arsheesh

a very disappointing adaptation. the last time i felt dejected halfway into the movie was with tim burton's PLANET OF THE APES, before which this film feels like a total abomination. despite Dakota Blue Richards' Lyra and Nicole Kidman's Mrs. Coulter, and the visual effects, this film really is nothing. probably the fact that i read the book first and loved it made all the difference and in fact, i suggest you all do the same. avoid this film if you can and read the book. the book has a proper narrative with exemplary character development and plotline, all of which this film lacks. the only thing keeping this film together is the visual effects and nothing more.

a deemed extraordinary love story that is far from plausible. as it's been adapted from the novel, i can't really comment on its plot. the only thing holding this movie together is its direction and music. other than that, even if you missed it, you haven't really missed anything.

if it hadn't been for the stunning visuals and good casting choice with russell crowe, jennifer connelly and emma watson, this movie wouldn't have fostered. in fact, i'd like to think of NOAH as a weak work of arrenofsky. there were high expectations.

i have only one word to say about this film: AWESOME!! awesome story, awesome jokes, awesome actors, and awesome visuals and animation, this film is easily one of the year's best. trust me, once you're done watching this film, all you'll say is: "EVERYTHING IS AWESOME!!"

the best x men movie made so far, this will delight you in so many ways. the outstanding ensemble with great action sequences, to a nearly flawless story (you unfortunately cant deny the confusion the x men time frame has created), and the exciting score- this film is simply awesome!! after the devastating x-men: the last stand, you will be glad to find Bryan Singer as the ultimate director and storyteller. this is undoubtedly the best marvel film ever and no match for all the other petty stunts.

one movie you'll simply want to watch without a specific reason. great cinematography, wonderful direction, intriguing plot, and above all, the singular best chemistry between the leads. Lee Pace and Catinca Untaru steal the show.

original, exotic and authentic; a true visual delight and a deeply moving story; one of the many sides of Nepal captured wonderfully on screen- HIMALAYA is one of the singular movies of our time.

Even if you dislike musicals, this film is going to be a perfect treat for you. Full of feels, gore and catchy numbers, Sweeney Todd incorporates every block in the great emotion spectrum, and is undoubtedly one of the best musical adaptations in history.

A perfect score for a perfect movie from one of the perfect collaborations in Hollywood. No wonder Depp-Burton friendship has lasted this long, every time producing the most quirky, weird and all the while wonderful films. A salute to the uniqueness in all of us, this film is, I believe, Burton's chef d'oeuvre.

The plot is about several of children born around the first hour of India’s independence, the central character being Saleem Sinai (Satya Bhabha as adult, Darsheel Safary as 10 years old), who with others born around the midnight of 15th August 1947 possess special powers. (prophecy, magic, metamorphosis). They are the Indian X-Men, and they become the embodiment of the best hope of the two nations during a period of bad faith, violence and the betrayal of democracy. At the centre is a variation of Mark Twain’s ‘The Prince and the Pauper’: a rich boy and the son of a street musician are swapped at birth by the midwife (Seema Bishwas) who believes she is exercising benign social engineering; ‘the rich become poor and the poor rich’, as guided by her communist lover’s political ideology. The rest that follows is hastily and poorly done chronicle of Saleem’s life as it intertwines with the new independent life of India, with occasional visits from other ‘Midnight’s Children’ who are called for conference by Saleem (why always when he is sad or disturbed?), who has telepathic abilities, with the twitching of his remarkably large nose. In efforts to capture the true essence of the vastly detailed volume of a book, Mehta and Rushdie have, though possibly unintentionally, given the audience, who are occasionally thrown from scene to scene, a sense of the movie being crammed up hastily into the space allocated by conventional filmmaking without letting a chance for the people or the scenes sink properly. The sympathy doesn’t go to the characters or anything that happens; instead it is on the actors. The movie is not a waste altogether; the landscape of Kashmir has been captured gorgeously. The film is beautifully shot, with a real sense of colour, texture, settings and light. Mehta packs our ride with startling details that grasp our interests as we are whisked into decades. So solemnly I wish it were the same with the details in the plot. The film loses its way into the second half and dawdles; failing to justify it’s over two-and-half hours’ duration. All in all, ‘Midnight’s Children’ drags to its end without tracing its mark anywhere. A dull adaptation, ‘Midnight’ fails to ‘hit-the-spittoon’.