Living Up to Expectations: The Good, the Better, and the Best of 2015
This is my annual effort to filter the good, the better, and the best from the rest that cinema has to offer every year. It's an initiative I began back in 2010, and I hope that this year too the list will be enjoyable, informative, and up-to-the-mark. And yes, adulation and criticism are both appreciated, so keep your comments coming.
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- DirectorGeorge MillerStarsTom HardyCharlize TheronNicholas HoultIn a post-apocalyptic wasteland, a woman rebels against a tyrannical ruler in search for her homeland with the aid of a group of female prisoners, a psychotic worshiper and a drifter named Max.With exhilarating action and a surprising amount of narrative heft, “Mad Max: Fury Road” brings George Miller’s post-apocalyptic franchise roaring vigorously back to life. The film delivers and delivers big time. There’s no clearer or more succinct way to put it. 30 years after last appearing on the big screen, Mad Max roars back with a vengeance. “Fury Road” is that rarest of blockbuster beasts: an action- thriller that isn’t content to merely string together set pieces. In fact, it’s a surprisingly thoughtful film, one whose message is afforded equal importance alongside epic action sequences arranged with balletic, eye-popping grace. “Fury Road” has visionary moments, speed, and a wild sense of daring. You stumble out of the theater giddy about what films (even action movies) can actually do when their set their mind to it, transported by the breathtaking velocity in this battering ram of a picture that just goes, goes, goes, and then keeps on going. Even after two viewings, I feel as though I’ve only scratched the surface of “Mad Max: Fury Road”. George Miller’s bleak, badass actioner is astonishingly dense for a big-budget spectacle, not only in its imagery and ideas but in the complex interplay between them.
- DirectorTom McCarthyStarsMark RuffaloMichael KeatonRachel McAdamsThe true story of how the Boston Globe uncovered the massive scandal of child molestation and cover-up within the local Catholic Archdiocese, shaking the entire Catholic Church to its core.“Spotlight” is an exemplary film that shows us the staggering amount of hypocrisy, religious pandering, and face-saving that goes on in the world, from the bedrock of our society right to its highest echelons. More than just an account of ghastly occurrences, “Spotlight” is a mind-numbing, blood-boiling portrait of the pain and suffering experienced by scores of innocent kids around the world at the hands of the pseudo-moral custodians of society. Another extremely pertinent thing it manages to achieve is in being a blueprint for journalistic ethics and impartiality, especially in times of subjective news reporting as these.
Tom McCarthy’s Direction and his screenplay – co-written with Josh Singer – shrewdly and effectively balances some much-needed wit along with the movie’s harsh truths. But where “Spotlight” hits a whole home run is in placing the audience alongside the reporters, enabling us to partake in their disbelief, repugnance, and frustration. The breathless, tense, highly intense performances from a top-notch, fully absorbed, and wholly dedicated all-star cast are almost tangible from the cushy upholstery of out theater seats. Each actor portrays an indefatigable fortitude to uncover the length and breadth of decadence unfolding on screen.
“Spotlight” is an intricate web, but, when it’s finally untangled, a remarkable and striking picture emerges. - DirectorJ.J. AbramsStarsDaisy RidleyJohn BoyegaOscar IsaacAs a new threat to the galaxy rises, Rey, a desert scavenger, and Finn, an ex-stormtrooper, must join Han Solo and Chewbacca to search for the one hope of restoring peace.J.J. Abrams and his crew have restored the shine to our beloved story, and then some. Packed with action and populated by both familiar faces and fresh blood, "Star Wars: The Force Awakens" successfully recalls the series' former glory while injecting it with renewed energy. What works the most in favor of this latest entrant to the space saga is the dexterity, fluency, and zip with which each scene flows, and seamlessly blends with all the exhilarating action, smart humor, and indelible dialogues; nothing ever feels out of place - Abrams delivers a tour-de-force in the act of pure storytelling. Another highlight is the crop of new characters - well-written and fleshed out with intrigue and promising back stories without revealing too much in one go. They play well with and against each other as also with some of the grizzled veterans now ready to make way for younger blood to take over the mantle. And it all climaxes with the right elements, tantalizing us and setting things up brilliantly for the next installment.
- DirectorDibakar BanerjeeStarsSushant Singh RajputAnand TiwariNeeraj KabiDetective Byomkesh Bakshy is set in the 2nd World War torn Calcutta during the 1940s. Enter a magical world of nostalgia and 'Expect the Unexpected'.“Detective Byomkesh Bakshy!” is a perfect union of commercial, artistic, and experimental filmmaking. It is entertainment galore but not at the expense of creative freedom. In the context of contemporary Bollywood cinema, the film is nothing short of a monumental achievement. And those who think that Hindi cinema is not good enough to make great thrillers anymore after the passing away of the great Vijay Anand, certainly need to watch this film.
While the movie is bound to disappoint a section of hardcore Byomkesh Bakshi enthusiasts, it has all the elements to satisfy fans of both traditional film noir and suspenseful thrillers. Hell, it might even appeal more to fans grown up on a healthy dose of Holmes rather than Bandyopadhyay’s literary sleuth. All in all, “Detective Byomkesh Bakshy!” is an enthralling, gripping, shocking, masterfully directed,exceptionally acted, and highly rewarding experience at the movies. And for those reasons alone it demands a sequel regardless of its fate at the box-office. - DirectorDeniz Gamze ErgüvenStarsGünes SensoyDoga Zeynep DogusluTugba SungurogluWhen five orphan girls are seen innocently playing with boys on a beach, their scandalized conservative guardians confine them while forced marriages are arranged.Smart, perceptive, observant, infuriating, and heartbreaking: these are the range of emotions one goes through while watching Director Deniz Gamze Ergüven’s “Mustang“: A shocking portrait about the role of women in still-existent archaic societies governed by deep-rooted sexism perfect. It’s numbing to see how the families living in these societies crush the aspirations of their young girls, robbing them of their fundamental rights, and compelling to quickly forgo any dreams or wide-eyed wonder they may have once harbored, eventually turning them into drones because of no other fault than being born at the receiving end of the gender spectrum. Eventually, these girls are left with no other option but to acquiesce or fight in the face of mortal peril.
In spite of its bleak connotations, the story has a flexible, humorous undercurrent that cuts its starker, more brutal veracity. In its concentration on a bunch of girls growing up in male-dominated society, “Mustang” succeeds in being a willful act of political aggression as much as a study of female oppression. - DirectorCary Joji FukunagaStarsAbraham AttahEmmanuel AffadziRicky AdelayitorA drama based on the experiences of Agu, a child soldier fighting in the civil war of an unnamed African country.Powerful, necessary, distressing, and cannot be recommended under good conscience even though it's an amazing movie - "Beasts of No Nation" finds writer-director Cary Fukunaga working with a talented cast to offer a sobering, uncompromising, yet somehow hopeful picture of war's human cost. It's a heartbreaking drama that's hard, very depressing, touches on a controversial subject, but still manages to reward its audience. Yes, the film is a very hard watch, and there's some shocking brutality, but it's also extremely pertinent in today's times, exploring an eye-opening subject matter with clear thinking and respect for the complexities of the psychological damage done.
"Beasts of No Nation" is one of the most harrowing, mind-numbing, and emotionally draining war movies I've seen - powerful and devastating to equal effect, showing us the horror humankind can commit through the eyes of a kid that's lost his innocence. The story, which is about just one of the 300,000 child solders currently exploited in combat worldwide, is given the necessary emotional heft and demands our undivided attention. Cary Fukunaga's direction and the performances by Idris Elba and the new kid, Abraham Attah, knock it out of the park. Perhaps, the most chilling thing about this child soldiers' eye view of Africa's endless civil wars is how unsurprising it all is amidst the savagery and emotions it engulfs us in. - DirectorQuentin TarantinoStarsSamuel L. JacksonKurt RussellJennifer Jason LeighIn the dead of a Wyoming winter, a bounty hunter and his prisoner find shelter in a cabin currently inhabited by a collection of nefarious characters."The Hateful Eight" is a cinema buff's dream - outrageous, extraordinary, extreme filmmaking at its most confident, and unlike anything else in theaters this season. But that's only to be expected from Quentin Tarantino, one of the few directors with the clout to pursue his vision wherever it takes him. It's a big, shambling, audacious inversion of the western genre, held together by Tarantino's sincere conviction that beyond his unbridled imagination, American audiences might recognize their own fractious nation. Even at almost three hours, the story never feels labored. A lot of that is because Tarantino's dialogue is rapturous to the ear. But mostly it's because the performances are all so strong. Now that isn't saying that "The Hateful Eight" is a western as wacky as "Django Unchained", but it's everything you want from a Tarantino movie: unbearable tension, deft and intuitive dialogue interspersed with acerbic wit, fleshed-out characters, and sudden, grisly violence.
- DirectorSteven SpielbergStarsTom HanksMark RylanceAlan AldaDuring the Cold War, an American lawyer is recruited to defend an arrested Soviet spy in court, and then help the CIA facilitate an exchange of the spy for the Soviet captured American U2 spy plane pilot, Francis Gary Powers.With "Bridge of Spies", Steven Speilberg infuses new life in Hollywood's all-but-forgotten Cold War espionage thrillers from the 70s and 80s. Spielberg enters full-blown Stanley Kramer mode, and triumphantly delivers (like he has on numerous times in his distinguished career) a socially conscious tale of back-and-forth diplomacy and behind-closed-doors politics at home, at the office, and on the global stage. At the same time, he doesn't let up the tension for a moment in this richly-detailed narrative where the interactions between smart and unpredictable characters is the main focus of the Director and his writers (the maverick Coen Brothers; avant-garde filmmakers in their own right). And, eventually, it's these interactions that are the core foundation of "Bridge of Spies", with its real strength lying in the bond developed between its two main characters. The warm portrait of a highly unlikely friendship is perhaps the movie's greatest achievement, even more than its sublime Direction, crisp writing, lasting cinematography, and exemplary performances. Steven Spielberg and the Coen Brothers take on the Cold War and spy world with a visually stunning, tension-filled, and surprisingly feel-good thriller that slithers along with gripping intensity and tantalizing uncertainty.
- DirectorNavdeep SinghStarsAnushka SharmaNeil BhoopalamDarshan KumaarOn their way to a weekend retreat, a married couple find their dream vacation turn into a nightmare when they cross paths with a dangerous gang."NH10" is about a road trip that goes horribly wrong when a young, married couple crosses paths with a gang of ruthless killers on the national highway. It's a standard genre movie on the surface, and Director Navdeep Singh does a swell job of creating edge-of-the-seat tension. But he also layers the narrative with rich subtext, delivering so much more than your average thriller.
Singh and writer Sudip Sharma reveal the stark contrast between the urban India these protagonists inhabit, and the vast lawless badlands that exist just around the corner. The film puts the spotlight on such ugly realities like the patriarchal, chauvinistic attitude towards women in these parts, the apathy of the local police, and the helplessness of the migrant laborer - but it does so without once resorting to heavy-handed preaching.
The violence in "NH10" is brutal and uncompromising, and it serves the plot well. For extended portions of the film, I found myself holding my breath, concerned for the safety of the protagonists. The suspense is gripping, and credit should go to Singh for transporting you front and center to the heart of the action. What "NH10" gets bang on is the milieu: the atmospherics, the language, and the tension that creeps up on you that you can't shake off. The performances, too, are first rate, and go a long way in elevating the story with Anushka Sharma powering the entire film with her nuanced act. It's something she has never done hitherto, yet she never once makes us feel that she's trying too hard or unsure of her prowess in conveying any of the film's umpteen tough scenes.
If you like edge-of-the-seat thriller peppered with hard-hitting drama and a gory revenge scenarios, then "NH10" should be right up your alley. But if you can't stomach excessive blood and torture, then there is no way you can sit through this. - DirectorRobert ZemeckisStarsJoseph Gordon-LevittCharlotte Le BonBen KingsleyIn 1974, high-wire artist Philippe Petit recruits a team of people to help him realize his dream: to walk the immense void between the World Trade Center towers.Rife with nerve-wracking tension, and keeps you on the edge of your seat (particularly during those high-wire walking scenes) – “The Walk” attempts a tricky balancing act between thrilling visuals and fact-based drama, and like its wire-walking protagonist, pulls it off with impressive élan. It’s a dream-like yet hyper-real film, simultaneously beautiful and terrifying, lovely and scary all at once. It takes the audience on a ride of emotions that ends on the wire, allowing us to feel and experiment vertigo, fear, angst, and at the same time inspires us with the true story of a man who had the confidence, craziness, drive, grit, and tenacity to never gave up on his dream. But, most importantly, “The Walk” succeeds in being a daring film about the passion and beauty of an amazing stunt remembered to this day.
Whimsically told, the story has the feel of a modern fairytale, and it’s clearly an affectionate tribute to the daredevil artist at its center. Having digitally rebuilt the city with astonishing historical accuracy, Zemeckis stages Petit’s 40 minutes on the cable, 1,600 feet above the street, as one of the most lovely, terrifying, suspenseful, and joyous sequences in movie history. And puts forth such an easy charm crossed with a fierce determination that it’s impossible not to fall in love with Philippe Petit as he attempts what sounds utterly suicidal. Joseph Gordon-Levitt has indubitably delivered one of the year’s five best leading performances from a male actor, and deserves an Academy Award nomination no less for his inspirational portrayal of an awe-inspiring individual.
It’s only when the giddiness passes that you realize you’ve witnessed not only an incredible true story but a fitting tribute to an unforgettable landmark. “The Walk” truly deserves to be experienced on the biggest screen possible in glorious 3D format, and it won’t fail to impress and maybe even invigorate. By the end of the film, you’ll be engulfed with genuine admiration as well as respect for Levitt, Zemeckis, and most of all for Philippe Petit and his daring crew on that fateful day back in 1974. - DirectorNeeraj PandeyStarsAkshay KumarDanny DenzongpaRana DaggubatiAn elite counter-intelligence unit learns of a plot, masterminded by a maniacal madman. With the clock ticking, it's up to them to track the terrorists' international tentacles and prevent them from striking at the heart of India.This Baby is one helluva adrenaline-pumping, wholly entertaining ride. Hitherto, Bollywood has not met with much success in the action-thriller/espionage genre (with “D-Day” and “Johny Mera Naam” being the only exceptions – more than 40 years apart). It’s either too much emotion, too many jingoistic statements, too many plot-holes, or out of nowhere the “so called” Agent bursts into a dance sequence (remember “Ek Tha Tiger”?). After memorable films like “A Wednesday” (2008) and “Special 26″ (2013), director Neeraj Pandey totally nails it with this raw and meticulously-crafted take on the genre.
Rarely do you come across an Indian movie that doesn’t hit a single false note. “Baby” is one such film. Writer-Director Neeraj Pandey has made a brilliant film that is not only technically at par with the best in the world, but it’s also a dispassionate, non-judgmental take on terrorism that’s completely devoid of jingoism and is extremely gripping.
“Baby” is among Bollywood’s most grown-up action-thrillers. Its scale is lavish, zipping between India, Nepal, Turkey and the Middle East, and its performances excellent. But the real hero of “Baby” is its screenplay – flowing lucidly and taking you on an engrossing journey of thrills, intrigue and surprises. Bullets are peppered with classic one-liners embellished with dry humor, which keep you entertained throughout. The precarious uncertainty in the life of an officer involved in covert operations has been portrayed in a subtle but telling manner.
Even though the duration of the film is over two and a half hours, the taut pace keeps you hooked. The last 40 minutes are as nail-biting as anything might’ve ever seen.Pandey is indubitably one of the hottest Director’s working today in Indian cinema, and a genius in the making. “Baby” is not just a cinematic experience at its very best, will go down as one of the finest films ever made in Indian cinema. - DirectorPeyton ReedStarsPaul RuddMichael DouglasCorey StollArmed with a super-suit with the astonishing ability to shrink in scale but increase in strength, cat burglar Scott Lang must embrace his inner hero and help his mentor, Dr. Hank Pym, pull off a plan that will save the world.When it comes to unbridled, unabashed, frothy, light-hearted superhero fun, only “The Avengers” and “Guardians of the Galaxy” rival this. “Ant-Man” may boast the world’s smallest superhero but the latest offering from the mighty Marvel studios is big on fun, ingenuity, action, humor, witty dialogues, and most of all, a tight, well-conceived, wholly involving script. Led by a charming performance from Paul Rudd, and a formidable antagonist in Corey Stoll along with strong supporting acts by Evangeline Lilly, Michael Douglas, and Michael Peña, “Ant-Man” offers Marvel thrills on an appropriately smaller scale, yet seamlessly manages to firmly lodge itself right up there with the studio’s best efforts.
When you get right down to it, there is something rather amusing about watching a protagonist the size of a fingernail doing ambitious stunt work while he attempts to survive dangerous obstacles; wherein lies “Ant-Man’s” best quality – it doesn’t try to be a superhero movie yet it fluidly showcases all the craziness, charm, wit, and restricted mayhem associated with the best and infinitely more popular comic book characters. What’s also surprising is just how hilarious the movie is in its entirety; even becoming a challenger to last year’s spectacular “Guardians Of The Galaxy” in terms of impressive comedic chops effortlessly intertwined within a blockbuster action bonanza.
The primary reason why “Ant-Man” packs such an entertaining punch is because it uses big-movie tricks sans big-movie hyperbole. It’s fun, frothy, and light-hearted while also being an enthralling and memorable movie-watching experience, and convincingly carves a niche for itself as a worthy part of the Marvel canon. - DirectorRidley ScottStarsMatt DamonJessica ChastainKristen WiigAn astronaut becomes stranded on Mars after his team assume him dead, and must rely on his ingenuity to find a way to signal to Earth that he is alive and can survive until a potential rescue.Smart, thrilling, and surprisingly funny, "The Martian" offers a faithful adaptation of the bestselling novel by Andy Weir, which brings out the best in leading man Matt Damon and that masterful Director Ridley Scott. An excellent complement to the novel - simplifying the science without dumbing it down yet retaining the suspense and urgency of its interplanetary stranding. It dispenses with so much of the standard violent-action fare we have come to expect from science fiction films (not necessarily a bad thing if done right, but the excess of it all has precariously left the genre tethering on the edge), and instead returns the genre to its roots in the thrill of exploration and the wonders of plausible, believable but as yet unachieved science. "The Martian" is just a marvelous film with spectacular visual effects; crisp, witty dialogues; and an unassuming charm. Moreover, it dares to go where only a few films are inclined to venture nowadays: towards optimism.
- DirectorColin TrevorrowStarsChris PrattBryce Dallas HowardTy SimpkinsA new theme park, built on the original site of Jurassic Park, creates a genetically modified hybrid dinosaur, the Indominus Rex, which escapes containment and goes on a killing spree.While “Jurassic World” might not match the original for sheer inventiveness and impact, it more than delivers as a supremely entertaining and visually dazzling sci-fi actioner with a surprisingly witty screenplay, top-notch cast, spellbinding special effects, and gripping, coherent action. Combining enough nostalgia, technical wizardry, and over-the-top thrills, “Jurassic World” makes fans of the original feel like kids again (yes it’s by far the best of the sequels – though I fell the 3rd part gets undue hate – and almost on par with the 1993 classic), and is sure to pick up many ardent fans from the newer generation along the way.
Pratt is perfectly, heroically dashing as Owen. Bryce Dallas Howard is Pratt’s match as park operations manager Claire Dearing, the by-the-numbers, uptight corporate type who must be swayed and kissed. But the film wouldn’t have been as entertaining as it is without its supporting players — Vincent D’Onofrio, Irrfan Khan, Jake Johnson, and BD Wong. These actors imbue their cleverly written but actually thin characters with shadings and nuances that have little to do with the printed page. My only problem with the movie is that there’s just not enough of the great Irrfan Khan.
While the first hour of “Jurassic World” cleverly sets things up for the ensuing mayhem, the second half is out-and-out, chest-rumbling, dino action. There’s an ethical discussion throughout the “Jurassic” movies about whether dinosaurs ever should have been cloned. But, thanks to “Jurassic World”, there’s no debating the merits of bringing this franchise back from extinction. It's a thrill-a-minute, kick-ass ride of pure awesomeness. - DirectorJames WanStarsVin DieselPaul WalkerDwayne JohnsonDeckard Shaw seeks revenge against Dominic Toretto and his family for his comatose brother.Serving up a fresh round of over-the-top thrills while adding unexpected dramatic heft, “Furious 7″ is first-rate entertainment, and keeps the franchise moving in more ways than one. It's also without a vestige of doubt, the best chapter in the franchise – no two ways about it. The production is all about raising the stakes to top the erstwhile entries, and boy does it succeed in doing so! Even though this installment is as zippy, playful, and amiably preposterous as the previous two models (the analogy with parts 5 and 6 are being made considering they were hitherto the best in the series), it still feels bigger, faster, funnier, and yes, more touching. The action and chase sequences are visceral and triumphant with the film boasting the craziest stunts, campiest dialogue, and warmest of most warm fellowships of any entry yet. The sequels have grown progressively outrageous but they’ve shrewdly embraced a semi-comedic style, and this has only served to benefit the series.
Kudos to Director James Wan (who now turns his sights towards action after earning his place as a horror auteur, and comes out with flying colors) and his stunt team for pulling out all the stops in their quest to deliver a complete package of no-holds-barred, gleefully outrageous action sequences that make the movie feel so transcendent and fantastically entertaining. Just when you think they’ve gone as far over-the-top as possible, they do a whole bunch of more unimaginable, crazy stuff.
That being said, “Furious 7″ ends up having some surprisingly touching subtexts concerning family – not necessarily people united by blood, but by loyalty and friendship. The camaraderie here is stronger than it has ever been. And though the performances aren’t going to lay claim to any acting honors by any stretch of the imagination, it’s the authentic chemistry of the entire cast, their wittily delivered one-liners, and the magnetic star appeal of the likes of Diesel and Johnson that lend melody to the film’s relentless beat.
An additional scene – obviously shot and juxtaposed after Walker’s sad demise – before the end credits roll pays a fine tribute to Walker and his impact on the series, and more significantly his bond with the rest of the cast. By the end of it all, I challenge any regular follower of these movies to keep their tears at bay. Explosive, spellbinding, and surprisingly touching, “Furious 7″ is a fitting farewell to Paul Walker and probably to the franchise, too. Simply put, “Furious 7″ is one of the biggest, loudest, zaniest, and “holy crap that was incredible!!!” action movies ever. - DirectorZoya AkhtarStarsAnil KapoorShefali ShahPriyanka Chopra JonasThe Mehra family must contemplate over their way of living and their love lives while on a cruise celebrating their 30th wedding anniversary.Zoya Akhtar has done it again. Armed with a mastery over storytelling, she uses a scalpel and dissects the superficiality of relationships. Her craftsmanship at exposing the nuances of complicated familial dynamics is intuitive. What is also commendable is the fact that the plot, the dialogues, and the actors devise the perfect symphony. Each and every member of the cast belts out an ace act. The first half seems perfunctory and cosmetic, much like the characters of this dysfunctional Punjabi family. Just the right amount of time is dedicated to establishing the context and prepping the background, which should answer all the naysayers out there cribbing about the length of the film. The second half peels the layers, one at a time, scraping the facade of perfection. Things also pick up in the second half as multiple twists lead to comic consequences. The movie also raises some truly disconcerting aspects about our innate nature. There are films that win for their dialogue and there are those that say it all without literally saying much. “Dil Dhadakne Do” falls in the second category. Portraying dysfunctional families on celluloid isn’t easy. Ensuring the madness doesn’t tip over and establishing character quirks in a way that they seem preposterous yet adorable is a work of art. Artistes who’ve managed to toe this fine line are Wes Anderson and Woody Allen, and now Zoya Akhtar.
- DirectorKanu BehlStarsShashank AroraRanvir ShoreyShivani RaghuvanshiTitli, the youngest member of a car-jacking brotherhood wants to escape the family business. He and his wife form a pact to set free from their family roots. But is escape possible?You may have seen all kinds of Delhis and "Dilliwalas" and "wallis" in the movies, but Director Kanu Behl’s city and its inhabitants are in a class by themselves in the way they inhabit their rabbit holes, and fill them with their rage and helplessness. They are not monsters– and this is where Behl’s insider track knowledge of the place and the people comes in handy – who bludgeon and curse and shout and bully to keep on top. These are characters who do what they do because they see no other way to act, even if the relentlessness and dispiritedness becomes gut-wrenching to take in at times.
The performances are exemplary to say the least: from Raghuvanshi who channels hurt and bewilderment and stoicism in the face of an overwhelming situation, to Lalit Behl who throws in his bid go down as one of the creepiest, most parasitic cinematic fathers, to the middle brother Sial who tries to keep the peace. Newcomer Shashank Arora lives and breathes Titli; the young fellow looking desperately for a way out. And Ranvir Shorey as the oldest sibling whose violence is the most corrosive, yet the most heart-breaking, is outstanding.
You watch with mounting horror, your heart in your mouth. You watch, because you cannot look away. You end up feeling for Titli and his new bride. You want them to break free, and fly away. They shine, and despite its darkness, so does the film. It's harrowing but imperative viewing. - DirectorBoaz YakinStarsThomas Haden ChurchJosh WigginsLuke KleintankA military dog that helped American Marines in Afghanistan returns to the United States and is adopted by his handler's family after suffering a traumatic experience.“Max” is a busy film crowded with serious subject material that rarely goes for cheap nods at sentimentality while still being a patriotic movie that has plenty of heartfelt moments. Director and writer Boaz Yakin (“Remember the Titans”) executes the touching material with prudent serviceability, and along with his co-writer, Sheldon Lettich, doesn’t condescend to the audience, and, instead, infuses the plot with a surprisingly ambitious and revealing commentary about the experience and ensuing trauma of war.
Indubitably, the dog – a Malinois (Belgian Shepherd MWD) steals the film, but there’s enough fodder for the talented cast of young actors to work with and leave an impression. Yakin has made a film that has youthful romance, family values, friendship, father-son issues and subsequent bonding, suspense with bad guys, and most importantly, a dog’s love, unflinching affection, and absolute commitment toward his master. Young kids, oder kids, anyone who loves dogs, and just about the entire family will get something from “Max”. - DirectorSeverin FialaVeronika FranzStarsLukas SchwarzElias SchwarzSusanne WuestTwin boys move to a new house with their mother after she has face-changing cosmetic surgery, but under the bandages is someone the boys don't recognize.Dark, violent, disturbing, and engulfed with a palpable sense of dread, "Goodnight Mommy" is a treat for psychological horror aficionados who not only love the wool being suddenly pulled over their eyes, but also enjoy being taunted with a narrative that's as unpredictable as it's unpleasant. It's not an easy watch, but with haunting cinematography, impeccable pacing, tantalizing suspense, and a constant sense of disquiet right around the corner, Director-duo Severin Fiala and Veronika Franz make you sit up and pay rapt attention to their film.
Another admirable aspect of the film, giving it that tangible sense of dread and wholly realizing the Directors' vision, is the laconic and sophisticated editing of Michael Palm. But if there's one standout aspect of "Goodnight Mommy" besides its superlative plot and direction, then that's the indelible performances, which chew right into the atmosphere of every scene, making the suspense and perennial unease of the narrative all the more foreboding and believable.
The clever script, penned by the Directors themselves, doles out context in small, strategic doses, and their narrative style goes to great lengths to make situations happen in such a disorienting way that it becomes nightmarish after a point to even think about what could transpire next. A menacing tale treated with the patience and confidence it demands, "Goodnight Mommy" is an unmissable psychological horror film where emphasis is laid on paranoia and the darkness of the human mind. - DirectorMatthew VaughnStarsColin FirthTaron EgertonSamuel L. JacksonA spy organisation recruits a promising street kid into the agency's training program, while a global threat emerges from a twisted tech genius.Stylish, subversive, and above all fun, "Kingsman: The Secret Service" finds Director Matthew Vaughn ("Kick-Ass", "X-Men: First Class ") reinventing the rules of spy films with gleeful abandon. Yes it's completely bonkers, totally wacky, unabashedly over-the-top, and at times even indulgently campy, but it's also, downright, one of the most no-holds-barred, entertaining action-comedy romps you're bound experience in years. Basically you need to imagine a Sean Connery James Bond movie with the potty dialect of "Lock, Stock, and Two Smoking Barrels" and the action from "The Raid" franchise. More importantly, it's a celebration of the fun-filled, lost art of political incorrectness.
At its heart, "Kingsman" is just as much a parody of James Bond and his spy genre cousins as the "Austin Powers" franchise. Admittedly, it's not a full-on spoof like "Austin Powers", but this action-comedy is very aware of the clichéd world in which it operates. Eventually, it's an entertaining, endearing, delightful ode to spy flicks from the 1960s - a rowdy, amusing romp - spoofing the James Bond concept of dapper gentlemen involved in international intrigue. Still though "Kingsman" is a loving homage to spy movies, it has just enough gravitas to stand as a memorable film in its own right.
This isn't for the politically correct or the faint of heart. But, if you're on its groovy, twisted wavelength, it's a stoned blast. A smarter spoof than "Austin Powers" devoid of the over-seriousness of the "Bond" movies, "Kingsman: The Secret Service" is a stylishly assembled, crazy action-comedy, and a much-needed fresh take on spy movies. - DirectorBrian HelgelandStarsTom HardyEmily BrowningTaron EgertonIdentical twin gangsters Ronald and Reginald Kray terrorize London during the 1960s.For such a gritty story, “Legend” turns out to be beautiful to look at, full of perfect and lustrous period detail and appealing music and costumes; all but the most violent crime moments have an odd, darkly comic element to them. It seems fair to say that “Legend” doesn’t set itself up to be the definitive Kray story, but it’s hellishly entertaining. And it’s not short of thrills either, the biggest of which is Hardy’s performance as the twin gangsters.
Since every Londoner has a Kray tale to tell, there have been a few quibbles about the story told in “Legend”, but nobody can dispute the sheer genius of Hardy’s dual performance. According to Director Brian Helgeland , the technical tricks involved in presenting one actor as a set of twins haven’t changed much since Hayley Mills starred in “The Parent Trap” more than five decades ago. What’s required to make it all fly are superb performances: Tom Hardy certainly scores on that front, and then some. - DirectorMeghna GulzarStarsIrrfan KhanKonkona Sen SharmaNeeraj KabiAn experienced investigator confronts several conflicting theories about the perpetrators of a violent double homicide.“Talvar” is taut, enthralling, immensely engaging, and one of the best thrillers of Indian cinema ever. It’s an almost perfectly written procedural – the pace never falls off, and the entertainment and revelations never stop coming. The film delivers one gut-wrenching punch after another, and is a literal eye-opener. The insane amount of research that has gone into this movie is clearly evident, and makes the feel so much more credible even if the original names are not allowed to be used.
The filmmakers embody the story with dark humor that subtly talks about the disparity in the diverse social sections of our nation, like how they inconspicuously highlight the difference in the ideologies between the personnel in the Uttar Pradesh Police Force and the parents who belong to the upper strata of the society, or the different outlooks between the regular police officers in our country and the special crime branch officials.
“Talvar” is a taut, edgy, and groundbreaking thriller for everyone, more so for the ones who don’t know much about the case or have had their opinions completely influenced by certain sections of the media. It looks as realistic as it’s possible to shoot a film in India. Anybody with any interest in good, serious, moody cinema should certainly watch “Talvar”. It’s a fantastic case study of one of the most talked about legal procedures in post-independence India. - DirectorKetan MehtaStarsNawazuddin SiddiquiRadhika ApteAshutosh AcharyaUsing only a hammer and a chisel, a man spends twenty-two years carving a road through a treacherous mountain.Nawazuddin is definitely the most crucial and impressive part of “Manjhi: The Mountain Man”. There isn’t a single moment in the entire film where you can separate Siddiqui from Dashrath. Be it revolting against the zamindar or toiling for decades in the memory of his wife, Siddiqui brings out all the character’s emotions to the fore with his facial expressions and evokes pith mostly through his eyes.
To boot, the film is also one of the most touching and inspiring love stories in Bollywood. Married in childhood, Dashrath and Faguniya hardly spent four-five years together before she dies. The bond that the duo develops during that short period can be clearly seen as the reason behind the 22-year-long struggle Dashrath undertakes to ensure that no one else dies the way his wife did.
As they say, God lies in details, and the same applies for the art of cinema. Mehta’s brilliant use of minute details of the socio-political milieu of Dashrath Manjhi’s world helps the story along. He has made apt use of these details to highlight the politics of caste and class with remarked expertise.
It’s not that the film is without its jarring points. The very Bollywood-ized romance between Siddiqui and Apte seems out of place in a lifelike, backwaters surrounding. But the main themes of love, passion, equality, and above all, the strength of a man’s willpower that run throughout the movie comprehensively triumph over such trivial niggles. - DirectorJoss WhedonStarsRobert Downey Jr.Chris EvansMark RuffaloWhen Tony Stark and Bruce Banner try to jump-start a dormant peacekeeping program called Ultron, things go horribly wrong and it's up to Earth's mightiest heroes to stop the villainous Ultron from enacting his terrible plan.With a $250 million budget, Marvel Studios and Disney sunk a lot of the other green into the film, but the money was well spent. Case in point being the Hulk vs. Hulkbuster Iron Man scene that delivers everything you’d want and then some, but the other fight scenes are just as enthralling especially when Whedon pans the camera to shift from one character to the next in the heat of battle. And the climactic scene is pretty much guaranteed to leave comic fans grinning from ear to ear watching the assembled Avengers in action.
Whedon’s specialty has always been the personal relationships between his characters, and despite the numerous majestic action sequences, the character interplay isn’t affected one bit, showing that blockbusters don’t have to be brainless. Downey Jr. remains the snarky, slightly cocky comic relief, Evans further asserts himself as the leader of an eclectic cast, while Hemsworth gives Thor a great turn as the decisive hot head. In fact, each cast member gets welcome moments to shine, but Renner is the most unexpected scene-stealer as he continually questions his place among soldiers, gods, and green behemoths.
Without being really nitpicky, I don’t know how “Age of Ultron” could have been better. Avengers fans will walk out the theater completely jubilant, and the only disappointment they’ll experience is when realization dawns that 370 days remain until their next Avengers fix with “Captain America: Civil War”. May as well kill time by watching “Ultron” a few more times in the theater. Casual fans will go home with the feeling that every penny was well spent on the action blockbuster bonanza. - DirectorSriram RaghavanStarsVarun DhawanNawazuddin SiddiquiYami GautamRaghu begins walking a fine line between good and evil as he exacts violent revenge on two criminals who killed his family 15 years ago.“Badlapur” is a crackling return to form for Director Sriram Raghvan after the debacle that was “Agent Vinod”. Once again openly displaying his love for the neo-noir style with all the chutzpah, ambiguity, and deviousness that the genre demands, Raghvan serves up another devilishly delightful treat for noir fans to go along with his prior classics, “Ek Hasina Thi” and “Johnny Gaddar”.
Kudos to Sriram Raghvan for being perhaps the only Director in mainstream world cinema today whose not only keeping the dying film noir/neo-noir genre afloat, but also showcasing the right sensibilities, proficiency, and understanding along with reverence for past classics to steadily build up and enviable repertoire of noir thrillers. Who knows, in coming years he might even be considered as an auteur of the genre. - DirectorJay RoachStarsBryan CranstonDiane LaneHelen MirrenIn 1947, Dalton Trumbo was Hollywood's top screenwriter, until he and other artists were jailed and blacklisted for their political beliefs."Trumbo" serves as an honorable, brilliantly acted, and surprisingly humorous tribute to a great writer's principled stand. It's a total blast even if the screenplay betrays a few moments where it lacks the energy of its title character, who is played with great wit and vigor by Breaking Bad's Bryan Cranston. A number of films have been made about the Hollywood blacklist, but this one takes you right inside that world alongside Cranston's amazing performance as Dalton Trumbo, who fought back against the blacklist in his own heroic way, and won. And for a film on a relatively serious subject this story of reluctant heroes has surprising wit and, dare I say it, even some suspense weaved in for good measure.
"Trumbo" has some fine performances, an important story, a couple of memorable scenes, and even a bit of humor. It has something to say about the courageous screenplay writer who stuck to his guns and triumphed over the anti-Commie crusaders of the 1950s and 60s, and it says it with passion, wit, and lots of heart. - DirectorJudd ApatowStarsAmy SchumerBill HaderBrie LarsonHaving thought that monogamy was never possible, a commitment-phobic career woman may have to face her fears when she meets a good guy."Trainwreck" boasts sharp humor, relatable characters, and hilarious work from Amy Schumer both as the lead star and writer of the film. Meant for an adult audience, the movie pokes fun at romantic comedies by thinking out of the box. And though it never falls into the trap of the conventional romantic comedy, it also never betrays the spirit of the genre, resulting in a fun, smart, and cynical film. With Schumer's freshness on board, Apatow proves he still has new things to offer as a director, as long as he has a great script to work with. It certainly helps that the script was penned by Schumer, indubitably one of the most prominent and gifted comedians of her generation. I had such a good time watching "Trainwreck", that I'll even go so far as to say that in due time it might go down as one of the ten best rom-coms of the 21st century - it is honest, raunchy, at times hilarious, and has an interesting and complex main character at its heart.
- DirectorDavid O. RussellStarsJennifer LawrenceRobert De NiroBradley CooperJoy is the story of the title character, who rose to become founder and matriarch of a powerful family business dynasty.“Joy” is, for all intents and purposes, pure joy to look at and sit through, complete with postcard-worthy scenes, a mesmerizingly immersive script, fairytale like seamless direction from an in-form Russell (red-hot after delivering a trio of classics in “The Fighter”, “Silver Linings Playbook”, and “American Hustle”), an all-star cast at the top of their game for most parts, and Jennifer Lawrence wearing the pants.
Lawrence is the standout as always and she delivers a very believable performance in the eponymous role. David O. Russell has certainly found his muse. As Katharine Hepburn was to George Cukor or Marlene Dietrich was to Josef von Sternberg, so too is Jennifer Lawrence to Russell. The partnership has yielded yet another fruitful collaboration for all involved. In an era where we routinely bemoan the dearth of strong roles for women, “Joy” quietly enters the discussion and gives us exactly that.
The film is a real tribute to the scrappy heroines of the 1940s when female-centric films were common. Think pictures starring Bette Davis, Barbara Stanwyck, Katharine Hepburn, or Joan Crawford. Yes, those are indeed lofty comparisons, but Jennifer Lawrence embodies the fierce spirit of those trailblazing heroines. I’ll even go so far as to say that if Lawrence had been born before 1920, she might have stolen roles from Jean Arthur, Katharine Hepburn, or Bette Davis. This is a defining role where she comes in not aggressively “with a bow and arrow”, as the director has noted, “but with her heart and soul”. “Joy” will definitely please Jennifer Lawrence fans as well as viewers who enjoy movies with a strong female lead and viewpoint. - DirectorPaul FeigStarsMelissa McCarthyRose ByrneJude LawA desk-bound CIA analyst volunteers to go undercover to infiltrate the world of a deadly arms dealer and prevent diabolical global disaster.The ace partnership between writer and Director Paul Feig and actress Melissa McCarthy evolves into something formidable with this raucous action comedy, which simultaneously spoofs the espionage genre while providing some genuine thrills and scores of belly-bursting laughs along the way. It also manages to come across as progressive and unique without trying to shove an underlying feminist ideology in your face – a rarity for a simple action-comedy trying to make a statement. Melissa McCarthy shines in this clever star vehicle, showcasing her prodigious, copious funny talents. It’s a refreshing return to form for McCarthy, and also features a hilarious supporting turn from Jason Statham. A rib-tickling espionage spoof that gives a confident female-centerd spin to the traditionally ultra-masculine spy/action-comedy genre – “Spy” offers further proof that Melissa McCarthy and writer-director Paul Feig bring out the best in one another.
- DirectorEthan SpauldingStarsSean AstinRosario DawsonNathan FillionWhen Atlantian troops assault Metropolis as revenge for the death of their king, the Queen seeks help from the Justice League to find her son who has gone missing during the madness.“Justice League: Throne of Atlantis” marks another high point in DC’s ever-growing repertoire of sterling, direct-to-video animated features. It works as a terrific origin story for Aquaman, and manages to hold its own against other prior, acclaimed DC, direct-to-video efforts such as “War”, “The Flashpoint Paradox”, “The Dark Knight Returns”, and “Under the Red Hood”. And though this follow-up to “Justice League: War” might fall a tad short to its predecessor’s scale and compelling narrative, it still delivers the same visual style and rich characterization.
While the voice acting, action scenes, and animation are as strong as ever, the film makes a few missteps in its introduction of Aquaman. Even though the plot functions as a great primer on who our hero is, his story, ultimately feels a bit rushed in the second half. Still, the movie does a swell job of integrating Aquaman into DC’s New 52 universe, and all the Justice League members have some great moments to enjoy with their interaction peppered with witty retorts and smart interplay. Along with some stunning action scenes played through the movie, the real big pay off comes in the end where everything culminates into a really explosive, enthralling action bonanza. Although it falls a tad short of the peaks of the upper echelon of the DC Animated stable, “Justice League: Throne of Atlantis” gives enough reason for optimism with future New 52, Justice League films. - DirectorS. Craig ZahlerStarsKurt RussellPatrick WilsonMatthew FoxIn the dying days of the old west, an elderly sheriff and his posse set out to rescue their town's doctor from cannibalistic cave dwellers.John Ford's wild west encounters Wes Craven's horrors in a mash-up of “The Searchers” and “The Hills Have Eyes”. “Bone Tomahawk’s” peculiar genre-blend won’t be for everyone, but its gripping performances and a slow-burning story should satisfy those in search of something different. The rewarding western elements transition smoothly into the world of horror, like the sun moving behind a cloud; and yeah, things get dark and startlingly violent.
It’s a western that’s also a comedy until the good humor runs out and what’s left turns into a grim horror film. And for all its grim, grotesque leanings, the film smartly steers away from despondency; the story and characterization genuinely fears for its protagonists’ lives while still holding legitimate hope that they’re smart enough and tough enough to emerge out the other side intact. Also, though its cult-movie desires often show, “Bone Tomahawk” is ultimately sold by its cast, who commit fully to Zahler’s discursive indulgences.
All in all, the movie is a strong directorial debut, and one of the year’s most unique genre films – a neo-cannibalistic-western-horror with deliberately paced old-school cowboy elements paying homage to auteurs from John Ford to Howard Hawks. - DirectorAntoine FuquaStarsJake GyllenhaalRachel McAdamsOona LaurenceAfter a fatal incident sends him on a rampant path of destruction, a champion boxer fights to get custody of his daughter and revive his professional career.There’s a rawness, urgency, intensity, and strong emotional undercurrent to “Southpaw” that’s utterly invigorating, but there’s also a rich beat of sensitivity that effectively counters its blood-specked rhythms. Director Antoine Fuqua (“Tears of the Sun”, “The Equalizer”, “Olympus Has Fallen”, “Training Day”) and his writer Kurt Sutter (“Sons of Anarchy”) display as much soul and spirit in their story of a broken man fighting to regain his family and career as they extract excitement in the brutal boxing scenes that’ll have viewers wince at every punch thrown and fall taken. Still, if “Southpaw” gets the job done while completing a familiar riches-to-rags-to-retribution trajectory, it’s all because of its lead actor Jake Gyllenhaal. As expected, he delivers a heavyweight performance with one knockout punch after another.
- DirectorAsif KapadiaStarsAmy WinehouseMitch WinehouseMark RonsonArchival footage and personal testimonials present an intimate portrait of the life and career of British singer/songwriter Amy Winehouse.A befitting and appropriately sad recount of one of Britain’s foremost modern music icons, “Amy” is a candid look at the convoluted relationship between art and artist and subsequently fame and celebrity, while shinning copious light on the lethal spiral of addiction. It succeeds in capturing the fans’ adulation with her music and also her downfall; while also managing to relay a profound message about the nature of modern fame.
Director Asif Kapadia weaves together revelatory footage and interviews, assembling from them a melancholic portrait coupled with an intense character study of a major talent with plenty of demons, which only traumatized her further as her star power and fame grew, leading to her eventual ruination. “Amy” is a celebration of all that Winehouse accomplished as well as a cautionary tale about the grave price to be paid for not getting an addict the help they need. Yet, beneath all that, the film’s most obvious and honest bet lies in showcasing the prodigious talent of Amy Winehouse, paying rich tribute to a great performer with one of the best jazz voices of all time. - DirectorSam LiuStarsBenjamin BrattMichael C. HallTamara TaylorIn an alternate universe, very different versions of DC's Trinity (Superman, Batman and Wonder Woman), who operate outside of the law, are framed for murders of prominent scientist and the government decides to take them out.Fun, quick, and easily separated from the rest of the WB/DC animated universe, "Justice League: Gods and Monsters" is worth a watch for dedicated DC comics fans or for those who diligently follow all their direct-to-home-video offerings (some of which are truly spectacular efforts), but is unlikely to sway any newcomers over to the fold.
- DirectorS.S. RajamouliStarsPrabhasRana DaggubatiAnushka ShettyA child from the Mahishmati kingdom is raised by tribal people and one day learns about his royal heritage, his father's bravery in battle and a mission to overthrow the incumbent ruler.Without doubt, “Baahubali: The Beginning” is a benchmark for South Indian films as well as the Indian movie industry as a whole to go to the next level. The movie is unequivocally a massive success at the box-office, and rightly so. From the costumes to the cinematography to the VFX to the production design the movie is a visual treat and an immersive experience. However, since we’ve already seen the best of VFX in Hollywood movies, some may feel that the film’s technical aspects lack considerably at certain points. But still, “Baahubali” is indubitably the most visually spectacular movie to emerge on Indian celluloid.
Minor quibbles with the acting and VFX aside, and if you can overcome major grievances with some huge plot holes, then “Baahubali: The Beginning” is a bona-fide visual splendor that will certainly transport you to a entirely different wondrous realm. It’s more than worth the price of an admission ticket, once you manage to get past the drab and farcical 45-50 of the first half. This is one movie that totally merits the usage of the idiom: “A first-of-its-kind for Indian cinema”. Fingers crossed for an even better sequel. - DirectorDanny BoyleStarsMichael FassbenderKate WinsletSeth RogenSteve Jobs takes us behind the scenes of the digital revolution, to paint a portrait of the man at its epicenter. The story unfolds backstage at three iconic product launches, ending in 1998 with the unveiling of the iMac.Aaron Sorkin’s screenplay and Danny Boyle’s Direction offers a Steve Jobs profile that doesn’t idolize or criticize him, providing us valuable insight to the man’s life and other important individuals who impacted it. But that insight feels incomplete and unrefined at various points in the film, because Sorkin’s (usually impeccable) writing keeps treading into theatrical, garrulous, and, dare I say, even self-indulgent territory to metamorphose into a truly involving experience.
Michael Fassbender and Kate Winslet create all the drama, intensity, conflict, and dynamism required to propel Aaron Sorkin’s minimalist screenplay into grander terrain, but the film is simultaneously inspiring and frustrating, much like the individual it’s based on. In particular, Fassbender’s performance is a striking accomplishment of restraint merged seamlessly with command, as he portrays Jobs as a charming, amiable, and engrossing person in one scene, and a conflicted, revolting, contemptuous monster in the next. And, though, the movie never matches the caliber of its leading man’s sublime performance, it’s nevertheless, as mentioned earlier, inspiring and frustrating at the same time. Perhaps, more inspiring than it is frustrating, and that’s still a pretty good thing. - DirectorDenis VilleneuveStarsEmily BluntJosh BrolinBenicio Del ToroAn idealistic FBI agent is enlisted by a government task force to aid in the escalating war against drugs at the border area between the U.S. and Mexico.A gritty, pragmatist look at the drug war on the U.S. border. The film thrives on Villeneuve’s keen eye for action. Aided immensely by uber-cinematographer Roger Deakins (a shoo-in for his 13th Oscar nomination), Villeneuve turns your nerves into a twist with two masterful action sequences. The first involving a terrifying shootout on the Bridge of Americas, and the second a nighttime raid inside a crudely dug desert tunnel that Deakins films with an infrared camera that perfectly sets an eerie, foreboding mood as blood and ideals are spilled in a barrage of bullets. It’s simply breathtaking, as is the final scene, like “Traffic”, set on an athletic field. It will not only haunt you, but it will also – this is for you Donald Trump – drive home the reason so many people will do anything to flee to the U.S.
What’s not so great is the flat storytelling, which presents precious little of what’s at stake for the characters, particularly Alejandro. The entire film builds and builds to his climactic moment of revenge porn. It’s powerful, but not as intently as it could have been if Villeneuve created a more palpable sense of suspense (like in his last masterpiece, "Prisoners"). Still the performances are strong, and Deakins is amazing, doing for normally boring, bland desert-scapes what he did for the snowbound tundra in “Fargo”. In fact, his ingenious camerawork is “Sicario’s most addictive drug. Whether that’s enough to get audiences high remains to be seen. But even with all its impurities, “Sicario” remains pretty kick-ass dope. - DirectorKyle BaldaPierre CoffinStarsSandra BullockJon HammMichael KeatonMinions Stuart, Kevin, and Bob are recruited by Scarlet Overkill, a supervillain who, alongside her inventor husband Herb, hatches a plot to take over the world.This spinoff film takes the undifferentiated mass of fun and nonsense synonymous with these nearly identical yellow oval creatures, and successfully channels it into a pleasing movie shape. It’s gloriously silly but still pop-culture-literate stuff, packed with dizzyingly frenetic action and fabulously expressive verbal gobbledygook. I started laughing the moment I heard the minions singing the Universal Studios’ theme score in their helium-inflected tones, and remained tickled yellow for the following 90 minutes. Although the opening “minions through history” sequence proves a very tough act to follow, this slice of burbling slapstick animation did keep me grinning and giggling throughout. There’s something irresistibly comic about these adorably, amusingly devious little buggers’ slapstick pratfalls, the macaronic gibberish they spout and, above all, their blithe bumbling innocence. Not quite one in a Minion but far from Despicable either.
- DirectorJaume Collet-SerraStarsLiam NeesonEd HarrisJoel KinnamanMobster and hit man Jimmy Conlon has one night to figure out where his loyalties lie: with his estranged son, Mike, whose life is in danger, or his longtime best friend, mob boss Shawn Maguire, who wants Mike to pay for the death of his own son.Liam Neeson’s “particular set of skills” is still working. “Run All Night” uses the same formula that we’ve seen in Neeson’s prior action vehicles. However there is great difference that sets it apart from some of his recent lackluster outings: this time he has a complex character to play. And while he’s in typically fine form, balancing the dramatic bits and action scenes with equal aplomb, the film suffers slightly from a convoluted plot and workmanlike execution.
Jaume Collet-Serra proves that he’s getting better as a director with each passing film, and Neeson demonstrates why he’s still a reliable action hero. Car chases, running from the bad guys, hand-to-hand fights, shootouts, strong acting, a straightforward plot, and good execution make “Run All Night” a very entertaining film indeed. It’s a satisfying tale of revenge, regret, and redemption, with carefully crafted characters and thrilling action. Moreover, it’s gorgeously filmed by Collet-Serra and his cinematographer, Martin Rhue, who together, beautifully showcase the highs and lows, ebb and flow, and allure and severity of New York City (primarily Brooklyn), and give the metropolitan its own starring role in the film.
“Run All Night” is by no means a classic nor is it a bad film by any stretch of the imagination; it’s more than a decent action movie, which actually has a lot to offer but not without its small share of setbacks. - DirectorLenny AbrahamsonStarsBrie LarsonJacob TremblaySean BridgersA little boy is held captive in a room with his mother since his birth, so he has never known the world outside.The downright jolting, somewhat harrowing, and subtly nervous first half or "Room", followed by an unflinchingly introspective and at times revelationary second half get mired by more than a few logical loopholes and plot inconsistencies strewn throughout the narrative, which many esteemed critics have chosen to conveniently overlook in their almost unanimously lavish praise for the film. And, while Brie Larson's performance deserves all the accolades that's come its way this awards season (though I feel that both Jennifer Lawrence and Saoirse Ronan were far better in more complex roles), it's 9-year old Jacob Tremblay who's the true heart-and-soul of the movie. Playing a 5-year old, Tremblay innocently draws us toward his perspective where he's torn between the existence he's known hitherto and the fantastical outside world he's suddenly thrust into and trying to come to terms with. It's this wide-eyed vision that Director Lenny Abrahamson largely employs to give "Room" its best emotional punches.
- DirectorJake SchreierStarsNat WolffCara DelevingneAustin AbramsAfter an all-night adventure, Quentin's lifelong crush, Margo, disappears, leaving behind clues that Quentin and his friends follow on the journey of a lifetime.“Paper Towns” isn’t as deep or moving as it wants to be, yet it’s still earnest, well-acted, and thoughtful enough to earn a place in the hearts of teen filmgoers of all ages while providing a breezy, light-hearted nostalgic trip for adult viewers. Unlike “The Fault in Our Stars” (the first, big-screen John Green adaptation), the overall mood here is safe rather than edgy, but what it does do very effectively is capture a particular quality of adolescent yearning. “Paper Towns” follows the familiar story of the wannabe high-schooler who meets a dreamy girl and everything falls into place. Trying to subvert this stereotypical storyline, the film neatly weaves themes of loneliness, fear, depression, and anxiety into the plot. The film takes a lot of the original spirit of the novel while subverting the story, taking out all the meandering teenage angst and replacing it with a fun, understated film. It’s eventually a bittersweet teen film with much to offer even those of us who have, in theory, grown up, although it never quite reaches its potential of a remarkable coming-of-age drama.
- DirectorGuillermo del ToroStarsMia WasikowskaJessica ChastainTom HiddlestonIn the aftermath of a family tragedy, an aspiring author is torn between love for her childhood friend and the temptation of a mysterious outsider. Trying to escape the ghosts of her past, she is swept away to a house that breathes, bleeds - and remembers."Crimson Peak" offers an engagingly different horror narrative, driven by a delightfully creepy atmosphere and Director Guillermo del Toro's brilliant knack for unforgettable visuals. It's great to see that del Toro remembers, comprehends, and is willing to oblige his audience with three of cinematic lore's most essential and common tropes: sex, violence, and mood. He literally tries to display his characters' innards while also exploring the dark, latent recesses of their mind. But the novel plot and gothic atmosphere with Victorian moments get lost and muddled in a denouement that's excessively slasher-oriented and unnecessarily modern. Still, a game cast - Wasikowska was born to wander dark corridors and it's about time someone tapped into Chastain's potential for portraying evil, and doing it chillingly well- and del Toro's eye for detail make for a stylish and more- than-spooky shocker.
- DirectorTodd HaynesStarsCate BlanchettRooney MaraSarah PaulsonAn aspiring photographer develops an intimate relationship with an older woman in 1950s New York.In spite of not being as ambitious as Todd Haynes’ (“I’m Not There”, “Far from Heaven”) earlier films, “Carol” effectively puts you in the shoes of its characters and succeeds in evoking pith and compassion for how they feel. It’s elegantly crafted and tells a profound story with a delicate approach. Every piece fits perfectly to tell a beautiful, heartfelt tale of love and passion, demonstrated with great usage of looks, subtleties, and sensitivity that go hand-in-hand- with extraordinary cinematography and costumes by Edward Lachman and Sandy Powell (both nominated this year for Academy Awards). The only issue is that everything fits a bit too perfectly with nothing much happening at times, making us think where the film is exactly heading during such moments, and hoping that the slight redundancy creeping in stems soon enough to not take away from the sumptuous experience of what could possibly be the year’s most romantic movie. But Cate Blanchett and Rooney Mara are hypnotic enough to wade through these moments that are few and far between, and ultimately the film triumphs a declaration of love to another era seen through a thoroughly modern perspective.
- DirectorBrad PeytonStarsDwayne JohnsonCarla GuginoAlexandra DaddarioIn the aftermath of a massive earthquake in California, a rescue-chopper pilot makes a dangerous journey with his ex-wife across the state in order to rescue his daughter.The allure of “San Andreas” rests entirely on the caliber of its pandemonium, cutting-edge special effects, and the charisma of its leading man – on these three counts alone the movie is more than worth the price of admission. Complain all you want about the plot contrivances, plot-holes, and flaws in the narrative, but the film is ultimately critic-proof for its sheer entertainment value, and even the most cynical will have to admit that it more than delivers what you bought your ticket to see.
As disaster-action films go, this one isn’t in proximity to the caliber of “Towering Inferno”, “Dante’s Peak”, “2012”, and “Into the Storm”; perhaps because the mayhem looks too artificial after a point of time, and also because some of the CGI wizardry comes across as preposterous – the kind that doesn’t make you gape in awe but rather remain dumbfounded at the absurdity of the whole situation. I mean, they should have stopped short of having The Rock ride a bloody tsunami on a speedboat. Still, that same tsunami is the reason why we see a cruise ship rolling through California’s Chinatown section, so I guess that offers enough compensation for the aforementioned inanity. Nevertheless, “San Andreas” is a terrific entry in the genre’s popcorn blockbuster category, brimming over with close-calls, near misses, and unbridled fun. - DirectorJay OlivaStarsStuart AllanTroy BakerKevin ConroyWhile Damian Wayne struggles to cope with Batman's no-killing rule, he soon starts to believe that his destiny lies within a secret society known as, The Court of Owls.The film is steered by the assured hands of direct-to-video master helmer, Jay Olivia. As anyone who's familiar with Olivia's prior action/animated classics would expect, "Batman vs. Robin" skews a bit violent — get used to a lot of gratuitous blood sprays — but the man also knows how to stage fluid, easy-to-follow, and extremely realistic action scenes even with multiple combatants. Like the comics, the Talons prove an actual threat to Batman.
There are just a few minor problems that hold the movie back from being in the top tier of Warner Bros. / DC's Home Entertainment productions. My biggest gripe is the shoddy treatment of Nightwing (Sean Maher), who is constantly made to look inferior to both Damian and the Owls in combat. Additionally, DeMatties and Oliva initially set up a good mystery about the Court's leader, but the payoff is a bit too Scooby Doo- esque as the evil top dog is the only other major character introduced.
"Batman vs. Robin" is sure to entertain you regardless of whether you're an old-school Batman follower, an ardent fan who's up-to-date with all the latest development in the caped crusader's comic arcs, a causal follower of a few highly interesting comic issues (more of the graphic novel kind), just someone who's kept abreast with Batman's celluloid renditions, or just a thrill-seeking fan of action movies. - DirectorGlenn FicarraJohn RequaStarsWill SmithMargot RobbieRodrigo SantoroIn the midst of veteran con man Nicky's latest scheme, a woman from his past - now an accomplished femme fatale - shows up and throws his plans for a loop.Fun, slick, engaging, and sexy - "Focus" is a good caper movie that finds a way to make you enjoy getting taken for a ride; unlike a real-life con-job. It’s nice to see Will Smith having fun in a role again, and the talented Margot Robbie makes for a good partner in crime. The leads are appealing together, and that turns out to be the most crucial element of the movie.
The film offers a fair dose of giddy pleasure, just like any entry in the crime-caper-comedy genre should, but it also suffers a tad from being overtly smooth, slick, and sure of itself – accusations that are sometimes thrown the way of the movie’s leading man. And this is where the film loses a bit of “focus” as it peters out towards its climax, which is a darn shame because it most certainly had the potential to end up as one of the great con movies made.
You end up with a feeling of being entertained yet not completely satisfied, especially in the second half where the twists and turns end up being more confounding than beguiling. Still, for the most part, “Focus” neatly skates by on its style, confidence, delectably teasing con-jobs (mostly in the first half), and the suave charm of its lead stars. - DirectorTom HooperStarsEddie RedmayneAlicia VikanderAmber HeardA fictitious love story loosely inspired by the lives of Danish artists Lili Elbe and Gerda Wegener. Lili and Gerda's marriage and work evolve as they navigate Lili's groundbreaking journey as a transgender pioneer.Though the film hinges firmly on Redmayne’s transformative and heartfelt performance, it’s helped considerably by Vikander’s strong portrayal of his understanding, cognitive wife Gerda – torn between the desire to keep her husband and the support she lends to help him take an unprecedented, life-changing, step – and a lovely turn by Belgian actor Matthias Schoenaerts as Redmayne’s old friend. If Redmayne is totally convincing as both Einar and the film’s eponymous character – providing another sterling example of how deeply he can immerse himself in a role – then, Vikander delves deep beneath the surface to explore a truly fascinating woman.
Still, you wish that the film had dwelled into the strange relationship that developed between Gerda and Lili’s transsexuality (Einar’s alter-ego after embracing his true gender) as they endeavored to comprehend it together. Instead, Hooper and his writer Coxon choose to stay on a safe path and dwell mostly into sentimental territory, which detracts somewhat from the film’s topical nature pertaining to history’s first recorded transsexual. Nevertheless, “The Danish Girl’s” unique and brave story, and the two delicate central performances give it a gripping emotional weight that is quite affecting. - DirectorGilles Paquet-BrennerStarsCharlize TheronNicholas HoultChristina HendricksLibby Day was only eight years old when her family was brutally murdered in their rural Kansas farmhouse. Almost thirty years later, she reluctantly agrees to revisit the crime and uncovers the wrenching truths that led up to that tragic night.For those who loved the twisted narrative of last year’s “Gone Girl”, “Dark Places” – also from the mind of novelist Gillian Flynn – just might scratch that itch for mystery. But without David Fincher’s chilly auteurist touch, “Dark Places” is just one step above a Lifetime TV movie. Not that there’s anything wrong with that: There are many pleasures to be found mucking around in this ooey-gooey murder melodrama, but high-brow this is not.
The twists, turns, and reveals in the mystery sustain interest in the film, which hops between present day to the day of the murders, interspersed with Libby’s flashback of fleeing the house that night. But despite all the shocking developments, the resolution is rushed, and therefore farfetched and confounding. Important connections are completely passed over, and it doesn’t seem like the film even believes its own ending. And once the mystery is over, we don’t have any reason to care about these characters, because no effort has been made to make us care about them, or even get to know them as people.
The surface level generic pleasures of “Dark Places” and the stellar cast are entertaining enough, even if it doesn’t quite stick the landing. - DirectorAlex GarlandStarsAlicia VikanderDomhnall GleesonOscar IsaacA young programmer is selected to participate in a ground-breaking experiment in synthetic intelligence by evaluating the human qualities of a highly advanced humanoid A.I.“Ex Machina” has an intriguing setup that’s graced by three terrific performances, and it gets to harness the duplicity and suspense of humanoid robot stories, but it never explores its full potential, and ends up coming down to the very familiar binary question of every other humanoid robot story. Yes, it presents us with gorgeous special effects and some of the best-looking androids you’ll ever see, but it also features the indie quality of a low-budget 3-person play whose dialogue isn’t going to blow you away. Still, for what it’s worth, “Ex Machina” showcases some stimulating ideas coupled with minimalist yet striking effects, and has an overall visually polished quality about it, making it more than an engaging sci-fi flick.
- DirectorRemo D'SouzaStarsPrabhu DevaVarun DhawanShraddha KapoorBased on the true story of the Fictitious Dance group; their rise to fame, sudden downfall, and their heroic attempt to seek vindication by regaining their lost pride and glory.Designed as crack cocaine for dance aficionados, “ABCD 2″ has enough to hold the interest of the casual audience, too. The movie’s scale is much grander than the original, is stylishly shot, and boasts some gorgeous frames especially in the second half.Yes, it is bogged down by some kitschy dialogues, unnecessary back-stories, and subpar performances from the supporting cast. Also, the faux pax patriotism in the climax won’t sit well with many; it seems forced even though we get the stellar Vande Mataram dance sequence emanating from that. However, what matters is that Director Remo catches your attention from the start of the film and holds on to it. “ABCD 2″ is universal in its appeal and a thoroughly entertaining sequel. If you can enjoy perfectly conceived and amazingly performed dance sequences with a simplistic engrossing storyline, and decent performances, then “ABCD 2″ is as good as a dance-themed film as any.