2,293 Reviews
Sort by:
Filter by Rating:
Empty Threats. Empty Guns.
17 January 2019
American Gangster

Scott's reign over the mean streets often comes out as a fatal attempt of conjuring Scorsese's richness on uncouth mannerism, either way it's a big old sunken ship from the beginning. Ironically, despite of ticking for more than two hours, it barely offers us the content of half an hour, give or take. The major disappointment is the build up of each sequences, which are perpetually on mark, but unfortunately the high pitched dramatic scene itself falls on mediocrity. Against all odds, the film is cornered by its semantics, since the biggest bombshell would be Zaillian; the writer, who has managed to write the weakest script of his career.

As far as Scott- behind the camera- is concerned, he does utilize the caliber of the cast to the last drop, but there isn't enough concrete material to walk on. Washington, in the bad boy coat, is a threat to watch out for, his rage empowers not only on the characters but on the viewers too. And to balance the tone on the other side is, Crowe as the complex yet better person to root on, frankly his personal life has much more to offer than his professional, no matter how much limited it is.

Spicing up their relationship, lies Brolin's challenging performance that is explored the least among all. Despite of having such an electrifying performances, the conversation aren't zazzy enough to spark up the screen as it was anticipated and the apt example would be when Brolin and Washington goes head to head; the trash talk is just not working. And the rest of the time is spent upon creating the stereotypical montages like the loss of consciousness, the rudimentary investigation process and an imperial party gone wrong. American Gangster neither is Americana nor gangster-ous enough to define it cinematically.
0 out of 0 found this helpful. Was this review helpful? Sign in to vote.
Permalink
Boy Erased (2018)
Reviewing The Course.
15 January 2019
Boy Erased

Edgerton's vital project is equally admirable, if not energetic, to the voice it raises. This seen-this-seen-that structure of the script may have something new to offers but has stereotypical characters and repetitive concept that is clearly off putting. Still scoffing off the limitations, Edgerton's textbook procedure is effective, it is well crafted and genuinely invested tale. One of the primary reasons, why it works is the inevitability of the antagonist, since there is no physical appearance to it, it gets impossible to eradicate it and the annoyance that our characters goes through, is communicated thoroughly through stellar performance and brilliant execution. Fighting the long lasting battle, that is against narrow minded people, usually the solution is to take the South direction, but before its last act, the makers have managed to offer the simplest of solution.

But this is simply another extra branch of the film, it's core lies on the analysation of a personal relationship which is put on trial in here. The class involves the usual suspects, one who is friendly, one of them a bully and one whose innocence gets snatched away. Soaking all the dripped material from all the tactics ever introduced in this genre, Edgerton has made a qualifying film. He never stretches things, each sequence of the film is an essential development to the storyline.

From meaningful conversations with Kidman on a car to writing down notes on the paper, and just because of this tone of the film, that isn't commercial at all- if anything it is a bit more artsy than it accounts for- it leaves the audience satisfied. Hedges resisting the stupidity of the people surrounding them is a surprising package that keeps giving you back reasons to hold on to him.

Personally I prefer Hedges when he has to swallow all the accusations without any counter arguments, rather than in his last act where he jets his rage around the surrounding and enlightens the tale to a much faster pace. Crowe on the other hand owns his body like never before, he is firm, rigid and too behemoth to be able to move aside by anyone, he is one big wall that Hedges has to climb. Kidman on the other hand plays almost a double agent, the apt host for Hedges to penetrate these narrow minded people and walk past them ahead.

Edgerton, himself, plays the miniature physique of the antagonist, but still a nail biting challenger that amps up the charge and makes us want to punch him, this is his big win. With only little going on, in narration it helps Edgerton immensely to stay on the track and follow protagonist's perspective without leaving his lead and despite of it, the narration never grows dull for ticking for around two hours. Unfortunately, the film isn't layered as it thinks it is, it has a definite layer of essential ingredients, but is also wafer thin. Boy Erased manages to rub off the darker thoughts but also is primarily a mundane work.
0 out of 0 found this helpful. Was this review helpful? Sign in to vote.
Permalink
he gave her homework..
15 January 2019
Young Sheldon

Young Sheldon; a spin-off of The Big Bang Theory, that was created for the fans of Sheldon Cooper is on the contrary, more disappointing for the viewers to watch their beloved character being ripped off by dull writing. Its primary objective from the first episode wasn't set off to create a humorous environment which would have been suffice but as it started aging on screen the target started to blur out and is now shooting arrows in the dark confusing and disappointing the viewers from the offered thin material.

Ian Hermitage at the center of it is palpable for this tone of the series and is appreciative in its role. The relationship between MeeMaw and Sheldon isn't coming off as anticipated even though the genuine effort is clearly visible and admirable. The narrative often attempts to weave out a morale out of the daily conflicts that usually goes around in one's house, but at the compromise of the integrity and the quality of the product, it surely isn't adequate enough to be appreciated.

Focusing on the adult socialization and conversations has always worked and came off in a bit mature sense and addition to that, just to spice it up, the younger characters meddling on their business works like a charm and offers enough laugh especially from Sheldon's perspective. The sibling relationship too, is aptly constructed if not executed, but amidst all these hokum, it still comes out in the limelight shining bright and wise.

Season 02

After a disappointing start from the previous season, the expectation might have gone lower but the necessity is still of quite larger margin and if doesn't evolve any characters more than their offered one-dimension, it still ought to project gripping and enthralling acts.

A Tummy Ache And A Whale Of A Metaphor

With an intriguing mellow chemistry between Armitage and his room sharing partner, it is a sweet even though not funny chapter, and as far as the rest of the characters are concerned, they are written without any polishing.
0 out of 0 found this helpful. Was this review helpful? Sign in to vote.
Permalink
some of it was true..
15 January 2019
The Big Bang Theory

Almost a cultural hub and a dream project for the nerd and movie goers out there, The Big Bang Theory lift off from the first episode in '07 possibly breaking many records on broadcasting and awards shows; this is another one of Chuck Lorre's production as it too resembles with the others on its hardcore and counter argumentative humor. And unlike others, its witty and sharp humor doesn't walk on 'mundane sitcom rituals' which they carried off till the mid series quite nicely after which the plot grew thin and the humor got petty and childish to a point where the viewers have started to feel like a homework that doesn't end.

On performance level, Parsons is never reliable on his co-stars, he is literally a one man army and the reason behind it is not that he is given the range and content to flaunt his skills but even when the writing goes frizzy in its latter season, he delivers unflinchingly. On the other hand, Galecki is convincing throughout the series along with Helberg supporting him decently. The narrative that was once fluid, gripping and thought-provoking has now turned into this misconceived mixture of rotted out ideas, that ought not to draw even a chuckle, let alone be intriguing enough to keep the audience tangled in these undercooked characters' mundane life.

Another main reason, why the ideas narrowed down as it aged on screen was because of too many lead actors sharing the screen and the writers being restricted on offering and dividing the work or humor to each and everyone resulting into low quality of the final product. Even though the series have somehow found itself in the 12th season it still hasn't offered much on character development (their work on Sheldon is appreciative but not worth the effort).

Season 12

With an attempt of attaining a closure to a higher ideal, the last season is sculpted to justify and culminate the entire series and as much as the hopes are higher, the maturity on writing is equally lower where the offered final product is of a daily soap quality.

The Propagation Proposition

Parson and Helberg's few punchlines may line on mediocrity but compared to Nayyar and Galecki's track it seems like a lifeboat that draws in chuckle every now and then despite of having chalky writing.
0 out of 0 found this helpful. Was this review helpful? Sign in to vote.
Permalink
Modern Family: A Moving Day (2019)
Season 10, Episode 11
that is lucky..
15 January 2019
Modern Family

Modern Family being critically acclaimed, loved by the fans and even buzzed on award shows in its earlier stages was due to the hard and fast humor that swiftly resulted into genuine emotions on the screen and the projection of some of the complicated and delicate relationships like a father (Burrell) going the distance and pushing the boundaries for his son (Gould) which was shown in some semi-comic sequences.

But, as it started aging on screen the content grew thinner but still some of the cast's acting made it worth a while which unfortunately started to fade off too resulting into an exhausting experience and petty humor where the viewers are just waiting for the makers to attain the aspired closure. Being a prime victim of this disease has failed on delivering any loose end of a thread for the audience to hold on to for the forthcoming experience; the mundane household and work day issues that it used to thrive on, seems like a myth, now.

The performance is convincing by the cast like Vergara and O'Neill whilst the show stealers are Burrell and Bowen but after a certain point, it's just depressing to watch them work so hard on so little. The nature to attain a full circle in an episode has always been its strength but lately this has been resulted into shallow and manipulative emotional drama where the line drawn is from an amateur writing skills that itches throughout the course.

Season 10

Taking another shot and returning for a final season, this cast seems like they are back in their zone, the performance is lifted up due to its much mature writing than what we have received in the recent seasons, addition to that, it doesn't reminiscence a lot about the fact of it being a final season.

A Moving Day

Ewing's few one-liners is the only saviour of this dull overridden manipulative emotional drama that undermines plenty of opportunities to make it interesting but in order to punch the viewers with a dose of tears.
0 out of 1 found this helpful. Was this review helpful? Sign in to vote.
Permalink
True Detective: Kiss Tomorrow Goodbye (2019)
Season 3, Episode 2
now, what does that mean..
15 January 2019
True Detective

Pizzolatto's crime drama clearly leans on offering an engaging drama rather than a gripping case. It has always been a bit spiritual than it has to be technical. And this is what makes the series stand out among various such true story crime investigations. Another thing that the makers works on majorly, are its layered dialogues and mature conversations, since there is often very little development on the case in each step- in order to convey the practicality and test the patience of the viewers as the characters did- the writers gets to stretch the muscles on the bonding of the characters. And deriving various equations between them, this character driven series speaks more on the existence of a being and the nature of oneself in the society.

The series has few signature scenes like a deep philosophical conversation in a car, recording the testimony and an edgy love track. It takes real cases and creates a non-linear cinematic structure and more than often in order to do so, the detailing that goes behind setting up these characters in that world gives it a more attractive look. From creating the era that the tale revolves around to setting up the art design or set accordingly, the narration too gets more referential of the pop-culture or political controversy that was buzzed around that period which immensely helps the writers to jump on the train for a smooth flow.

Unlike any other juicy criminal case, it barely directs its guns towards the who-done-it case, if anything its uncertainty and vagueness, makes you go off track from the case and easily dive on the ideologies of the characters. This slow pill drama is the most meticulous a crime genre has ever ever been, a home run from Pizzolatto's point of view, since his vision, of projecting the real behind the stage sweat and blood inducing work that goes by in a case, is jaggedly on mark.

Season 03

Coming back to their original theme, this season starts the clock from zero, and offers a familiar cat and mouse chase, where the investigation is rudimentary and the development is slow paced as usual, but what makes you look twice for it, is Ali's breathtaking performance.

Kiss Tomorrow Goodbye

It gets spookier and much more dense but there is very little substance to work on it and it is just style written all over to it that obviously attracts the viewers, addition to that the dinner table conversations are too stereotypical to breed the sincerity or crisp out of this gloomy family.
3 out of 7 found this helpful. Was this review helpful? Sign in to vote.
Permalink
it's too dark out there..
15 January 2019
True Detective

Pizzolatto's crime drama clearly leans on offering an engaging drama rather than a gripping case. It has always been a bit spiritual than it has to be technical. And this is what makes the series stand out among various such true story crime investigations. Another thing that the makers works on majorly, are its layered dialogues and mature conversations, since there is often very little development on the case in each step- in order to convey the practicality and test the patience of the viewers as the characters did- the writers gets to stretch the muscles on the bonding of the characters. And deriving various equations between them, this character driven series speaks more on the existence of a being and the nature of oneself in the society.

The series has few signature scenes like a deep philosophical conversation in a car, recording the testimony and an edgy love track. It takes real cases and creates a non-linear cinematic structure and more than often in order to do so, the detailing that goes behind setting up these characters in that world gives it a more attractive look. From creating the era that the tale revolves around to setting up the art design or set accordingly, the narration too gets more referential of the pop-culture or political controversy that was buzzed around that period which immensely helps the writers to jump on the train for a smooth flow.

Unlike any other juicy criminal case, it barely directs its guns towards the who-done-it case, if anything its uncertainty and vagueness, makes you go off track from the case and easily dive on the ideologies of the characters. This slow pill drama is the most meticulous a crime genre has ever ever been, a home run from Pizzolatto's point of view, since his vision, of projecting the real behind the stage sweat and blood inducing work that goes by in a case, is jaggedly on mark.

Season 03

Coming back to their original theme, this season starts the clock from zero, and offers a familiar cat and mouse chase, where the investigation is rudimentary and the development is slow paced as usual, but what makes you look twice for it, is Ali's breathtaking performance.

The Great War And Modern Memory

It has a promising start with a safe play especially on terms of performance, while as far as its trademark non-linearly narration is concerned, it is certainly able to glorify the environment around it but unfortunately isn't able to utilize that weapon to its best.
2 out of 6 found this helpful. Was this review helpful? Sign in to vote.
Permalink
The Rider (2017)
The Bitter Truth.
15 January 2019
The Rider

Zhao's pathos drama that eerily is of an antithetical nature, proposes a much bigger question that every being lives for or has lived for. The theme somewhat resonates with Coen Brothers's Inside Llewyn Davis, only a bit less darker, but equally promising and inspiring. This character driven feature dwells upon the inner resistance of ones- drunken with oneself's attraction or weakness towards a subject and the conscience practical decision towards right and wrong- this is a film that required a narrator or an inner monologue. But Zhao's bold steps on not to keep one favors immensely on her side through her brilliant execution, these silent pitches where she milks out the essential drama remains the highlight of it.

And through brilliant performance and meticulous script that uses enough props to express views and intentions, the message is sound and clear. Another beautiful aspect of the feature is the interaction of our protagonist with horses, the way he tames and communicates with them, it doesn't require any verbal sparring to mesmerize you. And fabricating this drama into a compelling action, is Jandreau, delivering a stellar performance to observe at.

To be fair, his character is much more endearing than our usual protagonist is, he helps his friends even at their worst, he is protective and open to alienated concepts. The only part where he gets to be edgy and depict a darker side of his, is when he wrestles with a friend of his, which too is justified thoroughly. The conversations and the activities going around the room or a house is pretty much mundane and pragmatic that denses up the essence of the stakes stronger and impenetrable, like the usual conflict of his younger sister with her family that is kept burning throughout the course of the film. The Rider rides with an even stable pace to a more cozy state than it begins with.
0 out of 0 found this helpful. Was this review helpful? Sign in to vote.
Permalink
Burning (2018)
Running For A Lost Cause.
14 January 2019
Burning

Lee's illuminating thriller lights a havoc on the drama genre. From scene one, the slow pill is the best medicine one can aspire for such a shady tale, and Lee's vision doesn't go off track, even for a split second in this more than two hours of marathon. A perfectly balanced and properly constructed film, that balances characters' perspective and the bones of the storyline on nothing but uncertainty. And it is that element of uncertainty in air, that keeps challenging us to think beyond our imaginations and the responsible driver is Lee armed with a meticulous script and brilliant execution. Probably only once they refer the word "metaphor" which doesn't mean anything, for besides that, it is immensely layered and a mirror of the intentions and deep dark thoughts of these characters.

One might assume that after its first half, the film would drive towards the rudimentary investigation process, but Lee has some other plans for you, he has been building up the entire film for that last trick that leaves its viewers hanging without any clue. And this is where the film gets better, after it ends, it allows you to roll back all the tell tales and innuendos that was driving towards this destination, boy what a ride it is.

Aforementioned, the entire film is dipped into metaphor, Lee is not ready to reveal his secret till the last frame, he holds on to it like his dearest, which makes us hold onto this wider range allegory, never has a tale been so fluctuating and pulsating. From the shadow of a lighthouse to a cow, from well crafted rumors to a cat, it is a buoyant absorbing tale that tests you intellectually and spiritually. And walking that fine line, resides Lee's true intentions of the tale, and as a character quotes once in the film, The Greater Hunger- the meaning of life.

Yoo, the protagonist, has pretty much a similar role to its audience, he too is trying to figure out and analyse the world around him, and fortunately he is at best at his depressive state rather than an overprotective one. Jun as the essential part of the mystery act, has plays an amazing role to cast the spell of hers enough to not let it wear off until the credits rolls. But the show stealer would always be Yeun, in his rich charismatic cloak.

With his stunning portrayal, and the substance of his characters that is most attracting than any others, his ideologies speaks much more than one anticipates. If its first act is spent upon building our protagonist, then the second one is depicting the eerie chemistry of this scary friendship, leaving us with a last act that is basically joining the dots. Hence, personally I prefer when Yeun invades Yoo and Jun's life with a big pack of gusto. Burning burns more than you would think, in fact it leaves us with only ashes for us to investigate, and to survive from that has its own sweet results.
0 out of 1 found this helpful. Was this review helpful? Sign in to vote.
Permalink
Nixon (1995)
Guilty Or Not Guilty.
14 January 2019
Nixon

Stone's now-a-complete anthology on American politics from '60s to '70s, is a set that may dwell well in contrast to his rest of the installment, but as an individual, in its single entity, it is a "blah" forward pass. This meticulous venture of Stone was clearly not easy to bind it all in one act. Such political films that barely has any concrete material to follow, takes a lot of work to narrate it linearly with a definite structure. And covering all the controversies and debates, Stone has put up a behemoth stature for us to climb, it is a long way up but it is worth all the effort.

Unlike, his other similar features, this one lacks enthralling encounters that leads on electrifying debates, in fact if anything, it is too diplomatic to lose its control and let things flow, Stone is too calculative to make it cinematic. And if there are these many restraints on script, the making of the film, is boost off supremely by its stunning cast. And the titled character is played by Hopkins whose research on Nixon is a testament to his sheer brilliant performance. His best bits are when he shares the screen by his supporting actress Allen, who is equally challenging to him on screen.

The eerie editing and camera work does help Stone to make his point clear, but Hopkins's act has a rhythm of its own, the first time he convinces Allen to not leave him is the apt example for it. These are also tiny packets of firecrackers that we get in this overstretched version of Stone's dive on shady political drama, since the rest of the part is too mellow to demand our attention. Nixon managed to lose even in comparison to Stone's JFK, it is a biography that no one asked for.
0 out of 0 found this helpful. Was this review helpful? Sign in to vote.
Permalink
Achieving A Perpetual Winning Speed.
14 January 2019
How To Train Your Dragon: The Hidden World

DeBlois's conclusion of this delightful experience ends on the easiest and smoothest note possible. The franchise has always has its strength on its ferocious pace and fluid command over storytelling. Ticking for around ninety minutes, the narration booms away through usual textbook methods that works only for our familiarity with the characters that we have grown up with. And the voids are filled out with mundane conversations that gives this aviated tale a more grounded touch. But these husbandry gags are something we have seen earlier too, like Hill consistently hitting on Blanchett and craving for her attention.

In their defense, amidst the train of plenty gags, the one soars above all is Wiig's hilarious prison escape tactic that is something you will take home with you. If these are its pros, then the antagonist is on the con category, with very little skin in the game, there is never a genuine threat of his among the audience to communicate the stakes. In fact, more than that, The Light Fury love track, is much more edgy and beautiful that makes you care for it where even though the fall is inevitable you are afraid to see things go wrong.

Fortunately, the film isn't scattered into various acts, but looks like a one big chase scene, similar to Miller's Mad Max Fury Road, a bit, that keeps you at the brisk of the seat and emotions. The ignition of the love track between The Night Fury and The Light Fury is basically a series of awe inducing non-verbal sequence that creates a long silent pitch across the room which is a cathartic release among all the loud wind blazing action. The returning voice cast has done an amazing job especially Wiig, Hill, Blanchett and Baruchel.

As usual these animated visual galore are pleasing to look at, from projecting a new highly detailed mesmerizing world to the old rituals of Vikings, the colossal stage that is allotted is also well deserved. The humor installed to lighten the mood balances the film aptly, but personally I'd prefer a more serious take on life threatening characters to grasp the stakes instantly and easily. Nevertheless, since the comedy isn't referential but more observational, the laughs are drawn out from the hysterical nature of the characters and not the circumstances.

The film's last knockout punch is also of this franchise's, which helps the makers to melt down the viewers through a big wallop of emotional drama. The political satire about respecting the diverse group along with their rights to travel and reside independently is expressed with a subtle and thorough explanation. The conversations, unfortunately, aren't juicy enough to dense the theme, it is all crisp, either funny one-liners or a dramatic dunk, it looks like the writers are out of time, and in hurry to reach the destination for achieving a tighter screenplay. How To Train Your Dragon: The Hidden World, is the last stop for both the storytelling and the dragons, and it does feel like home.
0 out of 0 found this helpful. Was this review helpful? Sign in to vote.
Permalink
Suspiria (I) (2018)
Mother Issues.
14 January 2019
Suspiria

Guadagnino's swooping and whooping camera work on the beloved '70s classic horror flick is a head scratching gore vision that conjures you through your curiosity rather than your fear. First of all, this has always been an edgy tale, even back in the Argento's version, it is a concept that asks you to reach out for it. Nevertheless, the narration guides you to it where its abstractness is the double edge sword, for if it gets fixated in its vague nature, not only does it loses its audience but the grip on the characters itself.

Fortunately, Guadagnino is the just the guy that such a script demand, he takes his time, chews on the perspective properly and delivers a thrilling outcome to look forward to. Since one can imagine from the theme of the film, it relies a lot upon technical aspects like choreography, art designing, sound effects and makeup artist. And even though it delivers few jaw dropping scenes, the art designing feels a bit short handed especially in its last act; in their defense it is too colossal to frame it on a screen. Personally, I would choose this comprehensive display of Guadagnino's mythological dance academy than Argento's horror, which now looks like it was just skimming off the surface.

To admire, among various aspects, Guadagnino's acceptance towards tilting the world on a more mythological genre than the horror one is the smartest above all; it doesn't hold back, if it is set loose it is allowed to flow with butter smoothness. There is a general acceptance in the air of the upcoming storm among the characters, that allows the viewers to think beyond just the screams and chills of harrowing visions. Johnson in the lead, of both the act and the storytelling, fails to live up to the lethal sculpting of her character. She is neither poised, nor jaggedly on mark to express in her well choreographed dance.

Her lefts and rights may not match, but the plasterization of a numb and scary face favors majorly on her side. Balancing the incompetency on performance objective lies Swinton's stunning act. From the chaser to being chased by and from the reacher to being reached by, she has foliated the characters with her accurate vision on their role as individual being that will fool you. Despite of ticking for more than two hours, the film never seems overstretched, it's Guadagnino's magic trick of sweeping all the essential points on one big sequence, that keeps you tangled in this pathos world.

Even for the frequent viewers of such a bloodbath film, it can be too much, especially if any of the sequence is considered as a "blah", every step is a part of the act, even the news on the radio or television has a lot to say about his mature vision, it has too much to say and is too much subtle. Make no mistake, this fantasy, takes its rumors seriously, dipping itself deep into the good's and bad's of the world, it is a perpetually engaging drama where the real romance of the film is Johnson and Swinton's mellow chemistry. Suspiria has always been ahead of its time, we weren't ready for The Mothers back in the '70s, neither are we now.
0 out of 1 found this helpful. Was this review helpful? Sign in to vote.
Permalink
Vice (I) (2018)
Conspired To Doom.
7 January 2019
Vice

McKay's avant-garde vision of the controversial political debate may or may not be accurate but scoffing off the strings, the film, the independent project, shows passion and talent blending in for cherishing few laughs. On humor, it is very hard to beat McKay, weaving out the too-much-political jibber-jabber into a nail biting drama is his first and foremost job, that he makes sure he excels at. There are husbandry gags so witty and hilarious that it mocks the genre itself, when felt to divert the shady or speculative part of the plot to a big extravagant of puppet (literally!), he uses a theme of equivalency medium to communicate on layman terms.

Like when Bale schemes his way up with banal theories of puppets in White House or an eerie homage to Shakespeare or a climatic first act that is nailed down to the credits. McKay's ferocious commitment and confident on his script, is what illuminates it on a much larger scale. The political climate which the film is dipped into isn't just left to inspire or create awareness for the current political climate control, but as an individual persona that Bale is cloaked of, fiddles on where to draw the margin of good or bad as a singular being.

As far as the structure is concerned, it is pretty much basics, Bale climbs his way up to the ladder by pushing off one or two and being challenged ethically before he ends up losing not only himself but things much more precious to him. The narration is not only meticulous but also funny and fresh to follow, in fact, it may resemble somewhat to Stone's Any Given Sunday, but fortunately the humorisc editing and direction tactics helps McKay stay on the safer side of the coin. Bale being hyped by the media and fans for his bizarre physical transformation clears out any speculations of his choice in our minds within first few minutes.

His depressed, overly thought out and dodgy character that he maps out on screen, has a perspective of his own. He seems more Chaney than Chaney himself. Plastering a half grin on his face and speaking with less opened mouth as much as possible, he may not be able to melt you down but he sure can ooze power to a point where you might start getting afraid of him. And the characters that writhes around him, including Carell as the sort-of-mentor role has very little do along with Rockwell as the Bush, who too is a victim of a similar infection.

The only challenging and competitive character against Bale is Adams as the backbone of his, has done an amazing work as his supporter. What the film fumbles upon is having the ability to transact from one sequence to another, there is no flow to the storytelling, no matter how hard McKay convinces you with his camera work. One of the best bit of the film is the narrator whose mysterious appearances keeps you intrigued into this one big speech. Vice should have been a general phenomenon, instead it is Bale's film, from head to toe.
1 out of 4 found this helpful. Was this review helpful? Sign in to vote.
Permalink
Win Win (2011)
To Wake Up Without Any Hit.
7 January 2019
Win Win

McCarthy's grant that comes along with family's business that is to be dealt with, has too much amount to fulfill your needs. This surprising delightful family drama has the heart in its right place, no matter how much obliged it is to the semantics of the structure or how mechanically complex it grows, McCarthy's schemes to keep a broad smile on your face throughout the journey is an appreciative and successful job. With light humor and breezier conversations, it keeps us at ease with warm cozy chemistry of the characters.

McCarthy's world never takes charge, if there is an option directing towards the south it cannot ignore it and this is his ultimate weapon, for even at its peak there is a sense of maturity or immaturity of the characters to keep a socially pleasant expressions on the face and move accordingly. Addition to that, the unexpected turns and revelations in its trajectory is bewildering enough to bite your nails. The stakes might be immensely high, yet its projection of these imprinted plans, no matter how much less-cinematic is subtle enough to poke you off the edge, there is no need for any push.

Giamatti in his middle aged and no so likeable character, is to be rooted for, from his inadequacy to smile or to clear out his intentions, he is a force to be reckoned with. And challenging him equally, lies Ryan's beautiful performance, as an overprotective mother and a fellow companion of Giamatti, she balance the film on a safer scale. The supporting cast like Tambor, Cannavale, Young and Shaffer are holding onto their parts convincingly. Win Win is a big win as a family drama pulsating across a breathtaking match and McCarthy's bluff of not delivering the last end of the track leaves you a bit wiser in the end.
0 out of 0 found this helpful. Was this review helpful? Sign in to vote.
Permalink
Step Brothers (2008)
Finding The Voice Together
7 January 2019
Step Brothers

McKay's daunting task to bring two comic energies on screen that is of such high caliber with an eerie relationship to work on, is an average brawler sparked up by illuminating performances. A gullible world as such of McKay is his core strength, and he makes sure he uses it whenever the script gets damp, lucky for him, there is very little space to do so. The husbandry gags that the film relies upon for the most part of it, ought to have installed by Reilly and Ferrell and is thoroughly steered by them. From banal notions and hilarious illogical one liners, this comic drama, contradictory to popular beliefs, has witty sense of humor.

To pull off your typical dinner-conversation-gone-wrong case with intertwined complicated equations bubbled up by irrevocable actions shines a new light every time. The physical sequences are convincing and flat out hilarious spiced up by irregular yellings of their deepest darkest secrets that tickles you. McKay's clean trial of putting up these two hilarious personas on stand makes us see through and through of their nature which works immensely on dramatic bits no matter how little they are.

Ferrell as the shy Mama's boy, obliged but never to admit sort of stature is sculpted on screen by him where his flamboyancy on melting down and cheering up welcomes you to join this unfathomable emotions. Reilly, on the other hand, the impossible to live with guy, is where the antics move accordingly, and his reach to grasp Ferrell's schemes has merits of its own. These two twinkling stars are the heart of the film, if the camera seeks someone else, the energy wears off quickly. Step Brothers feels like real brothers for their constant bickering and petty fights, with all the crisp from surface to the core, this family is fun.
0 out of 0 found this helpful. Was this review helpful? Sign in to vote.
Permalink
Robin Hood (1973)
Rich-Poor Alike.
6 January 2019
Robin Hood

Disney's another basket of dull troop of films undermines the capabilities of the banner to animate the tales for better expressions. It is one of those flicks that has tone so lazy and studious for it to convince the viewer for even a unattentive glance. A decision to give the three dimensional character a face to speak to the younger audience without any contempt unequivocally is regretted to death. With no whatsoever flow on narration and filmmaking, on both writing and execution there is very little to hold on to. Neither the characters are impressive nor the script illuminating enough to cut through other low ends of the film.

Usually, when nothing works, one starts to hope for amazing visuals or some good old music, but with uneasy action sequences, and moderate choreography, the music and songs are barely able to factor in on the bigger picture. The supporting characters that are your average sidekicks are literally working on a two liners sticky note, that grows annoying from their first introduction. Brimmed with various subplots, each of them fails to deliver it on their own theme, the love track isn't electrifying, the revenge not communicative and message not inspiring enough to plant the emotions the makers had in mind.

The only good moments to steal away from this big chunk of mess, is the breezy chemistry between the lead friendship that is both slick and mature. Another thing that is hit on mark by the film, is the well thought out angles that allows enough room for the storyline to branch out and make it more dense and spicy. If it works thoroughly for the younger audience then it fails equally for the older viewers, a disappointing advancement on storyline. Unfortunately, Robin Hood is not the savior for Disney, they better wait for someone else.
0 out of 1 found this helpful. Was this review helpful? Sign in to vote.
Permalink
No Terms And Conditions.
5 January 2019
Artificial Intelligence: AI

Spielberg's innocent plans on a harrowing concept is a breathtaking battle ticking for more than two hours. As always, he walks on a textbook structure, well crafted old methods that speaks their own tales. A perfect example would be of the first act itself, where the series of all intentions gone wrong case is to be projected. And with skillful execution, he foliates the explicit writing on screen as it was anticipated. But unfortunately, there are other forces stopping him to reach his goal, and the primary one is the semantics of the storyline. A track so long and overstuffed that there is very little space for the audience to breathe even though Spielberg allows enough room and space to the audience to chew in.

And with a jarring last act that emotionally fuels the screen with humility and innocence and not for a split second does it grow manipulative. Joel Osment, the highly advanced unique bot which is intended to be emotionally competent, successfully manages to move us with an amazing performance. Law, as the sidekick and literally a supporter of his has a stereotypical role to fill in which doesn't stop him from giving back a sensational performance.

If the first half of the film is spent upon getting kicked and judged by the world for the protagonist, the second one is discovering about his identity and finding his voice, and even though it lands on a pathos world, there is a lot of hope emitting among those mechanical bodies walking around. Frankly, even though there is very little to invest upon in its first act, the efficient procedure of his that are thoroughly convincing and thought provoking is fun on its own. Artificial Intelligence: AI set in future, as it quotes, raises a mythological question and to answer it, has its own merits.
0 out of 1 found this helpful. Was this review helpful? Sign in to vote.
Permalink
Bambi (1942)
Growing Tall And Strong.
5 January 2019
Bambi

Disney's palatial tale of a young deer emitting warmth in this cold hard land is a symphony sung over the ages for its ingenuity. A drama so mature and sincere that it challenges its older audience to be at their best end of intellectual state and also is a packet of firecrackers for the younger audience. And it is not that it jubilants the younger viewers through breathtaking visuals, stunning locations and adorable picturization of the animal lifestyle. But draws their attention with speaking their tongue of frailty on terms of knowledge and the newer concept that takes time to sink in, like every time when the Rabbit takes things too far and his mother reminds him of his father's advice.

Tiny notions like such is where this meticulous script grows stronger, from experiencing the first rain to testing the surface of a snow, all these encounters with a nature is a witty way to characterize the characters. As far as animation is concerned, it never has been so powerful and skillful for a vivid storytelling to melt down its viewers on the very right spot. The first act is pretty much the firsts of everything, as mentioned, the thrills of visiting new creatures or speaking or walking for the first time.

And the second act explores the bonding between him and his mother with training and stories that can be traced back to mythology, where the last act offers our protagonist to stretch his muscles and prove his brave persona with a fight against nature whom he has been devouring since he was a kid. Bambi, a tale weaved out so far from now and yet remains so close to all of us, is a testament to the sheer brilliance of the narration that was clearly ahead of its time.
0 out of 0 found this helpful. Was this review helpful? Sign in to vote.
Permalink
can i get an amen..
5 January 2019
Young Sheldon

Young Sheldon; a spin-off of The Big Bang Theory, that was created for the fans of Sheldon Cooper is on the contrary, more disappointing for the viewers to watch their beloved character being ripped off by dull writing. Its primary objective from the first episode wasn't set off to create a humorous environment which would have been suffice but as it started aging on screen the target started to blur out and is now shooting arrows in the dark confusing and disappointing the viewers from the offered thin material.

Ian Hermitage at the center of it is palpable for this tone of the series and is appreciative in its role. The relationship between MeeMaw and Sheldon isn't coming off as anticipated even though the genuine effort is clearly visible and admirable. The narrative often attempts to weave out a morale out of the daily conflicts that usually goes around in one's house, but at the compromise of the integrity and the quality of the product, it surely isn't adequate enough to be appreciated.

Focusing on the adult socialization and conversations has always worked and came off in a bit mature sense and addition to that, just to spice it up, the younger characters meddling on their business works like a charm and offers enough laugh especially from Sheldon's perspective. The sibling relationship too, is aptly constructed if not executed, but amidst all these hokum, it still comes out in the limelight shining bright and wise.

Season 02

After a disappointing start from the previous season, the expectation might have gone lower but the necessity is still of quite larger margin and if doesn't evolve any characters more than their offered one-dimension, it still ought to project gripping and enthralling acts.

A Race Of Superhumans And A Letter To Alf

A roaring comeback by the writers with a hilarious script where both the track manages to keep you engaged, especially Jordan's apparently a love track that helps plaster a big broad smile on your face throughout his journey to salvation.
0 out of 0 found this helpful. Was this review helpful? Sign in to vote.
Permalink
The Big Bang Theory: The Paintball Scattering (2019)
Season 12, Episode 11
and still she soldiers on..
5 January 2019
The Big Bang Theory

Almost a cultural hub and a dream project for the nerd and movie goers out there, The Big Bang Theory lift off from the first episode in '07 possibly breaking many records on broadcasting and awards shows; this is another one of Chuck Lorre's production as it too resembles with the others on its hardcore and counter argumentative humor. And unlike others, its witty and sharp humor doesn't walk on 'mundane sitcom rituals' which they carried off till the mid series quite nicely after which the plot grew thin and the humor got petty and childish to a point where the viewers have started to feel like a homework that doesn't end.

On performance level, Parsons is never reliable on his co-stars, he is literally a one man army and the reason behind it is not that he is given the range and content to flaunt his skills but even when the writing goes frizzy in its latter season, he delivers unflinchingly. On the other hand, Galecki is convincing throughout the series along with Helberg supporting him decently. The narrative that was once fluid, gripping and thought-provoking has now turned into this misconceived mixture of rotted out ideas, that ought not to draw even a chuckle, let alone be intriguing enough to keep the audience tangled in these undercooked characters' mundane life.

Another main reason, why the ideas narrowed down as it aged on screen was because of too many lead actors sharing the screen and the writers being restricted on offering and dividing the work or humor to each and everyone resulting into low quality of the final product. Even though the series have somehow found itself in the 12th season it still hasn't offered much on character development (their work on Sheldon is appreciative but not worth the effort).

Season 12

With an attempt of attaining a closure to a higher ideal, the last season is sculpted to justify and culminate the entire series and as much as the hopes are higher, the maturity on writing is equally lower where the offered final product is of a daily soap quality.

The Paintball Scattering

This is a poor example of writing, plotting out a theme to bicker about and stage a rendezvous for an entire cast to complain on a larger scale, frankly none of these fight either brings out sincerity or humor on the table.
3 out of 5 found this helpful. Was this review helpful? Sign in to vote.
Permalink
The Graduate (1967)
Attraction Or Repulsion.
5 January 2019
The Graduate

Nichols's compelling drama of a rift between sexuality and morality is a forward pass on terms of the genre the cinema can and ought to offer. As much as general and diverse the message grows socially, the real raunchy methods up-taken by the writers is bold and vivid enough to leave a long lasting impression. Sweeping of all the perspective, opinions, schemes and what not sort of drama, within around 100 minutes, the anticipated intentions are circled up with an adequate storytelling. If its first act seems humorous and light enough to nail any sort of intensity on the board, the second act adds plethora of spice to the tale with jealousy, politics and selfishness that shows the three dimensional side of these perfectly cooked characters.

And with a jarring last act that gives you goosebumps for its potential to shift the entire tone into an electrifying love story that corners our protagonist to succeed against all odds, the finesse is to aspire from. The nail biting climatic act offers this ethically complex situation a cathartic release which no matter how much crowd pleasing it may seem, is also wisely crafted to be mature. Hoffman as the obedient student and of like-able persona has a completely different identity hidden behind him.

Frankly this is not a pleasant figure and Nichols makes sure he never tries to justify it which would be uncalled for. But justice is to be served, and serving it with an intention to draw out a cinematic arc for the character, there resides a quote that cannot define it all more than enough, "I'll give you 20 dollars for a dime." says Hoffman in his lowest pit. Bancroft and Ross, possibly the combination of the most bizarre triangle love story are holding onto their parts dearly. The Graduate not only qualifies but is undoubtedly a top contender.
0 out of 0 found this helpful. Was this review helpful? Sign in to vote.
Permalink
The Savages (2007)
The Non- Socialite Humans.
5 January 2019
The Savages

Jenkins's immortal lifestyle and mortal characters carries heavy words than a sword ever could. And finding an honest persistent voice in this war where there is no opponent, and yet has an engaging battle to keep us at the brisk of our emotions, it gets to reap its inspiring flag. The pragmatic conversation glides along with smart humorous narration that can be as light as a puff of smoke and heavy as the deepest emotion bubbled up with stunning chemistry among the cast. Where it ponders on about the usual textbook structure and the concept of a typical family drama, the theme it digs upon is a head scratching masterpiece.

One of its major strength, the equation of two siblings; a brother and a sister, is so accurately descriptive that you cannot not communicate with it. From tiny bickering intuitions to mocking each other even at the lowest moment, the bonding of them grows stronger and stronger as they manage to stay together in this big chunk of mess. Linney as the emotionally fueled and also challenged sister, is a treat to watch for her gullible nature with strong will power receives an overwhelming response especially set in this world. Hoffman, on the other hand, is playing more of a supportive role than a parallel one.

With annoyance on the surface in his hot headed mind, he is more of a father to her sister, than her actual father is. Complaining their way in, this absorbing tale evolves into supporting and devouring each other for their mistakes and their capabilities. Addition to that, the signature tone of Jenkins of drawing out humor from the awkward silence and social uneasiness, she lightens the mood through the habitual rituals of the characters rather than some big hysterical incident. The Savages is a breath of fresh air with a medication that is just a cherry on top.
0 out of 0 found this helpful. Was this review helpful? Sign in to vote.
Permalink
The Threat Has Been Wiped Out.
4 January 2019
28 Weeks Later

Fresnadillo's torch is unfortunately not illuminating as it was when Boyle passed it on. Although it ironically seems accurately titled, since each second spent in here seems like a big old drag. What it does get right is, the depiction of time driven by fluently that doesn't comes across too much news-y. But this sharp vision of the makers on the execution is barely the major factor in here, the narration that circles around the core material before hitting the point, is way too overridden to be affordable. Ironically, a film with a concept that thrives upon survival instinct and the thrills of the chase, is frankly too dull and slow to makes you sweat.

Let alone bedazzle you, it even fails to grasp your attention, the more the makers try to tighten the grip, the more the sand slips out. On its advantage, the structure is independent of any aspect of commercialism which gives it enough freedom to be fresh and raw. Neither the uncertainty of the antagonist and the threat nor the gore vision of the makers scares you and the primary reason to that is there is very little we care about them, the writers just aren't convincing enough to make us fall in their fairy tale.

And with a solution in his pockets in storyline, Fresnadillo never succeeds on bringing alive those words. Renner and Byrne feels the least of the protagonist themed character which is the ultimate trick that works. But on the other hand, Poots and Muggleton that ought to be the flip or turn of this magic too are left out to rot the viewers. The characters are so undercooked that even the innocence of the kid fails to fabricate the emotion with a bit of poignancy. 28 Weeks Later will definitely take more than weeks to pass by.
0 out of 0 found this helpful. Was this review helpful? Sign in to vote.
Permalink
Cape Fear (1991)
To Mourn And To Charge.
4 January 2019
Cape Fear

Scorsese's calculatively planned and emotionally influenced revenge is both cheesy and smart. Enfolding layer after layer, the screenplay just keeps giving you back the thrills that were promised. Armed with such a buoyant script Scorsese is surprisingly chalky on terms of execution. With eerie camera work and ear numbing explosions blazing across the screen, the film makes you uncomfortable not significantly, but in its inadequacy to stay true to its tone. Brimmed with smart tricks to overpower each other on screen, Nolte and De Niro may not get a better role than this to go mano-y-mano on screen. From conversations to physical sequences, this meticulous script may have written people pleasing entertainment all over it, but there also resides a layered illuminating concept that is vivid enough to recite Bible and other mythological ideologies.

Mutilating every aspect of Nolte's possession; personal and professional, De Niro is on the podium with a sensational speech on mind and performance on his body language. Among many sharp encounters of his with multiple characters, the most riveting is the one he shares with Lewis. The entire conversation is a build up and the gist of the film itself, his rage that masks the entire screen to honesty is a testament to his majestic performance.

Walking parallel-y Nolte is a convincing flawed human whose family is at risk and even though he never gets to score on De Niro's level, his own resistance towards the concept of life and death is intriguing. Lewis and Lange are too impressive on their supporting role, especially the brattiness of Lewis and her gullible nature that denses up the storytelling. Scorsese fails to picturize the explicit writing on screen that every now and then raises questions. Cape Fear is through and through on clearly depicting the concept, the fear is genuinely felt by us.
0 out of 0 found this helpful. Was this review helpful? Sign in to vote.
Permalink
Beautiful Boy (2018)
More Parenting Advice.
4 January 2019
Beautiful Boy

Groeningen's cure for this inevitable generation gap may be separated with mutual hatred, but somehow in its own incapabilities it beats to a toe-tapping rhythm. The decision to narrate the storyline non-linearly is something that still is questionable. Yes, it gives them enough reason to fast forward or highlight the plot points, but then it looks like they were seeking for a reason to connect or communicate. Nevertheless, with heartwarming conversation and accurate description on both beauty and gore, it sails smoothly. The film is set in beautiful locations and is lit up bright and easy, no matter how much then the characters suffers vigorously. This contrast kept it mind by Groeningen is something to enjoy.

But all in all, the film ought to and does dwell upon the core relationship of Carell and Chalamet. A ride so raunchy and rugged that it breathes modesty more than innocence. On that very note, the film is a triumph. If it manages to scrape out last bit of innocence from Chalamet's account, then it breeds humbleness in Carell's. This vision that isn't compromised to glorify the characters or justify through logistics, shows honesty in filmmaking. But still there is a lot left in the court to wander about.

And this uneasy voids or untouched grounds is its primary weakness. The rest of the material is often meaningless and can easily be filtered out as a distraction. Yes, they do get their opinion or perspective in on the narration, but then it seems like either it is too late or inevitably irrelevant. Groeningen sets the scene beautifully, he smartly scatters little points on the screen to work your way up but when it comes to end one, he feels a bit short handed to live up to his excellence as it did on igniting it. Carell is not your overprotective guardian, he is the friends of friends.

He pushes the boundaries by not keeping one between him and his son. A mistake or a masterstroke, the film ping pongs this decision often in the film, diplomacy is appreciated in here. His tendency to keep nagging and poking through his rigid ideologies and also to be open mind enough to grasp the one dimensional nature of anyone, balances the tone to a humane version. Chalamet, the victim or so it may seem like, is frankly more convincing when sober rather than floating around in his imagination.

Their chemistry has a lot of pressure to fill in, which they deliver, it takes a lot of effort from them, but they do. The supporting cast has done a decent work although, Ryan feels a bit underused and surprisingly Tierney gets a big chunk of impressive role which evidently bodes well to both her performance and the track. There is very little mining on terms of the concept, it is happy to surf over it and decorate it with dramatic effects as much it can. Beautiful Boy is far from being a beautiful tale, it is essential for the awareness, but productivity is to be looked over.
0 out of 2 found this helpful. Was this review helpful? Sign in to vote.
Permalink
An error has occured. Please try again.

Recently Viewed