Arrival (2016)

Director: Denis Villeneuve

Screenplay: Eric Heisserer (based on the book by Ted Chiang)

Cast: Amy Adams, Jeremy Renner, Forest Whitaker

Music: Jóhann Jóhannsson

Time: 116 minutes

Bottom-line: Interesting concept, and well executed! 

Why are they here?

Denis Villeneuve’s version of Michael Crichton’s science fiction novel (and one of my all-time favourites) Sphere, is Arrival. This science fiction drama stays far away from all the clichés we usually associate with alien invasions, and in fact, turns out to be quite thought-provoking. Amy Adams plays the lead, supported by Jeremy Renner and Forest Whitaker.

There are days that define your story beyond your life… like the day they arrived.

A linguist, Louise Banks (Adams), is lecturing at a university one day, when twelve enormous space-crafts land across the planet. U.S Army Colonel Weber (Whitaker) asks her to join physicist Ian Donnelly (Renner), to decipher the alien language and find out their purpose. Banks and Donnelly make several trips to meet the seven-limbed alien species, and slowly get a grip on their language: not words, but just circular patterns. Banks also has several – at times disturbing – flashbacks of her daughter, who dies at an early age. As she becomes more fluent in the language, she realises the symbols are not just vocabulary, but something far more complex and mind-boggling…

 

Renner as Ian, and Adams as Louise 

I liked the idea of a psychological thriller using the concept of an alien invasion, rather than just an all-out assault film. There also innumerable similarities with the Crichton novel: the concept of a new language, circular symbols and vivid dreams. Like other Villeneuve films, there is a lot of screen time given for setting up the plot, so while the pace is a bit slow, the story is quite intriguing. One thing I still haven’t been able to figure out is the truth behind Louise’s dreams; the rest of the science in the film works out well, and in fact, gives us a lot to think about – like the Sapir-Whorf hypothesis and the causal loop.

In all the three collaborations between Villeneuve and Jóhannsson, the score has always been chilling and suspenseful; Arrival is certainly his best among the three. The visual effects were brilliant too. I was reminded a little bit of Jaws, where for most of the movie the presence of the beast was felt, even without actually seeing it; the same technique is employed here, with the heptapod aliens – most of the time they are behind a translucent barrier, but the way their presence is indicated keeps you riveted. Amy Adams’ delivers one of her best performances here. Playing the role of a grieving mother, and a linguist convincing others to listen to her theories, and ultimately being the hero of the day, she carries the role with great responsibility.

One such pattern the aliens use 

The best aspect of Arrival is that it actually focuses on science; just on the surface level, but that’s good enough. There is lot of attention given to detail, and that makes it all the more engrossing.

My Rating: 3.5/5

Rotten Tomatoes rating: 94%

La La Land (2016)

Director: Damien Chazelle

Story: Damien Chazelle

Cast: Ryan Gosling, Emma Stone

Music: Justin Hurwitz

Time: 127 minutes

Bottom-line: Colourful and emotional; a feel-good movie

Winner of seven Golden Globes this year, including Best Picture, Director, Actor and Actress, Damien Chazelle’s La La Land is certainly going all in this award season. This rom-com drama starring Ryan Gosling and Emma Stone leaves you (as an reviewer said) “with a tear in your eye and a song in your heart”.

A barista/aspiring actress, Mia (Stone) and a jazz pianist, Sebastian (Gosling) cross paths in an LA highway. Mia is rejected in every audition she goes to, and Sebastian is fired for playing jazz when his boss explicitly told him not to. Both of them, despite initial hostility towards the other, slowly start to become close, with Sebastian taking Mia to jazz clubs and cultivating an interest in her. Mia wants to become a full time professional, while Sebastian tells her his desire to start his own jazz club, in a time when jazz is dying. In a land of dreams, will the two of them realise theirs?

Finally, someone had the idea to make a musical! In an era where action and thrillers seem to be the most sought after, Chazelle’s La La Land is a refreshing break. From the opening song, “Another Day in the Sun”, every scene is filled with dazzling visuals, foot-tapping songs, stylish dance moves, and of course, wonderful acting. The title refers to the “land of dreams”, and the story focusses on how Mia and Sebastian encourage each other to follow their own. They fail, they fight, they get hurt, and the script is so well-written that the viewers vicariously feel everything all the way. The last scene of the film reminds me a bit of City Lights: man and woman sharing one last smile, leaving everyone watching it, in tears.

Gosling as Sebastian, and Stone as Mia

I like the visual effects and the cinematography, especially during the song sequences “Planetarium”, “A Lovely Night” and “Epilogue” (that beautifully captures a “what could have been” story). The chemistry between the two lead actors is what makes the magic work. Ryan Gosling – playing the suave, chivalrous and talented jazz pianist – and Emma Stone – playing the funny, emotional and equally talented actress – each of them give it their all and really make the film spring to life with their committed performances.

In a tale of romance, sacrifice, music, dance and of course, dreams, the best part turns out to be the simple story made so entertaining because it is a musical. I would have preferred a better ending, but, then again, this is a reminder that not all our dreams might come true.

My Rating: 4/5

Rotten Tomatoes rating: 93%

Dhuruvangal Pathinaaru (2016)

English translation: Sixteen extremes

Director: Karthick Naren

Story: Karthick Naren

Cast: Rahman, Prakash Raghavan

Music: Jakes Bejoy

Time: 105 minutes

Bottom-line: Superb work for a debut, but far from flawless

In recent years, most of the debut films made by new directors have all amazed me: Thegidi, Soodhu Kavvum, Jigarthanda and Neram to name a few. Having heard the latest such debut film, Dhuruvangal Pathinaaru (or D16) is quite good, I had to see it. While the immediate reactions of the audience would have been gasps of surprise and shocks at the plot twists, a little mental rewind revealed to me, several plot holes and loose ends.

2021, Ooty: Retired inspector Deepak (Rahman) is living a peaceful life in Ooty, when he gets a visitor aspiring to join the police force. They discuss Deepak’s last case, which cost him his leg: that of a psycho killer, back in 2016, Coimbatore. At around 2AM, a masked assailant commits a murder in an apartment complex. At the same time, three boys accidentally kill a stranger who jumps in front of their car. They hide the corpse in the car and plan to dispose it off in the morning. The next morning, a girl complains that her flatmate has gone missing, and it is the same house of the murder. In a situation full of coincidences and surprises, what really happened that night?

 

Rahman as Deepak (left), and his assistant Gautham (Prakash Raghavan)

The first half leaves us with too many unanswered questions, which would have been really good if only all of them were answered. Yes, it is impressive in terms of the suspense, atmosphere and the setup, and the fact that we get our dose of entertainment in a compact 105 minutes, not to forget the jolting plot twists… but while these are what you register in your mind immediately, a little pondering and revisiting of the events make you question the logic. A lot of “whys” crop up which you may satisfy with your imaginative answers (I doubt it), but the onscreen content is vague.

The cinematography is something I really liked, especially the way long shots and slow-motion have been employed here. The background score is chilling and sets up the atmosphere beautifully. There are no songs or unnecessary violence/cop-beating-up-10-guys-with-one-punch type nonsense, which is good! I also liked the fact that the acting crew was entirely new, except for Rahman. The acting was a bit monotonous, but I felt it matched the situation.

So, depending on how many loose ends you can let go unnoticed or solve with your own logic, you will find the film that much sensible. The visual presentation is excellent, and credit must be given for making an unconventional thriller film. However, if a good edge-of-the-seat-suspense detective thriller is what you expect, then Thegidi or even Yavarum Nalam is a far better alternative.

P.S: Don’t get confused by the YouTube trailer. It’s only job is to make you more interested in the film!

My Rating: 3/5

The Dirty Picture (2011)

Director: Milan Luthria

Story: Rajat Aroraa

Cast: Vidya Balan, Naseeruddin Shah, Tusshar Kapoor, Emraan Hashmi

Music: Sandeep Shirodkar, Vishal Shekhar

Time: 144 minutes

Bottom-line: Vidya Balan’s magnum opus… a surprisingly clean film

“Dirty”, controversial, and highly talked-about (till date too), The Dirty Picture – irrespective of how the name sounds – is one of the most realistic, dramatic and powerful films made in India, this decade. The film stars Vidya Balan in the lead – who later won the National Award for Best Actress – who gives her best performance till date. Supporting her are Naseeruddin Shah, Tusshar Kapoor, Emraan Hashmi and Anju Mahendru.

 

Balan as Silk, with Kapoor as Ramakanth

In Chennai, one day before her marriage, Reshma (Balan) runs away from her house. Determined to become an actress, she approaches a casting director who insults her and sends her away. She gets an opportunity as a side dancer, but her erotic movements anger the director, Abraham (Hashmi), who erases the song sequence. The producer, Selva Ganesh, however, thinks it will make a fortune with the tickets and releases it in smaller towns. Ganesh offers Reshma a role in his upcoming film, and says that from then on she would be referred to as “Silk”. She has to dance with her childhood idol, Suryakanth (Shah), and soon she makes a lot of films with him, and starts to have a sexual relationship with him too. Despite his wealth and popularity, things go down the drain when a critic, Nayla (Mahendru) insults Silk in her reviews. Moreover she realises that people look at her as nothing more than a “dirty secret”. Her subsequent deterioration: professionally and personally, forms the rest of the film.

Shah as Suryakanth

Rajat Aroraa’s script deals with themes like Silk’s early career, then her rise to fame and popularity, interspersed with her relationship with Suryakanth, and later his brother Ramakanth (Kapoor), to finally her fall. The Dirty Picture is a biopic of not only Silk Smitha (a South Indian actress known for her erotic roles), but also her other South Indian contemporaries, according to the filmmakers. There is a lot of erotic content on the screen, but that’s what makes the film realistic. In fact, Luthria had to convince Balan that what she was doing was not crude or cheap. Silk herself says so in the movie (to the audience and filmmakers): “You people make erotic films, even give awards to the stars, but are hesitant to acknowledge them.” This is the bitter truth: how directors and producers people like Silk to boost the sales but the criticism falls solely on the actors.

 

Hashmi as Abraham

The movie thrives on Vidya Balan, who is simply outstanding here; who would have thought she would have pulled off such a difficult role with such grace and class! Indeed, she might be playing a “sex symbol” but what commitment! The expressions, body language and her lines are a class apart. She brings a new level of heroism to the screen; how one woman faces so much criticism and personal heartbreaks and still fights on. Her transition from the simple South Indian girl to Silk is remarkable. Naseeruddin Shah, as always, delivers a good performance; his display of superiority, arrogance and infidelity could well induce a burning inside you as a viewer.

You can be assured The Dirty Picture is not a light-hearted movie; it is quite deep in terms of content. Despite whatever vicarious sensual experience you might get during the movie, once it is over you realise what a tragedy it is: how one’s talent is misused to such an extent that it ruins that person’s life. As Abraham’s character says, “What Silk did…is it right or wrong? I don’t know.” However, provided you can handle the content, this three-National-Award winner is a must watch!

My Rating: 3.5/5

Grave of the Fireflies (Hotaru no haka) (1988)

Director: Isao Takahata

Screenplay: Isao Takahata (based on the short story by Akiyuki Nosaka)

Cast: Tsutomu Tatsumi, Ayano Shiraishi

Music: Michio Mamiya

Time: 89 minutes

Bottom-line: Deeply moving. A masterpiece in animation

A World War II story from the Japanese point of view, Isao Takahata’s Grave of the Fireflies is one of the most moving and beautiful pictures made on this topic. There is no fancy 3D animation graphics, or grand visual effects, but with good old Japanese animation and a powerful portrayal of the tale of survival of a brother-sister couple, this film will be etched in your memory for a long time.

21 September 1945: The story begins in Sannomiya Railway station, where a boy, Seita (Tatsumi), is shown dying of starvation. After removing his body, a janitor finds a candy tin on him, which he throws away. From the tin, the spirit of Seita’s sister, Setsuko (Shiraishi), comes out, and is joined by the spirit of Seita, and the latter starts narrating the story, from 17 March, 1945. The two siblings hide in a shelter, hiding from an air raid. Their mother however, doesn’t survive. They take shelter under their distant aunt, to whom Seita sells off their mother’s kimonos to pay for food. As food becomes harder to come by, the siblings decide to live on their own. Slowly times get harder, and Seita is forced to steal to keep the two of them barely alive. How they endure the ordeal of the war is what the film is about.

 

Seita (left) and Setsuko

This is the first animated film I am seeing that doesn’t have a comedy track. From the start, there is an aura of depression. The story takes place in the last few months of the War, and we are not made aware of the suffering of the family before that period. The animation is quite vivid… the images of their mother’s burnt body causes your stomach to turn too. The expressions of the characters: the sadness, the subtle instances of happiness, the terror and fear are beautifully captured. The portrayal of the pitiable conditions and the effects of malnutrition are realistic enough to make you empathise with Seita and Setsuko. Given that depressing tone, all their little moments of joy seem to stand out… the elation when Setsuko releases the fireflies, when she eats the fruit drops, to name a few.

The fact that the film focusses on a short time period makes it possible to emphasise more on the gradual degradation of the couple’s health and mental strength. First they lose their mother, then their aunt chases them out, then Seita is forced to steal food, but finally they still fall prey to malnutrition. The last twenty minutes are the most emotional moments; we see Seita finally cook a proper healthy food with all of Setsuko’s favourite items, but the latter has already passed away… it is unbelievable how through the eyes of a brother and sister the devastating effects of war can be so accurately portrayed.

Grave of the Fireflies is quite grim in narration, and it is not exactly a children’s film. Some maturity is needed to fully appreciate it. However, if you are willing to take a look at the Japanese point of the War, then this is probably the best place to start. Wonderful visuals, solid storyline and some brilliant background music make this an animated masterpiece.

My Rating: 4.5/5

Rotten Tomatoes rating: 97%

Paris Je T'aime (2006)

English translation: Paris, I love you!

Directors: Olivier Assayas, Frédéric Auburtin, Gérard Depardie , Gurinder Chadha , Sylvain Chomet, Joel Coen, Ethan Coen, Isabel Coixet, Wes Craven, Alfonso Cuarón, Christopher Doyle, Richard LaGravenese, Vincenzo Natali, Alexander Payne, Bruno Podalydès, Walter Salles, Daniela Thomas, Oliver Schmitz, Nobuhiro Suwa, Tom Tykwer, Gus Van Sant

Story: Bruno Podalydès , Paul Mayeda Berges , Gurinder Chadha , Gus Van Sant , Ethan Coen , Joel Coen , Walter Salles , Daniela Thomas , Christopher Doyle , Gabrielle Keng Peralta , Rain Kathy Li , Isabel Coixet , Nobuhiro Suwa , Sylvain Chomet , Alfonso Cuarón , Olivier Assayas , Oliver Schmitz , Richard LaGravenese , Vincenzo Natali , Wes Craven , Tom Tykwer , Gena Rowlands , Nadine Eid , Alexander Payne

Cast: Willem Dafoe, Elijah Wood, Nick Nolte, Natalie Portman, Steve Buscemi and many more

Time: 120 minutes

Bottom-line: Impossible not to enjoy; different stories entertain different people

He who contemplates the depths of Paris is seized with vertigo.
Nothing is more fantastic. Nothing is more tragic.
Nothing is more sublime. – Victor Hugo

Buscemi as an American tourist (Coen brothers)

The assorted collection of short films, Paris, Je T’aime is an anthology film: it features eighteen clips, shot in the different arrondissements of Paris, each directed by a different person, and with a different cast. The stories are not related at all; rather the film is like a collection of documentaries, giving the viewers to get a vicarious feeling of a Paris holiday!

Among the eighteen stories, we see a how a young male customer is attracted towards a shop worker, and goes on talking about how he believes the other to be his soulmate. We see an American tourist getting beat up by a French man and his girlfriend when he accidentally makes eye contact, thereby breaking the cardinal rule. Then there is the boy who narrates the story of how his parents – both mime artists – met in prison and fell in love. There’s the encounter between a young man and a vampire, with whom he falls in love. And to finish it off, we have a lady on her first European holiday, narrating what she loves about Paris.

 

Nick Nolte and Ludivine Sagnier, in Cuaron's sequence

The best part about the film is that it caters to all audiences. You want comedy? You got it. Tragedy? Yes, sir! Romance? Introspection? Horror (sort of)? It’s all here. Paris, Je T’aime gives us an insight into the different styles of filming of the different directors; each sequence lasts not more than 7-8 minutes, but each is more-or-less complete in itself. I, for one, liked the part directed by Cuarón (that features a single continuous shot – ah, typical Cuarón – lasting 5 minutes, revolving around a father-daughter conversation), Coen brothers (the American tourist at the station) and Tom Tykwer (the story of love between a blind boy and a struggling actress; a romance lasting 6 minutes on screen, yet capturing all the ups and downs, giving almost the same effect as a complete story; I loved the camerawork and the narrative of this part).

 

Portman and Melchior Beslon (Tom Tykwer)

The film also serves as a sightseeing opportunity. 18 districts in Paris are shown; the different people and places, the shots of other landmarks in between two clips give the viewer a good visual tour (and a good reminder if you have already been there!). Some actors like Natalie Portman and Willem Dafoe are well-established Hollywood actors, while there are a lot of new faces too. The language spoken is mainly French, but there is a little bit of English too. The sequence that Elijah Wood stars in has no dialogues at all! That’s the unique aspect of the film: each part has something special that makes it stand out.

 

A glimpse of all the stories 

There will certainly be a lot of “unevenness” in the narrative structure – each director will have their own style, and the change will be clearly noticeable. The experience, however, will be an enjoyable one; each plot offers a new insight into a new area of Paris. It’s not a great film, but if you ever wanted to visit Paris, this film will give you far more information and visuals than you expect!

My Rating: 3/5

Rotten Tomatoes rating: 87%

Source Code (2011)

Director: Duncan Jones

Story: Ben Ripley

Cast: Jake Gyllenhaal, Vera Farmiga, Michelle Monaghan

Music: Chris P. Bacon

Time: 93 minutes

Bottom-line: Interesting concept… story not that impressive

This French-English science fiction thriller boasts of an interesting concept: something that combines themes of Groundhog Day, Inception, Avatar… Source Code features Jake Gyllenhaal, Vera Farmiga, Michelle Monaghan and Jeffrey Wright. To reveal the plot might give away hints/spoilers so if you want to explore the film on your own, skip the next paragraph.

Monaghan as Christina and Gyllenhaal as Sean/Stevens

7:40 AM: Captain Colter Stevens (Gyllenhaal) is travelling in a commuter train to Chicago. To his travel partner, Christina (Monaghan) and when he looks at himself in the mirror, he appears to be Sean Fentress, a school teacher. 8 minutes later, a bomb kills everyone on board. The scene shifts to a dinghy room where we see Stevens communicates through a video screen to Captain Goodwin (Farmiga), who confirms his identity. She asks him to stay on the mission to root out the bomber who has planned to strike again in the city in a few hours. We learn that Sean is actually transported to an alternate timeline through the “Source Code” program, which allows him to experience 8 minutes of another compatible person’s life. The film talks about how Stevens tries repeatedly to catch the bomber, and the experiences he has each time.

Farmiga as Goodwin

 Gyllenhaal’s character is pretty much like Phil in Groundhog Day – he lives the same 8 minutes over and over again till he completes his mission. He remembers his previous attempts but no one around him does. The story seems a bit boring because unlike Groundhog Day, here we get to see only the same 8 minutes repeatedly, so the whole “beauty” of having that experience of reliving the time is not shown; what we do see is a tense man trying to diffuse the bomb, which I felt boring. There is barely any character development. The whole concept of source code isn’t explained that clearly either.

Gyllenhaal does well in the lead role, but I felt the story hampered his chance of showcasing his acting. He does (more or less) the same thing in the alternate timeline, and what makes his role interesting is the transition between the characters of Sean and Stevens. he subtly modifies his expressions and actions because he, unlike other passengers, knows what’s going to happen. Michelle Monaghan plays the travel partner of Sean, and does well, nothing – says the same stuff, same confused expressions… after all, her character is reliving the same time again, freshly. Vera Farmiga also has a simple role to play – just communicate to Stevens and tell him what to do, that’s it. Source Code cannot boast of its acting either.

The effects, sound and Gyllenhaal’s acting are the strong points of this sci-fi thriller. The concept I feel could have been developed further...maybe a full story could have been created instead of just this one train incident. To see Sean/Stevens slowly make progress to finally stop the bomber is something I felt boring and monotonous, but if the subtle differences in each attempt interest you then you might enjoy the movie.

My Rating: 2.5/5

Rotten Tomatoes rating: 92%

No One Killed Jessica (2011)

Director: Raj Kumar Gupta

Screenplay: Raj Kumar Gupta

Cast: Rani Mukerji, Vidya Balan

Music: Amit Trivedi

Time: 134 minutes

Bottom-line: Excellent choice for the story, and good execution

One of the most infamous murder cases of Delhi, this 2011 biographical drama is based on the true events following the murder of small time model and celebrity barmaid Jessica Lal. While the actual events took place over a period of seven years, from 1999 to 2006, the film tries to give the gist of them in a little over two hours.

People generally say, that Mumbai is about money and Delhi is about power. In Delhi, nobody is a nobody. Everybody is a somebody.

30^th April 1999: Sabrina (Balan) gets a call in the middle of the night from a man named Vikram (Neil Bhoopalam), saying that her sister, Jessica (Myra Karn) has been shot dead. He narrates how three men – Manish, Vishal and Lucky – had demanded drinks at the bar during a party, and while Jessica repeatedly refused to offer it to them, Manish of them shot her. While all the evidence seems to point at Manish, and with 300 witnesses to testify, the case seems to be a simple open-and-shut one, so thinks reporter Meera (Mukerji). But months later, when she reads the headline “No One Killed Jessica”, she knows it is up to the media to make sure justice is delivered. In a city where everyone is ready to comment and complain, but hesitant to take the initiative, she has to lead.

 

Vidya Balan as Sabrina (right) and
Rani Mukerji as Meera

The Jessica murder case goes on to show the height of corruption and power in India. All it takes is money, muscle and influence to silence thousands of people and alter the course of justice; it is only a matter of targeting and threatening the common man. We see how Sabrina and her family try to protest on their own, going personally to each of the witnesses and pleading with them to testify in court, but all efforts go in vain; even Vikram, the first eye-witness, ends up saying he is not sure. Several biting dialogues bring out the harsh truth, and give a lot to think about. While the case is over a decade old, the issues of power and influence still exist.

The actual Jessica Lal

Having seen The Dirty Picture and Kahaani, I found it surprising that Vidya Balan has such a passive role in the film. Her character, Sabrina, takes the humble route to everything, which, sadly, have no place in a place like Delhi (as the film shows). With all her efforts having gone in vain, she gives up fighting. Enter Meera, the highly enthusiastic, determined journalist, who turns the tables around. Her quick thinking, persuasive methods and bravery to bring justice irrespective of the odds against it is clearly seen in her acting, and this is one outstanding performance!

The screenplay is not an exact copy of the actual events; some of it is obviously dramatized more than the actual incidents. Nevertheless, I would have enjoyed a bit more courtroom drama. The film also gives importance to the personal lives of Sabrina and Jessica; the meeting between Sabrina and Meera towards the end is the best scene of the film, and a myriad of emotions flow through you. In general, I look forward to films that are based on true stories/people, and I must say, hats off to Raj Kumar Gupta for bringing up this infamous case to the big screen.

My Rating: 3.5/5

Sicario (2015)

Director: Denis Villeneuve

Story: Taylor Sheridan

Cast: Josh Brolin, Emily Blunt, Benicio del Toro

Music: Jóhann Jóhannsson

Time: 121 minutes

Bottom-line: Superb thriller; deserved a lot more recognition

In Mexico, Sicario means hitman.

One of the splendid films that went unnoticed, Denis Villeneuve’s thriller Sicario is a story about the drug cartels in Mexico. The film stars Emily Blunt, Benicio del Toro and Josh Brolin in the lead roles, with Daniel Kaluuya and Victor Garber in the supporting roles. Sicario was nominated for three Oscars: Best Score, Cinematography and Sound Editing (winning none).

 

Blunt as Kate

In Chandler, Arizona, FBI agents Kate Macer (Blunt) and Reggie Wayne (Kaluuya) lead a SWAT raid of a safe house of a Mexican drug cartel. A booby trap kills several police officers. Following this, Kate’s boss, Jennings (Garber) recommends her to a DoD-CIA joint venture – led by CIA officer Matt Graver (Brolin) – to bring down the Sonora cartel lieutenant, Diaz. Determined to find the men responsible for the Chandler incident, Kate accepts. En route to El Paso, Kate meets Matt’s partner, Alejandro Gillick (del Toro). Matt tells Kate their plan is to disrupt the drug trade to such an extent that Diaz is called back to Mexico by his boss, Fausto Alarcón. During the operation, Kate finds several suspicious incidents: Alejandro’s foggy background, the refusal for arrest warrants… but is repeatedly overruled by Matt and her boss. What is the actual mission? What is Kate’s role? And more importantly, who is doing the right thing?

 

Brolin as Matt

I’m surprised none of the actors received any Oscar nods, while all of them deserved one; del Toro did receive a BAFTA nomination though. The way he plays the shady, powerful and cunning “cop” (for lack of a better name; you don’t get to know what he actually is!), with his sudden violent outbursts, is chilling to watch; look out for the dinner table scene towards the end. Josh Brolin’s character is also full of surprises; we are first introduced to him sitting in a conference room wearing a beach shirt with bathroom slippers! Always with a wry smile and casual demeanour, we are deceived a lot when it comes to his true nature.

One main theme of Sicario is that no person is entirely good or entirely bad; every coin has two sides. This is clichéd, admittedly, but the presentation is what makes it effective. The suspense is really good, and the several exchanges between the characters are the highlights: Kate and Matt outside the tunnel, Kate and Alejandro in the climax, to name a few (Blunt’s acting is outstanding in these sequences; a pretty good choice for a female action hero I must say!). There is a lot of violence, and that coupled with Jóhannsson’s chilling score makes a gruelling watch. The cinematography is superb: the aerial shots, a few long takes, the dynamic camerawork, the greyscale and infra-red scenes are quite exciting. 

 

del Toro as Alejandro 

Sicario did not get the popularity or the awards it deserved, probably because of the not-so-famous director and crew, but boy, this is one mind-blowing thriller! The acting, cinematography, score, visuals and the craftily created characters all come together to give one of the best films of the year. Highly recommended!

My Rating: 4/5

Rotten Tomatoes rating: 94%

Sully (2016)

Director: Clint Eastwood

Screenplay: Todd Komarnicki (based on the book by Sullenberger and Jeffrey Zaslow)

Cast: Tom Hanks, Aaron Eckhart

Music: Christian Jacob, The Tierney Sutton Band

Time: 95 minutes

Bottom-line: Hanks and Eastwood in full form, in an otherwise average film!

Tom Hanks could well be on the Oscar list this year as well, with his performance as the titular character, Captain Chesley “Sully” Sullenberger. Aaron Eckhart, Laura Linney and Anna Gunn play the supporting roles in this biographical drama, based on the true incident that took place on January 15, 2009.

Captain Sully (Hanks) and First Officer Jeffrey Skiles (Eckhart) board an Airbus A320 from La Guardia airport. Almost immediately after the take-off, at an altitude of 2800 feet, a flock of geese strike the plane, disabling both engines. With the altitude being too low and time being insufficient to go back to La Guardia, Sully decides to land the plane in the Hudson river. He does so, and by some miracle, all passengers survive. While the public hail him as a hero, the NTSB criticise him of having deliberately put the lives at risk, arguing that he would have enough time to land at the runway. Sully also suffers from trauma following the incident. Will the glorious forty-year career end because of the one “risk” Sully took?

 

Hanks as Sully (left) and Eckhart as Skiles 

Forty years I’ve been flying and now they judge me because of 208 seconds?!

The main theme of the film is whether what Sully did was the right thing. First, we see the aftermath of the incident – the trauma, the case against Sully and the TV interviews showing Sully being regarded a public hero, then we actually flash backward to January 15, and see the incident from Sully’s point of view: from take-off, to the landing, till the official confirmation arrives that everyone survived. It’s not a full biopic – rather a documentary type film based on this one incident. There’s no exciting action; mostly it is just people talking.

Tom Hanks looks so different in Sully, with his snow-white hair and moustache. His acting though, is still impeccable. This is a guy who can play any role you give him. The authority, confidence and style with which he executes the captain’s role is amazing. Eckhart and the others have very little to do, comparatively. Hanks’ acting is what you should see the film for, in my view. Eastwood’s direction is quite good given the story, but I found it a tad boring at times. The emphasis shifts irregularly, between the case against Sully and his personal trauma/family.

I would never have imagined this one incident being the source of a 95-minute film, but only directors like Eastwood can accomplish that. Watch the film for Tom Hanks’ scintillating performance; the rest of the film will just blend around that!

My Rating: 3/5
Rotten Tomatoes rating: 83%