Jab SRK met Imtiaz!


Now this one is in little bit of a fix. Is it a SRK film or an Imtiaz film? Because the lens that you are going to see it with will essentially change the way you feel about this movie. If you see it as a SRK film, it is no different- it is super plush movie with exotic locations, punjabi male lead, a charmer, a the sure shot lady-winner who also breaks into song and dance in a jiffy. If you see it as an Imtiaz film- it is very very different. You have now been used to maybe getting a stir in your soul by watching his cinema, you might expect a lot of layered writing, lot of soul searching and characters evolving from one phase to another at a life-unsettling pace. That is the basic conundrum of this highly anticipated movie- Jab Harry Met Sejal.

There is no story really. The ring that is lost is merely a metaphor throughout the movie which defines what each character is seeking. Sejal might be seeking a way out of her situation, might be seeking an adventure, an experience which amazes her because wo waisi aurat hai hi nahin. Harry, on the other hand, is this broken womaniser who is trying to find that one soul which fixes his own- the key to his lock, the other half of his heart, the anchor to his life. They are bound to fall in love, they are bound to show each other what they have been missing in life, they are bound to have the best chemistry that they have ever experienced. But what assures that is their journey. It is a film about moments, about subtle thoughts, maybe scenarios which shock you- when you realise that you can feel something which you might not in your ‘normal-daily-all is fine-in denial, borderline fake routine life’. The problem however is that this is too inconsistent. The problem is not that there is no cohesive story. The problem is that the screenplay does not bind the journey- the inner one- in one coherent narrative.

The first half is too jovial, impractical maybe, fun and the second one comes with a strong (mis)understanding that the audience has understood the characters’ arcs. It’s not all bad, it only becomes bad when you start expecting too much out of the movie. This is an Imtiaz film but the fact that a 50+ year old, with lots of make up on his face (and post production VFX according to my conspiracy theory) is a superstar who is hard to tame. Anushka on the other hand is more disappointing because of what she does with the character. The accent is inconsistent and irritating at times, the acting is as bewildered as in any other Anushka film and the biggest problem of all is that we are not able to connect with her. You cannot possibly go on watching the film without judging her intentions at some point. She is a self proclaimed selfish girl who will just walk away once she find the ring and that is one thing that stays with the character. That is her flaw- but the actual hidden intention behind it- her self exploration, validation of being layak and finding what is missing in her engagement- is never really exposed.

The music is just fine, a couple of songs are sheer misfits (including my jam song- Beech Beech mein) and the locations are amazing. So all in all- it can be watched once if you dont want to delve very deep into the inner workings of the characters. The writing is layered and will touch you but those moments are rare in the entire film, which is a boo-boo!

SRK is fine but he needs to lose that one expression of frowning eyebrows and that made up deep macho voice. I am happy that he is finally breaking away from that SRK stereotype of ‘oh I will lech, be dirty, be a womaniser but will never compromise a woman’s modesty’. If you love a woman so much, just kiss her. And good you are now- and less awkwardly than what you did in Jab Tak Hai Jaan.

All in all- watch it ONCE and then maybe watch the second half once more on TV!

Hits- Acting, How it is shot, Music (some of it)
Misses- Screenplay, Too plain a storyline, Incoherence

(Picture Credits- Wikicommons)

Padmavati: “Nuh huh Khilji!”


The movie that the entire country has obsessed over for 4 months now is finally here. And what a visual treat it is. Every frame painstakingly crafted, every movement imitating poetry and every second dialogue-a one liner mic drop. But. What after that? Now I don’t think, even for a second, that it is a bad movie or even an average one but it is not what is expected out of the biggest magnum opus that the country has seen. Let’s start from the beginning.

Based on the poem of the same name (yeah now the name is the same because we have definitely stopped calling it by its former name! DUH!), the story revolves around the Rajput’s quest for honor and Khilji’s quest for lust for everything ‘nayab’. The story is simple. One ruthless barbaric king is attracted to the idea of the most beautiful queen in the world, defeats the king that the queen ‘belongs’ to but the queen, the most savage of them of all, throws a trump card, and be like- NUH HUH bro! I would rather barbecue myself. (More like Shiela, Shiela ki Jawani- I am too sexy for you, main tere haath naa aani!) Anyway, I digress.

The problem with the movie is its first half which has too many inconsequential set up scenes one after the other not moving the story or the characters at all. And the problem is the quick 2 minutes noodles love that Bhansali’s characters develop to have life long implications in all his movies. One Holi sequence in Ram-Leela, one battle together in Bajirao Mastani and one fateful arrow in this one. Side characters are all caricatures and throw in wooden dialogues with glaring eyes like nobody’s business but with no real effect. There is so much that could have been done with themes of love, loyalty, second wife drama, Alauddin’s relationship with Malik Kafur, etc. etc. but it just falls short. The second half of the movie is much better and the climax is goosebumpy. It is also because the latter half of the move is shorter, crisper and with movement.

In retrospect if you think of it, this movie could have been easily called Alauddin because it definitely belongs to him and Ranveer for playing it like a seasoned actor. (However, Bajirao hangover lingers on slightly.) He is on point with most of his scenes, even the ones which are unintentionally comic. Shahid is good in the mellow scenes but hamming away to glory in the scenes where he has to preach about Rajputana valor. Deepika is a beauty and Bhansali knows exactly how to present her- with gold make up, eye lenses and glycerin doses just enough to water those eyes in almost every scene. And she does not blink. Why Deepika, why? But that is not just her in the movie so I would give it to her.

The movie is a beautiful piece of art. The eye for detail is incomparable. It moves swiftly from one frame to another like an opera and you are transported into the world it aims to create almost instantaneously. But I couldn’t figure out if it was because of 3D rendering or visual effects that a lot of scenes featured patchy frames and shaky camera transitions. So, I guess I will have to watch it in 2D too. 🙂 Coming to the effects. NO Bhansali NO. Why would you not have better VFX? It is a 200 crore film. And if those effects looked pretty on the computer screens of the designers- you should have tested it on a theatre screen. Or they should all start doing a focused test screening for cynical observationists. Music was a let down too. I love Ghoomar and how it was picturised but rest of the other songs were not at all impactful or even required at the points they came in. What compensated for that was the background score. Especially the climax, you will know when you watch the movie.

All in all, I would strongly recommend watching it once to see what cinematic power is and the direction that the film world should move in to provide us with good quality content. And also because this is probably the last time we are going to watch a historical drama in a long long time.

Hits- Scale, Direction, Ghoomar (I have a soft corner!), Acting, Ranveer (Exclusive mention required)
Misses- Story, Screenplay, Side Characters, VFX, Music, Length of the movie- so editing, I would still prefer Bajirao Mastani over this one.

Call Me by Your Name

This post might not be for everyone. And you will see why. Some emotions are bigger than the stories that they drive and some stories are bigger than the lives they chronicle. And where these two intersect, you find pieces like Call Me by Your Name. Written by André Achiman, the novel has been a favourite in the romantic drama genre since it was first published in 2007 and the movie, which has now been recognised on every affluent film festival, does not disappoint either.

Set in 1983, where a 17 year old Elio finds love for the first time in an older Oliver, an American Jewish graduate student who comes to live with the family for that summer to assist Elio’s father with his academic paperwork. It is about just that one summer and how those days define what love means for the both of them. The novel or the movie does not titillate or make its gender roles dominant on the story- it simply takes you on this journey with these two characters. And that is the beauty of it all. You might not agree with the kind of love that the piece has to offer but you will not think even twice before accepting that the emotion is so raw, so palpable and so universal.

The story is about a lazy summer and that is exactly the tone that the director Luca Guadagnino picks up. The direction is so persuasive, in control and human that you will become a part of the story at some point without even realising. There are scenes and scenes where there is no movement in the story but there is so much happening between the unsaid words and the ever on point expressions of brilliant actors- Armie Hammer (the twins from The Social Network, remember?) and Timothée Chalamat.

What is striking is how the much explicit material from the novel is reduced to representative moments in the film. There is a deep understanding that the visual medium does not require over exposition- that sometimes less is more. Many people who have read the novel or heard about the movie keep wondering what the title really means. And that is one thing you either understand or you don’t. It strikes you in the moment and you are left numb with how romantic that thought of absolute oneness with the love of your life can be. A scene between Elio and his father near the end and the last scene of the movie with Elio will seep into your soul. It is inexplicable for the most part. #Feels

The movie is shot on location in various parts of Italy– the enchanting Crema being the primary one. And if nothing else you will fall in love with the place. I don’t even like to walk and I felt like riding that bicycle through those cobbled lanes. If that does not give you a case in point, what will! Another feather in the cap is the film’s music and background score. Mystery of Love by Sufjan Stevens is hauntingly going to stay with you for a long time.

And if you finally realised that this post might be your thing because you are essentially a romantic at heart, you should definitely check out the other two entries I Am Love and A Bigger Splash from Guadagnino’s Desire trilogy of which Call Me by Your Name is the last instalment. I don’t generally talk of the accolades but it is essential here to represent the sheer beauty and power of this movie. The film has received unanimous acclaim. It was chosen by the National Board of Review and the American Film Institute as one of their top 10 films of the year. At the 75th Golden Globe Awards, it was nominated for Best Motion Picture – Drama, Best Actor – Drama for Chalamet, and Best Supporting Actor for Hammer. At the 24th Screen Actors Guild Awards, Chalamet was nominated for Outstanding Performance by a Male Actor in a Leading Role. So yeah!

Hits- Everything

Misses- You might still be homophobic (I wish tickets were up for you to time travel to the last century); It might never get released in India; I don’t support piracy 🙂

Picture credits- Wikicommons

‘Apple’ of Bollywood’s eye: Newton!


Let’s get something out of the way- this is not a film for everyone. But this is definitely a film that everyone should watch. Directed by Amit V Masurkar, whose debut- Sulemani Keeda was widely appreciated, Newton is a story that will make you nod in agreement with what it is trying to say at several occasions. The story of a righteous government clerk sent to a Naxalite conflicted area to monitor voting and facing all odds in the process including the security services (which are ironically stationed there to protect him) will make you think. It is a slow film that takes its own time to grow on you but when it does, it has an impact.

The film raises a lot many issues that are prevalent around us- in our own country. The lack of information/knowledge, the total disregard to areas and most importantly people who do not matter to the larger scheme of things, what is wrong with democracy and its projection in a particular light, bureaucracy and the ease with which everyone- including the government officials and security forces- has accepted the state of affairs. It is normal to call a Naxalite area- Pakistan; it is okay to blatantly lie on air to a ‘foreign’ journalist; it is acceptable for the presiding election commission officer to not even conduct voting in an area because it might be ‘challenging’ and because ‘aisa hi hota hai!’ But the reason why Newton works is because it never becomes preachy. It does not have monologues on how everything is wrong, it does not exaggerate a situation in terms of violence, action or even emotions and maintains a ‘straight face’ while presenting the situation from the main character’s perspective.  And mind you, it is not a dark film at all. It has its moments of humour, wit and intelligence.

Now we come to the star of the film- Rajkumar Rao. Oh my God! That man. He does not miss one note. He gets into the skin of the character and never ‘acts’. He has the pulse of the situation, works on the energy of the co-actors and improvises his reactions to perfection. He is one actor who is slowly establishing himself just through his immense talent- he can deliver a mass entertainer like Bareily ki Barfi and a film like Newton with equal ease. And that is commendable. Talking of his co-actors, we have Pankaj Tripathi as the anti-hero security head who is another gem that Bollywood should leverage more. He has such calm about his performance. We know that he is going to be against our hero- but we don’t dislike him- not even for a second.

The direction is layered. The storytelling is simple. You are thrown into the world of a these characters who have their individual ideologies, perspectives, motivations in some cases and hence tactics to deal with the situation. It is nothing but elating to see such films garnering much attention among all kinds of audiences despite not featuring the Khans or the Kapoors. At least a part of the Indian audiences is maturing. Finally!

Having said all of that, if the film was worthy of being the official entry to Oscars or not remains debatable. Even though being compared to an Iranian film- Secret Ballot for its story and characters- Newton remains a top contender for your watchlist. Do give it a shot!

Hits- Acting, Direction, Runtime
Not so Hit- Pacing (not a miss definitely)

Picture Credits- Wikicommons

Sweety ka sweet drama- Bareilly ki Barfi


This year hasn’t been the greatest for movie lovers or even the general audiences who yearn plain simple ‘fun times’ at the movies. And thank God, this one comes as a breath of fresh air for everyone who was just getting disappointed with movies one after the other. This IS essentially a small town flavoured Dum Laga ke Haisha brand of a movie which talks to everyone sitting in that theatre. It has some amazing writing, on-point acting and great texture and not to miss a runtime of just 2 hours which makes it an ideal watch. The plot is quite far fetched but still seems plausible because of the way it is treated. You never get the time to question the on goings because almost every scene has that one note that you admire. A lot of it has to be credited to the director- Ashwiny Iyer Tiwari who picks up the flavour with much ease. Female directors be awesome!

This is a story of Bitty who is rejected in marriage proposals again and again because of her personality. She is outspoken, she drinks, she smokes, she watches English films (doesn’t understand them completely though!), does not sit with both legs on one side on a bike, has endless night outs and never reveals if she is actually a virgin or not. The question that the character asks is something we all should- does any of it really matter? In an initial scene- sharing a smoke with her father, played beautifully by Pankaj Tripathi, she questions all of this and refreshingly her father does not tell her that thinking on those lines is incorrect. He almost only informs her “hum ye sab nahin maante par samaaj maanta hai, aur jo bhi ho, rehna toh isi samaaj mein hai“. While Bitty is the son to her father, she remains a daughter to her mother- played by Seema Pahwa (again a very very fine actress). Her mother is so concerned about getting her daughter married that she literally questions the marital status of every boy who enters her home.

Image result for bareilly ki barfi

Then there are the two boys. One of them is Ayushman Khurana as Chirag Dubey who has by now almost moulded himself in these characters. At so many points in the movie, you will feel that you have seen him do this so many times, wearing the same clothes so many times and that he needs to maybe act one notch down or just experiment a little with his roles. And the other one is the star performer of the film- Rajkumar Rao as Pritam Vidrohi- a nearly apt amalgamation of his two sides in the film- soft spoken Pritam and the Rangbaaz Vidrohi. He does not miss one beat in the film. Sometimes in one shot of his face, he is able to transform himself from one character into another and it is a treat to watch him. Really.

Talking of beats, the music of the film is pleasant and is aptly placed except for the last song in the film which has a montage of brooding Ayushman Khurana. Sweety tera drama is very very catchy and will make you want to dance except for you will be worried for Ayushman Khurana’s shoulder on the verge of getting dislocated. Why so much energy for no reason bro! Take it slow and shut your gaping mouth when you are not lip syncing.

All of this will pack you up with a good dose of entertainment. But there will be some hindrances too. Although, this is Kriti Sanon’s most fleshed out character and role, she will look like a misfit in the set up of the film with her nicely done hair, her designer clothes (especially that wedding lehenga) and her on-point make up. She keeps picking and dropping the leheza of Bareilly throughout the film, which is distracting. Another thing that would look unrealistic is the transformation of Rajkumar’s character. It is only his acting that saves the under cooked and too abrupt a transition.

A special mention to the voice over narration by Javed Akhtar that is effective in most parts and slightly pushed too hard in others with a compulsive need to rhyme the lines.

All in all, watch this one for sure. It is totally worth your bucks.

Hits- Acting, Direction, Dialogues, Supporting Cast
Misses- Repetition by Ayushman, Slightly inconsistent Kriti, predictable plotline

(Picture Credits- Wikicommons)

Annabelle, why you be so creepy?

annabelle creation

She strikes again! The creepy doll that is a potent scare fest material for the sleepless nights that you might have had after watching her in the previous films, is back!! And this time, she is just a treat for anyone who is a horror genre fan. Annabelle: Creation, the latest addition to the Conjuring Universe (yeah it is a thing now!) that tells the story of the doll’s origin, possession and transit through the years, has all the essential elements of sending chills down your spine. There are jump scares, there are throwbacks, there is atmospheric eeriness and yes there are long long close up shots of that doll. Oh and before I forget, there are mid and post credit scenes. Yeah well now every movie wants us to go through those endless credits. (Fun game idea in the end– Aha! Did you see what I did there?!)

So, there are a lot of jump scares in the first half. If you are more of a lightweight around horror movies, then you would be crapping your pants throughout. However, the second half has more weight. It has the backstory, the plot has some character development especially between the two main girls and yes it finally reveals the origins of the doll that has been haunting you for a long time now. The atmospherics of the movie leverage the period set up to the fullest and brings about the same impact as The Conjuring movies. In addition to that, the movie uses two things quite aptly- sound design and cinematography. The music adds layers to the effectiveness and is close to what solid background did for The Shining. When the movie is not jump scaring you, it is playing with you through shadows, imagery and camera angles. And that is all that is needed to make it a good watch.

This is a definite valuable addition to the universe that James Wan is aiming to create (like I said; everybody wants to be Marvel; CASH GRABBERS!). It is everything that the first Annabelle wasn’t. And even though it works as an enjoyable standalone movie, it connects aspects of other entries in the series quite well. It leads to the events of the first Annabelle movie, Valak (the demon from Conjuring 2) makes a special appearance and teases the upcoming spin off- Nun and we get to see the actual Raggedy Ann doll that the Annabelle series is based on. (#TriviaTime The real Annabelle doll that resides in a glass chamber at Ed and Lorraine Warren’s museum is not the porcelain doll that the movie features but a Rag Doll. Look at this innocent looking doll and then think of all the creepy stories around it. Just look at it!!!)

Image result for annabelle doll

Now those are all good things but there is an essential problem with this formulaic approach too. The problem, which has greater impact if you are a horror movie fan, is that you almost know what is going to happen in most of the scenes. The crippled is going to be the most affected, the demon is going to vomit some black goo and possess, there are going to 3-4 girls who will just be there to scream (shriek), etc. etc. but that in no way takes away from how entertaining Annabelle: Creation is. All in all, the movie is a must watch for anyone who enjoys classic scary horror movies that keep you at the edge of your seats. If you are looking for subtle imagery, a thick storyline, immense character development then this might disappoint you. It is not as good as the first Conjuring but comes real close. I have to give a shout out to the director of this one- David Sandberg, who also directed Lights Out, for an amazing job done.

Hits- Jump Scares, Direction, Sound Score, Cinematography
Misses- Formulaic, change in the doll’s appearance from the earlier movies (which might only be a thing for an ardent follower)

Oh yeah, the fun game- so in any movie which is heavy on VFX and special effects- get your friends to locate Indian names in the crew list. It is fun and makes you wonder why these talented people are not working for Indian studios that suck at special effects.

Let’s talk about Dunkirk, shall we?!


I should start this with a disclaimer that this is in no way a review but only a perspective on what I thought of the movie that is being credited as one of the best war films of all times- Dunkirk. First and foremost, you see how cinema has the power of bringing out chapters from history that half the world did not have a clue about? You do? Yes? Yes. Such is the enigma of movies- you get exposed to stories from parts of the world you have no connection to, parts of society that do not impact you at all but to all of that strikes a connect with the humanity in us at so many different levels. Dunkirk is based on the real life Dunkirk evacuation during World War II and is almost a documentary-style representation of the events from three different perspectives- the land, sea and air.

The film does not talk too much. That might be unsettling for a lot of people but the beauty of it is that it almost nullifies the need to present the audience with redundant exposition. It’s a war, there are soldiers, they are fighting for their survival, it is what it is and there is no need to have patriotic dialogues in-between the action to drive the point home. The situation in itself is inspiring. The civilians who contributed to the evacuation are enough to show what it meant for them at that point and in the film of course. The audience is transported to this world of vast water body, unending horizon, constricted boats, stuffed cockpits, a constantly thrilling background score by Hans Zimmer- all at the same time. It is an experience in itself.

But that’s it. If you are into war films like Border and LOC Kargil then this might not be the best bet for you. There is no “Suno jaane wale…laut ke aana” or “Sandese aate hain…”, there is no drama, there is no ‘story’ and there is no cathartic THE END! (If you consider finally seeing Tom Hardy’s face in a beautifully shot scene near the end, then maybe yes.) And if you thought oh poor Tom getting no limelight, the film does not indulge Harry Styles at all either. Watch this one for the sheer scale and expertise of the makers. You are bound to wonder how they shot some of the scenes for sure. And if you are a Christopher Nolan fan, then this is pure gold for you. You know his style, you know how he makes his cinema and you know what not to expect from him. And he will still amaze you. Watch it at an IMAX theatre if you can.

And if you are really looking for a loophole in the movie- this smiling extra fail might interest you a little-

Related image

Hits- Scale, Direction, Technical Expertise, Authentic set up, Background Score
Misses- Disconnect with characters, Drama

(Picture Credits- Wikicommons)