Sunday, September 29, 2013
Grand Masti
Ratings : 4,5/10
Genres : Comedy | Drama | Romance
Release Date : 13 September 2013 (India)
Storyline
Meet, Prem, and Amar look to have a blast at their college reunion,
though they soon find themselves in another predicament.
User Reviews
This Friday I got the
chance to watch the first show of GRAND MASTI in a small city's
multiplex out of Delhi and the venue was flooded by mainly boys from
colleges and local surroundings. The house was full in just a few
minutes and there were some couples and a girls group too opting for the
film instead of any other released on the same day. Now the moment the
film started with its very first scene explaining the new meanings of
alphabets ABC, there was a deafening noise of shouts, hoots, whistles
and energetic cheers in the whole theater all of a sudden. The screen
was showing some cheap shots of a woman's body taken from different
angles and the crowd was cheering its each new angle and dialogues just
instantly.
At first I thought that since its only the beginning,
so may be the film is making a ground for a bold sex comedy in the next
reels. But as the film progressed from its one dirty sequence to the
other, I started feeling the discomfort as felt by the few couples and a
girls group sitting in the row next to me. Within the next half an
hour, the whole 'Grand Masti' simply turned into a 'Desperately Sasti'
B-grade kind of film featuring some known names of the industry, very
surprisingly. The fun got converted into vulgarity and all its so called
comedy simply entered the 'over the limit' zone crossing all the
possible boundaries, not yet broken in our Indian Cinema till date. So
to say the least, GRAND MASTI gives you something which was never tried
before in a Hindi mainstream Sex Comedy film ever and it goes way beyond
your wildest cinematic imaginations to be precise.
Admittedly, the experience of GM's first show, made me recall the good old decade of 80s because even after 40 minutes of the film, all those shouts, hoots and whistles were still coming constantly and the 'young boys crowd' was simply going mad, like anything. Looking at this changing state of the audience (fast turning into a scary mode), firstly the few couples sitting in the theater left the hall silently and then the only girls groups sitting beside me stood up to leave the film for the obvious reasons. Now the moment they started marching towards the exit gate, the noise of those shameless cheers even got louder and few also stood up to blow their whistles with the full force. Sitting in this strange, weird and unexplainable kind of ambiance, surpassing all my set expectations……., I was frankly feeling ashamed and truly confused about the film's questionable content and its visible impact on the audience right away.
For a few minutes, I had my attention completely lost and just when I again got back into the film, there came intermission written on the screen and the lights were all on. But within those bright lights, as all the laughing faces became visible and their mutual conversations started coming into my ears full of lusty comments & jokes, I really felt as if I am sitting in a 'Gents Toilet' instead of a movie theater, witnessing the 'Sick Catharsis of Men' being practiced by every single person around, quite carelessly.
However the fact which amazed me a lot more was that as the film was moving from its one level of craziness on to the other, the whole crowd was equally getting mad and even noisier than before, without losing any kind of energy quite astonishingly. In fact listening to the similar cheers and shouts in the last sequence of the film too (after 2 hours), I was forced to accept that I had not seen such kind of weird yet energetic response, even in any of the biggest Star's movie in the last 2 decades ever.
Next, the film got over, the crowd started moving towards the exit and it was like a whole bunch of sexually charged & dangerously provoked brats were coming out of the theater recalling all those disgusting names used in the film having double meanings. But what scared me like hell was that now the same lusty remarks, laughs and shouts were being made loudly, aiming at the other couples roaming in the shopping mall in a completely different mood, which even forced many girls to simply enter whatever showroom came their way just to avoid the boys.
The scene at once reminded me of a recent seminar where many reputed names of the film industry strongly opposed the thought that "Hindi Cinema is badly influencing our present young society." The reputed panelists were simply not ready to accept this severe allegation and had their own arguments for the same which were also quite logical. But looking at this 'Loud, Wild and Fanatical' kind of audience response witnessed both within and outside the hall, I would like to say, that the issue surely needs to be addressed in the right perspective at the earliest.
So this was about my experience of watching GRAND MASTI in the theater today which again reminded me of the two famous phrases used to define our part of the world as 'Sexually Starved" or "Sexually Repressed" society, very aptly. Therefore, being a film made strictly for the men, by the men and of the men, I would not like to recommend GRAND MASTI to any of the readers here, as I do respect the Identity of a Women in our society with much high regards and cannot support any such cowardly act treating them as mere objects or means of entertainment with a sick attitude.
But elaborating on the same, I am also not against the genre of SEX COMEDIES as it may seem, if only they are made with a balanced vision, equally enjoyable by a man and a woman together without any gender bias.
Admittedly, the experience of GM's first show, made me recall the good old decade of 80s because even after 40 minutes of the film, all those shouts, hoots and whistles were still coming constantly and the 'young boys crowd' was simply going mad, like anything. Looking at this changing state of the audience (fast turning into a scary mode), firstly the few couples sitting in the theater left the hall silently and then the only girls groups sitting beside me stood up to leave the film for the obvious reasons. Now the moment they started marching towards the exit gate, the noise of those shameless cheers even got louder and few also stood up to blow their whistles with the full force. Sitting in this strange, weird and unexplainable kind of ambiance, surpassing all my set expectations……., I was frankly feeling ashamed and truly confused about the film's questionable content and its visible impact on the audience right away.
For a few minutes, I had my attention completely lost and just when I again got back into the film, there came intermission written on the screen and the lights were all on. But within those bright lights, as all the laughing faces became visible and their mutual conversations started coming into my ears full of lusty comments & jokes, I really felt as if I am sitting in a 'Gents Toilet' instead of a movie theater, witnessing the 'Sick Catharsis of Men' being practiced by every single person around, quite carelessly.
However the fact which amazed me a lot more was that as the film was moving from its one level of craziness on to the other, the whole crowd was equally getting mad and even noisier than before, without losing any kind of energy quite astonishingly. In fact listening to the similar cheers and shouts in the last sequence of the film too (after 2 hours), I was forced to accept that I had not seen such kind of weird yet energetic response, even in any of the biggest Star's movie in the last 2 decades ever.
Next, the film got over, the crowd started moving towards the exit and it was like a whole bunch of sexually charged & dangerously provoked brats were coming out of the theater recalling all those disgusting names used in the film having double meanings. But what scared me like hell was that now the same lusty remarks, laughs and shouts were being made loudly, aiming at the other couples roaming in the shopping mall in a completely different mood, which even forced many girls to simply enter whatever showroom came their way just to avoid the boys.
The scene at once reminded me of a recent seminar where many reputed names of the film industry strongly opposed the thought that "Hindi Cinema is badly influencing our present young society." The reputed panelists were simply not ready to accept this severe allegation and had their own arguments for the same which were also quite logical. But looking at this 'Loud, Wild and Fanatical' kind of audience response witnessed both within and outside the hall, I would like to say, that the issue surely needs to be addressed in the right perspective at the earliest.
So this was about my experience of watching GRAND MASTI in the theater today which again reminded me of the two famous phrases used to define our part of the world as 'Sexually Starved" or "Sexually Repressed" society, very aptly. Therefore, being a film made strictly for the men, by the men and of the men, I would not like to recommend GRAND MASTI to any of the readers here, as I do respect the Identity of a Women in our society with much high regards and cannot support any such cowardly act treating them as mere objects or means of entertainment with a sick attitude.
But elaborating on the same, I am also not against the genre of SEX COMEDIES as it may seem, if only they are made with a balanced vision, equally enjoyable by a man and a woman together without any gender bias.
The Fifth Estate
Genres : Biography | Drama
Release Date : 18 October 2013 (USA)
Storyline
The story begins as WikiLeaks founder Julian Assange (Benedict Cumberbatch) and his colleague Daniel Domscheit-Berg (Daniel Brühl) team up to become underground watchdogs of the privileged and powerful. On a shoestring, they create a platform that allows whistle-blowers to anonymously leak covert data, shining a light on the dark recesses of government secrets and corporate crimes. Soon, they are breaking more hard news than the world's most legendary media organizations combined. But when Assange and Berg gain access to the biggest trove of confidential intelligence documents in U.S. history, they battle each other and a defining question of our time: what are the costs of keeping secrets in a free society-and what are the costs of exposing them?User Reviews
THE FIFTH ESTATE is based on two books, both written by people who had personal and legal disputes with WikiLeaks.
These are personally biased sources and are now outdated by three years. They tell only one side of the story.
These
authors had an interest in portraying Julian Assange as dishonest or
manipulative for competitive, personal and legal reasons.
It is hard to imagine how a film which aims to dramatize only their version of events could genuinely aspire to being fair or accurate.
The film does not tell the story Julian Assange or WikiLeaks staff such as Sarah Harrison, Joseph Farrell or Kristinn Hrafnsson would tell. Hopefully, soon, their story too can be told.
These are personally biased sources and are now outdated by three years. They tell only one side of the story.
It is hard to imagine how a film which aims to dramatize only their version of events could genuinely aspire to being fair or accurate.
The film does not tell the story Julian Assange or WikiLeaks staff such as Sarah Harrison, Joseph Farrell or Kristinn Hrafnsson would tell. Hopefully, soon, their story too can be told.
Captain Phillips
Ratings : 5,8/10
Genres : Action | Biography | Drama | Thriller Release Date : 11 October 2013 (USA)
Storyline
The true story of Captain Richard Phillips and the 2009 hijacking by
Somali pirates of the US-flagged MV Maersk Alabama, the first American
cargo ship to be hijacked in two hundred years.
User Reviews
Hours after the World
Premiere of Paul Greengrass' newest psychological thriller "Captain
Phillips," my heart is still palpating at a hundred beats per minute.
Starring the magnificent Tom Hanks in his finest performance since "Cast
Away," this edge-of-your-seat thrill ride lands as one of the best
films of the New York Film Festival and the year.
An intricate and precisely executed thriller written by Billy Ray, everything about "Captain Phillips" works amazingly. It's this year's "Zero Dark Thirty" in tension and features not one, but two fierce performances from Tom Hanks and newcomer Barkhad Abdi. A loose dramatization and not a fact to fact retelling of a dark day for an American captain, the film takes us through the days Captain Richard Phillips' cargo ship was hijacked by Somali pirates in 2009. The film unravels itself with a narrative intensity bringing our hero from the day of his departure to the end of his journey. Writer Billy Ray's detailed and well-structured script provides Greengrass to do exactly what he does best in his directorial efforts. There are definite elements in "Captain Phillips" that remind me of the emotional and gut- wrenching effect that "United 93" had on so many of us nearly seven years ago. While you will have a near heart attack, you will be in tears by the end credits.
I haven't been this impressed with the work of Tom Hanks in years. Putting every ounce of his charm to good use but digging deep into a character with such raw and emotional fervency. Hanks' dedication and abilities utilized are the same tools used in his first Oscar-winning performance in "Philadelphia" I assure you. It's a turn that could make him this year's Daniel Day-Lewis. As his wife, the beautiful Catherine Keener is regulated to one single scene, at the beginning of our film, where Hanks dominates the conversation. Still a cherry on top if you ask me but not something that many will notice nor remember..
Breakthrough performer Barkhad Abdi is simply sensational. With a snarky demeanor as he calls Capt. Phillips "Irish" - Abdi plays Muse, a Somali pirate that is layered with pride and disdain for the human condition. Billy Ray gives him such a complexity, hinting at a sensitive undertone but not masking the overtly violent rage that embodies his soul; it's a creative formula that equals an interesting dichotomy. Abdi administers these traits brilliantly.
As you expect any Paul Greengrass film to be, the technical executions are top-notch including the intimate Cinematography by Barry Ackroyd and the tight editing of Christopher Rouse, both sure-fire Oscar nominees for awards season.
One of
the amazing things about "Captain Phillips" is the final twenty minutes
or so. Pent-up emotion that has built for nearly two hours, our hero's
last moments with the audience are both triumphant and incredibly
vulnerable. This is when Tom Hanks shows his true power as one of the
finest actors to grace our screens. I admire the man. He captures the
real human condition, both in courage and in the face of defeat. How
would you react in what you thought could be your final moments on
Earth? Who would you think about? What about if you did make it? Would
you be so overcome with emotion that you couldn't focus on the blanket
of safety that surrounds you, or would you just crumble into the fetus
position, wanting to return to your place of origin? "Captain Phillips"
renewed my love of the movies. It's what breathes life into my daily
routine. It fascinates us and which is why, no matter how terrible our
lives are, or how the economy falls beneath our feet, cinema still
lives. Free as a bird. I'm in awe of all of this. I feel privileged to
share those moments. Not to be hyperbolic or put focus on the Oscar
race, which is what I do for a living, but "Captain Phillips" showed me
what Tom Hanks really means to cinema. Our lives are habitual and
ordinary at times, yet someone, every now and again, has the ability to
capture those little quirks of our own selves. I think Hanks is this
generation's treasure that will be remembered for years to come. I'm in
near tears as I write this now. Paul Greengrass brought me personally
into a situation that I will likely never be in and examined my frail
and defenseless spiritual nature. Connection. That's what cinema is
about. Few films do this. Many never will.
To get off the somber note, "Captain Phillips" is filled with high- levels of tension. Bring your defibrillator and a bottle of Xanex to make it through the picture as your heart will be beating outside of your chest. In so many ways, it's the perfect film. Real life, authentic characters, and a cast and crew that show up to deliver some of their finest works. A dynamite lesson of the human psyche.
An intricate and precisely executed thriller written by Billy Ray, everything about "Captain Phillips" works amazingly. It's this year's "Zero Dark Thirty" in tension and features not one, but two fierce performances from Tom Hanks and newcomer Barkhad Abdi. A loose dramatization and not a fact to fact retelling of a dark day for an American captain, the film takes us through the days Captain Richard Phillips' cargo ship was hijacked by Somali pirates in 2009. The film unravels itself with a narrative intensity bringing our hero from the day of his departure to the end of his journey. Writer Billy Ray's detailed and well-structured script provides Greengrass to do exactly what he does best in his directorial efforts. There are definite elements in "Captain Phillips" that remind me of the emotional and gut- wrenching effect that "United 93" had on so many of us nearly seven years ago. While you will have a near heart attack, you will be in tears by the end credits.
I haven't been this impressed with the work of Tom Hanks in years. Putting every ounce of his charm to good use but digging deep into a character with such raw and emotional fervency. Hanks' dedication and abilities utilized are the same tools used in his first Oscar-winning performance in "Philadelphia" I assure you. It's a turn that could make him this year's Daniel Day-Lewis. As his wife, the beautiful Catherine Keener is regulated to one single scene, at the beginning of our film, where Hanks dominates the conversation. Still a cherry on top if you ask me but not something that many will notice nor remember..
Breakthrough performer Barkhad Abdi is simply sensational. With a snarky demeanor as he calls Capt. Phillips "Irish" - Abdi plays Muse, a Somali pirate that is layered with pride and disdain for the human condition. Billy Ray gives him such a complexity, hinting at a sensitive undertone but not masking the overtly violent rage that embodies his soul; it's a creative formula that equals an interesting dichotomy. Abdi administers these traits brilliantly.
As you expect any Paul Greengrass film to be, the technical executions are top-notch including the intimate Cinematography by Barry Ackroyd and the tight editing of Christopher Rouse, both sure-fire Oscar nominees for awards season.
To get off the somber note, "Captain Phillips" is filled with high- levels of tension. Bring your defibrillator and a bottle of Xanex to make it through the picture as your heart will be beating outside of your chest. In so many ways, it's the perfect film. Real life, authentic characters, and a cast and crew that show up to deliver some of their finest works. A dynamite lesson of the human psyche.
Runner Runner
Ratings : 5,4/10
Genres : Crime | Drama | Thriller
Release Date : 27 September 2013 (Indonesia)
Storyline
Princeton grad student Richie, believing he's been swindled, travels to Costa Rica to confront online gambling tycoon Ivan Block. Richie is seduced by Block's promise of immense wealth, until he learns the disturbing truth about his benefactor. When the FBI tries to coerce Richie to help bring down Block, Richie faces his biggest gamble ever: attempting to outmaneuver the two forces closing in on him.User Reviews
Richie Furst (Justin
Timberlake), a Princeton management graduate student who promotes an
online gambling site on campus, earning commissions to pay off his
tuition. When the school clamps down on his activities and he loses all
his savings on a last ditch all-or-none bet, Furst goes straight to the
top, flying to Costa Rica to seek out Ivan Block (Ben Affleck), the
kingpin of online gaming.
Block admires Furst's gambling acumen
and hires him to be a trusted runner for his business affairs, which
slowly reveal themselves to be less than on the level. When FBI agent
Agent Zbysko (Anthony Mackie) enters the scene with his threats, Furst
discovers he might have bitten off more than he could chew.
Justin Timberlake generally does well as Furst, wide-eyed and excited at first, troubled and harassed at the end. I liked his scenes with his father played by John Heard. I do not really expect much from Ben Affleck as an actor, and again here, he does not measure up. He is hardly believable as a nefarious gambling lord who could feed his enemies to crocodiles.
The beautiful Gemma Arterton is totally wasted here. She does not get to do much, and she does not have any chemistry with any of the men she is supposed to be in liaisons with. Anthony Mackie plays the FBI agent too over-the-top to be convincing.
The story was too familiar to be exciting. The relationship of Justin and Ben (and Gemma, for that matter) were too dry to be engaging. The gambling jargon was too hard to follow to be interesting. The ending is too obvious to be worth the time spent watching.
Justin Timberlake generally does well as Furst, wide-eyed and excited at first, troubled and harassed at the end. I liked his scenes with his father played by John Heard. I do not really expect much from Ben Affleck as an actor, and again here, he does not measure up. He is hardly believable as a nefarious gambling lord who could feed his enemies to crocodiles.
The beautiful Gemma Arterton is totally wasted here. She does not get to do much, and she does not have any chemistry with any of the men she is supposed to be in liaisons with. Anthony Mackie plays the FBI agent too over-the-top to be convincing.
The story was too familiar to be exciting. The relationship of Justin and Ben (and Gemma, for that matter) were too dry to be engaging. The gambling jargon was too hard to follow to be interesting. The ending is too obvious to be worth the time spent watching.
All Is Lost
Ratings : 7,3/10
Genres : Action | Drama
Release Date : 18 October 2013 (USA)
Sound Mix :
Dolby Digital
Storyline
Deep into a solo voyage in the Indian Ocean, an unnamed man (Redford) wakes to find his 39-foot yacht taking on water after a collision with a shipping container left floating on the high seas. With his navigation equipment and radio disabled, the man sails unknowingly into the path of a violent storm. Despite his success in patching the breached hull, his mariner's intuition and a strength that belies his age, the man barely survives the tempest. Using only a sextant and nautical maps to chart his progress, he is forced to rely on ocean currents to carry him into a shipping lane in hopes of hailing a passing vessel. But with the sun unrelenting, sharks circling and his meager supplies dwindling, the ever-resourceful sailor soon finds himself staring his mortality in the face.User Reviews
Robert Redford's "All
Is Lost" is the crown jewel of a great acting career and deserves all
the plaudits and awards that will most assuredly come its way,
including
a much long-overdue Oscar for the star. Literally a one-man show, the
film puts on raw display every speck of this actor's jammed arsenal of
acting talent, accumulated from over more than a half-century on stage,
TV and film. This is a celebration within a celebration, a star's
survival with decency and respect completely intact in an industry not
always known for either, and an actor up to the rigors and stature of of
a monumental character and story worthy of the great literary works.
One for the ages, this. And bravo!
12 Years a Slave
Ratings : 7,7/10
Genres : Biography | Drama | History
Release Date : 17 October 2013 (Greece)
Format : 35 mm (anamorphic) D-Cinema
Storyline
Based on an incredible true story of one man's fight for survival and freedom. In the pre-Civil War United States, Solomon Northup (Chiwetel Ejiofor), a free black man from upstate New York, is abducted and sold into slavery. Facing cruelty (personified by a malevolent slave owner, portrayed by Michael Fassbender), as well as unexpected kindnesses, Solomon struggles not only to stay alive, but to retain his dignity. In the twelfth year of his unforgettable odyssey, Solomon's chance meeting with a Canadian abolitionist (Brad Pitt) will forever alter his life.User Reviews
McQueen's epic is beautiful and tragic anchored by sensational performances...
One
of the things that have been thrown around for months now is the notion
that awards season voting bodies won't respond to it because it's too
"difficult" to sit through. Let's define difficult, shall we? Is it
difficult to see the first openly gay politician gunned down by his
closeted colleague? Is it difficult to see a reformed convict put to
death by our country for his crimes? Is it difficult to see a mother
choose which one of her children dies during the Holocaust? I'd argue
that these answers add up to a resounding yes. Yet, no one threw those
phrases of "too difficult" around.
I've watched hundreds of films throughout my short 29-year history and I've seen some difficult cinema. Steven Spielberg's "Schindler's List" can make anyone quiver in shame as it shows the despicable reality of the Holocaust. Paul Greengrass' "United 93", which is almost an emotional biopic of America's darkest hour, makes me want to crawl up into a ball and cry. And finally, Mel Gibson's "The Passion of the Christ", one of the highest grossing films of all-time, shows the labor of our sins fleshed out into the beaten skin of an honest man. And still, no one threw these hyperbolic terms out saying, "it's too hard watch." Is it because this is an American tragedy, done by Americans? Is it the guilt of someone's ancestors manifesting it in your tear ducts? I can't answer that. Only the person who says it can. The structure of this country is built on the backs and blood of slaves. But slavery didn't just exist in America, it was everywhere. It was horrifying what occurred for over 200 years and believe it or not, still exists in some parts of the world TODAY.
Now when approaching the powerful film by McQueen and distributed by Fox Searchlight Pictures, there is a resounding honesty that McQueen and screenwriter John Ridley inhabit. There are no tricks or gimmicks, no cheap takes on a side story or character that is put there for time filling or a life-lesson for Solomon to learn. Everything is genuine. Is the film heartbreaking? Oh my God yes. Did I cry for several minutes after the screening? Embarrassingly so. I was enamored the entire time, head to toe, moment to moment.
I have long admired the talent that's been evident in the works of Chiwetel Ejiofor. I've known he was capable of what he has accomplished as Solomon Northup and he hits it out of the park. He has the urgency, worry, and drive to get home to his family and executes every emotion flawlessly even when all hope seems to be lost. Where he shines incredibly are the small nuances that he takes as the story slows down, you notice aspects of Solomon that make him even more believable.
As Edwin Epps, Solomon's last owner, Michael Fassbender digs down deep into some evil territory. Acts as the "Amon Goeth" of our tale, he is exactly what you'd expect a person who believes this should be a way of life to behave. He's vile and strikes fear into not only the people he interacts with but with the viewers who watch. As Mrs. Epps, Sarah Paulson is just as wretched. Abusive, conniving, entitled, and I loved every second of her.
I've watched hundreds of films throughout my short 29-year history and I've seen some difficult cinema. Steven Spielberg's "Schindler's List" can make anyone quiver in shame as it shows the despicable reality of the Holocaust. Paul Greengrass' "United 93", which is almost an emotional biopic of America's darkest hour, makes me want to crawl up into a ball and cry. And finally, Mel Gibson's "The Passion of the Christ", one of the highest grossing films of all-time, shows the labor of our sins fleshed out into the beaten skin of an honest man. And still, no one threw these hyperbolic terms out saying, "it's too hard watch." Is it because this is an American tragedy, done by Americans? Is it the guilt of someone's ancestors manifesting it in your tear ducts? I can't answer that. Only the person who says it can. The structure of this country is built on the backs and blood of slaves. But slavery didn't just exist in America, it was everywhere. It was horrifying what occurred for over 200 years and believe it or not, still exists in some parts of the world TODAY.
Now when approaching the powerful film by McQueen and distributed by Fox Searchlight Pictures, there is a resounding honesty that McQueen and screenwriter John Ridley inhabit. There are no tricks or gimmicks, no cheap takes on a side story or character that is put there for time filling or a life-lesson for Solomon to learn. Everything is genuine. Is the film heartbreaking? Oh my God yes. Did I cry for several minutes after the screening? Embarrassingly so. I was enamored the entire time, head to toe, moment to moment.
I have long admired the talent that's been evident in the works of Chiwetel Ejiofor. I've known he was capable of what he has accomplished as Solomon Northup and he hits it out of the park. He has the urgency, worry, and drive to get home to his family and executes every emotion flawlessly even when all hope seems to be lost. Where he shines incredibly are the small nuances that he takes as the story slows down, you notice aspects of Solomon that make him even more believable.
As Edwin Epps, Solomon's last owner, Michael Fassbender digs down deep into some evil territory. Acts as the "Amon Goeth" of our tale, he is exactly what you'd expect a person who believes this should be a way of life to behave. He's vile and strikes fear into not only the people he interacts with but with the viewers who watch. As Mrs. Epps, Sarah Paulson is just as wretched. Abusive, conniving, entitled, and I loved every second of her.
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