Reviews

Furiosa: A Mad Max saga is a terrific odyssey that not only serves as a great companion piece to Mad Max: Fury Road, but is also an exhilarating experience in its own right. Wonderful performances, state-of-the-art stunt work and an unconventional audiovisual storytelling style make this one of the best theatre experiences of the year.

Furiosa adopts an episodic storytelling approach, spanning nearly 20 years over the course of 5 chapters. A particularly bold choice was focusing the first 2 chapters (that amount to nearly half the runtime) on a younger version of Furiosa(played by Alyla Browne), with Anya-Taylor Joy being introduced only towards the end of the first half. This does make the chapters feel a bit disjointed and incoherent, but is integral to the development of the lead character.

Another bold choice was the adoption of a more subtle compared to Fury Road, with a greater emphasis on character-building moments compared to action set-pieces. While some may find this disappointing, I found the balance between action and drama to be just right. That being said, the action scenes in this film are a work of art. The stunt work mesmerising, the visual effects are gorgeous and the raw, guttural sound design(with a subtle use of the background score) adds to the tension.

Anya-Taylor Joy does a fabulous job of replacing Charlize Theron as Furiosa, perfectly portraying the emotional torment that her character endures over the course of the film. Alyla Browne delivers one of the best child performances of recent times, and Chris Hemsworth steals the show as Dementus. He is funny, psychotic and completely relentless, which is exactly what you'd expect from someone named Dementus. Tom Burke is also brilliant as Praetorian Jack, whose relationship with Furiosa deepens the emotional core of the film.

While Furiosa: A Mad Max saga may not answer all the questions about Fury Road, it is a really good character study and an enriching prequel that has the great blend of action, drama and emotion. It is truly a privilege to see George Miller's enduring passion and dedication towards his signature franchise.

If I were asked to summarise Yodha in a single word, it would be generic. The protagonist is a disobedient and impulsive army official who can do no wrong and can single-handedly fend off heavy artillery with ease. The antagonists are paper-thin characters whose sole purpose is to spread terror and capture Kashmir(of course!). The action sequences are steeped in nationalism, patriotism and machismo. Oh, and not to mention the physics-defying superhuman stunts. If these are the qualities you are looking for in a movie, have at it, but its tiresome to see the lack of novelty and artistry in Bollywood action films today.

Let us give credit where its due - Siddharth Malhotra is by far the strongest asset of the film, and has a natural aura and charisma that is palpable every time he is onscreen, whether he is punching and shooting his way through the barrage of terrorists raining down on him or sharing a heartfelt moment with his wife. His sheer commitment to the role of Arun Katyal may compel you to forgive some of the nonsensical aspects of the plot. The action is also choreographed and shot surprisingly well, especially considering the modest budget of the movie.

Unfortunately, the rest of the cast does not match Malhotra's level of performance. Disha Patani plays Laila, an air hostess aboard the hijacked flight and reaffirms that her acting isn't still on par with her beauty. Rashi Khanna looks and feels clueless in her performance as Priya Katyal, Arun's wife. The rest of the supporting cast is also disappointing.

The writing is undeniably formulaic and predictable. There is some intrigue and suspense that is established towards the end of the first half of the film. I was interested to see the direction in which the second half would go. Disappointingly, the second half is as predictable as it gets. Attempted twists that fall flat, action that gets tedious as the film progresses and the dialogue is inexcusably bad. It all felt like a missed opportunity to create something genuinely different and unique.

Overall, Yodha is a forgettable aerial thriller that is saved by Siddharth Malhotra's charismatic performance and some decently filmed action.

Kunal Khemu's Madgaon Express is a hilariously entertaining ride, effortlessly mixing various forms of comedy - from slapstick to old-school - to create a genuinely funny movie that is bound to give you a bellyache.

With a runtime of nearly 2.5 hours, the first half of the film occasionally feels like a drag, although their are plentiful funny moments on offer, particularly due to the strong performances from Divyendu Sharma and Pratik Gandhi, who are the stars of the film. Both exhibit impeccable comedic timing and flawlessly deliver vocal as well as physical comedy. A perfect example is a warehouse scene, which gave me some of the best laughs I have had in years.

Kunal Khemu emerges as a highly exciting director, drawing from his extensive experience in acting in comedies. He takes inspiration from a number of modern as well as classic films, at the same time establishing a visual storytelling style that is unique to him. One particularly notable aspect was the use of POV shots in a way I haven't seen in the genre before.

Avinash Tiwary completes the trio of leading stars, and is by far the weakest link of the movie. Not only is his character uninteresting for the most part(save for the climax where he has a significant role), his comedic timing does not reach the levels shown by his co-stars.

There is also an over abundance of characters, which certainly adds to the chaos, but is also a deterrent to the film. Certain supporting characters could be cardboard cutouts and it wouldn't make a difference.

In conclusion, Madgaon Express was a really enjoyable ride, and established Kunal Khemu as one to keep an eye on, but underdeveloped characters and an overly long runtime make this journey a tad tedious.

Boasting state-of-the-art visual effects, strong performances and an intriguing story, Kingdom of the planet of the apes is a worthy successor to a fantastic trilogy.

To begin with, the idea of setting this film many generations after the events of War for the planet of the apes was simply brilliant. It allowed the filmmakers to exercise creative freedom, while still remaining connected to the previous trilogy. It also established an intriguing concept that forms the core of the film - How have Caesar's teachings evolved across generations? To demonstrate this idea, the film establishes various ape clans, each having their own beliefs - some follow Caesar's teachings to a tee, while others are completely unaware of his existence. The exploration of the cultures and beliefs of different ape clans was quite fascinating to me.

The film also does a great job of establishing a connect between the audience and the protagonist, Noa, played brilliantly by Owen Teague. His journey to find his village(which doubles as a journey of self-discovery and maturation) was engaging and entertaining. Raka, played by Peter Macon, provides welcome comedic relief as well as some strong emotional moments to the story. Proximus Caesar was a menacing and realistic villain, twisting Caesar's teachings to feed his own greed.

From a visual perspective, the film is nearly flawless - brilliant motion capture work and CGI help bring the apes to life while fantastic set designs with old buildings and stadiums overgrown with moss and creepers add to the post-apocalyptic feel.

However, the character of Mae, played by Freya Allen, was a letdown. It almost felt as if her character was introduced for the sole purpose of establishing the possibility of sequels. She is also presented in a rather unlikeable fashion, which does not help the final act in which she has a large part to play. While I am intrigued to see her role in future films, she did not seem to fit well in this one. Proximus' limited screen time was also disappointing.

Overall Kingdom of the Planet of the Apes was a visual spectacle that established an interesting story for the sequels to explore. The character of Noa is a strong addition to the franchise, while Mae felt like she should have been introduced in the sequel.

Article 370 is Bollywood's rare political thriller that focuses on real, tangible characters and presents an endearing story based on true events.

Debutant director Aditya Jambhale showcases his ability to craft tense sequences - be it on ground crossfire sequences between armed forces and militants or the conversations in meeting rooms among government officials. Despite the excessive runtime, the tight pacing and skilful direction ensures that the film remains engaging.

Yami Gautam's intense portrayal of NIA agent Zooni Haksar deserves a lot of credit. She has just the right balance of calm and emotion required for her character. In fact, the entire cast delivers strong performances.

Unfortunately, the last 20-30 minutes of the film turns into what can only be described as a well-made government press release. I use the term unfortunately, as the film otherwise does an extremely good job of staying away from political propaganda.

Overall, Article 370 is a well-directed, well-acted political thriller that is slightly let down by it's climax, which seems more like a homage to the government than an organic part of the film.

Releasing merely weeks after the critically and commercially acclaimed "Godzilla Minus One" won the Oscar for Best Visual Effects is a boon as well as bane for "Godzilla x Kong: The New Empire" - while more people are familiar with the behemoth radioactive lizard, there is an undeniable urge to draw comparisons between the two movies. Adam Wingard's second Monsterverse film following 2021's "Godzilla vs Kong" delivers satisfying Titan action, but overall, the film feels like a step back, largely owing to dull and tedious human drama.

Personally, I found "Godzilla vs Kong" to be the best Monsterverse film. It embraced the absurdity and silliness of its premise and made the most of it to deliver one hell of a show, placing the Titans front and centre, while jettisoning any unnecessary human drama. "Godzilla x Kong: The New Empire" starts off much slower, with the actual plot taking nearly 20 minutes to kick in. Combined with an uptick in uninteresting human drama, this slows down the movie with certain portions feeling boring.

Much like its predecessor, "Godzilla x Kong: The New Empire" struggles trying to the connect the stories of the two leading titans. Kong is the heart and soul of the movie, with Godzilla largely feeling like an accomplice or sidekick. The first half of the movie is almost entirely about Kong's exploration of Hollow Earth, the subterranean ecosystem where the Titans live. While learning about the mystical world was engaging and intriguing, it lead to a delayed introduction of the villain, leading to the third act feeling slightly rushed and less rewarding compared to the enthralling finale of "Godzilla vs Kong".

The action sequences themselves are a whole lot of fun, with a face off in hollow earth with gravity slightly messed-up being one of my favourites of the entire franchise. The finale in Rio delivers plentiful excitement and fun too.

"Godzilla x Kong: The New Empire" is best suited for fans of the Showa era. For Kong fans(like myself), there is a lot to like about the movie, owing to the humanisation of the great ape. The action scenes are fun, colourful and campy, similar to it's predecessor, but an increased focus on human characters and a slower pace make this a slightly underwhelming entry to the Monsterverse.

Matthew Vaughn's "Argylle" is a gigantic misfire that suffers from an overcooked, convoluted mess of a script and unconvincing visual effects. The ensemble cast are largely wasted and the overly long runtime does not do the film any favours.

One of the merits of the film is an interesting visual style of presenting a writer's perspective of the world. Various scenes show Elly Conway's perspective as she observes real spies at work, and relates them to the fictional characters in her books. Aidan, played by Sam Rockwell, is arguably the best and most well-written and compelling character of "Argylle". His introduction infuses life into an otherwise dull story. Rockwell delivers a charming performance, providing good humour throughout the movie.

However, "Argylle" suffers from a convoluted and messy script, and seems to rely on style over substance. This becomes especially clear in the second half, featuring an overdose of twists & turns that have little impact on the plot.

To say that the ensemble cast are underutilised would be an understatement. The likes of Henry Cavill, John Cena, Due Lipa and Samuel L. Jackson are barely featured but for fleeting moments, and Bryan Cranston's portrayal of an unimposing antagonist further illustrates the film's inability to effectively utilise its high-caliber cast, leaving most of their talent on the sidelines.

For a film with an astonishing $200 million budget, the visual effects and green screen are truly awful, as is glaringly evident from the opening car chase. The climax features some potentially fun and colourful action scenes that are ruined by shoddy CGI.

Overall, "Argylle" has it's fair share of fun spy-thriller moments, but an overly complicated plot and poor visual effects negate much of the potential enjoyment.

With Merry Christmas, Sriram Raghavan both satisfies and subverts expectations, crafting another dark comedy thriller flaunting his signature direction style while opting for a more deliberate pace with fewer "twists", contrary to the frantic nature of his most recent work - Andhadhun.

Merry Christmas plays out more like a love story than a mystery. The peculiar pairing of Vijay Sethupati and Katrina Kaif was a casting choice bound to be met with skepticism. But the duo deliver mesmerising performances, with Kaif (as Maria) giving one of the finest performances of her long and illustrious career. She perfectly understands the mental torment that Maria is undergoing and depicts it with impeccable elegance. Vijay Sethupati plays Albert, a man on a quest for redemption, perfectly.

Sriram Raghavan, once again, is in complete command of his craft, establishing a sense of tension and mystery with the very opening scene. However, he opts for a more methodical pace, which becomes evident as the film unfolds. The major focus of the first half are the character development of the protagonists and the growth of their relationship. While certain phases of the film may seem drawn-out, there is a legitimate purpose for every scene that is included in the film.

Raghavan's use of music is, once again, on point. A plethora of vintage songs are peppered throughout the film, and play out during fitting moments, heightening the impact of the scenes. This is especially demonstrated in the film's final scene, which masterfully uses Vivaldi's "Winter" to elevate tension and emotional resonance of the scene.

Merry Christmas is haunting yet fun love story from Sriram Raghavan. It successfully differentiates itself from the director's prior works, while still bearing his distinctive style.

Peter Farrelly's Ricky Stanicky is a painfully unfunny comedy, squandering a somewhat interesting premise for a comedy of errors. An amazingly over-the-top performance from John Cena saves the film from being a complete slob.

A familiar plot, largely unlikeable protagonists and worn-out rehashed jokes about masturbation and poop are the stand-outs of Ricky Stanicky. While there is a glimmer of a dramatic emotional core to Cena's character, Rod, it is glossed over so quickly and abruptly that it fails to have a lasting impact.

The film is able to get some laughs, thanks to some hilarious jizz-jams and cum puns, delivered with impeccable comic timing by Cena. The remainder of the actors, though, are staggeringly uninteresting and unfunny.

An improvement upon it's predecessor in every conceivable way, Dune: Part 2 is an awe-inspiring cinematic experience that deserves to be seen on the biggest screen possible.

Denis Villeneuve continues to assert a steadfast command over crafting gorgeous, thought-provoking sci-fi epics. Cinematographer Greig Fraiser continues to impress (after Dune, The Batman and The Creator), capturing breathtaking wide shots of the great sand sea that is Arrakis.

The ensemble cast deliver top-notch performances. Particularly impressive are Rebecca Ferguson as Lady Jessica and Austin Butler as Feyd-Rautha Harkonnen, Javier Bardem is a welcome comedic relief as Stilgar and Timothee Chalamet's portrayal of Paul Atreides feels organic, a given the character's increased complexity in the sequel.

Denis Villeneuve masterfully expands the world of Arrakis, placing greater emphasis on the characters rather than elaborate sci-fi set pieces. The exploration of the Fremen, their cultures and religious beliefs adds a sense of depth and tangibility to the world. The interpersonal relationships serve as crucial plot elements, imbuing the characters with relatability. This leads to a sense of satisfaction during the enthralling climax.

Dune: Part 2 is a true cinematic experience in every sense of the word. It has an engaging plot, relatable characters and fantastic set-pieces, and barring certain rushed story elements in the final act, it delivers the promises established in Part 1.

An apt summary of the central themes of Poor Things would be - maturation and self-discovery, obscured by a veil of sexism. It is wild, bold, fun and a near-perfect introduction to Yorgos Lanthimos' unique and bizarre vision.

I often found myself drawing parallels between Poor Things and Rajkumar Hirani's PK, as both films revolve around an eccentric protagonist on a journey of exploration of human nature, and ask biting questions about different social constructs.

Emma Stone portrays Bella Baxter, a young lady brought back to life by the unorthodox scientist Godwin Baxter(Willem Dafoe), with unwavering sincerity. Her courage to play such an eccentric(and potentially offensive) character is genuinely commendable. Mark Ruffalo is hilarious as Duncan Wedderburn, a debauched lawyer who accompanies Bella on an adventure across continents.

Lanthimos pulls no punches when it comes to presenting his unconventional ideas, often depicting disconcerting imagery in loud, over-the-top and hilarious scenes. Be it the bright, colourful costumes, the fantastical sets, or the occasional use of a peculiar fish-eye lens, every element adds to the oddity of the film.

It is not a film for all tastes. Many will find some of the content ridiculous, gross or even offensive. There are definitely some uncomfortable moments that dragged on a little too long for my liking, and the film could have benefited from being about 20 minutes shorter.

Poor Things compelled me to meditate on various facets of human nature, maturation and social evils, all the while being a thoroughly fun time.

The Holdovers, directed by Alexander Payne, is a heartwarming embrace of a movie, featuring a perfect blend of comedy, trauma and depression, presented with some of the best cinematography of the year. Its impact is further elevated by standout performances from Paul Giamatti, Dominic Sessa and Da'Vine Joy Randolph.

One of the main reasons why the film works so well is because it feels so tangible, authentic, pure and devoid of any form of sensationalism. At times, it feels more like a documentary than a film. The film also showcases witty and well-written dialogue. The cinematography and production design are beautiful, perfectly achieving the throwback feel that film is going for.

The performances by the lead actors are nearly flawless - Giamatti portrays a curmudgeonly history instructor in a way that reminded me of some of my own professors. Randolph is immaculate as a chef who has lost her son, perfectly depicting the depression and melancholy one would expect from her character. But my favourite performance comes from debutant Dominic Sessa, who plays the most psychologically and emotionally complex character in the film.

The only gripe I have with the film is that the pacing feels off at certain moments. Also, there are certain side characters that could be done away with. Nevertheless, this was one of the most calming and feel-good experiences I have had with movies.

Jonathan Glazer makes a triumphant return to directing 10 years later, to paint a horrifying portrait of human complicity and the banality of evil, with The Zone of Interest, a film that lingered in my mind long after the credits rolled. The film follows Auschwitz commandant Rudolf Hoss and his wife Hedwig as they strive to create a dream life for their family in a house just beside the camp.

Many might criticise the film, describing it as monotonous, boring and slow-paced, but that is exactly Glazer's message - the monotony and normality of a heinous job. The Hoss family go about their daily chores in their house and garden, indifferent to the screams of suffering and agony coming from mere feet away.

What's even more impressive about The Zone of Interest is that all the horror is implied, never explicitly shown - at no point does the film vilify Hoss nor does it directly showcase any graphic imagery. The horrifying images and sounds of slaughter are reduced to mere background elements, presented with immaculate cinematography and sound design.

The Zone of Interest is an immensely disturbing watch, but also a necessary one. It isn't for everyone, and is not expected to break any box office records, but for cinema lovers, it is an essential entry for your watchlist.

Lisa Frankenstein, directed by Zelda Williams, is colourful, well-executed amalgamation of horror and comedy that is certain to garner a cult following in the years to come, though occasionally it feels like a missed opportunity.

The eye-catching direction is undoubtedly my favourite aspect of the film. Williams' vision looks and feels distinctly unique, with colourful frames that burst onto the screen, beautiful costume designs and gorgeous cinematography. But beyond crafting a visually appealing film, Williams has the ability to depict eccentric characters that unapologetically and facetiously commit bizarre and unsettling actions.

Kathryn Newton delivers a strong performance as Lisa, skillfully portraying a mentally complex character while providing humour in a way that seems plausible and tangible. Liza Soberano and Cole Sprouse give commendable performances too.

Where the film falters for me, is when it attempts to cram an absurdly large number of subplots and themes into its brief runtime, to the point that, by the time the credits roll, I wasn't quite sure what the central theme or story of the movie was. Also, the film plays it a little safe with the disturbing and gory scenes, likely due to its PG-13 rating. It could've been more effective had they fully embraced the absurdity.

Overall, Lisa Frankenstein is a wild good-time and an effective throwback to 80s horror comedies, but certainly has room for improvement.

Bhakshak, is streaming on Netflix and stars Bhumi Pednekar as a local journalist on a quest for justice against child abuse. The film boasts great performances and a potent, relevant message, but feels derivative and unoriginal in its execution.

Let's start with the positives. There are multiple stomach-churning sequences of child abuse throughout the film that successfully evoke feelings of disgust towards the vile, twisted villains. In particular, the display of sheer brutality during the opening sequence made my blood boil. All these elements culminate in a sense of satisfaction when justice is served in the final moments of the film.

The entire cast delivers top-notch performances. Bhumi Pednekar continues to show her versatility as an actor, Sanjay Mishra is a welcome comedic relief and Aditya Srivastava is the embodiment of true evil as the film's primary antagonist.

The primary shortcomings of the film lie in the overly preachy script that isn't as nuanced as the film requires it to be, and is fixated on reciting its underlying themes. Multiple scenes involve characters saying "Yahi to problem hai samaj mein....". The film's impact would have been greater had its message been delivered with more subtlety.

The motivations of characters in the film are also not quite clear. Certain character have abrupt changes of heart throughout the film that do not make much sense and merely serve to advance the plot.

Overall, Bhakshak is a well-acted film with a pertinent themes and is certainly recommended for your watchlist, but is not without its fair share of flaws.

A gorgeously animated film concerned with the mature exploration of a young boy's psychology and fears- feels like a Pixar animation, doesn't it? In fact, certain elements of Orion and the Dark do feel greatly influenced by Pixar's Inside Out in that both films involve the personification of abstract objects. But like any good film, Charlie Kauffman's script builds on an interesting concept and makes it unique. The story has a number of layers to it, some of which I was not anticipating. The film explores the ideas of overcoming one's fears, of being misunderstood and inter generational storytelling.

My favourite aspect of the film is its exploration of the feelings of the Dark. He isn't simply an entity whose sole purpose is to help Orion overcome his fears. He feels troubled and saddened by how misunderstood he is by people in the society. This, coupled with great voice acting by Paul Walter Houser and beautiful animation, made me appreciate the characters and in turn, the journey much more.

Throughout the film, it appears as if Orion is narrating his story to his daughter, who apparently is also afraid of the dark. But the third act of the film introduced the theme of inter generational storytelling , which I was not expecting, nor is it something that is commonly seen in animation films. While I do feel that this aspect of the film was rushed, I have to acknowledge that the idea was fresh and, quite frankly, genius.

Despite having a plethora of unique and fresh concepts, the film tries to do a lot in it's short runtime, and suffers from a lack of proper time management- certain elements seem of the plot seem overcooked, while others feel rushed and glossed over. Also, some aspects of the Dark's character arc did not quite work for me.

While it may not be a masterpiece, Orion and the Dark is a beautifully animated, ingeniously written film that is as entertaining as it is richly nuanced.

I was actually quite excited to watch Lift. It's directed by F. Gary Gray, helmer of The Italian Job and The Fate of the Furious.

Let's talk about the positives first - The performances are good for the majority of the film. Kevin Hart gives a performance better than what the script deserves.

Some action scenes are also quite enjoyable - a boat chase during the first act and a fight scene in an aeroplane are well directed and fun to watch. The final twist was cliché, but was unexpected given the simplistic nature of the script.

The script, without a doubt, is the absolute worst part of the film. There should have been a greater emphasis on developing a healthy and fun camaraderie among the group members. However, the focus is more on the romantic relationship between Kevin hart and his ex-girlfriend, which doesn't have the kind of emotional payoff that the former would have.

The first act of the film is filled with blatant exposition scenes with characters explaining stuff on presentations.

The film is also filled with random events to heighten the tension for short periods of time.

The cinematography is also a bit sus. There are certain shots that feel very overexposed. It just looks amateurish. The CGI and green screen is also very noticeable in certain scenes.

In conclusion, Lift is a competently directed and well acted film, having a few enjoyable moments, but is let down by its superficial script and paper-thin characters.

Night Swim is based on a short film of the same name and is directed by Bryce McGuire, who also directed the short film.

The positives:

1. Most of the performances are competent enough to keep you engaged for mini portions of the film. Wyatt Russell and Kerry Condon do the best that they can with this script.

2. The opening sequence of the film was definitely the best scene in the entire film and was scary. Also, the mythology and history of the entity that was haunting the pool was quite interesting but felt like a wasted opportunity.

The negatives:

1. Poorly written characters - Every character in the film is a typical, dumb horror movie character. Despite having suspicions regarding the pool, they refuse to leave the house for some reason. The Marco Polo scene is one of the dumbest horror movie scenes I have witnessed in a while(just open your eyes if you're feeling uneasy and scared!!!). Although the film establishes the trauma that the family is going through quite well, the stupid actions of the principal characters instantly made me not care about them.

2. The entity is also quite stupid. Once it is revealed what the goal of the entity is, I realised that it had so many opportunities to kill any of the family members and took none of them. Instead, it just played pranks on them. Also, why did it kill the cat? The actions of the entity in the film make no sense.

3. The movie isn't scary at all except the opening scene because you see the scares coming from a mile away.

Conclusion: Night swim is a film that had an interesting premise and a promising opening scene. Unfortunately the rest of the film is filled with horror movie cliches, dumb characters, predictable scares that completely nullify any potential enjoyment that you could get out of the film.