Kaithi (2019)

English translation: Prisoner

Director: Lokesh Kanagaraj

Story: Lokesh Kanagaraj

Cast: Karthi, Narain

Music: Sam CS

Time: 144 minutes

Bottom-line: A brilliant thriller – taut and addicting

First Maanagaram and now Kaithi – I think it’s safe to say that Lokesh Kanagaraj is in top form and has a terrific career ahead of him. This action thriller film is, in many ways, similar to his earlier film – the thrill, the tension, multiple storylines and so on. The film stars Karthi and Narain in the lead roles, with Dheena, George Maryan, Arjun Das and several others in supporting roles.

In an orphanage, a girl, Amutha, is told that someone important is going to visit her the next morning. Somewhere else, a bunch of cops led by Inspector Bejoy (Narain) seize nearly a tonne of cocaine. The cops have a party, but someone mixes a drug in the drinks and everyone except Bejoy is knocked out unconscious. Desperate to save all the cops, Bejoy blackmails a recently released prisoner, Dilli (Karthi) to drive a lorry to a hospital 80 kilometres away, carrying all the cops. The owner of the lorry, Kamatchi (Dheena) also goes with them. Meanwhile, a gang of thugs, who are also after the cocaine stash, follow and intercept the lorry. The drugs are actually in an underground chamber below a police station, where one newly-joined cop, Napoleon (Maryan), and five college students try their best to defend the building. There is also a police informant among the thugs and a mole among the cops. How do all these people and tales come together?

 

Karthi as Dilli

The layered story of Kaithi is one of the most impressive features. The above summary captures only a part of the complex narrative and intertwining of tales. Unlike Maanagaram, where the different storylines were connected by a series of coincidences, here, the various tracks are intended to be joined at different parts. The suspense is maintained at every step of the film, and a key factor is that you, as a viewer, know something is going to happen in the future but the characters don’t.

The father-daughter bond between Dilli and Amutha is another aspect that brings the film together. Various action sequences and tense moments are also interrupted by some sentimental bits involving Dilli and Amutha, and it all comes together in the climax. There is a variety of adrenaline-pumping action sequences, from fistfights, road chases (including my favourite, the bus-lorry-SUV chase) and a Terminator 2-esque shootout. Like Maanagaram, the background score and (especially) slow-motion have been put to good use to enhance the visuals.

 

Narain as Inspector Bejoy

It would seem that Kaithi is, in essence, about Karthi – it’s a one-man-show about a prisoner who has the guts and muscle power to do something none of us would normally even think of doing. Applying vibhuthi (in contrast to the other white powder involved: cocaine), tying his lungi, relishing a plate full of chicken biryani are just some of the scenes that show us his style, apart from the way he takes on the goons single-handedly (look out for the scene where, literally, a single hand of Dilli punches its way through the goons and towards the camera). Dilli beating up so many people is a bit exaggerated, but then again, you will find yourself cheering for him all the way. Moreover, Dilli himself says, “I was in prison for a reason.”

Kaithi is also about anyone who is willing to sacrifice a bit of their own comfort, time and even life, for someone else. We see the cops who flee the scene, shying away from responsibility, and in contrast, five college students who don’t have any business in the station, defend it and fight against murderous villains. Bejoy takes responsibility for an army of cops who partied carelessly in the first place. And of course, there’s Dilli, who puts his visit to the orphanage on hold to help out Bejoy, putting his own life on the line several times. A tale of characters from all walks of life, each with his own motivation and aspirations, each in a different form of danger… Kaithi brings all of them together over the events of one night, and it’s a tale you must witness.

My Rating: 4/5

Ford v Ferrari (2019)

Director: James Mangold

Story: Jez Butterworth, John-Henry Butterworth, and Jason Keller

Cast: Christian Bale, Matt Damon

Music: Marco Beltrami, Buck Sanders

Time: 152 minutes

Bottom-line: A script that moves as fast as the race cars involved

After being swept off my feet by Ron Howard’s Rush, I never thought another racing film could beat that experience, but Ford v Ferrari comes very close to doing so. The film is based on the true story of how Ford builds a race car to contest in the 24-hour Le Mans racing event, with the intention of beating Ferrari. Christian Bale and Matt Damon play the lead roles, with Jon Bernthal, Caitriona Balfe, Noah Jupe and Josh Lucas in the supporting cast.

There’s a point, 7000 RPM, where everything fades. The machine becomes weightless, it just disappears. And all that’s left is a body moving through space and time. 7000 RPM, that’s where you meet it. It creeps up near you, and it asks you a question. The only question that really matters. Who are you?

1963: Ford Motor Company VP, Lee Iacocca (Bernthal) proposes to Henry Ford II that Ford should enter racing. They plan to buy Ferrari but get turned down in a humiliating fashion. Enraged, Ford decides to make their own car and beat Ferrari at the Le Mans circuit. For this, Ford hires 1959 Le Mans winner Carroll Shelby (Damon), who, in turn, hires the hot-tempered, arrogant British mechanic/driver Ken Miles (Bale). While Miles is obviously talented, Ford Senior VP Leo Beebe (Lucas) thinks Miles is not a “Ford man” and does not want him on the team. How Ford goes on to make the GT-40 and what happens in the famous 1966 Le Mans form the rest of the story.

 

Bale as Miles and Balfe as Mollie

7000+. Go like hell.

Just a bit of history here: Ferrari was the winner of Le Mans from 1960 to ‘65. Ford does win the 1966 Le Mans (as you can guess already), and also the 1967, ‘68 and ‘69 races. Ford became the only American manufacturer to win the race. Miles was posthumously inducted into the Motorsports Hall of Fame of America in 2001. The film also gives a glimpse of the 1964 Le Mans and the 1966 “24 Hours of Daytona” races, and a significant amount of time is given to portraying instances from Ken’s personal life (Balfe plays his wife, Mollie, and Jupe plays his son, Peter). The script is quite crisp because it focuses only on the essence of all the major incidents but still gives a coherent story.

 

Damon as Shelby

This isn’t the first time Ford Motor’s gone to war with Europe. We know how to do more than push paper.

Christian Bale – the man known for his incredible weight losses and gains for his roles on screen – now puts on a British accent as a new challenge. The chemistry between Bale and Damon is so good that you’d wonder why they haven’t done more films together in the past. The scenes where Miles throws a wrench at Shelby, and the one where they fight outside Miles’s house are hilarious moments to look out for. My favourite scene is when Shelby directs Miles to race above 7000 RPM during the Daytona race. Among the others, Josh Lucas is my pick. I’m not sure if there was a real-life counterpart for the role of Beebe, but Lucas does so well to portray a character so selfish and manipulative that you’ll definitely feel like slapping him (both cheeks too!).

 

Ken Miles (left) and Carroll Shelby in real life

The film is also excellent on the technical front, with the race sequences shot to perfection, with the sound level being just right (not too loud but not too soft that you don’t feel the thrill). With a dash of dry humour – thanks to Miles’ character in particular – a lot of action, and sublime acting by the Bale-Damon duo, Ford v Ferrari is certainly a racing film that will stand out from the rest, as well as being a memorable throwback to the legacy of Ford.   

My Rating: 4/5

Rotten Tomatoes rating: 92%

Kannathil Muthamittal (2002)

English translation: A kiss on the cheek

Director: Mani Ratnam

Story: Mani Ratnam

Cast: R. Madhavan, Simran, P.S. Keerthana

Music: A.R. Rahman

Time: 137 minutes

Bottom-line: One of the best family dramas ever made

Mani Ratnam’s drama Kannathil Muthamittal is one of a kind. While it may not be a classic like Ratnam’s Roja, Nayakan or even Iruvar, it is arguably the most moving film he has made. The film stars R. Madhavan (in probably his first film as a non-romantic hero), Simran and P.S. Keerthana in the lead roles, with Delhi Kumar, Nandita Das and Prakash Raj in the supporting roles. It went on to win 6 National Awards, the most for any Tamil film (equalled later in 2011 by Aadukalam).

Mankulam, Sri Lanka: Shyama (Das) and Dileepan (J.D Chakravarthy) are newly-weds, part of the Tamil Tiger rebel association. Dileepan suggests that they not have a baby till peace settles over Sri Lanka, a land troubled by conflict during the civil war. Shyama realises she is already pregnant and goes along with other refugees to Rameswaram in Tamil Nadu, where she gives birth. The scene shifts to Chennai, where Amudha (Keerthana) is celebrating her 9^th birthday. On that day, her (new) parents: Thiruchelvan (Madhavan) and Indira (Simran) break the news that she was adopted. A shocked Amudha runs away in search of her biological mother, Shyama. Worried about her safety, Thiruchelvan and Indira decide to go to Sri Lanka, to look for Shyama.

 

Madhavan as Thiruchelvan, Keerthana as Amudha, and
Simran as Indira

This is a story where Ratnam plays around with your feelings... a lot! From the melodious song Vellai Pookal played during the title sequence, that talks about bringing peace to the troubled land (with beautiful, heart-warming lyrics by Vairamuthu), to the last scene of the film, one gets a myriad of emotions flowing through them. This is one of the best films to show the value of a family. How does a child react when she realises she isn’t part of the family? How do the siblings react? How does the mother feel when her adopted daughter starts distancing her and even runs away in search of her true mother?

The backdrop of the Sri Lankan civil war sets the basis of the plot, in the sense that it is the whole reason Amudha was left by Shyama in an orphanage, the reason Thiruchelvan and Indira got married… and of course, to add to the drama. The theme of sacrifice is also explored: the sacrifices a mother, father and a friend (Prakash Raj’s role) made just to give Amudha her one wish. Simran’s acting is superb. In several scenes, her expressions are so complex yet elegant, especially where Amudha starts to disobey and distance her, the scene in the station when they find Amudha after she runs away, as Indira debates internally whether to admonish or pamper her daughter, and towards the end, when they do meet Shyama.

P.S. Keerthana won the National Award for Best Child Actor, and it is well deserved too. Again, there are numerous scenes where she excels and displays a maturity in acting far beyond her age. Seeing her acting in the climax will melt your heart. If there is one reason why you should watch the film, it would be to see Keerthana’s performance. Prakash Raj and Nandita Das play effective cameo roles as well. That said, the background score, songs, acting, and the heart-warming story make Kannathil Muthamittal a movie that will have an impact on you and keep playing in your mind for a long time.

My Rating: 4.5/5

Knives Out (2019)

Director: Rian Johnson

Story: Rian Johnson

Cast: Daniel Craig, Chris Evans, Ana de Armas, Christopher Plummer

Music: Nathan Johnson

Time: 130 minutes

Bottom-line: An intriguing whodunit powered by Craig and de Armas

Daniel Craig plays a (sort of) detective, Christopher Plummer plays an old man who’s the head of a huge mansion, his family is a bunch of eccentric people, and one girl makes all the difference… no it’s not The Girl with the Dragon Tattoo, but it’s Rian Johnson’s whodunit drama, Knives Out. Featuring an ensemble cast led by Craig, Chris Evans, Ana de Armas and Plummer, this film is an entertaining murder mystery right up there with the likes of Christie.

 

Stanfield as Elliot (left), Segan as Wagner (middle) and
Craig as Blanc

I suspect foul play, and I have eliminated no suspects.

Harlan Thrombey (Plummer) invites his family for his 85^th birthday party in his mansion. He is found dead the next morning with his throat slit – apparently a case of suicide. Detective Lt. Elliot (Lakeith Stanfield) and Trooper Wagner (Noah Segan) are hired to investigate, along with renowned detective Benoit Blanc (Craig). The viewers get to know that a lot of Harlan’s relatives had a grudge against him for varying reasons, including his grandson, Hugh “Ransom” Drysdale (Evans), whom Harlan had recently cut off from his will. Through Harlan’s nurse, Marta (de Armas), we get to know what truly happened on that fateful night. Harlan’s unusual will makes things all the more complicated. But is there more to the seemingly “solved” murder/suicide?

 

de Armas as Marta

Look around. The guy basically lives in a “Clue” board.

Indeed, the first thing that strikes you about Knives Out is the elaborate setting: from the fancy house to the quirky and colourful characters. Johnson does well to save needless action stunts (barring one “dumbest car chase of all time”) and fight sequences and focuses more on making the story like an actual Poirot mystery – filled with clues, hints and flashbacks leading us to the criminal – in a contemporary setting. Of course, it might not be as “neat” as a Christie novel – I’m sure if you ponder over the solution for an hour, you’ll find a couple of loopholes – but by then you’re entertained and satisfied enough with a tight enough script. I think that as a viewer, you should pause the movie (if possible) at the time when Blanc calls Hugh and Marta together, and guess the solution to the mystery.

 

Evans as Ransom

In for a penny, in for a pound.

I like how the characters are created – it makes it possible to add a lot of dry humour and sarcasm into a murder mystery. Craig’s annoying – and needless – accent apart, his role as the stylish detective is a welcome change from seeing him as 007. De Armas and Chris Evans have given sublime performances – especially the former with her naïveté and the hilarious (or pitiable) trait of vomiting every time she lies. The supporting cast includes Toni Colette, Jamie Lee Curtis, Michael Shannon, Katherine Langford and Don Johnson, all of whom have played their bit well. Their expressions during the last scene of the film summarise the entire tale brilliantly.

  

Plummer as Harlan (middle), Jamie Lee Curtis (left) and
Don Johnson (right) play his daughter, Linda,
 and son-in-law, Richard, respectively 

My house. My rules. My coffee.

Thoroughly engaging from start to finish, Knives Out blends mystery, humour and suspense in the right amounts. It’s a must-watch for any fan of detective tales.

My Rating: 4/5

Rotten Tomatoes rating: 97%

Ready or Not (2019)

Director: Matt Bettinelli-Olpin and Tyler Gillett

Story: Guy Busick, R. Christopher Murphy

Cast: Samara Weaving, Mark O’Brien, Adam Brody

Music: Brian Tyler

Time: 95 minutes

Bottom-line: Gruesome and bloody, but an entertaining horror flick

Normally, I am the guy who avoids horror films. But when the genre of Ready or Not was mentioned (on Wikipedia) as “black comedy horror thriller”, I knew this was something different. The film stars Samara Weaving in the lead role, with an ensemble supporting cast.

 

Weaving as Grace

With family, one hopes for the best.

The Le Domas family is a wealthy clan, and the newest family member is Grace (Weaving), the wife of Alex Le Domas (O’Brien). After the marriage ceremony, Alex tells Grace that as part of the family tradition, she has to play “a game” at midnight – chosen at random by drawing a card – to officially become a family member. Grace’s card says “Hide and Seek”, and Alex’s father says she gets to hide, while the whole family’s task is to find her. Grace “wins” if she remains hidden till dawn. Little does she know that the family’s objective is not just to find her, but also to slay her.

 

O'Brien as Alex

They think they have to kill you before sunrise.

Right from the outset, there is such a clear difference between Grace and the other family members. Some people make it obvious (“They’re just trying to figure out if you’re a gold-digging whore”), while others talk behind her back, but you can see that Grace’s cheerful demeanour, radiant smile and energetic voice just don’t fit in. Apart from the exotic mix of characters of the Le Domas family, the setting of this film is so good – the ominous mansion, the accompanying background score and the camerawork that captures the violence and gore and other surprises so well that you are regularly jolted. 

 

A glimpse of the Le Domas family

Ready or Not is, in essence, Get Out: Part 2. One person stuck in a weird house with all sorts of strange people must fight a bloody battle to save his skin. It helped that I could afford to mute the movie and minimise the screen whenever needed, otherwise, there’s a lot of violence and screaming and disfigured faces that you might want to avoid. And, of course, I’m sure Tarantino would be proud of the amount of bloodshed in the film. Nevertheless, the pace of the movie never slackens, with several sequences where you are at the edge of your seat. The plot twists are well-timed, and the last scene is just perfect.

Samara Weaving is the star of the show – you think she’s alone in her battle but she has actually drawn the support of the entire audience. You cheer for her in every small victory, her screams make your stomach turn, and you gasp synchronously. Her performance is reason enough to at least watch the film, even if you end up not liking it.

The strength of Ready or Not is the fact that it comes off as a “crowd-pleasing” horror flick, in the sense that it strikes the balance between cheesy violence and gore. It is a macabre watch, best watched on an empty stomach, but you can be guaranteed of entertainment.

My Rating: 3.5/5

Rotten Tomatoes rating: 89%

The Irishman (2019)

(or) I Heard You Paint Houses 

Director: Martin Scorsese

Screenplay: Steven Zaillian (based on the book by Charles Brandt)

Cast: Robert de Niro, Al Pacino, Joe Pesci  

Music: Robbie Robertson

Time: 209 minutes

Bottom-line: A gangster epic; brilliant filmmaking

Following classics like GoodFellas and The Departed, Scorsese is back with his latest addition to the gangster genre. Featuring three big names in Hollywood – de Niro, Pacino and Pesci – The Irishman (also titled I Heard You Paint Houses) is a powerful, detailed story about a hitman, a mobster and a Teamster. Although it’s the most expensive (budgeted at $159 million) and longest Scorsese film, the screen time and the money are worth it.

 

de Niro as Frank

When I was young, I thought house painters painted houses. What did I know? I was a working guy, one of a thousand working stiffs, until I wasn’t no more. And then I started painting houses myself.

The film is divided into three timelines and is narrated by Frank Sheeran (de Niro), currently in a nursing home. The second timeframe is 1975, when we see Frank, Russell Bufalino (Pesci) and their wives go on a road trip. The third timeframe spans across the '50s and '60s. Frank is a truck driver who delivers steak. He meets another mobster, Russell, and starts doing jobs for him, including murders. Russell later introduces Frank to Jimmy Hoffa (Pacino), head of the International Brotherhood of Teamsters. Frank then becomes Hoffa’s chief bodyguard. As Hoffa becomes increasingly difficult to deal with, the other mobsters decide it’s time to do away with him. The rest of the film is about what Frank does, how it takes a toll on his family and how the mobsters eventually end up.

 

Pacino as Hoffa

Scorsese has a great eye for detail, you can tell. He has this knack of making a comprehensive story about people’s lives, especially in the gangster genre. The plot isn’t famous for twists, or high-speed car chases or action sequences; it’s the narrative structure that’s the highlight. The three timelines show stark contrasts in the characters’ appearances (thanks to the excellent use of CGI - the "de-ageing" technology was developed specifically for this film) and behaviour. Just like how GoodFellas shows the rise and decline of Henry Hill in the gangster clans, here, it’s the tale of Frank – a truck driver to a ruthless hitman to an old man repenting for his sins.

 

Pesci as Russell

With Scorsese films, it’s usually a matter of “when” something will happen and not what will happen; the plots are usually pretty straightforward. The only apparent downside of the plot here is the three-and-a-half-hour-long screen time. While you may feel that several scenes are needless (what’s the big deal with the fish? It’s like the kahuna burger scene from Pulp Fiction again!), you have to remember that the intention is to portray someone’s life, and any small sequence which adds value to shaping the story or developing the character is essential.

The three stalwarts have given amazing performances, and my pick among them would be Pacino – the loud-mouthed, speech-giving, crowd-pulling, arrogant Teamster. Pesci – coming out of his unofficial retirement – plays the calm and composed Russell, greatly contrasting his character of Tommy DeVito in GoodFellas. Robert de Niro’s character, for a significant part of the film, seems to have no idea of what he’s doing – constantly negotiating with Jimmy and Russell, wondering whom to support. His acting in the last half hour of the film is what brings out his versatility, and as a viewer, you also become aware of the pitiable condition of the old man, as opposed to the energetic, merciless hitman you see earlier in the film.   

Scorsese’s films also generally perform well in the technical aspects. Thelma Schoonmaker, Scorsese’s editor for over forty years, does an excellent job in this film too, and the cinematography – with long takes and stills – is top notch too. It’s amazing how the film brings together the biggest names in different categories and gives one hell of a tale.  

My Rating: 4/5

Rotten Tomatoes rating: 96%

Parasite (2019)

Director: Bong Joon-ho

Story: Bong Joon-ho

Cast: Song Kang-ho, Jang Hye-jin, Park So-dam, Choi Woo-shik

Music: Jeong Je-il

Time: 132 minutes

Bottom-line: Darkly funny and hard-hitting; highly impressive

Act like you own the place.

This movie from South Korea – also their official submission to the Oscars for the category of Best International Feature Film – is probably the best film I’ve seen in 2019. The film won the Palme d’Or at the Cannes Film Festival, becoming the first Korean film to do so. Starting off as a comedy, Parasite quickly shifts gears to narrate a dark tale about social classes and greed. If you are a person who easily gets paranoid, chances are that you will fire your maid and driver and any other household help after watching the film. 

With no plan, nothing can go wrong. If things spin out of control, it doesn’t matter.

Kim Ki-taek (Kang-ho), his wife Chung-sook (Hye-jin), son Ki-woo (Woo-shik), and daughter Ki-jeong (So-dam) live in a small semi-basement apartment, barely meeting expenses. Ki-woo’s friend gifts them with a rock that would supposedly bring them wealth. He also advises Ki-woo to take over his position as the English tutor of Da-hye (Jung ji-so) – the daughter of the wealthy Park family. Seeing how naive Mrs. Park is, the other family members trick her into hiring them as employees: Ki-taek as the driver, Chung-sook as the housekeeper and Ki-jeong as her son’s art teacher. When the Parks go out for a camping trip, the four of them exploit the luxuries of the empty house. However, they discover a secret that will soon ruin their lives as well as that of several others involved.

 

The Ki-taek family in their house

Rich people are naive. No resentments. No creases on them.

Merriam-Webster defines a “parasite” as an organism living in, with, or on another organism or a person who exploits the hospitality of the rich; there cannot be a more apt title for the film. The story starts on a humorous note, as we see how Ki-taek’s family takes advantage of the wealth and the innocence of Mr. and Mrs. Park. Before you realise it, the tale turns into a dark, biting commentary on how greed can overcome even the best of us. Also, when you are desperate to save your skin, you don’t care one bit about what you do to a fellow human being. Another theme that’s explored is how people change when they suddenly get more power in their hands – when you’re weaker, you try to cooperate, but when you’re the stronger one, you step on the weak.

 

Cho Yeo-jeong as Mr. Park and Jung Ji-so as Mrs. Park

Of course, the underlying factor that drives the story is the social inequality that exists. The livelihood of Ki-taek’s family is in stark contrast to that of the Parks. One house has a rotten smell and people urinating on their window and the other one has a wine cellar and a Benz. Note how the poster shows the Ki-taek family and the Park family having different coloured bands across their eyes. It’s only in retrospect that you realise that Mr. Park’s comment: “he doesn’t cross the line,” means something else entirely.

I like how the film starts and ends with the same shot – an indication that some things have remained the same, but a lot of other things have changed forever. The pseudo-positive note on which the film ends (which you’ll understand when you actually watch it) is bound to have a lasting effect on you. The film is also filled with several ironical scenes and themes, including what the “rock that brings luck” actually does and how tables turn when you are suddenly the one in a dominant position. Another interesting aspect is the use of Morse code in the film – perhaps as a metaphor for the moral that the tale tries to tell us, in code.  

One of the best parts of the film is when the Ki-taek family tries to sneak out of the house without the Parks knowing. The suspense is at screaming point, but there’s still a faintly comical tone to it. Every character has acted brilliantly throughout the film, but this scene, in particular, highlights it. It is during this time that you realise that the film is no longer remotely close to the comedy it started out as, but rather, it’s a much more sinister tale that’s making us think. I would say the movie has created a genre of its own.   

Parasite is one of those films about which you feel “Why hasn’t anyone thought of this before?” but at the same time, you are woken up with none too soft a jolt. It’s a painfully realistic look at social inequality, as well as a powerful, gripping tale about greed and family. This film is one for the ages.  

My Rating: 5/5

Rotten Tomatoes rating: 99%

Joker (2019)

Director: Todd Phillips

Story: Todd Phillips, Scott Silver

Cast: Joaquin Phoenix, Robert de Niro

Music: Hildur Guðnadóttir

Time: 122 minutes

Bottom-line: One of the darkest films of the year

Although numerous directors and actors have taken efforts to portray Batman’s life in their own styles, Todd Phillips does something different: he makes an origin story of one of the most famous villains of the Batman universe. Starring Joaquin Phoenix as the titular character, alongside Robert de Niro and Frances Conroy, Joker is arguably the darkest Batman film yet.

Is it just me, or is it getting crazier out there?

1981, Gotham City: Arthur Fleck (Phoenix) is a party-clown and an aspiring stand-up comedian, living with his mother, Penny (Conroy). He has a mental condition that causes him to laugh uncontrollably at random times. At a time when Gotham is swarming with unemployment and crime, Arthur also loses his job. Things worsen when he is mocked publicly on a TV show by host Murray Franklin (de Niro), and he also finds out that he was adopted. Deciding that it’s time he reaches out to the public, he accepts an offer to be on Murray’s show. But by then, Arthur has already descended into a dangerous state of insanity and violence.

 

Phoenix as Arthur/Joker

Joker was an instant commercial hit, becoming the first R-rated film to gross over a billion in box-office revenues. The “R” rating is mainly due to the violent and disturbing content of the film, and that’s what makes Joker so hard-hitting. The depiction of mental illness in Arthur – from physical symptoms to seemingly comic acts to some of the most brutal acts you can imagine – has a chilling effect on the viewer. It’s also difficult to imagine that Todd Phillips – the director of the Hangover trilogy – made a film as dark as this.  

 

de Niro as Murray 

Joaquin Phoenix has done a bunch of commendable roles as villains in the past – Gladiator and The Yards – but his portrayal of the psychotic character in this film takes the cake. Heath Ledger underwent a lot of physically taxing exercises to prepare for his role as the Joker in The Dark Knight, and we saw the outcome of that; it makes you wonder how much more Phoenix went through to transform himself into the character you see on screen. You’d think he has one hand on the Oscar already.

You can see a lot of similar themes between Joker and a couple of Martin Scorsese films – Taxi Driver and The King of Comedy (both of which feature de Niro). The first film also depicts the slow mental decay of one man fighting to change a city rife with crime, and the second film is about an aspiring comedian going to extreme lengths to get his fame. The cinematography techniques are also similar to some extent, especially the portrayal of a dark and depressing atmosphere.

With a climax that reminds me of Psycho, Todd Phillips’ film is a thrilling ride but only if you can stomach a lot of violence and depressing sights. But Joaquin Phoenix’s performance is something that you must not miss!  

My Rating: 3.5/5

Rotten Tomatoes rating: 69%

Blue Valentine (2010)

Director: Derek Cianfrance

Story: Derek Cianfrance, Cami Delavigne, Joey Curtis

Cast: Ryan Gosling, Michelle Williams

Music: Grizzly Bear

Time: 112 minutes

Bottom-line: Depressing and realistic; meant for a select few

Derek Cianfrance’s romantic drama, Blue Valentine, is a film I came across when looking at a compilation of "the most realistic romance films". Sure enough, this film takes a strained marriage and uses it to portray a brutally vivid depiction of how it takes a toll on the partners involved.

How do you trust your feelings when they can just disappear like that?

The film uses a nonlinear narrative sequence that keeps changing between the courtship period between Dean (Gosling) and Cindy (Williams) and the current state of their failing marriage. Dean is a high-school dropout who gets a job in a moving firm. Cindy is studying pre-med. On the job, Dean meets Cindy, who is with her grandmother. The two of them start dating soon. In the present day, Dean paints houses for a living and is an alcoholic, and Cindy is a nurse. The couple has a daughter, Frankie, and a family dog. The relationship is clearly strained, with Cindy's boss making advances on her, and Dean's alcoholism getting out of control. Have they reached their breaking points, or will the family remain intact?

 

The younger Dean (Gosling) and Cindy (Williams)

If Blue Valentine has a lasting impact on you, it is thanks to the acting of Ryan Gosling and Michelle Williams. While Gosling is more famously known for being the charming romantic that all the women in the audience have a crush on, in this film we get to see a drunk, loathsome Gosling (not the drunk type who makes you laugh, like his role in The Nice Guys) who does his role so well it’ll take you a while to get used to the fact that it’s the same person. Michelle Williams earned an Oscar nomination for her role as the wife who has “had enough” of her husband. From portraying the pitiable pre-med student to the wife struggling with marital and household problems, Williams illustrates a lot of versatility in her role. The scene in the hospital where they fight shows the tension at its peak, and the following scene, where both of them break down in the house, summarises how the relationship has come tumbling down.

 

The older (present-day) Dean and Cindy

The nonlinear storyline enhances the contrast in the relationship phases of Dean and Cindy. The craving they once shared has gone dry; the only thing holding them together is their daughter. You see Dean and Cindy merrily singing and dancing and making love and the next moment the timeframe shifts to indicate the stark contrast of the couple's present state. That is what makes the film so powerful – it takes an ordinary couple and shows a very detailed description of a marriage where the “spark” has long ceased to exist. This is something very real – there are a number of passionate couples who go from “Let’s start a family together” to “I've got nothing left for you, nothing, nothing!” in a matter of a few years.

The details of the movie lie not only in the story but also in the visual aspects – the fights, the crying, the sex, everything (which is also why there was an initial controversy when the film was given an NC-17 rating and not R). The main takeaways, however, are the stunning performances by Gosling and Williams. While the tale is certainly saddening, it is still worth one watch.

My Rating: 3.5/5

Rotten Tomatoes rating: 88%