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Eugenio Mira's 'Grand Piano' attempts to be 'experimental' and somewhat 'different' but that alone does not guarantee a good film. Besides, it really isn't that different from your typical thriller except that here the lead, an accomplished pianist, is being threatened through a mobile phone while he's playing the piano. It does remind one of films like 'Phone Booth' and such. The air of tension is maintained in the first quarter of an hour after Tom starts playing the piano before turning into one ridiculous Hollywood cliché after another. The only appealing thing about 'Grand Piano' is the score. Elijah Wood delivers a poor performance while Kerry Bishé is quite adequate. John Cusack is quite awful. Just when I thought he was back on track with 'The Paperboy' after a string of abysmal movies, he slips with this. One would be better off listening to the soundtrack than wasting time on this.
Given the premise (deduced from the trailer) and the title I was thinking of skipping 'The Big Wedding' but it's got Hollywood's finest actors like Robin Williams, Susan Sarandon, Diane Keaton and Robert de Niro. Surely, the film is at least worth a watch for their performance, right? Well, a more appropriate title for the movie would have been 'The Big Disaster In the Name of a Movie'. Yes, it's messy, silly and...not funny. 'the Big Wedding' was sold as a romantic comedy wedding flick but the 'jokes' appear forced, desperate and lack originality. Moreover it pokes fun at Catholics, free spirited people and divorced couples. The aforementioned talented actors are wasted which is a real shame. The younger cast's performance ranges from average to poor. The set and outdoor sceneries provide some nice eye-candy. Loaded with clichés, pretending to be funny and wasting talents, this expensive film is kind of...well, trash.
Djamel Bensalah's story isn't anything original but the film is easy to
relate to despite all the clichés and stereotypes. Perhaps the key
reason is the characterization of the lead character Sami who is
superbly played by Samy Seghir. Samy's sudden 'culture' shock from the
underdeveloped crime-ridden French suburb to the riches of Neuilly and
his struggles to keep up are portrayed effectively. Moreover, Seghir's
performance is natural unlike a majority of the child actors seen on
Certain subplots remain underdeveloped even though the director and writer do try to tie it all up in the end. The comedy does feel forced at times, even feeling completely out of place but there is enough here to keep one entertained. The supporting cast performs adequately.
'Neuilly sa mère!' isn't among the finest of its kind but it has enough bright moments to be watchable with the family.
John Lee Hancock's 'Saving Mr. Banks' tells the story of P.L. Travers,
creator of the classic Mary Poppins. Writers Kelly Marcel, Sue Smith
and director Hancock depict how her loving father who struggled with
alcoholism influenced her and her refusal to permit Disney to turn Mary
Poppins into a movie. However, what I found to be lacking was Aunt
Ellie's impact. Clearly she's the inspiration behind the character Mary
Poppins and yet there is so little of her shown in the film and what
her influence was is left for the viewer to assume. 'Saving Mr. Banks'
is quite well shot. However, the special effects are poor. The editing
and lighting are smooth and the score is very pleasing. The writing is
brilliant, especially the sharp dialogues and the score is wonderful,
particularly the renditions of the 'Mary Poppins' soundtrack.
The film boasts of several superb performances. Tom Hanks does a decent job. He exudes enough charm to carry off the part. Colin Farrell, even though not a convincing Australian, does a remarkable job otherwise. Same goes for Annie Rose Buckley. Paul Giamatti is excellent. Bradley Whitford, Jason Schwartzmann and Kathy Baker provide fine support. Rachel Griffiths is wonderful but she deserved more screen time. But, 'Saving Mr. Banks' belongs to Emma Thompson who delivers yet another transcendent performance marking one of her best works.
Flawed it may be but John Lee Hancock's movie is well worth watching. It's charming, colourful, delightful and very well acted.
The Coen Brothers' 'Inside Llewyn Davis' follows struggling musician
Llewyn Davis, a one-hit wonder that 'faded into oblivion' after the
suicide of his singing partner. He's been performing at gigs, as second
fiddle , if he's lucky enough but Davis is about to reach that point of
realization that his dreams will only be a dream and the lack of
stability in his life (no home, no job, no real friends and not even a
proper family) will only push him further into darkness.
The film falls on the lines of 'A Single Man'. Here the viewer is accompanied by some fine music and some suitably awful songs. Moreover, the director duo also create a gloomy but equally intriguing atmosphere set in 1961. It's also darkly comic. All the other people Llewyn meets throughout the film are losers too. The only difference is that Llewyn has pretty much lost everything except his love for music while the others lead a relatively more secure life that is equally, if not more, empty.
Oscar Isaac finally gets a role that allows him to showcase his abilities as an actor. He is well supported by John Goodman and Cary Mulligan. The only bad performance comes from Justin Timberlake. He is awful but thankfully he's only there for a limited time.
Whimsical and atmospheric, 'Inside Llewyn Davis' works as both a character study and mood piece. It's lyrical in style and dark in tone but subtle in humour.
Based on 'A Streetcar Named Desire', 'Blue Jasmine' tells the story of a snobbish posh woman who once had everything and recently lost it all because of her criminal and unfaithful husband. She is forced to move in with her (much poorer) younger sister. Told in typical Woody Allen fashion, we follow both Jasmine and her sister Ginger as they struggle to make ends meet. J is desperate to find a short cut in order to reenter the world of the rich and Ginger too finds a second opportunity for something bigger...but looks usually are deceiving. 'Blue Jasmine' is well shot. Javier Aguirresarobe's cinematography is first rate. The film itself feels somewhat hollow, especially in the writing department. The pacing too is on the slower side. The best thing about the movie are its performances by the two leading ladies. Both Cate Blanchett and Sally Hawkins do a marvelous job. They are both very convincing as contrasting half sisters and, in the end, that's what you take away from 'Blue Jasmine', two terrific performances in an otherwise dull film that had potential, if only had the concept had been treated well.
Soumik Sen's 'Gulaab Gang' released amidst some controversy especially
the lawsuit it faced from real Gulabi Gang leader Sampat Pal. After
seeing this mess of a film I completely understand why. Of course, when
the lead actress Madhuri Dixit describes it as her 'Dabangg' (another
overrated awful movie) one pretty much knows what to expect: that this
wouldn't be a film that intends to depict the Gulabi Gang and tell
their story but just another meaningless good versus evil 'masala'
flick masquerading as something that depicts and supports women's
rights. Even the producers shamelessly throw in the disclaimer that the
movie is entirely fiction. Okay.
There are several songs (ranging from mediocre to awful) and dances. Yes, Madhuri does dance and I doubt she'd ever do a film where she isn't required to dance. After all, she's a much better dancer than actress and here she fails to have an effect. Sen's 'Gulaab Gang' (should have been titled Madhuri's Gang) are all good looking thin women with nice makeup. Occasionally, they swing their hips to music, stand erect looking indifferent or jump around with domestic weapons. Madhuri also gets to do some Kill Bill-Matrix style action sequences (which are mostly shot in slow motion because Bollywood thinks that's cool).
Moreover, the references to Madhuri Dixit the star (and her steamy numbers from 80s movies) are painfully evident. This film was supposed to be about the real Gulabi Gang and not Madhuri the hero. But enough on that. Even otherwise, it's all done so over-the-top. A shootout final? Really? Is this 'Sholay'? The sequences of Rajjo's childhood are laughably bad. Alphonse Roy's cinematography is decent but Sen's script and direction are messy. The film lacks a consistent narrative. The tongue in cheek dialogue appears forced at times.
The only interesting thing about the movie are the Sumitra's sequences especially those with Rajjo. In fact, the Sumitra character is way more interesting than the formulaic (super?)hero. It makes the viewer wonder about her background, what made her into this ruthless power-craving monster. She's clearly a sociopath who's managed to get away with so much all those years.
And of course, Juhi Chawla is transcendent as she steals every scene and is the only reason why the film is even watchable (despite limited screen time). Of the supporting cast Tannishtha Chatterjee and Priyanka Bose stand out. Divya Jagdale is quite loud. Overall, 'Gulaab Gang' is silly. It, very noticeably, tries to milk on Madhuri's former stardom and the growing recognition of the real Gulabi Gang, with it's supposed 'feminist message'. No.
Gore Verbinski's 'Rango' tells the story of a pet Chameleon who suddenly finds himself stranded in a desert where he meets a number of colourful unpleasant characters. With vivid animation, vivacious characters and plenty of energy, this little film highly entertains. It's not the best of its genre as there are problems with pacing and it does occasionally tend to derail from the main story. Needless to say it requires the 'Madagascar' level of suspension of disbelief. The humour works in most parts even if at times it tends to be a little too all over the place, leaving no time to resonate. The voice acting is superb, especially by leads Johnny Depp, Bill Nighy, Ned Beatty and Isla Fisher. Verbinski also pays several references to Western classics. This is a cute and funny tribute to that once-popular genre that dominated the screen in the 60s.
Spielberg's 'Duel' was originally made for television. Throughout the years it has gained a cult following. The film is minimalistic in style and effectively executed. Spielberg once mentioned in an interview that he was initially thinking of whether to show any of the trucker at all. In my opinion, this would have been a more clever decision as it would have left things more open to interpretation as fear of the unknown is usually stronger. Despite this, the director successfully manages to create and maintain tension throughout. The isolated desert landscape further adds to the atmosphere. The car chase sequences were brilliantly shot. Actor Dennis Weaver does a fine job too. 'Duel', in the end, is a suspense thriller that manages to engage and entertain the viewer.
B.R. Chopra's 'Gumrah' has been remade umpteen times in Bollywood, each
remake being more (melo)dramatic than its predecessor. The latest one
is perhaps Dharmesh Darshan's 'Bewafaaa' (I forgot how many A's the
title has) which was a disaster to say the least. The story of 'Gumrah'
feels like a typical Bollywood family drama from the 60s.
That isn't necessarily a bad thing but the film gets much more interesting when Meena meets Rajendra after marriage and embarks on an affair with her ex-flame. This was quite a surprise for a film of its time when women were portrayed in stereotypical roles as the loyal and devoted wife, mother or sister who would never cross social boundaries.
Moreover Chopra depicts it quite well without resorting to clichés and he presents some interesting arguments, especially where Rajendra raises the question about whether Meena is only meant to be a caretaker of Ashok's children. However, Chopra's concluding argument is faulty. Is a woman's role only confined to being a homemaker and limited within her home? Granted that it was wrong of her to cheat on her husband but doesn't the husband have any responsibility and granting her the happiness she deserves, a happiness that was forced away when he tied the knot? In addition, the whole Shashikala track felt forced and awkward, changing the entire rhythm of the film.
'Gumrah' is technically well made. The cinematography captures the sense of space and gives us many eye-candy shots. The lighting is impressive. The songs are nice but repetitive.
All three actors deliver some stellar performances. Ashok Kumar is quite charming. However, his French is hilarious (was that intentional?). Sunil Dutt is brilliant as the boyfriend/other man. But 'Gumrah' belongs to Mala Sinha who not only superbly delivers a nuanced performance but very few of her contemporaries could have depicted the internal conflict and vulnerability as effectively as she has. Sinha remains underrated as the actress is hardly mentioned these days when one talks of classics.
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