Decadent City, Biblical Riddles, Dogged Detectives. And a Box.

SE7EN
(1995)

*ALL-TIME AWESOME*


Directed by- David Fincher

Written by- Andrew Kevin Walker

*Brad Pitt, Morgan Freeman, Gwyneth Paltrow, Kevin Spacey

David Fincher's neo-noir, investigative thriller, Se7en is one of the most perfect genre films you'll ever see.


The film is set in an unnamed city of eternal rains, reflective of our own morally decadent society, where a psychopath goes on a killing spree inspired by the biblical seven deadly sins and fashions his murders after them, to illustrate the unholy ubiquity of cardinal sins in our corrupted world.

An obese man is fed till his insides burst (Gluttony), another man is tied to a bed for over a year until he dies (Sloth), a model is murdered and her beautiful face grossly mutilated (Pride), and on go the horrific realisations.

On the murderer's tail are detectives Mills and Somerset, piecing the puzzle until they are finally, and most unexpectedly, faced by their enemy.

Gluttony, Greed, Sloth, Lust & Pride. You couldn't imagine how Envy and Wrath turn out.

With a cracker of a script at its disposal, which the film takes to a whole new level thanks to its bleak and depressingly intense take, it's constructed by subtle touches of brilliance which constantly serve to create a mood of perpetual mystery and unease. 
The chase scene in the middle providing a departure from the usually verbose nature of the film but without conflicting with its structure, pumps energy in its lethargic, true-to-its-noir-roots pace.

Rain forms a powerful motif in the film.

Reminiscent of another iconic neo-noir, Blade Runner, the setting of the film itself renders it unforgettable.
Incessant rains lash over a city of eroding virtues, painted on a seemingly poetic canvas. The texture and the color make for one of the most commendable examples of modern noir.
Se7en is quite simply, a masterclass in filmmaking.




But it's not just the taut script overflowing with biblical references and coupled with the supremely delectable environment that make the film work. Everything from Fincher's impeccable command over the direction, Pitt and Freeman's interesting combo, the perfectly placed music by Howard Shore and Darius Khondji's brilliant cinematography, adds to the greatness of this film.

The use of shadows is exquisitely shady.
Until the final scenes when the killer's identity is revealed,
whereon its excessively bright.

Se7en not only packs a punch with its unique story and arresting direction, but demands from you absolute attention towards its ominously joyous charisma. There is an undeniable charm in those cynical themes shared by its characters from both sides of the law, the intrigue of a serpentine detective story and the ultimate irony of that dynamite climax.

"Become vengeance, David. Become Wrath."
*chills ensue*

Not just one of the finest detective stories but also one among the best films I've seen. Se7en is pure cinematic joy.


Rating- 4.6/5

Unstoppable Energy, Amazing Style and an Unforgettable Rivalry.

RUSH
(2013)

Directed by- Ron Howard

Written by- Peter Morgan

*Chris Hemsworth, Daniel Brühl, Alexandra Maria Lara, Olivia Wilde

Based on the true rivalry of F1 racers James Hunt and Niki Lauda, Rush lives up to its blazing title with an energetic first half and a strong second. Fueled by powerful performances and a rousing score the film sucks you right in the driver's cockpit on a thunderous sprint of two hours that zooms past in an overwhelming blur.

There are a lot of things Rush has going for it. While an F1 based film already promises unmatched sequences of adrenaline-powered frenzy, add to that a story driven by a rivalry reminiscent of Amadeus, and you get an assured burst of fiery entertainment.

But Hunt and Lauda are not your stereotypical nemeses, adamant on self-destruction just to see the other half perish. No, there is a maturity and a silent regard for the other amid all the quick-witted banter and retort. A regard that evolves into respect over the course of the film, even if it doesn't blossom into friendship.

Both the leads are perfectly cast, with Hemsworth as the gifted and playful Hunt to Brühl's serious and calculating Lauda. Their electric equation makes one half of the kicks of Rush. The other half being of course, the superior races rendered unforgettable thanks to Ron Howard's riveting approach.

The editing is flawless. Races are intercut with close ups of the engines' insides, with colorful bursts of fuel and the infinite thundering of pistons revving up the intensity.

Coupled with Anthony Dod Mantle's work which is, as always, almost therapeutic for the eyes. His cinematography not only sits well with the '70s mood but also makes use of a delightful palette that compliments the bright reds against the dark asphalt.

And it would be heinous not to mention Hans ZImmer's name for his unforgettable score which made the entire experience all the more exciting.
I will say, I was pleasantly surprised by his score. I loved the main '1976' and while 'Nürburgring' had a Dark Knight-ish feel to it, it was awesome, nonetheless.

Ron Howard directs a wonderful Formula 1 film which gets almost everything right. Of course, there are minor variations from reality but nothing unpardonable, not in the face of the touching use of real footage (and monologue!) at the end.

A powerful and deeply engrossing ride which finishes off on top without any mentionable glitches. Touching and thrilling in equal measure.


Rating- 4.2/5

An Astonishing Kaleidoscope of Crime & Culture.

PULP FICTION 
(1994)

*ALL-TIME AWESOME*

Directed by- Quentin Tarantino

Written by- Quentin Tarantino & Roger Avary

*John Travolta, Samuel L. Jackson, Uma Thurman, Bruce Willis, Ving Rhames, Tim Roth, Amanda Plummer, Harvey Keitel

Quentin Tarantino's ode to his geeky, cinephilic fantasies plays out smoothly, unfolding its non-chronological coils through punchy dialogues and a charming reminiscence of the world of hardboiled fiction, of course with a unique flavor of its own.


Every character is etched out expertly. I mean from Paul the bartender to Tarantino's Jimmie, everyone is an individual who exists in this world and adds a distinct color which makes the world itself so appealing.
Of course, it's the realer than real dialogues which provide this eccentric individuality, but there's also credit to be given to the bang-on casting.


Then there's the music. Delicately handpicked tracks which push this locomotive of irrepressible entertainment ever forward. The music sinks in the L.A. atmosphere like deliciousness in a five-dollar milkshake and becomes one with the narrative.




Tarantino displays an undeniable flair in directing every moment of this excessively enjoyable pop culture phenomenon. The best part being, of course, you're absolute obliviousness to what comes next (in case it's a first watch). But his direction of these scenes is so masterful that you appreciate, if even you anticipate, every bit of it.

Marcellus Wallace rising like a dragon from behind a katana-wielding Butch, and cocking his shotgun is an image that stays with you forever. Quite like looking up at the two hitmen chit-chatting about men's stuff while packing heat, from inside a car trunk.

Pulp Fiction is full of these wonderful images that have become an enduring part of the movie-going world's collective memory.

Step aside, Butch. Time to get medieval.

But more than the music, more than the flawless acting, more than the fluid camerawork and impeccable editing, it is Quentin Tarantino and Roger Avary's unparalleled writing which makes Pulp Fiction the masterpiece it is.
Obviously, the dialogues are quite simply, legendary. There is not one syllable uttered here that goes to waste.
The screenplay ranks among the few hallowed classics in Hollywood, of which every line adds to the movie's stature and contributes to make it the perfect blend that it is.

Also, it's the handling of the non-linear storytelling which provides the film with its zany and unpredictable vibe. The first time I watched it, I simply had no idea what to expect, as sequence after sequence introduced me to a new level of awesome.

Now who wouldn't wanna massage these feet?

But one thing, which I believe is responsible more than everything else, for Pulp Fiction's unquestioned induction among one of the Greatest American Films ever made is its insane re-watch value which comes from, again the richness of the script. 
It's like unwrapping the best Christmas present you ever got over and over again. Because every time you do it, you find something new.

I remember in my last two viewings I discovered that:

a) It was Butch who keyed Vincent's Malibu. I probably didn't pay much attention to the conversation with Lance before, but this time it got me and how!

b) Yolanda shouts her lines differently at the beginning and the end of the film from the scene which is played twice. This one perplexes me still, and I am pretty convinced it rivals Marcellus Wallace's briefcase, as the biggest mystery in the film.

Forget the briefcase, but did this scene hint at alternate timelines?!

Pulp Fiction, without a doubt remains one of the most original and entertaining classics of modern cinema. A kaleidoscope of suburban crime tales interwoven with the precision of a master craftsman and delivered in an explosive fashion that will knock you cold every single time you watch it.

Rating- 4.7/5

A Hitchcockian Human Drama.

Le Passé [The Past]
(2013)

Written & Directed by- Asghar Farhadi

*Bérénice Bejo, Ali Mosaffa, Tahar Rahim, Pauline Burlet, Elyes Aguis

Asghar Farhadi returns with another complex human drama post his award winning-spree for the terrific A Separation.
His latest presentation is one which is even more mystifying and intriguing in ways one couldn't have foreseen.

Farhadi seems in absolute control as he constructs scenes of unfathomable power, surging with emotion and ready to pop at the seams with a bang akin to most action films. Every scene progresses in strokes of brilliance, creating layer upon layer of drama while simultaneously unsheathing the characters' inner dilemma.


Ahmed returns to Paris to carry out his divorce with Marie after being separated for four years. At home, he finds himself caught up in a blitzkrieg of emotions as dark secrets plague the lives of those around him. Marie's elder daughter, Luci is tormented by her mother's impending marriage, while her future husband, Samir is caught up between his new love and comatose wife.

However, despite the convoluted web of relationships, the film is never impeded by its complications. In fact, Farhadi reveals these truths like the twists in a Hitchcockian mystery, yet never overdoing them, rather relishing in their simplistic revelations. It is the aftermath that Asghar Farhadi enjoys exploring.


We see every character, even the 8-year old Fouad, phenomenally played by Elyes Aguis, struggle with his fears and insecurities. Something which provides it a much darker tone than A Separation, where we had the innocent Termeh as the neutralizing center of all the chaos that unfurled.
I think this grim take testifies Farhadi's flourishing expertise in dealing with human drama. Though everyone is at war with themselves, none seems to betray a proclivity for the melodrama that is somewhat expected of such an emotionally fantastic situation.


The acting is top notch. Bérénice Bejo really bursts onto the screen with a firepower performance that has its proper share of dignified calmness between the dangerous chaos that it braves.
Another great performance is from Tahar Rahim, playing the conflicted Samir, the one who is closest to what could be called a victim, in this whole scenario. His subdued performance only grows through the course of the film and he gets to truly shine in the emotionally crunching final moments.
The child actors too were perfectly picked.


But the best thing about Farhadi's brand of cinema is just how easily he balances all these different elements in one complete picture. From writing a story that overwhelms to tying it to these nifty little techniques which are an inspiration for anyone with a sweet tooth for cinema. I loved how he shot the opening scene of A Separation, and he doesn't disappoint this time as well.

The cinematography is treat. The rich color palette keeps you involved and to an extent even distracted from the high-octane drama that brews like a storm and hits like a tidal wave sweeping you with itself.

Two back to back films which leave you dumbfounded by their surprise and simplicity. They don't make it better than Farhadi.
A terrific drama, exceptionally made and masterfully told, tad inferior to the magnificence of A Separation which still has me gushing over it, three years later.


Rating- 4.3/5

An Endless Ocean of Grey. One Desperate Man. No Tigers.

ALL IS LOST
(2013)

Written & Directed by- J. C. Chandor

*Robert Redford



Robert Redford plays an unnamed seafarer in J.C. Chandor's one-man mother of all survival films, All Is Lost.

Alone within a never-ending canvas of blues and greys, an old sailor finds his boat to be flooding through a hole caused by a stray shipping container.
Armed with only his grit and a superior sailor skill-set, he takes on the Indian Ocean with gritted teeth and orange overalls. With an arsenal of makeshift tools and an uncanny knack for resourcefulness, the seafarer seems to overcome wave after wave of hardships, until weariness starts to settle in and all, quite literally, seems to be lost.


In a survival film there isn't much scope for a well-developed plot, as much as there is the need for a constantly captivating screenplay.
All is Lost pulls that off handsomely. And without dialogue!

Redford is precise in his flailing efforts to maneuver that flimsy raft to safety and he manages that without ever confiding in the audience. We are simply viewers gaping through a window as a man, alone and silent, tries to make the best of what he's given. We are disconnected from him on a superficial level just as our connection deepens on a more empathetic level, overawed by his resolve.
The screenplay is an achievement in itself which deserves applause. But his resilient battle is rivaled only by the seafarer's character itself.

Robert Redford's old sailor proudly joins the pantheon of the Most Badass Characters Ever to be Filmed. In his late seventies, he is faced by insurmountable odds and bests them every time. I can only imagine how awesome he would have been in his prime.
Though he's not your regular tough and tattooed seaman, in fact the seafarer is a wrinkly grandpa figure who can stare fear in the eye and command it to go cry in the corner.
The mute fire of survival in his eyes intermingled with the slight exasperation of his experience alone makes him a contender for one of the best performances of the year. But boy, was Redford robbed.


The film takes its time to build up. The early scenes on Virginia Jean are a bit of a drag as it's difficult understanding a singular character who barely speaks, but once on the rubber raft, as the odds stack up against him, you can hear yourself cheer for the solitary sailor.
The penultimate scene where chinks in his armor finally show, as he scribbles a final note before his imminent death, tugs at your soul.

I liked Chandor's debut, Margin Call, but he fine tunes his craft immensely with this silent character study of a man lost at sea.
A fantastic notion that, but it never appealed like this.


Rating- 4.2/5

Expansive Desert, Expensive Suits, Exotic Cats. And a Cocktail of Infinite Boredom.

THE COUNSELOR
(2013)

Directed by- Ridley Scott

Written by- Cormac McCarthy

*Michael Fassbender, Javier Bardem, Cameron Diaz, Penelope Cruz, Brad Pitt



Ridley Scott and Cormac McCarthy's The Counselor is a visceral and flashy thriller that's too high on style to care about substance.

Everyone's a snazzy dresser, the arid landscapes arch sexily like a feline hunter and the threat of death hangs behind the lure of money.
Scott tries to provide a sense of underhanded conspiracy to the film, but in doing so, the plot fails to make sense, always superseded by seemingly smart conversations and exotic locales.
You proceed from scene to scene trying to unsheathe the intentions that truly lie behind those colorful shades and perfect mascara, but to no avail, as when the film ends you are left gaping at its total lack of finality and an underwhelmingly indifferent conclusion.


The cast promised a powerhouse of performances and I can't say that it was all a lie. Yes, I didn't find an incredible performance where I was looking, but was pleasantly surprised by something entirely unexpected.
Javier Bardem's Reiner seemed too rehearsed, his oddity too perfect to be believed. And that's what put me off, not to mention the plot-irrelevant shit that he talked. His whole character, which could have been the saving grace of the film with its unpredictable zaniness (if done right) turned out to be what gave away just how fake it all was.

But it was Cameron Diaz as the icy-eyed and leopard-printed huntress, Malkina, who got under my skin. I simply loved her aura of chaotic authority, but like all things in this film it was hollow, though honestly I didn't quite mind that, in the face of her undeniable sexiness.
Fassbender, with his singular expression didn't quite impress until the final scenes when the noose tightened around his neck (not quite literally, like Pitt's Westray) and he got to play out some really intense scenes.

Finally, coming from McCarthy I expected an intense plot that would shock and satisfy me in equal measure, but was ultimately let down.
A few dialogues were beautiful and transcended the overall mediocrity of this film.

Scott has been overindulgent with his commercial and big scale movies of late and though I really liked his previous exotic thriller, Body of Lies (which was 6 years ago, by the way), this one just destroys another shred of hope that I had from him.
And there's not much left honestly.


Rating- 2.7/5

Elements of Murder

Dial M for Murder

(1954)


Directed by- Alfred Hitchcock

*Ray Milland, Grace Kelly, Robert Cummings, John Williams

As I was watching Dial M for Murder I was half worried if it would turn out to be like Rope, which was the Hitchcock film I saw right before this one.
Like it, in the sense that it would follow a formula and a linear storyline with no unforeseen development or as they say, a catch.
Now, not that Rope was not a good film, it was fantastic. Only it didn't make you jump out of your seat. All it did was to follow the 'plan' brilliantly well.

But as the murder scene is played out and the anxiety waxed, a terrible accident shook me up from my seat and the film off its cliched track and onto something mindbendingly amazing!
After that it was a cat and mouse game that kept me completely off the scent.
I knew what was going on when and what will shortly follow but towards the end there was this terrible nagging, an uneasiness that something didn't add up somewhere.
And when it finally did I was overcome by its petty brilliance.

The film deftly explores all elements of murder. Motive, the Act and finally, Retribution.
The story which follows a sly yet motivated husband, his unfaithful wife, her gumshoe of a lover and a determined inspector runs on the steam of it's surprise act with great intent and carries forth this blazing thriller ably until it seems to run out of gas and quite suddenly, injects new life with a catch that not only solves all problems, but handsomely.

Ray Milland's acting is superb. He plays the calculating schemer Wendice with an ease that slips in effortlessly.
Meanwhile Grace Kelly's wide-eyed wife Margot who becomes a double-victim, firstly of her husband's evil plot and then of the long, misguided arms of the law is believable. As is Cummings' detective novel author Halliday.
But John Williams' snoopy Chief Inspector Hubbard is the one who truly stands up to Milland's fantastic bad guy with slick hair and a vicious smile.

Based almost entirely in an apartment, the film is directed with absolute expertise.
Every pan, every zoom of the camera was done dexterously to accentuate the significance and symbolism of various objects and scenes.
Hitchcock really directs this one with such airtight drama and earnestness that the atmosphere creates half the effect of the film.

An awe-inspiring work of cinema that throws off the obvious and presents an intelligent and inventive adaptation of a play.



Rating- 4.5/5