The Fifth Element (1997) (7/10)

A fun movie. Sci-fi with the usual space ships, evil, aliens, magic antidote and so on, but also humour. In fact on one level it seems like a parody of many other serious counterparts to itself. The fifth element needs to be combined with the other four. But the fifth element happens to be alive. I do not know if it is fair to say, but Bruce Willis seems a lot like Indiana Jones but for the background. Not too much acting is needed as there is enough action. Many things about the evil and the aliens go unexplained as usual.

The Fifth Element (1997) (7/10)

Æon Flux (2005) (6/10)

A futuristic sci-fi movie where a dying world was saved by a scientist and all the saved people are living in a huge city separated from nature. This continues for 400 years but something has been brewing. The action is too fantastic as is often the case when anything is dubbed futuristic, and so are some of the gimmicks. Its always the right people with the right implements. Including the magnetic balls, in-brain communication, the non-distributed master database.

What I did like about the movie was its premise, which is plausible, but also mainly the solution that comes about. Many times time is a very good solution to many problems provided no destructive interference is being brought about.

Æon Flux (2005) (6/10)

The NeverEnding Story (1984) (5/10)

The story has a weak premise of interactive stories, as usual in another dimension. A school and a home are shown for an excuse but it is really about rescuing a princess who is awake just a for a few minutes throughout the movie. Its more about a boy who has to go on a quest for the princess just because her uncle says so. His character does not get built. There are a bunch of other characters thrown in for effect which they summarily fail to. What is this a mix of? Alice in wonderland, Wizard of Oz and Spongebob or something like that

The NeverEnding Story (1984) (5/10)

Enemy Mine (1985) (4/10)

Netflix thought I would like this. So much for their AI algorithms. It is sci-fi (really? it was more about emotions - first anti, then for and the usual violence thrown in for good measure - just good old earth -on any part of it for that matter - in a different setting), it is based in outer space, it has aliens. Are the criteria so simple?

It is about species, ugliness (of the body, of perception and of the mind) and perhaps goodness (or is that just the residual when ugliness leaves?). In short, you can avoid this. Why did I spend time writing this? Perhaps just to indicate that some good is still left in me.

Enemy Mine (1985) (4/10)

From Paris with Love (2010) (5/10)

Eiffel tower is shown a couple of times, a drive past Seine once but otherwise this movie could have been shot anywhere. I deplore the use of one of my favorite city's name in this fashion. The movie has elements of espionage and something like a plot but many holes. But clearly like many Hindi movies you are supposed to ignore that and just go gaga over the violence and the attendant nonchalance. Bottomline: if you like guns and shootings and brawls, this is for you. If not, perhaps you could give it a miss.

From Paris with Love (2010) (5/10)

The Color of Magic (2008) (6/10)

Had decided to watch this for my love of Terry Pratchett though from past experience I knew that movies don't live up to their print counterparts - and I had not read the book. I wasn't disappointed in what I had thought. The movie was complex enough and many of the usual characters were there - including a troll and the sentient luggage (knowing about diskworld is useful) but it is difficult to bring about the humour in the text. Did get to the see the circumfence and the rimbow though. A lot that should be left to imagination escapes like spells from book of magic and then is not as effective somehow. The tourist lives up to one and is by far the star, if unintendedly. I will leave the turtles be.

The Color of Magic (2008) (6/10)

Never Cry Wolf (1983) (7/10)

An unlikely lone ranger or rather a lonely biologist out in the arctic sent to locate the Canis Lupus Arctos. Hunt the caribou hunters, he is told. Crisp description, half in a report format, half in a diary format leaves a bit to be desired. Thankfully the no-nonsense natural surrounding left untouched makes up for it. Encounters with the Inuit, learning of their wolf tales, and understanding of their relationship with the Caribou gradually comes out. Interesting situations develop where the protagonist needs to assert himself in the lupine territory and when he discovers the caribou that the wolves actually eat and has to follow suit if only as an experiment to give credence to his observations. The bad human angle in the end seems overdone (though an equivalent is likely to be undoubtedly true).

Based on a book which is based on facts. Same name. By Farley Mowat.



Never Cry Wolf (1983) (7/10)

Peepli [Live] (2010) (6/10)

A movie dealing with the current problem of farmers being driven to suicide by dwindling resources and a nonexistent support system. It is a serious problem. The movie attempts to bring out the seriousness by showing it in a lighter vein by highlighting the apathy of the media and the politicians. That has come out very well. Two statements standout in the whole movie. One where an established journalist tells a novice what journalism is. Not very convincingly, but she clearly is happy that she could state it and definitely believes in it. The second is by the agricultural minister about promises and their implementation or unneed thereof.

One thing that was lacking from the whole mela was the NGOs. How could they not be there in the whole affair. The answer that two conversations brought out was that it is an NGO movie and you cannot make light of other NGOs.

Peepli [Live] (2010) (6/10)

haapus (2010) (6/10)

In haapus (Alphonso) they have tried to deal with a pertinent problem of the money not reaching the people who go produce as well as trying to dismantle, if only a little, the hold that astrology has on people. However its been mixed with comedy partly based on twins and with too fantastic a transition that comes about towards the end. Add to it the trauma of a past accident, a mother on the deathbed and so on. So, while it is not a masala movie in the usual sense, there is a lot of its own masala in it. To black and white in some sense.

haapus (2010) (6/10)

Following (1998) (8/10)

This short film (70 minutes) by Christopher Nolan is full of twists. Its more like one big twist. A cerebral movie like his other ones. It starts with someone following other people for fun and then the story unravels. Break-ins, murders, blackmail all feature here with less than half a dozen people involved in all the action. There seem to be a few loops ala memento and inception, so watch out, and enjoy.

Following (1998) (8/10)

Wake Up Sid (2009) (6/10)

A no-nonsense movie about growing up, companionship and may be maturity, or recognition of it. Doesn't glorify the typical tenets of today's society and lets its protagonists go with the flow. Everyone is quietly confident. Mistakes are made, but well, mistakes happen. Though the movie s about two people, they do not dominate it and so it is very natural and nice to watch. Finding the groove takes time, but one has to take deliberate steps towards it and be passionate about *something*. Excellent acting.

Wake Up Sid (2009) (6/10)

Inception (2010) (8/10)

A cool idea executed pretty well. People believe dreams are ways to let your brain rest, recuperate, relearn. Some people even believe that they tell you the future. But could they be used for ulterior motives? By someone else? It is said that you should share your dreams. The movie takes it to a whole new level. Or 3. Leaves us wondering if we are ourselves in a dream. You need to have an ally to know. Wink, wink. ME TOTally.

But it does not stop there. How about it if besides learning from shared dreams we could use them to actually change the future? The concept is not unheard of, but here it is shown using technology somewhat ala matrix. Elements of Stalker (1979) are also seen. So also is a reflection of Douglas Hofstadter's 'Little Harmonic Labyrinth' (in 'Godel, Escher, Bach', the conversation before Chapter 5). It is hear that the concept of Tumbolia is introduced (a land where cartoon character live when no one is reading the cartoons). What is dreamland if not a version of Tumbolia in some other space. How different is limbo? The concept of GOD (=GOD Over Djinn) is also introduced there. The name comes from Bach's composition called 'Kleines harmonisches Labyrinth.' And labyrinths play an important role in the movie. It is interesting that Penrose is mentioned in the movie but Godel and Escher (and Bach) are not.

But making a movie that seems sensible on such a topic is far from easy. One thing I do not like in such movies though is that a lot relies (in terms of making sense) on the first and last few minutes. I am guilty of it myself in some short stories (all Marathi so far) but in my defense they are not feature length.

What will happen if the inception of dreams fail? Can there be time-like loops? Closed or open? What if it reverses? I would not want to actually say what is in the movie so that I do not end up spoiling it for you. I am sure you will enjoy it though.

Oh, BTW, parts of the movie have been shot in Pasadena and LA.

Inception (2010) (8/10)

Rocket Singh: Salesman of the Year (2009) (7/10)

Being absolutely honest is not easy. Especially if you realize that others don't expect you to be honest and if no one wants you to be. But it is your nature to be so. Can one person change the system? From the inside? Or from the outside. Who will help you? All good questions. It can turn out that if you are really willing, may be you can be enough of a nuisance to do something.

Rocket Singh: Salesman of the Year (2009) (7/10)

Ratatouille (2007) (7/10)

Many good cartoon movies are being made of late, partly thanks to technology. This is one of them. The story is not extra-ordinary, but well brought out. Food is the theme, and when its French food, there is no question that you can make movies on it. But there is also magic. And passion. And passion about cooking, conjuring dishes that make you forget everything, including what you think is your core. Critics are thrown in for good measure too. Did I tell you that mice are also involved. Oh yes, lots of them, and of all types. Including the hero.

Ratatouille (2007) (7/10)

Paranormal Activity (2007) (2/10)

I normally don't give such low numbers to a movie because something tends to be good: acting, plot, cinematography, songs, dances, music, something. Here: zilch, nada, shunya. Nothing happens. What little happens is supposed to be inexplicable (get it? paranormal! abnormal may describe it better though). Well, in a way it is. But it is like a cricket match where they start and inexplicably leave in 5 minutes.



And yes, they meant to scare you. And I am sure some people did get scared. But there wasn't nothing. I will give them that they did not make it distorted or dirty. Overall it was horrific, I mean horrible. Worse than Blair witch project. If you liked that one, there is a small chance that you could add some money to the kitty of this movie and perhaps even feel good about it.

Paranormal Activity (2007) (2/10)

Moon (2009) (8/10)

A difficult story in terms of the number of actors which is approximately one. But it is fairly well handled. A mission on the moon for mining. A single person needed to keep the mines working. A thankless job. Three year terms for the humans. Love and hope keep him going. For many cycles. Then something unusual happens, unraveling the plan.

As there tend to be, there are some loopholes e.g. if they could have so advanced automation, why did they need the sole human? But I guess it does not matter.

Moon (2009) (8/10)

Minority Report (2002) (8/10)

One reason I may have liked it more was because it got mentioned in context of the sixth sense device the demo of which I had already seen and because I work on large datasets myself. Yet, it was not just the showyness, nor the futuristicness that struck me, but the ability to carve an interesting story within such a far flung possibility, and have enough twists within it, some so obvious that only later you ask yourself why you did not anticipate them. Using precognition to see future murders and to stop them come what may (have happened in the future). The innocence and the cunningness, the dutifulness and the ruthlessness all counterbalance each other well. Timetravel movies can become a bit cliched since you know that different timelines would get resolved in most stories. Here it is not really different timelines though apparently there may be a choice. Or, if you are to believe in minority reports, may be more than a choice.

I own a book or two by Philip K Dick, but have not read them. May be it is time to do so.

Minority Report (2002) (8/10)

Doubt (2008) (8/10)

The closed structure of a convent, the vows of christianity and the temptation of sin. Can doubt be far behind? It does not get too emotional, but is clearly emotionally charged. Only 3 powerful characters, and a small number of others putting in short appearances. Parables and sermons used to good effect.

Doubt (2008) (8/10)

The Godfather (1972) (8/10)

How can one who does not like violence like a movie that is full of violence.
It could be the animal inside you. But more likely it is the accompanying elements. The nonchalance, the coolness. Watched the movie after several years and appreciated it a bit more. Is there a story? Yes, and no. They are living their lives and they have to live them (or die) their way. The dialogues are immaculate. No unnecessary cussing, no unnecessary blood (if you pardon the large magnitude of killings). It is the larger picture that is important. No unneeded comedy during the violence either (a mainstay of many hind movies these days which some people seem to enjoy). Truly the making of a don. The dawn of a new Don.

The Godfather (1972) (8/10)

The Recruit (2003) (6/10)

A movie about espionage recruits, and counter-espionage.
Computer hacking is made child's play, and smuggling easier still. It has a few twists and turns, but they are more like going down the Pasadena-LA 110 rather than coming to Arc de Triomphe and asking yourself where you are going to be taken next.

But it does have a few points that allows it to become watchable, if barely so. Perhaps no specific target is one such. You go with the flow and hope you will come out high and dry. Or may be that is not the expression.

The Recruit (2003) (6/10)

No Country for Old Men (2007) (6/10)

A gripping portrayal of nonchalant violence with big money in the picture and a big gun to back it. People get caught in, get greedy, and the cops, or the cop, learns a thing or two. Its gripping but leaves you a bit unsatisfied. Not because the ending is unlike most other movies but because there is no resolution without leaving it really open to the viewers i.e. the viewers know what will follow but all that seems besides the point. Information is vital, and much of is left in the dark, or the obtaining of it.

It does not look like a country for any type of men. You will like it if you like other movies of the kind: western, texan ...

No Country for Old Men (2007) (6/10)

Vihir (2009) (8/10)

This is the story of two teen-aged cousins. The first half is of the slightly older one (Nachiket) who is starting to ask himself some abstract questions about being as he sees around him relations that are not completely healthy, but are shown to be that way so that minds don't get hurt. He hopes to go away from all this. He is the idol of his younger cousin (Samir) who is visiting. Samir does not understand what Nachiket is talking about - and thinks Nachiket is going to run away, and shortly thereafter his own journey starts.

It is an extremely well made, well acted movie which deals with the unanswerable question of death and what it means and how it should be handled. Music, photography, repetitions (the well, swimming, dripping water, biking, bus rides) are used effectively to create an atmosphere that keeps you bound to the theme. The relations between the large family and their nuances are brought out very well and provide a nice skeleton to the story.

Somewhat philosophical in nature if you look at it the right way. Half way through it may seem to proceed rather slowly, but it is necessary to create the atmosphere, and it picks speed in the second half. Overall, no complaints. Well worth taking a dip in the vihir.

Vihir (2009) (8/10)

Dhyasparva (2001) (8/10)

A biographic film from the turn of the 19th-20th century extending to a little past India's independence. The character being portrayed is Raghunath Karve, the son of another illustrious person viz. Dhondo Karve. Obviously the society then was more under the yolk of misconceptions, both religious and social. The resistance that ra dho meets to his very well intentioned but equally direct and blunt approach is imaginable (though not understandable). After seeing the strange opposition that Dadasaheb Phalke met to his filmmaking it wasn't surprising to see the tempers rise when family planning was being advocated by ra dho when even remarrying by women was not allowed. What is worrisome is that the issues have changed, but the views, the opposition to other (now current) issues has not. The dogma continues, and it springs mainly from blindly believing what is ancient and what the masses say. In fact now it is worse in terms of groups physically attacking someone (rather than bahishkar which could sometimes be a boon) because they think (I should say feel since normally they don't think at all) does not agree with their views (which are really someone elses views - as for instance, Gandhi's followers not having read his book, and attackers of Bhandarkar institute not having read James Laine's book). It is also interesting how the politicians have not changed either. I mean even the earlier ones had some strange mindsets.

The exchanges between ra dho and Shakuntala Paranjpye, Mama Varerkar and Babasaheb Ambedkar added a good flavour to the movie.

Dhyasparva (2001) (8/10)

Cat on a Hot Tin Roof (1958) (7/10)

Almost the whole movie is shot in a small number of locations clearly indicating its play-like nature. So no special effects. Yet it takes nothing away from the excellent dialogues and acting. The story (as also the movie) may be old, but the contents are surely timeless. Its about death and about possible homosexuality, as also mendacity. I am always amazed as to how seemingly different concepts can be brought together in a good story. We learn how talking can be better than just shutting up, how accepting can be better than rejecting and how revealing can be better than hiding.

Cat on a Hot Tin Roof (1958) (7/10)

Manorama Six Feet Under (2007) (6/10)

The style is very unbollywood, and much more lifelike. Sometimes slow and sometimes seemingly directionless and even contradictory, not to mention weird (the fishes being an example). A writer turns detective because he gets a client. Since he is otherwise jobless and because he feels a sense of responsibility, he persues the case. Since what is happening is not quiet clear, a sense of suspense comes into play. The movie deals with politics, social work for an uncause, corruption, rights, exploitation and a few deaths. It also deals with ulterior motives and manipulations. But much of this is touched upon by-and-by. Since its different, and the elements of mystery and a clue therein bring it above-average. But not extra-ordinary.

Manorama Six Feet Under (2007) (6/10)

Into the Wild (2007) (7/10)

I had gone to Alaska a couple of years ago and loved it. It IS wild. So when I heard about this movie which is based on a real life adventure that a young man embraced knowingly, I had to see it. He just wants freedom. From everything. He is the topper at his university, but readily gives it up as well as the money to go live in Alaska - all alone. Obviously it is not a bed of roses. It is interesting to see the people he meets on his way there and what he undergoes while there. And of course the desire of his parents to have him back. The steps he takes to be not traced are very purposeful. A cross between Sinbad and Don Quixote? Yes, but only in the sense of coupling the adventure with the unforesightfulness. The movie was preceeded by an article and a book by Krakauer.

Into the Wild (2007) (7/10)

Snatch (2000) (7/10)

Seemingly too many characters in rather unconnected walks of life. The movie happens in too many places at once. Everything rotates about a diamond. A rather big one. Some know about it and some don't. But they get connected with it anyway. There is a lot of pig headedness and bullishness and very natural dialogues. Unlicensed boxers, bullet dodgers, accident freaks. Its all there. It all goes to the dogs. I generally don't take to movies that seem to be so nonlinear to the extent that (a) either they don't make sense or (b) are rather life like. This one, however, was hard to turn away from. Its fast and a variety of things keep happening. Fights inside and outside rings, successful and unsuccessful heists, people who get killed and people who refuse to get killed. Even the police put in a token presence in all the intense action. They have a rather unique way of bringing the story to a closure. All loose threads meet their end.

Snatch (2000) (7/10)

Pinjar (2003) (8/10)

There are many movies about religion, about religious strifes, about partition. But none combines these AND love and social issues like Pinjar does. It handles these complex issues in an immaculate and moving way. Flowing with the masses and then seeking individuality in it is explored as also social pressure to act in certain ways even if it means giving up your own child. To think that perhaps people in some parts of the world may still be going through such situations. The performances are stellar. It seems to flow slowly but never bordering on being boring. The emotions need the time to come out. If for nothing else it is worth watching for the human angle.

Pinjar (2003) (8/10)

Calcutta Mail (2003) (6/10)

A movie with a great promise dwindled in the middle and recaptured somewhat in the end. It begins with a bit of intrigue and the viewers are left a bit groping about what it is all about. A flashback starts revealing it and why all that is happening could be happening. A part of it drags on a bit though and this is where it loses some ground. What ensues then i.e. the continuation of the story in the present is interesting, especially the gimmicks by the hero with some risks related to his son. The usual nexus, tangles involving politicians, policemen etc. are brought out. A few twists and turns ensue, not all completely transparent, but that germ does restore the earlier promise. The Kolkata backdrop and its environment is used in an interesting manner.

Calcutta Mail (2003) (6/10)

99 (2009) (5/10)

They have combined elements of truth (viz. matchfixing in cricket), more truth (viz. extortion) and even more truth (viz. stupidity) and mixed it with people's dreams, relationships and somewhat perceptions of life. The mixture of this should create a few funny situations if you try hard. The trouble is they are not very funny, nor are they very insightful. A few usual coincidences round up the performance. Actually the tieing together of the threads is in fact somewhat better than most of the movie. The acting is pretty good though. Credit is also due to the movie for connecting seemingly unconnected things in a bizzare but almost believable way. Oh, the bad mouthing of Delhi.

99 (2009) (5/10)

Changeling (2008) (8/10)

A movie that grabs your attention with good acting and a believable plot. (Well, some would say it is based on a true story - but then that is not enough. You have to make it watchable). Its about a woman who tries to stand up against LAPD (of the 1930s) since she thinks they have made a mistake which they wont own up to. It helps that a couple of people readily come to her aid. In a couple places the scenes are unnecessarily dark, and one sequence towards the end may have been unnecessary. But may be that is why Eastwood made the movie. Some gory scenes. Some snipets don't seem to connect too well. But overall it makes sense.

Changeling (2008) (8/10)