A visually stunning, emotionally **** movie—retold through the eyes of master director Del Toro, just a sumptuous, horrible feast. As usual, the renditions of the dead and undead and the set designs are **** casting is stupendous. Isaacs as the mad, demented creator; Elordi as the innocent so-called monster with an angelic heart; and Goth as the ingenue of all, a philosopher princess. The dialogs are so wonderful to absorb, with themes of life and death and the mystery **** music by master Desplat is sweeping and romantic, operatic and sad, and powerful. The cinematography of this movie is just a visual feast; every shot is as breathtaking as the original undead novel that seems to be retold every decade. I was deeply moved by this version; in fact, I think it is the best I have ever seen. Del Toro has done true justice to this immortal tale.
The 2nd part is just as wicked and as good as the first part, pun intended. Thematically and aesthetically, the carry forward is **** essence, this is a story of unshakeable friendship, evolution, and sacrifice. In true friendship, like the iconic song ‘For Good,’ both friends are forever changed and impacted and are never left the same—the entire trajectory of their life is altered and arched away from their previous path. The songs in part 2 are even more powerful than part 1, including ‘The girl in the bubble.’ There is a coming-to-truth moment that both Glenda and Elphaba go through that completely changes them, and it's told in song as expected. This sets the tone of the rest of the story and the final **** manner in which they integrated the original ‘Wizard of Oz’ into this story was masterful, including paying reverence to Dorothy and creating rich backstories for all the original characters. An unforgettable movie that does not need a sequel.
I had my doubts that an animated Predator movie could defeat the beloved movie franchise, but I was utterly humiliated. Every single moment of this movie is breathtaking, and the combat scenes are exemplary. The ingenuity of the ancient warriors is paramount; oftentimes it is intelligence and wit that defeats brawn and brute force. The treatment of three specific periods in human history with visits from predators reinforces the mythical nature of the franchise. The Norse and Samurai periods were to be expected, but the aerial WW2 combat was truly unique and spectacular. In all scenarios the characters demonstrated guile and courage that instantly defined them as champions.Fans of the series have wondered for decades about the predator homeworld and culture, with rare glimpses. The deep dive here was welcome and not disappointing at all. It's clear the franchise is being rebooted and expanded, and the new installments like Killer of Killers are very welcome. Fans will also be very entertained to see the tiebacks to older installments.
I went into the third part expecting the happy ever after. I got it, just not the way I expected. This was the hardest of this truly unique trilogy to actually watch. We see our beloved couple of Jesse and Celine go through the highs and lows of a midlife relationship, and at times it is brilliant to witness, at other times agonizing. The musings at the dinner table, with the extended friends in Greece, were very fulsome and resonant musings on the long-term view of relationship dynamics. The reminiscence of the elders was particularly poignant. This movie, though set in 2013, seems to have perfectly predicted the state of affairs today in 2025, when people are more lost than ever before and more distant from commitment and security. Some of the moments were harsh and unpleasant, and at times I started to be annoyed by the bitterness spewed by our couple at each other. Such unvarnished honesty looks great on screen for drama but leaves lasting wounds if used in real life. I did not admire their lack of control or morals or their mutual neglect of each other. I guess the director was trying to be true to the state of things for most, but forgive me for wanting a more optimistic ending.
Could a single night define your whole life? Could you give so much in one night that it haunts you forever, a decade later? Is it possible to imprint on someone so intensely that all others who follow cannot hold a candle to that one special person?This second part is searing and burning. It starts quite mundane, like a friendly reunion, and what unfolds are layers of pain at the missed opportunity of part 1, when Jesse and Celine went their separate ways, unintended, and paid for it with terrible suffering and perhaps even karma. It is fascinating to see how they both remember that night from their different perspectives and how it has shaped them in the years since. Some lines are incredible: “I remember that night better than I do entire years.” “One single night with you, little Jesse, is worth a thousand with anybody.”But this is also a few hours of healing and ends on a wonderful note of hope. We are left guessing, of course, with the cliffhanger ending. But one thing is for sure: Ethan Hawke and Julie Delpy once again catch that old magic and rekindle that old chemistry. It is like seeing a beloved couple we know and loving their reunion.
I have always wanted to watch this unique trilogy set a decade apart. I finally started with my beloved. This is quite a sad and haunting movie. A single night can seem magical and timeless, the eternal passion and promise of youthful love, and the desire to hold onto that one magical moment at the expense **** risk. The dialog and discussions between the masterful leads, Ethan Hawke and Julie Delpy seem effortless and natural, flowing like they truly know each other, and we are witnesses to a rare moment of two souls coming together. Their exploration of men, women, romance, fate, society, and expectations is all pertinent and as meaningful in 1994 as it is today - timeless questions. Their sadness as the night comes to a close is like throat choking. You know this moment won't last; you can't capture lightning in a bottle. It has to be let go of to have any meaning. I don't think the director or actors realized they would make a sequel a decade later.
I did not want to see this movie, as I expected plastic, soulless, Disney-like live-action garbage. Instead, I was completely blown away, and I have rarely been so pleased to be proven wrong. The story is traditional—an unlikely friendship, the anti-hero arc, never meeting your heroes as they will disappoint, and the severe price of betrayal—but we have seen all this before. But this story was touching and moving on so many levels—it's clear why the Broadway musical is so popular.Ariana Grande was a disappointment—her acting was forced, her expression was limited, and her blank stare was annoying at best. Only a few moments of tenderness came through, and her character was arrogant and insufferable for most of the movie. Her singing was middling, with sufficient falsettos in some numbers. But Cynthia Erivo completely won my heart. In every single scene, her depth of expression and melancholy pierce the heart. We have seen such rehabilitation of villains as Angelina Jolie played so well in Maleficent. But here Cynthia was the hero, not the anti-hero, that I cheered and rooted for in every single scene from opening to closing credits. Her sadness moves and inspires, and the song ‘I’m Not That Girl’ is timeless and crushing. Her vocal range is exemplary, and she did justice to every number, on par with her acting. Her faithfulness as a friend and dedication to the cause of the animals of Oz, unwavering and true in the face of apathy, is truly admirable. Michelle Yeoh and Jeff Goldblum were adequate in their roles, as were the rest of the cast. The set pieces, dance numbers, and special effects were spectacular. The ending sequence was just epic. I am most certainly looking forward to the 2nd part.
I will watch anything with The Rock and Chris Evans in it. In this case, this was a double treat. Both leads knock it out of the park. The fresh take on the North Pole, the whole Santa Claus mythology, and even associated legends are truly refreshing. The intersection of modern tech and ancient magic is almost franchise-creating. This is one of the best movies ever to come out of Amazon Studios. The special effects, premise, world-building, and story are truly satisfying. As far as Christmas movies go, this is the best I have seen in decades.I can certainly relate to the notion that the naughty list has exploded. We see it in the decadence and perversion of society around us and the terrible human rights violations around the world. Instead of fluffy anecdotes of being nice to each other, there is a focus on engendering inner goodness, which is far more lasting and genuine. There is a moment in the movie where the power of redemption and reform is shown in **** glory. The arc is completed with a very touching scene when we see what only a few can, the inner child in each of us, and how we can return to innocence.
The first Transformers cartoon I ever watched, a Bandai / Hasbro collaboration, was episode 1 of season 1, which opened on Cybertron itself, with Wheeljack and Bumblebee running an op on the surface. It has been decades since then, and this was a return to the metal planet I was looking forward to because of the origin story of Optimus Prime and Megatron, which I had heard inklings of before. What a magnificent animated movie! The character development of Prime and Megatron is on point. You see how they arch, in almost opposite directions, around their friendship. You see how the mother of all betrayals shapes each of their psyches. And above all, you see the infinitely tragic death of their friendship and the birth of an ageless enmity. The animation is top-notch—that is after all the origins of this saga. Somehow they captured a feel for the old classic hand-drawn look combined with the modern age of CGI. The epic final transformation sequence and epic battle had me covered in goosebumps. There is room for sequels in this new series, and I look forward to Transformers Two.
Rarely, an animated movie repeatedly pulls at your heartstrings. Wild Robot manages to do this consistently throughout, one eye-watering gut punch after another. It is ultimately a story of motherhood and how an unprepared person can exceed their original ‘programming’ to become what they need to be—to get the job done. There are many beautiful lessons about the price of survival and loving beyond one's original motivations and limitations. I was delighted to watch this with my family, and we gave it a full score. The humor and dialog are spot-on and will have you rolling on the floor laughing. The animation style and aesthetics are typical Dreamworks, but the natural and technological presentation is spot-on and pleasing to the eye. The soundtrack is top-notch. This new animated masterpiece is a thrill ride from the opening scene to delightful end credits—don't miss this one.
Alien Romulus picks up right after the iconic original movie and does so in a visceral, immersive manner. We are transported back to various previous movies, spanning the incomparable original two, and further into the controversial territory of Prometheus, with the evil Weyland-Yutani spanning all timelines and domains. The set and creature designs are awe-inspiring. The original movie was set in 1979, and the depiction of that technology in 2024 is nowhere less credible. Industrial design, cutting-edge research, gigantic human-made space structures, breathtaking special effects—all are here.Cailee Spaeny has a wonderful future ahead of her; she does a good job here and in previous work in Civil War. David Jonsson is an endearing ‘artificial person’ who wins hearts and minds. The return of a certain villain android was not surprising, although a better job could have been done in visuals. The thrills are nevertheless strong and heart-stopping. The protagonists do not die like fools, as we see in recent installments directed by Ridley Scott. Here they put up a good fight, to the bitter end. A wonderful extension of the franchise after recent disappointments.
After the excellent of parts 1 and 2, it was inevitable that a 3rd part set at the beginning of the crisis would be made. I am happy they **** this installment, we take a far more poignant, emotional, and philosophical journey into a brilliant young poet's mind, her wish to revisit her precious memories in the face of a collapsing world, and her own impediments. The creatures are shown in far more devastating detail, and a little more of their motives and mechanisms are revealed. There is a breathtaking rush of terror across the movie scenes and cityscape. The movie is sad and poignant, about a desire to return to roots and to sacrifice for survival. Joseph Quinn and Lupita N’yongo play their roles brilliantly, giving each other support and courage selflessly. I watched this moving horror drama twice, and it was better the second time around.
One of the best films I have ever seen is a searing indictment of the current free fall of the USA and an eerie harbinger of possible days to come. It takes tremendous courage to put together a film like this that challenges notions of comfort and stability and throws into question the existential assurance of the empire itself. Enemies foreign and extraterrestrial, natural and bizarre, are all welcome fodder on cinema screens, but enemies domestic tearing each other apart in the most brutal, inhumane manner is something many will find difficult to accept. The rage of the Western forces depicted here is unnerving—one wonders what factors today are seeping into the psyche to create such anger and what the trigger point might be. I have not felt this helpless in a movie journey since the peerless ‘The Road’ with Viggo Mortensen. The action sequences are breathtaking, like scenes of a modern warfare game. The urban combat endgame is breathtaking in tension and outcome. Visually stunning, this movie is a feast for the eyes across the entire landscape and journey of war-torn USA. I must give hats off to the cast. Kirsten Dunst delivers the mature, introspective performance of a war journalist who is deeply haunted by her demons and seeking a noble exit. Wagner Moura plays a jaded joker who tries to laugh or drink off his demons. Breakout star Cailee Spaeny lays a driven young protege who sacrifices all for the shot. Stephen McKinley is the calm voice of age and wisdom, no less courageous than the rest. I will not forget this movie anytime soon.
The filmmakers took great pains to return to the primordial form of Godzilla; even the name suggests this. Recent renditions seem to show Godzilla as a benevolent guardian of smaller beings, but this movie shows it to be the nightmare it was originally conceived as. I can understand how this won the Oscar for visual effects. Every scene is a feast for the eyes. This Japanese production puts Hollywood to shame with its attention to detail and realism. The reproduction of reconstruction in post-war Japan is perfectly executed, delving into some of the raw wounds of the burning cities and trails of death left behind and the perceived devaluation of human life by Japanese imperial authorities, no different from modern so-called democratic empires. The acting could have been better from the leads, but the core story of three orphans struggling to form a family unit is quite touching. There is an undertone of sadness to it all, which shows how people have to heal themselves first before they can love others. But I need to end with a tribute to the power of Godzilla. The other recent movies only tried to accurately capture the atomic energy and indestructible nature of this megafauna. The instant destruction of a city depicted in the film was blood-curdling and awe-inspiring. The way Godzilla tosses ships around like toys is incredible—a visual masterpiece.
This is by far the very best role of Ranbir Kapoor; he has forged here an unforgettable character that will go down in the annals of Indian films. His searing portrayal of a fearless, loyal, dedicated son who loves his father above all else in the world is something to behold. He is a force of nature, unstoppable, against all odds, a flame burning so bright it seems destined to burn itself alive. The arc of redemption of a fractured father-son relationship is a hard road, and the lucky few reconcile before death comes calling. Rashmika Mandanna plays the devoted wife, swept away by the sheer power and flame of the Alpha male Vijay, helpless to resist his fiery vision of the world. The immortal evergreen Anil Kapoor plays the fatherly counterpoint, the nexus and purpose of Vijay’s life. The action scenes are mind-blowing and satisfying, and you can see the flamboyant touch of the Tollywood director. Humour is used wisely and provides much relief between tense scenes. I was particularly impressed by the fierce indomitable loyalty of Vijay’s cousins from the village - any man with such blood defenders can consider himself a king. 3 and a half hours went by breathlessly, this was epic filmmaking, modern yet traditional, humble yet arrogant, reverent yet taboo. This is what a man and son should be.
It's visually stunning but narratively weak. This movie is good but had the potential to be great - a real missed opportunity. You can see many previous films of note influencing this work, to name a few Independence Day, Elysium, Chappie and the eternal Blade Runner. Imitation is flattery and probably should be appreciated. The film brings a unique palette in depicting simulants, the perfect fusion of humans and A.I., but missed the chance to create a mythos and epic history behind this paradigm. We seem rushed headlong into action without much world-building. The love and emotions between the creators and the created are touching and charming. Ultimately this movie falls short in a few narrative structures with some heavily illogical and inconsistent revelations. The plot takes turns that jar the smooth flow of the story, and not in a pleasant way. I am saddened as I always thought Gareth Edwards had potential. One thing towers above the rest - the absolutely magnificent score by maestro Hans Zimmer - I have heard this almost a hundred times now and I do not tire. The music so beautifully captures the haunting world depicted here, with themes of sadness and longing.
An utterly shocking movie that leaves you breathless in the end, with the dread realization you will remember this vivid bloody horror for ages to come. Ralph Fiennes is a master class in depicting a master chef with legendary abilities as a master manipulator. It is mesmerizing to see how strong the hold of such a genius personality can be, especially given the lengths to which people known and unknown will go to please him and fulfill his dark visions. But ultimately he remains vulnerable to the machinations of a chef, to the desire to please his patron. Anya Taylor-Joy knocks it out of the park with a powerful performance or a will as strong as the antagonist, with the brilliant imagination and wit necessary to outthink and outmaneuver the horrors of the night. In the end, her attention to detail and honesty matter the most, I have such high hopes for this actor. Overall the movie is a play on the inherent hypocrisy and overblown hubris of the world of fine dining. What is fine food, how is it defined, is it a construct of deified critics or is it a natural evolution of basic human desires? What is the ultimate performance of culinary art, where the diners and dined become one, where the cooks and critics merge? This dark journey will leave you slightly broken and not hungry at all.
A sweeping epic that addresses a timelessly appealing notion, beings of smokeless fire endowed with tremendous powers by the Creator, but subject to the same laws of destiny and helplessness as mere mortals. The rendition of ancient lands and giants of history is breathtaking, especially the treatment of Queen Sheba and later the Ottoman Sultans. The attention to detail and special effects are noteworthy. The rendition of the great sultans Suleiman and Murad are satisfying and mirror history. The debate between Tilda Swinton and Idris Elba is really the spine and heart of the movie and is a delight to witness. Two great minds sparring away, seeking to best each other like a game of mental and verbal chess played with stories as pieces on the board. Of course, we are intrigued by the supernatural and unseen, and of course, we are tempted to harness incredible powers to our selfish ends, but there is always a terrible price to pay. My only, ahem, wish is that the epic historical themes ran through the entire movie and that there was less mediocrity in the last act.
The old magic of Pixar returns in this family delight, and I am sad this was not a bigger hit. At the heart of this amazing movie is a timeless love story, of two elementally different individuals seeing the light shining in each other and coming together against all odds. My family and I were swept away by the simple sweetness of this film. Director Peter Sohn has done well. There is also a beautiful father-daughter story interwoven into this film, and as the father of 4 princesses, I can definitely relate. The timeless lesson of letting your kids follow their dreams is retold in a beautiful way, and even more so, the critical importance of parent and child respecting each other. The animation is spectacular, I love how the various elements are represented, and how they interact with each other in various moments. The character design is spot on, and the closer you look the more details emerge. Hats off to how far Pixar animation has come. For some time I thought a 5th unifying element would emerge but that was wishful thinking. Finally, the soundtrack is a real delight, I truly appreciate the South Asian themes as my region of origin. Master composer Thomas Newman took a bold risk weaving in those elements, and it paid off. I have not enjoyed a Pixar movie this much since Coco; they need to stay true to such heartwarming story-telling and inspiring imagination.
First, this movie can only be appreciated by those with an open mind and heart, free of judgement, and those capable of forgiveness. I do not remember the last time I so thoroughly enjoyed a series of performances by very qualified actors inside a single apartment, with absolutely no change in location, and the only outside reference being the ever-changing weather. Every component of the scenes is a metaphor, richly layered on each other. Brandon Fraser most certainly deserves the accolades for this performance of a lifetime. His depiction of a bariatric patient in the extreme stages of a health crisis is tremendously authentic and moving. This calm, measured pragmatism about his diminished role in the world, and the harsh judgement of society, should make all hesitate and reserve estimation of others. I can personally relate to some of his experiences, having received the harsh judgement of the world for my own physical shortcomings. Sadie Sink, Hong Chau and Samantha Morton give stellar performances as various satellites rotating around the protagonist, brimming with love and pity but unable to express it honestly. The desire for said honesty is a primary demand of the film, to be authentic and true. But alas too much honesty will alienate one from the world, as we can find out to our great expense.
Do people do terrible things without rationale or justification? Most certainly. Do they perhaps deserve some forgiveness if they are truly contrite and make tangible amends? Most certainly. The Whale is a triumph of cinema.
A masterpiece of cinema, Christopher Nolan delivered with genuine sincerity and vigour. If Cillian Murphy is denied an Oscar for his haunting portrayal of J. Robert Oppenheimer, it shall be one of the great injustices in cinema history. The supporting cast was brilliant, especially Emily Blunt. I lost count of the ensemble cast of brilliant actors lining up for a few moments of silver screen time in this 3-hour journey that seemed to flash by. Imax certainly does justice to the vision of Nolan, from overwhelming visuals of the sub-atomic world and the expanded universe to the floor-shaking sound effects. The fast-cut scenes have an emotional impact when layered on unforgiving sounds. Oppie is a flawed and haunted man, a notion made quite evident from the beginning frames of the movie. He brings the wide-eyed wonder of a child as he journeys around the world in the quest for knowledge, meeting giants of physics upon whose shoulders our modern life rests. In a sense, he goes through a complete anti-hero’s journey from naivete, to triumphal power and finally down to defeat, disillusionment and despair. All throughout, we see his constant rationalization and justification of his inevitable march towards becoming the destroyer of worlds. One is torn between sympathy and hatred for this deeply complex genius. There are so many cautionary tales in this movie, about moments in history when one could swerve in a noble direction instead of taking humanity to the brink of self-destruction. There are other lessons about the politics and machinations of power and the urgency of avoiding enemies through humiliation. The warnings of Einstein delivered throughout the movie hammer home repeatedly. They say the age of discoveries is past us, and that there is nothing new to unlock anymore. Oppie and his companions were the last great explorers of the universe. What they unlocked remains the final frontier of science, everything that follows rests on their shoulders.
Jordan Peele has the distinction of being a rare director that shows us horror hiding in plain sight, just outside our peripheral vision, showing itself when it is too late. His works rival other horror directors, except that Peele busts open genres with mind-bending concepts. Nope is no different, the reveal of the antagonist is utterly shocking and out of this world. You will never see it coming. Daniel Kaluuya delivers once again as the muse of Peele, playing a steady methodical character making sense of out of the senseless. Keke Palmer steals scenes with her fierce energy and quick thinking. This brother-sister duo carries the movie effortlessly. No matter how alien a thing is, it must follow logical rules, animal instincts and programmed behaviours. The best way to defeat an enemy is to understand it. Nope is a great horror movie with a massive payoff.
I was skeptical about this new reboot of the beloved brooding hero after the masterful trilogy from Nolan, however, Reeves has proven himself to the task. This is the closest rendition **** novel on screen I have ever seen, apart from all its peers. The cinematography is just spectacular, each scene is worthy of pausing and framing, and is loaded with allegory. The fight scenes remind me of the taught, lightning-speed moves of the excellent Arkham series of games. I read recently this is one of the most rewatched movies in history, and now that makes sense. Pattison plays the role well, a man who is torn by this past and trying to redefine himself in the present. He displays remarkable intelligence and resources becoming a billionaire detective, yet shows character flaws and weaknesses becoming an everyman. His deliberate carefulness in each scene is appropriate, but this vanishes into decisive action for the well-being of others in times of crisis. This Batman upholds the right to life and dominance of law more so than previous iterations. The movie relies less on gadgets and vehicles, and more on wits and will. Kravitz plays an excellent Catwoman, born of pain, and bred to intelligent survival. Dano is a formulaic Riddler, but the unrecognizable Farrell is a remarkable penguin, stealing every scene. The entire cast performs well overall. I think we are now justified in seeing another remarkable Batman trilogy with a very unique aesthetic and arc. It is a pity other hero franchises cannot reach these levels. Perhaps Batman’s lack of powers and adherence to justice makes him the most relatable protagonist of all.
A remarkable movie that documents the often ignored plight of migrants fleeing war zones and failed states. This is a true story of 2 sisters and their indomitable will to survive and thrive, for themselves, their dreams and their families. The horrors of the land and sea passage, at the mercy of predatory smugglers and coyotes, are accurately depicted here. There is a humanizing element, but a well-balanced portrayal of both sides of the coin, where these fleeing persons are treated with the milk of human kindness and the bitterness of inhuman cruelty. The director keeps the story real, light-hearted and fun, avoiding depicting this difficult passage as some romantic road trip. Rather the harsh realities of migrants are shown effectively, especially the tremendous risks they take crossing borders. What pushes people to such desperation? Those living comfortable lives cannot really declare migrants as parasites until they themselves fall on hard times, often through no fault of their own. It is equally rewarding to follow the real-world progress of Yusra Mardini as she continues to pursue her family's passion for swimming, and Sara Mardini who seemed scarred by her crossing of the deadly ocean on a sinking raft. I will eagerly follow the outcome of both their trials in life.
One of the most difficult movies to watch. This bleak journey seared and scarred me, and I have never forgotten it, and rewatch it every few years. We live on the edge of a cataclysm, it is not unthinkable that in the decades to come there will be a planet-destroying environmental armageddon. The genius of the book author Cormac McCarthy is that the specific cause of the disasters are not openly stated but can be surmised from the symptoms. Biosphere collapse is total and final, humanity was hanging on by a thread anyway. At the heart of the story is the love of two parents for their child, born into a dying world. The father and mother, played so very well by Viggo Mortensen and Charlize Theron, show their love with the ultimate sacrifice in two very different but quite valid manners. They live on the edge of despair and hope, on the razor itself. Kodi Smit-McPhee brilliantly plays a precocious child trying hard to make sense of his world, trying to espouse the ethics his parents taught. The sheer cruelty of this world, and the most animal devolution to cannibalism, is perfectly logical and expected. It does not make the movie any easier to stomach. But I find nothing unrealistic here, it is all quite feasible within a few lifetimes.
A depressing horror movie that starts with an unspeakable act of cruelty, to the point where you root for the resulting curse and all the mayhem that ensues. Atmospheric body horror, with a dark demonic anchor to biblical times. Enough gore to satisfy hardened horror veterans, with some unforgettable scenes worthy of the same physical horror as The Thing. Not for the faint of heart.
I was actually avoiding this movie for a while, borderline insulted by the attempt to remake the titanic epic Forrest Gump. I started watching it on a whim and was proven incredibly wrong. There are many ways to tell a timeless story, and this telling by director Advait Chandan is special and intimate. Aamir Khan embodies the clean purity of the character, the rarest of souls, a person free of greed, ego or malice. Such a pure angel has no choice but to touch every person they meet, and to change them for the better. His mannerisms and expressions are spectacular, he deserves recognition for this performance. The moments where he is overwhelmed by emotion are extremely moving and I was teary-eyed. I am not the biggest fan of Kareena and was not looking forward to her performance as the somewhat ungrateful Rupa, but she won me over. His earnestness and honesty with Laal were endearing, and her final actions all the more rewarding. Absolute hats off to Mona Singh for outstanding performance as the mother of Laal, the constant northern star in his storied and varied life. Her rooted practical approach to things beautiful and terrible reminds me of my own mother. The arc of this beautiful story is interwoven into the diverse history of India, a gigantic nation of a billion with thousands of people. The scriptwriters did a fabulous job integrating Laal’s journey into the most eventful turning points in recent Indian history. In particular, in the context of the religious strife tearing India apart today, the journey of Mohammad Paaji towards seeing the presence of God in the enemy, to knowing all are touched by the divine, is very important. The cinematography is breathtaking, and the vast expanses and spectacular beauty of India are beautifully captured in each frame. Finally, the soundtrack of Pritam washes over me like a warm scented breeze. I was worried about who could top the original masterpiece by Alan Silvestri, but master Pritam rises to the occasion with his own signature. Each song is memorable and worth a thousand listens. In my eyes, this remake stands as tall as the original Forrest Gump. I know the box office performance is lukewarm, but I think this movie will gain appreciation over time.
One of the best war spy thrillers I have ever seen. The tension is sustained from the opening scene to the closing, with not a single dull moment. Alia Bhatt richly deserves the multiple awards she won for this film. It is painful to see her character being torn to shreds, as she commits one unspeakable act after another, all for duty to her country above all. Her depiction of the struggles with a conscience is remarkable. The fact this is based on a true story makes the events all the more plausible and relatable. 1971 was a monumental year for the sub-continent, as that which was one and split to two, further split into three. These periods of history are always cataclysmic, and the stakes are tremendously high. As a spy movie, the events portrayed here are rapid-fire and striking. Spycraft is authentic with little melodrama or hijinks. The production design is exemplary - we are steeped into the 70s, and every frame is on point for the era. Overall one of the best I have seen, laser-focused on the tremendous personal cost paid by those who risk everything for their countries.
I agree with the critics and fans alike, Prey is a return to pure form for the beloved Predator franchise, brand and concept. Amber Midthunder delivers a memorable performance as a Commanche warrior in the making. The emphasis on the hunt, respecting the adversary with careful study, and not blindly charging in with foolish bravado is the spirit of those who prey on the apex Predator, who hunts the hunter. We see some beloved callbacks to the previous installments, but the story's overall arc is fresh and unique from its predecessors. There were times the animal CGI seemed a little rushed, but that's probably the result of a direct-to-stream budget. I was also concerned about unrealistic protagonist arcs (ahem, Rey Skywalker), but there were sufficient realistic setbacks to add credence to the story. The unspoiled magnificence of the northern plains is breathtaking. It is sad to think the beauty of this land, and its original peoples, are now just a memory. All the sadder to see the destructive greed of the early French trapper gangs. We have heard Predators have scoured the galaxy for centuries looking for worthy Prey, it's so rewarding to see one of these chapters play out amongst a tribe of the great warriors. I really hope future filmmakers take a lesson from this excellent work - we don’t need to see cursing, tougher-than-life grunts smashing their way through (Alien 2 exempted), we need sensitive, nuanced portrayals that stay true to canon and precedent.
A larger-than-life, highly enjoyable rags to riches, urchin to overlord movie. The dialogue is cutting and immensely funny, the action is out of this world, and the emotional storyline is very moving. Kash plays Rocky brilliantly, and Sanjay Dutt is an amazing nemesis. The movie seems like a modern-day myth, or a lost city of El Dorado and its untold riches. Brilliant and definitely worth sitting through the epic 5-hour story.
This movie is a love letter to old-school storytelling and cinematography in particular. From the opening shot to the final cut, there was only one single absolutely justified disruption in the viewpoint of the audience. End to end, this brutal mission was a singular journey through blasted hell scapes, lush meadows, dark caverns, and erupting fields of fire. It is truly a master class in filmmaking to seamlessly tell a story in a single cut. The mission itself is the point, where the will to live and save lives, to sacrifice for the greater good, can infect even the most nonchalant of protagonists. In turn, such sacrifice can lead to inner peace and resolution of old hurts. There are moments of utter terror where our heroes are running for their lives and complete peace where they take a moment to enjoy the miracle of life itself. But all in all, this is one unforgettable war story, told in a single sweeping vision.
One of the best biopics I have seen in a while. Christian Bale delivers an outstanding performance as the most powerful vice president in American history, and perhaps the darkest shadow behind the throne in a century. Every mannerism and tic of Dick Cheney is replicated in an eerie fashion, including the cold glare of hard steel eyes. The rest of the star studded cast delivers very effectively, recreating iconic figures that shaped the bridge between American centuries of rise and fall, and to this day impact our lives in ways we can and cannot imagine. Vice is absolutely essential viewing for anyone interested in studying inflection points of history, where a series of determined decisions can lay the tone for a century to come. Trump did not fall out of the sky, he rose from the ashes of the Cheney administration. The ground work was well laid in the form of alternative facts, subversion of law and order and unilateral decision making. The concept of the all powerful, unassailable unitary executive is now the modus operandi of many an aspiring dictator all over the world, the age of democracy is ending. I lived through those precedent **** days and well remember the internal fear. More insidious is the results of the lies - a destabilized middle east and the resulting geopolitical aftershocks reverberating in Yemen and Ukraine; a collapsing climate with a brutal outlook for most of humanity; a demolished series of walls between executive, judiciary and legislative leading to utter injustice and chaos. This ongoing century of American decline can be traced back to Vice and its depicted decisions, setting the course of the world for a new era.
I recently rewatched this underrated underwater horror movie, pun intended. Folks dispute the acting abilities of Kristen Stewart, but in this role I found her to be focused and action-oriented, showing caring and sacrifice for the well-being of others, and gritty determination under pressure. The premise of the movie is certainly compelling, the pitch-black depths of the ocean remain unpierced to humanity as we obsess upwards to space, driven by billionaire egos. There are secrets below which we may never uncover, and some we certainly should not. There are also accusations of riffing off Alien, and some are valid, especially along the lines of embryo design, ship/suit aesthetics etc. But similarities stop there, the movie stands unique. Lovecraft left behind a deeply disturbing mythos of the sleeping old one Cthulhu, and this is perhaps the only movie to bring that to life in an appropriate scale and majesty. My fear of the deep dark is renewed.
I recently rewatched this modern classic. Nicholas Cage remains a most accessible and plausible character especially in roles like this, where a clever fellow discerns a golden path to riches and sells his soul during the flawed journey.
In the IMDB trivia, it is interesting this movie was never funded by US sources, probably because the truth hits a little too close to home, and makes people uncomfortable. As the movie ironically points out, the biggest arms suppliers on the planet are also permanent members of the UN security council.
Back to the movie itself. Since it is based on real lords of war and warlords, it’s coldly terrifying to see how easy the means for mass murder have been made available across the world. As many have noted, it is far easier to kill from a distance than from up close, giving the killers a false sense of morality and deniability. This movie has aged very well - the insidious arms trade it highlights is as active and lethal today as it was for the last 100 years. As a beloved game series Fallout points out, “War. War never changes.”
Another excellent performance by Bullock who seems to be really maturing as an actor, all the while keeping her zany comedy chops intact in installments like the upcoming Lost City. No one is saying we should forget the criminal past of others, but sometimes in rare instances, judging people without knowing all the facts make you look like a fool. This movie is a shining example of a sister’s love, to the point of incredible, unimaginable sacrifice. What she did to give her sister a clean break and fresh start in life is really humbling. I am confident Bullock has many more outstanding roles ahead of her, and I look forward to seeing her on-screen.
Observing the brainwashing power of global fascist autocrats and tech barons, this movie is completely plausible and realistic. In this day and age, a large population of the world does not believe what they see, and abhor science, logic and rational thinking. Instead, a thin privileged slice of humanity is immune to empathy for those less fortunate and insists on a steady diet of sweet coated lies. It seems a large chunk of us simply lack the digestive system to absorb difficult truths. But then again mass rejection of facts runs rampant all over the world. Dicaprio and Lawrence give outstanding performances as sincere and dedicated scientists, absolutely dumbstruck by the apathy and arrogance of figures in authority. The rest of the heavy-hitting cast delivers strong performances too, especially Hill, Streep and Blanchet, as is expected. This movie is a wake-up call for society. Whether it is a planet threatening virus or comet, all of us need to get back to rational thinking, logical analysis and open-mindedness. Not everything is a conspiracy, use your common sense, hopefully, some is remaining.
There are some movies that cause a visceral reaction, that lodge into your subconscious for days on end and leave a lasting scare. These movies also age well, and offer the same feeling of dread and helplessness years later. I last felt this way with the original remake Grudge of 2004, to the point of sleeplessness for days. Since then I became immune to horror as it's a steady diet of ours, but Sinister scarred again and opened old terrors, even after a rewatch years apart. The movie disturbs on multiple levels, particularly in the thought that innocent kids can be turned into monsters of unimaginable cruelty, a sad parallel to the world today. In the case of Sinister it's particularly terrifying to imagine what ancient evils [and demons] lurk amongst us, silently moving from one victim family to another. Just how many crimes go unexplained and filed away into cold case status, with supernatural aspects that no one wishes to root cause or cure. The found footage aspect of Sinister is heart chilling, the cold methodical way in which entire families are put to death. All the time you swing between pity and disgust at the character played by Ethan Hawke, an obsessed writer aware of the impending danger but unable to resist the temptation to exploit it.
Though Daniel Craig said he wanted to slash his wrists, he certainly delivered an astounding final performance as Bond. The opening montage was signature, a long tortuous episode of action and grit. It was really nice to see homage paid to locales, music and friends of Bond’s past, as we took a walk through history of sorts. The speed at which Bond experiences loss and pain is matched by his frenetic efforts to finish one last great mission for his nation and his world. All the fears of an emasculated Bond were way overblown, if anything he epitomized Commander Bond, and got his due respect. This movie is quite emotional and brings the Craig era to a satisfactory close, tying threads going back to Casino Royale. The last half hour really packed a punch to the gut, showing that even Bond is beholden to love, and blood, and will do anything to make things right. The saddest words are indeed ‘we have all the time in the world’.
It has been a while since we had such fun watching a family film together. Jungle cruise has 2 of my favourite actors - Dwayne Johnson and Emily Blunt - who deliver smashing performances. Their on-screen chemistry is brilliant, and they display their individual passions clearly and credibly. There's a sweet love story here. The villain of the movie hearkens back to the moustache-twirling days of yore, with a ruthlessly driven mind played brilliantly by Jesse Plemons. The dialogue of the film is witty and entertaining, and remarkably sophisticated, tackling sensitive issues with taste and class. The special effects and settings are authentic and really well done. Set pieces are magnificent and breathtaking. You can almost feel the steamy heat of the Amazon in each scene. The supernatural aspect is a nice welcome twist, always. Just like the Pirates franchise, Disney really knows how to spin off classic theme park rides into excellent movies. The jungle cruise within cruise was a funny meta twist. There's a massive twist half way through the movie that absolutely nobody saw coming, which really changes the perspective on a major character. Bravo script writers. The soundtrack by James Newton Howard is epic in scale, reminiscent of earlier classic adventure films. This is an excellent must watch film.
Movies from Streaming studios have a reputation of B quality, but The Tomorrow War is a grade-A contender. The action is breathtaking and whiplash-inducing, in between quieter moments. The time travel dimension echoes Edge of Tomorrow but on a far less iterative scale. There are even parallels to religious texts and the themes of ancient evils waiting to emerge. The creature design of the ‘spikes’ is somewhat unique and terrifying, even though it's clear there is an amalgamation of other beasts. It's hard to come up with truly unique forms after the age of HR Giger and Stan Winston. There are certainly inspirations from the Alien series, especially the original from Ridley Scott. Despite all these influences, this movie stands on its own as a formidable action outing. Chris Pratt is comfortable in his Jurassic World role as a fearless protagonist who wants to do the right thing, especially for his daughter. We can’t expect great depth from him, his range is limited but adequate. I was surprised instead by the performance of Yvonne Strahovski, who often gets relegated to B movies as a supporting cast. Here instead she rose to the occasion and portrayed a tough leader with great emotional depth and nuance. JK Simmons stole the show in the end, with his caustic abrasive and absolutely genius jaded veteran role. There was an action scene where he demonstrated brain over brawn in combat, and I clapped out loud. We should never underplay the sacrifice of common people when faced with a global threat of complete annihilation. The bravery of the supporting cast was well appreciated in the face of certain death. Amazon made a great action movie that is definitely worth the 2 hours. This is better than some of the stuff that made it to theatres in the past.
Fatherhood is a much needed and appreciated film in an age of cynicism and lost faith. I applaud the courage of everyone who made this film especially given the perceived redundancy and disposability of fathers in society today. Kevin Hart gives the performance of a lifetime. Never underestimate a performer, especially one who was previously typecast into comedic roles as the butt of jokes, often due to his height. I strongly feel he should be a contender on the award circuit. Kevin gave a nuanced and powerful performance as a father dealing with unimaginable odds and overwhelming grief. You can relate to his journey as he goes through various stages of grief and acceptance, tempered with hope and heart, and above all the courage to change and listen. It may come as a shock to many, but fathers are capable of deep emotion and connection to their children as depicted in this film. Melody Hurd gives a stunning performance as a precocious and courageous child, willing to challenge herself and above all guide her father to grow. She shows a wisdom beyond her years and I expect great things from this talented little actress.
As expected Alfre Woddard delivers a powerful and moving rendition **** grandmother, tempered with her signature gravitas. Indeed the entire cast is excellent and really rounds out the movie, each playing their role as a set of hands holding up the grieving, overwhelmed father. The tragedy depicted in this film had particular poignance and relevance with me on a personal level as I had a brush with a similar incident just recently in my life. I remember all too well those fateful days when as a father I felt crushed with the magnitude of responsibility before me, but the Mercy of God delivered. Fatherhood is an essential film and strongly recommended viewing. A good parent is a good parent, period. And a good parent shows courage and determination beyond the expectations of everyone else, even themselves.
Disney has mastered the art of retconning and reinventing villains we previously wrote off as the treacherous scum of the earth. Cruella is no exception, taking us on a painful winding journey of a young girl lost in the world, struggling with her inner demon and trying to choose a path in life. The question of nurture versus nature is explored deeply in this absolutely brilliant movie. Emma Stone was born for this role. She displays incredible depth and range, a woman struggling with her involuntary past at the edge of controlled madness. Emma Thompson as usual plays her role flawlessly, giving a chilling portrayal of mental illness. Mark Strong of course delivers a calm, reassuring rock of strength in an ocean of chaos. The casting of this movie is brilliant. The fashion aesthetics of this movie are truly exemplary. Every single outfit and ensemble is classy and well placed for the period and the moment. I did not think there would be a worthy successor to ‘The Devil wears Prada’ but here we are. Hilarious moments and hijinks, and the constant battle of stealing the spotlight in crafty, shocking ways, keeps this pretty long movie clipping along. The soundtrack selection was spot on, each song was well placed for the era and scene. Immersing Cruella’s journey in the glorious decades of London life from the 60’s onwards, especially the punk era, adds a genuine anchor to the tale. Even though the after credits scene seems to imply a direct transition to beloved cartoons of yore, I would venture to say we should have a sequel within this microcosm.
The old adage “Walk a mile in someone else’s shoes” takes a whole new meaning with this delightful film. It also proves another proverb true, “To really know someone, travel with them.” I almost didn’t recognize my beloved Viggo, previously cemented as Aragorn in a classic trilogy. But his depiction of Tony Vallelonga in this movie is really memorable, he slides into the role with the same ease as he digs into a bowl of homemade pasta and meatballs. A worldly wisdom, a straightforward honesty, and a strong moral code of a man who grew up in rough streets. Swift with the blunt fists and the sharp words alike. Mahershala Ali as Shirley was also really well played, a man truly lost between worlds, belonging to none, with a blistering genius that only increases his isolation. One truly feels sorry for his self deprecating analysis as a puppet on strings, an erudite carnival showman, a bizarre exhibit surrounded by racism. The lovely message of this movie is the ability of these two men to learn from each other, to embrace each other’s world views, and in the end to valiantly rise in friendship and mutual respect. We could all learn from their journey, especially to never underestimate the knowledge and wisdom we can share to become better people.
As with any period piece I adored the authentic reproduction of a bygone ‘simpler’ age steeped in dark racism and hate. The nostalgia of the past is a dangerous thing when it whitewashes what really happened in sundown towns and plantations, even after the civil war. The Green Book is as insidious a piece of literature as Mein Kampf, born from the same cauldron of hate.
In the arc of history you do not often see an underprivileged group shatter multiple glass ceilings. The incredibly brave women of Hidden Figures do exactly this. As African Americans, they shatter the barrier of entry to the hallowed halls of NASA, one of the crown jewels of the military industrial complex. As women they shatter the boys club of aerospace and rockets, where females were generally relegated to secretarial or clerical roles. Again as women, they shatter the upper echelons of scientific cliques, where many advanced subjects and challenges were deemed too difficult for females to undertake. This story needs to be told and retold. I literally cringed at the harsh treatment that these women faced in the bigoted time circa 1961. It seems the white establishment went out of their way to insult and humiliate their fellow African Americans, who showed amazing restraint and grace. It is quite alarming that a vast segment of America wants to return to this era, to put ‘minorities in their place’, but thankfully that clock will not be rolled back any time soon.
It takes incredible courage to be the first, the pioneer and the vanguard, to pierce the veil of discrimination and shove your way into the room. The bravery of these women is exemplary and admirable through the ages. A must see movie to understand the cruelty of the past, and the possibilities born from courage and ambition. To me the historic space missions were a side story, the real subject was the journey of these strong, brave ladies of NASA.
It’s been a long time since I saw a movie that testified to the human spirit. This piece of amazing cinema, directed by the multi-talented Chiwetel Ejiofor, is full of searing heart wrenching performances. You see a father desperate to save his family, despite his inherent lack of imagination and skills. You see a mother trying to keep a brave face after a lifetime of disappointment. You see a sister struggling between her own dreams and her duty to family. And of course our real-life real-world hero, you see a young boy daring to dream big beyond his own limits and the chains of his existence. What an inspiring story of applying science and technology to improve one’s miserable existence. The solution explored in the film seems like the simplest thing, but the courage to implement it is the real story here. So many people have their destiny in their hands, and instead of being merciless under the foot of corrupt governments, they can seize their future. A must see movie based on an inspiring true story. One of my favorites this year.
A deeply disturbing film that should make anyone terrified of growing old in America. The epitome of capitalism runs amok, bulldozing over the **** remains of extended families. I had no idea the insidious legal mechanism of guardianship was able to so easily rob elders of their freedoms and imprison them, to be bled until death. It is quite rare that I have wished karma so strongly upon a villain, and the film almost robbed me of the satisfaction until the big payoff. At the very least, the dignity to grow old with freedom should be a human right. I wonder how deep this exploitation goes today, in the US and across the world. The film should be credited for shining light on a very dark corner of society and the legal system.
This is superhero movie making at its finest. Every scene flows smoothly and thematically with a slow build of tension. The backstory of each character is so well fleshed out. As Snyder himself said - “All the arcs are there and completed.” Music selections are excellent. Joss Whedon butchered a masterful movie, I'm so glad we got to see the restored vision. Considering all the masterfully filmed deleted scenes, it looks like the overrated Whedon rolled dice in the cutting room. Tremendous contextual background was omitted from each character. Superman's death cry at the start sent chills down my spine. From then on actions move in rapid succession. The bank heist with Wonder Woman restored my faith in the fighting prowess, courage and sacrifice of the character, after the drivel of Ww84. The massacre of the amazons had really disturbed me before but this version was far harsher, brutal and savage. Newfound respect for the courage and spirit of the warrior women. Steppenwolf had been ridiculed in the previous abomination, here you can appreciate the true horrific majesty of this Uber demon. The first age battle was impressive but Darkseid himself was a disappointment. All the more reason to rue the vanishing of the old alliance. The moral quandary of cheating death and restoring superman was sufficiently explored. These are significant ethical concerns. Flash definitely stole the spotlight with smooth fast moves at all the right times, pun intended. We also finally see Batman at his combat prime as he takes on a legion of parademons alone, much like the gameplay we enjoyed in the Arkham series. The background of Aquaman is explored further, laying groundwork for his own movie later. And Cyborg’s arc was most poignant, given the personal loss and tragedy he suffered, and his integral relationship with the mother boxes. In the overall picture yes the movie did drag at 4 hours, but I was satisfied - very much like an endless 10 course meal - you have to finish to get the full experience, palate and variety the chef intended. It’s a shame a new controversy has erupted - to continue the Snyderverse or not. Even his detractors must admit - Snyder delivered a fully realized vision.
Prometheus is an eminently rewatchable film that provides new layers of meaning with each repeat visit. How often does a master filmmaker get to revisit their original oeuvre and recreate an even bigger world around and about it? The myth of the engineers and their world changing experimentation is absolutely romantic, compelling and terrifying at the same time. It hurts even more to see how badly utilized this new mythos was in the follow up Covenant. The true mark of success that Ridley Scott achieved was igniting years of debate around the origin and nature of the engineers and their creations. Deep connections to established historical finds on earth make this origin story even more personal - the myth of alien astronauts, benevolent or cruel giants from the stars with incredible, magical technology - creators and destroyers of worlds. Getting back to the film itself - such gorgeous cinematography and production values. I recently rewatched in 4k format and developed a greater appreciation for small clues hitherto unseen - for example navigation hologram destinations in a reactivated ship of mass destruction. David is himself a conundrum and a polarizing figure. Was his programming to blame, or the algorithmic output of his treatment at the hand of cruel masters. The android is a central theme in the alien mythos, an expression of creation and self awareness. The only criticism I have of Prometheus and the sequel Covenant is the proliferation of human stupidity. Predecessor films did not showcase human hubris and blundering to such a great extent - protagonists always took calculated risks. If anything the buffoonery of crews almost seems to justify their fate and reduces sympathy accordingly. Ridley Scott may still have time to catapult his mythos to legendarium, if his subsequent sequels after Covenant retain purity of spirit with his expanded universe. I for one look forward to seeing more of this wondrous unravelling and exposition.
Naturally WW84 is the must have digital movie ticket of year end 2020, so we delved into it with gusto. Sadly this franchise seems to have lost its way a little.
One of the great appeals of Wonder Woman is her tie to the timeless past of greek mythology, and after hinting at a dark link with ancient origins, nothing further was revealed in that wasted storythread. Instead we get a trite, shallow, snake oil salesman routine on a global stage. Instead of a focused journey of growth and discovery, we get fire fighter Diana running from one flaming chaos to another. Gal Gadot plays her part beautifully, especially in her heartfelt scenes with Chris Pine. Some of those moments were heart wrenching as she reflects on the sacrifices of the past and future. Pine really rises to the occasion with maturity and resourcefulness. Pedro Pascal started off well but devolved into a melodramatic heap. Kristen Wiig also started well but descended into a shallow, vicious creature. Such wasted potential. Though the events of this movie play out on a global stage, the magnitude and investment is lost in a blizzard of pettiness and self serving motivations. There are no grand historical themes, no lessons for mankind, nothing of substance. I actually wonder if Jenkins was a one hit wonder, and if we should worry about Rogue Squadron.
Soul in my humble opinion is the most imaginative and philosophical movie Pixar has ever made. It delves into the meaning of life, the great Before and After, the purpose of our existence and the spark of our soul. The journey of self discovery is one we must all undertake, some sooner, some later, some never. All this is well addressed in Soul, in a very metaphysical way. Pixar animation just keeps getting better - reflections of lights on the glass panes of pictures, mottled rust on aging metro rail pillars, hazy sunlight filtered through autumn leaves. Just such a delight to watch this bustling realistic world of New York unfold. Soul is probably the most musically authentic of all Pixar movies, diving deep into Jazz and other genres. But at the end the message remains paramount - see the forest beyond the trees, see the ocean beyond the waters. Life isn’t one big moment, it’s lots of little moments, treasure them all.
