arungeorge13

Apocalypse Z: El principio del fin (2024)

Not much newness to speak of, yet entertaining. [+59%]

This Spanish zombie thriller offers a few surprises while treading the same paths that most of its classic predecessors did. The setup is as old as the genre itself, and while the proceedings get tense very quickly (owing to fast, nasty zombies), there's not much that hasn't been seen or tried in similar films. Even the protagonist's arc is fairly straightforward, and it's more of the adventurous journey he's forced to undertake that keeps viewers on edge.

There are some plot contrivances, though they only serve to keep the ball rolling for the thrills to unfurl. A large portion of said thrills are generic, yet there's enough juice in the execution to entertain zombie fanatics. Some scenes (like the baby zombie) could've been edited out, and I think it's that annoying cliffhanger-ish ending that most viewers would find themselves scratching their heads over. I read that the film stays pretty loyal to its source material, however. I'd watch the sequel for sure.

The Substance (2024)

Wow, nothing can prepare you for this one! [+81%]

First thought: The Substance, without even trying, makes modern-day food blogging look like an incredibly disgusting career, if you understand what I mean. The close-up shots offer a uniquely harrowing perspective, sometimes. The abundance of butt shots is a Coralie Fargeat signature, I believe?

Further thoughts: This is a deeply disconcerting film. It has body-horror frames that make you want to look away, and not just because they're "gory". Coralie conceptualizes every form of body horror one can imagine, using splendid prosthetics to gross out even the toughest of viewers. Also, the film manages to be tremendously entertaining while at it.

Both Demi Moore and Margaret Qualley offer performances worth diving deeper into - the former, for her nuanced take on loneliness and being a has-been; the latter for her sultry take as a selfish, attention-loving, Gen Z(?) model. Big shoutout to Moore & Qualley for the prosthetics-heavy scenes - both handled them like true body-horror-victims (David Cronenberg would be proud!). Qualley is busy playing "bad gal" in ways only she can, making viewers' jaws drop. Her prosthetic-heavy bits almost remind you of the mutated abominations from The Thing (yikes!).

Some scenes also reminded me of Shankar's "I" (2015), for cosmetic reasons. The ugly side of showbiz is explored in greater satirical detail, with characters like that of Dennis Quaid's only serving to drive that point home. Aiding the storytelling big time is Raffertie's score, which underlines the personas' growing hatred of each other. Pierre-Olivier Persin (make-up effects designer & supervisor), take a bow!

A late twist even adds a spectacularly blood-soaked set piece, reminding us why Fargeat's very much an action director (I wasn't a fan of Revenge though - maybe, I should rewatch it?). But, good lord, can anything prepare us for what awaits us during the climax? Nope. This, my LB geeks, is a SPECIAL film.

P. S. The relevance of that first shot - just wow!

Joker: Folie à Deux (2024)

I wasn't a fan of the musical idea right from the inception. [+33%]

Joker: Folie à Deux succeeded in one thing and one thing only-ruining what the first film had built.. an intriguing character study, a slow descent into raging madness, a performance of a lifetime. This "mus-equel" is an extension of the first movie, just plain uninteresting this time around. Big-ticket studios can never give up on making sequels just because the first one was critically and commercially successful, can they?

Scott Silver writes the whole thing like a high-school drama, and none of Todd Phillips' smart direction from the first film is evident here. The infatuation between Lee and Arthur is so cosmetic, it hardly leaves any impact. Even Phoenix and Gaga don't seem to be buying what's written on paper, then how will the audiences? The musical numbers are just NOT for me, I guess. Heck, these jukebox musicals as a whole AREN'T. First-rate production quality though, as expected.

Meiyazhagan (2024)

This movie will make your heart full! [+83%]

I'm really liking how Karthi is able to seamlessly portray these upbeat village lads-his body language, mannerisms, use of dialects-everything makes you want to sit down with him in his backyard and have a beer. Maybe, he would make for an unconvincing "Sardar", "Dev", or "Japan" in my books, but his career trajectory has so far thrived on these believable rural/suburban Tamizhan characters. He hits all the right notes in C Prem Kumar's second Tamil directorial, and making us care alongside him, is a brilliant Arvind Swamy. Both their characters are so candid, relatable, and likeable.

The film also features an array of solid supporting acts from the likes of Sri Divya, Devadarshini, Jayaprakash, Raj Kiran, Karunakaran, and more. Special shoutouts go to the snake and the bull at Karthi's place in Needamangalam, and the lovely parrots at Arvind Swamy's place in Chennai-they played really important cameos.

I love how the writer-director builds entire scenes around places and objects that youngsters, growing up, get attached to-in this case, it's Arvind Swamy's ancestral home, bicycle, and slippers. Govind Vasantha's music is a primary ingredient in this dish, elevating the sentimental quotient of several scenes. One could call it a nostalgic overdose, but it's done tastefully. Plus, when we get these two stupendous performers on screen, it's a dramatic treat, even at 2h 38m.

P. S. This shouldn't have been released around the same time as Vettaiyan.

Don't Move (2024)

Good while it lasts - competently made - but not that memorable! [+60%]

I caught wind of this thriller by complete accident-and it turned out to be a good one! If you've grown up on your share of 2000s thrillers (with slasher inclinations), this one should be right up your alley too. This is what I want Netflix to make more of-in the process, extract star-making roles out of lesser known names. Considering it's a Sam Raimi (co-)production, I did expect some thriller interventions to hit me out of the blue.

The directorial duo of Adam Schindler & Brian Netto keeps the proceedings fast-paced and engaging, even when some of it is (cinematically) predictable and plot-convenient. The environs are also used effectively, although I'm definitely sure that's NOT how floating (while paralysed) in the rapids would end up.

Kelsey Asbille plays the protagonist to believable effect, while Finn Wittrock makes for a really convincing sociopath. Also, there's a lot of talking involved, for a thriller featuring strangers doing stuff to each other. The less said about the overused "trauma-redemption" arc in survival thrillers at this point, the better, right?

Gaganachari (2024)

A fun film for all the cinephiles out there! [+71%]

Gaganachari scores high in how it treats its familiar (yet experimental, for Malayalam) plot, garnished with a heavy dose of pop culture references, making it palatable for both 90s and 2000s kids. The sci-fi mockumentary packaging, which I only remember from a recent Krishand film, looks and feels fresh. The humor flows organically, even when a few writing misses occur in the second hour. The cast is terrific-each fitting their respective roles to the T. Gokul Suresh is surprisingly good as the lovestruck loser Allan, and so is Anarkali Marikkar as Alieyamma. Ganesh Kumar and Aju Varghese bring in the laughs with their one-liners, making even generic events like dinner, sleep, and meditation look entertaining.

There is overuse of AI but it's understandable given what the makers were trying to achieve here. Ultimately, what we see and hear on screen, looks incredibly believable for its given budget, and that's what should matter at the end of the day. The socio-political subtext is also played for laughs, and I particularly enjoyed the writing (and visual) choice of painting Kerala in a greenish excess, as opposed to the typical dystopian desert shades. Sankar Sharma's music also adds zing to the proceedings. I'm unsure if the sequel (or is it a spinoff?) holds the same level of potential given it'll be a star-led vehicle, but we'll just have to wait and see. Good work, Arun Chandu!

Brothers (2024)

An all-too-familiar setup with all-too-familiar payoffs. [+50%]

A killer cast-featuring the likes of Peter Dinklage, Josh Brolin, Glenn Close, Brendan Fraser-just isn't enough to elevate Brothers above the average comedy caper. Unlike Max Barbakow's previous film Palm Springs which offered an interestingly romantic take on a time loop with fascinating characters, this flick purely rides on the uneasy equation between the brothers and their mum. Brolin and Dinklage do make for a fun pair, with Glenn Close rounding out the trio that's seemingly up to no good. But the film doesn't take many storytelling risks, sticks to the basics of what constitutes a dysfunctional family, providing some one-liners and slapstick humour (courtesy Fraser's dirty cop), ultimately treading familiar paths even when the heist elements take over. It's definitely a few steps down from Palm Springs, but I still have faith in Barbakow as a filmmaker when it comes to handling comedy.

P. S. I never thought I'd say this about Marisa Tomei but the film could've done without the scenes featuring her.. or that ape.

Keyke mahboobe man (2024)

Slice of life? Nope. Life as it is. Hugs to the protagonists. [+79%]

I'm yet to see a larger-than-life Iranian film where characters defy physics, logic, and emotions-here's another sweet little gem to add to that list. This is a story of two 70-year-olds finding love one fine evening, sharing life's little details and cherishing its little moments along the way. We meet Mahin (an absolutely adorable Lili Farhadpour) as she goes about her day, understanding more about her through the slice-of-life interactions she has with the people around. Faramarz (Esmaeel Mehrabi, playing the tender counterpart to perfection) enters her life as randomly as it can get, and this leads to interesting conversations, wine, and merry-making. A late (and expected) swerve only reminds you of how happy moments don't last forever, but neither do the sad ones. Also, when all this plays out in a country that's big on moral policing, how can you not smile first (and sigh later)?

Bougainvillea (2024)

Style and a few solid performances can't entirely save this one! [+54%]

Well, sometimes I ask myself the question: what am I to expect from an Amal Neerad film? Is it protagonists (or antagonists) looking like they dropped straight from heaven in stylish costumes? Is it those soft-glow-induced frames where aesthetics tower over the plot? Is it the sudden burst of slo-mo action scenes? Maybe, all of this and more. Given he works with technicians like Vivek Harshan (edits), Joseph Nellickal (prod. Design), Anend C Chandran (cinematography), and Sushin Shyam (music), the kind of audio-visual output one expects is nothing short of tremendous. Bougainvillea wholly delivers in that regard, and a solid (returning) Jyothirmayi and a suave Kunchacko Boban make it worth your while.

The first half of the film (i.e. The drama) really worked for me. I won't go into the details of the plot, but the way Amal chooses to present it holds promise. It carries an underlying question related to identity and mostly toys with the concept of memories. There's also an element of art blending with crime, which brings Fahad Fazil's cop into the mix. The other recurring characters include that of Srinda, Sharaf, and Veena. As I hadn't read the novel on which the film is based, I really thought Amal would decide to go all out pulpy in his signature style in the second half. But it underdelivers-neither is that big twist very convincing in its presentation, nor is it shocking enough to make you go "what the hell". The final 20 minutes or so, is fun, in a grindhouse-like way (no big "empowerment" feels here, tbh!).

Sure, there's the instant gratification in all of it, cooked in typical Amal Neerad garnishing. When you consider the film in totality, it isn't likely to satisfy hardcore crime-thriller enthusiasts (who are in it for the plot, the performances, and the twists) or churn out dozens of fresh Amal-Neerad-converts. It lies somewhere in the middle, offering mild thrills and good-to-great performances, but not making a whole lot of sense plotwise (Ikigai? The flashback scene? That unnecessary exposition scene at the end-What was all that for?) or little-details-wise. Also, a criminally underutilized Fahad Fazil is never a good thing.

MadS (2024)

A fresh, unique take on zombie infection flicks! [+72%]

MadS is unlike anything you've seen before, but that's not because of its plotting or characterization. Its unique visual perspective-one long tracking shot (without breaks or cuts)-effectively draws you into this drug-infused nightmare coupled with a zombie apocalypse. While it's visually impressive no doubt, what surprised me about this fairly minimalist, low-budget chiller is its incredible sound design that plays as significant a role as the ghastly imagery.

Writer-director David Moreau manages to create, within the constraints of budget and locations, a fever-dream-like scenario where the camera closely follows its three protagonists in individual episodes of a possible viral infection. The last act amps up the tension like anything and makes it almost difficult to breathe, as it feels like we're constantly following the lead character(s) in real-time, making the stakes a lot scarier.

Is it a say-no-to-drugs advertisement? Maybe. Is it a zombie horror flick? Maybe. Is it a teen love triangle? Maybe. Moreau keeps throwing these "maybes" at us in quick succession, not giving us the time to process the proceedings-at just 88 minutes, the film leaves a lasting impression.

P. S. Could spot the cinematographer's silhouette at one point.

Alien: Romulus (2024)

Superb entry -- Fede Alvarez was the right choice! [+76%]

As someone who has followed this franchise from its very beginning, Fede Alvarez's entry has given it a fresh spin, but with neat callbacks to what makes it truly iconic (yep, we have a chestburster, a face-to-face shot, and more). The symmetrical screens and gooey membranes are back, in a film that also made me an instant fan of Cailee Spaeny and David Jonsson. I feel, unlike Civil War, this is the film that put Spaeny at the forefront of affairs, giving her more to do, alongside an arc that felt more relatable. Alvarez's use of practical effects and sets really drive the point home of bringing instances of sheer terror (+ body horror) into this space station, also reminding you why Ridley Scott's original and James Cameron's sequel remain all-time greats.

Alvarez (and co-writer Rodo Sayagues) carefully write the protagonists into a corner, forcing them to take on the Xenomorphs and Face Huggers with no choice. There are cinematic liberties aplenty, but I wouldn't deny how much fun the 2h ride turned out to be. The entry also takes it back to its claustrophobic horror roots, something Alvarez effectively pulled off at a small scale in Don't Breathe. I'm left to wonder why Neill Blomkamp's version never got made -- but at least it paved the way for someone other than Sir Ridley to make an Alien flick that wasn't always busy trying to tie itself to a larger plot (and universe). Romulus reinvigorates the franchise, and the box office numbers did not lie.

He bian de cuo wu (2023)

Wei Shujun's classy murder noir is worth a watch! [+70%]

I have an affinity for the grainy texture of 16mm film -- the likes of which this film was (almost entirely) shot on. The film starts off as a noir whodunnit, but it transforms into a slow descent into mental chaos for its protagonist -- the cop investigating a series of murders, who we closely follow. The clues and motives behind the murders begin to matter less, but the protagonist's obsession with finding the killer consumes him. Chengma's cinematography is fantastic, offering an aesthetic feast set in mid 90s rural China.

The (minimal) score and edit work are solid too, playing key roles in pulling us into this vortex of unexplained character layers and revelations. A hallucinatory sequence, in particular, is very tastefully executed -- it's one of the most inventive stretches I've seen in a film in recent times. Yet, Only the River Flows isn't the kind of cinema interested in giving clear-cut answers to all your questions. Call this Wei Shujun's arthouse version of Memories of Murder, minus the edge-of-the-seat thrills.

Vettaiyan (2024)

Haha, they gave Thalaivar a flip-phone and FaFa to ensure this doesn't end up a trainwreck like Darbar. [+53%]

Still, a very "mid" film from someone like TJ Gnanavel -- whose melodramatic style I'm not a big fan of, and thankfully, that's not excessive here like in Jai Bhim. Gnanavel is clearly a better storyteller than a masala filmmaker, and hence, struggles to an extent trying to stage hero-elevation points, action blocks, and song-and-dance sequences. His politics is on the appreciable side, which he side-tackles using Bachchan's character but with fairly low impact, if you place this alongside Jai Bhim.

Manju Warrier gets a typical wifey role, with one scene towards the end giving her a momentary upgrade. I'm unsure if we needed someone like FaFa to fill in the role of "Battery" Patrick (even when he's spontaneously entertaining with his quirks and one-liners) -- someone like Sivakarthikeyan or Manikandan could've done the honors. Rana plays such a typical, paper-thin villain, with absurdly poor characterization. Placing him against Thalaivar also doesn't work all that well. That being said, I enjoyed one scene towards the end where conflicts pile up against the protagonists simultaneously, and how each rises to the occasion.

Anirudh's score here is better than what we witnessed in Indian 2 (phew!) although it's nowhere in the league of his top works. Again, I found the song picturization of Manassilayo to be lackluster and dull, except for that hook step. Gnanavel wanted to make a message-drama I suppose, and shoehorning all (or most) of Thalaivar's antics into the screenplay certainly did NOT work in his favor. Nonetheless, despite its somewhat flat treatment, the film is thoroughly watchable because Thalaivar still brings the swagger, and we get to see incredible performers share the silver screen.

P. S. Damnnn, Ritika Singh can handcuff me all she wants!

P. P. S. Can we NOT have rape scenes played over and over in films? It's been getting out of hand, lately.

V/H/S/Beyond (2024)

Fairly interesting set of segments for this one. [+63%]

It has sort of become an annual Spooktober routine now, with these V/H/S films. Let me review segment by segment, as I have with all the previous entires:

• "Abduction/Adduction"/frame narrative: The wraparound segment is in the style of a documentary--inspired more from the likes of BBC and WB Discovery than the Netflix format. It isn't outright scary per se, just a tone-setter. The final shot is weird in ways we've come to expect these V/H/S wraparound segments, though. (2/5)

• "Stork": Now, this I could get behind. A gory zombie actioner with an extra-terrestrial setup, I loved how the action is relentless once it starts. The bloodletting is also on the higher side, with some disgusting (but the right dose of enjoyable) creature effects. The finale is tame in comparison to the rest of the proceedings, but it's still a very solid (ACTUAL) first segment. Jordan Downey has my attention. (3.25/5)

• "Dream Girl": Never in my dreams did I imagine seeing a musical (item) number in a V/H/S movie, but this takes it one step further by embedding the extra-terrestrial within a Bollywood diva. The creature effects are captured from a distance most of the time, so I wouldn't call it the most well-shot segment. Yet, I'll give marks for the innovation in plot, setting, and some (extra) dark humour. Good job, Virat Pal. (3.25/5)

• "Live and Let Dive": Once again, a very unique setting for an alien attack -- a celebratory skydiving session. The creature CG reminded me of The Thing videogame (from 2002), and the way the scares are built and the practical effects are used -- good stuff indeed. Justin Martinez, part of Radio Silence, clearly showcases his filmmaking prowess. (3.5/5)

• "Fur Babies": Justin Long and his brother Christian Long create an extension of Tusk, with gnarly effects that are bound to irk dog lovers -- and that's probably the whole intention. This is also the only segment that doesn't imply an extra-terrestrial presence. It's fine, I suppose. (2.5/5)

• "Stowaway": While this has the most direct alien-UFO-exploration plot, it moves at a slow pace and given its late '80s setting, the visuals are (deliberately) pixelated. Flanagan and Siegel manage to create a trance-like aura of being stuck in an alien spaceship, but the segment somehow lacks the urgency and tension of an actual alien abduction. The effects can rival David Cronenberg's The Fly, but not a lot is actually revealed. (2.75/5)

Hold Your Breath (2024)

Ends up as a "could've been more" kind of film. [+44%]

We all know how great a performer Sarah Paulson actually is, but I just don't understand why she signs up for lacklustre films like this one. Of course, her character is the one holding it all together, and the plot carries some potential, both from the perspectives of a character study as well as a psychological horror drama. The little girls playing the daughters also do their parts well. It's just that the story keeps meandering from one thing to another, unable to find a clear landing zone. Visually, I'd say it's an okayish effort. The dust element could've been used to greater effect--I wonder how another director would've handled it (hint: Under the Shadow immediately comes to mind). Some of the drama works owing to Paulson's performance, but I wish the film overall, had more punch.

CTRL (2024)

Wasted potential -- with nothing new to add to the AI-is-deadly genre! [+34%]

I really like Vikramaditya Motwane as a filmmaker but this is such a rip-off of so many AI-is-taking-over-our-lives thrillers that Hollywood has been churning out lately, by the dozen. It uses the computer screen to tell a story akin to the likes of Searching, Missing, C U Soon, but can't commit to the whole damn thing until the end. The last 15 minutes suddenly turn this into a regular film, with a regular aspect ratio. Ananya Panday plays different versions of Ananya Panday in every film; not much is different here. The rest of the cast is so bad that Ananya Panday comes across as a much better performer in comparison. I liked some of the (cringy) Gen Z edits used here, making the otherwise dull and predictable thriller slightly more palatable. Also, that ending -- somebody please knock some sense into the writers (on my behalf).

P. S. This only stays watchable because it's 1h 39m long. Another not-so-original "Netflix original" laid to rest!

Wolfs (2024)

Watchable for the Pitt and Clooney (w/Austin Abrams) combo! [+62%]

As a buddies-but-not-really-buddies action comedy, I like to think Jon Watts delivered fairly on the promise. He brought the two Hollywood heavyweights (Pitt and Clooney) together for a (moderately) funny and engaging flick that even provides NYC's crime underbelly some distinction in the process. Watts harks back to his Cop Car days, but also brings the humourous sensibilities of his MCU Spiderman films.

Pitt's and Clooney's fixer characters are eerily similar-in their dispositions, dressing styles, and so on-making the 1h 48m affair pretty amusing and enjoyable. The trump card here is Austin Abrams, and he fits into the role of the third wheel (but also the main plot wheel) superbly. What, as a viewer, I didn't care much about though were the outcomes of character-decisions. Also, for a crime plot that spanned the whole of NYC, the settings feel tightly packed and minimal. The writing also feels put together last minute, with some scenes lacking a finite flow (like that random wedding scene.. hello?).

Speak No Evil (2024)

A solid Americanized remake that delivers the tension and thrills! [+69%]

Well, dare I say this improved upon the original material, cutting down (a bit) on the psychological subtext and amping up the thrills. McAvoy yet again delivers a very eerie performance, and when he's the one trying to bait you, there's always a higher chance of giving in. The original Danish version was one that I found difficult to digest, not particularly because of its somber and often disturbingly violent approach, but I somehow couldn't connect with its conclusion all that much. So, when it was picked up by Blumhouse for a Hollywood remake, I wondered what tweaks they'd go for. James Watkins, the director behind The Woman in Black, Eden Lake, and an excellent Black Mirror episode, gives it his own spin.

The deceptive, manipulative parts within the plot mostly remain the same, and instead of opting for a no-holds-barred sadistic finale like the original, the Hollywood version plays more out like a straightforward slasher thriller. It also gives the characters played by MacKenzie Davis (so good!) and Scoot McNairy a lot more to do than just succumb to the circumstances. The film might be 10 minutes too long, but when McAvoy's in beast mode, I don't think I'd be bickering all that much. Also, is Aisling Franciosi becoming typecast as the weirdo in every horror flick?

Mr. McMahon (2024)

Not a Vince McMahon puff-piece, but not a shocker either! [+60%]

The timing of this is super interesting given Monday Night Raw's set to debut on Netflix in January 2025, but there's very little shown here that I (an ardent follower of pro-wrestling and sports entertainment) didn't already know. Most of it has already been covered extensively by a bunch of YouTubers, VICE TV's Dark Side of the Ring, A&E documentaries, whatever the WWE publishes on Peacock, and so on.

The six-episode series is more of a retelling of the history of the WWE, and as such, a full-fledged spotlight is never put on Vince McMahon (or Mr. McMahon his on-screen persona). Of course, since he's been the one pulling all the strings from behind the curtains, the story naturally tends to revolve around him. Also, since most of the content here is nearly 2-3 years old, and major developments have taken place since then, a large chunk of it feels like a placeholder.

I liked getting to know 5% more about the equation between Shane and Vinne Mac; that was honestly the most interesting part for me. The rest, the allegations included, didn't offer any new insights. It's still well-shot and edited, and for nearly six hours, I found myself drawn to the world of "sports entertainment" yet again.

A.R.M (2024)

An enjoyable mix of action, fantasy, and folklore! [+67%]

ARM is essentially a 3-star movie in my books-a perfectly serviceable blend of action, fantasy, and folklore-that gets an extra ½ for the characters of Maniyan (Tovino on fire) and Manikyam (Surabhi Lakshmi who dazzles). The story is told across generations, and somehow, its core comes across as a 3D version of Lal Jose's Meesa Madhavan, with better production design (Gokul Das) and stunning cinematography (Jomon T John). The 3D conversion feels a tad unnecessary, as the plot itself holds crazy potential to build upon its lore. Visually, Jithin Laal manages to crack the aesthetics of its different eras, giving it that part-folktale-part-90s-actioner vibe-even when the writing (Sujith Nambiar) doesn't pack many surprises. The action is crafted well (Tovi learning Kalaripayattu is a major plus), though I'm a little tired by the overuse of the robotic cam in every set piece. Krithi Shetty is drop-dead gorgeous as the protagonist's love interest. Dhibu Ninan Thomas' score is a bit on the nose (for me), but I can understand how it makes sense for a film of this kind.

Kishkindha Kaandam (2024)

Incredible writing and performances - Vijayaraghavan is in top form! [+83%]

The less you know going into Kishkindha Kaandam, the superior your experience will turn out to be. Even though the film has been out for over a week now, I somehow managed to dodge all spoiler-filled reviews and one-liners about it-that helped, that SERIOUSLY HELPED! There are two kinds of airs within the film-one of familiarity, with an uneasy father-son relationship set in a forested estate in Kerala, and one of mystery, surrounding a missing pistol and the whole saga behind it. The former lands safely, owing to the presence of a seasoned cast (Vijayaraghavan is absolutely stellar!), but it's the latter that truly surprised the hell out of me. The writing ensures there's (ALWAYS) more to the plot and the characters than what we can anticipate, and it does so with intricate pacing.

Asif Ali is enjoying a good streak lately-hope he continues to pick excellent scripts like this one. Kishkindha Kaandam truly tests the performer in him, in a very layered, very mature performance. Aparna Balamurali takes on the audiences' perspective, an interesting storytelling tool used by writer Bahul Ramesh (who's also the DoP) to retain that investigative curiosity all through. The lush green Wayanad setting and its natural inhabitants (read: monkeys) also add to the intrigue. Mujeeb Majeed's score keeps us on edge, especially when the film turns into a full-fledged mystery. Kudos to Dinjith Ayyathan on his sophomore effort-this is just FANTASTIC, SCRIPT-DRIVEN FILMMAKING.

Vaazha: Biopic of a Billion Boys (2024)

A part-fun, part-emotional story that works thanks to decent scripting and performances! [+63%]

Vaazha, directed by Anand Menen and written by Vipin Das, reinstates that the latter is in better form when he's the one writing (and not just directing-yes, I'm looking at you Guruvayoor Ambalanadayil). The first half is breezy and light-hearted with casual fun poked at clueless millennial kids from the 90s, delivered with just the right dose of relatability. I wouldn't say it's a laugh-out-loud comedy, as its humour was fairly hit-or-miss for me. The scenes with Hashir and Basil were a riot, however. The film takes an emotionally heavy turn in the second half, and this is where I feel the seniors got to shine, making it a more well-rounded experience. Jagadeesh, Kottayam Nazeer, Noby, Azees, and the rest come up with such huggable performances. Meenakshi Unnikrishnan also gets a noticeable role though I largely missed her presence in the latter half. The boys-Joemon Jyothir, Saafboi, Siju Sunny, Anuraj OB, and Amith Mohan Rajeswari-can deliver if the script gives them enough to work with. A large team of composers (Rajat Prakash, Nomadic Voice Parvatish Pradeep, Electronic Kili, Jay Stellar) provide a stellar soundtrack, making the film a (bitter)sweet, memorable affair. Not too sure about the sequel though, but chances are, it might be a lot funnier than this.

Rebel Ridge (2024)

A solid "corruption" thriller from Jeremy Saulnier! [+72%]

Aaron Pierre has an aura about him that screams "he can get it done!"-the voice, the eyes, the stature-all of it. Writer-director Jeremy Saulnier (one of my favourite contemporary thriller directors) uses that to stupendous effect in Rebel Ridge, a slow-burn crime thriller also starring Don Johnson and AnnaSophia Robb. There's something about the Saulnier's framing style and shot compositions that strike a chord with me as a thriller fanatic, and even if Netflix is behind the production, I can see Saulnier's stamp almost everywhere. He's also the one that edits, so there's great clarity in the length and pacing of scenes. The film won't be the same without its fantastic score (by Brooke Blair and Will Blair), adding immensely to the scene-by-scene tension. Don Johnson shines in the antagonist role, making Chief Sandy Burnne a solid addition to the Saulnier's layered baddies. It's only in the film's second act that things deliberately slow down, for making audiences understand the legal implications of whatever's going on.

P. S. Anyone expecting a straight-up action flick will be disappointed. Get a hang of Saulnier's previous works (watch them if you've got the time) and then sit down for this one!

Blink Twice (2024)

A decent directorial debut from Zoe Kravitz! [+62%]

That trigger warning in the beginning was a bit too spoilery for me, as I was on the defensive from minute one. That said, this is a pretty solid directorial debut from Zoë Kravitz, delving into some really dark themes while simultaneously offering some gory payoffs. Everyone who watches the film will also have varied opinions on the ending, and that's probably the case since it happens in haste (without so much as letting you "blink twice" and making you go "wait, whaaaaat?" as the title suggests). More than Naomi Ackie (who plays the protagonist), I enjoyed Adria Arjona's performance here-she's just the perfect (SEXY) side character who ends up overshadowing the lead-and not in a bad way. I also liked Tatum in this a lot more than Fly Me to the Moon, and for obvious reasons.

In essence, the film may seem like a mishmash of Get Out x Don't Worry Darling x The Menu x Glass Onion though with a more sinister Harvey Epstein-esque plot-Kravitz balances out the morbid nature of its underlying themes with sprinkles of dark humour and accelerated urgency in the final act. I wouldn't place it in the "unforgettable" category, yet Blink Twice is a fairly decent addition to the eat-the-rich-and-perverted subgenre. I'll be waiting with eager eyes to see what Kravitz attempts next!

Lahn mah (2024)

Such a moving, heartwarming film. [+85%]

Loved almost everything about the film-the performances, the lived-in Thai settings, the characterization of the leads, the tender moments, the piano-driven score, the unhurried pacing, and the moving final act. Putthipong Assaratanakul, Usha Seamkhum, Sarinrat Thomas, and the rest of the cast deliver grounded, heartwarming performances that go above and beyond what's written on paper. The changing equation between grandma and grandson is fun to watch, and while it was obvious where the plot was headed, the proceedings still made me bawl my eyes out for 30 minutes straight.

So many themes are explored in such a simple plot, and the way it's all seamlessly put together by writer-director Pat Boonnitipat deserves high praise. Visually too, it's a wonderful film-those static, slice-of-life shots are magical. The best films are often the ones that let you peek into the lives of people (all raw and unfiltered emotions included) without feeling like a camera's even there, capturing all of it. Well, this is one among those-and infinitely more relatable if you've had a childhood/adolescence spent with your grandparents.