Aadukalam (2011)

English translation: Playground/Arena

Director: Vetri Maaran

Story: Vetri Maaran, Vikram Sugumaran

Cast: Dhanush, Taapsee Pannu, V. I. S. Jayapalan, Naren

Music: G. V. Prakash Kumar

Time: 156 minutes

Bottom-line: An engrossing village drama

Vetri Maaran’s second feature film would go on to win six National Awards (including Best Director, Actor and Screenplay), equalling the record set by Kannathil Muthamittal (way back in 2002), for the maximum National Awards won by a Tamil film. The film stars Dhanush and Taapsee Pannu in the lead roles, with Jayapalan, Naren, Kishore and Murugadoss in the supporting roles.

 

Dhanush as Karuppu

Cockfights, a common feature in all the old civilizations, have a special place in Tamil history and culture. Right from the times of Sangam literature to modern writings, cockfights are mentioned in many epics and books.

Madurai: Pettaikaran (Jayapalan) is a veteran rooster trainer, whose roosters consistently win cockfights because of his secret technique of maintaining the birds. Two favourites in Pettai’s team are Karuppu (Dhanush) and Durai (Kishore). Karuppu falls in love with an Anglo-Indian girl, Irene (Pannu), who is initially repelled by him. Pettai’s main competitor is Police Inspector Rathnaswamy (Naren), who insists on having one last fight with Pettai to win, which Pettai initially refuses but is forced to comply with in the end. The events on the day of the rooster fight will change everyone’s lives forever, in a tale of love, greed, betrayal and survival.

 

Taapsee as Irene

Aadukalam’s main strength is the portrayal of the village lifestyle, including the rooster fights. As Vetri Maaran himself said, “I went to Madurai with a script in mind, but I had to change the script to accommodate reality. To make my film authentic, we had cast people who belong to the sub-cult.” The rooster fights were depicted using CGI of course (it’s not that great; don’t expect the stuff you would see in Hollywood films), but you’ll find that the entire “fight” time is only around 30 minutes at

Jayapalan as Pettaikaran

the end of the first half. The real story begins only after that. The first half is otherwise slow and boring, with too much emphasis given on Karuppu’s infatuation with Irene, with a couple of colourful and lively songs (which I didn’t really like).

The driving force for the second part of the story – which is also a common theme in Vetri Maaran’s later films – is pride. The film is essentially a tale of how everyone’s lives get affected when pride (or an insult to one’s pride, rather) takes control over your actions. Another aspect of Vetri Maaran’s films (this one and the three films after this) I like is the climax – they are never the “happily ever after” endings. Aadukalam’s climax is one hinting at an uncertain future for the characters, Vada Chennai is part of a trilogy anyway and Asuran has a bittersweet closing scene.

Dhanush’s role as Karuppu is easily one of his best – be it a love-smitten romantic or a skilled rooster fighter or a loyal friend. While Taapsee Pannu’s role gave her a big break, she otherwise has no value addition to the film. Yes, her character is a catalyst in a number of ways but certain others could have played that role. This is the film that brought Naren and Murugadoss to the limelight, both of whom have henceforth been credited as “Aadukalam Naren” and “Aadukalam Murugadoss” in all their future films.

Aadukalam makes you feel a myriad of emotions – sorrow, pity, laughter and so on – and it keeps you engaged throughout. It might not rank as the best village film in Tamil nor as Vetri Maaran’s or Dhanush’s best venture, but it is still worth a watch or two.

My Rating: 3.5/5

1917 (2019)

Director: Sam Mendes

Story: Sam Mendes, Krysty Wilson-Cairns

Cast: George MacKay, Dean-Charles Chapman

Music: Thomas Newman

Time: 119 minutes

Bottom-line: A thrilling war film and a technical masterpiece

Sam Mendes’ war epic is certainly one of the best films of the year, highly impressive in its narrative and technical aspects. Starring George MacKay and Dean-Charles Chapman in the lead roles – with several cameos by others – this (almost) real-time tale is based on the accounts of Mendes’ grandfather.

Time is the enemy.

April 1917: During WWI, General Erinmore (Colin Firth) briefs two young soldiers, Lance Corporals Tom Blake (Chapman) and William Schofield (MacKay). The Germans have strategically pulled back from a sector in France to their new Hindenburg line, hoping to ambush the British when they attack. With telephone lines being cut, the soldiers have to deliver a message by hand to call off the attack – which might cost the lives of 1600 men – and they have to do it by dawn. The journey of Blake and Schofield all the way to General Mackenzie (Benedict Cumberbatch) and the Second Battalion of the Devonshire Regiment is what the film is about. 

 

MacKay as Schofield

I hoped today might be a good day. Hope is a dangerous thing.

The most striking feature of the film is its cinematography. Roger Deakins used several long takes to make it appear as if the entire film is a single continuous shot. Now, even though continuous takes aren’t new (Alfred Hitchcock did it way back in 1948 in Rope), 1917 takes it to a whole new level. To shoot this much action and across various settings (you’ll notice that no location is used more than once in the story), being constrained to some level by technology and budget, is indeed a Herculean task. You can appreciate this fact much more when you see videos on the making of the movie – how much planning went into each scene, how the cuts were skilfully placed to help with the editing and so on.

 

Chapman as Blake

There is only one way this war ends. Last man standing.

Of course, the cinematography draws so much of your attention that you are likely to think the story was altered or “customised” to make it easier to film, but Mendes doesn’t compromise on the storyline at all. It is as gruelling as a war movie can get: explosions, plane crashes, burning buildings, corpses and even a waterfall – the film has it all. 1917 is essentially a tale of survival, and the fact that it’s narrated in real-time makes it all the more exciting – you experience everything along with Blake and Schofield as and when they happen. Look out for the dogfight scene and the one with the trip-wire.

George MacKay is the star of the show as far as acting goes, and he is aptly supported by Chapman. Pushed to their physical and mental limits, Schofield and Blake are men who go against all odds to do their duty. To me, it was also interesting to see Cumberbatch and Andrew Scott star alongside each other again, though they never appear for more than a few minutes and not together either. The acting holds the film together, while the action-packed story and cinematography build the wonder around the performances. 1917 is a film you shouldn’t miss. 

My Rating: 4/5

Rotten Tomatoes rating: 90%

Psycho (2020)

Director: Mysskin

Story: Mysskin

Cast: Udhayanidhi Stalin, Aditi Rao Hydari, Nithya Menen, Rajkumar Pitchumani

Music: Ilaiyaraaja

Time: 146 minutes

Bottom-line: A disappointment

Having seen four of Mysskin’s films till now, I became a fan of his moviemaking style, often experimenting with new techniques and stories. That was the case till I saw Super Deluxe (which he co-wrote), when he started to bring in the “more than what you see” film, i.e., merge philosophical messages, religion etc. with the main story. He should not have done that.

Psycho is the story of a serial killer, Angulimala (Pitchumani), whose modus operandi involves kidnapping females from different regions in Coimbatore, beheading them, and displaying their bodies the next day, stripped to their underwear. One of his victims is radio jockey Dahini (Hydari). However, as he is about to kill her, she challenges him that within a week, Gautham (Stalin) will stop him from committing any more murders. To prove her wrong, the killer keeps her prisoner for 7 more days. Gautham is a blind musician who is head-over-heels for Dahini. When the police – themselves clueless – refuse to help him, he seeks the help of a paralysed ex-cop, Kamala Das (Menen) to help him find Dahini. The events of the next one week form the remainder of the story.

Udhayanidhi Stalin as Gautham

Before I go further, I’d like to clarify that this film is by no means a remake of either Hitchcock’s Psycho or Andhadhun. If you haven’t guessed from the names of the characters already, Psycho is based on a particular chapter in Buddha’s life, where a serial killer tries to kill Buddha, but on meeting him, attains enlightenment. The film is far more violent than most other Indian films, and it also features nudity and conversations about sex, but that’s just Mysskin breaking barriers of the “typical” Indian film. The initial romance between Dahini and Gautham is annoying (except for the “Unna Nenachu” song) but after that, the tale seems to be a taut thriller. But Mysskin compromises on logic and tries to make this a poetic film, and that’s where the plot loses its grip.

 

Hydari as Dahini

You can either choose to just follow wherever Mysskin takes you, but the moment you pause and wonder what’s going on, you’re lost. The vivid re-enactment of Angulimala’s childhood can either be praised as a very imaginative portrayal of a disturbed mind, or can be thought of as a fancy gimmick with a lot of screaming. Apart from all these, Psycho has enough examples of Mysskin’s quintessential techniques – close-ups of feet, 75% of the film being shot in the dark and of course, the violence. There’s a lot of blood on screen but I must appreciate the edits and camerawork that still capture the brutality of a beheading without being entirely explicit.

 

Menen as Kamala

While Pitchumani’s character gets by with hardly any facial expressions - except in the climax, where he has done really well - Gautham could have been portrayed so much better by many other people; why Stalin?!. The standout performer is Nithya Menen – certainly one of the last people you would expect to portray a foul-mouthed, short-tempered paralysed cop. Hydari’s “innocent” face must have been pretty much the only criterion to choose her to play the role, which, in the end, does work out.

Psycho is certainly the result of a lot of experimentation, but I felt it was a bit too much of it. In many ways an unorthodox film, it does provide entertainment, but after a point, you just want to fast-forward to the end or walk away from the screen. I doubt Hitchcock would have approved of this.

My rating: 2/5

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%