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Gisaengchung (2019)
Parasite - an unconventional storytelling
What is Parasite - A Satire? Sarcasm, humor, emotion, human condition, suspense, thriller, social issues, drama, thought provoking dialogues, strong and smooth acting - all ingredients cooked with utmost perfection and balance and served with elegance and style.
It is an unconventional storytelling, it may look very simple and everyone might watch and love this film but it has layers of strong and complex structure and an extraordinary artistic flavor. The beauty of cinema lies in its frame, because that's the window through which we watch and experience the story. And that's where comes the cinematography and the production design, it has a rich and subtle tone with detail level precision , every frame, every shot is unforgettable. Another unconventional part of this movie is it's background score, we hear operatic music during a slow motion chaos. May be the background score is inspired from Hitchcock movies.
This film and the characters do not leave you after you finish watching, it stays with you, even if you want you can't escape from them, then slowly you learn to live with them in your head, because you are also one of them. It is a hypnotic movie which is disturbing but you will still want to watch it again and again, probably because you want to laugh, cry and get scared - all at the same time.
Parasite touches so many corners of human emotions without trying too hard to over amplify any scene or sequence. Kudos to Director Bong Joon-ho for his visionary approach to tell a story which is not unknown to anyone, forcing us to believe that we are very much part of this cruel world.
Blade Runner 2049 (2017)
Art at its best
It is obvious that you will see unexplained scenes and the magic of CGI in a science fiction. But what is not obvious is the slow and dramatic pace, the retro style, the psychedelic effect, the artistic set and a surreal vision, a classic and heart pumping background score, a sudden rise in adrenaline followed by a cold silence and last but not the least remarkable performances by every single character in the movie. But I think Ford (Deckard) was much more intense in delivering his emotions in 1982 Blade runner. However, it is Ryan Gosling's best performance till date after Notebook.
Some people felt that the movie is bit slow and some scenes could have been edited to engage the viewers. But for me I think that's where it has succeeded. It is the realness of a moment which is more engaging than the breakneck stupid CGI scenes without any soul.
The soundtrack was the backbone of 1982 blade runner and Vangeli used a variety of classical compositions from different culture and society. But Zimmer and Wallfisch has done it again and you will hear and see some classics by Frank Sinatra and Elvis Presely. This is also not something obvious in a sci-fi.
Cinematography of this film is a visual treat. Any movie buff knows who Roger Deakins is and this time he has painted the sadness of this dystopian world with his artistic frames that it is so easy to lost in that world without 3d glass or VR gear.
If you are a fan of Roy Betty and fan of art and fan of Dennis Villeneuve and his complex story telling, then go for it. But yes, this will haunt you and torture you and ask you several questions for which probably you do not have any answer today. It will surely trigger the philosophical quotient of your brain and you will start questioning the core purpose and value of being human.
The last scene will remind you Roy Betty from 1982 Blade runner -
"I've seen things you people wouldn't believe. Attack ships on fire off the shoulder of Orion. I watched C-beams glitter in the dark near the Tannhauser Gate. All those moments will be lost in time, like tears in rain. Time to die."
Baby (2015)
Baby: Stupidity at its best
This movie is not at all realistic and I would say Mr Neeraj Pandey has failed to create any suspense, thrill or serious drama. Rather he has successfully portrayed an idiotic comedy and melodrama throughout his story.
There are uncountable flaws in this movie and I must say that this is the worst production design I have ever seen.
This happens only in Bollywood movies where secret talks about any secret mission are openly discussed in the office corridor or balcony.
Every time Danny calls the MOE office, we know that we will hear the same dialogue over and over, though as I said, there is some humor element to enjoy.
It was so funny and stupid to watch a secret agent suddenly closing the door to slap the secretary at MOE office and the secretary did not even bother to reply a word.
Thanks to the makeup artist for creating a nice haircut and clean shaved look of a dangerous terrorist who is in jail. I believe Mr Neeraj did not explain the scene well to his makeup artist. The funniest character is Rana in this film. He is an insult to all the ATS officers.
Another worst pickup by a casting director is Madhurima Tuli who plays Akki's wife. Every time she requests her husband not to die", you will roll on the floor and laugh.
Thanks to Mr Neeraj Pandey for his predictable twists, at least we don't have to use our brains while watching this movie. He needs to understand that the dull chasing scenes at different locations like Turkey, Saudi Arab, Kathmandu and adding few lines in foreign languages (delivered by worthless foreign actors who have neither the body language nor the skill to deliver a single dialogue) can't really distract audiences from noticing the enormous flaws in logic and the pathetic script.
After watching this film, every secret service in the world will contact Mr Niraj Pandey to know the secret formula of his magical torture which breaks any character in a wink of an eye, no matter how dangerous they are.
If our secret service will have a team like Baby then they will be invincible.
I had enough expectation from Mr Neeraj Pandey after watching Wednesday. I think I should wait for his BABY to grow to become a responsible story teller in future.