted for our general cynicism with all things religious, leaves us with a spattering of hope

12.5/20

Blinds Off

Michael Oher (Quinton Aaron) is The Blind Side of society. The reject is a giant, a colored, an orphan, a man with no place to go. And finds, however unlikely, a home and a future in the homestead of Sean and Leigh Anne (Tim McGraw, Sandra Bullock) and their sprightly kids SJ and Collins (Jae Head and Lily Collins) – a future that starts with getting into a regular schooling system, and ends with a successful NFL career. The fact that the movies is remarkably watchable owes a lot to the natural emotional appeal of sports movies. While Michael and SJ put in two remarkable roles, especially the latter, the best actress Oscar for Sandra Bullock is somewhat debatable. All in all, this is yet another heartwarming sports movie that does not explore in depth themes of racial conflict and does not mean to. So what does it explore? Exploring as to why people are philanthropic? Is this a heal-thyself story asking rich America to be more generous? Worth a watch and replete with old-school Christian values

12/20

Alice in Blunderland

I was really really hoping that this one had turned out well. Instead I got treated to a seriously flawed screen adaptation that was truly a pain to watch. This current edition of Alice in Wonderland is one wherein the emphasis seems to be on the digital presentation of a magical world. All the characters without exception from the haughty Red Queen to the humble Dormouse are poorly developed – some like the Chesire Cat are excruciatingly poorly developed. Coming to the digital presentation – no redemption herein - garish special effects ensure that Charles Lutwidge Dodgson will gladly have given this rabbit hole a pass. The biggest failure of this movie is the turning of a (part-political) satire, and at the very least a funny story, into a good-vs-evil combat arena with generous pickings from the likes of LOTR (compare the faceoff with the Jabberwocky and the Nazgul faceoff in the first installment of LOTR), Narnia (good and evil – the battle across the plain), and the Golden Compass (riding the Bandersnatch vs Riding the Polar Bear). Is that all? Not quite. There is a perceptible lack of humour through the film. Also, this is a movie which will get a straight zero for costume design with it being hard to tell which is the more horrifying - Johnny Depp as the Mad Hatter, or Anne Hathaway as the White Queen. The only redeeming feature – half a minute of recap of Alice’s last visit that shows a tiny vignette of what this Tim Burton (believe it or not) movie could have been

7/20

Englishman in New York

Simon Pegg (Sidney Young) is the Englishman in New York, a man of some spunk and, who, by any which means, wants to break into the Page 3 circuit, in particular the Sharps Magazine after-party. The proverbial shot comes by way of a gatecrashing attempt and a call from New York. Sidney in Sharps’ cut-throat culture, makes friends and proves himself after a near-disastrous series of faux pas’ – thanks to the support of girl next door and lead editor Alison (Kirsten Dunst). The other characters make for fair viewing too - the sultry and overtly sexual Sophie Maes (Megan Fox) with an unforgettable across-thre-pool saunter for promoting her latest release “Mother Teresa”, driven entrepreneur with a short fuse Clayton Harding (Jeff Bridges) who cannot suffer fools gladly but eventually comes round to Sidney, the ambitious Eleanor Johnson (Gillian Anderson) and Danny Huston (Lawrence Maddox). While How to Lose Friends and Alienate People has moments of genuine humour and introspection, overall this is good rather than remarkable fare, that will keep you occupied, as Sidney remains true to his character

11.5/20

Legion of Nonsense
We watched this movie in a movie hall. Two guys next to us slept through most of it, and left when they were done with their nap. At the end of Legion, the verdict all across that this was about as much nonsense that an audience can take, was almost unanimous. Now to the movie. God has tired of the human race, and would like to end it by turning the human race into a set of ravenous zombies that in turn turn other people into zombies, and so on. No way, says Angel Michael – humans are still full of the milk of (human) goodness – and launches a crusade in hick-town motel Paradise Lost against pestilence, repeated waves of zombie attacks, tests of human weakness, and manages to protect the birth of a baby who will ostensibly redeem mankind. With all the ingredients of a movie that is a thinly veiled attempt to milk sequels, this B-Grader has “flop” written over it in bold. This one will vanish without a trace. The underlying theme though, executed by a worthy cast and scriptwriter, could have had some justice served

5/20

Fun with the Dead

Zombieland is a horror-comedy on America becoming a land of zombies, and four survivors coming together in the unlikeliest of circumstances. The protagonist, Columbus (Jesse Eisenberg), a self-confessed loner and survivor of many encounters with the zombies through a set of rules that he has made for himself, meets Tallahassee (Woody Harrelson), a trigger happy zombie killer on his quest for hometown, Twinkies, and the erasing of the memories of a lost son. They meet two sisters Wichita and Little Rock (Emma Stone and Abigail Breslin), whose survival strategy happens to be conning the last few survivors (which includes Columbus and Tallahassee), and whose objective is to find their way to Pacific Playland, an amusement park. Through deepening ties in the face of mistrust, and faux pas’ such as killing Bill Murray by accident, the movie ends with a scene of climactic encounters at the amusement park, and the realization all round that without life’s little pleasures, and people you can call family, perhaps we would rather all be zombies. But this is no morality tale, this is an interesting little movie taking the hackneyed zombie theme and bringing it all together rather nicely. Expect Planet Terror style gutwrenching visuals, and moments of genuine human emotion

13.5/20

Watch this movie. Shudder.

Some movies are so good, so watchable, so perfect, they can actually make you go weak in the knees. When Teddy Daniels (Leonardo DiCaprio) and Chuck Aule (Mark Ruffalo), the former an US Marshal, step out to Shutter Island, a correctional facility for the psychologically insane, to investigate the disappearance of one Rachel Salondo, I was expecting a Zodiac or Lonely Hearts style period-piece investigative thriller. But this is a Martin Scorcese flim, and to expect the ordinary is to do gross injustice. The movie twists and turns and it is increasingly hard to make out what is real and what is imagined. Where is Rachel Salondo – did she ever exist. What is this facility about. Who is Chuck? Most of all, who is Teddy and what is in his past? While the plot does unravel and Teddy comes to terms – or close – to the ghosts of his past – till the very end the movie remains shrouded in mystery. Is Teddy cured and headed off the island, or is he still “unwell” and packed off to the mysterious and sinister lighthouse. Think of Scorcese laughing uproariously as he plays with your mind till the very end

18.5/20

The Times they are a Changing

Somehow Dylan’s timeless lines come to mind. America is changing, the Age of Superheroes is giving way to the Age of Introspection and turbulence. And the movies are following suit. Motivational guru and executor of retrenchment mandates, Ryan Bingham (George Clooney) criss-crosses America in a life wherein emotional detachment is part and parcel of what he needs to be, But how detached is he? Up in The Air is about Ryan making the connection with what he believes to be a kindred perpetually airborne soul, and then losing it. It is about a man, bereft of family and emotion, his only definable goal in life being the accumulation of 10 million frequent flyer miles, landing in bland landscapes, spreading the chill wind even as he ostensibly helps people find meaning in their new state of catastrophe. Most of all, it is about the relationship between Ryan and Natalie (Anna Kendrick), a newly recruited hotshot, who breaks in with new paradigms of operational efficiency in the art of firing people, but eventually finds her soul. This is a difficult movie to watch in parts, and I really wonder what kind of people labeled this in the comedy genre. This is a different Clooney, detached, reserved and vulnerable, as he changes with the ebb and flow of those whose lives he is tasked to change for the worse

16/20

Fake Money, Real Feeling

Salomon “Sally” Sorowitsch is perhaps the world’s best counterfeiter – and a Jew in Nazi Germany. Apprehended for using counterfeit money in a casino, and sent to a concentration camp, Sally finds himself part of an elite and select group of people with complimentary talents. Starting with IDs and passports, the group moves on to the defining mission – the forging of the British Pound – and delivers. In the meantime, the war and the horrors of the concentration camp rage on around them – and the question of whether they are actually helping finance the bankrupt Nazi war effort becomes the overarching moral question and Sally’s source of increasing discomfort. In the face of great pressure, the team manages to delay the “delivery” of the US Dollar – enough to see the tide of war turn and liberation ensue. Not without the poignancy of many innocents falling victim along the way. With a narrative that uses a clutch of small incidents – the man who finds his children’s passports in the paperwork, the “second-hand” clothes from the gas chambers of Auschwitz, the TB patient who has no medication and is shot down even as Sally almost trades in the dollar for the medication – to show just how strong and weak people can simultaneously be, in the face of incomprehensible adversity. Based on the largest counterfeiting operation in world history, Karl Markovics (Sally), protagonist of Die Falscher (Counterfeiters) will make you ponder over your own frailty

16.5/20

Human, Weakness
Arthur Lewis (James Marsden) is a NASA scientist who will never be an astronaut, while wife Norma (Cameron Diaz) has lost use of one of her feet in a tragic accident. And they both need the money. Along comes the money in the form of The Box that asks them to choose – and they have a choice of getting no less than a million dollars – with a price tag – they can choose to take the money, but a person, unknown to them, will die. The money is useful, but life gets really complicated. An alien lifeform is invading the minds of people they know, and before they know it, they are subjects of a bizarre social experiment that demands and takes from them the ultimate sacrifice. Hair-raising and genuinely scary in parts, this is worth a watch for the noir-style exposition that all comes together at the end. Richard Kelly is the same man who directed Donnie Darko, remember?

11.5/20

Corn-y

What a twisted world we live in! Mark Whitacre (Matt Damon), family man and star performer of Archer Daniels Midland (ADM), blows the lid off a global price fixing racket in lysine, in The Informant!. The same draws the attention of the FBI and together they literally bring the house down. And the movie takes off from there. With generous brushstrokes of noir, the lines between justice being served, and Mark Whitacre’s own relentless pursuit of the ADM corporate ladder become blurred. Things get even murkier as Whitacre is discovered to be on the take well into the investigation, a fact that may destroy the prosecution’s case in its entirety. The movie rounds off with a large sentence for Whitacre – justice served or denied? Well you need to decide for yourself, because director Steven Soderbergh (Oceans 11 to 13, Erin Brokovich, Solaris) wants you to make up your own mind in this dark comedy

14/20

The Arsonist

Here is a modern day top morality play, starring the yet-again wronged-in-respect-of-family Clyde Shelton (Gerard Butler). But Law Abiding Citizen is over the top poetic justice! The two men who kill his family – and one of whom strikes a deal with the prosecutor Nick Rice (Jamie Foxx) to do in his partner, do not reckon with a “spy” having plotted and schemed their demises ten years later. After ensuring that the death row inmate does not die a painless death, he takes out the partner, with slowness and cruelty. The rampage continues, Philadelphia is brought to a halt, when will the cleansing of the system end and the rage subside? There are limitations to the extent to which this story has been carried, and even Gerard Butler appears unconvinced in parts about the extent of his actions. All part of the plot – or not?

10/20

Game On

Never never never underestimate Gerard Butler. In terms of the most recent “good to great” finds of Hollywood that need to replace a galaxy of stars that are past their fifties, Gerard Butler does himself little discredit and delivers another great action performance. Not a great character actor in the mold of say Christian Bale, this actor is a perfect compromise between the latter and say an all out action hero like Jason Statham. The plot of Gamer is hackneyed – death row inmates in a live television fight to the finish, a certain (and impossible) number of wins for a pardon. The protagonist does not fail to realize that he is not getting out the easy way, that there is too much at stake if he does. So he gets out the hard way, and with the help of some counter-culturists, gets back his family and ends the TV regime of the aptly named Slayers. Have fun, till the next meaningful Gerard Butler movie

13.0/20

An Unconvincing Love Triangle

The success of Ishqiya is Arshad Warsi to a great extent and Naseruddin Shah to a good extent. The failure of Ishqiya is Vidya Balan. What can you say of a movie in which pretty much everything except the central (female) protagonist came together, where I can imagine the frustration of the perfectly good scriptwriter, editors, cinematographers, etc al, when the central character appears somewhat disinterested in the goings-on. Now to the plot. Arshad Warsi and Naseruddin Shah are “freelance” crooks – needing to repay a large sum on threat of their lives, they flee to a kindred soul’s home in northern UP near Gorakhpur, finding instead his widow. The three hatch a plot to get their required money, while the two men lose no opportunity at one-upmanship in winning Vidya Balan’s attentions. A dramatic and somewhat inconclusive ending wraps up this passable fare, that could have been an Omkara if only the cast cared. For a debutant (Abhishek Chaubey) this is great directorial fare, though Vishal Bharadwaj as producer fails to take the movie to a different plane

10.5/20

Doubly Brilliantly Executed

You may have seen Race. You may find the B&W Hollywood era a drag. You may not see the point of watching a movie that dates back to World War II, and stars Fred McMurray and Barbara Stanwyck (who???) All I have to say is, get out there and watch this movie. For this is character acting at its finest, with overtones of say Twelve Angry Men. Phyllis (Barbara) falls for insurance agent Walter Neff (Fred), and the two hatch a plot to effectively profit from a “Double Indemnity” clause in the life insurance policy of Phyllis’ husband, so kindly provided by Walter. The two work out an unlikely accident, and all is on track (literall), till Walter’s astute colleague Barton Keyes (Edward G Robinson), inch by inch, and with clinical examination of various hypotheses, finally unearths the plot. But this is not all – a lot of skeletons fall out of Phyllis’ cupboard, and in the end it is Walter and Phyllis staring at the just desserts for lives poorly led. Un-missable performances

15.5/20

Rann from the Press

Ram Gopal Varma produces an Indian morality tale that, by genre, should really belong to Madhur Bhandarkar (remember Page 3, Corporate and Traffic Signal… how did he miss the visual media??) In fact the undifferentiated clutter, mediocrity and one-upmanship that is the Indian TV news manufacturing industry was crying out for a solo performance in the likes of Page 3 and Mumbai Meri Jaan – and has got it now. Now to the movie Rann. Vijay Harshvardhan Malik (Amitabh) is the pliiar of ethicality in journalism, but his two sons – played by Rajat Kapoor and Sudeep respectively – are not. One motivated by the TRP wars and a personal battle for financial survival, the other rooting for an opposition leader’s scam and corruption tainted rise to prime ministership. Both of them almost implode their lives and the channel, and hand over the baton of the most respected news source to the competition. It takes a firebrand Ritiesh Deshmukh as the impressionable newbie to even things out – but not without some collateral damage. The story lacks originality in all respects, but the cast holds it together well. Notables - a great performance by Paresh Rawal, and some pretty provocative lyrics on the fly. BTW, a near empty hall on Saturday evening, second day, shows how enamored Mumbai is of morality tales

11.5/20

Easy Sell

If you have seen the brutal Indian “retail sales” culture firsthand, Rocket Singh: Salesman of the Year strikes an immediate chord. Harpreet Singh Bedi (aka Rocket Singh) is the quintessence of naivete and idealism (and that too not backed by great grades, as a trainee), and totally out of place in cutthroat computer retailer AYS (At Your Service) where sales clearly predominates over service. Things come to a head when Rocket Singh in all his innocence almost loses the firm a client whose liaison is clearly on the take. The firebrand in the Sardar takes over, he moonlights with a bunch of likeminded people and starts a renegade firm within the firm – Rocket Sales Corporation – that creates a proposition around impeccable service and very soon gets a small but valuable client audience. The encroachment is not lost upon ATS and its honchos – and Rocket Sales is unearthed and swiftly amalgamated. But not so the service culture and the loyal customers. This movie will strike a chord with anyone who has hated the quarter-on-quarter run rate and commission-driven sales culture. Not the least because Rocket Singh (Ranbir Kapoor) clicks as the naïve newbie with fire-in-the-belly beneath the baby face

13.5/20

More like “The Book of Conning Women”

Do you really want to know a rating for this movie? There is no possibility of really saying anything redeeming about American Pie Presents The Book of Love. This is a bunch of wasted American teenagers whose primary purpose in life is to get laid. Through a mix of faux-pas-es at house parties and various malls and other such, the dudes finally refine their strategy through stumbling upon a chain-diary of sexual escapades by the old masters. They connect with these dudes - many of whom are now captains of academia and industry (American kids always seem to have the time for this sort of thing..), and eventually score on a ski trip. There, you now know the plot. Now go watch something else

3/20

Super-Sleuths

Robert Downey Jr and Jude Law play unconventional super-sleuths as Guy Ritchie boldly re-incarnates Sherlock Holmes. At first (and, especially, not having read the graphic novel), it appears that this is a more of a mix of the typical graphic novel elements - mature themes encompassing the dark occult, complex relationships and the like - than vintage Holmes. The movie eases up after a while, and in the end, when all is clarified, you may be forgiven for having believed somewhere along the line that this was a bit too noveau a reincarnation. Irene Adler adds a classic touch to the melange, and the female leads as well as the villian and his retinue, are exceedingly well-developed characters. An easy watch, with new dimensions to offer on the central character, an out-and-out hit, and a great entertainer that does not falter

16/20

A Night to Remember

If you remember Bheja Fry, you realize that when Rajat Kapoor and Vinay Pathak team up, they could go wrong but not very wrong. Raat Gayi Baat Gayi is a low frills release from their stable – the first caught with his pants down lusting after a delectable Neha Dhupia at a party (did he? Didn’t he?..) and the second evicted from home for surfing porn. The two set out to unearth the truth and in the course of the same, many skeletons tumble out of the closet. Neither comedy nor drama, watchable but unmemorable fare

10/20

To the Moon and Back

Given that this is a private blog, I think the Moon deserves a closer description lest I forget later what this was all about (at the cost of giving away some of the movie’s secrets). I remember watching Solaris and 2001 and their ilk and the loneliness and silence of space, and I got that same eerie feeling all over when I saw Sam Bell (Sam Rockwell) at the fag eng of his 3-year long mining stint on the moon. Sam Bell ventures out to study a leak, and finds himself next at the sick bay in the base station. Ventures out again to the crash site, and finds himself – or a copy of himself – at the site – alive. Succeeds in hatching a plan to return to earth and succeeds in bringing the diabolical plans of The Lunar Corporation to light and put an end to the trauma of clone usage in the mines of the moon, all clones that have been implanted with memories of lives back on earth that were never theirs to begin with. A science fiction movie that is convincing, touching and flawlessly executed by Sam Rockwell in two concurrent avatars, and Kevin Spacey as the voiceover for GERTY, the resident robot who faces moral choices – and chooses right

15.5/20

And Here Are My Rankings (For Movies Released In 2009 And Reviewed Herein Under “2009”)) Under A Few Categories:

BEST MOVIE OVERALL: District 9

Comedy: The Hangover

Hindi: Kaminey

Drama: Taking Woodstock

Politics/ War: Inglourious Basterds

Thriller/ Action: Public Enemies

Graphic Novel/ Animation: Watchmen

Sci Fi: Star Trek

Bombs, Away

Like Enemy at the Gates (snipers), The Hurt Locker focuses on a single war-zone (Iraq, circa today) and one category of soldier (bomb detection squads). Unlike the morality tales like Lions for Lambs, The Kingdom and Body of Lies, there is no lesson purported to be delivered herein. This is about the intensity, and the role of each of the members of an elite bomb detection squad, in the heat of combat. Unavoidably, the groups gets embroiled in other aspects of war that is strictly not their domain, such as sniping across vast expanses of desert, or giving chase to bombers across dark urban alleyways in the dead of the night. The spirit of the group is epitomized by Sgt Matt Thompson – who returns injured and cussing from the epicenter of battle to home and family, and then in an epiphanic moment in a supermarket, decides to return to the Bravo Company for another 365 day stint at what he really loves doing. Great “action” sequences delivered with a deliberate lack of melodrama

14.5/20

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