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The Lunchbox (2013)
Delicious Love Story
In an age when instant messaging, email, and various social media have made communication easier and quicker, debutant writer-director Ritesh Batra relies on scribbled notes tucked in tiffin boxes to deliver a charming, old-fashioned love story in The Lunchbox. There's a simple line in this sumptuous film that captures its essence beautifully: "Sometimes even the wrong train can take you to the right destination." It's a line that might help interpret the film's open ending, but one that also nicely sums up its unique premise.
I'm going with ten ratings for The Lunchbox. The greatest love stories are the ones that make you root for the protagonists to come together, despite their destinies. This film illustrates how love transforms the unlikeliest of people; it breaks down Saajan's walls and gives Ila the courage to fly. Treat yourself to The Lunchbox – it'll leave you with a craving to seek your own little happiness. Best film I've seen in a long time. Acting of Irfan 10/10 Film Rating - 10/10
I believe that this time LunchBox will surely make history in Oscars .
Shuddh Desi Romance (2013)
This is Love Actually <3
For years Hindi movies have drilled the same conservative, and often regressive notions of love and marriage into our heads. Shuddh Desi Romance takes that conventional wisdom propagated to us in the movies and turns it on its head. What's worth noting is that this movie comes from the stable of Yash Raj Films, the very studio largely responsible for breeding those notions through hits like Chandni, Dil To Pagal Hai and Bachna Ae Haseeno among others.Directed by Band Baaja Baraat's Maneesh Sharma and written by Chak De India's Jaideep Sahni, Shuddh Desi Romance is set amidst the bustle of middle-class Jaipur, where unemployed youngsters will happily pose as friends and cousins in a traveling baraat for a few thousand rupees and a gold chain. When he isn't conning white tourists into buying handicrafts from local merchants for a commission, Raghu (Sushant Singh Rajput) is busy falling in love. But he goes from sincere to conflicted to selfish in as long as it takes most people to change out of a wedding suit. So he'll woo a girl, win her heart, then develop cold feet at the mandap. This happens thrice in Shuddh Desi Romance, which would be tiring and largely predictable if it weren't for Sahni's crackling dialogue and the charming characters he puts on screen. Gayatri (Parineeti Chopra) is a gregarious rebel Raghu meets on the way to his own wedding. She smokes, she's had boyfriends, and she lets Raghu move in with her when he ditches his shaadi. Tara (newcomer Vaani Kapoor) is the damsel who springs a surprise on both Raghu and the audience.Like most normal couples – hence, unlike the relationships we see in Hindi movies – sexual attraction is key to our protagonists' equation, and the film doesn't make a big deal about it. In fact, to give credit where it's due, Sahni's script never screams from the rooftops about the brave ideas it pushes so matter-of-factly. Skillfully avoiding melodrama or sloganeering, the film portrays a generation where single women can live in with their boyfriends without being banished by the housing society. This is a refreshingly real middle-class India where marriage needn't be life's sole ambition for young girls, and where women can hold their heads high and carry on with life despite having been ditched at the altar.There's so much to like about Shuddh Desi Romance, including Sharma's nicely textured portrait of the Pink City. The film captures the sights and sounds of a busy metro in ways that most films don't even try. Oblivious that he's ruined someone's appetite, a cook at a jalebi stall scratches his backside with a chhanni. It's little details like these that sparkle with originality.Pity then that the movie runs out of steam in its unconvincing final act, particularly during a confrontation between the two leading ladies that comes off as contrived. In other complaints, the talking-into-camera device is now overused, and seldom works unless what's being said is profound, which isn't always the case here. This in fact, adds to the film's already verbose and occasionally repetitive feel.What cannot be faulted, however, are the terrific performances from the central players. Vaani Kapoor makes an auspicious debut, carrying off Sahni's firecracker lines with the comfort of a pro. Sushant Singh Rajput as Raghu, has an easy charm about him and unmistakable depth behind that scruffy exterior. But it's Parineeti Chopra, reminiscent of a younger Rani Mukherjee, who this film belongs to. She has expressive eyes and an endearing manner about her, and turns Gayatri into the most real woman you've encountered on screen recently. The film also benefits enormously from the casting of an excellent Rishi Kapoor in the part of a feisty wedding caterer and Raghu's father figure.To a large extent, Shuddh Desi Romance reinvents the wheel as far as Bollywood rom-coms go. It's aggressively non-formulaic, and gives us characters who refuse to conform. The minor hiccups notwithstanding, this is a charming little film. I'm going with eight ratings. You'll enjoy it.
B.A. Pass (2012)
Awesome combination of Sex,Lies and Betrayal
In a voice-over during the film's opening scene, as he stares emptily at his parents' corpses before him, Mukesh, the protagonist of BA Pass describes their untimely deaths as a betrayal. It's the first of many to come for this unsuspecting young boy, played by Shadab Kamal, who's at the cusp of discovering that it's every man for himself in the world outside.Adapted from a short story by Mohan Sikka titled Railway Aunty, which appeared in the 2009 anthology Delhi Noir, the film traverses the neon-lit streets of Paharganj, even poking and probing its way into the city's posh parts to ultimately lift the veil on the seemingly simple veneer of middle class life in Delhi.Taken in reluctantly by his aunt after being orphaned, Mukesh seems destined to live a life of humiliation and quiet desperation, until one day he encounters bored housewife Sarika (Chak De India's Shilpa Shukla), who seduces him Mrs Robinson-style. What starts off as an illicit affair quickly spirals into a dangerous web of prostitution and deceit, and we're mostly transfixed by this tale of innocence lost and conscience compromised.A little over ninety minutes, BA Pass is crisp and compelling because director Ajay Bahl, also the cinematographer of the film, reveals a firm grasp over the unflinching narrative. With minimal flourish or show-off, Bahl creates a moody noir that is at once irresistible. Yet, where the film slips is in the superficial, surface-level manner in which it addresses macro themes like empty marriages, sexual power games, and the frustration caused by extreme poverty.It doesn't help either that Shadab Kamal delivers a one-note performance as Mukesh, turning him into a singularly uninteresting fellow, and seldom allowing us a glimpse into his heart. Shilpa Shukla, as the ravenous cougar, is inscrutable throughout
but that approach works for her character, whose motives must remain sketchy till the end. The pair is surrounded by good actors in bit roles, including Geeta Sharma as Mukesh's unwelcoming aunt, Dibyendu Chatterjee as a chess-loving undertaker, and Rajesh Sharma as an angry husband who must take charge.BA Pass exposes a cold, dark, and bleak universe that is in equal measure grotesque and intriguing. Bahl creates the right mood, but doesn't leave you with much to think about when it's all over. Still I'm going with eight ratings as bollywood has started making real movies.Not perfect, but nicely done.
Furious 6 (2013)
Just another evolution of the series not the revolution
Like a well-oiled engine, the Fast & Furious series can be counted on to deliver what it promises on the box: gleaming cars, thrilling chases, and buff stars who look like they've stepped out of the pages of a fitness magazine. The new installment, Fast & Furious 6 is just as dumb as the previous films, and its action scenes so furiously edited that it's hard to tell who's doing what, and to whom. But, as we've come to learn, that's the charm of these movies
the stunts are outrageous, and the plot basic enough for an eight-year-old to enjoy.The new film opens with our heroes Dom Toretto (Vin Diesel) and Brian O'Conner (Paul Walker) enjoying their retirement, when federal agent Hobbs (Dwayne Johnson) shows up to recruit them in a mission to capture professional hijacker Owen Shaw (Luke Evans). The incentive for Don is a possible reunion with his ex, Letty (Michelle Rodriguez), who was presumed dead at the end of the fourth film and who now may be working with Shaw.Director Justin Lin packs the film with back-to-back chases and set-pieces, never giving you a moment to ponder over the fact that you have no idea till the end, exactly what our villain is after – some codes are mentioned, but never clearly explained. The action itself is outrageous, and whether we're seeing real stunts or special effects, or a cocktail of both, it's pretty entertaining stuff. Cars are flipped like pancakes every few seconds, an armored tank creates carnage on a bridge, and an airplane is demolished in the climax.For those who enjoy their action a little more gritty, you'll be happy to know Gina Carano (Mixed Martial Arts star, and leading lady of Steven Soderbergh's Haywire) is cast as Hobbs' sidekick, and she gets down and dirty in a thrilling girl-on-girl fistfight with Rodriguez in the London Underground.Don't expect any improvement in the dialogue – the actors still mouth lines that appear to have been stolen from bumper stickers – and the performances are basically a range of stock expressions: angry, very angry, mad as hell.At 2 hours and 11 minutes, it's a little too long, and even the most devoted action-movie fans will sense the exhaustion creeping in. But don't leave until you've caught that post- credits cameo from a popular British star who sets up next year's seventh installment.I'm going with seven ratings for Fast & Furious 6. It's loud and noisy, and a lot of fun even if it doesn't make much sense.
Man of Steel (2013)
Good start for superman but could be better
What I missed more than anything else in Man of Steel is the old-school humor and charm of the 1978 Superman film, starring Christopher Reeve, that many of us grew up watching. The new reboot, directed by Zack Snyder and produced by Christopher Nolan, is a mostly somber affair – which shouldn't really be surprising if you think about it, given that neither is known for his lightness of touch. Both, in fact, take their comic book culture very seriously. So don't expect a quick dash into the phone booth, or a cat that needs rescuing from a tree. No! Our hero doesn't even put on the suit until well over an hour into the movie.The film's overlong prologue sees Superman's father Jor-El (Russell Crowe) face off against General Zod (Michael Shannon) on Krypton. Their planet is on the verge of destruction, and Jor-El dispatches his infant son Kal-El to Earth, narrowly avoiding the clutches of Zod, who vows revenge even as he takes Jor-El's life. Far from dazzling us with its Avatar like beasts and otherworldly production design, this early sequence is weighed down by some incoherent babble about a Kryptonian codex.The next time we meet our protagonist, he's a grown man. Clark Kent, played with admirable earnestness by Henry Cavill, is first seen making a rescue from a flaming oil rig at sea. What follow are a handful of moving flashbacks to his troubled childhood and his adolescent years where he struggles to come to terms with his special powers, even as his adoptive father (Kevin Costner) advises him to keep a lid on them because he believes the world isn't ready for it.Back in the present day, Clark is a drifter whose powers prove hard to hide, because people invariably get themselves into trouble, and he can't stop himself from helping them. It doesn't take long for Daily Planet reporter Lois Lane (Amy Adams) to discover his secret. But before she can go public with her story, along comes Zod with a cunning plan to turn Earth into the new Krypton. That's the cue for a roughly 40-minute action finale in which Superman and Zod have a go at each other, virtually crumbling an entire city, and turning you deaf in the process.What anchors this noisy, humorless film are some terrific performances by its cast. Russell Crowe plays Jor-El like the ghost of Hamlet's father, showing up every now and then to dispense valuable life lessons to his grown-up son. Kevin Costner and Diane Lane as Clark's Earth parents, Jonathan and Martha Kent, bring warmth and depth to the story. Meanwhile, Amy Adams is a very different Lois Lane to the Margot Kidder version, a Pulitzer Prize-winning investigative journalist who can hardly be fooled by thick-rimmed glasses and a side parting. Her Lois is Superman's emotional equivalent, and Adams brings both heart and smarts to the part.As Superman's nemesis, Michael Shannon makes a credible Zod, his motives rooted in the real and the relatable, rather than just being another villain with a plan to take over the world. Playing Superman himself, although he's never once referred to by that name in this film, Henry Cavill brings his chiseled good looks and an inherent charisma to the role. Cavill isn't required to flex his comic chops here (perhaps in the sequel?) but he doesn't once trip as the brooding lost boy.Man of Steel leans more towards Nolan's angsty Dark Knight movies than Marvel's playful Avengers. Yet it doesn't have the great ideas of that Batman trilogy. What it does have – despite all its shortcomings – is genuine awe and wonder in the bits where Superman takes flight. For those portions, for the charming new leading man, and some solid special effects, it's worth a watch.I'm going with seven ratings for Man of Steel. A little fun, a little lightness couldn't have hurt.
Silver Linings Playbook (2012)
One of the best love_story
Silver Linings Playbook is that rare film about characters with mental illness that manages to be quirky and sad and funny and charming all at once. Director David O Russell takes some serious themes and treats them with such humor and wit that you'll find yourself giddy from excitement by the end of it.Bradley Cooper plays Pat, a former teacher with bipolar disorder, who must move back home with mom and dad after spending eight months in a mental institution for brutally attacking his wife's lover. Pat's father (Robert DeNiro) is concerned for his son's health, but could do with some help himself for his gambling addiction and his OCD. Pat's mother meanwhile (Jacki Weaver) is incredibly patient with both men, constantly trying to broker peace at home by cooking up special treats.While working towards getting his life – and particularly his marriage – back on track through therapy, exercise, and positive thinking, Pat is introduced to the equally troubled Tiffany (Jennifer Lawrence), a young widow who's dealing with depression by sleeping with everyone in the neighborhood. This pair of crazies (literally!) trades insults, compares medications, and instantly forms a weird connection.Russell's script, brimming with originality and unpredictability, gives the film's terrific cast "real" characters to sink their teeth into. Even when the film goes into conventional rom-com territory in its second half – Pat and Tiffany enter a dance competition that means the world to her – the characters and their lines never stop feeling recognizably real.Robert DeNiro is nothing short of excellent as the flawed Pat Sr, and Jacki Weaver is nicely understated. Even the skilled ensemble of supporting players (including Anupam Kher as Pat's committed shrink) hits all the right notes. But the film, of course, belongs to its fine leads, who never miss a beat. Bradley Cooper, always a likable presence on screen, is a revelation here, underlining his funny, moving performance with just the right hint of pain. Jennifer Lawrence, all of 22 don't forget, lights up the screen as the deeply complex, rude, foul-mouthed and yet incredibly vulnerable heroine. Together they're electric, and just watching them spar is one of the great joys this film offers.Silver Linings Playbook, under its bittersweet exterior, explores themes of family, second chances, and notions of what is "normal" in the world. Relying on humor – often dark humor – to tell what is eventually an upbeat, feel-good story, the film quickly finds a place in your heart and stays with you long after you've left the cinema.I'm going with eight ratings , and I strongly recommend that you don't miss Silver Linings Playbook. You'll come out with a goofy grin plastered on your face!
The Conjuring (2013)
Real Fear Factor after a long time
The problem with most modern horror films is that they've stopped trying to scare you; they want to gross you out instead with elaborate and explicit torture and killings. The Saw franchise, and even the repugnant Human Centipede movies seem to pride themselves on just how many times you have to turn away in sheer disgust at what's unfolding on screen. It takes a film as old fashioned and as classically structured as The Conjuring to remind us that it's the little things that can deliver the biggest scares.Claiming to be based on a true-life story, the film stars Patrick Wilson and Vera Farmiga as married couple Ed and Lorraine Warren, a pair of ghostbusters renowned for their extensive research on the supernatural, and for the success they've had ferreting out spirits from where they don't belong. In 1971, they're recruited by Roger and Carolyn Perron (Ron Livingston and Lili Taylor), who, after moving into their new home in Rhode Island, find themselves and their five daughters being terrorized by strange smells, unexplained bruises, and visions of dead people.Director James Wan, who gave us the first Saw film, uses the camera niftily to create an eerie sense of foreboding, and employs music and sound effects shrewdly to heighten the shock. It's true we've seen creaking floorboards and dusty basements a thousand times before, but he knows just how to exploit them for maximum effect. I'm not easily scared, but more than once during The Conjuring I found myself jumping in my seat.The film also works because there's a level of acting here that's rarely seen in films like this. Lili Taylor cuts a sympathetic figure as a helpless mother, and Vera Farmiga is nothing short of terrific as a woman whose special abilities make her both powerful and vulnerable. Sure the last half hour feels heavily borrowed from The Exorcist and Poltergeist, but it's all done with such style, you'll forget you've seen it before.I'm going with eight ratings for The Conjuring. It's a nice throwback to the moody horror films of the 70s. Wear long sleeves when you go to the cinema, or you risk your date digging her nails into your arm.
Ship of Theseus (2012)
Most thought provoking bollywood movie
Ship of Theseus, written and directed by Anand Gandhi, requires patience, an open mind, and a willingness to think. It's not enough to merely sit there in your seat and 'watch' the film, but to listen attentively to its characters and consider their arguments. If you're willing to make that investment, you'll be rewarded with a richly emotional, intellectual, and sensory experience.The film follows three separate stories that raise pertinent questions about identity, death, and morality. In the first, we're introduced to Aliya (Aida El-Kashef), a blind photographer who uses intuition to capture brilliant black-and- white images. A cornea transplant restores her vision, but she fears she may have lost her inspiration. In the second and most affecting story, we meet Maitreya (Neeraj Kabi), a Jain monk and staunch animal-rights activist, who is diagnosed with liver cirrhosis and must consider a transplant. On discovering that the medication that could save his life might have been tested on animals, he refuses treatment. The third story is centered on Naveen (Sohum Shah), a stockbroker and the recent recipient of a donated kidney. He becomes obsessed with bringing justice to a poor man he meets, whose kidney was illegally stolen during an appendix surgery.These three strands interconnect satisfyingly in a moving climax, and tie in neatly with the overarching philosophical idea thrown up by the film's title: Does a ship, whose every part has been replaced piece by piece, remain the same ship in the end? Gandhi applies this paradox skillfully to the human body, asking if a person who has had an organ transplant is still the same person he previously was.Giving us a nice lived-in feel of each of their worlds, Gandhi takes us inside the minds of our three protagonists, showing us what they stand for, and how they've changed over the course of the journey they undertake during the film. Each of our protagonists engages in intelligent, thought-provoking arguments, and it's hard not to come away deeply affected by some of the issues raised. The verbal sparring between the monk and a young lawyer-in-training is particularly engaging, and full of insightful gems worth considering.Languidly paced and lushly filmed, Ship of Theseus is just as rich cinematically, and benefits from terrific performances by each of the protagonists, particularly Kabi whose physical transformation as the ailing monk is a sight to behold. Gandhi gives us a fine supporting cast too, that occasionally infuses humor in a film that otherwise stings from its brutal honesty.I'm going with ten ratings for Ship of Theseus. It stimulates the one organ that popular Hindi cinema consistently ignores – the brain! Give it a chance and prepare to be dazzled.