Movie review: Avatar: The way of water

Let’s begin from where the Avatar had left us last time. We had witnessed former marine Jake Sully giving up his human form in 2009 when he fell for Neytiri and his heart started beating for Na’vi people.

This time around it starts with showing the Sully family settled and happy with its Forest people with Jake leading the pack, ingesting disciplines in his sons. He very well knows the ills of letting their guards down, and trains well as to how to be great warriors and protect the people.

On the other hand, the “Sky people” are back with their greed of plundering Pandora for its natural resources. Sr Sully soon gets a rather tough realization when he had to get his kids released from the foes that it would be better for everyone for them to move on to another place, and that place happens to be Metkayina, the home of amphibious reef people led by Tonowaris.

The automated world is uncannily amazing and very involving. It’s only its overstretched, many times unnecessarily elongated plot drags you out of otherwise an engaging journey. 

 

Movie review: 'Atrangi Re'

It starts with a girl named Rinku (Sara Ali Khan) trying to run away with her lover. She gets caught at the railway station by the goons her grandmother keeps, and then she walks back home with a well-rehearsed, who-gives-a-damn gait for this is supposed to have happened for not the second or third, but 21^st time!

We come to know that she has inherited this daring from her mother who too had run away with her father and since then her maternal grandmom had lost it. And lost it so badly that she beats her up like nobody’s business. Rinku puts up with this as if it were a normal routine and moves on with her day only with the feeling that she couldn’t escape with him – Sajjan (Akshay Kumar), whose name she hasn't ever revealed to anyone.

Anyway, this time around, her wicked grandma has another plan. She is done with playing such catch-me-if-you-can dares with such uncontrollable Rinku. She orders her chaps to go fetch a random, suitable-looking boy from outside to forcibly marry her off. They set out for a literal groom-hunt and come back with a bag filled with a human body. Out comes a mouth and hand-tied Tamilian boy, Vishu (Dhanush) who is visibly boiling as he doesn’t know what the heck just happened with him. Both of them get married in no time!

This boy has had a fine life before being kidnapped and was to have his engagement in a few days, but to his horror, he is now married to an absolute stranger! Both irate newly-weds decide to break it up. Exactly then, Bollywood steps in. In the process of going for divorce, they start developing feelings for each other! Anyway, how they are faced with their emotions, how Sajjan plays a role, and how the story ends up is something I refrain from spelling out.

Specifically, three things stood while I watched: Sara’s acting abilities are for everyone to see. She exudes confidence of a veteran and it is sheer pleasure to watch her play Rinku. Among at least a few scenes, one shows her dash of rebellion when she requests and then threatens her grandmom against her forced marriage. Your heart would reach out to her vulnerabilities. Secondly, Dhanush whose acting is as effortless as Akshay’s iconic smile. His performance while being forcibly married under the influence of Nitrous oxide, his guilt-ridden confession in Tamil to Rinku when he realizes he is falling for her, and whenever he breaks into spurts of dance, is a pure joy to watch. Lastly, the continued magic of AR, especially – Rait zara si and its extremely evocative instrumental interlude. 

With all this, you can sail through the movie which has picked up a very important topic of mental illness with multiple layers including a dilemma to choose the "caring" love. For the director, fitting of Akshay's role could have been as challenging as speaking Hindi for Dhanush. Speaking of Akshay, he would take up as much space both in the movie and on your mind as he has in this review.

Though this well-intentioned story of Anand L Rai seems to emerge from a faltering plot during the execution, he deserves a pat on his back for picking up things that only a few can imagine.

 

Movie review: 'AK vs AK'

First time I am sharing my review of a Netflix-launched movie! Changing times but in regards to the visual content, this has turned out to be a blessing in disguise.

With that said I am turning to what you are looking for. Firstly, this movie title is nothing but initials of Anil Kapoor and Anurag Kashyap, just in case you are challenged in that respect. It begins on the back of a decade-long and still-simmering resentment between both actors. This picks up heavy steam in the media after they engage into a rather insulting interaction during a live TV programme.

Both are offended to the point of showing the other who he really is and what he can be. Anurag offers Anil a movie, the most dangerous hostage thriller in his words, with a plot that Anil absolutely cannot deny despite him being overly busy. The plot includes Anil searching for his real-life daughter Sonam who is kidnapped. Also, he must save her by sunrise without involving police or anyone else, and all his calls are to be placed on speaker phone. Lastly, in that limited time of ten hours whatever he does, wherever he goes, whoever he talks to would be filmed by Anurag’s assistant. No retakes. No lights. One camera (always on). All actions.

To add music to the mystery, this has popped up on Anil’s birthday night. He has to evade proper answers to frequent calls from Harsh (his son) to get home sooner and from Anand (his son-in-law) to check up on Sonam’s whereabouts. Anil zooms past one location to the other, running through streets to find some leads to reach Sonam. Both AKs roam around the roads of Mumbai in the late hours of night. By the morning, they are sorted in a way that I don’t want to spell out how.

I found some of the portions of the movie a little, only a little, stretchy. But in most parts, the story moves along quite well. Vikramaditya Motwane does a good job in knitting this together while engaging the audience well. Performance wise, Harsh takes this as a redeemer and gives his best which also is well noted. Sonam is only for a mute cameo with disturbed facial expressions. Anurag is very good with his expressions and delivery of his villainy lines. To me, the movie rested on the sturdy shoulders of Anil Kapoor.

With the strict eye of a school principal our sensor board has never allowed our actors to spew cuss words in a way they normally do. Especially the kids and adults of 80s and 90s who have carried a typical image of Anil Kapoor would love to see him in a different character. Here the senior AK would not only rattle out Hindi slangs like a pro but also break into his iconic Lakhan dance on a public demand even while he is being screwed.

This movie has made me watch Anil the actor I hadn’t known thus far. For a change, this time he may have wanted his audience to say for him: Jhakaas!

Movie review: 'Soul'

I saw the movie because I heard so well of it in such a short time, and then I had to write about it since I felt quite strongly about its theme. Thanks to this movie I visited my blog after what seemed like a lightyear to me! Anyway, let’s get to it.

It opens with Joe Gardener teaching band lessons to middle-school students sharing his own story of how he came to know of his passion. He is sure that he is born to play jazz and that too at serious level with all his freedom by his side.

When one day which is supposed to be the biggest one of his life, he thinks he would finally “arrive” on the scene, the excitement doesn’t make him notice a manhole. He gets up in another world altogether. The world of souls, with him being one of them! This world is like the intermediate station between one life and another one. Joe obviously is freaked out and is far from accepting his death. He escapes somehow to another compartment in that world called The Great Before – the place where souls are to be readied for the next birth.

From the whole lot of eligible souls which are gearing up for the next birth, there is one named Twenty-two. She is rather clear-headed and doesn't give a rat's ass to being born again. She is fine in not getting her "spark" and is enviably at ease with herself. Anyhow, she and Joe got on well with each other and become good pals. Their friendship is very endearing to watch. With Joe raring to go back on his big day, she decides to help Joe get a return pass to Earth. How she helps and what follows afterwards is something that I would like you to watch rather than me being a spoiler and suck all the fun out of it.

All in all, the theme highlights the importance of having a “life”. It is about not letting yourself take the unimportant-looking things for granted while you await a few events to make your mark. It tells you to stay in the moment and enjoy the little joys of life – be it holding a little leaf spiralling down from a tree or taking interest in the anyone assisting you or running fingers on railings to make a music or whatever that brings you a smile! Twenty-two turns out to be a rather eye-opener for Joe. And you too. “Letting out yourself” is the key message she sends in all her actions which are all brilliantly shown without a P of Preaching.

I particularly loved the portrayal of that another world where differently-sized souls are designed so superbly in that light green-and-blue transitioned colour with a faded border to give it an adorable look. In fact, their figureless inspiration managers – Jerrys- too are sketched to perfection. It is pure delight to watch the imagination come alive so beautifully. Since it revolves around sparks and purposes, it is clear as daylight that Pixar and Docter know theirs so damn well.

Movie Review: 'Dabangg 3'

There are three levels of torture: the most basic is boredom, next is lifelessness, and the crudest of all is Dabangg 3 kind. I don’t know what I just saw. Honestly, I felt like quitting the hall just after 20 minutes into the movie with my best tolerance levels on. I hung on to it just to see the depth of nadir. The movie beings with overly self-assured cop who can comfortably dance his way out of streaming bullets. His styles and unbearable spurts of shy laughs are the signals for villains to shit their pants. And he does that too often and too cheaply that you begin to ask question on your unavoidable need of continuing with the movie.

Anyway, so this one imposes the history of how Chulbul Pandey gets his name, and his first love. Also his non-cop life filled with nothingness except body building and idealistic intentions of a family boy. I am sure half the public in the theatre hall was not even giving rat’s ass to how his oh-so-unpredictable history would unfold to be. However, they didn’t have any other alternative but to let their brains keep aside.

Basically his history is more of Salman Khan’s message of how boys should act in the face of prevailing societal wrongs. Chulbul decides to give dowry for getting a girl and goes on financing his to-be wife’s education before they get hitched. He is head over heels in love with the girl who has accidentally charmed a villain as well. This baddie has a propensity to destroy whatever he thinks he can’t get – pretty time-saving ideology though. He becomes the reason for Mr Pandey to lose his first love and join the police force. And rest you know what happens – series of slow motions, forced bare chested appearances, earth-cracking blows, and Salman emerging the demigod.

All in all, Dabangg 3 lumbers along the laborious path with utterly unwanted songs and tacky dialogues. It is not a movie. It is a punishment of 2019.

Movie Review: 'Baaghi 2'

Ronnie (Tiger Shroff), a brokenhearted product of an unfulfilled love, is a serving army officer in Kashmir, making baddies eat his dust. A voice message from his moved-on and married ex is enough for him to pack his bags and come to Goa. She (Disha Patani) recounts the kidnapping of her daughter Rhea two months ago and calls him her only hope and help. He, obviously earnest to do his best, ventures out in no time.

Now the fractured screenplay shows its might and takes you for a ride. Goa is shown with its stereotypical shady shades with a barrage of characters doing their dirty bit. There is a Hyderabadi car dealer Usman Langda (Deepak Dobriyal) chooses to become his informal sidekick as he respects the army. Then there is a police department filled with idiosyncratic characters: the best of them is a selfie-loving cop named LSD (Randeep Hooda), a Chandigarh equivalent of Jack Sparrow transported to Goa. He reports to a kindly DIG Shergill (Manoj Bajpayee) who pulls strings whenever he feels and allows Ronnie to flaunt his built and jumps.

The verdict is clear. It's a no from me. Read on to know why I say that.

You are left literally as wandered as Tiger is in the movie merely because of the lazy script. Barring Hooda’s and Bajpayee’s almost all other characters are less than convincing either in impact or in existence. There are some really tolerance-testing patches like the one in which Ronnie bumps into his college friends, answers why he now keeps short hair, and then friends coldly move on after saying one clichéd line about him and Neha being that college-ki-shaan or whatever! Hold your breath; this whole setup was only to stab the audience with one lame song! One more rather insignificant instance when Usman utters the line in his last breath: Hyderabadi Biryani ke liye hi nahi, qurbani ke liye bhi jaane jaate hain! (or likewise) I would have left the hall right then had the popcorns weren’t fresh in the tub.

Some really good action sequence by Tiger and Hooda’s role in specific bring some respite and provide some oxygen to live through the movie. Disha fares good as a charmer in college and downcast outside. For Prateik Babbar it must have been a leftover shoot of Dum Maaro Dum with a bit twist in his role. Let’s move to the poster boy - Tiger. When in jungle, he transforms himself into a big daddy of Tarzan. He flings the goons by swinging and punching. He jumps from underwater like a whale to land kicks on them. He can break their calf bones even with tied hands. The list goes on and looks good on him to a point. The problem is to see him act. His expressions are like changes in the Fixed Deposit rates over a year – moving with minimal or no interest. He shrinks his default smile and gives a surprise look and shrinks further for an angry look. And lastly, songs – err, sorry, except for O Saathi by Atif which is really good, I took naps for mental restoration while others were on.

Look, it’s not the movie is bad. It’s the script, and the direction, and some acting are not up to the mark. That’s it.

Movie Review: 'Secret Superstar'

Bollywood produces six categories of movies – hit, 100-crore hit, brain-dead, flop, super-flop, and Aamir Khan-touched. This one, as you know, belongs to the last and the most bankable category. Aamir - the guy is a genie who goes the unexplored path, takes those rare risks, wears a new avatar as a filmmaker, and turns the whole bundle of newness into a surefire success.

Enough praised? Hold on. There’s more. Cut straight to the movie. If you have a voice, passion, and YouTube – you are bound to be a superstar. In addition to all that in a patriarchal Indian set up, when you have an overbearing father questioning your identity and supremely supportive mother backing up the very same thing, you’re on your way to becoming a secret superstar against all odds. I think this more or less summarizes the whole plot which anyway is pretty guessable from its impressive trailer.So I am all for watching this movie. You may want to disconnect from here as next are the details why you should watch it.

Insiya, a girl of 15 from Vadodara hails from a Muslim family, who has charms as heavens’ and attitude as solid as a rock. She wants to make it big as a singer and views the world as her audience. Her mother is the sweetest motherly portrayal I have ever seen on screen but her father is a hell of a gruesome figure you would never want to meet, even accidentally. Here again is a case of destiny calling its child but doors are locked; the child gets frustrated and finally finds a window named YouTube and meets her audience as a Burkha-donning, guitar-wielding singer with a voice that sweeps them off their feet. Then what? Like greased lightning she becomes an overnight sensation, gets a break by a musician, and wins hearts. The movie could have been a bit tighter but thankfully that extra looseness doesn’t lose its soul. The real meat however lies in its star cast.

Zaira Wasim is terrific as Insiya. She is a spectacular blend of beauty, charm, talent, and maturity beyond her age. Her titular performance is an enviable depiction of a character that would give even seasoned actors run for their money. Then comes Najma, played by Meher Vij who I still fail to believe has acted and is not her real mom! She has pulled off the role effusing all the assorted emotions — from an abused wife to a sensitive daughter-in-law to a strengthening mother to a resolute individual — with impeccable sincerity. To counter them, ready to receive your hate is Insiya’s father Farookh, played by Raj Arjun who too does a brilliant job in making you grit your teeth in disgust and anger every time he shows up. It’s a sheer joy to see Aamir switching to his comic side and crack the audience up with his signature comic gestures by being Shakti Kumaarr – the yesteryear musician who is overly hungry to get his dues but still has his heart in its place. The director, Advait Chandan, makes a remarkable debut with this cracker of a movie.

You may find yourself battling tears and losing the battle a few times. I remember when the movie ended and theatre lights dawned just the next moment, many people were seen not wanting to be seen wiping their tears. Go, watch this and be wowed by the absolute craft of acting that sends a strong message home. Even the songs of the movie collectively stand as a strong supporting actor. If I am to go Shakti Kumaarr's way, I would say only this: Wadda movie! Muaah.