SoumikBanerjee1996 Reviews

Lars and the Real Girl (2007)

Has an infectious charm in it!

[7/10 · 22 May 2024]

People experiencing loneliness or other mental health issues are often unfairly stigmatised, especially if they are in their younger years.

They are often seen as socially awkward or 'weirdos.' It is truly unfortunate that their underlying problems are generally overlooked. Instead of understanding their struggles and hardships, we quickly assign negative labels to them, deeming them unfit for society.

If only we could see them with a little bit of compassion and try to understand their struggles, the world would be a much better place.

Returning to the film, there is a certain sweetness and warmth to it that becomes contagious.

While it may not be as intense or serious as other films with similar topics tend to be, it still prompts viewers to contemplate the lives of such individuals, and that is admirable.

And to top it all off, Ryan delivers a commendable act, flawlessly portraying his character Lars from beginning to end. It is no easy feat for an actor to convey a gentle smile on the surface while carrying a deeper sadness within, but Gosling does this so effortlessly.

He truly is a precious talent.

The Fall Guy (2024)

Works better as a tribute piece than an action comedy!

[5/10 · 22 May 2024]

It shines the brightest as long as its acts are strictly restricted to showing great stunt work and mounting larger-than-life action set pieces.

That shouldn't really come as a surprise, though, as this whole project was specifically envisioned to pay homage to one of the most brave groups of men and women who pull off implausible stunts day in and day out but seldom get the recognition they deserve.

In that regard, it does a great job; no complaints, but the moment it moves out of its so-called comfort zone, the efficiency takes a hit and the output does not quite reach the lengths it hoped for.

The story's lame; there's hardly any thought given to it. I had high hopes for the romance because Blunt and Gosling look so well together on screen and have organic chemistry, but that too failed to give satisfying results, mainly due to depthless writing and lack of ambition pertaining to the romantic aspect.

That said, I did enjoy what Gosling did as the lead; he kind of saved the film, if you ask me.

Challengers (2024)

Couldn't quite reach its peak!

[6/10 · 22 May 2024]

As a regular follower of the sport, I eagerly anticipated watching tennis coming to life through cinematic medium. Despite the existence of a few tennis-centric films in the past, they were few and far between, suffice to say that heightened my expectations for this one.

Unfortunately, "Challengers" failed to meet the desired standards.

While the performances of the three main actors were commendable, it was the screenplay that held the film back, limiting its potential and preventing it from fleshing it, holding it back from flourishing.

The editing lacked the sharpness and precision it needed. Whilst I appreciate and advocate for non-linear storytelling, the back-and-forth approach should have matched the pacing and tonality of the sequences more thoughtfully.

Jumping between different timelines without 'reason' or cohesion makes the viewer's experience lousy.

Moreover, the background score was lacklustre at times, feeling (or sounding would be the better term to use) out of place and disrupting the progressive flow of certain scenes.

As a result of these technical mishaps, a number of intense moments lost their due impact, failing to reach their peak.

And I can't stress enough how much that bothers me!

Maniac (2012)

Unrealised potential

[4/10 · 21 May 2024]

Despite having promising ideas, almost everything comes off as underwhelming and undercooked.

There's first-person POV from the killer's perspective, a unique take, but it's not consistent; the movie is a mixture of both found footage and conventional style of filmmaking, which I feel was a bad decision in the first place, should have chosen one or the other.

There's also this naive attempt to delve into the psyche of this psychopath; scenes were dedicated specifically to showcase his childhood trauma and scars from his past that may have shaped him in this state, but then again, that idea was explored only to a certain extent.

Last but not least, they had the golden opportunity to use the inherent creepiness of the mannequins, but as you have already guessed, there too it was bounded by its limitations.

In a nutshell, it is not necessarily a terrible movie on a fundamental level, but is heavily underplayed.

Elle (I) (2016)

Couldn't capitalise on the subject!

[5/10 · 21 May 2024]

I have a soft spot for provocative cinema, the kind of movies that fearlessly challenge societal norms and audaciously push boundaries.

However, to fully invest myself, it's imperative for these movie to offer more than just surface-level content.

Unfortunately, "Elle" fell short in this regard.

While the story did present an unconventional point of view on shame, guilt, and grief, it lacked the requisite vision to delve deeper into those said subjects.

There was so much potential for the film to become a captivating character study, and although it hinted at its ambitions at times, I cannot help but feel surprised that it didn't take that extra step, that it didn't dare to go that extra mile.

Monos (2019)

Such a unique experience!

[7/10 · 18 May 2024]

Despite the lack of explicit exposition or dialogue, a pervasive sense of unease permeates the entire storytelling. The sight of teenagers assuming the roles of staunch rebels, burdened by heavy weaponry and holding prisoners, is deeply unsettling and prompts contemplation.

Moreover, the cinematography, predominantly centred around a mountain top and later transitioning to a wilder, jungle setting, coupled with the committed performances of the young ensemble, contributes to this peculiar feeling of uneasiness.

This strange feeling as if something terrible is about to happen at any moment, becomes an indelible presence that persists throughout, it gradually takes over, and you can't shake it off, no matter how hard you try.

It was such a strange experience, but in a good way!

Laapataa Ladies (2023)

Points in the right direction!

[9/10 · 17 May 2024]

"Aap nahi hoti, toh hum kabhi na milte" "Agar tu nahi hoti, toh humko hum nahi milte'

Stories centred around "Women Empowerment" often have this tendency to portray all men in a negative shade. While some of these stories do address important issues, the majority tend to vilify the opposite sex while neglecting their main objectives.

However, Kiran Rao's film "Laapataa Ladies" takes a different approach. It does criticize patriarchy and regressive practices such as blind arranged marriages, which are still prevalent in rural India, but does so in a balanced way.

The film showcases both men and women who are rigid and unwilling to adapt, as well as those who are supportive and open to breaking away from archaic traditions. This portrayal reflects the reality of the world we live in. While there are individuals with ill-intentions who will never going to change, there are also good-hearted people within that stubborn crowd who genuinely want to contribute to a more progressive society. Kiran Rao, as the director, exemplifies this reality so well.

Aside from its themes and messages, "Laapataa Ladies" is an entertaining movie from start to finish. The screenplay maintains a good pace, the humour is well-executed, and the performances are commendable. Whether it's the seasoned actors like Ravi Kishan and Chhaya Kadam, or the newcomers like Pratibha Ranta, Sparsh Srivastava, every single member of the cast played their parts with utmost sincerity and commitment.

I loved it.

Zara Hatke Zara Bachke (2023)

Good for passing the time!

[6/10 · 17 May 2024]

I adore the film's depiction of middle-class families and their everyday struggles in a lighthearted manner. Most of the comedic moments are indeed over-the-top and delivered with exaggerated enthusiasm, but they still manage to create genuinely humorous situations.

The film's downfall lies not in its intention but rather in the script's lack of clarity and ambition. Additionally, I feel the family dynamic is terribly underplayed, which in turn makes the dramatic scenes and the emotions within them feel superficial, or rather half-baked in a sense.

Good for passing the time, but nothing exemplary to write home about.

Manjummel Boys (2024)

Claustrophobics would be petrified

[8/10 · 16 May 2024]

The first half hour, or its banality to be specific, would instill doubts in viewers' minds, especially those who have come after hearing so much praise about it.

I would advise them to stay put and wait until the group of friends reach the inside of 'Guna Cave'; the actual story starts from there.

The circumstance itself induced fear, more so because I am terrified of tight spaces, and to even think the film is based on a real-life incident and the sheer fact that more people have fallen into such bottomless holes in the ground sent shivers down my spine.

I was already holding my breath, and the film just had to sustain the tension and seriousness of the situation, and it did so without a hiccup. The brilliant utilisation of juxtapositions particularly caught my attention, those were done really well!

Aavesham (2024)

FaFa steals the show, yet again!

[7/10 · 16 May 2024]

It was quite a dream run until the interval: drama, tension, and, most importantly, FaFa's captivating performance elicited thunderous cheers. Everything worked so well together, culminating in an hour full of fun and excitement, but then it all started to dwindle; the screenplay gradually loses steam and comes to a halt for majority of the second half, except for the last twenty minutes, when it recapitulated its pace and attempted to deliver a gratifying denouement.

And, to some extent, it worked, especially when FaFa unleashes his 'Massy' avatar in the climax, which almost helped me forget all the annoyances I had to deal with earlier in the second act. That being said, I still wished for a better film overall, as I cannot disregard the incompetence demonstrated in the middle.

Love Lies Bleeding (2024)

Stakes never felt real!

[5/10 · 14 May 2024]

I like the aesthetics and I appreciate it from a technical point of view, but unfortunately, I couldn't connect with the storyline and I strongly disagree with their writing choices. There were numerous missed opportunities that should have been addressed, gaps that should have been filled.

Moreover, the chemistry between the lead did not click more so because both of their backstories contributed very little.

Additionally, the anticipation built throughout the story never quite reached its pinnacle, as a result, the stakes never felt real.

On a side note, I must give a special shoutout to Katy O'Brian. Not only did she build an enviable physique, but her acting skills were also notable. She did good!

Abigail (2024)

A bloody ride!

[7/10 · 13 May 2024]

What was supposed to be just a ghastly vampire drama turned out to be so much more.

I want to start with the humor; I was not expecting it to pack the punches the way it did. About the bloodshed? Well, I was expecting that, but not to this extent; it was brutal, and to top it off, the film is tightly paced, keeps things interesting all the time, and hardly wastes time in the middle.

The only complaint I have is the lack of emotion owing to lazily written backstories that failed to strike a chord. Other than that, it was a pretty exciting ride from start to finish.

A word of advice, do not watch any of the promotional content, and if possible, don't even read the synopsis. The story holds many surprises; better if you do not get spoiled beforehand.

Swan Song (I) (2021)

I love it when movies scour such deeper levels.

[7/10 · 11 May 2024]

Humans are taught from a very young age to prioritize the interests and well-being of others over their own, emphasizing selflessness.

Now, what if I were to suggest that true selflessness is unattainable? What if I were to propose the notion that deep down, we all are selfish beings? Especially when it comes to our families, our friends, and the love and memories we share with them.

In the future, when cloning becomes a tangible reality rather than a mere concept of science fiction;

Will we be able to let go of this selfish nature of ours?

In the face of unforeseen tragedy, will we be willing to embrace technology for the sake of our loved ones?

Will we comply to give our precious consciousness to some non-human entity, so the ones we love will be saved from the stages of grief and despair?

These are some of the questions put forth by Benjamin Cleary's, "Swan Song." I admire how this movie tackles complex themes in a way that not only is easy to grasp onto but also resonates with your heart and mind!

P. S. Mahershala Ali is one admirable actor!

Disturbia (2007)

Unnecessary romantic angle!

[6/10 · 10 May 2024]

I'll admit, this had some tense moments, specifically in the final act, where the level of intensity substantially rose. That said, the priorities were not set straight; it wanted to be so many things at the same time.

The story begins with a son losing his father in a tragic car accident. We get some scenes that accentuate the guilt and grief he is carrying inside, then the tale and the tonality takes a surprising turn and the emotional core loses its significance.

It then turned into a cliched teenage romance, which again lost ground soon thereafter. It was only the final act that seemed to have carried out its actual purpose, which was to be a suspense thriller.

A bit more discipline would have made a whole lot of difference here.

I Am Mother (2019)

If only the Ending fared better

[6/10 · 9 May 2024]

I appreciate stories that delve into themes of humanity, parenthood, and upbringing as they instigate thought-provoking questions with profound implications.

"I Am Mother" is a prime example.

Despite being a sci-fi thriller at heart, I was impressed by the mature handling of its dramatic elements. Each conversation holds significance, and the characters carry the weight of those discussions as expected.

Nonetheless, I found the finale to be somewhat lacking in excitement, which unfortunately tarnished my overall impression of the film. Thus, I would have to settle with a score slightly above the median!

Shaitaan (2024)

A good suspense thriller!

[7/10 · 5 May 2024]

The screenplay is tightly crafted, with a narrative that captivates. What truly stands out is its ability to build tension in a gradual manner, keeping the audience on the edge of their seats from beginning to end.

The character development is tidy, evoking emotions and making us deeply invested in the characters and the pain and hardships they go through. Whether we find ourselves rooting for or against them, the script succeeds in forging a strong connection between us and the individuals onscreen.

However, there are moments where the film seems to hold back, perhaps out of caution. It feels as though the writers were hesitant to breach the boundaries, opting for a safer approach.

Given the dark and unsettling nature of the theme, I had hoped to see the filmmakers push the envelope even further. I haven't had the chance to watch the original Gujarati film, but I have heard it was darker.

I wish this remake upheld that approach and had taken more risks.

P. S. R. Madhavan's portrayal of Maddy steals the show. Seeing him play the antagonist for the first time was a revelation, and I have no doubt that he will be offered numerous negative roles after his stellar performance.

Along With the Gods: The Last 49 Days (2018)

Better than the first one!

[6/10 · 4 May 2024]

I had issues with the last film, mainly the writing, which felt incoherent. I had voiced my complaint in my earlier review too; therefore, it is good to see that they have rectified most of the of the problems here.

The action is more polished (visual too), the world has more layers, whilst emotional core remains intact.

However, what impressed me the most though is that they dedicated plenty of time to the 'Guardians' as the story wilfully courses back to each of their past lives and binds their souls in a millennium old connection.

I particularly like how they connected the dots, filled the gaps, and, in the process, made their 'afterlife' alliance meaningful.

Madgaon Express (2024)

It has enough to keep you invested in the story!

[6/10 · 3 May 2024]

People born in the late 1990s, particularly those who grew up watching comedies from the 2000s, may experience nostalgia for their younger years.

Credit goes to none other than Mr. Kemmu, the writer-director, for reinvigorating "comedy of errors" genre, which had been lacking its trademark in recent years.

"Madgaon Express" might not have reached its peak but it offered enough quirk and entertainment for its viewers.

The characters were eccentric, the punchlines hit the mark, and most importantly, the actors appeared to be enjoying themselves, especially, Pratik Gandhi in his 'Rowdy' persona, so ridiculous yet so much fun.

Godzilla Minus One (2023)

Deserved the Oscar Triumph

[8/10 · 2 May 2024]

A gargantuan (no pun intended) improvement over the last one. Those who have read my previous review are aware of my strong dislike for "Shin Godzilla". Despite my best efforts, I could not invest myself in it.

However, "Minus One" had me hooked right from the beginning. The director skillfully tackled the task and delivered one of, if not the best, "Godzilla" movies to date!

The visuals are terrific, the sound design is spectacular and above all, the human drama is impactful and leaves the intended impact. Unknowingly, you connect to the characters and begin caring for their well-being.

Now, our beloved Godzilla may not have had as much screen time as fans like myself would have hoped for, but he undeniably dominates every single scene and steals the spotlight every single time!

His Atomic Breath alone stole the show. The power and impact it had were out of this world, Monsterverse is nowhere near. I literally felt the vibrations, my room shook, and my jaw dropped to the floor.

I still can't comprehend how they managed to achieve such technical craftsmanship under $15 million. Mind-boggling to say the very least.

Shin Godzilla (2016)

Unpopular opinion!

[2/10 · 2 May 2024]

What I am about to write may and will provoke some disagreement, as it goes against the popular sentiment here. However, as I have always put my honesty first, I would have to express my views blatantly even if it ruffles some feathers!

I disliked it, to the point where it became unbearable. Despite best efforts to immerse myself in the story and the characters, I couldn't connect to either. The human narrative was so poorly crafted, and its execution was even poorer.

While I acknowledge, there were numerous instances of foreshadowing and clever critiques of bureaucratic figures and their inept responses to such calamitous events, none of that captivated me, as my primary purpose was to witness the original Japanese 'Gojira' in action.

Unfortunately, I was only able to see him for a mere twenty minutes, and even that was marred by annoying inconsistencies in the visual aspects. Although certain scenes appeared visually appealing and contributed to the believability of the film, a significant portion of the visual effects appeared cartoonish and

For instance, when Godzilla emerged from the ocean and made his way onto land, he was unrecognizable! Now, I would not have voiced my complaint if his design had been intimidating or, at the very least, effective.

His initial "version" literally resembled an oversized stuffed toy that had been pulled out from a child's closet. It was truly a horrific sight (and that is not in a good way).

A Hero (I) (2021)

Farhadi gets out of his comfort zone, but...

[5/10 · 2 May 2024]

The primary focus of the narrative centers around the dynamics of debtors and creditors, shedding light on the inner workings of Iranian prisons and the political complexities intertwined within.

However, the portrayal of the family and the dramatic elements they were supposed to be involved in is given very limited screen time. This startling departure from Farhadi's usual inclination to delve deeper into human connections and relationships is partly why it did not resonate with me as much as I had hoped it would.

Nonetheless, I commend his willingness to experiment with something new and step outside of his comfort zone. That said, As a devoted admirer of his artistic prowess, I would personally prefer if he sticks to his signature style.

The Past (2013)

Another Farhadi Masterclass!

[8/10 · 1 May 2024]

The writing effortlessly delves into the complexities of marriage, divorce, and infidelity, presenting a thought-provoking exploration of these critical themes.

Despite the supposed challenges, the writer-director, Asghar Farhadi, masterfully devoted sufficient screen-time to each element, ensuring that every relationship, every single dynamic is given enough space to flourish.

This meticulous approach allows for a comprehensive understanding of the characters, who all make almost equal contributions to the story, notwithstanding their initial 'role' and responsibilities in the script.

The topics addressed hereby hold significant weight, offering profound insights into our moral grounds, the choices we make and the consequences we bear.

Another 'Farhadi' feature that tops the list.

The Salesman (2016)

Inferior to 'A Separation'

[5/10 · 29 April 2024]

Coming straight from "A Separation," this does come off as an inferior product, and that was not because of the storytelling nor the direction; it is about the characters, who, unlike the earlier Farhadi feature I mentioned, lack conviction.

I appreciate that they have dealt with a sensitive issue and tried to put the audience into a moral conundrum, but unakin to the previous instance, it does not have the same kind of impact.

I would go as far as to say that the drama for the most part falls flat, except for the climax where it genuinely shines. If only the same could be said for the rest.

A Separation (2011)

Felt so authentic, it all felt so real!

[8/10 · 29 April 2024]

My very first exposure to an Asghar Farhadi feature has left a lasting impression, almost immediately made me realise why he is regarded as one of the most finest in this craft.

His skill in portraying diverse characters and engaging in simple yet profound discourses resonated with me deeply. Each conversation felt incredibly genuine and true to life, devoid of artificiality or pretension.

Throughout the film, the actors did not come across as mere performers reciting lines, but rather as authentic individuals grappling with real-world issues.

However, I found myself slightly disappointed by the fact that the core narrative, revolving around a father with Alzheimer's and the subsequent strain on his son and daughter-in-law's marriage due to moral dilemma, was somewhat overshadowed by a subplot involving a pregnant woman and her ill-tempered husband.

While this secondary plot had its own significance, I believe the film would have been more compelling had it delved further into the complexities of the husband and wife's martial struggles, their clashing ideologies, beliefs rather than diverting most of the attention to characters outside of their family circle.

Yodha (2024)

The climax should have been better!

[6/10 · 28 April 2024]

The storytelling is on-point, wasting no time on trivial matters. The screenplay keeps things interesting with well-executed action and deftly built anticipation that enhances the quality of the narration.

Additionally, I was enthralled by the writing's ability to consistently shock and surprise with its bag full of twists and turns.

That said, climax fell short, lacking the sophistication that was required. Not to mention logical fallacies and loopholes, which further diminishes the final impact.

On a side note, Siddharth Malhotra delivers, especially in action sequences, although he struggles to convey the same while acting in challenging scenes.

On the other end, Raashi Khanna's performance is fine, but it is Disha Patani who shines the most, proving that even performers who are often typecast can break free from their limitations with proper guidance and vision.