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Posted on 18:43
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WOW.
This project sounded good, but who could've anticipated it'd look THIS GOOD? Love how they're leaning hard on "No. This is Michael B. Jordan's movie first and foremost," holding back on the idea that this isn't an entirely new franchise until the perfect moment to reveal you-know-who.
And then... Holy hell. You had to know he'd end up wearing... yeah. But still...
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Posted on 00:49
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Rating : 7/10 Release Date : 26th June, 2015 Time : 94 minutes Directors, Writers : Pete Docter, Ronaldo Del Carmen; Music : Michael Giacchino Starring : (voices of) : Amy Poehler, Phyllis Smith, Bill Hader, Lewis Black, Mindy Kaling, Richard Kind, Kaitlyn Dias, Diane Lane, Kyle MacLachlan
Which are the different emotions that guide us, interplay inside our head ? What really does happen in there ? Wouldn’t we just want to be happy all the time ? Could we ? It’s always fun when an animated movie raises such fundamental questions…and answers them in its own simplistic style…
Inside little Riley’s head run five emotions – Joy, Fear, Anger, Disgust and Sadness – and they’ve been with her since she was born. She’s an only child, happy, bouncy, loved by her parents, enjoying a normal existence in Minnesota, when suddenly, at the tender age of eleven, her first major crisis arrives. They have to move to San Francisco, due to her father’s work. Now she, and her five emotions, have to navigate through a new city, new home, new school, new friends…the works…
There is an extended sequence, which takes us out of Riley’s mental control room, and shows us other portions of the mind – a quite fascinating take on how our mind is organized, it’s different components, memories, islands etc. This part does go on for a little bit too long, drags a bit but is also when some fundamental realizations are made…
This isn’t one of those laugh out loud movies. There are a few moments of slapstick humour but most of the movie is funny in a more subtle way. Though a brief look at Riley’s parents inner minds is assured to bring on more than just a smile. Do stay for the end-credits, where they do a swift tour of some of the movie’s supporting cast. Events wise, there is nothing dramatic that really occurs, it’s all quite normal day-to-day stuff in our lives, - but then isn’t there a lot of depth to be found even in the most mundane of activities ?
PS : Whatever you do, do not arrive late for the film, as it’s preceded by a most beautiful, touching short (also by Pixar) called Lava…
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Posted on 00:34
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Rating : 5/10 Release Date : 26th June, 2015 Time : 137 minutes Director : Daniel Espinosa; Writer : Richard Price, based on the novel by Tom Rob Smith; Music : Jon Ekstrand Starring : Tom Hardy, Noomi Rapace, Joel Kinnaman, Gary Oldman, Vincent Cassel, Fares Fares, Jason Clarke
This is like one of those brooding, heavy Russian novels – where an oppressive, weighty air of depression hangs over everybody and everything (most of the movie is set in the just-rid-of Stalin 1953). I think there is actually just one scene where someone smiled. And in the midst of it all, Tom Hardy, a rising star of the secret service, has to cope with the intrigues of office politics, the indifference of his beloved wife (Noomi Rapace), and the ‘minor’ challenge of finding a serial child killer in a country where murder doesn’t officially exist. Murder, after all, is a capitalist disease, borne of greed and cannot exist in Paradise.
There is a touch of much ado about nothing. Something cinematically is not handled the right way as the emotion, the shock, the revelations don’t come through with the requisite impact. There is a lot happening – the jealousy of a fellow officer, Joel Kinnaman, who’s a little too quick to pull the trigger. The travel internally, the glimpses of industrial Russia, the chasing down of a traitor (Jason Clarke), the change in fortunes, the horrible death of the child of a close friend and colleague (Fares Fares) and the meeting with a General, Gary Oldman, who reluctantly helps with the investigations. It was also disappointing to see Noomi, so feisty in Sherlock Holmes : Game of Shadows, reduced to a rather passive role.
But through it all, it doesn’t manage to inveigle us emotionally – apart from some feelings towards our hero – waging a lone, heroic battle against the rest of the world – you don’t truly feel the shock, horror, anger that you should as the tragic, horrible events occur. Just an overall sense of apathy, which isn’t good for a film which seems to last longer than it actually is…
PS : Rant Begins : Why do westerners take so much delight in only showing, portraying the negative sides of the non-western bloc countries ? Has there ever been a Hollywood film, set in Russia, which shows its positive aspects, happy people ? Isn't this a most dangerous, insidious form of propaganda ? : End of Rant
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Posted on 05:43
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I bet Seth MacFarlane is one of those guys who has multiple groups of friends who don't know eachother, i.e. "the movie friends," "the neighborhood friends," "my smart friends," "my slob friends," etc. It's somewhat common among "self-made" creatives to begin with, and it'd make sense given the way his TV shows, cartoons and films all feel pulled between competing instincts - all of them sincere, but none of them really compatible. By all indications, he appears enormously self-satisfied with his ability to geek-out about Boston sports teams, STAR WARS minutiae, the Golden Age of dance-musicals and Rat Pack ephemera; but creatively the influences have yet to fully coalesce.
TED 2, like TED and FAMILY GUY before it, careens back and forth between gooey sentiment, bro-comedy raunch, "edgy" black-humor, geek-culture reference-drops, Boston neighborhood-scene deep cuts and "ironic" racism, sexism, homophobia, etc. Taken as a set of sketches all framed around the same set of characters, it mostly worked the first time out - but TED 2 makes the Comedy Sequel mistake of assuming that an emphasis on plot and the mechanics of the central joke (re: "How does Ted work, anyway?") will make a satisfactory replacement for jokes that got used-up in Part I. There are some genuine howlers, and the main back-and-forth between John (Mark Wahlberg) and Ted (MacFarlane) still works, but the law of diminishing returns is firmly in place.
In case you missed it, the original TED had a killer comedy premise: Fashioned as a sequel to a non-existant Disney/Amblin-style "my magical buddy" movie, it took the "Help! My slovenly/immature best pal from my youth is holding back my personal adult development!" buddy-comedy subgenre to its logical extreme: As a child, John wished upon a star and brought his Christmas teddy bear to life... and now both boy and bear are 30-something Bostonian layabouts obsessed with weed, beer, bad movies/TV and avoiding adulthood at all costs.
As TED 2 opens, Ted has married his girlfriend Tami-Lynn not long after a down-in-the-dumps John has permanently split with his love-interest (Mila Kunis) from the original... which basically makes most of the plot of Part I meaningless, but it's a comedy sequel so that comes with the territory. The plot-proper gets going when Ted and Tami-Lynn's unsuccessful attempt(s) to have a baby inadvertently trigger various engines of government to realize that, though it has been treating the living stuffed-animal like a person all this time (John revealed Ted to the world back in the day, and by now the world is no longer impressed by his existance)... legally, he isn't. This leads to everything from Ted's job to his credit to his marriage to be nullified, and sets the duo on a quest to challenge the law with the aid of a neophyte Civil Rights attorney (Amanda Seyfried.) "Where do you even get a lawyer? Everyone we know makes sandwiches," observes Ted in one of the more winning lines.
There's not much structure to be had here, since everything is in service of setting up "bits." The baby-making misadventures, which find Ted and John re-enacting an ancient FAMILY GUY routine and attempting to manually steal sperm from Tom Brady, goes on too long while the court case (which you'd think would be the focus) breezes by en-route to a road-trip sequence so Ted can do jokes outside of the Boston milieu. Act 3, just like last time, droops for an obligatory villain scheme (now that Ted is legally "property" again, Hasbro wants to abduct him for an experiment in mass-marketing) and maudlin sentiment.
That last part, the sentiment, is what's more weirdly prominent this time: as Ted and others namecheck Dred Scott, Slavery, gay-marriage and so forth as precedent/parallel for his personhood quest; it at first seems like MacFarlane is aiming high for a send-up of the "fantastical metaphor" message-movie genre, but nope - it becomes clear that we're supposed to take it as straight (righteous, even) when Ted angrily stands up in court and protests: "Ah, dammit! Y'see? This exactly what you're doin' to the f*gs!!!" It's a bizarre miscalculation, to say the least.
Still, it at least has a higher laff-to-dud ratio than McaFarlane's previous project, A MILLION WAYS TO DIE IN THE WEST, but it also suffers from the same set of issues: The pattern beginning to emerge with MacFarlane's live-action work is that the elaborate" setpiece" gags (with the exceptional of the exceptional "Flash Gordon Scene" from the firs TED) either land soft or not at all, while the small observational material stands up a lot better. A gonzo exchange between Ted and a certain celebrity guest about Trix is a riot, there's a repeat-gag about office candy-dishes that feels swiped from peak-period Woody Allen and a pitch-dark bit about heckling an improv comedy troupe with sad suggestions has no right being as funny as it is. But meanwhile, a massive slapstick sequence involving a brawl in a comic-book covention ("Ha ha! Character X is beating up Character Y! Get it!!??")sounds like a terrible Kevin Smith joke from the 90s and plays like an even worse Kevin Smith joke from now. On the other hand, I did laugh when a pair of cult-TV luminaries from the supporting cast showed up cosplaying their "actual" famous characters.
Problematic or not, MacFarlane is a substantial talent (how he's resisted just making a full-on musical yet I have no idea) and I do think he's got a classic comedy in him yet - but TED 2 isn't it.
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Posted on 12:34
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Dwayne "The Rock" Johnson is an actor the film press loves to cover, but not only because he generates clicks and is a good interview: He's also one of the savviest businessmen in terms of managing a personal brand in the business right now, so watching his moves is a great way to read the tea leaves of the film industry.
Case in point: In case you were wondering - for some reason - whether The Rock (or "his people") had seen and/or had any opinion on PIXELS (the Adam Sandler oldschool-video-game-invasion action/comedy)? The answer(s) would appear to be "Yes" and "They think it's going to be a huge hit" - Johnson has signed on for an adaptation of the arcade classic RAMPAGE. I'd like to get excited about this. If we're to have video-game movies, I'd much rather see conceptually-interesting material like this (RAMPAGE was "about" a trio of people who mutate into Kaiju-scale gorilla, dinosaur and wolfman monsters and destroy cities) than, say, ASSASSIN'S CREED which - spoiler! - is probably just going to look/feel like a pretty okay (if we're lucky) action movie once you take the interactivity away. But the problem with The Rock as a driving force behind any project is that he's looking for big hits - period; which means you're usually going to get the safest, most test-market-approved version of the premise possible as opposed to the kind of mischievous weirdness that permeated the original game.
Project already has a screenplay, the plot of which is being kept secret for some reason. The game "starred" humans who turned into the monsters, but given that Johnson (and the studio) probably don't want to hide the marketable big-star under makeup or CGI you can almost-certainly bet that won't be The Rock's part. More likely, George, Lizzie and Ralph will be downgraded to villains/co-stars in their own movie, with Johnson as the guy trying to stop/manage the titular rampage. Or not, who can really say?
Not that anyone cares, but if I was pitching a RAMPAGE movie? Broad, bad-taste genre-comedy (think TED but scaled down to a REN & STIMPY-ish PG-13). Cast a "name" male/female comic pairing (think maybe Seth Rogan/Sarah-Silverman) as George and Lizzie, unwittingly turned into giant monsters who then go on the run. They bicker, they get over it, they work together, ultimately they have to fight bad-monster Ralph (the giant wolfman) and maybe somehow turn back (or not.) Save money by leaning on the obvious Godzilla parallels re: pop-culture's collective knowledge that Godzilla = guys fighting in monster costumes and using just-cheezy-enough kaiju suits and miniatures (or maybe the suits are suit-looking but the backgrounds are real/realistic would be a more interesting look?) instead of blowing the FX budget. Mandatory: Keep the naughty/scatalogical sense of humor from the games, including a "money shot" of a skyscraper being "taken out" by asteroid-sized flung gorilla poop.
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Posted on 11:53
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Marvel's official blog has announced that Tom Holland is the new, Marvel Cinematic Universe official SPIDER-MAN. The young British actor (he's 19 but looks like he's barely out of grade school) will likely (read: definately, but we're supposed to pretend everyone doesn't already know this) be hitting the Atlanta, Georgia set of CAPTAIN AMERICA: CIVIL WAR in the near future before embarking on his own franchise-starter solo feature; which the same blog post also reveals will be directed by Jon Watts, who helmed CLOWN for Eli Roth and whose COP CAR (the producers of which are popping champagne right now) turned heads at Sundance.
Holland previously appeared in THE IMPOSSIBLE, a terrible movie you don't need to pretend you saw, remember or have even heard of. Already onboard the project is co-producer Amy Pascal, who'll be in charge of pretending that Sony has any actual creative function on the film apart from following dictates from Marvel boss Kevin Feige. All of this lines up pretty well with the buzz surrounding the project for a long time now, in terms of the solo feature looking for a new director with action chops and that Marvel very much wanted a child (or child-looking) actor for the part - both to set Spider-Man apart from the predominantly middle-aged AVENGERS stars and also to let them/Sony ground the initial wave of solo features firmly in Peter Parker's High School (maybe also College) years, which also happen to encompass the Stan Lee/Steve Ditko/Jon Romita eras generally seen as the character's Golden Age in the comics.
It's easy to be cynical about this, since so much of it is being dictated by business needs and (previously) mine-is-bigger-than-yours jockeying by Marvel and Sony: Another reboot (though not, apparently, another full-length origin story) coming right on the heels of the AMAZING SPIDER-MAN disaster(s) and the built-in promise of a lot of "Oh, hey! It's Spider-Man!" stuff popping up in the other Marvel movies (it's assumed that he'll appear in CIVIL WAR and at least one of the INFINITY WAR movies) for however long it takes Marvel to re-assimilate ownership fully - or to just acquire the whole of Sony's struggling film division, which I'm hearing is among Marvel/Disney's ultimate goals down the line.
But I like the casting. Anyone would've been an improvement over Andrew Garfield's mush-mouthed mugging, but the idea of re-framing Spidey as the Marvel hero where the "man" part is a put-on (the best Spider-Man moment ever filmed to date involved the line "He's just a kid...") is getting back to the core original appeal of the character in a way even the Sam Raimi movies didn't: This is the hero who lives in the same world, age and experience-wise, as the target-audience of the Marvel movies. That's an interesting idea on its face.
No one really knows (or is saying) what the setup of the solo movie is, though early rumors included a supporting role for Robert Downey Jr's Iron Man and "SPIDER-MAN: THE NEW AVENGER" as a possible title, with the premise concerning an already-established Spider-Man bugging Tony Stark about joining the team - which, if true, means we already know who wins the CIVIL WAR.
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Posted on 22:11
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James Horner, probably the most well-known (by cumulative work and by reputation) Hollywood music composer of the last several decades not named John Williams, is reported dead in a plane crash earlier tonight.
He leaves behind a legacy of work that includes such iconic film scores as STAR TREK II: THE WRATH OF KHAN, ALIENS, FIELD OF DREAMS, TITANIC, BRAVEHEART, APOLLO 13, GLORY and AVATAR; along with less well-known but highly-regarded scores for KRULL, THE ROCKETEER, WILLOW and dozens of others.
Horner was also credited as co-songwriter of several massively-popular songs tied to feature-scores, including "Somewhere Out There" from AN AN AMERICAN TAIL and the Celine Dion megahit "My Heart Will Go On" from TITANIC. Horner was 62.
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Posted on 14:13
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Followers of my Twitter are no doubt aware that I've begun a little side-project/hobby in collection every issue of NINTENDO POWER Magazine. It's more of a "spiritual fulfillment" thing than anything, I guess - begun while cleaning old stuff out of my parents' house and realizing that more of my original collection had survived than I'd thought. At this point I've done pretty well, nudging myself just over the halfway mark. Helpfully, I decided early on that I'm not interested in grabbing up "mint" copies of anything - like I said, quasi-spiritual thing, not an "investment." I see it more or less as "re-homing" copies that fans loved like I loved mine and aren't comfortable throwing out.
Thus far, collector shops and eBay have been doing the job well enough. But now that I'm at the point where bulk-buying big collections of random issues will almost-certainly land me more duplicates than "needs," I figured it can't hurt to also reach out to see if there are any fellow fans/collectors among my friends and readership who are looking to unload such items.
To be clear: I am NOT scrounging about for "donations" here - just to buy/sell/trade in a slightly more flexible/personal/"piecemeal" (if necessary) fashion than eBay is. Basically, if anyone out there reading this has any they'd like to unload, I'm interested in seeing what might be workable cash/tradewise. Of course, if anyone IS just looking to make space and doesn't think what they've got has a lot of collector value, I'll happily take (some) of it off your hands - though I really would prefer to give/exchange something for them. Let's talk, in any case :)
To give you an idea what I'm working with, the "need" list currently includes Volumes 1 & 2, 4-7, 9-11, 13, 15, 17, 19, 25, 30, 38, 39, 45, 48, 50, 55, 56, 58, 64, 67-69, 76, 86, 87, 96, 98, 101-112, 114, 116, 123, 124, 133, 176, 180, 194-201, 204-207, 210-2113, 215-228, 231, 234-237, 240, 243, 246, 248, 251, 253-256, 258-262, 265-274, 277, 280, 282, 283 and 284; plus any/all NP-branded Strategy Guides excluding Pokemon (there's just too many.) Folks looking to talk turkey are invited to use comment section here OR my work email at bob.chipman82@gmail.com
Some great dance sequences. Some ordinary ones. An over-stretched movie and plot, replete with storm-in-the-teacup kinda conflicts and emotional, melodramatic moments that fail to move you at all
Our heroes from the first one are caught up in a scandal as they copy an international act, move for move, in a local competition. Rapidly becoming the nations biggest punching bag, they seek redemption by going for an international hip-hop dance competition, with the auditions in Bangalore and the finale in Vegas… Along the way, merely after watching him dance once, they decide they must have Prabhu Deva as their choreographer
Varun and Lauren, among the main leads, are excellent on the dance floor. Shraddha is good but not in the same league. Dharmesh Yelande is good too but the one who really catches the eye through his dance moves is a deaf-mute character (though not during a forgettable emotional side-track he is burdened with).
Dance films – Indian or international – suffer from being predictable. This one is no different. The story tries to add a layer of redemption, of national pride (ho-hum, what’s new?) but pays only lip service to either storyline. The whole drama around Prabhu Deva’s back story turns out to be quite laughable. The songs are quite ordinary – nothing to really stick. The choreography, sets are super, though, as are some of the touches of humour. They could’ve dialed down on the melodrama and probably could’ve wrapped up the movie in half hour less, and done away with one or two ‘twists’ of the literal and non-literal kind…
Posted by Unknown
Posted on 18:56
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Rating : 4/10 Release Date : 19th June, 2015 Time : 120 minutes Director, Writer : Paul Feig; Music : Theodore Shapiro Starring : Melissa McCarthy, Jude Law, Rose Byrne, Bobby Cannavale, Jason Statham, Miranda Hart, Peter Serafinowicz, Richard Brake, Nargis Fakhri, 50 Cent, Allison Janney
Lots of crude and crass humour, about a fifth of which is bleeped out and only a tenth makes you smile. Ludicrous situations. And the older-Bond-style villains, the type who’re happier to chit-chat than actually kill.
Melissa moves from being CIA agent Jude Law’s voice, eyes and ears – basically his assistant and researcher – to being an agent on her own, thanks to a certain set of circumstances. Her brief is to track and report Bobby Cannavale, in the hope he will lead them to Rose Byrne, who in turn would lead them to a missing, hot, portable nuke which is in the process of being auctioned to the highest bidder, and likely to enter USA.
Of course, Melissa is not going to be content just reporting – but will get into the thick of action, aided by her assistant, the bumbling, lanky Miranda…
The million dollar question is why did Jason Statham take up a terrible role as a highly strung out, competitive CIA agent ? Nargis Fakhri has a minute part in the film – a comical action sequence she gets to join but not much else (doesn’t even make the opening credits). The worst was reserved for Peter Serafinowicz, who got the part of a sex-crazed Italian agency resource, who uses every opportunity to grope Melissa…
The makers here seemed to be struggling with the question of whether to make this a spoof (along the lines of Johnny English, Spy Hard) or to try to keep it real. Currently, it just kind of fell through the cracks
If you look close enough, you start to see that for all the talk of Pixar's vaunted originality, they've been (with rare exception) telling a variation on the same basic story since TOY STORY: A world within a bigger world (Andy's Room, Nemo's ocean, Monstropolis, Remy's sewers, Wall-E's Earth, Carl's widower solitude, etc) that seems to be running fine but is in fact quietly-dysfunctional has said dysfunction exposed/further-disrupted by the arrival of a new personality and/or idea (Buzz, Nemo's growing independence, Boo, Remy's sense of taste, EVE, Russell, etc). Attempts by a well-intentioned maintainer of the status quo (Woody, Marlin, Mike, Remy's dad, Otto, Carl, etc) lead to one or more protagonists (usually representing polarized opinions about The Change) being exiled in some way into the bigger world, wherein they quest (usually but not always to return home) and in doing so undergo a mutual shift in perspective that ultimately improves but does not necessarily "upend" the original status quo.
This isn't to say that Pixar isn't original, just that it's all the more remarkable that they've been able to be so original while so frequently working from the same basic structure - an indictment of the idea that polish and refinement can't be as valid, creatively, as re-inventing the narrative wheel all the time. Case in point: INSIDE OUT is probably as close as they've come to outright making "TOY STORY but with _____" ...and it still manages to land as a new member of the studio's legendary Top Tier productions - this is a masterpiece.
MILD SPOILERS FOLLOW:
But yes, what we have on our hands here really does feel (if you'll pardon an initial over-simplification) very much like a gender-reversed TOY STORY, in as much as it involves two (superficially, at least) female characters fighting over influence in the life-direction of a young girl; with the conceit this time being that the Woody/Buzz rivals are personifications of her emotions (Joy and Sadness) rather than avatars of classical masculinity (The Cowboy and The Astronaut) and they're feuding over inner-development and emotional well-being as opposed to whose merchandise most-primarily covers the bedroom.
The Big Idea: These emotional-beings (Joy, Sadness, Disgust, Fear and Anger) are our main characters, a combination tech-crew/board-of-directors guiding the day-to-day responses of young Riley in a manner that literalizes and mechanizes the concept of emotional development: The crew takes turns dealing out reactions, which create color-coordinated Memories (in the form of crystal balls) which they dispatch down into her broader consciousness for filing - except for a select few Core Memories so important that they serve as the life/energy-source for Islands of Personality that make up Riley's fundamental "self."
Thus far, Joy (Amy Poehler) has always been the defacto leader - after all, Riley is still young and who else would've been a baby's primary original emotion - taking it as her mission to make sure that Riley is happy as much as possible; taking personal pride in having created all of the Core Memories herself and relegating the other four Emotions to secondary situational duties: Anger (Lewis Black) is useful in a "fight," Fear (Bill Hader) keeps her out of danger, Disgust (Mindy Kaling) is in charge of taste (literally and figuratively) and Sadness... well, she can't figure out what to do with Sadness (Phyllis Smith), whose very existence Joy sees as an entirely negative influence to be as well-suppressed as possible. Gee, I wonder where this is going?
Unfortunately for Joy, she finds her ability to control the situation flying rapidly out of control when Riley turns 11 and her parents unexpectedly relocate the family from an idyllic Minnesotan suburb to urban San Fransisco; where there's only so much she can do to find the positives where Riley hates her cramped new home, unfamiliar new school, gross local food and suffers general change-anxiety. Soon enough, overly-curious Sadness has inadvertently(?) created her first Core Memory, and Joy's frantic attempts to prevent it's installation backfire spectacularly enough to get her and Sadness blasted out of Headquarters into the maze-like realm of Long Term Memory - leaving Riley's judgement (and eventually safety) imperiled by having only Fear, Anger and Disgust at the controls
This is a pretty heavy metaphor to be working with in a family movie: What we're watching is a child going into a defensive-posture (Fear, Anger and Disgust are wholly reactive as Emotions at this point in her life) in response to adversity, and the ticking-clock for Joy and Sadness to get home is the rapid degradation and crumbling of the Islands of Personality - Riley is having a breakdown, and she's literally losing herself in the process. The visualization of this is as devastating as it sounds - you were expecting something else from Pixar? - but it's quickly apparent that that's the whole point: The self-realization journey here is Joy's, and the realization is that she's been wrong this whole time - that it's not healthy or safe to only ever be happy - or, more directly, to deny that Sadness has an important place in the psyche, too.
Poehler is really excellent here, investing Joy with exactly the right level of upbeat perkiness that feels endearing at first but also makes sense as we come to understand that Joy is... well, kind of the villain here in terms of the whole plot turning on how wrongheaded her leadership has been and how much of a jerk she's been to Sadness. By the same token, Smith brings a stunning level of depth and nuance to Sadness, who seems like an impossible character to realize (by her nature, she has to be a buzzkill and a complainer who we none the less have to like and root for) but somehow works from design to execution. Smith probably isn't well known to most audiences (she's possibly best known as Phyllis Lapin-Vance in THE OFFICE) but she turns Sadness into something intriguingly hard to categorize.
I actually feel like there's an even deeper, more important subtext to this relationship (Joy and Sadness) regarding how to properly relate to someone living with depression (mostly in terms of how deeply unkind Joy's insistence that Sadness hide herself and tamp-down her "unwanted" expression; but I'm almost certainly unqualified to explore that (looking forward to hearing from those who do, though. There's a perfect (if wrenching) segment where the questing Emotions encounter Riley's despondent, mostly-forgotten imaginary friend (a perfectly-cast Richard Kind) that packs the entirety of INSIDE OUT's philosophy into a single exchange: Joy's relentless-optimism offers him no solace, but he's able to soldier on once Sadness talks things out with him, agrees that his situation is sad and empathizes. THE CARE BEARS, this is not - and it's happening amid a stretch of the film that was already jumping from one metaphoric gut-punch (a "younger" section of Riley's Imagination is being bulldozed) to another amid the infrequent psychology-pun (a literal "Train of Thought," the heroes find themselves losing dimensionality as Riley's mind attempts to deconstruct abstractions.)
The other Emotions aren't afforded quite as much depth, though that feels like both the point and a necessary function: When you're building an entire movie around a "payoff" that involves characters coming to terms with being sad, some broadly-realized comic relief is nice to have onhand (plus, can an 11 year-old suburbanite's concepts of Fear and Anger be deep enough to be especially dark?) to brighten up what could be the most relentlessly-downbeat (Western) kid's movie since THE LAND BEFORE TIME. They also have the effect of reminding us of how Headquarters functions, which is both vital for an extended credits gag imagining what the HQ's of other secondary characters look like and for a pair of telling glimpses into the HQ's of Riley's parents - pay close attention to which (non-Joy) Emotion is sitting in the Captain's Chair in each instance.
Meanwhile, I was surprised at how realistic and, well, ordinary Riley, her parents and the human world in general are allowed to be. It's the correct stylistic and narrative choice (the mind-world has to remain consistently more interesting so that we'll stay invested in the otherwise nebulously-defined "survival" of the Emotions), but one could easily imagine a lesser studio sending back pages of notes asking "Aren't these people a little boring?" or "Can we add some kind of external crisis other than basic universal growing-pains?" But the bold decision works - at one point, an otherwise humdrum conversation between Riley and a back-home friend takes a turn for "devastating to an 11 year-old" land, and the juxtaposition with the panicking Emotions sells the hell out of it.
I won't lie: INSIDE OUT destroyed me, even as it ultimately built me back up, and I'm given to wonder if it's brave commitment to "Sometimes you just NEED to feel bad" as a moral is going to lead to some decidedly unhappy parents come the weekend: There's a Bambi's Mom-level character-exit in Act 3 that's going to annihilate kids of a certain disposition, however poignant and meaningful its presence in the narrative is (it would've sent Disney-age me scrambling to escape the theater, no two ways about it) and while there are comedic/action-oriented diversions to scenarios like a "Dream Production" studio layed-out like a Hollywood backlot or a prison for nightmares, there's a surprising lack of songs or extended gag-sequences to break up the recurring "loss of memories" sequences that get every bit as emotionally-harrowing as the similar scenes in ETERNAL SUNSHINE OF THE SPOTLESS MIND.
Still, I can't fault a movie for doing what it sets out to do, and in terms of being an existentially-uplifting movie about the need to be sad, INSIDE OUT is as close to a masterpiece as Pixar has produced since WALL-E. Yes, it's probably going to reduce kids and parents alike into exhausted, sobbing puddles; but it also wants to send you home feeling okay about that. It's a movie that wants to prove that a good cry can be exilihrating and ultimately therapeutic, and spends it's runtime doing exactly that. This will almost-certainly end up being one of the year's best films, and you owe yourself a viewing. Preferably with discreet seating and tissues.
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Posted on 12:55
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Rating : 6/10 Release Date : 11th June, 2015 Time : 124 minutes Director : Colin Trevorrow; Writers : Rick Jaffa, Amanda Silver, based on the characters created by Michael Crichton; Music : Michael Giacchino Starring : Chris Pratt, Bryce Dallas Howard, Vincent D’Onofrio, Ty Simpkins, Nick Robinson, Irrfan Khan, Jake Hohnson, Omar Sy, Judy Greeer, BD Wong
It’s entertaining, it’s fun, it’s scary, it’s spectacular. It’s also highly implausible, soul-less, and lacks a real differing opinion or ideological conflict.
Jurassic World has opened up as a major tourist attraction on Isla Nublar, the same venue as the first epic film. It draws in thousands of visitors, is owned by Irrfan Khan, run by Bryce , who happens to have her nephews Ty & Nick, visiting. The park relies on new species or dinosaur attractions every few years to keep tourist interest alive. And towards this end they have created a genetic hybrid – a new species, Indominous Rex – which, as per the brief is scarier, tougher, bigger….and cooler !
Chris Pratt is the tough army types who is working on a special program to train velociraptors to obey his commands, Vincent D’Onofrio is the greedy, army type who has an ulterior motive.
And when the Indominous escapes from its cage…things fall back to as they were, 65 million years ago...
I liked the way they kept bringing up the spirit of Jurassic Park – showing the locales where the action for that film had happened – using a similar storyline (nephews out in the wild, dinosaur on the loose, owner, manager and tough guy out trying to rescue them) and even stray action sequences towards the end which were reminiscent…
It was also fascinating to see things like a petting zoo and a water attraction – both involving dinosaurs – which does raise the question if sometimes we, humans, really understand the forces we are dealing with?
However – you felt nothing really for any of the characters. No one really made any impression on you (lacked star power too, possibly), and did or said anything that truly stayed with you. There was no real emotion, no feelings which stood out – and no moments of real humour. Lots of things here didn’t make sense either – unlike the first, where everything seemed actually possible. And there was no real ideological conflict – a slight moral one perhaps- but again nothing like the ‘life will find a way’ theory expounded in Michael Crichton’s seminal novel.
You need to watch it though, for some great special effects, truly hair-raising, goose-bumpy moments and super action sequences, including an epic fight towards the end. At the end of the day, a really expensive film to give you some cheap thrills…
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Posted on 05:01
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Details are still coming in, but this much is clear: Sir Christopher Lee, one of our greatest actors, has died at age 93 from respiratory issues in hospital.
Lee was best known for much of his life as an actor, and for much of that career as the main performer of Count Dracula for Hammer Films and as a sought-after character actor with a devout cult following thereafter; but his notoriety experienced a late-in-life explosion into the mainstream as Sarumon in the LORD OF THE RINGS films and Count Dooku in the STAR WARS Prequel Trilogy. In the mid-2000s, he embarked on yet another career as a heavy metal vocalist. His professional filmography is, frankly, too vast to even begin to recount here.
But the fact is, even in the 25 years of life prior to becoming an actor, Lee lived more life than most men could ever aspire to: An adventurer, scholar, philanthropist, activist, veteran of the theater and decorated (to say nothing of still highly-classified) veteran of the British SAS in World War II. His two autobiographies, "Tall, Dark & Gruesome" and "The Lord of Misrule" are must-reads for fans of Teddy Roosevelt-style "how could this man have actually existed?" tales.
Lee leaves behind a body of work that would be the envy of any actor in any era: As Dracula he reimagined the most iconic monster in horror cinema. As Scaramanga he gave James Bond one of his greatest foes. In LOTR he lived out a personal dream of bringing Tolkien's work to life. Between that was an epic run of character roles, lead performances, villains and even comedy, but he famously said (later in life) that his best role was in the little-scene (in the West) Pakistani film JINNAH - a biography of the founder of modern Pakistan.
So here's my darkest movie-geek confession: I don't consider the original JURASSIC PARK to be an unassailable classic. I recognize that this doesn't make a ton of sense, given my love of Spielberg, monster-movies, science fiction and above all else Dinosaurs; but here we are.
It's a great film - yards beyond what any other filmmaker would've likely done with the same material at the time, as is to be expected with Steven Spielberg - and it deserves its place on the pedestal for its iconic setpieces and industry-changing FX work, no question about it. But measured on the long-terms merits? It's a vaunted member of the Three-Star Spielberg Club, standing proudly among MINORITY REPORT, TEMPLE OF DOOM (and LAST CRUSADE, if we're being honest), AMISTAD, etc., but "only" just that. And while I "get" the idea that the original is effectively "Millennials' JAWS," sorry, no - only JAWS is JAWS.
I bring this up mainly to give you some context through which to process this review: If you're looking for someone who views the first movie as Holy Writ to tell you whether or not someone's gone and popped some Groucho Glasses on Michelangelo's David? This ain't that. But if you'll settle for the opinion of someone who thinks the original is great but in all honestly is more of a ONE MILLION YEARS B.C./WHEN DINOSAURS RULED THE EARTH/KING KONG guy when it's time to get his Dinosaur on, welcome aboard.
(SPOILERS, though not IMO important ones, follow)
Since I didn't mention it before, the previous two sequels I can largely take or leave. THE LOST WORLD has awesome action sequences stuck randomly into a dreaery, mean-spirited plot while JURASSIC PARK III is a serviceable B-movie but only just that. In many ways, JURASSIC WORLD feels like the sequel the franchise has been waiting for: It's clearly (blatantly, in fact) aiming to for ALIENS-territory, i.e. a bigger, faster, meatier, nastier extension of a more constrained original experience, trading slow-build suspense for relentless action. A welcome idea, but followed perhaps a little too slavishly: Speed and efficiency are one thing, but here's a film that's in such a hurry to get to the good stuff that it almost forgets to have a first act.
That lack of desire to take it slow (at least at first) is an easily dissapointment, since the actual setup for how this World actually works feels interesting enough to have merited another ride on the Welcome Trolley. Our story: Decades after the original Jurassic Park disaster(s), the InGen corporation and specifically John Hammond's island "preserve" of cloned Dinosaurs have been bought out by a flamboyant Indian billionaire who has realized the late Park-founder's dream of a fully functioning tourist destination - though his version is a little less "nature preserve" and a little more Busch Gardens/Sea World. Still, he's ultimately yet another "Spare no expense!" eccentric who cares more about delighting visitors and the coolness of de-extincting Dinosaurs than profits...
...unfortunately, everyone else does still care about profits, and as the film-proper opens the new key to bigger profits is believed to be messing with Dinosaur genetics to create bigger, scarier versions aimed at wooing a public now jaded by a world where the T-Rex etc are fairly commonplace. The prototype for this new venture is Indominus Rex, a laboratory-engineered "hybrid" ("hybrid of what, exactly?" is kind of a spoiler, but suffice it to say she's basically a bigger, more agile T-Rex with usable arms) whose creators realize too late is smart enough to stage an escape from her pen but also "disturbed" by the circumstances of her development enough to start a dino-on-dino murder spree that soon imperils the entire tourist-filled park - in particular, the young visiting nephews of head scientist Claire (Bryce Dallas-Howard), a development that spells danger for her dogged determination at remaining (what else?) a frazzled, over-scheduled, asexual workaholic who I assume InGen head-hunted from an unfinished Sandra Bullock vehicle.
Fortunately, it turns out that Jurassic World's support staff includes Chris Pratt as Owen Grady, who just so happens to be Earth's Greatest Human. Effectively a set of Chuck Norris Facts memes that fused and gained sentience, Owen isn't simply an ex-Navy SEAL badass who lives a solitary life of tuning up his motorcycle outside his kickass trailer out in the park's wilderness and a studly nature/survival expert, he's also (yes, really) a soulful animal lover who has managed to tame a pack of Velociraptors pitbull-rehabilitator style and scolds the JW bosses for not being respectful enough of his Dinosaur pals. His silent head-nods may or may not also cure Cancer - I'd have to watch a second time to confirm.
(Seriously, though. I'm trying to think of a "flaw" the film affords Owen and I'm coming up blank. The closest I can come is that he's a little too forward in his 007-esque "wooing" of Claire... and I'm not convinced that the film intends us to recognize it as too forward.)
In any case, Owen is technically onhand playing Cesar Milan to The Raptors at the behest of Vincent D'Onofrio's sleazy InGen exec as part of an off the books side-project with B.D. Wong's returning Doctor Wu dedicated to pre-loading a storyline for the next movie: In this case, a scheme to use Dinosaurs to combat terrorists in lieu of soldiers/drones - and yes, it's presented as offhandedly ("Oh, incidentally, I've got this paramilitary-Raptor thing cooking, too.") as I'm making it sound.
It's such an insane "big idea," conceptually, (though not that insane - at one point, dino-commandos were to be the focus of an unmade third sequel) that I'm giving to suspect that having it as an explicit part of the story (scheming about it openly represents about 90% of D'Onofrio's dialogue) but leaving the loose-end to dangle teasingly is the result of a hasty rewrite - possibly to excuse what would otherwise be the plot hole of Indominus having been designed with special powers like chameleon camouflage-skin and body-heat control that make it a formidable monster but wouldn't be very sought-after in a zoo attraction. I don't know that this is the case (it's so similar to the recurring "Weyland-Yutani wanted this to happen!" conspiracy turns in the ALIEN franchise it may well have been baked in from the start), but it feels like it from the moment it's introduced to the last shot of Doctor Wu absconding to the JURASSIC PARK 5 writers-room with his parcel of Infinity Stones genetic-material.
But for now, that's our scenario: Indominus Rex (I-Rex - iRex - GET IT!??) is on the rampage amid a resort full of sitting-duck tourists and at least two moppets out in the jungle; so it falls to Owen, Claire and ultimately Owen's team of obedient (but only just so) Raptor Buddies to team up and save the day - preferably at a pace that allows for just enough additional chaos to unfurl in the form of stampedes, sneak-attacks, paramilitary battles (InGen does not fuck around on animal-control, apparently) and a bravura setpiece wherein all manner of winged dinos set upon the tourists like pigeons at the Panera Bread dumpster. All in service of a build-up to a climactic showdown that might just set the new Gold Standard for earnestly absurd fan-service in blockbuster sequels.
If I'm making this all sound a bit silly, well... that's because it is. Spectacularly silly, as though tweaking the noses of genre-fans who demand every last franchise tumble down into Gritty Realism Land was a Priority 1 note pinned to the screenwriter's monitor. Director Colin Trevorrow comes from a genre-comedy background (he's mainly known for the quirky indie time-machine dramedy SAFETY NOT GUARANTEED) and while he keeps the production from tipping over into outright farce it's clear from the get-go that he's bringing a lighter, more mischievous touch to things than Spielberg (or Joe Johnston) did previously: The big action scenes happen mostly in the brightly-lit daytime, and there's a playfulness to hypothetically "tense" moments like Indominus' attack on a "gyrosphere" vehicle that looks (one would have to assume intentionally) like a mash-up of the original's iconic T-Rex jeep-attack and a cat fumbling with a hamster ball.
There's a sly (and subtle, considering the material) sense of of self-awareness underpinning the proceedings, as scene after scene staged as bigger, flashier, tackier versions of "majestic" staple-sequences from the original film(s) play out amid a story that's entirely about the ugly business of turning miracles of science and technology into marketing opportunities - and lest you think that tonal dissonance is some kind of accident: one of the main secondary good guys is a tech-support engineer (Jake Johnson) who shows up to work in a vintage Jurassic Park logo t-shirt ("Don't you think that's in bad taste?"), keeps toy dinosaurs at his workstation and grumbles about "legit" Hammond's original Park was versus branding-saturated version he works at now (iRex's full name is "Verizon Wireless Presents Indominus-Rex.")
I'm down for all that (if anything, I found myself wishing they'd found a way around doing the "park disaster" story again so the setting could be as refreshing as the approach) but the flip-side to playing things so loose and fun-for-fun's-sake is that you start to question what's a knowing wink and what's legitimately not working: Is Indominus not being quite as next-level scary as she's meant to be a deliberate commentary on half-baked marketing schemes, or could the new monster have used a few more passes at the design-phase? Are Howard's icy/flustered working girl and Pratt's Velociraptor Dundee routine so enthusiastically one-dimensional because Trevorrow is having fun with the arch-ness of blockbuster stock-types or has something been lost in the writing (or the edit)? Is the secondary cast overstuffed with mirror-characters (there's effectively a good/bad version of everyone, even two separate teams of soldiers for you to alternately root for/against when they go up against iRex) and subplots because we're riffing on the bigger-faster-meaner buildup for sequels or... well, see above.
Still, the fact remains I showed up for Dinosaur Action, and if JURASSIC WORLD is committed to one thing it's Dinosaur Action by the barrel-full. Like I said at the beginning, I love myself a respectable B-movie that bends (or breaks) logic, realism, screenwriting rules etc into knots in order to justify insane monster action; and there are moments (especially once Act 3 kicks into gear) where the film leaps enthusiastically into the same intentional Saturday Morning Cartoon miasma PACIFIC RIM mined to such great effect. This is a new(ish) animal from the "majestic" slow burn that even Spielberg was unable to hit twice; and taken both on it's own goofy, knowing terms it's both a riot of a new production and just enough of a nostalgic callback (you'll see) that I can't not reccommend it.
The INSIDIOUS movies are easily the most idiosyncratic (successful) horror franchise of the moment, built out of elements like recurring characters, signature visuals, mythology and a unique internal logic that the rest of the genre has largely abandoned in favor of chasing grimy grit-gore (HOSTEL and MARTRS, but more so their lesser imitators) or cheapjack trickery (PARANORMAL ACTIVITY etc). That's what helps it stand out in a field that otherwise seems to be chasing forgettable as an ideal, but it can also be a trap pointing to diminishing returns: Eventually the 80s slashers with their iconic masks and signature weapons (particularly Freddy Krueger, whose as close to a direct ancestor as INSIDIOUS has) ceased to be scary through all the recognizability.
To be fair, INSIDIOUS stock in trade is a fairly unique brew: Small-space haunting/possession stories featuring violently-proactive "rule-breaking" specters (who manage to still be legitimately scary while being designed in an overly-specific "Halloween spook-house" style that shouldn't work but does) and visits to "the other side" ("The Further" in INSIDIOUS-speak) imagined through a weird mix of new-school FX and low-tech settings - usually just an actor holding a single light-source in an empty space full of dry-ice fog. That's a pretty damn unique stamp, and one that can probably sustain the series for a while longer, but CHAPTER 3 shows signs that the limit is significantly lower than the sky.
Let's be clear: The original INSIDIOUS was an out-of-nowhere masterpiece as far as I was concerned, and the sequel was an impressive effort boosted by one killer Big Idea (since "dead worlds" are outside time and space, why not add time travel to the bag of tricks?) but kneecapped by a baffling revival of one of horror's most unpleasant "things were different back then" character tropes. CHAPTER 3 brings nothing like that to the table, thankfully, but the innovation has been dialed back as well - it's easily the most conventional of the series, and while that doesn't have to be a deal-breaker it means the constant sense of "Wow! I can't believe they pulled that off!" that very much defined the prior installments (for me, at least) isn't very present.
This is technically a "prequel," but mainly for the purposes of keeping hardworking character-actress Lin Shaye around as the (still living version of) medium Elise. It's billed as an "origin" story, but really it's just a new, unrelated haunting yarn executed "Insidious-style" and with a quickie explanation for how Elise first hooked up with her younger, geekier colleagues from the previous two installments tacked on for Act 3. Nothing wrong with that, but I'd be lying if I said I wasn't more interested in the "ghost versus ghost" angle that the ending of Part II seemed to be pitching.
The story this time: A stressed-out teenage girl has been trying to contact the spirit of her recently-deceased mother, but has instead earned the attention of the malignant soul-gobbling spirit (an emaciated old man in an oxygen mask who leaves slimy black footprints everywhere - a servicable but non-classic heavy) haunting her apartment complex. The creature arranges for her to be injured and bedridden, making the torment and possession easier, and necessitating Elise (who at this point had retired because she's depressed at the suicide of her husband and fears meeting the lethal Bride in Black ghost again) getting back into the field to stop it.
The counter-intuitive non-spectacle of Shaye's unassuming heroine as a discount Doctor Strange is still the franchise's most amusing conceit, and the rest of the film fits together well enough, but there's a sameness setting in that's more pronounced now that you can't blame it on other returning actors of plot details. Co-creator and co-star Leigh Whannell takes over the directing duties and acquits himself ably in terms of keeping the style consistent, but what perhaps should've been a perfect place to start expanding the formula plays it pretty safe - if you know the "beats" of the series thus far (cluttered room = monster hiding motionless in plain sight, false/false/REAL rhythm for most scares, if one of those pale blue ghost-faces is hanging out JUST visibly enough in the frame something bigger is going to lunge out from another angle while you're busy squinting, etc) you're probably not going to jump very far back.
The finale, at least, is interestingly realized after all the work is done getting there: Nothing earth-shattering, but after decades of seeing variations on the seance/exorcism-to-reclaim-a-stolen-soul routine it's nice to see a new-ish twist on the proceedings (the Big Bad keeps a half-formed homonculus representing 1/2 of his target's soul like a pet, and it "fills out" as he claims more and more) that eventually blows up into a memory-totem/emotional-appeal/divine-intervention whirl that wouldn't have been out of place in a mid-80s Amblin production. I will say, though, that it's getting to the point where INSIDIOUS needs to start locking down exactly what meaningfully separates souls/ghosts/demons/remnants/etc in its mythos; since right now they appear to function interchangably.
These things tend to keep going for as long as they'll turn a profit, and having now used two secondary-endings to tease the return of a pivotal character one can only assume that's grist for the mill in CHAPTER 4. All well and good... except that probably means monster-backstory and the last time the series bothered to try that the results were pretty wonky. Then again, the FAST & FURIOUS movies took 5 to 6 tries to start getting good, so the "rules" of franchise-rot seem to have changed recently - but those are going to still have new ways to crash cars long after INSIDIOUS has run out of dark corners to stick ghosts in.
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Posted on 02:33
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Mental health charity Take This (which is run/founded by dear friends of mine and which I continue to be proud to offer help and support) yesterday announced a partnership with IGN that will see their most well-known (so far) undertakings, providing clinician and volunteer-staffed safe spaces called "AFK Rooms" at gaming and fan-conventions, expand in presence beyond the various PAX iterations to other venues including SDCC.
Really proud of these folks. Good people doing the best possible kind of work. Take a look, and if so-inclined please consider showing your support.
Members of which Indian community are most likely to throw a lavish foreign cruise party to celebrate their anniversary, inviting family and friends, when they are crippled by debt ?
That same community, their mannerisms, dialogues, behavior, conversations are absolutely nailed, almost perfectly. And that is what is most enjoyable about the film – the close look at a dysfunctional family and their equally crazy relatives and friends. The story otherwise isn’t much and the ending is…well, it would need a lifeboat to rescue it…
(From separate conversations) Auntyji 1 : (recovering from her daughter’s broken engagement) : Maine na Mata ki Chowki rakhi hai
Auntyji 2 : Teri maid phir bhaag gayi hai ? Yaar, what do you do with your maids ?
Auntyji 3 : (when scolded to get a life, after spending too much time match-making) : Yeh paagal ho gayi hai ? Hummein job kaun dega ?
Auntyji 4 : (when asked to have a drink) : Nahin, mujhe arthritis hai so I cant hold a glass for long
Auntyji 4 : (about above Auntyji, at another point in time) : Inhein asthma bhi hai!?
Auntyji 5 : Aise Delhi main thodi dance kar sakte hain, log kya kahenge
Anil Kapoor : Head of the family. Self-made man. Reminds everyone about it constantly. Has an eye for the pretty ladies. And business trips with them. He is very good as the the testosterone filled dad, prone to getting his own way. And is central to the best scene of the film, a medical emergency
Shefali Shah : Wife. Advisor in tough times. Doormat (to be trampled upon) at others. Prone to eating. Chocolate. Especially when nervous. She was the actor of the film, communicating volumes through her eyes and expressions. Didn’t have too many killer dialogues but one stood out, on the topic of marital incompatibility – “Husband hai, judwan bhai nahin”
Ranveer Singh : Happy go lucky. Infectiously funny. Loves to fly. Isnt good at handling Dad’s business. Has tried. Is being asked to marry daughter of rich friend. To do his bit for the family business. Ranveer does what he does best – brings tons of energy to his role, which seems written for him – and looks, acts, behaves his part. The puke jokes were brilliant!
Priyanka Chopra : Super successful, has set up her own business. Married to the wrong guy. By her parents. Used to being over-looked by them for her brother. But for some reason, it still hurts. After a long while, Priyanka gets a role where she isn’t just eye-candy. And boy, does she do it justice. That guilty look after a sudden, stolen kiss…
Rahul Bose, Priyanka’s stiff hubby, does excellently in a negative role that, strangely, lacks layers. Zarina Wahab as Rahul’s mom is great too – especially with her various ailments. Manoj Pahwa is very good as a loud, happy friend (Oh, yaar, apni biwiyon ko itne saal jhel liya hai, yeh kya baat hai). As are the various wives and other uncles. Special mention of Khushi Dubey as a wise-cracking young ‘un (Beta, agar saj ke nahin baithoge, to ladka kaise phasega ?) and Riddhima Sud, who does a super job as a bimbette type. As an exasperated Ranveer tells her, when she is caught out once, kissing the wrong guy – “There are 500 rooms on the ship!”
Anushka is good in her role as Ranveer’s love interest. Farhan is effortlessly excellent in his brief role – again, he doesn’t seem to be acting but just being himself (Tum itna smart hote huay itni stupid kaisi ho sakti ho?!)
It desperately stretches out. Has an unnecessarily convoluted end. The songs were ordinary, though the background score was great. Thought the whole thing about the dog as a narrator was contrived. But it gets its characters right for the most part. And nails the Punjabi ethos, complete with its extravagance, large heartedness, hypocrisy, male dominance and above all, the intrinsic humour…
