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Jurassic World Dominion (2022) Review- A full stop is preferable than a multiverse

Jurassic World Dominion is the third and final instalment in the Jurassic World franchise. It’s also supposed to wrap up the storyline that began with Jurassic Park (1993). Colin Trevorrow is the director.

With Sam Neil and Laura Dern returning to the franchise after a two-decade absence, the film contains numerous callbacks to the 1993 original. As a result, this film will undoubtedly evoke numerous nostalgic feelings in you, which is understandable given that farewells are all about nostalgia. There is no doubt that the film will be a gigantic spectacle, but the question is whether it can measure up to the high expectations that the Jurassic franchise has built up over the years.

Jurassic World Dominion has its moments of brilliance, but it’s mostly a squandered opportunity. The fun is there, the action is there, but the characters are the weakest link. There are numerous fan moments, particularly those parts in which Sam Niel, Laura Dern, and Jeff Goldblum appear together, but their classic roles are transformed into college-aged teenagers for comic effect. The film’s music isn’t up to par for the final instalment of the Jurassic trilogy. We are disappointed that the famous Jurassic Park theme music has been ignored. This film boasts one of the worst scripted final acts in the Jurassic franchise.

Jurassic World Dominion sets out to be just a fun film and it succeeds. Still, it is an underwhelming finale to the franchise. But, in our view, a full stop is preferable than a multiverse.

Samrat Prithviraj (2022) Review – Simplifies everything

Samrat Prithviraj is a historical epic directed by Chadraprakash Dwivedi. He is well-known for the television series Chanakya. He also directed a few films that received critical recognition. The majority of his works are inspired by literature.

In Samrat Prithviraj, he attempts to reconstruct the epic tale of the famous Indian king Prithviraj, partially based on the poem Prithviraj Rasso and other northern Indian folklore. They made this film with a wide range of age groups in mind, with a focus on making it more kid-friendly. Many aspects of the conflicts and internal politics were reduced in the process, resulting in characters that were relatively one-dimensional. Prithviraj, played by Akshay Kumar, is our good hero and Mohammed Ghori, played by Manav Vij, is our terrible villain.

There are more theatrics in the writing than cinematic elements. Samrat Prithviraj, like theatrical plays, contains one long scene followed by another with a lot of talking. It’s what we’d refer to as “old school.” But it still works now in some way. The large sets, costumes, and visuals are all quite appealing. There is a particular cadence to the dialogues. There are some terrific action sequences as well.

Samrat Prithviraj works as a spectacle with a simplified narrative. It’s a two-hour war epic since they don’t go into detail on the events shown in the film. As the warrior king, Akshay Kumar offers a strong performance, however it isn’t consistent throughout the film. He looks slender as a warrior king, defying the cliches of period film casting. Sonu Sood and Sanjay Dutt are convincing in their portrayals. Manushi Chhillar looks very ameture, while an experienced actor like Sakshi Tanwar is completely wasted. Ashutosh Rana’s Jaichand appears confused, while Manav Vij’s Ghori is monotonous.

Chadraprakash Dwivedi ensures that the art team does not overlook any details, yet he fails to tackle the continuity issues himself. There are several timelines that are abruptly omitted throughout the film. It’s because they take a simplified approach to situations that are inherently complicated.

In general, Samrat Prithviraj is a simplified version of the epic. It’s a good big-screen extravaganza with several high points, especially a strong climax. Several attempts to adapt Prithviraj for the big screen have been made in the past, but they never received the funding necessary to realise their vision. In terms of technical brilliance, Samrat Prithviraj is the best attempt to tell the story on the big screen.

We tried to analyse the film on its own merits, however there is something we would want to address. Chadraprakash Dwivedi and Akshay Kumar speak about history a lot while marketing the film. They even appeal to the Ministry of Education, requesting that something be balanced in the history books. If they truly intend it, it becomes extremely problematic since the film itself simplifies everything and leaves out the political complexities. Many incidents were omitted since they did not fit into their simplistic narrative. If all of this chatter is merely a publicity stunt, it has to be the worst way to promote a film.

Bhool Bhulaiyaa 2 (2022) Review – Attempts to be as regressive as possible

Bhool Bhulaiyaa, a remake of the Malayalam film “Manichitrathazhu“, was released in 2007. The original film was praised for its unique treatment of psychiatric aberration in a conservative community and the ultimate adoption of a modern perspective. Bhool Bhulaiyaa became an instant classic as well. Priyadarshan remained faithful to the original film while incorporating all commercial components.

After a long wait, Bhool Bhulaiyaa 2 was announced, albeit without the original cast and crew. According to the makers, this is a new story and has no connection with the first part. It’s merely a spiritual sequel. It is directed by Anees Bazmee and stars Kartik Aryan, Kiara Advani, and Tabu.

The film immediately establishes that it is headed in the opposite direction of Bhool Bhulaiyaa. Although this sequel has the same body and structure as the first, it lacks the soul. Perhaps we should consider this as a standalone film and stop comparing. But we can’t help because it was the makers’ idea to name it Bhool Bhulaiyaa 2.

Some jokes are hilarious and some of the horror parts are effective as well. However, when viewed as a whole, nothing in this film works. This mess is the result of poor and sloppy writing. It can sometimes feel like you’re watching Insta reels. The story revolves around the big joint family of Kiara Advani. But we’re not sure who’s whose father, who’s whose son, who’s whose sister and who’s whose uncle. We believe the writer has no idea who the characters are or what their relationships are. Kartik Aryan attempts to persuade you, but his acting can’t save the film if the screenplay isn’t up to par. The first instalment had a terrific music album, however the songs in this instalment are really mediocre. They rely entirely on the theme song from the first film. Kiara Advani plays a dumb girl whose sole role is to carry the plot ahead in the absence of a writer with a brain.

First good thing about the film is, there are some technically perfect horror elements and jump scare scenes in the movie. The second good thing is listening to Neeraj Sridhar’s voice after so long. The film has certain nostalgic aspects that work in its favour.

While the first film attempted to modernise the debate about some of the society’s dogmatic ideas, Bhool Bhulaiyaa 2 attempts to be as regressive as possible. In the film, there is a song with the lyrics “hum nashe mein to nahi…”. We are eagerly anticipating the makers’ response. If this is Bollywood’s gamble to resurrect the industry, only God can help them.

Doctor Strange in the Multiverse of Madness (2022) Review – Bad writing plagued the film

Doctor Strange in the Multiverse of Madness is the 28th film in the Marvel Cinematic Universe. However, with the notion of the multiverse, we can’t say anything for sure. It could also be the 35th or 50th film of the MCU. This sounds very confusing because we don’t know whether to count the first Blade movie or the first X-Men movie in the MCU.

Doctor Strange, like the previous Spider-Man film, is merely a tool to build the multiverse narrative for future MCU films. There is no substance in the name of character development. Wanda’s character journey proves to be the weakest aspect of the picture. The melodramatic climax and the transformation of Wanda is out of place. While the films usually suggest that the stakes are enormous, everything appears to be so simple at times that you couldn’t care. We believe that after Infinity War, this is where so many superheroes die, but you can’t feel anything.

Hiring talented directors, performers and technicians does not ensure a good film. Bad writing and poor character development plagued Doctor Strange. The only thing worth cheering about is a few special appearances, but an overpowered Wanda and an inconsistent Doctor Strange will ensure that your happiness is short-lived. In their rush to extend the Marvel Cinematic Universe, the makers shouldn’t forget about the basics.

Jersey (2022) Review- Rollercoaster of emotions

Jersey is an official remake of a 2019 Telugu film of the same name. The original film has received good reception. Even won a National award for best editing. When Bollywood announces remake projects every other day, it’s hard not to be critical of these simple economic strategies. Though it is impossible to determine the motivation behind this remake.

Jersey is a rollercoaster of emotions. The father son relationship is the heart of the film. The theme is how a father rises from the darkness and walks into the light and eventually burns himself in the process to fulfil his kid’s wish. You may call it a film about second chances. Despite the fact that this is a very rigid remake, Shahid Kapoor delivers a powerful performance. In the case of Arjun and Vidya’s relationship, there are clearly some missing dots. Vidya always says, “It’s been a long time since we sat and talked like we used to.” However, in film we only  witness montages and songs from their earlier days. Ronit Kamraa, the child actor, reprises his role in this adaptation. He is adorable on screen and his naivety elevates the film significantly.

When compared to the original film, there are certain improvements in terms of detailing. Some of the Ranji matches are seen played at night in the original, if memory serves. But they got it right here and showed all of the matches during the day. However, Arjun’s well-maintained luxury bike raises some concerns regarding detailing. The songs are good, but they don’t quite match the mood of the movie.

Jersey’s hindi adaptation stays true to the emotional core of the original. But the question resurfaces: is it really necessary to remake this film with a threefold increase in budget? Definitely Gowtam Tinnanuri had some new scripts; what if a Hindi studio approached him about making an original film?

KGF Chapter 2 Review – The mystery of El Dorado continues

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KGF Chapter 2 is one of the year’s most anticipated Indian films. Prashant Neel, the director, has a distinct style of visual storytelling. His films are notable for their inter-cuts, voice overs, transitions and overall editing. It’s no surprise that we saw the same techniques applied quite efficiently in KGF Chapter 2. Which keeps us engrossed in the different layers of the various plotlines. Sometimes there is so much information delivered in such a short period of time that it might be tough for your mind to comprehend. This film requires your complete attention or you may become lost in a maze of non-linear screenplay.

They create a parallel of Rocky’s story to the myth of El Dorado right away from the beginning of Chapter 1. This analogy plays a very important part in shaping the story structure in KGF Chapter 2. El Dorado is surrounded by various legends. Some believe it is a lost city of gold, while others believe it is an empire. In other myths, El Dorado is not a place, but rather the ruler of a kingdom. If we look closely, we can see  Rocky seeking his El Dorado in the gold mines of the KGF. He kills Garuda to become El Dorado’s monarch. In Chapter 2, he establishes his own empire and becomes Sultan. But, after the intermission, the filmmakers take a turn and indicate that Rocky, not KGF, is the El Dorado. All of the stories here abruptly change. You begin to see that the myth and mystery were never about the KGF from the beginning. It was always about Rocky. After this realisation, it’s easy to predict where the story will go. The war and its collateral repercussions become clear. Even after the movie ends, the mystery of Rocky remains unsolved. Rocky’s story, like that of El Dorado, becomes a legend. We’re  experiencing Rocky’s story through the perspective of Anand Ingalagi. According to his son, “there are different ways to look at it,  but according to my father, this is a tale about a mother’s obstinacy and a son’s promise.” KGF Chapter 2 has multiple layers to its storyline, this can be interpreted in numerous ways.

People may mistake this for a no-brainer popcorn movie due to the grandiose scenery and over-the-top action. It will be a huge disservice to this film. It’s a well-planned, well-written and well-executed film. Yes, we have reservations about several editing choices and bgm selections, but it still meets our expectations. In the second half of the film, there was a romantic track that was slightly off. Another disappointment is Anant Nag’s absence in Chapter 2. It seems like they want a more popular actor like Prakash Raj for the second part.

KGF Chapter 2 is developed on a shoestring budget because the Kannada  film  industry lacks the resources that the Telugu, Tamil and Hindi industries have. It still achieves technical brilliance. Kannada cinema became recognised all over the world after the release of KGF. This is a tremendous accomplishment for Prashant Neel, Yash and the entire KGF team. We hope that every regional film industry flourishes and that future filmmakers, technicians and artists are given all of the opportunity and resources they require.

The Kashmir Files (2022) Review – Whenever it ventures into fiction, it fails

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When the insurgency in Kashmir erupted, Islamist terrorists targeted Kashmiri Hindus. They began murdering Hindus with slogans such as “either convert or die.” As a result, one of the most horrific human tragedies in independent India unfolds. Thousands of Kashmiri Hindus were forcibly displaced. They became homeless in their own country overnight. The Kashmir Files claims to discuss the injustices faced by Kashmiri Hindus.

Without wasting any time the film starts to talk business from the opening scene, followed by some gruesome killings. This level of brutality is rarely seen in Indian films. So, such scenes from The Kashmir Files will undoubtedly have a significant impact on the audience. Cinema has recently evolved into an escapist companion. But not in this case. There is no way out. It will make you much more uncomfortable when you realise that these atrocities did, sadly, happen in our own country.

The Kashmir Files has been a subject of controversy since the release. Without delving into the political narratives of this film, We attempt to review The Kashmir Files only on the basis of its cinematic merits. Vivek Agnihotri compiles a collection of real-life testimonies and attempts to weave them into a coherent narrative. As a result, he ends up with a storyline where all these tragedies happened to the same family. This is unconvincing and it leads to contradiction in Anupam Kher’s character (Puskar Nath Pandit). Anupam’s family was murdered one by one. However, the terrorist always keeps Anupam Kher alive. Darshan Kumar’s character (Krishna Pandit) likewise suffered from bad writing. It is hard to believe that a Kashmiri Pandit with strong political ambitions is completely oblivious to what happened in Kashmir. Even when he is perplexed, he never bothers to study books or conduct research. Throughout the film, he never looks convincing. We believe the problem arises when real-life testimonies are forced to fit into your fictitious world. When the film makes direct references to true events, it succeeds; yet, when it ventures into fiction, it fails.

The Kashmiri Files could have been a better film, but when you develop a character like Mogambo or like a daily soap vamp, you limit the film’s genuine potential. You can sense the terrible writing all over the place as the movie progresses. However, Vivek Agnihotri succeeds in creating suspense with his non-linear storytelling, which holds your attention throughout the movie.

The term “cinematic liberty” has always been abused in Bollywood. Thanks to this term, We’ve seen the Bengali manager of the Indian hockey team singing Punjabi songs, one of wrestling’s most successful coaches locking contestants’ father before the final and a former captain of the Indian cricket team singing songs with his fiancée on a bike in foreign areas. In the name of cinematic liberty, Vivek Agnihotri merges two terrorists into one charecter and shows the dreadful Nadimarg massacre in the time-line around 1990. While the actual incident occurred in 2003 and one of the terrorists had been in prison since 1990. We don’t see why these adjustments are being made. Cinematic liberty, on the other hand, is a contentious issue. However, in our opinion, a line needs to be drawn. A film that intended to highlight the anguish of Kashmiri Hindus fell flat when they missed the segment where Kashmiri Hindus struggled in the camp. There are very few scenes of the camps. You can see how they are forcefully evicted from their own home, but you never get to see what happens afterwards. We don’t understand why they didn’t allow enough time for that since the storyline spans 1989 to 2020. It could have helped the film. They obviously mention it in talks, but that is inefficient. They waste time on the university subplot, which detracts you from the underlying emotions of the back story. Each scene in the current timeline isn’t anchored well enough to keep your interest. There are a lot of instances where you think to yourself “..Skip this scene and show us the back story.”

Last year, another film named Jai Bhim was released, which was also based on true events. For us, both the films are two sides of the same coin. While both attempt to tell stories of injustice in our society, at the same time both suffer from poor writing and rely on out-of-date book techniques. Both films were commercially successful and had incredible IMDB ratings but these are misleading. We are sceptical of these tendencies. We love to filmmakers exploring these subjects, but we don’t want them to get caught up in the Content Wars. Because cinema is beyond content.

The Kashmiri Files can be a starter. But it can’t quench the hunger of a hungry cinemaholic. It’s great to call out terrorism and injustice but does that guarantee a good cinema? We need to think again.

Finally, we conclude with a few words from one of cinema’s greats, Akira Kurosova “Civilization has poisoned humanity. The backbone of a good film is the filmmaker’s humane character. If we are not honest to ourselves, we will never be able to make decent films. “

Bachchhan Paandey (2022) Review – A commercial initiative with no artistic value

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Bachchhan Paandey is a shady film. We don’t want to waste our time or the time of our readers by analysing this project. It’s been more than a decade since Bollywood produced a terrific masala film. It’s simply because they lack the creativity required to make a masala entertainer. Nowadays, Bollywood has even failed horribly when it comes to remakes. Many people are given writing credit in those projects. Everything has become a farce now.

People would ask why we were so critical of certain movies. Why don’t we talk about the film’s technical merits instead? Because of the large amount of money involved in these projects, achieving technical objective is very simple. However, if the screenplay is out of place and character development is non-existent, technicians couldn’t help you out.

Bachchhan Paandey is a commercial initiative with no artistic value and it is self-evident that it will fail.

Drive My Car (2021) Review – A film about suffering and pain

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Drive My Car is an adaptation of Murakami’s short tale from the book Men Without Women. Ryusuke Hamaguchi directs the film.

Kafuku, a theatre artist, is struggling to survive following his wife’s untimely death. His wife was a screenwriter. She used to conceive  stories while having sex. Ryusuke Hamaguchi spent a long time establishing Kafuku’s bond with his wife, Oto. They could have easily deleted many things, but the decision to keep every single detail, every small conversation aided the film in the end. Drive My Car has one of the longest prologues ever seen in a film.

After many years, Kafuku met a girl named Misaki while working on a multilingual production of Chekhov’s Uncle Vanya. She is an expert driver. Following some hesitation, Kafuku employed her as his driver. Kafuku has already played Uncle Vanya’s character several times and knows every line by heart. But he didn’t want to say those souls ripping Chekhov’s lines this time. He decides to cast someone else. Uncle Vanya’s dialogues struck a chord with him in some way. The film delves into the complexities of life. Misaki and Kafuku have both experienced several disasters in the past. But they managed to survive, albeit in excruciating suffering. This is how life works.

When the globe is going through a difficult period following COVID. A film about suffering and pain becomes more significant. This three-hour film will have you rooting for the protagonists. Drive My Car has some well-executed conversions. The temporal shifts are done in a really fluid manner. It has the feel of a novel. They didn’t go overboard with the melodrama. This lends it a sense of realism.

The lengthy takes, cinematography, and music all contribute to the film’s overall ambiance. The portrayal of Misaki by Toko Miura is very close to the original text. A character that is indifferent, apathetic, and rarely speaks is perfectly portrayed. Hidetoshi Nishijima’s portrayal of Kafuku has a particularly personal feel to it. Kafuku searches for the explanation for his late wife’s affairs throughout the film. Nishijima gives a genuine performance as a confused and remorseful individual.

Drive My Car will compete at the Oscars following its success at Cannes. This is critical for this genre of film to get widespread attention. We’re betting on a Best Adapted Screenplay triumph at the Academy Awards.

Regardless, Drive My Car is one of the most relevant movies in recent years. It will pique your interest in the rich works of Kafka, Chekhov, Samuel Beckett and Haruki Murakami. All humans share a common experience of pain and suffering. We shall live on with all our suffering, surrounded by the dead. There are no other choices.

The Tragedy of Macbeth (2021) Review – Visually striking

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The Tragedy of Macbeth  is directed by Joel Coen . It is the first time one of the renowned Coen Brothers works independently. It is based on the  well-known Shakespeare tragedy Macbeth.

As we all know, Macbeth has been adapted many times around the world. There must be some compelling reasons to recreate Macbeth again. In The Tragedy of Macbeth, Joel Coen brings visual storytelling to its essence and presents the narrative in a minimalist yet very precise manner. They make it in black and white. Shadows, lights, blacks, whites, and mists are all seamlessly blended into the visual tale. The Imageries in The Tragedy of Macbeth are incredibly striking. There are many spectacular visuals, particularly the scene where three witches are reflected in the water. In numerous situations, the mist contributes to the visual suspense. One of the most crucial parts of this film is its blocking. Each element in the frame is meticulously arranged and has a direct bearing on the storytelling. The transitions are composed in a poetic manner. Those transitions enhanced the efficacy of the screenplay. All of these technological components, together with an adequate sound design, contribute to the film’s artistry.

Denzel Washington plays Macbeth, with Frances McDormand, Alex Hassell, Bertie Carvel, Kathryn Hunter and others supporting him. We’re sceptical about Denzel, especially because a strong personality like him can’t always persuade you of his fragility. Denzel, on the other hand, appears to be more credible in his vulnerability. His transformation from an ambitious and self-assured warrior to a confused monarch with a guilty conscience is admirable. Kathryn Hunter’s physical performance as a witch is equally impressive.

They used the play’s old English dialogues verbatim. Though it has made film more lyrical but becomes harder to comprehend. As a result, it becomes a difficult film to sit through. 

The Tragedy of Macbeth incorporated both cinematic and theatrical elements. The blocking, lighting, and minimalistic set designs give it a theatrical atmosphere, while the transitions, cuts, and camera moves are all incredibly cinematic. Bruno Delbonnel makes this all possible. This is a highly uncommon cinematic experience in today’s world. This black-and-white film rendition of Shakespeare’s Macbeth is well worth your time.