T'Challa's quest

Ryan Coogler’s adapted vision this time is of an advanced, standalone world. Even if you haven’t followed the Cinematic Universe of Marvel much closely (except Civil War), you still may not have much trouble in delving deeper into the mystical place of Wakanda. I think that’s what makes Blank Panther, somewhat unique.

A much relatable instance(s) seems that of T’Challa (the Blank Panther) and her sister. Whenever a formal gathering is over, no officials are around - this pair of siblings will burst-upon their casual conversations, tease each other by some wise-cracking jokes, but will never forget to look upon each other’s backs – more of which I would really like to see in the future instalments.

Black Panther subliminally discusses the conflict of two ideologies. One, who wants to share to the world, other, who stood back on the sharing, likely due to his family’s customs. No one is perfect on his decisions, not even the king, here. But, a king’s wrongful decisions may not necessarily define another’s future. Because it is we, only we, who can alter our fore comings. Although what is the ‘sharing’ the two ideologies have turned their backs against each other, forms the crux of the narrative. And we follow our king T’Challa, on his quest.

Black Panther had its several moments of humour too, mainly the one which I, have roughly termed the ‘vegetarian joke’, which made me amused in laughter for a good couple of seconds. For what it actually is, you’ll likely have to see the feature. Those who’ve already might have got a sheer clue of what I’m talking about.


I urge to not leave the movie until the end credits are over, for another scene of a key character from the Marvel Cinematic (hint: he featured in Civil War too).

'Challenges' in Indian cinema theatres

Whenever I usually go to a cinema hall, there are certain characteristics which not only me but you also, may have witnessed. Although they may not be considered as troublesome in many ways, it certainly might be a somewhat hindrance to a cinema experience.

Image source: indianexpress.com article

- Intermission in international screenings: Imagine a gripping chase-sequence taking place and suddenly the big screen blacks out due to a forced interval. Though many cinemas mention that the intermissions are strategically put for audience's convenience, it doesn't work so (most international movies including Hollywood ones doesn't have any interruptions). The interruptions are simply done so as to continue with the interval breaks which Indian audiences are supposed to be accustomed with.

- National anthem: Following a patriotic protocol seems alright, but, using cinema theaters as a medium for it doesn't seem a worthy idea. One is trying to be comfortable on his seat. However, he will then have to quickly stand up still so as for the national anthem. Irrespective of the following cinema exhibition being that for the country, or of patriotic nature. While some might still be searching for their seats.
Although some amendments have taken place - hindustantimes.com - 'after SC order, playing national anthem in Maharashtra cinema halls not mandatory'

- Anti-smoking advertisements and messages: Showing a disclaimer throughout when a smoking scene occurs - I'm rather skeptical if it's effective; though it could be. Plus, showing the anti-smoking advertisements twice, that too, in the beginning and sometimes before the intermission ends. That too, in English as well as in Hindi, roughly takes the count to 5 or 6. Which seems majorly excessive and unwanted. There could be several spots given for advertising and public interest visuals on television and the internet. They are a suitable platform to showcase these message.

Here are some news articles describing filmmakers' non-positive approach for the same: ‎hollywoodreporter.com - 'Woody Allen cancels Blue Jasmine..'
news18.com - 'Anurag Kashyap takes a dig at smoking warnings in Darkest Hour'

It likely seems that the government uses cinema for promoting it's policies and causes; though mainly for public welfare itself.

- High-priced food items: This might not be just a challenge faced by people who go to Indian cinemas, but in other countries too. Nachos, pop-corns et al are priced at double the rates of one's actual movie ticket. This seems exorbitant and unfair.
Here's a news article which discusses the similar issue - mumbaimirror.indiatimes.com - 'Pop-Con'



Would like to know your views or perspective, in the comment section below.

‘Welcome to the Jungle’

"A game for those who seek to find, a way to leave their world behind."

By seeing Jumanji: Welcome to the Jungle, one comes to know that the adventure here is moreover, surprisingly, a coming-of-age narrative. Our protagonists here are (well, firstly) in their young age, each of them imbibing different persona traits, rather different from each other; kind of personalities we sometimes meet during our own secondary school and college years.

And speaking of characters, the ensemble here have perfomed an admiring work, in fact, a challenging one I would say, where the characters are usually witnessed to be psychologically different from their physical characteristics. To add more though, Fridge as "Moose" (played by Kevin Hart) seemed much favourable to me, thanks to in terms of the sheer comic-timing which flows whenever the character comes up. And alongwith Bethany as "Professor Shelly" (played by Jack Black), the narrative humour is likely an icing on the cake.

Several conversations between the characters on each of their behaviours, highlights an introspect on the 'real' lives, which feels relevant. Like, when Professor Shelly informs "Ruby", "But do you think that maybe the reason why you are so judgy - is because you are like afraid that people are not gonna like you, so you've decided not to like them first?''

Gradually, we see our characters grow, which parallels with their actual ages of transition..

Which character would you, dear reader, choose to be? Or, as Spencer says just before he unexpectedly enters, "I don't think it matters that much.."
(image source: YouTube)

Click the link to check out Welcome to the Jungle trailer..

Juice

There is an imbibed, but an unwanted custom of women looking after the snacks and drinks in the kitchen, while the men get-together in the home’s living room, in the society. I have likely seen it happening. Though I initially thought it might arguably be happening lesser, but since Juice has shown this vividly in 2017, it happens; majorly might be, in semi-urbans, but, is prevalent.

The Neeraj Ghaywan-directed large-short has underlining messages delivering hints, leading to its bigger message across - in the beginning when a television audio discusses upon “…women not being conforming to various feminist stereotypes…”, but is cut-short by the group of husbands laughing upon a joke – as if they were teasing off the issue themselves.

Their laughs and mindless-discussions continue as to how the ‘’onotomy’’, as one Bengali husband pronounces it, of women and men is much different; Emperor Akbar’s death ‘conspiracy’, to the ‘weakling’ Hillary’s defeat to Trump, et al.

Women are having their own talks, rather issues on. One, a suggestion of having children, for Pubali’s (Pubali Sanyal) future age, as to which she exclaims, “…are they children or fixed deposits?” Another being focussed on the pregnant wife, to leave work for the child’s caring, to which Manju Singh (Shefali Shah), frustratingly puts, “…why can’t both be done together? I mean, why the responsibility of changing diapers has to be only of ours’, because these men have their hands tied to the (TV) remote, right?”

Manju is gradually, somewhat stirred when the girl-child, while busy playing, is called upon her mother to then serve food to the men, but isn’t told the same to the likely similar-aged boy who she was playing with - lighting upon the notion the the patriarchal legacy may continue. Further incidents are the heat on the cake which then melts upon Manju’s mood and she, finally, takes a bold decision..

You can watch Juice here.

Badass 'Babua'

Bitti Mishra (Kriti Sanon) here is an unusual, yet normal woman. In fact, rarely would there be anyone as jolly and reckless as her in all of Bareilly. She, fortunately, has an understanding father (Pankaj Tripathi), who explains about her sometimes-problematic mother’s (Seema Pahwa) situation as a thyroid issue - thus, her mood swings. Her father never talks much, but whenever he does, he is likely wisecracking.

Not having someone sharing similar interests can be tricky, though Bitti does have a good friend in Ramaa (Swati Semwal). Still, her lifestyle is arguably unmatchable – until she incidentally stumbles upon a book. Which, gives her a stirring check that there is someone who is mutual with her. She finds this book, very much relatable, and thus begins her quest to find the ‘real’ author.

Bareilly Ki Barfi is a comedy. Even when there’s a somewhat poignant phase, one of the film’s light soundtrack keeps the mood intact, and quick. Well, only whenever it wants to. Moreover, the narrative has traits of how many of us actually indulge and communicate with. Whether it’s characters, location, dialogues et al.

And Rajkummar Rao, he, had a very nuanced performance here. His was one of the most challenging roles to portray in the film – of Pritam Vidrohi. His had a better screen-time only in the second half. Likely the case being his character, was mainly the most I was able to recall much, (check out “Badass Babua”, a chuckling, establishing song on Pritam Vidrohi).

Strong soldiers

A story I along with likely many, was unaware of, until I saw the Nicolai Fuglsig-helmed 12 Strong. Many of us being unaware of it due to the documents being classified for years. But a dozen of the United States military soldiers were actually the first ones to retaliate, just a day after the shocking, devastating 9/11. Such was an impact of it on Captain Mitch Nelson (Chris Hemsworth) and fellow others that he promised to be involved in the battle, to contribute onto something, to do, to go, for his country while most of his countrymen were in pain.

Captain Mitch promises his wife that he’ll return. Coming back from a compromised, foreign territory likely seems unbelievable, and I think that’s what make us, the audiences, mainly hold onto. That if the soldiers will be able to keep their promises, which we think is somewhat over-the-top, but still strive up to.

Taliban leaders here, well, mostly everywhere, are merciless, despicable, and unnecessarily ultra conservationists (not allowing girls to be educated). The film's antagonist is given less screen-time, but his establishing scene is described basically as the points mentioned. And it’s tense.

Though a secondary, not asked for, task for Mitch was to now have ‘killer-eyes’, exclaimed by the unlikely ally – General Dostum (Navid Negahban). Eyes of a killer, as Mitch hasn’t been on a real warfront before. So, does he really get them – forms another crux of the narrative.

Lineage

Apart from the Justin Kurzel-directed Assassin's Creed (2016), also exists another live-action of similar universe. The short-feature seems to begin with an introductory monologue by our leading, Giovanni Auditore (essayed by Romano Orzari) who is dressed aptly as how his son, Ezio (played here by Devon Bostick) does in the game. Giovanni continues his monologue, highlighting "..family, justice, honour" as his bounding force, and stylishly he puts his weapons onto the holster as he prepares for the fore coming conflict – in Assassin’s Creed: Lineage.

The visual effects here will very much make you recall your memories of playing Assassin’s Creed II; though maybe that's how they were supposed to be made, and in fact seems more than decent enough for an internet released game-feature. 

The film's biggest highlight I feel though are its costumes’ design. They seem very well detailed, whether it was the all-black clothes of ‘father’-monks, the red clothing with a black robe of Borgia's, suit of Ezio and his brother (Jesse Rath); brownish skirt-dress of their mother Maria Auditore (Claudia Ferri), or of the leading man himself (most favourable, live-action adaption of the Assassin's costume as of); being likely parallel with the Italian Renaissance era.

I felt though if, there could've been better description of Ezio's traits. Here, he's somewhat brooding, mildly happy-go lucky and much curious about his father's work. Much unlike him, who was likely funny, carefree, and arguably a Casanova during his early years. Nevertheless, since the film is focussed on Giovanni, so.


The location of a key scene in the short which has tiles similar that of a chess-board, is then followed by a smooth transition – showing a close-up of a game of chess been played between Ezio and his elder brother. This makes the feature seem like a well-edited film, which it mostly is, though impressive transitions like this are then less focussed upon as the feature progresses.

For the admirers of Assassin's Creed universe, Lineage is worth giving a try (well if you're a fan you already might have), it adds much layers onto the storyline and is surprisingly better made for a non-mainstream feature of a video game.

"I'll have to show, by my work, what this nobody.. has in his heart"

Loving Vincent had a world of it's own. A world rarely experienced before, alongwith it's likely calming soundtracks. After I came out from the cinema theatre, I still seeked to go into this artistic world (created mainly by Dorota Kobiela and Hugh Welchman) again. For a time, I was unable to imagine a real environment, without it being fully-painted.

The cast in Loving Vincent have triumphantly managed to blend in onto this cinema, moreover that by Dr. Mazery (played by Bill Thomas). His, although short appearance, is worth mentioning. He is spontaneous and seems much natural. Another one, which I felt much admiring and had a bigger screen-time was the inn-bartenter Adeline Ravoux (Eleanor Tomlinson). The young girl who beautifully delves us much into Van Gogh's mystery, seems innocent, though we aren't much sure if the reel character is actually one. But her starkly blue-coloured eyes, her acquaintance with the protagonist (played by Douglas Booth), makes us want to visit her bar more often.

A scene where Vincent shakes and creates ripples in his own reflection in water, how he keeps on seeing it until his reflection is clear again - is an instance as to how much the animation here is impressive.

Vincent's letter, read out by the protagonist, is uplifting - in which he likely exclaims in conclusion, "I'll have to show, by my work, what this nobody.. has in his heart.."



Experience Loving Vincent's trailer here.

Why are 'they' here?

Are these species here to destroy something, or everything? Or are they here to befriend us? “Why are they here?'' -- as the poster suggests; they mainly have something else in mind, which forms the crux of Arrival.

The Denis Villeneuve-directed feature takes it's own pace to unfold. Neither it hardly, though arguably, stretches any moment which may seem undesirable, nor does it jump to any conclusion thereof.

Amy Adams shines upon a realistic persona as the linguist Louise Banks. She seems less-concerned about her surroundings (until of course, they arrive); and in one scene brave enough to mix-up vague historical facts with the Colonel (Forest Whitaker) just so she can prove her point. Call her immoral on this, she likely knows how to get things done.

The tizzy soundtrack sometimes looks forced, but is mysterious, too.

Arrival, mostly is the result of how it was supposed to be made. Some scenes might be merely forgettable; some scenes are worth contemplating to. It’s a good+ movie, but maybe lacks the somewhat non-extra terrestrial touch to connect with the majority audiences. Or, was it not meant to be so?

Well, Arrival has mighty important, thematic message(s) to give to the audiences of our universe.

(Though originally released in 2016, Arrival was re-released in early 2017 in select theatres of Mumbai, likely due to it’s warm approval by the year’s Academy Awards).

Impressive taxidermy, psychotic mind

What makes Psycho (released in 1960) turn out well, I believe, is it's musical score. Ain't sure about others who've watched it, but the sound volume simply increases whenever, well, there was an unexpected visual. Which apparently made it effective. Especially the 'screeching'-feel soundtrack which plays during the title credits and also sometimes during the feature.

Then, it's best actor in the leading role. The simple innocence in his first scene will lead to such bemusement - seemed somewhat unthinkable. That's I think is the best introduction to the mystery-character, which unfolds on it's own, mid-paced. His talented taxidermy skills makes the profession haunting for a time (although I usually feel alarmed by most of the non-living wildlife figures), yet also shows his sheer talent for it. Unfortunately, the 'not so innocent as he looks' could have channelized his energy in better things. Ah.


Though Psycho is notable for it's many traits, I thought the aforementioned salience makes it a good+ feature. The revelation scene of a very close relative of the taxidermy expert - still is a thrill, tense experience.

And the film's first viewing I hold reserve as it's most satisfying viewing.



(You can check out the 'screeching'-feel soundtrack here: "Prelude")