Browsing All Posts filed under »Bullet-point Report«

Bullet-point Report: “Yagavarayinum Naa Kaakka”

June 29, 2015


I’m getting increasingly fascinated by our heroines these days. Take the Royal Enfield-riding Kayal (Nikki Galrani) in Yaagavarayinum Naa Kaakka. She knows the hero (Saga, played by Aadhi) is interested in her. She spots him waiting for her outside her college. She approaches him from behind and taps his shoulder. He turns, surprised to see […]

Bullet-point Report: “7aum Arivu”

November 1, 2011


If it were not for a Tamilian, we’re told, the Chinese would have ended up wasted by disease (they knew nothing about medicine, apparently) and walloped by marauding raiders (they knew nothing about self defence, apparently). I kept waiting for a scene where the Chinese kept falling asleep and this Tamilian introduced them to a […]

Bullet-point Report: “Zindagi Na Milegi Dobara”

July 16, 2011


The road in the road movie is already a metaphor – the road of life, journeying through which you become a changed person, so and so forth – and on top of this, Zoya Akhtar lays on with a trowel we never suspected she owned (and how could we, given that her earlier film was […]

Bullet-point Report: “Delhi Belly”

July 2, 2011


John Matthew Mathan, Ashutosh Gowariker, Abhinay Deo – and the list of moviemakers who burn brightest under the aegis of Aamir Khan and merely flicker elsewhere continues to grow. The guy who made Game is capable of this? Who’da thunk!

Bullet-point Report: “180”

June 25, 2011


Sometimes, the fact that you haven’t seen a particular type of film in a long time can make you overlook almost everything else – like a heroine playing cute (which, in Tamil-commercial-cinema lingo, is defined as annoying) by speaking in two voices, or a man spitting out some semblance of the film’s themes to the […]

Bullet-point Report: “Shaitan”

June 23, 2011


Good movie, but bad title. Shaitan! At least to my mind that promises one of two things, a pulpy schlockiness tending towards Ramsay horror or a drama about the evolution of one’s inner Gabbar Singh. This is neither, and that tagline about unleashing your inner shaitan makes no sense.

Bullet-point Report: “Avan Ivan”

June 19, 2011


If Picasso, faced with failure, had decided to paint a piece of turd, it would still have been a cubist piece of turd. So too Avan Ivan. It may be, at least on the surface, just commercial cinema – but it’s still Bala’s commercial cinema. Every scene, every character, every contrivance is stamped with a […]

Bullet-point Report: “Aaranya Kaandam”

June 11, 2011


With most mainstream films, especially in Tamil, you know some fifteen minutes in if they’re working for you (or not). These are the films made expressly with you in mind, thinking that they know what you want, the pandering productions.

Bullet-point Report: Stanley Ka Dabba

June 2, 2011


Ambition is announced at the outset: It’s not Amole Gupte Productions or Amole Gupte Entertainment or even Amole Gupte Films but Amole Gupte Cinema.

Bullet-point Report: Azhagarsamiyin Kuthirai

May 13, 2011


Like Vaanam – or heck, like any movie made on the planet, except those especially tailored towards (cough, cough) “overanalytical” art-house types – the aspect that will make you savour (or sigh about) Azhagarsamiyin Kuthirai is how much you are bothered by its compromises.

Bullet-point Report: Shor in the City

May 12, 2011


As a critic, you’re required to watch so many movies – new releases for reviews, old movies for columns and for research, and, very rarely, the odd movie just to have fun like normal people, popcorn in hand – that if you miss the movies on their opening weekend, it becomes very difficult to catch […]

Bullet-point Report: Vaanam

May 8, 2011


The glass-half-full side of me wants to deliver a smallish pat on Vaanam’s back and label it, like how bad critics often label almost-innovations, a “praiseworthy attempt,” especially within mainstream parameters, and even if, many years ago, Aayitha Ezhuthu took us through its lives-converging trajectories with far more sophistication.

Bullet-point Report: Dum Maaro Dum

April 22, 2011


The first scene showcases a blue sea, the picture-postcard-touristy-blue sea of Goa. That’s the only time the sea is this blue, this inviting. Elsewhere, we get the grey-green waves of nighttime, the turquoise waters of a decadent swimming pool, a stretch of beach that’s bleached out by yellow, this film’s dominant colour — but never […]

Bullet-point Report: Ko

April 22, 2011


If someone wants to make a case for the abolishment of song and dance from our cinema, Ko would be Exhibit A. A needless love track necessitates needless love songs, and even the one song that would seem to be necessary – the one in the flashback – is shot so arbitrarily as to be […]

Bullet-point Report: Game

April 3, 2011


Forget its thriller ambitions. Game, first and foremost, is a stylised “rah-rah India” video for those for whom the World Cup win wasn’t enough. An Indian stands to become Prime Minister of Thailand. An Indian owns the biggest nightclub in Istanbul. An Indian owns the island of Samos in Greece and nurtures its numerous villages. […]

Bullet-point Report: Payanam / Nadunisi Naaigal

February 19, 2011


On the surface, Payanam is chalk to Nadunisi Naaigal’s cheese, but they’re both refreshingly unformulaic films, they’re both unburdened by music-video interludes, they both dispense with romantic tracks, and they both tip a hat to Mani Ratnam.

Bullet-point Report: Aadukalam

January 29, 2011


If movies were mathematical equations, Aadukalam = Polladhavan + Othello.

Bullet-point Report: Man Madan Ambu

December 23, 2010


Note to self before walking in: “Yes, yes, we all know you want Kamal Hassan to direct more and write more (even if he doesn’t necessarily act more) — and not necessarily the kind of films he makes with KS Ravi Kumar. But can you just shut up and shove aside those petulant resentments and […]

Bullet-point Report: Easan

December 18, 2010


The more movies we see about the blight brought by big cities upon the small-town soul, the more ahead-of-its-time Mahanadhi looks. The films that have followed carry not a fraction of either the narrative finesse or the emotional resonance.