Folk Music, Train Rides & Crashing On The Couch With A Bum And His Cat.

Inside Llewyn Davis
(2013)

Directed by- Joel & Ethan Coen

*Oscar Isaacs, Carey Mulligan, Justin Timberlake, John Goodman

The Coens return with Inside Llewyn Davis, the story of a bum folk singer who hops from friend's couch to friend's couch to pass his nights as he strives to make quick buck with his vocal talents.
Singing in a tavern to recording a novelty song, Llewyn does it all to beat the cold and earn his bread, but it is his arrogant attitude which comes in his way.

Because for all his talents and his pathos, Llewyn is a prick. He sleeps with his friend's wife, yells at the old couple who gave him refuge and heckles a poor, fat lady singing on stage. And yet you don't feel any disdain towards him, because despite his current streak of ill luck, you know him to be better than that.

 

Coens' slow-burning screenplay flows smoothly from Greenwich to Chicago as LLewyn makes his seemingly epic journey, which in fact lasts just two days, only to reach disappointment.
His down in the dumps luck never seems to turn around, and while one would complain of such a disappointing resolution, there is hope to be found in the masterful climax which replays the opening scene, in a differently framed and lit sequence, with a slight alteration.

There is ultimate intrigue in how the film ends, which forces you to think back and question all that you've seen.
Are these existentialist themes which are represented by Llewyn and his spurious ginger cat? 
In hindsight one finds numerous nods strewn across the screenplay to a 'connection' between the performer and his companion. 
A rewatch is required.

Oscar Isaacs is perfect as Llewyn. The dreary look in his eyes and the unkempt beard, along with the musical paraphernalia, the whole getup, complete with the cat, defines the homeless singer whose life is spinning out of control with every bad decision he makes.

With an exceptional assortment of songs as company, the film passes  along with a stable pace.
Every track, even if reiterated, stands out on its own and contributes to the mood of the film.

An alluring ode to the folk song era, half-based on the life of a real folk singer, it is Coens at their inimitable best.
Yes, it lacks that punch and grandeur which you would expect from a semi-biography of an artiste, but aren't the Coens regarded for their subtlety?
Delightfully crafted and masterfully narrated, I loved it!


Rating- 4.4/5

Forgotten Times, Old Friends & A Black/White Atmosphere Full of Colorful Memories.

Nebraska
(2013)

Directed by- Alexander Payne

Written by- Bob Nelson

*Bruce Dern, Will Forte, June Squibb, Bob Odenkirk, Stacy Keach



Alexander Payne's Nebraska starts beautifully as a senile and slightly dazed Woody starts walking to another city to reclaim a grand prize he believes he's won. Intercepted by a cop, Woody is handed back to his family.
Two more attempts later, his younger son takes it upon himself to drive Woody to Lincoln just so he would shut up, also hoping, secretly, to spend some time alone with his father.
And so, the heartwarming Nebraska begins and we encounter these lovely characters along a bittersweet road trip.

Payne constructs scene upon scene to fully explore the people his film deals with, and in this he succeeds brilliantly as it is these people who form the life of this uneventful little story.
We step into the town of Hawthorne and instantly take to the bar and old acquaintances, the forgotten girlfriends and the estranged family. Like it was always there and we knew it.

It is the charm of this lost era which arrests you.
The deserted streets, the dilapidated farms, the sleepy bars, Nebraska is an atmospheric western. And it is this western sensibility that it totes which grows over you with time.

The story moves at an easy pace and loses its grip for a bit at the end of the second there, but regains full control as we move towards the beautiful ending.
Payne's subtle direction coupled with Bruce Dern's surreal performance as the lost and confused Woody Grant, takes the film to another level, severely unmatched by its restrained story.
Also Will Forte ably supports in a good role.

The music and the camerawork are the perfect companions for this atmospheric piece and contribute to make it work the way it does.
The black and white cinematography adds to the old world charm this film so fabulously celebrates.




A remarkable little film, which sweeps you away with its mood and silent charm and gives us characters to love and a time to reminisce.


Rating- 4.3/5

Thrilling Action, Stunning VFX, and Stirring Emotion. T2 Is A Colossal Sequel.

TERMINATOR 2: JUDGMENT DAY
(1991)

Directed by- James Cameron

Written by- James Cameron, William Wisher Jr.

*Arnold Schwarzenegger, Linda Hamilton, Robert Patrick, Edward Furlong

Terminator 2: Judgment Day is a bigger, badder and bolder sequel to the 1984 original. Arnie returns as the killing machine, only this time on a mission to protect the Connors from another Terminator sent to kill them; the fiercely advanced T-1000.

With a plot which seemingly follows in the footsteps of its original but carries a ton of baggage to be able to stand out, it takes half hour of character development to get to the first action sequence where the two terminators collide for the first time.

It is evident, the film has a gargantuan benchmark to live up to and to counter the 'relentless' action approach of the previous, Cameron decides to add moral weight to this story. 
Humanising the robot for comic or emotional moments seems like a smart, and honestly, the only move. 

Arnie delivers again as the wooden (or metallic, if you prefer) T-800 and has some memorable moments, apart from, of course throwing some kickass one-liners.


The story is more rounded and polished, with sequences falling into place with military precision, and that is the only thing which seems amiss about this phenomenal sequel.
It has lost the raw, pure-action-bridging-on-horror appeal of the original to become a vfx powered, sci-fi roller coaster running on a well-rehearsed track.
Not that there's anything wrong with it, but it just seems too perfect and so, perfectly out of place with the original. But that doesn't hinder the fun one bit.

T2 is every bit an improvement, albeit a conscious one, but still.

I can say I was honestly surprised to see Linda Hamilton in this. Her character evolves exponentially and it is delightful to see the bad side of her. She is one of the two fundamental changes in the film's fabric from the original, which turn out to be better.
The second, of course, is easily guessable: that slimy, shiny pool of metal which shapeshifts with as much ease as it kills.

Robert Patrick plays the very sharp T-1000, who is hellbent on terminating the young John Connor, but it would be blasphemous to singularly credit him for the role.
For it is the Industrial Light & Magic team which created the iconic CGI 'liquid metal' effects which etched this sleek villain forever in human memory.

The effects were obviously revolutionary and the regeneration scenes can rival any vfx work to this day.

Overall, a monumental film which stretched the boundaries and set the bar for every following action film.
The writing, acting, music, action and direction gel together like the drops of a molten T-1000 to create a juggernaut of the action genre.


Rating- 4.3/5

Youth, Anxiety, Experience, Life. And Blue.

La Vie d'Adèle - Chapitres 1 & 2 [BLUE IS THE WARMEST COLOR]
(2013)


Directed by- Abdellatif Kechiche

Written by- Abdellatif Kechiche, Ghalia Lacroix

*Adèle Exarchopoulos, Léa Seydoux


Palm d'Or winner Blue is the Warmest Color is a masterful film which touches upon a plethora of themes, both visual and philosophical. Abdellatif Kechiche keenly explores the life of a teenager as she undergoes a phase of experimentation, transition and ultimately, liberation.

In a beautiful instance of love at first sight, Adèle is passionately intrigued by a blue-haired girl she passes by on the street. Later she meets her in a gay bar and they instantly fall for each other. What follows is a tender love story which is driven by phenomenal performances from the two leads.


But Blue is the Warmest Color isn't just a love story of two lesbians, it is also an expertly made film which explores philosophy, art and even food. It has this exquisite flavor which never fades and continues to grow through the film. 
The life of Adèle is real, so are her relationships, desires and dilemmas. Her unquenchable want for Emma, even until the end is genuine and never does the film betray that wonderful sentiment.

Their passion burns like the sun, a metaphor which is literally captured in a scene where the two kiss with the sun shining from behind between their intertwined lips. But this passion, like all passions doesn't last forever and the two continue on their separate ways, with Adèle teaching in a school and Emma working on her art.


The color blue forms a very evident theme, with its essence captured in every single frame of the movie. But there's also the whites and the reds which provide a nice contrast and add to the palette of this visually delicious film.

The cinematography is superb and communicates the director's uncompromising vision perfectly.


Also, the acting from both leads is flawless. Adèle becomes Adèle and superbly brings the slightly awkward and beautifully cute girl to life, though the director must also be credited for getting under her skin and unsheathing this deeply personal performance.
Léa Seydoux does a great job as well, and simply belongs to this role.


But it is the direction from Abdellatif Kechiche which towers over all in this delicately made film. He pays crucial attention to every detail and carves an incredible film from a graphic novel. It is beautiful, interesting and profound, and despite a seemingly 'household' vibe never loosens its vice-grip on your attention.

Another French film from last year which I liked was Asghar Farhadi's The Past, in which too the urban surroundings formed an integral part of the film and the camerawork was used brilliantly to mesh the feelings with the sets. Blue is the Warmest Color does this with a greater expertise and brings out the emotions superbly through mise en scène.

The sex does seem to be a tad ostentatious after the first couple of times it's shown and could really have been weeded out to fit with the personal narrative, but I'm not complaining.


Overall, a deeply satisfying film which deftly explores the confusions and apprehensions of homosexuality and transcends that to tell the beautiful story of youth.


Rating- 4.4/5

Brawn, Bullets & Explosions: An Unadulterated Dose of Sweat-drenched Machismo.

PREDATOR
(1987)


Directed by- John McTiernan

Written by- Jim & John Thomas, Shane Black

*Arnold Schwarzenegger, Carl Weathers, Elpidia Carrillo, Richard Chaves, Bill Duke, Kevin Peter Hall 

A spaceship drops a package in Central America and a rescue team (not assassins) is called to follow up.
Enter: Arnie. A mass of giant, sweaty muscles held together by tattered pieces of cloth, that speaks. He meets old pal Dillon and they share the single most epic handshake in the history of cinema. As two bulging, glistening biceps fill the screen you realize what's coming your way in the next hour and forty minutes.

Arnie's biceps are a country on their own.

Predator is a testosterone-fueled killfest which follows soldiers hunting outlaws being hunted by an unknown, inhuman killer themselves. McTiernan expertly builds the tension as the film progresses, teasing us with glimpses of the alien creature but never fully showing his hand.
Yes, there is a ridiculously cheesy double-crossing government conspiracy plot thrown in for good measure, but who cares when your eyes are fixed on Arnold sweating, crawling, smeared in mud, flexing, tree-bending, never bleeding and war-crying as he shares blows with an eight-foot hunter from outer space?


The whole film is solely based on the machismo of its lead and never bothers itself with finer, unnecessary details like surnames or characterization. Jump cuts and explosions take control of this unabashed celebration of pure manliness.


With some neat special effects for its time and fine direction, this is an exceptionally taut thriller which cuts out all the unnecessary bullshit, accepts that its lead can't act for shit, and is therefore, pretty sorted in what it's gunning for: an unstoppable carnage of bullets, bushes and sheer 'manpower'.


The ultimate revelation of the titular antagonist is a moment which reaches Keyser Soze-levels of jaw-dropping awe.

Are you not entertained?

Rating- 4.1/5

A Cocktail Of Surrealism, Gore And Genocide, Damned By A Boring Narrative.

THE ACT OF KILLING
(2013)

[Documentary]

Directed by- Joshua Oppenheimer


There are times when a film which is universally acclaimed doesn't sit well with you. When despite knowing what it is trying to say and maybe even what others may have found praiseworthy in it, you yourself could never come to appreciate it for some reason.
And then you are overcome by this supreme feeling of desperate puzzlement as to what is it you missed. How was the film able to pull the wool over the eyes of every critic on earth and yet remained unable to touch your soul?
I had the same experience after sitting through the tiring two hours and forty minutes of The Act of Killing. 

Does it appall me? Yes. Horrify me? Indeed.

Does it work as a mindnumbing expose of the inhuman butchery of thousands of people? Definitely!
But does it manage to engage me with its barbaric revelations and surrealistic realisations? No. Rather, it's quite the contrary.

Joshua Oppenheimer's pseudo-documentary follows Indonesian gangbanger Anwar Congo on a confessional trip of six years, about his unrepentant killings of over a thousand communists during 1965-66.
The premise is jaw-dropping, as we get privy to the genocidal lifestyle of Indonesian war lords. Anwar's friends join him in reminiscing their glory days of when they wiped out over 500,000 human beings in a year.

Now I was deeply interested by the plot, I was. As horrifying as some of their proud admissions were, I was pulled in by their give-no-fucks-about-it attitude regarding the crimes against humanity that these guys committed, and all of it formed the perfect ground for a riveting documentary.

But it was the pseudo- half, the movie-half which bothered me.
Invited by Oppenheimer, the gang agrees to re-enact their killings, inspired by their favorite Hollywood film genres, to be shot as a film. What follows is a mindboggling, self-indulgent, artsy production that refuses to gel with the heavy subject it deals with.


Sequences of grave reflection are intercut with a fat, cross-dressing dancer in gaudy outfits, who also serves as Congo's buddy, frolicking against a picture perfect backdrop out of a Hollywood film set. Not in an Indonesian documentary about the genocide of communists.
It is this weird tangle of surreal, artistic BS with the stark atrocities of history that threw me off.


Not to mention the disruptive continuity and fractured chronology which despite adding to its surreal flavor, made the documentary all the more inaccessible, and worse, disinteresting for me.
In one scene Herman is a rotund henchman with long tresses, and in the next he is a family man/politician with short hair, and then again his hair grow out, as he chills in a samba dancer's outfit, often gorging over a severed head and pints of blood.

The film is strewn with the disgusting admissions of its principals in a matter-of-fact way without the slightest hint of acknowledgment towards the evil deeds that they did. I would have really liked if the film continued in that direction, inciting the gangsters to think on their sins. Instead we are diverted towards a badly made, low-production torture film shoot which adds nothing to the subject, except for the necessitated surreal chops and the creeping remorse for its protagonist.

Now this was the other thing which I didn't agree with.
Anwar's ultimate repentance which had been a long time coming, seemed a bit rehearsed. Over the course of shooting the film he barely mentioned his unease, rather basked in the flattery of being an executioner, but as the final moments approached he quickly switched to a path of self-pity and emotional implosion. The cleverly intercut scenes of his own torture adding to this sentiment.

And his final admission of guilt on the roof, as we looked intently into him while he regretted his actions, alone before the camera, seemed fake and absolutely underwhelming to me.
That whole scene was so unreal, that after he started belching and farting I wouldn't have been surprised if he turned into a slimy, defecating demonic creature from one of Miyazaki's movies.

Overall, The Act of Killing was disappointing, due to the high-praise it gathered from all corners and its failure to deliver on that. It's not bad, in fact it expertly narrates the stance of Indonesian gangsters and government, but it buries that under so much cosmetic pretense and deliberate convolution that it loses steam and fails to create an impact with its unprecedented subject.
It drags, deviates and disillusions to attain an effect which may appeal to some but remained depressingly boring for me.


Rating- 3.6/5

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