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Director: Michael Bay Writers: George Gallo, Marianne Wibberley Stars: Will Smith, Martin Lawrence, Gabrielle Union ountry: USA Language: English | Hindi Release Date: 18 July 2003 Quality: BRRip 720p 1.3GB
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—-Movie Info—-
Director: Michael Bay Writers: George Gallo, Marianne Wibberley Stars: Will Smith, Martin Lawrence, Gabrielle Union ountry: USA Language: English | Hindi Release Date: 18 July 2003 Quality: BRRip 480p 400MB
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Directors: Mike Fetterly, Steve Sacks Writers: Mike Montesano, Ted Zizik Stars: Erin Fitzgerald, Steve Staley, Ogie Banks Country: USA Language: ESub {Dual Audio} {Hindi 2.0 + English DD 2.0} Release Date: 9 October 2012 Quality: BRRip 720p 650MB
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—-Movie Info—-
Director: Yimou Zhang Writers: Zhihong Bian, Yu Cao Stars: Yun-Fat Chow, Li Gong, Jay Chou Country: China | Hong Kong Language: {Dual Audio} {Hindi 2.0 English DD 2.0} 720p Release Date: 12 January 2007 Quality: BRRip 720p 1.1GB
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A little over four decades ago, in 1977, the first film in the epic Star Wars saga (that would extend over years to come) released with the release of A NEW HOPE. Now after nine films in the saga, we see the release of a spin off story line that brings fans in touch with the origins of one of the most loved characters Han Solo. But will this new age space western do justice to the mammoth legend of Han Solo or will it like so many other spin off/ origin satires falter, is the question of the hour.
SOLO: A STAR WARS STORY follows the escapades of Han Solo before he became the legend. Starting off from the early days, the film depicts the squalor that Solo came from that was ruled by the tyrannical Lady Proxima and his constant schemes and efforts to pay his way out. Besides this like most of the films in the saga, this one too features a budding love story angle between Solo and Qi’ra. But will the two young romantics find a way out of the hell hole or will they fall prey to the Empire’s growing power is what forms the rest of the film.
Starting off one must bear in mind that the happenings in SOLO are dated before the rebellion came into being. In fact the film goes on to depict the rise of the Empire into a force to reckon with. While at the same time laying the base upon which the legend of Han Solo is built. If that wasn’t enough, through a series of daring escapades deep within a dark and dangerous criminal underworld, Han Solo meets his mighty future co-pilot Chewbacca and encounters the notorious gambler Lando Calrissian, in a journey that will set the course of one of the Star Wars saga’s most unlikely heroes.
First things first, with director Ron Howard at the helm of the film, one expects nothing less than a visual spectacle. Known for films like APOLLO 13, A BEAUTIFUL MIND and more recently RUSH and INFERNO, Howard brings with him, expectations of a space western film on epic proportions. However, unlike Howard’s previous cinematic outings, SOLO: A STAR WARS STORY offers little scope for sweeping cinematic visuals. Despite this, when given the chance to depict a world that has been ravaged by time, Howard works his magic with aplomb. Going into SOLO: A STAR WARS STORY, viewers are already aware of the fact that it will feature some of the high points of Han’s life that eventually made him the smuggler with a heart of gold, unfortunately this exact premise hampers the entire telling of what could become an epic due to the limited scope to explore unknown avenues, a detail upon which most of the film in the Star Wars franchise that thrived. But despite this, Howard has managed to pull together an enjoyable film that sadly looks like a series of highlight from a character’s life.
Coming to the performances, Alden Ehrenreich is no Harrison Ford, but he does manage to do a commendable job with the role of Han Solo. Joonas Suotamo as the lovable Chewbacca and Donald Glover as Lando Calrissian are sorely underused. Despite having prominent roles in the film, both their characters (though only supporting roles) appear to be greatly under developed and half baked. One wishes that both Chewbacca and Lando were given more meatier chunks to explore the entire depth of their characters. But it is the roles of Woody Harrelson as Beckett and Emilia Clarke as Qi’ra that come across the most dejecting. In fact, both good actors in their own right fall flat with a narrative that focuses on Solo alone. While one wishes that these two were used more to their full potential being a Han Solo film, they are relegated to the shadows serving only as waypoints to take the story forward.
However, the biggest drawback of SOLO: A STAR WARS STORY is the writing and the narrative, with most of the suspense lost, the makers have had to rely heavily on the epic tale of Solo to develop a narrative that does justice to his character. Sadly, this does not suffice. Instead the film comes across as a rather poor attempt at developing a new story line to encash on an epic saga that has neared the end of its money making heydays. Simply put, with an underwhelming story and weak narrative SOLO: A STAR WARS STORY is devoid of that charm and charisma that have over the years endeared the epic of STAR WARS to so many fans.
Even the background score of the film, unlike most Howard directorial seems greatly underused. With a fall back to the now legendary Star Wars theme every now and then, this new venture offers very little to the viewers. But it isn’t all downhill. Though limited, the action and race sequences are well shot and choreographed but one wishes there were more. The CGI too though done well could have been so much better had the story line of the film given room to develop a bit more.
On the whole, SOLO: A STAR WARS STORY leaves you with a somewhat empty feeling. With nothing new to tell in the story and very little scope to deviate from the past, the film becomes just another run of the mill cinematic outings that is developed to cash grab the last bits of money from a fading franchise. At the box office, with the John Abraham starrer Parmanu releasing alongside the film, SOLO: A STAR WARS STORY might just face a hard time raking in the numbers.
Over the recent couple of months or rather years, we have been seeing a rise in the number of old classics being remade with the latest technology. But are these recreations worth their while or are they just an eye candy is a pertinent question. This week we see the release of yet another film, BLADE RUNNER 2049, from the days gone by getting new life breathed into it. But will this recreation work at the box office or will it like so many others before it, be lost is the question of the hour.
The film starts off by setting the premise by depicting a world in 2049 that has been ravaged by humanity. After the development of humanoid artificial intelligence that has begun to become sentient a new generation of human- robot hybrids are developed which follow commands. From them a certain segment is categorized as Blade Runners whose sole purpose is to hunt down and ‘retire’ the older models. The story of BLADE RUNNER follows a young blade runner’s discovery of a long-buried secret leads him to track down former blade runner Rick Deckard, who’s been missing for thirty years. Will he uncover the truth behind his being or will he become yet another scrapped bot in an endless war is what makes the rest of the film.
Like most post-apocalyptic films, BLADE RUNNER 2049 too relies heavily on visuals that convey the desperate fate humanity finds itself in. However, what works for the film apart from the visuals is a marvellous sound track that coupled together transports the viewer into the world of 2049. Though a bit slow in parts, the director of the film Denis Villeneuve does manage to keep you in your seat with well-timed action sequences. Besides this, Villeneuve also manages to give each character that is introduced, a plausible backstory while at the same time taking the film forward without spending precious minutes on explanations. Interestingly, despite being a bleak science- fiction film, BLADE RUNNER 2049 turns out to be quite unlike other films that have focused on racking up the body count. Instead the film focusses more on the story of the characters while simultaneously margining actions, drama, and emotion together all set against a grim backdrop.
Since the original BLADE RUNNER developed by Ridley Scott was a masterpiece for its time, the biggest question that comes to mind is will Denis Villeneuve, despite his past performance behind the camera in films like SICARIO, be able to pull off Scott’s dystopian world? However, once the film starts, these doubts vanish like the foliage that is all but gone. In fact Villeneuve’s vision of BLADE RUNNER 2049 is startlingly well made. Though, here credit needs to be awarded to the brilliant director of photography Roger Deakins, who has done a stellar job of bringing to life Scott’s vision. However, it wasn’t only Villeneuve and Deakins combination that makes BLADE RUNNER riveting. Adding a thrilling suspense element is the background score developed by the musical genius Hans Zimmer. From the first chord itself, the viewer is unsettled by the score that coupled with the visuals goes a long way in defining the film. Like the title track in WONDER WOMAN and for that matter Zimmer’s previous score for DUNKIRK, the audiences are kept on the edge of their seats.
Coming to the performances, the entire cast seems to have put their best foot forward. Starting with Ryan Gosling, on whose character the entire film revolves, has done a brilliant job of portraying agent ‘K’. His lacklustre expressions towards conventional environments that would elicit a response go a long way in setting the baseline for a character that is expected to be detached and emotionless. From there, Gosling does well as he takes viewers on a journey of discovery as he begins to feel emotions. Similarly, Harrison Ford who has over the years featured on celluloid as iconic characters be it Han Solo or Indiana Jones, has done some of his best work in this film. In fact Ford’s performance as Deckard, in the small yet vital role in BLADE RUNNER 2049, can easily be termed as one of his best. Doing equally good job is the villainous duo of Jared Leto as Neander Wallace, the evil head of a corporation that heads the new world order, and Sylvia Hoeks as Neander’s hit-woman Luv. While Leto doesn’t have much screen time, his presence is felt through Hoeks as she goes about her business executing orders from her superior. Also doing an impressive job is Ana de Armas as Joi, K’s artificial girlfriend. Though her role doesn’t appear to be much, while at the same time reminding viewers of Alicia Vikander in EX MACHINA, she does a great job of grounding agent K and giving him a side that makes him human.
On the whole, while director Denis Villeneuve will certainly be getting a standing ovation for BLADE RUNNER 2049, it must be noted that unlike most others who would have preferred on making a reboot, Villeneuve picks up where the previous film left off with aplomb. Call it a science – fiction or character based film, both of which will still hold true, the film turns out to be an engrossing mix of stellar visuals coupled with a riveting background score that keeps the viewers glued to their seats. However, given the limited release that BLADE RUNNER 2049 gets in India, the film won’t be able to post impressive numbers at the box office.
Back in 2011, we saw the release of the film THOR featuring Chris Hemsworth as the God of Thunder, later in 2013 we saw him return in THE DARK WORLD and save the earth with assistance from his brother Loki (Tom Hiddleston). Since then we have seen the God of Thunder return as a part of the Avengers series where he fought alongside earth’s mightiest warriors to defend the planet again from Ultron. Well, now we see him return to the big screen with the film THOR: RAGNAROK. But will the film which is the third in the series work as a ‘Marvel’ at the box office or will it like some of the other sequels fail to match up to the previous films. Let’s analyse.
First off, THOR: RAGNAROK starts off with the God of Thunder imprisoned on the other side of the universe. Here he finds himself in a race against time to get back to Asgard to stop Ragnarok, the destruction of his home world and the end of Asgardian civilization, at the hands of an all-powerful new threat, the ruthless Hela (Cate Blanchett). From here on the film follows Thor’s journey as he battles Hela with the assistance of his brother Loki and others. But will the Asgardian succeed in defeating the all-powerful Hela or will his world fall, is what makes up the rest of the film.
The film starts off with a monologue by Thor who is being held captive on an alien planet in chains. From here, the film introduces Surtur voiced by Clancy Brown who explains that he is the reckoning of Asgard. After learning this, Thor who has of late been plagued with visions of his home world being destroyed promptly goes ahead and vanquishes his foe. One done, Thor heads back to Asgard only to learn that Odin (Anthony Hopkins) isn’t really who he seems to be. Post learning this, he then sets out on a mission to find his father and restore Asgard back to its glory. Thor accompanied by Loki finds Odin only to be told that his time has come, and along with that Hela the goddess of death will be released from her prison. Hela, who was once Odin’s right hand grew too powerful and her thirst to acquire the throne of Asgard lead her to be imprisoned.
After Odin’s death, Thor and Loki come face to face with Hela, who proves to be too strong for them. In an attempt to flee back to Asgard via the bifrost, the two inadvertently offer Hela a ride back as well. While on the way back to Asgard, within the bifrost beam, a second skirmish breaks out which tosses Loki and Thor into the abyss. Fortunately, both of them land separately on the plant Sakaar. Here, Thor who lands much after Loki finds himself being held prisoner yet again, this time without the assistance of his hammer Molinor that was destroyed in the first fight with Hela. Sakaar, which is ruled by the Grandmaster (Jeff Goldblum), is a planet of the rejects who live to witness the gladiatorial fights that are a regular feature. Thor who has shown potential as a warrior is pitted against the Grandmaster’s champion who happens to be the Hulk. Thrilled at seeing a familiar face, Thor tries his best to get the mindless brute to assist him in returning back to Asgard to defeat Hela. In the meantime back on Asgard, Hela reigns supreme as she lays waste to the entire Asgardian army while resurrecting her own army of the dead. What follows is a grand battle between Thor and Hela with Asgard as the prize.
Chris Hemsworth, who has reprised the role of Thor in the previous films as well, does a good job with the character. However, given the fact that unlike the previous films in the Thor series, RAGNAROK features a lot more colour combined with a fun comic elements that keep the proceedings peppy and fast. Tom Hiddleston as Loki is good in his part as the god of mischief; however it is Cate Blanchett as Hela who steals the show. Very rarely do you see a character developed with such power and menace that just the visual of her can make your hair stand. The last time a character like this was seen on screen, it was in The Dark Knight with Heath Ledger essaying the role of the Joker. Due credit goes to the writers of the film who have done a marvelous job of interweaving a back story for Hela into the film’s proceedings without diverging from the current track.
Another point to mention here is the background score that keeps up the tempo to match the on-screen visuals and the constant exchange of witty lines that makes the film a fun watch.
Coupled with the performances, the VFX team have done an equally brilliant job of bringing a fantasy world to life. From costumes to the massive explosions and the larger than life action sequences, the team has done a stellar and seamless job of merging live action with CGI.
On the whole, THOR: RAGNAROK that features witty one liners, sarcastic humour and plenty of action makes for a fun watch. Well timed comic sequences and well-choreographed action sequences aplenty make the film a perfect masala entertainer. At the Indian box office, THOR: RAGNAROK stands a good chance of posting impressive numbers given that it’s releasing on a big scale and in multiple languages.
The craze for DC comics and its characters is unparalleled. Ever since the DC Extended Universe films are out, it has created a lot of buzz despite not so favourable response for MAN OF STEEL and BATMAN VS SUPERMAN: DAWN OF JUSTICE. However, SUICIDE SQUAD was loved while WONDER WOMAN that released earlier this year got loads of appreciation. Now, the fifth film, JUSTICE LEAGUE, is out and does it manage to meet the humongous expectations? Or does it emerge as a letdown like the first two DC films? Let’s analyse.
JUSTICE LEAGUE is the story of a group of superheroes coming together for a greater cause. After the death of Superman (Henry Cavill), Bruce Wayne aka Batman (Ben Affleck) and his new found ally Diana Prince aka Wonder Woman (Gal Gadot) assemble a team of heroes and outcasts consisting of Barry Allen aka The Flash (Ezra Miller), Arthur Curry aka Aquaman (Jason Momoa) and Victor Stone aka Cyborg (Ray Fisher). Their mission is to defeat Steppenwolf (Ciarán Hinds) and his army of Parademons. Steppenwolf is trying to search for the three ancient Mother Boxes scattered around the Earth and unite them for unlimited power. How the members of the Justice League put aside their differences and weaknesses and battle it out with Steppenwolf forms the rest of the film.
THE AVENGERS series of Marvel is extremely successful and has formed a benchmark of sorts in this genre. JUSTICE LEAGUE however fails to reach that level. The conflicts and conversations between the superheroes are not as exciting. Few of the jokes of Flash fall flat, shockingly. The villain’s entry is evil and scary but in the later part of the film, he doesn’t seem as powerful as one expects him to be. Also, one doesn’t feel connected to the guilt faced by Bruce over the demise of the Superman. On the positive side however, the action scenes and the VFX save the day. The film is just 120 minutes long and thankfully, the story moves quite swiftly. Wonder Woman’s entry is terrific. Also, Flash’s introductory scene makes for a nice watch. Post-interval, the entire bit related to Superman does raise interest level. Even though the pace drops in this sequence, it’s quite touching. The finale is explosive but the film leaves a lot to be desired. One has seen better superhero films than these and in this regard, JUSTICE LEAGUE will surely disappoint fans.
Chris Terrio and Zack Snyder’s story is nothing new. Chris Terrio and Joss Whedon’s screenplay however could have been more interesting and engaging. This was crucial because viewers have been exposed to a lot of superhero films in the last 5-6 years and in that regard, JUSTICE LEAGUE should have stood out. Also, the previous few films of DC haven’t done that well and JUSTICE LEAGUE was a chance to get back in the big league. But the routine screenplay ensures that JUSTICE LEAGUE turns to be an average fare. Zack Snyder’s direction still has its charm, but only in certain places. He’s a pro when it comes to slo-mo scenes and the scenes of Flash are very well helmed. Even the introductory scene is presented in classic Snyder style and is worth a watch. But he could have done better and taken JUSTICE LEAGUE to another level which he doesn’t.
Performance-wise, Ben Affleck delivers an apt performance. Viewers have now accepted him as Batman and he manages to put up a good show. Gal Godot is gorgeous as expected and enhances impact in several scenes. The super success of WONDER WOMAN has made viewers hope for more of Gal in this flick and thankfully in that regard, she doesn’t disappoint viewers. Ezra Miller is sincere but somewhere, it doesn’t have the desired impact. Jason Momoa looks dashing and delivers an effective performance although his screen time is limited. Ray Fisher gives a fine performance and shines even in the emotional scenes. Henry Cavill has a very important part to play and he rocks the show. Jeremy Irons (Alfred Pennyworth) is decent. Amy Adams (Lois Lane) does very well in a supporting part. Ciarán Hinds looks quite villainous and convincing and performance-wise, he is okay. Diane Lane (Martha Kent) leaves a mark in a cameo. Connie Nielsen (Hippolyta), Joe Morton (Silas Stone) and others do well.
Danny Elfman’s music is dramatic but also subtle and not in-your-face. Fabian Wagner’s cinematography is eye-catching. David Brenne, Richard Pearson and Martin Walsh’s editing is simple and neat. Patrick Tatopoulos’s production design is rich, just like you’d expect in any big superhero Hollywood film. VFX and action are two of the most important reasons why this film succeeds to a great extent.
On the whole, JUSTICE LEAGUE is an average superhero flick and nowhere near the rival Marvel’s THE AVENGERS series. The film’s story is nothing exciting while the characters are interesting but the bond between them is not electrifying as such. This one is only for the die-hard fans! At the box office, with the dubbed version not getting a timely release, its business in India would surely be limited.
There are a number of things that go into making a movie entertaining for the viewers and eventually a box office success. While some have cracked this formula, there are others who struggle with it. However in the case of an animated film, the rules are different, as apart from the usual list of factors that work in favour of a film, there is a whole list of other aspects that help bring to life what the viewers sees on screen. This week’s release COCO falls squarely in this bracket of animated films that try to bring to life a make belief world while at the same time, entertain the viewer.
COCO that comes from the very capable animation farm Disney Pixar, comes pre-attached with expectations of past Disney – Pixar successes that have not just entertained us but have become films that will live on for a long time. But the question of the hour is, will Disney-Pixar’s latest celluloid marvel COCO, prove to be one among the few that have managed to enthral the audience or will it become just another animated reel that gets forgotten, is what we analyse.
Starting off, COCO follows the life of Miguel (Anthony Gonzalez), a young boy who finds his happiness in music. Though Miguel dreams of becoming an accomplished musician like his idol, Ernesto de la Cruz, his family’s generations-old ban on music proves to be quite a hindrance. Desperate to prove his talent, while at the same time keeping his family from finding out his love for music and eventually being hurt, Miguel sets out on a quest to fulfil his dream. Along the way, Miguel finds himself in the stunning and colorful ‘Land of the Dead’ following a mysterious chain of events, where he meets the charming trickster Hector. Together, Miguel and Hector set off on an extraordinary journey to unlock the real story behind Miguel’s family history.
Being a film whose story revolves around one particular day, specifically Mexico’s DÃa de los Muertos or Day of the Dead, the director of COCO Lee Unkrich faced an uphill task of telling an entire story that spans generations in just a 24 hour time span. If that wasn’t enough, given the fact that the Mexican festival plays an integral part of the film’s story, the makers would also have to incorporate the nuances and culture of the land and people within the fabric of the film. Fortunately, Unkrich and his team have excelled in this department giving us a film that boasts of flawless research work about culture and traditions that does full justice to the Mexican festival where the living remember the dead.
Being an animated film, COCO relies on voiceovers and impeccable animation. Here again Unkrich and his team of animators have given us a sight to behold. With seamless animation and spot on voice overs by the cast, COCO comes to life in all the vibrant colours you would expect a festival to feature. Coupled with the animation and flawless research is an impeccable script that well intersperses light and emotionally heavy moments to take viewers on a ride they won’t forget. A special mention here needs to go to Adrian Molina and Matthew Aldrich who have done a stellar job with the screenplay, giving each character a depth and relatability that promptly establishes an emotional connect with viewers easily. However, adding a much greater dimension to the film (apart from its 3D aspect) is the music of the film. Michael Giacchino Excel’s in developing the film’s score that lends COCO an extra facet that helps enthral the viewer.
On the whole, COCO is a beautiful coming of age film that tells the story of a young boy’s life in a small Mexican town, who follows his heart while coming to understand what family really means, the choices we make and the paths not taken. A well rounded Pixar offering that might just be its best till date, COCO is a well-crafted must watch for the young and old. At the Indian box office, the film will have to depend on word of mouth to grow.
Making a sci-fi film of late has become considerably easier with the advancements in technology. However developing a script and story that truly redefines the genre and holds the viewer in rapture is something that only a few have perfected. This week’s release STAR WARS: THE LAST JEDI that comes as the eighth instalment in the epic Star Wars franchise boasts of both these aspects, good visuals coupled with a good script and story. But will the film that already enjoys a massive cult like fan following set new benchmarks at the Indian box office is the question we analyze.
Before we start, since STAR WARS: THE LAST JEDI is a continuation in a long line of films, there will definitely be throwback references to the previous films, so just in case you think of taking the time to watch this part without an inkling of the previous, you will be left with unanswered questions. STAR WARS: THE LAST JEDI starts off with the Resistance led by Princess Leia on the run from the First Order that have taken over the galaxy. In a bit to expand their reach across the galaxy, The First Order under the leadership of Supreme Leader Snoke and his lieutenants Kylo Ren and General Hux, have all but obliterated the existence of the Resistance. In the meantime, Rey who had set out on a quest to find Luke Skywalker and being him back to lead the resistance finds the Jedi master who has long since cut himself from the force. Will Rey manage to convince Luke Skywalker to return to the Resistance and fight against the first order? Will Kylo Ren surmount his inner turmoil and become a worthy heir to the Darth Vader mantle? Will the Resistance be vanquished leaving the tyrannical First Order to rule unopposed are some of the questions the film answers.
Much like the previous films in the series, STAR WARS: THE LAST JEDI boasts of some of the best cinematography that leaves viewers agape. Coupled with this, the seamless visual effects (VFX) and well developed characters, tight script and good screenplay work magic on the big screen. Right from the start, the viewer is transported to the galaxy the previous films have developed, the expanse of the void where the intergalactic battle plays out is awe inspiring, just like the foliage and real world locations that have been used in the film. Though the first half of the film does come across as a bit slow in pace, the happenings on screen do keep you hooked. However, post the interval the pace of the film picks up greatly with light saber battles and of course a grand revelation that Rey happens across. It is here, in the second half of the film where characters that have been laid out in the first come into play. Adding another layer to the film is the lineage it comes from, with the multitude of characters who in this final hour assemble to restore the balance.
Talking about performances, the cast is impeccable right from Daisy Ridley as Rey to Benicio del Toro who is there in a rather limited role as the Master Code Breaker. While Ridley has evolved quite a bit since her last outing as Rey in the franchise, her evolution is plainly visible in the way she handles her mantle and deals with the situations. Adam Driver as Kylo Ren wasn’t quite appreciated in the previous film, however in The Last Jedi, Driver has more than managed to fill the void left behind by Darth Vader, and emerges as a worthy successor. Mark Hammil, Oscar Isaac and Carrie Fischer as Luke Skywalker, Poe Dameron and Princess Leia do a perfect job with their characters. Similarly, John Boyega as Finn, the deserting Stormtrooper, does a stellar job of being the accidental hero who wears his heart on his sleeve.
With the cast putting up stellar performances all around, the scripting and story of the film are left with a major onus of being able to keep up. Rian Johnson and George Lucas who have written and developed the characters of the film prove to be more than capable of interweaving each character’s story line with the main subject. In fact, the flawless progression of the story despite the slow moments and the interspersed comic element (which could have been better) make for a wholesome watch. Director Rian Johnson has done a marvellous job of capturing the galactic adventure on a large scale and assisting him with an impeccable background score is John Williams. Interestingly, the background score of the film merges well with the onscreen progressions transporting the viewer into the Star Wars world, while at the same time building up the tempo for a hair-raising climax.
On the whole, STAR WARS: THE LAST JEDI that aims to please sci-fi fans and of course Star Wars fans across the world could well be termed as one of the new age classics or at least one of the best sequels ever made. However, the lengthy run time of 2 hours 32 minutes might act as a spoiler, but the feeling of grandeur and thrill that one witnesses more than makes up for it.
In the end, STAR WARS: THE LAST JEDI is an intergalactic saga that is definitely a must watch. Being the only major release of the week and given the huge popularity of the franchise, the film should well at the Indian box office.
In the latest thriller from the director of ANNABELLE, 17-year-old CLARE SHANNON (Joey King) is barely surviving the hell that is high school, along with her friends MEREDITH (Sydney Park) and JUNE (Shannon Purser). So, when her dad (Ryan Phillippe) gifts her an old music box with an inscription that promises
In the latest thriller from the director of ANNABELLE, 17-year-old CLARE SHANNON (Joey King) is barely surviving the hell that is high school, along with her friends MEREDITH (Sydney Park) and JUNE (Shannon Purser). So, when her dad (Ryan Phillippe) gifts her an old music box with an inscription that promises to grant the owner's wishes, she thinks there is nothing to lose. Clare makes her first wish and, to her surprise, it comes true. Before long, she finally has it all: money, popularity and her dream boy. Everything seems perfect - until the people closest to her begin dying in gruesome and twisted ways. Now, with blood on her hands, Clare has to get rid of the box, before it costs her and everyone she loves the ultimate price.John R. Leonetti
Back in 1995, we saw the release of the Robin Williams film JUMANJI. The film which was an adaptation of the 1981 children’s book of the same name by Chris Van Allsburg went on to become somewhat of a classic with fans across the world. Now decades later, we see the release of a standalone sequel of the film that features Dwayne Johnson, Jack Black, Kevin Hart, Karen Gillan, Nick Jonas and Bobby Cannavale. But will the new age film live up to expectations or will it, like so many other recreations, be a washout is the question.
Titled JUMANJI: WELCOME TO THE JUNGLE, the film follows four high school kids who after being sent to detention, discover an old video game console and are drawn into the game’s jungle setting, literally becoming the adult avatars they chose. Once in the game, the four discover that you don’t just play Jumanji – you must survive it. To beat the game and return to the real world, they’ll have to go on the most dangerous adventure of their lives, discover what Alan Parrish left 20 years ago, and change the way they think about themselves – or they’ll be stuck in the game forever, to be played by others without break.
First off, being a standalone sequel to the 1995 film JUMANJI: WELCOME TO THE JUNGLE sees a paradigm shift in how the game is played. Unlike the previous film that featured a board game, the new version of the film sees the game being adapted to suit gaming sensibilities of 1996 with Jumanji now featuring as a console based game. But it isn’t just the mode of playing that has changed. In fact, along with it, so have the visuals and story line evolved incorporating new age filmmaking and storytelling abilities. This massive change from the previous film gives JUMANJI: WELCOME TO THE JUNGLE plenty of space to work within to provide viewers with a celluloid adventure in the heart of the jungle. Though at first, audiences who have watched the Robin Williams film will be sceptical, the makers of the new film have done a great job in developing a sequel of sorts, while at the same time not affecting the original.
However, given the fact that the film resides firmly within the genre of action, adventure and comedy a sore thought that pops to mind is that most of the gags and comic elements might be disclosed in the trailers, leaving next to nothing new in the final film. But in the case of JUMANJI: WELCOME TO THE JUNGLE, it comes as a surprise to see that while the trailers of the film have been quite entertaining, the makers of the film have retained enough meat and comic element in the film that will keep the viewer engrossed. Screenplay writers Chris McKenna and Erik Sommers with assistance from Scott Rosenberg, and Jeff Pinkner have done a good job of interweaving the thrill of a jungle adventure with well-timed humour and ample doses of slapstick comedy. Similarly, director Jake Kasdan has done a tremendous job of developing the new version of JUMANJI into something that is light and entertaining. Unlike the previous film that featured a rather dark time travelling angle, the new one is much lighter making for an easy viewing experience for kids. Another high point for Kasdan is the way he has managed to tell the story of JUMANJI while simultaneously adapting it to resemble the format that a level based video game follows. This not only makes the film compartmentalized with each section featuring its own high points, but it also gives the audience a new adventure to witness as the segments progress.
Coming to the acting, with a cast comprising of Dwayne Johnson as the nerdy hunk Dr Bravestone, Jack Black as Professor Shelly Oberon, Kevin Hart as Moose Finbar, and Karen Gillan as Ruby Roundhouse, one does not realty expect performances that are worthy of being nominated for awards. However, given the storyline and the humour element in the film, there is plenty of space for ham-acting that makes for an entertaining watch. In fact, in more instances than one, the kind of over the top hamming is a mandate that adds to the overall humour element. With that said, another point that needs to be mentioned is, though humourous, most of the comic element in the film surrounds Jack Black’s character that has undergone a sex change from being a self-centred bimbet in real life to a fat middle aged man in the game. However, despite this, the cast has performed well in their given roles managing to entertain while keeping the audiences in their seat.
Another major advantage for the new JUMANJI film is the advancement in technology and filmmaking capabilities that have greatly enhanced the viewing experience. Thanks to this, JUMANJI: WELCOME TO THE JUNGLE features some top grade visual effects and CGI that are seamlessly merged with the live action sequences. From the rolling jungle tree tops to the high octane chase sequences and of course the massive animal stampede, the CGI sequences are well developed.
On the whole, JUMANJI: WELCOME TO THE JUNGLE features a well-adapted storyline and screenplay that has been more than decently directed thus making for a fun watch. With well-timed humour combined with slapstick comedy, the film is certainly worth a watch.
However, at the Indian box office, JUMANJI: WELCOME TO THE JUNGLE will grow with word of mouth, as the latest Salman Khan flick TIGER ZINDA HAI continues to enjoy massive support from the audience.
Metro-Goldwyn-Mayer Pictures presents director Eli Roth’s reimagining of the classic 1974 revenge thriller Death Wish. Dr. Paul Kersey (Bruce Willis) is a surgeon who only sees the aftermath of Chicago violence as it’s rushed into his ER – until his wife (Elisabeth Shue) and college-age daughter (Camila Morrone) are viciously
Metro-Goldwyn-Mayer Pictures presents director Eli Roth’s reimagining of the classic 1974 revenge thriller Death Wish. Dr. Paul Kersey (Bruce Willis) is a surgeon who only sees the aftermath of Chicago violence as it’s rushed into his ER – until his wife (Elisabeth Shue) and college-age daughter (Camila Morrone) are viciously attacked in their suburban home. With the police overloaded with crimes, Paul, burning for revenge, hunts for his family’s assailants to deliver justice. As the anonymous slayings of criminals grabs the media’s attention, the city wonders if this deadly avenger is a guardian angel…or a grim reaper. Fury and fate collide in the intense, action-thriller Death Wish. An MGM production, Death Wish is set for release on November 22, 2017. It will be distributed in the U.S. by APR and internationally by Metro-Goldwyn-Mayer Pictures.
With so many superhero films releasing in a year, it often comes to feel like they all look the same. As Marvel continues to make more expensive and larger than life films, there comes Marvel’s 18th superhero film, BLACK PANTHER. There arrives Ryan Coogler’s sprawling saga which blends mythical tones with classic drama in the Marvel Cinematic Universe.
Black Panther was a character created by Stan Lee and Jack Kirby in 1966, the son of the king of the African nation Wakanda. The film opens with a monologue from King T’Chaka while he introduces his son T’Challa to the big world of Wakanda. Cut to the story about King T’Chaka’s brother played by Sterling K Brown who betrayed Wakanda. The film finally begins with Wakanda in flux over the death of its leader during CAPTAIN AMERICA: CIVIL WAR. T’Challa (Chadwick Boseman) is ready to take the charge as the King but is struggling to be the voice of continuity. He’s regal, gracious and well- mannered to take the charge. The story moves to another part of the world where the main antagonist Killmonger (Michael B Jordan) is prepping to take over Wakanda and it’s leadership and plans to turn it into an interventionist world power. As seen in trailers, Killmonger also turns into gold plated Black Panther who is one man army hellbent to kill T’Challa. The story unfolds as the director begins to tell the story of leadership, loyalty and black power.
Chadwick Boseman, who plays Black Panther, was introduced back in 2016 in CAPTAIN AMERICA: CIVIL WAR. While the seed was planted earlier, his first appearance as Black Panther impressed the comic book fans. In 2018 film BLACK PANTHER, Chadwick Boseman brings gravitas to T’Challa’s struggle of becoming suddenly becoming a King from a Prince after his father’s assassination. He brings charisma and charm to the table as he isn’t just any superhero. He is a leading black superhero who makes the part his own.
Michael. B. Jordan, the main antagonist Killmonger, plays the classic comic book villain and exudes spellbinding performance. His character channels the childhood pain and faces of the Black Panther. His complex and nuanced character plays the central part in the film which absolutely grabs attention.
Academy Award winner Lupita Nyong’o essays the role of T’Challa’s ex Nakia who is one of the nation’s undercover war dogs helping the community in need. Letitia Wright essays the role of T’Challa’s super smart kid sister, Angela Bassett as T’Challa’s proud mother, to Daniel Kaluuya as a shifty ally to Andy Serkis as a side villain. The breakout star of the film is Okoye played by Danai Gurira who happens to badass warrior standing up for the King and Wakanda.
The script, co-written by director Ryan Coogler and Joe Robert Cole, is a dramatist who makes this mythical superhero come to life. Ryan Coogler has managed to assemble his own set of crackerjack Avengers aka actors who give texture to every character.
On the whole, BLACK PANTHER is in some ways a world of fantasy but also seems to be a very real world. It blends dynasty drama with global politics very maturely. After 52 years since its first mention in comic books, BLACK PANTHER rises high on being bold, vital and brings a welcome refreshment to Marvel Cinematic Universe. As the story continues, Black Panther will be seen in the upcoming Avengers: Infinity War. And of course, lastly but definitely not the least, WAKANDA FOREVER!
It is known that the remakes and reboots are kind of Hollywood’s thing. In the recent past, many remakes like JUMANJI and MURDER IN THE ORIENT EXPRESS have made its way to the big screen. While some have done a little justice to the original movies, others have failed to impress the audience. Going on the same lines is the Bruce Willis’ gritty violent action-thriller, DEATH WISH, a remake of 1974 controversial film. For the uninitiated, the original DEATH WISH film starred Charles Bronson, Hope Lange, Vincent Gardenia, Jack Wallace, and Stuart Margolin among others. The original film was a dark drama which revolved around a man who becomes a one man vigilante after his wife’s murder and assault on his daughter. Will this Bruce Willis version of the film impress the audiences? Lets analyse.
DEATH WISH (2018) follows the story of a doctor Paul Kersey (Bruce Willis) who is leading a normal life working in an ER in Chicago until tragedy hits him. His wife Lucy Kersey (Elisabeth Shue) is murdered and daughter Jordan Kersey (Camilla Morrone) is in coma after a break-in at their house. This leaves him grieving and frustrated at the same time because the lack of the progress on the case by the police. Eventually, Paul Kersey decides to take justice in his own hands and follows the path of vigilantism. From getting untraceable weapons to taking lessons from Youtube, Paul takes the vigilante path to seek vengeance. Not only does he question that his actual profession as a doctor is about saving lives but somehow he has chosen now to take crime out of the streets. When he does get the lead on the goons who had broken into his house, he plans to seek revenge.
Elli Roth’s DEATH WISH starts off a little slow as the story of the family is set up first and every key character is introduced. Even after the tragedy takes place, Bruce Willis’ character takes time for the reality to sink in, while his daughter recovers from her injuries. However, once Willis turns into a vigilante, the film goes into a fast track mode with its action thriller theme. The best part about the film is that director Roth maintains subtle humour throughout the film, especially after a doctor who has never even used a gun, turns into an amateur vigilante at night and shoots down the bad guys.
Bruce Willis who essays the role of Paul Kersey is just as good as he is in his previous films. Every DIE HARD fan knows what he is capable of when it comes to acting and action. He takes over the role of Charles Bronson but nothing like the original character. He is angry, flippant and just in shooting spree. Dean Morris of Breaking Bad fame essays the role of Detective Kevin Raines. He makes a strong impact on screen. Elisabeth Shue, who essays the role of Lucy Kersey, has less screen time but is good in whatever time she has. Vincent D’Onofrio, who plays Paul Kersey’s ex-con brother, has literally nothing to contribute in the story. Camila Morrone is impressive in her role as Jordan Kersey.
The screenplay by Joe Carnahan is average. It does build an emotional connect with the Kersey family but one does feel that the writing could have been stronger, especially when you have such a stellar cast to perform the material on screen.
Cinematographer Rogier Stoffers uses stunning camera angles, especially while shooting the city at night during the vigilante scenes. Mark Goldbatt’s editing is tight and crisp. Ludwig Goransson’s music is catchy and helps build the momentum. The action scenes are shot very well as the gun fights are quick and action is very situational.
On the whole, DEATH WISH is an action thriller which has a basic storyline but manages to entertain with its action scenes and subtle humour. The film will appeal to the hardcore Bruce Willis fans.
Today almost every film that hits screens comes along with loads of visual effects and CGI that promise to leave the viewer spell bound. Well, this week, we see the release of one such film, PACIFIC RIM: UPRISING, which heavily relies on visual effects to not just take the story forward but also to give the viewer a complete cinematic experience on a larger than life canvas. The film is a sequel to 2013 release PACIFIC RIM that created quite an impact with its massive mech warriors going head to head with alien life forms that threaten to destroy earth as we know it. But will it manage to live up to the expectations that have been created by the first, or will it buckle under the pressure, is what we analyse.
PACIFIC RIM: UPRISING is set 10 years after the epic ‘Battle of the Breach’ which acted as the climax of the 2013 release. With a brief recap of what transpired in the first film, the sequel dives head first into telling a new tale on epic proportions. With the cataclysmic events behind, the surviving human race has moved on with life. However, there is still a division prepping in the wings just in case another such event happens. But with the advancement in technology, we see the rise of new breed of automated Yeagers that can be remotely piloted. Things seem to be progressing idyllically in the global neighbourhood when out of the blue; a rogue Yeager lays waste to the city of Sydney. Jake Pentecost (John Boyega) a once-promising Jaeger pilot whose legendary father gave his life to secure humanity’s victory against the monstrous Kaiju assisted by pilot Lambert (Scott Eastwood) must defend what is left. Stunned by this sudden attack, Pentecost and Lambert undertake a mission to investigate a base buried in ice. Here they are waylaid once again by the rogue Yeager. But the duo piloting Gypsy Avenger, manage to overpower it and haul it back to base. Back home, they learn that the rogue Yeager has been developed after cloning a secondary Kaiju brain. However, the battle is far from over with multiple such rogue Yeagers appearing opening up a new rift for the Kaiju to pass through. Will the battered and bruised team of motley Yeager pilots be able to defend Earth, is what forms the rest of the film.
Right from the onset PACIFIC RIM: UPRISING directed by debutante feature film director Steven S DeKnight is a visual treat. With a throwback to the previous film, this one too gives viewers a feel of watching something larger than life unfold. The film does feature some of the best mecha warrior action with well-choreographed fight sequences, wanton destruction, thrilling after-effects and of course some touching dramatic sequences. However, the film does not feature anything new in the overall scheme of the story. In fact, like the first film, PACIFIC RIM: UPRISING still toes the line of an alien species invading earth aiming to cause an extinction level event, being fought off bravely by a rag tag team of defenders ultimately saving the world from certain destruction. While the first half of the film starts off well laying the foundations for a thrilling second half, the on screen progressions do not really connect with the seasoned viewer. On the other hand though, the film does come across as one that is aimed more at catering to kids/ teenagers who would love the dollops of destruction and action on offer. Progressing further, the second half of the film doesn’t get any much better. Though replete with nail biting action sequences, unlike the first film, PACIFIC RIM: UPRISING does not manage to develop a similar kind of awe in the viewer. Instead the film comes across as a valiant effort to live upto the cracker of a movie Guillermo del Toro gave us in 2013.
Coming to the performances in PACIFIC RIM: UPRISING, John Boyega as Jake Pentecost does well in his given role, however, the burden of living up to his father Stacker Pentecost’s image played by Idris Elba seems to be too much. Though Boyega does a decent job, his enactment of an inspiring speech session to mimic that of Elba’s from the first film falls flat. Scott Eastwood as Nate Lambert, Cailee Spaeny as Amara Namani, Burn Gorman as Dr. Hermann Gottlieb and Charlie Day as Dr. Newton ‘Newt’ Geiszler do similarly well in their given roles. However, it is the visual effects of the film that are truly its main lead. Unlike the first film, that features a slightly darker theme, PACIFIC RIM: UPRISING is surprisingly light both in terms of theme and overall doomsday proclamations. Sadly, though the film is a fun watch, it does not compete with Del Toro’s ode to the monster films of old.
Coming to background score, something that has become rather major when telling a large canvas story, is severely lacking in the film. With no memorable scores that help build the tension and overall weight of the on screen happenings, the viewer feels rather disconnected.
On the whole, PACIFIC RIM: UPRISING, though not as good as the first part, does manage to hold its own. If you enjoy the thrill of watching giant mecha robots go head to head with monstrous aliens, this film is certainly meant for you. At the Indian box office, with a bit of competition coming in from the Bollywood release HICHKI, PACIFIC RIM: UPRISING that enjoys a wide release across four languages, looks set to register decent numbers.
