Friday, June 27, 2014

Naya Pata, Hindi Bhojpuri film movie review, Johnson Thomas, Rating: *

Naya Pata, Hindi Bhojpuri film movie review, Johnson Thomas, Rating: *

#PawanKSrivastav #SaurabhRathore #ShiladityaBora #PVRPictures #MoesArt 

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Hindi film Review
Johnson Thomas   
    
 More like Lapata!      

   
Film: Naya Pata
Cast: Abhishek Sharma,Shahid Ahmad,Yashwardhan Singh, Julie Warsi,Chandra Nisha,Madhuri
Director: Pawan K Srivastav


Rating: *


Crowd-funded with a budget of a mere Rs. 12 lakhs, this film is a surprise mainly for it’s economics and marketability. The content and craft is another matter altogether.

Pawan K Srivastav has written the script and directed the film on the serious subject of migration,  largely with newcomers and it’s done in a language(Bhojpuri) popularly known for it’s sleazy double-entendre cinematic sojourns. So in a way, he has broken new ground. His attempt, may not be all that honorable though. It’s mostly a given, that if you make a half-way decent film in one of the Indian languages with miniscule cinematic representation then rewards are forthcoming both from the state and central governments. At the back of his mind, must have been the possibility of tapping into such a revered resource to gain profitability as well as recognition for his team. Smart thinking I say!
But that’s as smart as this film gets. In terms of story and plotting it’s mostly a sea of unfinished promises. The film appears to have been interested (that’s what the Press release says) in establishing a recognition of one’s identity through the process of migration and conscious reverse migration. In effect the  protagonist leaves his wife and son in his home town, Chapra, Bihar and moves to New Delhi to work in a lawyer’s office. Following his wife’s death he decides to return to his home where his son and daughter-in-law now reside only to see his son going off to Nasik in search of better prospects. But by trying to ensure that his son doesn’t fall for the same folly as his, he leaves himself open to a life of loneliness and despair.




There’s not much movement in the plotting. The gaps are filled up with folk songs and a fitfully resounding background score that belies more than it conveys. The storyline itself is underdeveloped and lacks conviction. The plotting is peppered with pointless sequences and unaccomplished stretches of sound and song. There’s little imagination on display here. Instead of evoking pathos, poignancy and pain, the narrative invokes confusion. There probably was some method in the format but as a viewer you wouldn’t be able to figure it out. For a freshman effort, this one is just about Ok!  

Ek Villain, Hindi Bollywood Film Movie Review, Johnson Thomas, Rating: * * 1/2




Ek Villain(Hindi) Rating: *  * ½ Best described as a schizo-fried requiem, this Mohit Suri film has characters that function on the basis of a script ideated in an altered reality. Soulful songs, haunting score, an eventful non-linear structure and decent performances keep the interest going in an otherwise fist-heavy, Ghajini inspired love ,loss and revenge drama.  #EktaKapoor  #MohitSuri #balajiFilms #SiddharthMalhotra  #ShraddhaKapoor #ShaadRandhawa #RemoFernandes #ReteishDeshmulh
                                        
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Hindi Film Review
Johnson Thomas


Schizo-fried Requiem



Film: Ek Villain
Cast: Siddharth malhotra. Shraddha Kapoor, Remo Fernandes, Kamal  Khan, Aamna Sharif, Retiesh Deshmukh, Shaad Randhawa
Director: Mohit Suri  
Rating: *  * ½


After struggling to break even with her recent cinematic endeavors, Ekta Kapoor puts her money on Mohit Suri’s magic touch to do the needful at the box-office. And considering that he knows the pulse of his young audience( given that his films are all about the dark and the mostly doomed set of characters) this one is sure to do well at the box-office. But that won’t be because this film under review is a great piece of art, In fact it’s otherwise.

Inspired largely by Korean filmmaker Kim Jee-Woon's ‘I Saw the Devil’ (2010), Mohit Suri's romantic thriller follows the usual Bollywood tradition of bastardising the original. While the Korean film relied largely on action, blood and gore, Suri's film tries a judicious mix of romance, violence and unsavory meanderings to make up it’s dark hued core.

All Mohit Suri’s films are laced with a haunting melodic track that lends a certain attachment to the darkness he seeks to enshrine through his faulty characters. Music composers Mithoon and Ankit Tiwari do a bang-on job for him on that front. 'Galliyan', 'Banjaara', 'Zaroorat' and 'Awari' have the soulful engagement to keep you interested. Raju Singh’s accompanying background score uses deceptiveness and guile to provide the under current tempo to help the story along.

So even if the characters’ motivations are suspect you get so caught up in the artificially evoked pathos, that you are partially  hooked to the faux drama that ensues. The narrative in fact begins with a bang. You see a young woman Ayesha(Shradha Kapoor) talking to her husband Guru(Siddharth Malhotra) on the cell phone and this gist comes through- he’s at an interview for a job and she’s driving her way home while still in conversation. A near accident leads to a pointed exchange and the lady walks into her house. A few moments later, she’s back on the cellphone, her husband calls wanting to tell her his bad news… or is it good?  While she’still on the phone, in walks the telephone repairman. He’s wearing a cloak and a hood and has a screwdriver in one hand. Instead of figuring out why he’s worn a hood and cloak , she’s busy berating him for barging into the house without an invitation. The reaction sucks big time. Anyone in their sane mind would at first glance run for cover but our damsel is so sweet and unworldly that she only wants to gently admonish him for his unwelcome effrontery. Once she is attacked by the screw driver  she realizes her folly and pleads for mercy. But this killer is not convinced, and pulls her up by her neck and throws her out of the window. (Almost seemed like a superhuman effort to me) After that the narrative goes back and forth giving us more details of Guru’s origins, Ayesha’s raison d’ĂȘtre and the killer’s warped reasoning- all shoddily rendered. The editing cuts keep the pace happening but the believability and conviction become a sore point. Needless to say , by the end of it all, you are left confused as to what this film was all about?   
   
The big fight is no longer about good versus evil. The fight now is between evil and greater evil. So in this film we are confronted with four villains expending villainy of varying degrees- All half-baked.  And of course one of the villains, Guru, touched by the goodness of the delicate waif-like fatalistic heroine’s love, is the anointed hero here. The cop( Shaad Randhawa) the murderer Rakesh(Retiesh Deshmukh) and the gangster Caesar(Remo Fernandes) vie for the rest of the fast diminishing pie. Though the killer is the catalyst for the revenge drama that takes up most of the post interval half, there’s really no constructive buildup happening here to define his going over the top. Other than a token in the form of a shrewish ever-nagging wife Sulu( essayed with shrill relish by Aamna Shareif) -who he continues to love! He kills almost every woman who nags or casts aspersions on his manhood but leaves alone a friend(Kamal Khan) who constantly carps and belittles him. Caesar is utilized mainly as a red herring while the Cop has the ubiquitous job of ensuring the narrative follows the path that Mohit Suri sets for it. 

 
The script is totally confounding. The characters lack conviction  while their reactions to unexpected crisis situations are simply put, unbelievable. Milap Zhaveri’s dialogues make a ‘mickey’ out of every moment. And most times, the wordiness tends to kill the flow. D.o.P Vishnu Rao’s takes are distinctive enough but the lack of consistency in the telling diminishes it’s effect. There’s not much tension in the telling but the pathos is heavy laden. The mesmeric combination of edgy characters, haunting score and pathos laden narration does manage some effect on your senses. So all is not lost. Retiesh Deshmukh’s surprise casting as the serial killer will probably work in favor of his earnest though undistinguished performance. Siddharth Malhotra lacks fire, even so, his looks and presence manage some semblance of impact. Shraddha is more lively in this film than we’ve seen before. She also has a delicate, vulnerable femininity that helps her performance along. Shaad has a thankless role and Remo is miscast. Kamal Khan is a joke! This is a film that manages to hold on to a fraction of what it promised!



Hindi Film Review
Johnson Thomas
Schizo-fried Requiem
Film: Ek Villain
Cast: Siddharth malhotra. Shraddha Kapoor, Remo Fernandes, Kamal  Khan, Aamna Sharif, Retiesh Deshmukh, Shaad Randhawa
Director: Mohit Suri  
Rating: *  * ½


Inspired largely by Korean filmmaker Kim Jee-Woon's ‘I Saw the Devil’ (2010), Mohit Suri's romantic thriller follows the usual Bollywood tradition of bastardising the original.
All Mohit Suri’s films are laced with a haunting melodic track that lends a certain attachment to the darkness he seeks to enshrine through his faulty characters. Music composers Mithoon and Ankit Tiwari do a bang-on job for him on that front. 'Galliyan', 'Banjaara', 'Zaroorat' and 'Awari' have the soulful engagement to keep you interested. Raju Singh’s accompanying background score uses deceptiveness and guile to provide the under current tempo to help the story along.

So even if the characters’ motivations are suspect you get so caught up in the artificially evoked pathos, that you are partially  hooked to the faux drama that ensues. The narrative in fact begins with a bang. You see a young woman Ayesha(Shradha Kapoor) talking to her husband Guru(Siddharth Malhotra) on the cell phone and this gist comes through- he’s at an interview for a job and she’s driving her way home while still in conversation. A near accident leads to a pointed exchange and the lady walks into her house. A few moments later, in a shocking incident She is thrown out of the window by a serial killer.
 It’s what happens with most of the characters in this film. They all have trajectories that are unjustified and unbelievable. So what happens next is shocking no doubt but… After that the narrative goes back and forth giving us more details of Guru’s origins, Ayesha’s raison d’ĂȘtre and the killer’s warped reasoning- all shoddily rendered. The editing cuts keep the pace happening but the believability and conviction become a sore point. Needless to say , by the end of it all, you are left confused as to what this film was all about?      

In this film we are confronted with four villains expending villainy of varying degrees- All half-baked.  And of course one of the villains, Guru, touched by the goodness of the delicate waif-like fatalistic heroine’s love, is the anointed hero here. The cop( Shaad Randhawa) the murderer Rakesh(Retiesh Deshmukh) and the gangster Caesar(Remo Fernandes) vie for the rest of the fast diminishing pie. The script is totally confounding. The characters lack conviction  while their reactions to unexpected crisis situations are simply put, unbelievable. Milap Zhaveri’s dialogues make a ‘mickey’ out of every moment. And most times, the wordiness tends to kill the flow. D.o.P Vishnu Rao’s takes are distinctive enough but the lack of consistency in the telling diminishes it’s effect. There’s not much tension in the telling but the pathos is heavy laden. The mesmeric combination of edgy characters, haunting score and pathos laden narration does manage some effect on your senses. So all is not lost. Retiesh Deshmukh’s surprise casting as the serial killer will probably work in favor of his earnest though undistinguished performance. Siddharth Malhotra lacks fire, even so, his looks and presence manage some semblance of impact. Shraddha is more lively in this film than we’ve seen before. She also has a delicate, vulnerable femininity that helps her performance along. Shaad has a thankless role and Remo is miscast. Kamal Khan is a joke! This is a film that manages to hold on to a fraction of what it promised!

Transformers: Age of Extinction, English Hollywood film movie review, Johnson Thomas, Rating: * * * 1/2

Transformers: Age of Extinction, English Hollywood film movie review, Johnson Thomas, Rating: *  *  * 1/2   #MichaelBay #Paramount #Viacom18picturesMovies
#MarkWahlburg #StanleyTucci

Movies(Best releases)of the Week/27thJune2014/Johnson Thomas
Transformers: Age of Extinction(3D/English):Rating: *  * * ½ Consistently productive actioner. This symphonic display of elevating music, sparse dialogues, narrative expediency and thunderous action provides the requisite adrenaline rush with it’s spectacularly effected thrills!
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English Film review
Johnson Thomas

Simply put-spectacular!

Film: Transformers: Age of Extinction
Cast: Mark Wahlberg, Jack Reynor, Nicola peltz, Stanley Tucci, Kelsey Grammer, Li Bingbing, Sophia Myles
Director: Michael Bay

Rating: *  *  * ½


This fourth, in the Transformer series from Michael Bay is a sort of reboot without the earlier characters doing time here. Released in 2D, 3D and Imax 3D, the $165 million mega-production will reportedly kickstart a brand-new trilogy with a complete change of human cast (Mark Wahlberg steps in for Shia LaBeouf here) and the introduction of a new species, the Dinobots, Screenwriter Ehren Kruger’s latest additions to the Transformer, mythology include yet another metallic-looking alien race trolling around Earth’s lower atmosphere in a modular spaceship.


The movie takes place a couple of years after the end of 2011’s “Transformers: Dark of the Moon,” with  some changes incorporated; despite the alien-shape-shifting robots having saved the world, the U.S. government is now against all bots because they wrecked Chicago in the process.  Kelsey Grammer is the C.I.A. powerhouse ensuring the  purge. Stanley Tucci’s evil factory reaps benefits from the vanquished-through spare parts research. At the start of the film, there’s a fairly brutal scene showing Ratchet, one of the autobots, being torn to pieces by a team of black ops soldiers led by Savoy (Titus Welliver) and assisted by the mysterious Lockdown (voiced by Mark Ryan), a Transformer who seems to be unlike any Transformer we've met so far in the series.

Optimus Prime(Peter Cullen) is of course in hiding as a mutilated truck in a rundown theatre garage where Cade Yeager(Mark Wahlberg) tinkers around trying to think up a new invention.  Nicola Peltz is the hottie  that takes on the Megan Fox role. She plays Tessa, waffling teen daughter of Cade’s. And she has  a beau(Jack Reynor), a racecar driver, her doting, conservative Dad knows nothing about.

This forms the basis for a convoluted spell of thrilling awe inducing action, seamless transitions and pulverizing mutilations. The assorted body count is immense. Texas, Chicago, Beijing , Hongkong form a colorful backdrop for the mind-numbing effects spiel orchestrated as part of an annihilation of evil. Most of it is on crowded streets, peaking high-rises, ferries, trains, bridges and every conceivable peopled spaces- thus adding worth to the thrills. At heart it’s a computer game but in effect it’s a war to end all wars; starting off as a fight for dominion, it escalates into intra-terrestrial combat and ends on a note of optimism. Ehren Kruger’s script manages to structure the action to a nicety. Bay’s sharply edged narration does the rest. The experience is both visually and aurally spectacular. Visual effects are top-notch, the 3D machinations are highly effective and the kinetically blurred action renders the pace as breathless. In effect, this one is quite simply fulfilling!