narmelan_tharmalingam Reviews

The Grudge (2019)

Haters must have a dandruff issues

[10/10 · 21 October 2020]

It is not surprising that a film titled "The Grudge" would conjure such irate feedback. All jokes aside however, any reasonable viewer who enjoys horror can tell that the young writer and director Nicolas Pesce put his foot into this and constructed the necessary world to endure the entirety of the movie. If you dismiss comments accusing this as a remake, as very likely these people enjoy re-runs, one can tie plots together and realize the unique spin that does not stray from or obsessively pay homage to the previous trilogy. Filmed in Winnipeg, Manitoba hometown girl Tara Westwood who plays the lead Fiona Landers does an incredible job alongside Andrea Riseborough as Detective Muldoon, who present different perspectives that coincide and narrow in on the rising suspense that does not dull. The argument exists that this is better than the initial English versions. For today, it captivates a unique vibe to audiences who may be unfamiliar with the previous decade's releases, and without the spoilage of hype due to star driven names like Sarah Michelle Gellar that added to the initial success and therefore should not compare unless unfairly to this 2020 release. We still experience some comedic familiarity nonetheless with everyone's favorite Korean John Cho (think Searching, also another Sony Pictures release) who is proportionately intense and funny in his role given the nature of what is occurring. Watching the film, and then the trailer, this is one movie that does not give it all away. There is still plenty to piece together and appreciate. No trick or treating this year, so go for the marathon and enjoy the butter on your popcorn.

The Lie (2018)

What an ending!

[9/10 · 19 October 2020]

Based off the 2015 German film 'Wir Monster', writer and director Veena Sud gives audiences quite the rocky ride in a scenario that will challenge and be an absolute nightmare for parents. How much different from the original is yet to be compared, nonetheless Amazon noticed something to be the distributor and add to their collection of original titles with interesting stories that continues to improve. The Lie filmed in the beautiful winter backdrop of Toronto Canada, starring Joey King and daughter Kayla, with parents Jay and Rebecca performed by Peter Sarsgaard and Mireille Enos presents audiences with a disturbing quandary that only a beautifully spoiled sibling-less teenage daughter can serve. The intro footage tapes give some idea of the experiences Kayla had and how quick one becomes dismissive, ungrateful, and nonchalantly selfish later in life. The elements are presented early purposefully. The dynamics of her split parents as they try to maneuver with the news that knocks the wind out their lungs is another assessment on its own. The plot which is greatly assisted with choice of setting elements is the driver for this film before acting is given mind. Suspense continues to be edgy with growing stress as workings are displayed but the real win of this film is how its questions inner thoughts in such a messed-up scenario. Even scripting the other daughter's father as Pakistani is a detail presented to be evoking. The ending does not disappoint; however, it is one of those films that is most impactful during first watch although strange details linger in the mind for some time after. Appropriate for the winter months, it is worth the butter on your popcorn.

The Child Remains (2017)

So so horror but cool back story

[5/10 · 9 October 2020]

If not for the true story factor, this film like several horror films, no offense, would have been yet another cheesy depiction of Christian imagery perversion. However, the true story which is what serves as inspiration for this flick deserves recognition because director and writer Michael Melski uncovers with creativity a dark part of history for The Maritimes - specifically Nova Scotia, that may have been kept swept under the rug. Delivering a horrible box office performance despite the praise received before major release, one may watch this film with floating thoughts about what the documentary may look like during moments of disengagement, as there are plenty of those during this film. The disappointment subsides when you accept early on that this movie is a film that is categorized for the horror genre but it is not truly a horror film. What should be chilling moments are quite comical when you consider how strange dolls can disturb a grown man like Liam played by Allan Hawco to the point he has to leave the doll outside his room in the hall yet this same consideration is not exhibited towards his pregnant wife Rae played by Suzanne Clement who is out walking alone in the woods in a town they never visited before. Nonetheless, the typical atmosphere and elements of creepy are present here: strange house, extraordinary fishy nice mature woman, flashbacks, and wooded surroundings. The Child Remains is worth a watch particularly if you are Canadian - it is just something that makes sense for us. Without a giveaway the highlight is when Suzanna Clément's character screams "I'll see you in hell" followed by the next scene that tells us the day is now Monday.

Hope Springs (2012)

A bit of Hope Afterall

[6/10 · 13 September 2020]

For fans of Meryl Streep and/or Tommy Lee Jones this film is worth a single watch on a calm uneventful evening. It has soft memorable moments that are somewhat of a takeaway in terms of what not to do in a relationship unless you want the therapy, which may be the point of interest for mature audiences viewing. Hope Springs written by Vanessa Taylor who later wrote the screenplay for The Shape of Water, begins on a promising high note with the in-pocket tune, "Ain't Love Something" (Sam & Ruby) as we see Streep beautifully dressed in sky blue gown kudos to costume designer Ann Roth, awaiting for the affection of her husband who delivers an exceptional act of being a reliable dork unable to stir the straw. The insertion of Steve Carell's role thankfully provides aid to on-screen awkwardness of our couple as he pokes his way into their communication of each other's feelings. What we do not see in the movie is everything outside of the relationship that contributes to there being of a lack of one. For instance, where did the neglect start? If not for the cast, one actually may face difficultly sitting through this bland couple otherwise for that reason. The absence of this depth in the relationship translates to the absence of verisimilitude. Despite the age of this couple, you would imagine more timely memories to talk about, some fighting or infidelity conquests. Even if the chemistry was developed in a perfunctory manner, some reminiscence would enrich the plot further. What we do see are two people who care deeply about each other in their own ways, and we want the best for them.

Villains (I) (2019)

You will laugh with the sinners

[9/10 · 3 September 2020]

Writing and directing partners Dan Berk and Robert Olsen did a terrific job in taking us on a 90 minute wildly entertaining journey. Not once was the running time glanced at, making this film easy to slip into without prior thoughts or having watched trailers because of the likability of Bill Skarsgard and Maika Monroe, and later with Jeffery Donovan and Kyra Sedgwick, all bouncing off each other with high tensions. Immediately viewers' interest is gathered to the throwback quirky outlaw love relationship of Skarsgard and Monroe who are amusing to watch and are a joy in their frankness and spirited energies. The entire film could have just included them. However, the plot only improves with the addition of Donovan and Sedgewick who balance the situation with more humorous drama in their on-screen personalities. The film does well with an open-mind free of comparisons of any other movie or genre selecting. Only during the rolling credits, I thought again about the film title and cleverness about it captured. As long as you don't expect depth in plot or to get anything from conversations, this film will naturally play and resonate someway in the end.

7500 (2019)

Keep Calm and Fly

[8/10 · 1 September 2020]

Director and screenplay writer Patrick Vollrath does a neat job in reeling viewers into the highly stressed cockpit environment where lunatics have hijacked the plane. The film performs considerably in carrying suspense and thrilling us given the limited confinements of an airplane setting. Actually, if one exhausts any prior ideas about the film, it plays to the rolling credits without disappointment when viewed in absence of expectations. Joseph Gordan-Levitt's role pretty much carries the movie forward as the plot abruptly thickens and his initial calm demeanor we're introduced to is tested. There are definite frustrating moments in the film where we wish our star was more Brad Pitt and less Matt Damon in handling terrorists, nonetheless he is convincing along with Omid Memar, whom both hit their mark respectively, in drawing on our emotions as audience members. The film leaves you feeling appreciative and thinking of your flights and admiring all whom work in the airlines industry. For that, it is worth the butter on your popcorn.

Crawl (I) (2019)

Crocodile Crawls ...

[8/10 · 31 August 2020]

After twenty years, the PTSD of the crocodile rocks back into action in this not too shabby animal driven action thriller genre flick. Albeit, generously ample in the 1999 film Lake Placid, the crocodiles in 2019 Crawl however outpace any similarities one may Venn diagram. Given the entertainingly dangerous parameters of a hurricane flooding that traps a father and daughter in a house of scaled predators with an ongoing storm, director Alexandre Aja delivers to a plot that falsely reads redundant for appeared limited settings. Although Barry Pepper's character doesn't really look like Kaya Scodelario's character's dad, this mismatch is quickly forgotten with plenty of scaled action in succession. You start thinking how relatively proficient these two are in stressful situations as it pertains to reptilian care. The drama required for this direness is performed convincingly enough especially in Kaya's discourse, but the gem of the film is in the moments of attack - and there are enough chomping instances to make it worth the butter on your popcorn.

Blow the Man Down (2019)

What a premise and statement

[8/10 · 30 August 2020]

Meant to be seen on the big screen as writing and directing duo Bridget Savage Cole and Danielle Krudy elegantly execute setting the atmosphere of the fictional Easter Cove, Maine to the point you are hungry for seafood during and after. It is worth the butter on your popcorn and lobster. The richness of small-town thinking shows in character development that unfolds organically revealing the nature of who people and where their minds are in a town fogged in their ways. This is shown in small expressions like the awkward thankless tension in receiving a slice of pie, to the bigger more thrilling interactions like prostitution income. The use of fishy interludes itself to launch the film and later transition scenes throughout, in both tense and funny moments, eerily and hilariously casts the despair that permeates the tipsy psyche of the characters comforted by the doubtful shores. Other than being song voices, their appearances to us is wonderfully ghostly and serve only as the spirits that keep this place in a drunken buzz-killed mood as the film progresses. They serve like reminders, of lives lived in tides now woven to the torn cloth of life fluttering in Maine winds that air plots like this. A definite and different must watch.

The Vast of Night (2019)

Colossal Moving Picture

[10/10 · 27 August 2020]

An out of the world thought level was effortlessly put to this debut film directed/co-written by Andrew Patterson. Each scene is constructed and seamlessly choreographed. No detail is given inconsequentially, lighting, costume, words, extras movements, background noise etc. All are intentionally placed to add collective feel to an era and set the mood. Sierra McCormick's and Jake Horowitz's on screen chemistry however is the rewind factor here along with the camera work moreso than the sci-fi twist. The film begins and develops our understanding of these characters immediately as we get comfortable with the cadence of rapport in their conversation that drives the plot and their understanding of each other. Without the dialogue the film doesn't happen which makes the speechless moments of the film almost garrulous because we crave more. These elements along with the UFO make this worth the butter on your popcorn.

Luce (I) (2019)

Delievers for this era

[8/10 · 26 August 2020]

The film makes you think about your teachers growing up. For that alone this is worth the butter on your popcorn. Kelvin Harrison Jr does a wonderful job capturing the gravity of his position and all he's signed up for due to circumstance. Tim Roth and Naomi Watts come through with convincing acts that audiences appreciate having felt for Kelvin's character and the headaches he deals with due to Octavia Spencer's role. Watts supporting of Kelvin's character is convincing in showing a mother's pain and strength. The pace not to be compared with general "thriller" films, but fast enough to comprehend the intricate issues existing that lead to clashes. One thing about this film is you wish it won't be relevant a decade from now, which would be The End closure but it doesn't necessarily go there. One last mention, the scene shot in one take with Marsha Stephanie Blake at the school will move and disturb you equally. She absolutely killed it.

Fear (1996)

FEAR: Mark Wahlberg as Villian

[6/10 · 24 August 2020]

Fear is a thriller 1996 film from a time when plots relied on teenage spirit more than technology. Mark Wahlberg early on skillfully blends the menacing personalities of his character well with his predatory interest in co-star Reese Witherspoon, whom also displays earlier work here. David played by Mark, is cool lowkey dude love one second and over-controlling psycho the other. If you are a fan of his latter works, usually in the role of an all American kick ass action hero, this film showcases range. The film is supported with some comedic relief when we are critical of some intense scenes, but this is a result of time occurring rather than terrible acting. Nonetheless, if you enjoy the look of the 90s grain on screen and want a thriller without takeaway morals, this is recommended. It is worth the butter on your popcorn.

Crazy, Stupid, Love. (2011)

Good Unwinder

[8/10 · 24 August 2020]

This is a delightful light film to evening relax to. Steve Carell's role is pivotal to the performance of the main character. His prior appearances prepare us to accept this performance as an audience as he has to deal with the events unfolding in the film. Even without being a fan, the dynamics are placed interestingly enough to view this movie to end without a let down. Trying to be the good guy and having a fulfilling relationship is relatable. Also, juggling with familiar cast members makes this movie worth the butter on your popcorn.