“Animal (2023)” Movie Review
Film Poster Credit: T Series & Cine1 Studios
Unapologetically bold, the latest release, ‘Animal,’ created a significant stir upon its much-anticipated arrival last week. While it boasted a thunderous box office collection, it wasn’t without its share of mixed criticism. The film faced polarized views, particularly regarding the portrayal of male chauvinism and misogyny. “While acknowledging the film’s bold thematic elements, it’s important to note that as a viewer, I prefer not to dwell on the depiction of misogyny. The movie’s daring narrative choices command attention without negating the complexities of the debate surrounding its content.”
Directed by Sandeep Vanga Reddy, ‘Animal’ is unequivocally dominated by the charismatic Ranbir Kapoor. This film seems to be the vehicle Kapoor truly deserved, showcasing every layer of his acting prowess.
From a technical perspective, the film’s first half resonates with an intense impact that grabbed my attention, reminiscent of the way ‘Mad Max: Fury Road’ captivated audiences. It relentlessly engages, hitting the audience with powerful sequences one after another.
However, perfection eluded it. The second half suffered from an amalgamation of too many subplots, which, compared to the dynamism of the first half, felt somewhat underwhelming. The attempt to address multiple storylines seemed ambitious, perhaps more than necessary.
Yet, ‘Animal’ delivers an experience like no other. Its daring take on multifaceted fronts might have been surprising for many, but it’s essential to appreciate the bravery in adhering to its theme without merely resorting to experimental tactics for the sake of it.
Overall, ‘Animal’ emerges as a film that provokes thought. It stands as a testament to the team’s commitment to a bold narrative without undermining its intent. While the movie sparks controversy, it refuses to be dismissed as mere sensationalism, showcasing a boldness that demands acknowledgment.”
Celebrating one year of “After Sun”
Poster Credits: BBC Film, Tango Entertainment BFI, Pastel Production, Unified Theory
Nearly a year after its release, ‘After Sun’ continues to resonate, echoing its poignant melodies with tremendous heart and soul. To me, ‘After Sun’ wasn’t just the best film of 2022; it stood out profoundly in terms of exceptional performances and impeccable direction. The film’s emotive tunes and powerful storytelling making an enduring impact. ‘After Sun’ encapsulated an immersive experience.
Ever since I first watched ‘Normal People,’ I’ve been a huge fan of Paul Mescal. So, when ‘After Sun’ was released, my excitement was through the roof. I had high hopes that this film would truly showcase the incredible talent of an actor I deeply admire.
The lingering impact of the film’s final scene is imprinted in my mind, lingering in my thoughts day and night. Paul Mescal’s portrayal of vulnerability as a father in ‘After Sun,’ combined with the poignant direction, encapsulated a profound inner turmoil.
One scene that resonated profoundly was Sophie’s birthday greeting, beautifully portrayed by Frankie Corio. It was a heart-wrenching moment that left me emotionally moved. However, there’s another scene where Sophie inadvertently embarrasses her father due to his financial struggles. Despite this, her heartfelt karaoke performance manages to touch the audience’s hearts in a way that’s truly unmatched.
In ‘After Sun,’ the portrayal of a father-daughter relationship is truly touching. The film skillfully illustrates the father’s inner struggles alongside the harsh realities of financial hardship. Despite these challenges, his unwavering determination to create a memorable summer holiday for his daughter shines through. It’s heartwarming and poignant to witness his relentless efforts amidst adversity.
Time may pass, but ‘After Sun’ will forever remain etched in my memory as one of the most exceptional cinematic experiences, period.
“The Exorcist: Believer ” Movie Review
Poster Credits: Universal Pictures, Blumhouse Productions , Morgan Creek Entertainment , Rough House Pictures
The Exorcist: Believer, a sequel to the revered 1973 classic, ‘The Exorcist,’ arrived after a 50-year hiatus, carrying immense anticipation. However, despite earnest efforts, the sequel unfortunately falls short of expectations.
The success of this movie was pivotal in justifying the intended trilogy. Nonetheless, ‘Believer’ disappoints on several levels. The storyline unfolds predictably, lacking the depth and innovation expected from such a revered classic. The performances, while decent, fail to elevate the film to the heights set by its predecessor.
The original ‘Exorcist’ thrived on a principle of ‘less is more,’ skillfully balancing psychological terror and restrained supernatural elements. However, ‘Believer’ seems to miss this finesse, resulting in a narrative that feels less impactful and somewhat formulaic.
Anticipation for a sequel after five decades naturally carried immense expectations. Fans hoped for a sequel that could match the chilling atmosphere and profound storytelling of the original. Unfortunately, ‘Believer’ falls short of capturing the essence that made ‘The Exorcist’ a cultural phenomenon.
It’s important to acknowledge the dedication and hard work of all involved in the creation of ‘Believer,’ despite the film’s inability to match the brilliance of the original. Here’s hoping for a promising turn with the next installment in 2025. Let’s anticipate what the future holds for this saga
Napoleon Movie Review
Poster Credits: Universal Pictures, Apple TV+, Sony Pictures
As the highly anticipated Ridley Scott-directed ‘Napoleon,’ starring Joaquin Phoenix and Vanessa Kirby, unfolded, a particular line echoed within the film: ‘I am the first to admit when I make a mistake. I simply never do.’ This phrase encapsulated the essence of the movie, which, despite its grandeur and star power, acknowledged its own missteps. While commendable in parts, the film encountered flaws, preventing it from reaching full potential.
Classifying films into genres often offers a clear perspective, yet ‘Napoleon’ defied easy categorization. Initially a compelling drama intertwined with romance, it shifted towards a quasi-biographical portrayal. Hoping this genre fluidity would enrich the storytelling, I anticipated a departure from standard classifications but found myself perplexed. The love story between Napoleon and Josephine is central to the film’s narrative.
Delving into Napoleon’s early life and aspirations for Corsican democracy could have provided deeper insights into his character. The film covers pivotal moments from the ‘Siege of Toulon’ to the ‘Battle of Waterloo,’ subtly hinting at his megalomaniacal behavior and vulnerabilities. Joaquin, Vanessa, and the cinematography stood out, evoking memories of Ridley’s earlier works. However, ‘Napoleon’ fell short in capturing the essence that distinguished Scott’s remarkable films like ‘Gladiator,’ ‘The Last Duel,’ or ‘Kingdom of Heaven.’
Despite not meeting my expectations, I eagerly await Ridley Scott’s ‘Gladiator 2.’ While ‘Napoleon’ had standout features, it missed capturing the essence of Scott’s previous exceptional works.
Celebrating 2 years of “Maid”
Poster Credits: Netflix, Warner Bros. Television, John wells Production, LuckyChap Entertainment
Two years since its release, ‘Maid’ continues to resonate with profound emotions, weaving a powerful tapestry of pain and hope that lingers in my heart. Never before has a series shaken me to the core. I found myself deeply connected to the searing emotions on screen and profoundly moved by the glimmer of hope. Whenever I think about this series, I’m choked up with emotion, as I find myself on that faraway route where Alex and her daughter are journeying toward their future.
Up to this day, ‘Maid’ stands as the only series that had me binge-watching for a solid 10 hours straight (October 1, 2021 -remains one of the best days of my life, as it significantly altered my perception of life). I’ve experienced a lot, but never before have I encountered something that prompted me to contemplate the purpose of life. While ‘Life of Pi’ came close, the relatability of ‘Maid’ made me profoundly grateful for the intricate nuances of life.
The emotional vulnerability brought to the screen by Margaret Qualley was truly a work of art. I found myself rooting for her in a way I hadn’t before. It was a tough loss at Emmys, but, for me, Qualley’s portrayal will always serve as the benchmark for others in the realm of limited Drama TV series.
“What the mind needs to know sometimes is that there is someone there to make things better for you,” and rightly so, “Alex” will always serve as my primary inspiration in life. Alex’s fight for her daughter while battling the world is closest to my heart for a lot of personal reasons. But I can definitely say whenever I am down and out, Margaret Qualley’s “Alex” is the first thing that comes to my rescue. I am extremely thankful to Qualley for ‘Maid’; this TV series serves as my primary source of inspiration all the time.
My only two regrets were – how great it would have been had Paula tagged along as well, and the second one being ‘Maid’ being a limited TV series. I wish I could see more of Alex, but I’m sure her upcoming life is the best version of her bright future.
#2years#Maid2021#Netflix#Drama#LimitedTvseries# Margaret Qualley#Motivation
Animal Trailer Review
My Thursday morning was electrified by the arrival of audaciously bold ‘Animal’ trailer. Directed by the visionary Sandeep Vanga Reddy, this cinematic masterpiece features a stellar ensemble cast, including the likes of Ranbir Kapoor, Anil Kapoor, Rashmika Mandanna, and Bobby Deol.
The 146-second-long teaser provides a captivating glimpse into the intricate relationship between a father, brilliantly portrayed by the versatile actor Mr. Anil Kapoor, and his son. The teaser tantalizes the audience with the portrayal of their toxic yet profoundly complicated relationship.
The film ‘Animal’ has been highly anticipated, particularly due to the Sandeep Vanga-Ranbir Kapoor collaboration, eagerly awaited after the successes of ‘Kabir Singh’ and ‘Arjun Reddy.’ It’s exciting to see how Sandeep Vanga orchestrates this intricate father-son relationship on screen. As evident from the teaser, ‘Animal’ is much more than just an action film; it’s a blend of multifaceted relationships, intense action, and genuine emotion. This film gives Ranbir the perfect platform to showcase his versatility as an actor and exhibit a wide range of emotions.
If the background music served as the soul of the teaser, keeping everyone on the edge, it was Bobby Deol who truly stole the spotlight. How often do we witness a mere 5-second glimpse overshadowing the ever-powerful charisma of Ranbir Kapoor? Bobby instilled fear in the viewers without uttering a single word. The anticipation for December 1st is palpable, as we eagerly await the clash between Ranbir and Bobby, with the latter presumably taking on a negative role
“A Haunting in Venice ( 2023) ” – A Third Time Charmer?
Done watching the first-day, second showing of ‘A Haunting in Venice,’ it’s time to explore whether it fell flat or if it managed to charm its audience as a third-time lucky endeavor. This film, the third outing for Kenneth Branagh as Hercule Poirot, is adapted from Agatha Christie’s ‘Halloween Party.’
“When I first saw the trailer for ‘A Haunting in Venice,’ I was completely enticed by the possibilities this movie could offer. I had a similar feeling for the first two films in the franchise, but one of them fell disappointingly short of capturing the charisma and tension build-up expected when we read Christie’s novels. The impressive star cast only heightened my expectations, and this time around, it wasn’t any different either. Although it’s worth noting that the second film in this franchise is my personal favourite (maybe I’ll write about it some other time).
“Agatha’s novels have always been edge-of-the-seat thrillers and have defined my childhood reading to quite an extent (Sidney Sheldon included too). Knowing Kenneth Branagh was taking up the mantle of Hercule Poirot back in 2017, I was extremely excited. Kenneth is one of my all-time favourite actor/directors (Do watch ‘Henry V’). Although Kenneth, as an actor, I believe he is a near perfect embodiment of Hercule Poirot, as a director of Agatha Christie’s novel adaptations, I still believe the best of him has not quite come yet, as he is capable of so much more. It’s possible that as an Agatha fan, I am expecting a lot more.
As I delve into ‘A Haunting in Venice,’ I couldn’t help but hope for a more faithful adaptation that would capture the essence of Christie’s intricate plots and Poirot’s idiosyncrasies. Let’s see if this film managed to fulfil those hopes.”
The film starts in a manner reminiscent of the previous Poirot films, with it not being Poirot who seeks out a case, but rather a case finding him. Quickly into the film, we are introduced to Tina Fey’s character, who is playing Poirot’s friend – or is she? (That’s for you to find out; I won’t give any spoilers).
The screenplay swiftly leads us to a Halloween party held at an allegedly haunted castle. Michelle Yeoh makes an extended special appearance as a medium conducting a séance. The cat and mouse game between Poirot and Reynolds (played by Michelle Yeoh) becomes engaging as Poirot takes it upon himself to unmask Reynolds as a fraud. What unfolds later is a quagmire that slowly but surely starts revealing a series of intricate lies and unsolved truths.
What’s captivating this time is that, unlike his previous cases, Poirot finds himself mostly one step behind, which is an aberration from his usual investigative prowess. He is constantly playing catch-up with the unfolding events, and his inability to find solutions is both teasing and troubling his mind. He is in a constant tussle to prove the supernatural as mere illusion, while everything around him suggests otherwise.
Eventually, everything boils down to the last 15-minute finale, where Poirot starts peeling away the layers of lies to reveal the bare truth. I expected a similar formula as it has become a sort of ritual in his previous films. However, truth be told, the finale keeps you on the edge of your seat as it offers a different flavor this time.
The questions linger: Was Poirot able to solve the mystery? Is this a supernatural thriller or just a thriller? Does Poirot change his mind due to the unfolding events? All these answers are reserved for the last 20-minute finale, which provides a satisfying conclusion.
I feel the movie could have been better, especially in the first half, which felt a bit dragged and boring. In the end, while you’re surprised, you might still feel a sense of emptiness, grasping for something more from what initially appeared to be a rather ordinary story.”
Despite the movie’s shortcomings, I remain eager and hopeful for Kenneth Branagh’s future adaptations. I hope he continues to take on Agatha Christie’s works with the same level of enthusiasm and delivers them with panache. This is a sincere request from a devoted Kenneth and Agatha fan. In the end, ‘A Haunting in Venice’ may have left me wanting more, but it hasn’t diminished my excitement for what Branagh might bring to the table next.
Nun 2 (2023) Review
“The Nun II,” the latest addition to the expansive Conjuring universe, made its theatrical debut this Thursday. Personally, I had eagerly anticipated this release, particularly due to the pleasantly surprising experience I had with its predecessor, “The Nun 1.” Even though the first instalment had its moments of brilliance, I was thoroughly captivated by the film’s impeccable cinematography, which significantly contributed to the pervasive and ominous atmosphere it masterfully crafted. “The Nun” was a pivotal entry in the franchise, serving as the origin story for the entire narrative, and “Nun 2” seamlessly picks up right where its predecessor left off.
Set in the year 1956, the story unfolds within the solemn confines of an Italian convent. Here, Sister Irene, portrayed by the talented Taissa Farmiga, resides in the shadows, leading a life of profound solitude. She harbors a dark secret, one born from the bone-chilling ordeal she endured during her harrowing encounter at Saint Carta. In a refreshing addition to the cast, Storm Reid plays a loyal friend to Sister Irene, infusing a youthful and invigorating energy into the ever-expanding Conjuring Universe.
Taissa Farmiga’s strength lies in her ability to imbue the character of Sister Irene with pious vulnerability. Her innocent gaze subtly conveys the depths of her character’s inner turmoil. However, even Farmiga’s compelling performance cannot fully compensate for the shortcomings of the lopsided screenplay.
Despite my high anticipation for “The Nun II,” the film ultimately disappoints in its delivery of a cohesive narrative. Instead, it presents a disjointed collection of spine-chilling scenes, strung together by frail and inconsistent writing. Certain characters, like Anna Popplewell’s Kate, are poorly written and contribute little to the overall story. While the movie does maintain its ability to terrify with its eerie moments, the overall experience is marred by a narrative that fails to live up to its full potential. The backstory of Bonnie Aarons returning as Valak remains vague, leaving the audience bewildered by the reasoning provided. The spoon-feeding of information doesn’t adhere to the principles of a good horror film, where less is often more.
Nevertheless, one aspect that remains unwavering and dependable is the film’s visually stunning cinematography, which breathes life into the bone-chilling sequences. The terrifying moments teased in the trailer live up to expectations, particularly the heart-pounding magazine sequence and the beautifully choreographed scene where Taissa silently navigates through the smoke dust. These elements are undeniably praiseworthy.
As an ardent fan of the franchise, I found myself fervently hoping for the film to find its stride. While I do have reservations about certain aspects of the film, the climax valiantly attempts to justify the epic universe crafted by James Wan. The final 25 minutes of the film are undeniably captivating, offering a glimpse of the potential that the story and characters could have achieved. I certainly look forward to seeing Taissa return as Sister Irene (a request from a devoted fan of Taissa), but I also hope for a stronger and more engaging storyline to accompany her return.
Revisiting Creed (2015)
Before I write my review on Creed 3 (which hits theatres in March 2023), I wanted to share my thoughts on Creed. It has been over eight years since the movie Creed hit theatres. Directed by Ryan Coogler, Creed was a befitting sequel and spinoff of the Rocky series, following the journey of Adonis Creed, the son of Apollo Creed, as he seeks to establish his own legacy in the world of boxing. Following the success of “The Fruitvale Station,” the combo of Coogler and Jordan created yet another masterpiece. The film not only received critical acclaim but was also praised for its strong performances, emotional depth, and thrilling boxing sequences (special mention to the single-shot fight sequence where Adonis takes on Leo). Jordan has come a long way since then and has delivered multiple strong performances that have made him a compelling lead character, and he is not looking to slow down. Personally, I admire Jordan’s passion and am excited to see him step into the shoes of a director in the upcoming film. And how can I forget about Stallone? His impeccable comic relief and a sense of gravitas brought nostalgia and a sense of freshness to the legendary character. I still feel for him for missing out on the Oscar in 2016; he was a serious contender that year.
One of the standout aspects of Creed is its visual style, with Coogler utilizing a mix of handheld camerawork, long takes, and stunning montages to capture the intensity and spectacle of the boxing matches (another special mention to the training montage when Creed runs down the creed to Rocky; I personally could never imagine a training montage starting from a hospital- “Don’t hit the lady, she’ll probably drop you” stays with me). The soundtrack, featuring a mix of contemporary hip-hop and classic Rocky themes, also added to the film’s energetic and emotional impact. Overall, Creed is a powerful and moving sports drama that pays homage to the Rocky films while also establishing its own identity and characters. I am keenly looking forward to Creed 3. Although I would have loved to see at least a little bit of Stallone in the film (of course, he is not present in Creed 3), I am happy that the character had a befitting closure in Creed 2.”
*** References: I have taken help of ChatGPT for writing the reviews.
Avatar: Way of Water
Well 13 years on and Avatar (2009) still reigns on its 3D spectacles with tremendous heart and soul. I can’t say that the wait was worthwhile but sure it was a nostalgic one. “Avatar (2009) “offered some of the modern cinema’s most elegantly composed and visually absorbing moments. It won’t be wrong to say that James Cameron actually made “3D” a household name in 2009. “Way of Water” is not different either, the much-awaited sequel is visually immersive, as expected, but is filled with giant plot holes.
An oversimplified screenplay and extended duration drag the film, and viewers are left disappointing. Much of the mastery of “Avatar (2009)” came through the emotional build-up of the characters and for the first time in cinematic history the audience rooted for aliens over humans. The sequel carries this legacy but simply fails to create enough surprises and ends up presenting a mere replica of its predecessor. “Way of Water” doesn’t add much to the story telling and I am now left wondering what the planned sequels in 2024 and 2025 have to offer. Well, the movie does try to give hints in bits and pieces for the developing sequels, but can’t say if they added much to the “uniqueness” of this water world.
I have been a crazy Cameron fan and I will always be the one watching his films in theatre, including the Avatar planned sequels too, but much of my worry comes from the fact that an attempt to create something majestic and visually appealing should not compensate for a good story telling. Be it “Aliens” or “Titanic” Cameron has always found a way to create magnum opus backed up by a solid screenplay. I am still rooting for him because he will find a way to surprise his audiences. “Way of Water” is definitely a must watch, much for its charismatic visuals if not for storytelling.
A subtle take on “Blue is the Warmest Color “
‘Blue is the Warmest Colour’ – a coming-of-age love story of a queer women, was ground-breaking and offered some of the modern cinema’s most elegantly composed and emotionally absorbing moments, unanimously winning the Palme d’Or. On record this film is one of my all-time favourites and my respect for Léa Seydoux and Adèle Exarchopoulos grew multi folds after watching them perform and create cinematic history. I have been a crazy Lea Seydoux fan since then and I eagerly wait for whatever she films she does next. Being in awe of this film for many years it took me some time to realize an aspect which I missed the first time.
The movie ended up representing queer themes with a lens of a male gaze, forcing the audience to see the world of two women from a heteronormative point of view. This issue was subtly overcome by director Céline Sciamma, who herself is a lesbian, in ‘Portrait of a Lady on Fire’, another coming of age love story of two queer women. Much of the mastery here came through the uniqueness of the film’s ‘female gaze’, a deviation from the norm even in many women centric films, showing a queer relationship in a very real and unguarded state.
I do appreciate the fact that ‘Blue is the Warmest Colour’ was not ambiguous about sexuality, and presented a character who was very firm in stating her preferences. However, I feel that a narrative about queer people as commonly portrayed on cinema, cannot be considered a work of queer cinema in the same sense as a film written, directed and portrayed by queer people. This lack of personal opinion is something ‘Blue is the Warmest Colour’ also suffers from. I believe it is high time for self-representation of the queer community in the world of cinema, normalising the representation and finally advancing towards ‘inclusion’ in the true sense.
This blog is just an attempt to share my thoughts and personal opinion. In no way I am trying to judge any film/ person etc and neither endorsing anything. A movie is hardwork of thousands of people involved , and a mere review can never do justice to these efforts. Being a movie enthusiast I always admire the creativity of whole movie fraternity.🍿Passionate movie buff crafting original reviews with ChatGPT. Unintentional resemblances. Committed to uniqueness. Apologies for any similarities
****For writing some of the above blogs I may have taken help/ references from various available online articles and blogs. In case if the sources and references are not mentioned, I deeply apologize for not remembering them.
Deep Chaudhary 