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Reviews
The Killer (2023)
Expected way better from a M Fassbender movie
Gawd, seldom have I seen a more boring movie! Too little action, too long and interminable inner monologues that droned on and on and on, not to mention a weak plot line that went nowhere fast. The entire story seems to have been written around Michael Fassbender's character, with every other character serving as a footnote-including even the mighty Tilda Swinton. It could still have been fascinating; the opening shots started off with enough promise of a noire being built up... only to lamely droop away with a whimper like a leaky balloon and never really recovering. I expected so much better from this movie, but it was not to be. I've seen some terrible movies in my day, but seldom have those been so terribly "Meh" as this one.
Miss Bala (2019)
Critics be damned... this was awesome
I am so used to seeing Gina Rodriguez as Jane the Virgin, I didn't know what to expect from Miss Bala. I loved it and LOVED her in it. The mixture of vulnerability and steely strength she portrayed was a visual treat to behold. This is a well-crafted tale, told at a tight pace. It doesn't matter this was a remake; it doesn't matter if you have or haven't watched the original. This version is brilliantly directed by Catherine Hardwicke.
Teenkahon (2014)
Complex stories, well told
Teen (=three) Kahon (=stories, story-tellings) is billed as a triptych, but to me, it was not a three-fold story. The film is comprised of three separate stories - powerful stories by their own rights - that were bound together by a single thematic underpinning: all-consuming, obsessive love. None of these three was the typical Bollywood-flavored love stories that are churned out annually by the various vernacular film industries of India. Each story was complex, many-layered and gut-wrenching in their own way.
Some other reviewers have accused this director, Mukherji, of following too closely the other celebrated film-maker from his state, Bengal, the illustrious Satyajit Ray. Ray's influence, given his stature, is perhaps not an easy thing to avoid for serious film-makers of Mukherji's generation, but I didn't get that sense from these three films. Rather, the presentation and the color techniques used changed from film to film - and it seemed that the director has aimed to recreate small vignettes from three different periods of Indian cinema, perhaps his way of paying tribute to the 100 years of Indian movie-making.
I would recommend this highly to lovers of quality International cinema. I understand the language (Bangla), but the subtitles seemed to run from the screen a little too fast, which may make it difficult for non-Bengali audiences to get the nuances.
The Adventures of Tintin (2011)
A Glad Venture with Tintin
I had a certain amount of uncertainty, even trepidation, at first: would Spielberg do it justice? This is the movie adaptation of a much-beloved comic book series that we have grown up with. We are intensely familiar with the spread of delightful characters created by the Belgian comic book artist and writer, Georges Remi (or, more popularly, Hergé). The adventures were breathtaking in their imagination - oh, the places they went and people they met! - and the drawings had such motion, such flow - despite being bound in the two dimensions afforded by small box-panels - such cinematic quality, with long-shots, close-ups, masterful use of light and shadow. Would Spielberg (Director) and Peter Jackson (Producer) do it right?
There was also the question of the animation technique. I am not a fan of the motion-capture animation, having been sorely disappointed by the 2004 release, The Polar Express, which popularized this technique; the computer-aided process could successfully animate a vast range of motions of the characters except the eyes, giving the on-screen characters a rather zombie-like countenance with expressionless, dead eyes.
Well, I am happy to report that my trepidations were unfounded.
The animated credits at the inception were exquisitely done; visually pleasing, with intelligently placed graphics and moving images, and more than a passing nod to certain animated sequences made popular by the created-for-TV animated adaptations of the books, we thoroughly enjoyed it. The animation and effects in the main movie didn't disappoint either. Even with their animated feel, the characters came alive on screen; their interactions were fluid, with an unexpected élan. Depictions of nature and the action sequences were crafted adroitly and realistically; Hergé would have been proud.
So what about the main gripe against the movie that I have been hearing from my fellow Tintin-enthusiast friends? The story... as it almost always is. This is what the Tintin Purists found most offensive and whine-worthy. The writing team, which includes the British Writer Steven Moffat (of Doctor Who fame), did not stick to the original storyline and chronological sequence of events described for these characters. They took major elements, story and visual, from no less than three Tintin books, and resynthesized the narrative into a cohesive plot that moves at a fast and smooth pace.
Granted there were inaccuracies that jarred. The real story behind acquisition of the Marlinspike Hall, for example. Professor Calculus featured in the original storyline in a major way, but not in the movie; the meeting between Tintin and Captain Haddock also didn't quite occur as depicted in the movie; and the entire series of events surrounding the models of the 17th century ship Unicorn were imagined very differently by Hergé, from which the movie deviated significantly. The movie narrative, based primarily on The Secret of the Unicorn and Red Rackham's Treasure, nevertheless incorporated random plot lines snatched from many of the other adventures.
However, Tintin Purists (me included) need to understand one thing. Spielberg's Tintin movie of 2011 is being presented primarily to an audience that has largely no previous exposure to the comic book and its characters, unlike the audience in India or various European countries. The US movie-goers may or may not take to the franchise, at all; consequently, there may or may not be any sequels to this production. To account for this unfortunate element of unpredictability, the writing team must have had to incorporate as many plot elements as they could, in order to make a story that is enjoyable even to the uninitiated.
Well, it worked. It was a GREAT effort. I must admit, Bianca Castafiore was as delightful as I have always imagined her, even though in this movie, she didn't sing, "My beauty past compare..." What was also fabulous was the inclusion of Easter-egg like inside jokes that only the seasoned Tintin aficionados would get. Right from the first scene, there were displays, on the sly, of the comic-book characters that we so love. Certain elements of the desert scene were so reminiscent of The Crab with the Golden Claws, and a later scene at the dock allowed a surreptitious glimpse of the peculiar brand of cigar as in the Cigars of the Pharaoh. There were several others: Can you find them all?
Needless to say, I loved the movie, and hope Spielberg would not stop just with one. After all, material is plentiful in Hergé's long list of creations!