Thugs Of Hindostan Review: Great Actors Don't Always Maketh A Great Movie

Cast - Amitabh Bachchan, Aamir Khan, Fatima Sana Shaikh, Mohammed Zeeshan Ayyub, John Clive (let's just not insult Katrina further by adding her in this section. The makers have already done that. More on this later).

Director - Vijay Krish... Arre the same guy who helmed Dhoom 3.

Runtime - 2 hrs 44 mins

Genre - Adventure / Thriller (really?) / Action

Plot - Remember the The Boy Who Lived from Harry Potter? Bass vahi hain. Just replace Daniel with Fatima and voila! You have TOH (Not literally tho. I won't dare to compare THAT to THIS but you get it, right?)

A constantly double-crossing doube-double-crosser who double-crosses way too much. Or does he? This is basically the main plot point of the 2 hrs 44 mins film.

The perfectly choreographed action, the outstandingly good background score, cleverly blended fight sequences, first rate performances by the lead cast surely makes you sit up and watch but are these enough reasons for you to spend 3 hrs and INR300+ on?

All the actors give top notch performances and are one of the very very few saving graces but even gifted actors like Amir and Amitabh couldn't save the Indian version of Dumbledore-Snape equation from falling pale. Also, it's galling how Fatima Sana Sheikh isn't given anything more than 2-3 lines in the first 45 mins of the film. 

No! Not Katrina. It's sad how her role has been cut down to just 2 item numbers, although she could've been used for the action bits considering how good she is at it. But of course, what is a Bollywood film without a gratuitious dancer who is shimmering with gold on her body much like Aishwarya Rai did in Dhoom 2. And what on earth are these women doing to their lips and why?! Did I miss something like, "Katrina's lips are going to be in 3D so watch out!"  It is shocking that her choreography goes out of its way to make her steps exaggeratedly mechanical and look – absurd! Sure, it shows how strong her abs are, but where is the grace? Hello?

The story is bromidic and reminds you of many films (Yes, Race 3 being of them). The only saving grace in the plotline are its dialogues which are minimal but hard hitting for most part of the film. The lines feel honest because the characters seem aware of themselves, their actions and those of others too. 

The direction is shoddy along with poor CGI. The second-rate digital work and the even shabby editing snatch that attention away from the lustre of some interestingly conceptualised fight scenes.

The best thing in the film (for me) is how despite being clearly in the “masala” genre, Thugs of Hindostan doesn’t have a romantic sidetrack. The restraint is even more obvious and applaudworthy because there is ample opportunity for a love story. Or even two. Props to whoever thought of that. 👏

Thugs of Hindostan dulls down in the second half with the wit dying out and the story-writing deteriorating to the kind we saw in the multi-starrer masala films from the 80s and 90s. This includes the huge gaps in logical flow and things quite conveniently turning out the way they do.

If you are among the ones looking for a typical masala Diwala release,

TOH might just work for you but I'd still suggest you think before you press that "Proceed for Payment" option.

Ratings - 2.5 (Only for Aamir, Amitabh and the Sound-Makeup-Action Department)

PS - Sorry Katrina. Your amazing dancing skills and luscious lips deserved better. 

Christopher Robin Review - A Wonderful Reminder That Hope Is Alive In This Terrible World.

I bet y'all will agree that Christopher Robin + Winnie The Pooh = Childhood Nostalgia.

Marc Forster's live action Christopher Robin is the movie you didn't know you needed. Yeah yeah I know, the trailer and everything suggests that the film is a honey syrup sweet thing you might want to stay away from. But hey, you're highly mistaken. This version of A.A. Milne and illustrator E.H. Shepard's 1920 classic has an enchanting, low-key vibe that is, here and there, brushed with a lots of traces of adult melancholy. It’s good for kids, definitely, but maybe even better for adults who could use a little calming.

It begins with Christopher's farewell party with all his forest friends in the 100 Acre Wood. What follows is a 5 minutes montage narrating the happenings in Christopher's life after leaving the place - boarding school, job, family, daughter, work pressure etc.
The incidents are introduced via chapters that are dead ringers for artist E.H. Shepard’s illustrations in the books — (a sublime touch, this. :'))

Director Marc Forster, the type of player who’s done everything from batshit absurdism-lite (Stranger Than Fiction) to Bond flicks (Quantum of Solace), intense character dramas (Monster’s Ball) and postapocalyptic zombie epics (World War Z), evokes the same magic here. Every time things start to get a bit goopy, we get silent-comedy slapstick from Pooh and other characters.

Screenplay from Allison Schroeder (Hidden Figures), Tom McCarthy (Spotlight) and Alex Ross Perry (the guy behind Listen Up, Philip?!?) is so powerful, it hits home.

There's one moment, where...
Pooh said “I thought you’d know where my friends are.” 
Christopher Robin: “How am I supposed to know? I haven’t thought of them in 30 years.”
Pooh: “Well, we think of you everyday.” 
The theater gasped. I am telling ya'll. Floodgates were opened but little did we know there was a Tsunami coming. There are so many times during this movie that my heart shattered and the next moment, held me tight. 

In such moments, Christopher Robin feels less like a movie for children than it does a movie for adults — specifically, adults that grew up watching Disney's many Winnie the Pooh cartoons and who are now, like Christopher, struggling against the often unfortunate aspects of adult life.

As we get older, it becomes harder to relate to the carefree nature of Pooh, whose favorite day is always "today" and whose biggest concern is satiating the "rumbly' in his "tumbly."

Kids in the audience will have no problems there, and there are plenty of antics and cute moments to keep them occupied and entertained while their parents nod along to Christopher's grown-up troubles.

If you're a workaholic and gradually let work importance slip in front of your family time... and love getting kicked square in the nuts... Then Yes. This one's for you, my friend.


Performances -

McGregor’s game performance as a confused, conflicted man fighting REAL obstacles like paternal guilt, a marriage on the rocks, missing papers that could cost him his livelihood and his inner selfish self. He’s an actor who can roll with this movie’s punches, whether it requires him to be light on his feet or dragged down by existential despair, exhilarated by childlike play o anything.

A huge factor in this is the fact that Jim Cummings returns to voice both Winnie the Pooh and Tigger — characters he has now portrayed in Pooh cartoons for decades. This film would not have worked as well as it does if Pooh didn't sound exactly as you remember him sounding.

The secret star of “Christopher Robin,” however, is Eeyore (voiced by Brad Garrett). With his sour and cynical asides –“Looks like a disaster; why wasn’t I invited?” – Eeyore does more than steal the show, he undergirds the action with his heightened sense of doom. Sometimes you feel you're Christopher and most of the times, Eeyore.

Verdict - The film has lighthearted moments, but it's not a lighthearted movie. Christopher Robin is a deathly blow to all of us once-kids who made a contract with Winnie the Pooh and the other Friends. It is as beautiful as it is heartbreaking.
Every adult needs to watch Christopher Robin and remember the important things in life – Growing up is inevitable, but never forget to look back on what's important.

Sometimes the timing of a good story is everything, and this particular story comes at a time when the world at large needs a little more hope, a little more innocence and a lot more Pooh.

This is gonna be one of my favorite movies of all time, I just know it. And anyone who tries to break Pooh’s heart and not watch this film, is getting one from me.
Hold my honey jar, Mom! I am getting my stick. 👊🙄

Ratings - 4.3/5

Karwaan - A Ride For Life

Cast - Irrfan Khan, Dulquer Salmaan, Mithila Palkar, Amala Akkineni, Kriti Kharbanda

Runtime - 2 hrs

Director - Akarsh Khurana

Hardly ever does Bollywood come up with such subtle yet magnificent storytelling.  Karwaan is a story of rumination and awakenings, and as in life, here too, such things rarely happen with drumrolls and festoon shows. And that's exactly why the film shines.

Akarsh Khurana, Bejoy Nambiar and Hussain Dalal's writing ensures this "drive," is smooth and pleasant. 

The scenic journey from Bengaluru to Kochi through the beautiful Western Ghats and Prateek Kuhad’s soothing songs cocoon you inside a familiar world and convince you that, may be, it’s time to stop being so hard on yourself, much like the characters in the film.

Somewhere along the way, these characters bond, lighten up, change and grow up.

What remains consistent from start to finish is cinematographer Avinash Arun's inventige, expansive frames. I mean a low angle shot of DQ reading a paper framed against a backdrop of thick green trees is breathtaking to say the least.

As someone who has followed Dulquer Salmaan's career from the beginning, I confess I was apprehensive when I realized that Akarsh Khurana would be directing his first Bollywood film, considering what a fuzzy bomb Sumeet Vyas starrer High Jack was. 

But I an glad I was proven wrong. Karwaan sure isn't a bone crushing beauty of the sort of movies DQ has done in the past.

But here we have a director and a star collaborating to give a script priority over everything else, which is something Bollywood rarely does.

So yeah, Props to Mr. Khurana for that.

At one point, a character in this movie explains that he is not sure whether Mr. X was a "good person" but it is clear that he was "not bad" which, in itself, is quite something in this day and age.

It has its share of shortcomings like the white racism and "appropriate clothing" gyan but it is admirsbly purposeful and unwavering. By emphasizing that a girl and a guy can just be friends, this road-trip film is also proof that you can find yourself without letting a manufactured love story derail it.

The appropriate description for Karwaan would be -

It isn't earth shattering, but it isn't bad at all. Which is another way of saying it is an intelligent, funny, thoughtful, an "almost" flawless movie and a pleasant experience. 

And if for nothing else, Karwaan can be watched for its performances alone.

This kind of dry, dark humor is made for actors like Irrfan Khan. His impeccable style of delivering lines with deadpan eccentricity makes even a deadbeat situation funny. I mean, who else could make "Aye, Maiyyat pe romance nahi ha," sound funny?

 Kriti Kharbanda is disarmingly fresh as her character is required to be. Why don't we see more of her in Bollywood?

Likewise, Dulquer Salmaan brings just the right amount of intensity to a character who is bored with his life but doesn't bore you.

His understated and quiet performance strings the narrative into a smooth flow. 

Here you don’t get a glimpse of the star from  Malayalam cinema, rather, you realise why he’s a star. 

With the limited screentime, Mithila Palkar is decent as the quirky millennial.

It's essentially a meditation on mortality, grief, and letting go - an ingenious set up that gives birth to a terrific coming-of-age drama. 

The strength of this film lies in its ability to find humour in hair-brained situations.

This one will stay with me forever. ❤️

So go, get your tickets! You can thank me later. 

Ratings - 3.5/5

Why Is Bojack Horseman So Important?

So many people have been asking me about the unconditional love I have for Bojack Horseman (after The Walking Dead and Twin Peaks, of course). 

So here...

It has redefined what animated comedies can be in a big way. Not only is it consistently funny or an increasingly impressive watch during the age of sad comedies but it’s also an emotional one.

I mean, Bojack has made me contemplate life more than any other show.

I understand it's hard to believe it from its embarrassing lack of awards attention but it’s consistently one of the best, funniest, and most emotionally raw shows on television. ABSOLUTELY transcendent in places.

Any screenwriting class will tell you that one of the most crucial things in storytelling is making the audience care about your characters. And this show aces it perfectly. 

The thing in life is that even when we get everything we want, they may not particularly be what we want a few years down the line. We can strive for perfection but that elusive aim always shifts as we grow and change as people. And on some level, our pursuit of happiness becomes similar to a coyote chasing a fake rabbit that’s wired to always be a step ahead of us. 

That's the case with Bojack, an anthropomorphic horse. He may have seemed like everything we want to be, but the tragedy is that he is actually everything most of us really are. I MOSTLY AM. 

Depressed, self-centered, everlastingly unsatisfied and obsessed with his own past life - both trying to escape and relive it. 

Like many amazing characters from different shows, he holds a mirror up to us, but UNLIKE most, he holds a mirror to the PARTS OF OURSELVES THAT WE ARE NOT SO INCLINED TO SHARE WITH THE REST OF THE WORLD. And that's what makes Bojack, so special.

As the series progresses, we see how disenchanted and confused about her direction in life, BoJack’s seemingly sorted ghost writer turned friend Diane is. 

We see a growing sense of worthlessness in the otherwise charming slacker Todd and the endless frustrations of BoJack’s agent Princess Caroline.

And in the center of it all, we have Bojack - 

A man who was so busy chasing things he believed he wanted when he was young and reckless, he missed out on so many chances at happiness. A man who constantly sabotages himself and everything around him out of a dangerous combination of cowardice, bitterness and spite. 

The greatest masterstroke of this show is choosing the format of an animated sitcom to give the viewers a reality check. BoJack’s shift from a funny, witty comedy into a dark, existential, character-driven drama in just 2 episodes is a thrilling surprise and when it hits you and you realize what's happening, it sends you into a different zone. The show is laden with trigger warnings for people already suffering from any mental condition. Believe me when I say this, according to me, it's actually how you take it - on a deeper note, it helped me get out of my habitual dolour, something I've been struggling with since the beginning of this year.

The way the show deals with the differences in people's attitude and attributes is somewhat a hopeful suggestion that just because things seem doomed, doesn’t always mean they are.

This is the kind of show that can make even an uproariously funny gag into a sly commentary on maturity and how much on some level we are all just kids with no idea what we’re doing, trying and often failing to grow up.

And that is exactly why it getting SNUBBED at the EMMYs again this year, rubbed me off the wrong way.

I mean, Jessica Biel kills and eats Zach Braff and yet SHE gets an Emmy nomination, but "Bojack Horseman" gets none. This is a crime. I have a bone to pick with you, Emmys.

My frustration has reached a point where I am turning to conspiracy theories.

This is a show we need to celebrate — a show that’s willing to take tonal and creative risks all while being sensitive to its characters and inclusive. Instead, the same few shows were nominated yet again for Outstanding Animated Program. *slow claps*

To quote a wise woman, the Emmy people can "Suck a d**k dumb shits!"

Black Panther Review - The Superhero Movie We All Deserve, Thanks Marvel. This Was Long Overdue.

Genre :- Fantasy/Action/Sci-Fi

Run-time :- 2 hrs 22 mins

Cast :- Chadwick Boseman, Michael B. Jordan, Lupita N'Yongo, Danai Gurira, Martin Freeman, Daniel Kaluuya, Angela Bassett, Forest Whitaker, Sterling K Brown, Winston Duke, Letitia Wright, Andy Serkis

Director :- Ryan Coogler

Plot – As we saw in Captain America: Civil War, King T’Chaka of Wakanda, was killed in an explosion at the United Unions meeting. Black Panther picks up with King T’Chaka’s son, T’Challa, returning home to Wakanda to participate in the ritual ceremony making him the new king of Wakanda, and Black Panther.

There are a great many things that make Black Panther a Marvel film like no other, but one of the most striking things about it, is how thoroughly familiar the world of Wakanda feels. Not in the sense that you’ve seen anything like it before (trust me, you haven’t) but rather that seeing it feels like coming home, where the reality kicks in.


Direction and Cinematography: 

Ryan Coogler is already a 3/3 with all his movies being a hit and there's no doubting his mettle. It's because of his direction coupled with cinematographer Rachel Morrison's craft, we get breathtaking, on-the-ground shots that give Wakanda’s streets a texture and vibrancy that blends old-world hustle and bustle with gleaming accents of the future.

Screenplay:

While Coogler is known predominantly for his directing work, his writing is equally superb (just look at Creed as another example), making Black Panther the most grounded and humane Marvel films.
And Coogler and Joe Robert Cole’s screenplay shines in their outstanding character development and ability to elicit empathy.

The testament to this claim is Erik Killmonger’s (Michael B. Jordan) villainous motivation which is immediately understandable and completely relatable. If you knew what he knew, you’d want to fight T’Challa, too. Even in the moments where Killmonger’s ambition to take the Wakandan throne boil over into overt bloodthirstiness, there’s a voice in the back of your head reminding you what brought him to that point, and why maybe he has a point.
And that speaks a lot about perfect scripting.

From the topics of colonialism to populism, Black Panther doesn’t shy away from the conversations that need to be had. It would not have been as strong a movie had it not maintained a balance between contemplating the heavier concepts while portraying the absolutely joyous and reverent sequences about Wakanda’s magnificence.

The Highs -

Black Panther tackles many politically charged topics and is one of the most socially relevant action films in recent years. But wait, before the regular offenders hit the comments section and say, “Keep politics out of entertainment. MAGA”, you can relax and take another sip of that Redbull in front of you. This film isn’t saying “death to white people”; quite the contrary, in fact, as it promotes a concept of “one tribe.” There’s a deep and resounding moral to the story, which we could all learn from. I am serious, Moral of a Superhero story. Yes!

I really enjoyed how the film made it overly apparent that a lot of time and effort went into creating Wakanda, from the language, to the clothes, to the amazing technology.

Homage was paid to the African culture with the versatility in style and color patterns used in the wardrobe, the use of music and dance during rituals, and loyalty and strength within tribes. It was very futuristic and seamless, yet you could see how it was rooted in real world culture. All of it was so surrealistic it often made me think “Whoa! What if this really was real? It'd have been so awesome man!”

The movie wasn’t as comedic as the most recent Marvel movies (read: Thor Ragnarok) but it had its moments that kept it light-hearted. The movie’s comedic moments land squarely but they’re also subtle, often bubbling up suddenly—almost as if willed into existence by the chemistry between the cast. The timing is so accurate, it takes you by surprise and make you laugh harder than you should.

The casting choices were great. Black Panther truly does not rely on any other Marvel film to make it a good story. It is a stand alone film that makes a name for itself without using the rest of the MCU as a crutch to attest to its greatness.

Talking about action, If you thought you’d seen it all in the MCU, think again. Black Panther features some of the best fight scenes you’ll ever see in a superhero film, period. The battle between Winston Duke’s M’Baku and T’Challa is a visual treat as they slug it out over a scenic waterfall, as is Black Panther’s first butt-kicking appearance in the jungle fight where he kinda sorta looks like Batman's clinging-to-the-wall entry scene in BvS. Yeah, I had to compare it. Sorry not sorry.
Also, anytime Lupita Nyong’o, Danai Gurira, and Letitia Wright do literally anything in Black Panther is the best moment in Black Panther. Man are these woman the epitome of badassery in this movie!? Gimme a Hell yeah!

The real quality lies in the quiet moments where we get to peel back the layers of T’Challa, KillMonger and the other characters. PS - Describing Okoye (Danai Gurira) as simply the general of the Dora Milaje isn’t entirely accurate; she is in almost every sense of the title, Hand to the King, second only to his mother Queen Ramonda (Angela Bassett). The relationship between T’Challa & Shuri & the banther that goes on between the two is genuine, which is another thing that Coogler nailed down perfectly.

This brings me to my next point: the “villain”, Michael B. Jordan’s Killmonger. First, let’s throw our fists in the air, because a Marvel antagonist has finally been done right. Jordan’s performance is the main highlight of the cast as his character blurs the line between good and bad. The fact that several people in the audience cheered (I was the loudest) when KillMonger went on his diatribes, speaks volumes of how people connected with him and didn’t see him as a stereotypical villain.

Another thing we can’t ignore is the soundtrack. While other superhero films have mostly relied on horns and strings, composer Ludwig Göransson embraced Black Panther‘s African (and African-American) roots by merging tribal music with hip hop. There’s nothing eclectic about this combination and it works well to give an extra sheen of originality. Also, Kendrick Lamar dude, how can a film's score possibly go wrong with this man's magic?


The Lows -

My only major gripe lies with the overuse of CGI, which stood out like a sore thumb at certain points in the film. If we’re going to condemn Justice League for video game-esque graphics and obvious shortcuts, we need to do the same here. "There she goes. Talking like every DC fan out there!" Really now? Grow up!

When the film was more grounded and focused on great acting, practical effects, and fight choreography, it was pitch-perfect. Once the CGI came in, well, it was hit and miss. The lesson is the same as it’s been for the past couple of years: CGI doesn’t always make a movie better, so less of it, please.

It gets a little slow in the middle with unnecessary flashbacks and all, making me look at my watch more than once.

On the same note though I feel like there could have been just a little more character development for Erik Killmonger. I wish there was a little more justification behind his anger. His motivation was implied by his story, but it could have been a little more well-rounded and believable with a little extra detail.

Performances :-

Chadwick Boseman proves that he can stand on his own & stand firm. Even with veterans like Angela Bassett, who plays T’Challa’s mother Ramonda & Forest Whitaker, who plays Zuri, at his side, Boseman shines bright with charisma & maintains the strong presence he brought to the big screen in Captain America: Civil War.

Michael Jordan nailed it as KillMonger with his uniquely casual delivery style and irresistible appeal. You know one's a great actor when they can make you see both sides of the character they're essaying.
“Throw me into the ocean where our ancestors jumped off the slave ships because they knew death was better than bondage” says Killmonger at one point and I am not kidding I got literal goosebumps.
Jordan's KillMonger made me sit through the movie going "He's right... Well he's right, too... Now, that's a good point! I had to silently give myself the "PICK A SIDE!" speech. I need to reflect and maybe see it again without the mental noise. :)

Black Panther had me fan-girling so hard over Lupita Nyong’o. That woman has some cray cray moves in the film. Stuff which even dearest Boseman doesn't get to set his claws on. Beyond perfect for the character, I have no more words to describe her performance.

Letitia Wright as Shuri, is a sister we all wish we had. This 16 yr old actor is one of the highlights of the movie. She is the Tony Stark of Wakanda, but with cooler tech. Ahem! The way she yelled, "Whaaat areee thoooseeeee!" with the enthusiasm for tech spoke a lot about the genius of the character.

Bassett & Whitaker’s characters were mainly in the background but still contribute lightly to the progression of the plot. Listen up, I need a recording of Angela Bassett screaming "SHOW THEM WHO YOU ARE" to get out of bed every morning.

Daniel Kaluuya, who played T’Challa’s best friend W’kabi, did a solid job but suffered from a non-visible connection to T’Challa, which was necessary for the growth of his character in the third act.

We’ve already seen what Gurira is capable of in The Walking Dead, but she takes it to a whole new level here as the unstoppable Okoye. Someone needs to put her, Valkyrie, and Black Widow in a team-up movie now and you know who I'll be rooting for!

Martin Freeman‘s Everette Ross has definitely stepped in as the new Agent Coulson, which works perfectly. I hope we see more from Freeman outside of the Black Panther films.

Andy Serkis‘ Ulysses Klaue withheld his comedic tone that he brought to the table in Avengers: Age of Ultron.

Winston Duke‘s M’Baku was more interesting than than both Klaue and T'Challa at some places, especially since fans of the Black Panther comics know that he is a thorn in Black Panther’s side. I am looking forward to seeing more from Duke in Avengers: Infinity War and hope they show more of him butting heads with Black Panther in future films.

Watch o Not ? 

Definitely. Arre please do. With all the talk of superhero fatigue, Black Panther is a breath of fresh air for the genre. This isn’t your stereotypical Marvel film; it has a maturity and depth to it that separates it from the pack. When we talk about the likes of The Dark Knight and Logan changing the game, we might soon be adding Black Panther to this illustrious list.

Verdict :

Black Panther is a daring and beautiful spectacle in all things black - the culture, history, resilience, and the aesthetics. Its refreshing depiction of Africa as a strong and powerful continent and engagingly addressing issues is awe-inspiring.  WakandaForever!!

It’s the kind of Marvel movie that definitely benefits from more than a single viewing, and it’s one that’ll draw you in—and blow your mind every single time.

Also, If I shake your hand and hit you with the X and I don’t get it back... You cut off from my life fam! 😝

PS - It’s 2018, you should know better than to leave the theater during the credits of Black Panther. Amateur!

Ratings -  4.5/5 

Padmaavat - Bewitching Visuals With A Factually Flawed Narrative

Right upto the release of his highly anticipated period drama, certain fundamentalist organisations committed various acts of violence, threatening the makers and  demanding a ban on the movie based on MERE assumptions that this film insults their community/people. Ironically, Padmaavat is an ode to the bravery of the Rajputs, in an irritating way which makes you question its authenticity.

So dear protesters, if you’d sit back on your seats and relax... allowing us to discuss cinema? Please?

Padmavati / Padmaavat

Genre :- Period Drama

Run-time :- 2 hrs 43 minutes

Cast :- Deepika Padukone, Ranveer Singh, Shahid Kapoor.

Director :- Sanjay Leela Bhansali

Plot – Based on Malik Muhammad Jayasi’s poem Padmaavat, The film tells the story of Rani Padmavati, second wife of Ratan Sen, king of Mewar, who immolated herself to save her honour from Alauddin Khilji.

Direction and Screenplay :-

Coming from a director who is known to satiate the insatiable appetite of an audience who relish a dish filled with high octane period action, emotions, drama, garnished with aesthetically beautiful frames and setting... Padmaavat/Padmavati doesn't disappoint.

From the word go, SLB creates a world so dreamy, layering it with the majestic grandeur and simplicity of the Rajputs and Singhals.

Bhansali’s Padmaavat is based on the 16th century fictionalised poem Padmavat by Malik Muhammad Jayasi. Most modern historians concur that Rani Padmavati a.k.a. Padmini is a figment of Jayasi’s imagination although Alauddin Khilji and Ratan Singh a.k.a. Ratan Sen a.k.a. Ratnasimha are historical 13th-14th century figures.

Editing and Cinematography :-

At 163 mins, the movie is a little long but considering the fact that it's a period drama made to perfection with all the subtle nuances, the runtime somewhat seems justified.

Sudeep Banerjee has proved his mettle once again with his stellar cinematography. The setting of lighting is absolutely immaculate, especially the night sequences and scenes that are to be lit only using the light from Diyas.

Music :-

Ghoomar song is the inarguably the best song in this film, perfectly choreographed, flawlessly executed and a visual treat.

Ek dil hai is beautifully sung by Shivam Pathak with a soothing rhythmic structure and a combination of soft drum beats  and qawwali-esque claps. Khalibali is Khilji’s dance song, basically 5 mins of Ranveer Singh showing off his exurberant energy.

Apart from the tuneful 'Binte dil,' even the music does not match up to what Bhansali’s films have delivered in the past.

But I was blown away by the sheer grandeur and the powerful background score which was archaiclly set with the dramatic moments.


The Highs -

The technical chemistry between SLB's direction and Sudeep Banerjee's cinematography is spellbinding. Give the latter one, an award already for perfectly blending illluminating and vibrant colour palettes and breathtakingly crafted frames. I could've easily watched the beautiful painting that they have created with just lights and camera angles.

Deepika Padukone is the only actor in the film who actually manages to evoke the depth of the character without making it dull or exhausting to watch – a convincing perfromance as an epitome of grace, elegance and valor throughout.

Ranveer Singh alongwith his undertaker esque eye-rolls, holds the pulse of this film which is otherwise a super attractive canvas painting with a weak story base.

Just like Bajirao Mastani, it’s not just the extravagance in Padmaavat that catches the eye, but the precision with which it’s applied. Every twirl of every sari and every arrow in every battle appears to have been guided by the hands of angels.

The action and war scenes meet the expectations and somewhere in between reminds you of the epic Thor and Hulk battle, sans the superpower of course.

The Lows -

By investing too much time to showcase the actors simply swooning at each other, the connection between the driving story and the audience gets lost somewhere in the second act of the first half.


Maharaja reminds me of present day Rajkummar Rao's Newton, righteousness incarnate, who succumbs to his USOOLS (principles), walking into the den of a lion and then blaming him by saying, “Hey you’re not supposed to eat me! I trusted you.” Really dude? *runs away and cries in a corner.*

The bland chemistry or just the lack of chemistry between Deepika Padukone and Shahid Kapoor, it is even pale in comparison with that between Jim Sarbh and Ranveer Singh or can be considered even less than the love-and-hate relationship between Deepika Padukone and Ranveer Singh – who don’t even share a single frame. Hisaab lagalo bhai.

Also, why in the sweet hell is the word “nayaab” repeated so many times that it loses all the UNIQUENESS? WHY?

Why the biasness with both the male leads? If Alauddin wants a woman for himself, he is portrayed as lustful, whereas Raja Ratan’s betrayal of his first queen for Padmavati is “pure love.” Alauddin gets no plate and is made to eat major meat chunks directly with his hands while Maharaja Ratan gets a Rajdhani Thali? *scoffs* Bahut na-insaafi hain. Jokes aside, Khilji’s character has been partially represented, by just portraying him as a barbaric and a maniac imperialist and not a good strategist because many Historians believe that Khilji was anything but savage.
Also, don't forget to note the sly homophobic comment where they expected us to laugh whereas I choked on the hypocrisy.

The Jauhar sequence didn’t go well with me. I mean, Bhansali does try to make a warrior queen out of Padmavati who rebelled against her enemy and even the direction and all were fine but adding a scene which glorifies self-immolation (mildly reminiscent of Ketan Mehta's Mirch Masala), in a time where movements like #MeToo breathe... and even worse, making the queen seek her husband’s permission for taking her own life – exclaiming that even her own death is in his hands, outbalances Bhansali’s intention.



Performances :-

Ranveer Singh’s portrayal of Alauddin Khilji is flawless, meaning he justifies the director’s vision of Khilji - as a dirty Sultan (literally and figuratively), whose face is always smeared with what appears to be a disgusting combination of blood and mud even while he is not on the battlefield. And Ranveer bites his teeth into the character like you bite your teeth into a burger, and makes you loathe him, everytime he is on screen. Powerhouse!

Shahid Kapoor as Ratan Singh has precisely one expression on his face from start to end, which is so disappointing, considering how amazing he was in Vishal Bhardwaj’s Haider (2014). Nevertheless, he looks everybit a noble king, with angelic eyes screaming his innocence and a face that appears as if it was just cleansed with a charcoal based facewash with a fake tan, of course, because “dessert.” COME ON!! There is one particular scene towards the end where he is challenging Khilji and he almost transforms into “Thakur” from Sholay, the best thing being, he is also wearing a shawl.

Deepika Padukone personifies Royalty as Rani Padmavati and proves why she was the perfect choice for the character. This woman plays nurse, is witty, strategizes war and political moves, hunts deer, plays nurse, sews clothes, is a dedicated wife and dances with elegance and grace wearing a 50 kilogram ghaghra (well yeah, I am exaggerating the last part. Inhone movie exaggerate kar li yar? Mei toh fir bhi ghaghra kar rahi hu :/ )

Amongst the unidimensional leads, it is the ever radiant Aditi Rao Hydari as Khilji’s wife Mehrunissa, who makes a mark – standing out because of her controlled act, making you long for more.

Jim Sarbh is underutilized and appears just like a cardboard cut out.

Watch o Not ? Watch it for SLB's archaic vision, grandiose, Deepika Padukone's fierceness and Ranveer Singh!

Verdict :

It is basically the pedestalizing of the Rajputs - To put it in a better way, Padmaavat is just Bhansali trying to win the lauds of the mentioned clan by glorifying them, rather unrealistically, and showing the Khilji’s as cringe-worthy monsters who never bathe. The movie otherwise wins hands down for the background music, breathtaking visuals, complete attention to the details, brilliantly camerawork and cinematography, VFX (especially 40 mins towards the climax) and ofcourse, Ranveer Singh and Deepika Padukone who shoulder the factually flawed film. It definitely keeps you hooked, just not as interested as Khilji was in Padmavati.

Ratings -  3.5/5 (Extra 1 just for the bewitching visuals and Deepika's performance)

Mukkabaaz - A Knockout Punch In The Face Of The Prejudiced Society. 🔥

We thank you for this, Anurag Kashyap! What a start to 2018. ❤

⏩ Genre :- Action/Sports/Drama

⏩ Run-time :- 2 hrs 35 mins

⏩ Cast :- Vineet Singh, Jimmy Shergill, Ravi Kishan, Zoya Hussain,

⏩ Director :- Anurag Kashyap

⏩ Plot – An amatuer local boxer trying to make his mark in the boxing world and lead a respectful life. His road to the ring gets filled with hurdles as he rubs Bhagwandas Mishra (Jimmy Shergill) the wrong way, who swears on making his life miserable. Will his passion and zest lead him to the top? Or would he succumb to the pressure from the political clout?

⏩ Direction and Screenplay :-

And he does it again. Mukkebaaz is hands down one of Anurag's best movies.

Mukkabaaz has all the socio-political flavors you'd find in an Anurag Kashyap film - And yet, it is different because it feels like the director is finally out of the zone where he wants to make a point. This story is being told because the story ought to be told and not because he wants to tell the story.

And it feels good to see that the Director has drifted from the usual - By focusing on the narrative than the style, little to no punch lines, adding more intensity through the characters and delivering us, a movie, that can be watched ALONG WITH THE FAMILY. Yes, you read that right!

⏩ Editing and Cinematography :-

The editing by Aarti Bajaj and Ankit Bidyadhar could have been a bit better as many moments in the second half seem stretched out a little more than they should've, cutting the movie down by a good 25 mins.

The cinematographers Jayesh Nair, Shankar Raman and Rajeev Ravi have doen a brilliant job of ensuring that the fierceness is maintained by using a vibrant pallette for the depiction of impactful scenes in the movie.


⏩ Music :-

The score by Rachita Arora hits all the right chords and adds value, thus helping the viewers to connect with the emotions of the actors. Paintra and Bahut Hua Samman are amazing with apt lyrics while the other songs blend well with the theme of the movie.


⏩ The Highs -

▶Mukkabaaz has the exact atmosphere, intensity in performances, passion and dedication required for moving the audience and making sure the movie stays with you even after you've left the hall.

▶The edginess of the movie is sharper because every time you think the situation is exaggerated you remember this is inspired from a true life story. And the impactful performances, seem to back the empathy.

▶After meeting Anudeep Singh, who was very passionate about getting into boxing but couldn't pursue it for various reasons and has been doing his bit by coaching newcomers for free, Anurag asked Vineet Kumar Singh to train under Anudeep (by not revealing his identity) as he would impart him the exact grounding required for the role.

▶Giving his leading lady Zoya Hussain, the role of a mute woman, it is commendable how Anurag has symbolized the raw reality of the behavior of the patriarchal society towards women who voice their opinion in such regions.

▶ Ravi Kishan explaining the meaning of Mukkabaaz and Mukkebaaz is one of the finest scene in the film.

⏩The Lows -

▶At 2 hrs 35 mins, Mukkabaaz feels a little dragged. The pace keeps dipping in the key parts due to which the movie seems but stretched. Also, the touch of humor and drama can be blamed for making that last hour feel like a bit of a drag.

▶The indirect political remarks could have been avoided (at two places), where they seemed forced.

▶The finale seems compromised due to which the impact of the film gets slightly diluted.

⏩Performances :-

▶Vineet Kumar Singh is outstandingly brilliant in his performance and boxing parts. You'd cheer for Shravan because of the actor’s pure dedication and a realistic depiction of a boxer.

▶Zoya Hussain displays her beautiful talent with total grace and effortlessness.

▶Jimmy Shergill lends strong opposition and charms you with his swag and menacing delivery style. He essays his character with such conviction, you'd end up hating him. Which is infact, a good thing.

▶Ravi Kishan as the coach is powerful and has his moment to shine.

⏩Watch o Not ?

Definitely, a BIG YES!!! Do yourself a favor and watch this amazing movie which packs a knockout punch in the face of the grim reality of the current society and inspires you to follow your passion, no matter the circumstances.

⏩Verdict :

Casteism, feminism, bureaucracy, state of sports – Mukkabaaz takes on all these causes in its stride. It puts them with the story of a boxer who faced roadblocks from all directions – enough to get you riled up and thinking about all the wrongs in our society today.

Ratings -  4.2/5

Insidious: The Last Key - Doesn't Scare, But Scars You

⏩Genre :- Horror/Thriller

⏩Run-time :- 1hrs 45 mins

⏩Cast :- Lin Shaye, Leigh Whannell, Angus Sampson

⏩Director :- Adam Robitel

⏩Plot – Elise Rainier (Lin Shaye) is going on to examine the current supernatural troubles happening in a house in New Mexico, a home that Rainier used to live in, which will cause her to travel deeper into both her past and The Further.

⏩Direction and Screenplay :-

Being a prequel to the 2015's hit Insidious 3, this one serves as a back story of the famous demonologist Elise (Shaye) and her experiences in The Further.

▶Unfortunately, the writing by Leigh Whannell makes this one, nothing but a ghoulish offering, indicating that the franchise is coming to a close. The story itself also does not feel detrimental to the overarching plot of the series. Couple this with some fairly lifeless ghost scares which are unintentionally funny, making this the least engaging film in the series.

I honestly had huge huge expectations as Elise was going to be the heart of this installment. Unfortunately, all the jump scares and good part were revealed in all the trailers barring a major twist (which, according to me, is the only saving grace in the whole 103 mins film whatsoever).

▶Director Adam Robitel showed some serious potential when he helmed the found footage movie – The Taking Of Deborah Logan. And even though Adam used some beautiful shots which "could've been" used to scare the audience, the script fails to shoulder it and the movie falls into a chasm of boringness right within the first 15 minutes.

⏩Editing and Cinematography :-

▶Editing by Timothy Alverson is smooth but few glitches involving 2-3 flashback scenes, makes the viewers quite uncomfortable as the seam seems (see what I did there? :P) lost in transition.

▶Cinematography by Toby Oliver is quite appealing and favors the atmosphere of the film. The dark blues and heavy smokes, make scenes set in "The Further," particularly grim. Also, there are 3 scenes towards the beginning for which Mr. Oliver deserves a round of applause. (Come-on, clap!)

⏩Music :-

▶Apart from Lin Shaye, the background score is actually what makes the film bearable. Well, I don't know about the Last Key but the key to raising the hair at the back of your head is the spine chilling music by Joseph Bishara (who incidentally was the lipstick demon in the original film, if you don't already know). The haunting and creepy soundtrack coupled with Lin Shaye's delivery makes sure you don't get up from your seat.


⏩The Highs -

▶The narrative is more focused in the character building of our hero, giving us more of a look at where this woman comes from and how her abilities have shaped her life.

▶Tucker and Specs are the highlights and act as apt comic reliefs once again. These two have so much potential, I wonder why isn't their dark comedy spin-off in works already!?

▶Javier Botet (REC, Mama, Crimson Peak,etc Why am I even... Just google him you guys!) who plays the central ghost and has now become the go to guy for playing spooky monsters thanks to his Marfan Syndrome affliction. This guy nailed it with just his hand gestures, making the key-fingered monstrosity, already my favorite creation.

▶Whannell’s screenplay is based on the idea that humanity is at times as monstrous as the creatures that roam in the night but the very idea succumbs because of the pressure of justifying the genre, leaving your satisfaction somewhere in between.

⏩The Lows -

▶Failure in creating a scary atmosphere. There’s rarely a sense of true and absolute danger to the main characters let alone the audience.

▶Way too many loose ends. The storyline is so messy, that one particular scene was so out of character for Elise, it ruined her development over the last 3 parts. Sore!

▶A good horror movie is like the process of good sex, it makes you scream! And as a horror flick, Insidious is so immature, you’ll want to leave way before the climax

▶In one particular scene, Elise' niece is pinned down on the ground by KeyFace (This is they've used in the credits. I am not even kidding) and he is progressing towards her... (wait for it) What was supposed to be scary and intense gets hilariously stupid as the lady keeps on making moaning sounds constantly for about a minute, till the Key Monster reaches her! I know, right?
The whole theater broke into laughter because... Hey! What else are you expecting when your camera is shamelessly focused on the movement of the subject's assets as she is hyperventilating while producing moaning sounds. *Scoffs*



⏩ Performances :-

▶Taking a moment here to appreciate the fact that this generally successful horror franchise installment has a woman in her 70s as the lead character who is a well-reasoned badass who displays equal measure of compassion and badassery.
Lin Shaye is just what this film needed.

▶Leigh Whannell and Angus Sampson as nerdy ghostbusters are fun for most of the part but go over the board sometimes as they awkwardly creep on starlets half their age.

Also, the line -
"She is the psychic and we are sidekicks," made me cringe over and over. (*Mouths* No, seriously! Who says that?🙄)

⏩Watch o Not ?
Uh... Skip? Maybe.
The demonic creature itself in this film does not have much time to shine and while the finger gag is unique and intriguing, its overall design is lackluster compared to past antagonists like the Lipstick-Face Demon from the first film.

Also, where the fuck did the alien-esque monster go? 😭

⏩Verdict :
The fourth film in the “Insidious” tetralogy is only worth your time if you are an avid horror enthusiast or a fan of the Insidious concept. For the vast majority of the general public, the film will fail to attract any new fans. While the past films featured well-crafted sequences of spookiness (which “The Last Key” contains in fleeting glimpses), this film really should be the last “Insidious” sequel.
But this chapter gives Lin Shaye, a new relative who’s also a poltergeist whisperer. So more installments can be expected. 🙄

⏩ Ratings -  2/5