"Animal" was made to satisfy the whims of the director, or so it appears. There is no coherent storyline. Almost all the characters are unlikeable. Ranbir Kapoor is a brilliant actor but despite his performance one is forced to wonder why was this movie made in the first place? There is mindless violence; gore; sex and what not. Dialogues are poor. Even if technical aspects were fine, but to what end? What was the point of the story at all? It is simply meant for those obsessed with the masculine urge to portray masculine superiority without merit. There is toxicity at full display, unnecessary kissing scenes. Vanga seems to be over-obssessed with body and bodily fluids. From pelvis, to pubic hair. Chest hair, to cervix. You'll find everything here. Animal is nonsensical. Save yourself from this disaster.
Reviews
13 Reviews
Mahabharat
(2013–2014)
Flawed in its own way but a decent entry into the profundity of Mahabharat authored by Vyas
19 October 2023
Like many television series, this retelling of the epic history has its own flaws. It takes liberty, and yet, in the process does not offend the source material. The reason why it is capable of evoking strong emotions is because its intent is not misplaced. In an interview, one of the makers claimed that he wanted to make a version of Mahabharat that would attract audiences of the day. What comes out as a product is decent enough. Even though, there is a conscious effort to induce elements lacking in the original, or omitting certain characters for want of creativity. Performances are decent. Sourabh Raj Jain as Lord Krishna is impeccable, and so is Pooja Sharma as Draupadi. These two performances stand out because of how good they are! Dialogues are well written. Camera work, massive sets, elaborate action sequences, costumes, and visual effects leave no stone unturned in establishing the magnanimity of scale.
One would give a star extra for absolutely brilliant sound design. Character-tracks written in Sanskrit, especially that of Draupadi, Arjun and Lord Parashuram; verses from the Rig Veda, Manu Smriti, Mahabharat itself are soul-piercingly beautiful. The title track is another wonderful addition to the list.
Many would be offended because the show is shot in larger-than-life sort of way, but it is alright as the makers don't make a mockery out of it. Certain episodes are really well done, especially the Dice-Scene and Disrobing, Bhagavad Gita, etc. During the actual battle sequences, Krishna's monologues are beautifully written. They have done a good job in contextualizing the essence of a particular pastimes for the modern viewer.
Overall, Mahabharat (2013) is beautifully made. Sheer hardwork has been put into making it what it is. Kudos to the team.
One would give a star extra for absolutely brilliant sound design. Character-tracks written in Sanskrit, especially that of Draupadi, Arjun and Lord Parashuram; verses from the Rig Veda, Manu Smriti, Mahabharat itself are soul-piercingly beautiful. The title track is another wonderful addition to the list.
Many would be offended because the show is shot in larger-than-life sort of way, but it is alright as the makers don't make a mockery out of it. Certain episodes are really well done, especially the Dice-Scene and Disrobing, Bhagavad Gita, etc. During the actual battle sequences, Krishna's monologues are beautifully written. They have done a good job in contextualizing the essence of a particular pastimes for the modern viewer.
Overall, Mahabharat (2013) is beautifully made. Sheer hardwork has been put into making it what it is. Kudos to the team.
Siya Ke Ram
(2015–2016)
Offensive and misleading. Another attempt to mint money in name of "Ramayan"
2 September 2023
Citing a different take on the "Ramayana" as an excuse to develop this series, the makers do nothing but destroy the very essence of the Itihaas. The writing is offensive, uninformed and misleading. Plotlines are adapted to cater to the taste of masala-loving audiences. Drama is added for the same end. Actors are below average. They don't know the value and essence of the characters they are essaying. It is really disturbing to watch Ramayan being adapted in such a manner on screen. I had not watched the series when it had aired, but when I watched it later on I realised how the makers have been careless about the adaptation of such a historically and religiously important work.
Shri Krishna
(1993–1997)
A decent adaptation spoilt by deliberately introducing sermons of "Mayavada" to explain the eternal pastimes of Shri Krishna
22 June 2023
Srila Veda Vyas compiled the Vedant Sutras, and in order to explain their actual purport compiled the Srimad Bhagavatam which was a natural commentation of the Sutras. Sadly, however, the Mayavada Bhashya of Adi Shankaracharya is today read as the most prominent understanding of the Sutras. There is not much point in getting into the specifics of how the subsequent Acharyas defeated Shankaracharya ji's Mayavada. However, it becomes important to understand an adaptation of the Srimad Bhagavatam, more specifically the pastimes of Lord Shri Krishna.
Sagar's Ramayan is better made in this sense, as it adheres to the original epic of Valmiki and the later work of Tulsidas ji. However, this adaptation takes too many liberties in order to introduce drama. The worse part however is trying to introduce "advaita vada" in a significant work which discards the philosophy. Sagar makes Mata Yashoda say dialogues explaining Advaita Vada and even allows Krishna to sermon Radha Mata on the glories of the deviant philosophy. If this was less, Sagar, in his commentaries tries to lecture on Advaita Philosophy.
It is sad for an adaptation which extends gratitude to HDG Srila Prabhupada in the title card of every episode to interpret the pastimes of Lord Krishna in the light of Mayavada philosophy. It would have been better if Ramanand Sagar for once would have read through Prabhupada's own elaborate summary on the tenth canto of the Srimad Bhagavatam called "Krsna The Supremw Personality of Godhead" (a copy of which he carries in the introduction episode). In the book, Prabhupada has sincerely snubbed the mayavadis and established the principles of Sanatana dharma without the tinge of mental speculation that advaitavada propounds.
Apart from the inaccurate philosophy that Sagar pushes down the throat of the viewers (of complete oneness and non-duality between jivatma and paramatma) the series in itself, in order to add masala, introduces events that are not even mentioned in bonafide scriptures. It is sad to find Sagar depict Radha Mata affected by material affliction (even though She is Herself the Para-Prakriti Yogamaya). I can go on and on about this, but there's not much point. Even the Bhagavad Gita episodes have been spoilt by detailing how the soul merges into the complete whole and loses its sense of pure I-ness.
Sagar's Ramayan is better made in this sense, as it adheres to the original epic of Valmiki and the later work of Tulsidas ji. However, this adaptation takes too many liberties in order to introduce drama. The worse part however is trying to introduce "advaita vada" in a significant work which discards the philosophy. Sagar makes Mata Yashoda say dialogues explaining Advaita Vada and even allows Krishna to sermon Radha Mata on the glories of the deviant philosophy. If this was less, Sagar, in his commentaries tries to lecture on Advaita Philosophy.
It is sad for an adaptation which extends gratitude to HDG Srila Prabhupada in the title card of every episode to interpret the pastimes of Lord Krishna in the light of Mayavada philosophy. It would have been better if Ramanand Sagar for once would have read through Prabhupada's own elaborate summary on the tenth canto of the Srimad Bhagavatam called "Krsna The Supremw Personality of Godhead" (a copy of which he carries in the introduction episode). In the book, Prabhupada has sincerely snubbed the mayavadis and established the principles of Sanatana dharma without the tinge of mental speculation that advaitavada propounds.
Apart from the inaccurate philosophy that Sagar pushes down the throat of the viewers (of complete oneness and non-duality between jivatma and paramatma) the series in itself, in order to add masala, introduces events that are not even mentioned in bonafide scriptures. It is sad to find Sagar depict Radha Mata affected by material affliction (even though She is Herself the Para-Prakriti Yogamaya). I can go on and on about this, but there's not much point. Even the Bhagavad Gita episodes have been spoilt by detailing how the soul merges into the complete whole and loses its sense of pure I-ness.
Adipurush
(2023)
Nothing more than a futile attempt to exploit Hindu faith - Adipurush is offensive and non serious.
19 June 2023
Adipurush is not only one of the worst cinematic adaptations of Ramayan ever made, but also a shoddy, and offensive treatment to the parent chronicle of Lord Ramchandra's pastimes in Ayodhya and His 14 years long exile.
There is not a single character that has been seriously presented. The movie makers intention was probably to mock the entire gravity and seriousness of this epic. Dialogues are offensive. I was shocked by what was playing on the screen. What made the makers think that such a non-serious and in fact insulting attempt would be lauded? The sheer assumption that the audience was so uninformed about "Ramayan" as a text is appalling.
Om Raut needs to be introspect of what he has done with the source material like that of Valmikiji's timeless epic, Ramayan. He has completed done away with its "dharmik" essence. No research has been done or at least that is what it looks like. The screenplay is discontinuous and uninteresting. It alters significant events from the Ramayan without any plausible reason. The scenes do not register gracefully. There is legit no emotional connect for characters. Actions scenes have directly been picked up from Hollywood movies. The performances are mediocre to poor, mostly tending towards the latter. One is forced to wonder where did the 700 crores go? What was going on in the minds of the makers when they were writing and directing such a movie? How did the actors agree to be a part of this futile effort for an adaptation? They had the audacity to call this hostile adaptation a "work of devotion"? Seriously?
The lesser is said about other aspects of the movie the better. I already feel like I need to cleanse my eyes after the mess that I watched. Adipurush appears to be a work of hostility and planned insult to Lord Ram and His pastimes. Sadly, the makers of the film (Director Om Raut and writer Manoj Muntashir) promoted it as some monumental effort to glorify Lord Ram. At least, it doesn't come across as that.
There is not a single character that has been seriously presented. The movie makers intention was probably to mock the entire gravity and seriousness of this epic. Dialogues are offensive. I was shocked by what was playing on the screen. What made the makers think that such a non-serious and in fact insulting attempt would be lauded? The sheer assumption that the audience was so uninformed about "Ramayan" as a text is appalling.
Om Raut needs to be introspect of what he has done with the source material like that of Valmikiji's timeless epic, Ramayan. He has completed done away with its "dharmik" essence. No research has been done or at least that is what it looks like. The screenplay is discontinuous and uninteresting. It alters significant events from the Ramayan without any plausible reason. The scenes do not register gracefully. There is legit no emotional connect for characters. Actions scenes have directly been picked up from Hollywood movies. The performances are mediocre to poor, mostly tending towards the latter. One is forced to wonder where did the 700 crores go? What was going on in the minds of the makers when they were writing and directing such a movie? How did the actors agree to be a part of this futile effort for an adaptation? They had the audacity to call this hostile adaptation a "work of devotion"? Seriously?
The lesser is said about other aspects of the movie the better. I already feel like I need to cleanse my eyes after the mess that I watched. Adipurush appears to be a work of hostility and planned insult to Lord Ram and His pastimes. Sadly, the makers of the film (Director Om Raut and writer Manoj Muntashir) promoted it as some monumental effort to glorify Lord Ram. At least, it doesn't come across as that.
The Kerala Story
(2023)
Kerala Story (2023) is a bold attempt - could have been more mature in how it approached the subject, but still worth a watch!
7 May 2023
Kerala Story (2023) must be lauded not because it is an exceptional piece of cinema - or that it subverts some conventions in filmmaking. In fact, on the technical front, it is mediocre at best but it is bold attempt to showcase, and perhaps start a conversation about the cultural programming against a community and their religion. It succeeds in capturing the potential of radicalism in Islam, its dangerous insistence on being non-accepting of other religions, and most importantly its violent canvassing for the name of "Allah" at the cost of subjecting others to absolute cruelty.
It also presents, though a messy, picture of the politics at play. But as was previously mentioned, the movie needs to be lauded because it is unapologetic and thankfully not politically correct. The angst, the contained pain is visible.
Adah Sharma is very convincing in her role, and so are the other two new comers. Being an important film it must be watched at least once. Perhaps, it is one of the earlier movies that are going to deal with this subject in a more mature manner. But I am not going to deduct stars for that. I couldn't have expected a masterpiece especially when there is so much of establishment hellbent on stalling the movie's release. It all makes sense why. The movie stirs some questions for sure - and also forces one to think why a movie like this needs to be stopped from releasing when everyone one way or the other is seeing this happen everyday. Perhaps, the filmmaker's lack of political correctness disturbs some.
Also, the movie features some really disturbing sequences of sexual assault and violence. Though the visceral impact is not as intense as The Kashmir Files (2022), it might be traumatising for some viewers.
It also presents, though a messy, picture of the politics at play. But as was previously mentioned, the movie needs to be lauded because it is unapologetic and thankfully not politically correct. The angst, the contained pain is visible.
Adah Sharma is very convincing in her role, and so are the other two new comers. Being an important film it must be watched at least once. Perhaps, it is one of the earlier movies that are going to deal with this subject in a more mature manner. But I am not going to deduct stars for that. I couldn't have expected a masterpiece especially when there is so much of establishment hellbent on stalling the movie's release. It all makes sense why. The movie stirs some questions for sure - and also forces one to think why a movie like this needs to be stopped from releasing when everyone one way or the other is seeing this happen everyday. Perhaps, the filmmaker's lack of political correctness disturbs some.
Also, the movie features some really disturbing sequences of sexual assault and violence. Though the visceral impact is not as intense as The Kashmir Files (2022), it might be traumatising for some viewers.
The Kerala Story
(2023)
An important film about an important subject.
5 May 2023
Kerala Story must be lauded not because it's an exceptional piece of cinema - or that it subverts some conventions in filmmaking. In fact, on the technical front, it is mediocre at best BUT it is brave attempt to showcase, and perhaps start a conversation about the cultural programming against a community and their religion. It succeeds in capturing the potential of radicalism in Islam, it's dangerous insistence on being non-accepting of other religions, and most importantly it's violent canvassing for the name of "Allah" at the cost of subjecting others to absolute cruelty.
It also presents, though a messy, picture of the politics at play. But as was previously mentioned, the movie needs to be lauded because it is unapologetic and thankfully not politically correct. The angst, the contained pain is visible.
Adah Sharma is very convincing in her role, and so are the other two new comers. The music is a little off putting but overall, being an important film it must be watched at least once. Perhaps, it's one of the earlier movies that are going to deal with this subject in a more mature manner. But I'm not going to deduct stars for that. I couldn't have expected a masterpiece especially when there's so much of establishment hellbent on stalling the movie's release.
It also presents, though a messy, picture of the politics at play. But as was previously mentioned, the movie needs to be lauded because it is unapologetic and thankfully not politically correct. The angst, the contained pain is visible.
Adah Sharma is very convincing in her role, and so are the other two new comers. The music is a little off putting but overall, being an important film it must be watched at least once. Perhaps, it's one of the earlier movies that are going to deal with this subject in a more mature manner. But I'm not going to deduct stars for that. I couldn't have expected a masterpiece especially when there's so much of establishment hellbent on stalling the movie's release.
India: The Modi Question
(2023)
PROPAGANDA ! PROPAGANDA! PROPAGANDA!
27 March 2023
Lies. Vested interests. Propagandist garbage. The BBC and the allies cannot begin to see an assertive India affecting the politics of the global order. The previous regime would lick the boots of the milords, and characterize their own land sheepishly - the presence of Modi, and the subsequent boost of morale and confidence in the Indians related to their cultural identity surely threaten a cabal.
This so-called research doesn't go beyond including individuals who have been known for spewing hatred and cooked up lies and stories that threaten the internal security of India - move beyond Arundhati Roy, who's been questioned for her credibility and stands before.
Muslims and Islamic extremism cannot evade by always playing the victim card - it must reform sooner or later.
This so-called research doesn't go beyond including individuals who have been known for spewing hatred and cooked up lies and stories that threaten the internal security of India - move beyond Arundhati Roy, who's been questioned for her credibility and stands before.
Muslims and Islamic extremism cannot evade by always playing the victim card - it must reform sooner or later.
Kantara
(2022)
Riveting filmmaking - unapologetic, gritty and immersive. Experience of a lifetime!
26 November 2022
Kantara, right from the get go espouses a certain veneration which becomes organically manifest as the movie proceeds. The ingenuity and lack of pretense in the screenplay is what allows a witness, a normal moviegoer to get immersed in its world. Mind this, the movie doesn't try too hard to pull you in - but its simple state of being is sufficient enough for one to try and learn more about this world. However, the charade of unfamiliarity (as I write this as a northern Indian) breaks lose when the movie reveals its soulful intent - to present a glorious tableau of divinity.
There are going to be many reviews talking about the stellar performance of all departments of the movie and especially Rishab Shetty ji. But what one might cursorily fail to notice is his performance as Daiva, the revered Demigod. It's not a performance, it's a direct manifestation. For anyone familiar with the spiritual science it would not be a surprise. Kantara, then, comes across as an interplay of the divine - perhaps it would act as a beginning of a larger Dharmic revolution that awaits the land of Bharat.
The prowess of Daiva is carefully revealed by the end - His howl becoming a bold foretelling of things that are about to come in this country. Kantara is a spark - the larger fire of dharmic revolution is not going to stop. The scream of Daiva, that reverberates through my ears as I write this review (struggling to collate thoughts clearly) is the scream, a roar - an announcement. The Sanatana shall rise again.
Watch this movie to experience something ethereal. Especially the last 20 minutes of the movie that are beyond reviews and critical commentaries - the celebration of the Divine in its purity and pristineness. Rishab Shetty and team have been instrumental in something bigger that awaits this beautiful, beautiful nation.
There are going to be many reviews talking about the stellar performance of all departments of the movie and especially Rishab Shetty ji. But what one might cursorily fail to notice is his performance as Daiva, the revered Demigod. It's not a performance, it's a direct manifestation. For anyone familiar with the spiritual science it would not be a surprise. Kantara, then, comes across as an interplay of the divine - perhaps it would act as a beginning of a larger Dharmic revolution that awaits the land of Bharat.
The prowess of Daiva is carefully revealed by the end - His howl becoming a bold foretelling of things that are about to come in this country. Kantara is a spark - the larger fire of dharmic revolution is not going to stop. The scream of Daiva, that reverberates through my ears as I write this review (struggling to collate thoughts clearly) is the scream, a roar - an announcement. The Sanatana shall rise again.
Watch this movie to experience something ethereal. Especially the last 20 minutes of the movie that are beyond reviews and critical commentaries - the celebration of the Divine in its purity and pristineness. Rishab Shetty and team have been instrumental in something bigger that awaits this beautiful, beautiful nation.
Cobalt Blue
(II) (2022)
Pretentious. Bland. Boring. Beautiful visuals cannot compensate for a shoddy piece of work.
1 June 2022
2 points for visuals. There's nothing more to the story. I am all up for representation of sexuality, however, this attempt is too pretentious. Too many issues introduced all at once, not addressed properly- end product is nothing more than a glittery mess. Acting is not good either. The characters deliver their dialogues as if on a gunpoint. The main lead appears to be creepy at times, in how he keeps walking in a trance like state or smiling for no reason. The whole mellow of falling in love is not felt. "Love" is not even explored as a theme, the movie concerns itself with how a guy coming of age desperately needs to have sex. Nudity looks forced. Comparisons with Call Me By Your Name are obvious, however, that movie knew what it was doing with its characters. It allowed the audience to get into what the character was feeling. The experience of falling in love was palpable therefore. Here, the main guy isn't likeable. Not even relatable for most, not because of his sexuality but because he's just unreal. The intercourse between him and his professor at college is very problematic - and somehow, the director seems to be convinced it's not. A student quite literally uses his body to exploit his professor. And the professor on the student's insistence has sex with him. Seriously? The narrative tries to bring to the fore feminist issues, but falls flat. The girl is not likeable. The western references are too repetitive which is why the story's setting in India appears jarring. Serious misreadings of spirituality riddle the narrative. For the director, the driving force in anyone's life is the libido which is not true. The impact of heartbreak is not even felt - because the emotional quotient is totally absent from the movie. Prateek works like a cold face ghost. No passion, no emotion.
Movies like these make me question, why do people concern themselves with the look of a movie and fail to acknowledge what connects at the end of the day is story and the characters. Some reviewers are raving about this deplorable mess only because it represents homosexuality. However, there's no point depicting the experience of love (homo, hetero any) if it's done so superficially and pretentiously.
Movies like these make me question, why do people concern themselves with the look of a movie and fail to acknowledge what connects at the end of the day is story and the characters. Some reviewers are raving about this deplorable mess only because it represents homosexuality. However, there's no point depicting the experience of love (homo, hetero any) if it's done so superficially and pretentiously.
Ramyug
(2021– )
Good intent, underwhelming (infact offensive) production of a timeless classic
9 May 2021
Warning: Spoilers
Kunal Kohli's attempt was to perhaps craft a refreshing retelling of the timeless classic that Ramayana is. The comparison of this series with Ramanand Sagar's classic take "Sampoorna Ramayana" is not unwarranted. The former take was elaborate, narratively consistent and featured some iconic on screen performances. It is but natural for people to draw comparison to that landmark of craft with anything that follows suit. Kohli's Ramyug seems to have the heart at the right place but lacks the conviction to deliver to its promise. The idea is simple, to retell the story of Ramayan in a way that it is socially relevant for today. The original text was based in a patriarchal setup but still managed to draw a moral narrative that continues to hold relevance to this day. Ramyug deviates on this front by expressing, not-so-subtly what Rama stands for. His ideas are eloquently expressed by the actor who plays Rama and the message is further highlighted by a voice over from their Guru.
The conception of this series was perhaps to justify the ways of Ramayana, the classic. However, what we get in the end is a shoddy product. The sets are too deviant from what one would expect them to be. Costumes are not time-appropriate. The minimalistic touch does not seem to work well eventually. The conscious decision to remove all signs of Hinduism from an essentially Hindu epic should not have been expected to be received well at the first place. The idea to have a non-linear narrative was to perhaps not compromise on tension build up, since the story is known to almost everyone. But its mediocre presentation is a let down. Too much of movement in the narrative becomes annoying 3 episodes. The music is beautiful. I especially liked the Ram-Sita theme with vocals from Sonu Nigam, Hanuman Theme as well. The sets are magnificent, beautiful but too far from what one would expect. If the director had to eventually make such jarring distinctions he could have adapted the text as a story set in 21st century. What I did like about the series though was how grounded it is in reality. In a time when the revered epic is questioned for its treatment of female characters and too idealised characters, Ramyug is a breath of fresh air in trying to make Ram, Sita and their story relatable to the viewers. Coming to the casting, not all choices are good especially when the landmarks are as good as Arun Govil, Deepike and Dara Singh. The actor who plays Rama is likeable, has a good delivery and appeal but doesn't seem convincing as the marayada-purushottam Rama. Sita is forgettable as a performance even though her arc is heavily revised from the original. She's vocal, has strong opinions and expresses her love for Ram openly. The character is a breath of fresh air, the actor is not. Laxman is similarly out of place. There's an attempt to be playful but that seems somewhat lost in how the actor tries to switch, rather inconsistently between an all-time-brooding face and anger for no reason. The biggest mockery however is the casting for Hanuman. His look, in fact of the entire Vanar clan is ridiculous. Ravan similarly as an acting performance is underwhelming. Overall, casting is a bit disappointing.
A lot of people are offended because of how the revered deity is portrayed in the series and their concerns are justified. Ramayan as a text is a living text in India. It is worshipped in Hindu households. To make a bigger appeal to the audience, is it but unwise to strip the narrative of all its Hinduness. There are no janeus across the bodies of characters, no tilak, no bhagwa clothes, no mention of being a 'Hindu' king/queen. However, one must still appreciate that the story is brought to the fore, on a bigger platform and is trying to ground the celebrated story in reality.
Ramyug, like many other series telling the same story is a mediocre entry in adaptations of the classical epic.
The conception of this series was perhaps to justify the ways of Ramayana, the classic. However, what we get in the end is a shoddy product. The sets are too deviant from what one would expect them to be. Costumes are not time-appropriate. The minimalistic touch does not seem to work well eventually. The conscious decision to remove all signs of Hinduism from an essentially Hindu epic should not have been expected to be received well at the first place. The idea to have a non-linear narrative was to perhaps not compromise on tension build up, since the story is known to almost everyone. But its mediocre presentation is a let down. Too much of movement in the narrative becomes annoying 3 episodes. The music is beautiful. I especially liked the Ram-Sita theme with vocals from Sonu Nigam, Hanuman Theme as well. The sets are magnificent, beautiful but too far from what one would expect. If the director had to eventually make such jarring distinctions he could have adapted the text as a story set in 21st century. What I did like about the series though was how grounded it is in reality. In a time when the revered epic is questioned for its treatment of female characters and too idealised characters, Ramyug is a breath of fresh air in trying to make Ram, Sita and their story relatable to the viewers. Coming to the casting, not all choices are good especially when the landmarks are as good as Arun Govil, Deepike and Dara Singh. The actor who plays Rama is likeable, has a good delivery and appeal but doesn't seem convincing as the marayada-purushottam Rama. Sita is forgettable as a performance even though her arc is heavily revised from the original. She's vocal, has strong opinions and expresses her love for Ram openly. The character is a breath of fresh air, the actor is not. Laxman is similarly out of place. There's an attempt to be playful but that seems somewhat lost in how the actor tries to switch, rather inconsistently between an all-time-brooding face and anger for no reason. The biggest mockery however is the casting for Hanuman. His look, in fact of the entire Vanar clan is ridiculous. Ravan similarly as an acting performance is underwhelming. Overall, casting is a bit disappointing.
A lot of people are offended because of how the revered deity is portrayed in the series and their concerns are justified. Ramayan as a text is a living text in India. It is worshipped in Hindu households. To make a bigger appeal to the audience, is it but unwise to strip the narrative of all its Hinduness. There are no janeus across the bodies of characters, no tilak, no bhagwa clothes, no mention of being a 'Hindu' king/queen. However, one must still appreciate that the story is brought to the fore, on a bigger platform and is trying to ground the celebrated story in reality.
Ramyug, like many other series telling the same story is a mediocre entry in adaptations of the classical epic.
MILF
(2018)
Not great, but conveys the message pretty clear and strongly
25 July 2020
The movie does not open in a promising way, however in hindsight it ends up making pretty much sense. Sex scenes are not sexy, with not forced nudity. Some dialogues might be a little misogynistic but then they try to put a kind of male into perspective. Overall a decent one time watch.
The Sky Is Pink
(2019)
The Sky is Pink is an absolute winner!
15 December 2019
Warning: Spoilers
The Sky is Pink deserves special mention for its warm treatment of a subject as dark and unsettling as death. Since, the very theme is manipulative you cannot help crying. The first half is light, the second half will break your heart.
There are a few scenes that I personally loved, both performance and presentation vice.
1. Aisha's death sequence is beautiful. It's heart breaking to see a character die infront of you. And Shonali Bose conducts the scene absolutely brilliantly. The build up is precise with Aisha's hopeless eyes that stare into her mother Aditi's. Aditi is quick enough to realize it's time to say her daughter goodbye. She calls in family members. Gets the book Aisha wrote and finally bids her final goodbye. The scene doesn't have any background music. People at the theater were all crying. It's an unapologetically brave and gut wrenching viewing. Kudos to Zaira Wasim who sells it with her soulful performance.
2. Aisha appears cool with her death on the outside while she's literally shattered from the inside. She doesn't have her brother around. She cannot confide to her parents because they're already heart-broken and overwhelmed. She gets on a call with her brother Giraffe and breaks down saying "I dont wanna die". Zaira gives a stellar performance yet again. The scene again lacks a background music, so comes out as stark and gritty and real. Rohit Saraf as Giraffe is decent in his potrayal of a similarly broken brother who cannot do anything but try to put his sister at ease. Brilliantly scripted.
3. Aish's death leaves an un-fillable void in the Chaudhary family. This scene is again heart breaking. Giraffe, Aish's brother is sitting blankly on his bed, when Niren (father) walks in. The father confides in his son, breaks down sobbing in his arms. Absolutely emotional scene, as the dog too comes in to give a shoulder to grieve for the loss.
The movie is worth watching for its brilliant performances. Chopra gives one of her career best and so does Akhtar. Wasim and Saraf deliver an equally surprising performance, though the latter gets only a little space to shine. The screenplay and the choice of a non linear narrative was risky but was pulled off really well. Songs feature really apt lyrics. Zindagi and Dil hi toh hai, both by Arijit Singh are brilliant. Shonali Bose as a director adds another feather to her cap. Overall The Sky is Pink comes as an absolute winner in all aspects. Deserves easily a 9+ rating.
There are a few scenes that I personally loved, both performance and presentation vice.
1. Aisha's death sequence is beautiful. It's heart breaking to see a character die infront of you. And Shonali Bose conducts the scene absolutely brilliantly. The build up is precise with Aisha's hopeless eyes that stare into her mother Aditi's. Aditi is quick enough to realize it's time to say her daughter goodbye. She calls in family members. Gets the book Aisha wrote and finally bids her final goodbye. The scene doesn't have any background music. People at the theater were all crying. It's an unapologetically brave and gut wrenching viewing. Kudos to Zaira Wasim who sells it with her soulful performance.
2. Aisha appears cool with her death on the outside while she's literally shattered from the inside. She doesn't have her brother around. She cannot confide to her parents because they're already heart-broken and overwhelmed. She gets on a call with her brother Giraffe and breaks down saying "I dont wanna die". Zaira gives a stellar performance yet again. The scene again lacks a background music, so comes out as stark and gritty and real. Rohit Saraf as Giraffe is decent in his potrayal of a similarly broken brother who cannot do anything but try to put his sister at ease. Brilliantly scripted.
3. Aish's death leaves an un-fillable void in the Chaudhary family. This scene is again heart breaking. Giraffe, Aish's brother is sitting blankly on his bed, when Niren (father) walks in. The father confides in his son, breaks down sobbing in his arms. Absolutely emotional scene, as the dog too comes in to give a shoulder to grieve for the loss.
The movie is worth watching for its brilliant performances. Chopra gives one of her career best and so does Akhtar. Wasim and Saraf deliver an equally surprising performance, though the latter gets only a little space to shine. The screenplay and the choice of a non linear narrative was risky but was pulled off really well. Songs feature really apt lyrics. Zindagi and Dil hi toh hai, both by Arijit Singh are brilliant. Shonali Bose as a director adds another feather to her cap. Overall The Sky is Pink comes as an absolute winner in all aspects. Deserves easily a 9+ rating.
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