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Shershaah (2021)
10/10
Great war film
31 August 2023
This is a great war film. It has all the right ingredients. Rare to see in Bollywood. It is also based on a true story of Major Vikram Batra, one of the legendary heroes of the Kargil War. This is a must watch.

The film does not shy away from showing the harsh realities of war, the sacrifices of the soldiers and their families, and the patriotism that drives them to fight for their country. The action scenes are realistic and thrilling, without being over-the-top or glorifying violence. The cinematography is stunning, capturing the beauty and the brutality of the mountainous terrain.

The performances are outstanding, especially by Sidharth Malhotra, who plays the dual role of Vikram and his twin brother Vishal. He portrays the courage, charisma, and complexity of Vikram with conviction and sincerity. He makes us feel his pain, his love, and his passion. Kiara Advani, who plays Vikram's fiancée Dimple, also delivers a heartfelt performance, showing her strength and vulnerability.

The film is not just a tribute to Vikram, but to all the brave soldiers who laid down their lives for their nation. It is a film that will make you proud, emotional, and inspired. It is a film that will stay with you long after you watch it.
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10/10
Wonderful jewel of a film
12 December 2020
This film has not received the accolades or publicity it deserves. It is incredibly well-made with amazing animation. The Sanskrit dialogues are wonderful and easy to understand for anyone who speaks any Indian language. Overall a real jewel of a movie
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10/10
Excellent funny, feel good movie
1 January 2020
This is a great movie to get a nice sense of how the society and culture of Karnataka, especially Bangalore, was in the 1980s. It revolves around a love marriage, which was seen as controversial during that time. It takes the viewer through various emotions. Shankar Nag, Ramesh Bhat and Arundathi Nag have performed very well in this movie. The story line is quite straightforward, but the movie is directed very well and the great acting puts the icing on the cake. A must watch.
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Mohalla Assi (2015)
10/10
Brilliant epic masterpiece comedy showcasing Indian ethos
14 December 2019
This is an excellent, underrated movie, directed by one of the greatest modern Indian directors. It is different from the other Bollywood movies like PK or Bhool Bhullaiyya. While PK and Bhool Bhullaiya aim at mocking or denigrating, Mohalla Assi puts the clash of tradition and modernity into a human context. With the onset of globalisation and the demands of modern society, many societies all over the world have faced several crises in terms of whether certain traditions survive or not. Through the character of Dharamnath Pandey, the real conflicts between modernity and traditional Hinduism are illustrated, resulting in a fine example of the innate Hindu dynamism and diversity. The social changes that occur in Varanasi as well as the brewing political movements are also shown. When seen in the right context, this film is a real epic masterpiece that deserves far more recognition than it has received. If you want to see the full, dazzling diversity of India, please watch this movie.
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Quantico (2015–2018)
1/10
Horrible plot
9 June 2018
Good to see this series is canceled. The plot in most episodes was poor and reeked of zero talent. It appears that this series was done by some desperadoes hungry for attention. I would rate this series 0 star if possible. Worst series on TV. Don't waste your time with this.
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Drive (I) (2011)
7/10
An overwhelming movie with a subtle undertone
10 October 2011
If taken at face value, Drive can seem overwhelming to most people and leave one with a nauseous feeling at the end. Drive is indeed an incredibly bloody movie, however, it is not very hard to come away from watching this with a feeling that maybe all this completely wrong? Sometimes, to provide a critique of something, one only needs to present the thing in all its reality and the critique appears all of its own. This can be said of the latest movies from the likes of Tarantino, in whose movies, blood and gore are pretty much the order of the day.

In Drive, Ryan Gosling provides an average, unemotional performance as the anti-hero: he is a sociopathic young part-time criminal who gets into a "contract" to commit a crime to help a neighbor's ex-con husband and realizes that the "contract" has more than what appears on the surface. Carey Mulligan, in my opinion, proves to be the saving grace in a movie whose characters all appear to be stereotypes and provide mostly average or poor performances. In scenes where she meets Gosling for the first times, she provides a real on screen charisma and chemistry similar to the performance provided by Gosling and Michelle Williams (whom Mulligan uncannily resembles) in Blue Valentine. Though Drive does not get onto the level of Blue Valentine's sublime story lines and acting, taken from the perspective of just this pair of actors, this movie is a very good successor to Blue Valentine, providing what might very well be the next tragic stage in the lives of Dean Pereira and Cindy Heller.
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10/10
Earliest art works by human beings
30 May 2011
This is a truly amazing and eye-opening documentary to anyone interested in knowing about how human societies existed in their original state thousands of years ago. This film concentrates on some of the earliest human artwork ever discovered. This was in 1994 in a cave in Southern France called 'Chauvet Cave', named after its discoverer.

In this cave, are present some of the earliest human artworks ever discovered. They have been found to be 32,000 years old. It is quite an amazing experience to know how our earliest human ancestors (the so- called 'Cro-Magnons') expressed themselves.

It is clear that our earliest ancestors too had the same tendency as us insofar as they expressed themselves through art, though the reasons for their expressions may have been differently understood by them. From all appearances, the paintings of animals and sexual aspects of fertile women all seem to be part of an ancient religious experience. A cave bear skull is discovered that definitely appears to be part of an altar for presumably shamanic rituals.

An interesting part of the film discusses how an Australian aborigine who followed his ancient native traditions viewed the rock paintings. He says that when he paints on rocks, it is not himself who paints, but the Spirit itself that paints, thus he imagines himself to be one with the Spirit. Therefore, in the imagination of our ancient ancestors, it is clear that any paintings that were made were thought to be part of a spiritual world, which included themselves and all of nature. Thus, a very rudimentary picture emerges of the thinking of our earliest ancestors, which includes, in my opinion, a form of pantheistic or henotheistic world-view, similar in a few respects to some of the mystical doctrines of the East which are followed even today in the form of Vedanta and Buddhism.

Of course, this is all speculative and only if we continue to investigate the origins of humanity further by conducting more research and digging up more evidence, we will have a clear picture of the origins of human beings, how they lived and what they thought.

All in all, a fascinating documentary!
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10/10
A grim satire of Wall Street-based society
22 May 2011
Warning: Spoilers
A successful executive, Patrick Bateman (played by Christian Bale) is a typical Wall Street financial top dog. He likes and does all the typical things Wall Street people do: parties, drugs, living in posh apartments and so on. However, as the title suggests, Bateman has another thing he likes to do: he is a psychopathic murderer.

This satirical black comedy demonstrates some of the realities of the modern Wall Street-based society. Although it is not clear if the author of the novel intends it (not having read the novel), the story could be interpreted as a story of Wall Street executives literally getting away with murder. It may not be that the Wall Street executives are particularly "evil" people themselves, but because of their class position, the executives wield enormous amounts of power and privilege. Thus, it is very instructive when Bateman finds out that nobody wants to believe his confessions of a uber-privileged executive being a serial killer on the side. Also, the behavior of law enforcement when it confronts him is markedly different with all deference being offered to him as a mark of his exalted position and in the end, it is not clear if law enforcement would ever be interested in having justice served to him, but it is clear from one of the last scenes, where he shows his own incredulity at his lawyer laughing off his sordid confessions, that Bateman ironically realizes his own hyper-privileged position pretty much absolves him of any crimes of mass murder he may want to continue to commit.
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Crash (I) (2004)
10/10
Uncomfortable truths of social relations in the "City of Angels"
27 March 2011
This movie commendably portrays the reality of social relations in one of the biggest and most important cities of the world: Los Angeles. Interwoven into this tale are the stories of several inter-related characters who are all portrayed to live quite separate lives,but still somehow come across each other in the course of their daily lives.

To start with, this movie quite effectively portrays the vile manifestations of anti-Muslim and anti-Arab racism in the months following the 9/11 attacks, where a Persian store-owner suffers a break- in and then breaks down mentally.

Cops are portrayed nonchalantly as racist and potential racist enforcers. Particularly interesting is the case of the young Officer Hansen played by Ryan Phillippe who initially is prone to non-racist attitude, but is instructed by his senior one time partner, played superbly by Matt Dillon, regarding the "realities" of being a cop. Hansen eventually succumbs to racist prejudice.

The film also includes a few people of the non-upper classes: two black youths who are led into crime and portrays a kind of catharsis for one of them when he is forced to go against his "principles" in a car holdup. Then there is the touching portrayal of a South American immigrant and his family. There is also the reality of human trafficking which is quite explicitly shown.

All in all, this is a movie which brings out many uncomfortable truths, in the midst of which the real sufferings of humanity in the midst of the so-called "City of Angels" stands out.
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10/10
Interesting and strange
19 March 2011
This is an out-of-the-way type of movie, much different from the standard painful crappy oeuvre offered by Hollywood. The main elements of its plot revolve around a recently divorced salesman (played by John Hawkes) and a struggling performance artist, played by Miranda July, who also wrote and directed the movie and is herself a performance artist. Because this movie involves some very uncommon plot elements, including adolescent sexuality, it is evident that July was trying to portray some of the stuff which we do not normally never see in movies, but is nevertheless a very important part of the human experience. This movie deserves credit for being so light-hearted, romantic and satirical that one is easily transferred into the world of the movie and feels to experience what the characters experienced. The portrayal by the young child actors was also very good. Overall, an easy 10 out of 10.
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1/10
Erin go braaah
12 February 2011
This movie sucked. Fake Irish accents, vigilantism, glamorization of violence and crime. Add horrible directing, acting and music. Easily makes my list of top ten worst movies I have seen.

The fake Irish accents were very jarring to the ear of anyone who has heard the genuine Irish accents in movies like "The Wind That Shakes the Barley". For some weird reason, the director apparently decided to showcase Boston's "Irish heritage" in this kludgy fashion, resulting in a an entirely futile attempt.

The promotion of random vigilantism is also another deeply disturbing factor. Hollywood and mainstream American culture itself have an insane fetish of vigilantes, starting from such superheroes as Batman and Superman. What these bizarre vigilantes promote is the message that the problems of society are caused by certain "evil "individuals and if such and such are eliminated, society will return to normal, which misses the deep systemic issues which actually lie behind the problems facing all individuals in society.

When the characters say "fuck the hippie generation", let us drink, make merry etc, they basically repeat exactly what the "hippie generation" advocated. This dialogue, along with the rest of unintelligible gibberish that passed for dialogue, really deserves to be eliminated from movies with extreme prejudice.

As with many other movies of the post-Tarantino Hollywood era, this movie makes a fetish of crime and violence. Such mindless marauding messages only serve to shock audiences, leaving them in disbelief at the kind of barbarism being played out on the screen.

Of course, the cherry on top of this pile of refuse were the third class acting, directing and music. Most of the actors were exaggerated stereotypes coming from the idiotic mind of the story-writer/director. Such stereotypical "stock" characters are a sure indication that whoever wrote the story did not know the last thing about what they were doing, thus pulling in the lamest stereotypical characters (the Mexican, the Southern lady, the Irish "lads", Italian mafiosos, blah blah, give me a break already!) as a last ditch attempt to put together some semblance of a "story". The choice of music too was equally weird, what with all kinds of Celtic music being mixed with, bizarrely, Indian and Eastern music.

All in all, this movie looked like something a bunch of drunken clowns came up at the bar one night. This kind of movie unfortunately forms part of the standard oeuvre of mainstream commercial Hollywood, which calls of some reflection and introspection on the part of the moguls of the film industry who promote it.
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127 Hours (2010)
8/10
A meritable performance of a real life lonely experience
30 January 2011
Danny Boyle's cinematization of Aron Ralston's book about his real life experience of being stuck inside a canyon for five days was a laudable attempt. Overall, the movie was quite good with its pace, given that it has really one character for most of the movie.

The opening and credits are not very clear on their meaning. Though it is not clear how participating in large crowds is related to the matter of the film, apparently, Boyle is attempting to show the "human" experience within large crowds.

At any rate, James Franco's portrayal of the mountain climber being stuck in a lonely canyon with a boulder wedged across his arm and being unable to get out is very commendable indeed. He displays all the emotions that one would expect to experience when in such a situation. The way he remembers his past experiences with his friends and family is certainly something that many of us have felt to be the only thing that keeps us going when we are faced with loneliness. His performance deserved the Oscar nomination that it got. Whether he will go on to win the coveted award is anybody's guess.

In many ways, this movie portrays things that most of us have experienced: the feeling of loneliness that never seems to go away , the feeling of being cramped inside a small space and the feeling that there is a big boulder on top of us that holds us back. When he says "this boulder has been waiting for me all this time", it is certainly something that many of us can identify with when we face big obstacles in the course of our daily lives. Under the present social conditions, due to long work hours and lack of free time, not all of us have the opportunity of actually socializing and forming social relations with people outside of work. Hence, this movie can be taken as an allegory to real life conditions that many of us have to go through: we do sometimes have to give an arm or leg to escape from loneliness and form lasting social relations.
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Europa (1991)
6/10
Commendable, but ultimately futile, attempt to treat the sensitive subject of post-war Germany
22 January 2011
Europa is an attempt to treat the subject of Nazism and World War II in a post-war setting by Lars Von Trier, some of whose later movies, including Dogville (2003) and Anti-Christ (2009) stood out for their brilliant originality. However, Europa, being one of his earlier movies (from 1991), fails – apart from some original moments – to come up with any kind of fresh or new perspective. Maybe in its time, the movie's presentation, where most of the movie is in black and white except for certain important objects which are shown in color, could have been appreciated more. However after having been subjected may times to another, more well-known, Nazism-World War II movie that came later (Schindler's List, 1997) makes one feel that the color alternation does not give any respite to its generally dull and tedious method of presentation of its subject.

We start off by hearing a narrator who goes on for the entire movie, instructing the viewer to go through the exact things experienced by the protagonist, Leonard Kessler (Jean Marc-Barr). In the beginning scene, the narrator asks the viewer to "go deeper" and we are given a count to "go deeper and deeper". This seems like some form of mystical ritual or "meditational" thing, something that seems somewhat inappropriate for such a somber subject as Nazism-World World War II. Later however, the narrator tells the viewer the exact things the protagonist is experiencing. This seems to be a somewhat original perspective in a movie and can be appreciated.

The femme fatale anti-heroine, Katharina Hartmann, is portrayed excellently by Barbara Sukowa, who puts in an excellent performance, being the saving grace as far as individual performances of actors go. The protagonist, Kessler, seems to be too idealistic in his beliefs and actions for most members of any audience to identify with. He basically fumbles through the entire movie and his character is one who seems to be completely spineless. Maybe the intended character was not meant to be this bad, but the actor who portrays this character certainly does not lend any special or personal touch to make this character stand out.

Overall, this movie tries to present the scenario in Germany after the end of World War II and the harsh realities of the Allied occupation and the remnants of Nazism, but fails to go beyond an excessively dull and drab mode of presentation of the subject. One certainly has to commend Von Trier for even attempting to treat such a subject as post-war Germany, but his effort could have been a little better for someone of his caliber for, certainly, such a sensitive subject would have been botched by many lesser directors, including the copycat director of Schindler's List, but perhaps the reality of the situation continues to be too tragic to be soberly portrayed on screen.
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True Grit (2010)
6/10
Shallow, business-like roles and unimpressive storytelling
16 January 2011
True Grit was an attempt by the Coen Brothers, who are known for their postmodern takes in their movies, to make a postmodern Western. They partially succeed in bringing in some postmodern elements, but ultimately, as with many of the recent Coen Brothers movies, the movie fails to deliver.

The first thing that stood out to me in the course of this movie was the unemotional and shallow characters. Who, in real life, can be so unemotional and even if we accept that this is "just a movie", why would anyone think that such unemotional and shallow characters would hold any appeal to any audience? In any case, the Coen brothers thought so and in doing so, make a muck out of what could have been a potentially interesting social drama set in a Western setting.

Now, we come to know by the first few minutes of his screen time that the main character, the anti-hero, Rooster Cogburn (Jeff Bridges) is a very nasty sort of bloke who routinely makes his unpleasantness known. In my opinion, Jeff Bridges does his best to make good out of an exceptionally shallow role. In one of the scenes, Cogburn kicks two Native American children who are sitting outside a cottage, thereby showing that he is a racist in addition to being a generally nasty person.

The other main character was Mattie Ross (Hailee Steinfeld), who fills the role of a very business-like and again, unemotional, child protagonist. We rarely come across children who behave in such a manner as Mattie does in this role and even if we did, we can be sure that such a child is suffering from some kind of a social disorder. So much for my pop philosophy. At any rate, Steinfeld again tries to make the best out of a bad situation, but thanks to the nature of the role, ends up again being too artificial to be even fictionally appealing (for an element of realism is always an important element of fiction).

After mostly boring and shallow performances however, the scenic settings and the action in some of the scenes form a sort of saving grace. In the end, the movie ends pretty abruptly and we never see any conclusive end to the story as such. Who knows? Maybe in trying to be as shallow as possible, the story unconsciously finds itself reflecting an aspect of reality where many of real human relationships remain unfulfilled and inconclusive at the end.
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The Fighter (I) (2010)
6/10
Real life story of "Irish" Micky Ward fails to deliver the knockout punch
15 January 2011
Warning: Spoilers
Considering that most Hollywood movies mainly involve characters and story lines in idealistic settings where everyone is rich, wealthy, well to do, this movie was interesting insofar as it formed the real life story of the boxer "Irish" Micky Ward and showed the conditions of a lower middle class Irish household in New England and a boxer who comes from such a setting. There was another movie similar to this, released a couple of years ago, The Wrestler (2008), that showed the real conditions that are faced by some wrestlers in spite of the glamorous setting in which they are portrayed on television. It appears that some directors are beginning to see that showing the everyday conditions faced by ordinary people can be appealing to audiences. Overall, this movie had some positive points with good performances, especially by Christian Bale and its characters were well-formed, but the storyline and presentation lacked depth and one came away feeling half-disappointed with a movie that showed a lot of potential, but failed to deliver the knockout punch.

After reaching a low point in his career where he gets knocked out by a bigger boxer, Micky Ward (Mark Walhberg) receives encouragement from girlfriend, Charlene (Amy Adams) to get back on his feet and train with a new trainer since his previous trainer, Dicky (Christian Bale), is in jail. After this, the movie starts on the standard feel good, "rags-to-riches" storyline.

The movie also has one of the two main characters, Dicky, being videographed for a documentary about which he does not know what it is about. Being a crack addict, he is not even aware of being involved in such a documentary. His character is an interesting one insofar as it is a morality story about crack addiction, a rags to riches tale and an anti-hero, all mixed in one. Of course, talking about crack addiction cannot be considered simply as a morality tale as it is a major issue faced by millions of people in the United States and other countries. When Dicky gets caught by the cops and is about to be dragged away, the reaction shown by his half-brother, Micky, was a spontaneous one and this scene was a reminder of the situation faced by many ordinary people who have to deal with cops in one way or the other.

An important disappointing point about the movie were the characters of Micky's sisters, about all of whom we see nothing other than they just seem to "hang around" the house without doing anything. This seems strange as it is shown that their mother, who forms the character of the failing businesswoman, seems to be the only earning member of the household and that she earns around $20,000 for each fight that Micky takes part in. With such an income, we can conclude that it is not possible to support the seven sisters and they must be working too. We normally do not see such characters as the sisters shown in this movie in Hollywood movies. However in the movies of such directors as Ken Loach, we do find characters of real working women and the conditions faced by them. Though it is not mainly about them, this movie does not attempt to portray them in a good light at all, but instead they are shown mainly to be bellicose, lazy "hangers on".

After much training and encouragement from his new trainer and girlfriend, Micky goes on to win his fight with a Mexican boxer. Micky then is given an opportunity for a title fight, which he accepts. In the title fight, which takes place in London, we see that his opponent is a British boxer. In many Hollywood movies, the character of the villain is played by someone with a (many a time, faux-) British accent and we knew from the start of the fight that his opponent had to lose the fight since he had a British accent. Thus, the movie forms a standard rags to riches tale which forms one of the staple types of movies that roll out of Hollywood ever so often.
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