Crack o' Whips, Echoing Folk Songs & Balls Of Bloody Cotton. A Most Memorable Piece Of Cinema.

12 YEARS A SLAVE
(2013)

Directed by- Steve McQueen

Written by- John Ridley

*Chiwetel Ejiofor, Michael Fassbender, Lupita Nyong'o, Sarah Paulson, Benedict Cumberbatch, Paul Dano, Brad Pitt


12 Years A Slave is the third black history film from last year and is definitely the hardest hitting. Whereas films like 42 and The Butler fall short in their overall impact due to a heavy-handed and overtly sentimental take on slavery (or apartheid in their cases), this one works splendidly, constructing scene upon scene of superior drama and sucking us deeper into Solomon Northup's damned predicament. 

It does not take a predisposed worldview of black history and makes us stare at the great evil that befell an entire race of humanity all at once, instead it picks one individual and follows his story through misfortune, misery and ultimately, escape. There are no transparent attempts to instill feels for the thousands of blacks who underwent hell here, just the story of one man who was wronged.
And in doing that it narrates a wonderful tale of courage, hardship and redemption, without prejudice and with an impersonal fairness. 
It just states the facts and it is the facts which are so horribly terrifying that the effect they have is far greater than any propaganda piece could ever attain.

McQueen's masterful direction takes us to the cotton plantations of 1840s' America, following freeman Northup who is kidnapped and illegally sold.
We see mothers separated from their children, men murdered for preventing rape and slaves whipped to the bone for insolence.
But it is Northup, or Platt, whose journey deeply absorbs us and holds our sympathy and anger, as he is bullied, beaten and betrayed repeatedly. The entire story almost unfolds in the fashion of a big adventure, while we continue to anticipate what will befall him next.

There is a bit of a disconnect in the first half, I'll say, but the story picks beautifully as we enter the nefarious plantation of Mr. Epps.

The exceptional performances by every single member of the cast make the experience all the more haunting. 
The pain in Ejiofor's eyes, as he stares blankly into space longing for freedom, speaks beyond words. And his quivering reunion with his family just takes it to another level.
Whereas Fassbender's sleazy stares and red wrath unleashed upon the simple Patsy, create a supreme picture of undeniable hate and pure vileness.
The fiercely restrained performance by Nyong'o, along with everyone else seems deeply genuine and make this one of the best ensembles of 2013.


Hans Zimmer's background score accompanied by the western classical and folk music simply transports you to that era. Add to that Sean Bobbitt's lovely cinematography which impeccably picturises the manor houses and the sunny fields, and the whole plantation atmosphere comes to life.

A spine-chilling period drama with a stark perspective, which begins as an account of one man's suffering and evolves into a raging narrative of the injustice born by an entire race, that will leave you appalled and disgusted. And if you're American, probably ashamed.


Rating- 4.4/5

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