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)