Paranormal Activity (2007,2009)

Lets redefine FEAR, in a SIMPLE way!!!

Written and Directed by Oren Pali

Starring: Katie Featherston, Micah Sloat

Shiny silver sheets cover a sleeping couple seen on their personal camera sitting on the tripod in the other end of the room. Fast forward as time comes nearer. Play mode again and a shadow barely makes an appearance on the open door, continued by a THUD. Swallow that fear because it is just beginning. Ofcourse you don't see what caused the shadow. Thats because writer has done his homework making this bone chilling sci-fi horror film Paranormal Activity (PA).

Homework that probably involved a Steven Speilberg interview about JAWS (1975). In which he mentions the sharks were not available as per schedule so he shot some footage with water movements while the cast on ship freaks out. Speilberg goes on to add that those 'unseen demon' segments pulled another big chunk of revenue and the anticipation part helped spread the word. The PA director' homework probably also involved a viewing of The Blair Witch Project (1999). With the hand held shaky camera recreating the home video feeling being attached to a horror theme. Not to forget the 'real' disclaimer in the begining, furthur pushing it. Coens invented it in Fargo (1996). Homework perhaps could have also included the psychological development of the real and unreal characters and attachment to the audience, seen in New Age Hollywood's The Exorcist (1973). But most improtantly the director's homework involved the following-the-theme-from-start-till-end-with-no-divergence. This adherence to theme is no longer seen after the demise of silent film genre. The best example of adherence to theme is seen in German Expressionism classic Das Cabinet des Dr Caligari (1920), arguably with the best twist ending ever. This adherence part of the homework is what makes this film an extraordinary form of art and the primary reason being PA has audience and critical acclaim. The same reason while although premiered at ScreamFest in 2007 PA eventually became a Paramount distributed film in 2009. Do read about the 'Demand It' campaign.

All these pieces of homework came together in inception and writing while the screen test of a natural performance by Katie Featherton and Micah Sloat got themselves under the skin of their respective characters. Especially Katie. One of the best debut performances as a female lead. Not trying to push the agenda by pulling overwhelmingly real faces. Just plain natural. But still the director deserves the accomplishment for making the most profitable movie till date. (33 Million Rev to 15,000 budget). Accomplishment for not just filming sounds and images with a 'still' camera but bulding the tension and terror to the peak. A psychologically haunting climax (not the current theatre ending, but the original ending) pushes you off that terror peak into a mental storm.

This movie gives a reason to celebrate the film as a medium of art for a well focussed theme that will keep audience screaming and begging for a breath. Fear has never been so much fun ever. Ever. This makes Paranormal Activity a beautiful film.

My Rating: 9/10

Capitalism: A Love Story (2009)

Crime Scene: Do Not Cross

Written and Directed by: Michael Moore

Starring: (unintentionally) Ronald Reagan, George W Bush, Goldman Sachs Executives, Families from foreclosed homes, Workers from a bankrupt factory and Moore (intentionally).

"Is the future generation going to remember us like this?" Cut to 'America's Funniest' videos of cats flushing the toilet, cut to the voice again," Or like this?" Cut to a homemade video of a family peeking through blinds at sheriff dept cars pulling in their driveway. The family sits without attending to the loud knocks to find the door broken down. Sheriff enters the house to announce an evacuation of the foreclosed house being underway. I am not sure if the intensity of the scene is duplicated in those words, but ignorance won't be a bliss, as much as the enlightenment kills the bliss. Simply for the fact that it can't be ignored. This is the driving force behind the documentaries of Michael Moore. You can't ignore Capitalism: A Love Story.

Its been 2 decades since Mr Moore's first documentary Roger and Me (1989) showed an unimaginable blend of poignancy of an evacuation of one of the residents of Flint MI, while Roger Smith, CEO of GM, announces profit and hope for GM at a private dinner. If that does not create any memories then how about the scene of opening a bank account for a gun listed as one of the giveaways in Bowling for Columbine (2002). Or condemning a 'fictitiously' elected 'fictitious' president's 'fictitious' war in Fahrenheit 9/11 (2004). Moore keeps coming back at you to show things CNN fails to highlight, or MSNBC overlooks, or FOX protects. Videos like a Wall Street executive openly embracing money oriented policies and advocating Capitalism,or a widow's husband being a 'dead peasant', or Don Reagan, Treasury secretary and former CEO of Merrill Lynch, whispering 'speed up' to President Ronald Reagan at a news conference. Moore's collection goes to 'deep backgrounds' and as far in the history as FDR era. Barely any documentary footage existed then. Then he creates a story out of the footage to back up his theory. Not only he points at the conspirators but also shows his personal contribution to the necessary change. E.g. attempting a civilized arrest of executives at corporate offices on Wall Street who influenced the current historic meltdown of the financial system since the Great Depression. With the footage from Encyclopedia Britannica documentary about Greek civilization to tax cuts in 'Raeganomics' to 'derivatives' to 'stimulus package' to fear tactics, Moore tries to make a point that could be an enlightenment. Some comments may seem self proclamations while some are cross referenced in end credits. The role of a director is within the collection of those footages and creating a flow through editing. At no point this film drags. It continues as a mine-field. You never know when it explodes with pain, laughter, excitement and fervor.

It is hard to recreate your own first cut, which arguably is the sharpest. With Capitalism Mr Moore almost comes close to the mind blowing effect he created with Roger and Me. There seems to be old wounds which were never healed and the bleeding pain continues through them. Maybe it poured extra essence during the making of this film. Highly recommended.

My Rating: 9/10

Inglourious Basterds (2009)

Jus' Shootin' 'em Nazis Down!!!

Written for the screen and Diretcted by : Quentin Tarantino

Starring: Brad Pitt, Christoph Waltz

Did I spell the movie title right? I mean wrong. I mean the way the screenwriter, of 'Anyone-of-you-f'in-pricks-move-and-I-will-execute-every-m'f'in-last-one-of-you' right before the background surfing song 'Misrlou' by Dick Dale and (after changing the channel on car radio) Soul Train clan member Kool and The Gang's Jungle Boogie, intended the title of this new WWII extravaganza to be. The mis-spelled title is an admitted intention as much as aforementioned screenwriter's characters' intentions and actions are. Blatantly Highlighted. His credit list continues.

Inglourious Basterds, just as the title, represents a group of crude-clumsy-uncontrolled Jewish-American soldiers set out under the command of a Tennessee native Lt Aldo Raine (Brad Pitt) to kill Nazis and scalp them. The 'basterds' owe 100 scalps, each, to Lt Raine, PERSONALLY. And begins a quest of searching Nazi 'hunters'. Sometimes the 'basterds' look for another 'basterd' with a reputation and sometimes they encounter a basterd (a couple in this case) without realizing that both the parties are in the 'a-boomin' killing Nazi business. This non-realized encounter is one of the top courses offered in the 2 and a half hour WWII themed fiesta.

Can we please stand up and applaud Mr Christoph Waltz for an extraordinary portrayal of Col. Hans 'HUNTER' Landa? The strongest card on the table which keeps this poker game going. May it be the calm and patient 'Not whiskey, give me milk' scene in Chapter One (Once upon a time in Nazi occupied France) or the violent homage to lost-shoe-Cinderella scene in the final chapter, Mr Waltz stands above all. Chilling laughs and bloody executions cannot be duplicated by 'basterds'. Perhaps that's the driving force behind basterds' mission. Yes, the mission is aptly conveyed by Mr Pitt's character. To tell Y'ALL the truth 'ts all 'FINE AND DANDY' in the basterd convention. To join him is the 'slasher-pack' inductee Eli Roth as baseball-bat-swinger basterd who could very well be the product of the 'scoop-up-all-the-little-pieces-of-brain-and-skull-Mr-Wolf' split personality of our beloved screenwriter. So is Stiglitz. And then there is the quite french countryman trying to be protective, only to be failed.

As the list of the characters continue, so does the inter-twined plot of the dear screenwriter. The plots of characters discussing similarity between Squirrels-Rats and Rats-Jews, the plots of character developments like Lt Raine's speech and Stiglitz' killing derby, the plots of 'NITRATE' and 'DEALS'. You will know. Every other scene reminds screenwriter's previous endeavors of Pulp Fiction, Kill Bill and maybe slightly of (most underrated) Reservoir Dogs. If only the big finales could have been recreated. Something could be amiss. Could be not. Just like the beauty in the eyes of the beholder. Depends on you. Personally admitting, this flick could have blown the minds away. Instead this could come in the last in the achievements of Tarantino.

My Rating: 7/10

Orphan (2009)

Hold Your Breath!!

Written by: David Johnson and Alex Mace
Directed by: Jaume Collet-Serra
Starring: Isabell Fuhrman, Peter Sarsgaard, Vera Farmiga

A mother (Vera Farmiga) in a dying labor pain looks up when doctors say her child has died. Doctors and the mother look at the blood-soaked baby in shock when it starts crying. Above all that, the husband shows up with a camcorder. Now that is one bone-chilling creation from a twisted writer, or in this case a pair of writers (David Johnson and Alex Mace). Not sure if that was a necessary introduction for this cleverly written violent opera (Orphan) but honestly it is not the time to judge yet. Not for the sake of saving writers and director's (Jaume Collet-Serra) plea for freedom of expression but for the explanation in the end.

It is tough to find a decent thriller. If you agree the last three best thrillers were James Wan's Saw (2004) and Shyamalan's The Sixth Sense (1999) and Unbreakable (2000). Orphan, a tale of a couple who adopt a girl from an orphanage only to get thrown into a world of mis-deeds, mis-fortunes and mis-takes, could be added as the fourth cleverly twisted thriller of the past two decades. For that not only the writer and director but the shining star of this film Esther (Isabelle Fuhrman) should be appreciated with a round of applause. It is not just the idea that is the primary force behind the success but the screenplay fits well to the dark ambience. The argument of the violence justification perhaps will render itself un-necessary. The writing is hypnotic and shocking. The director doesn not fail to justice the screenplay. The false impression of ghostly possession of the protagonist leading to a conclusion is very 'Hitchcockian'. In fact the director makes a homage to the famous stop-light-confrontation of the leading lady by her boss in Psycho (1960), if stretched further to Butch-Marcellus confrontation in Pulp Fiction (1994). Another memorable scene is when camera sits next to sleeping Max (Aryana Engineer) in the dark room and the lightning flash from the window shows her adopted sister Esther standing next to her bed. Director accomplishes a horrifying tone to this thriller throughout. Watch for the modification of the studio logos in the beginning of the film.

Isabelle Fuhrman hovers over the film with a winning smile. This 12 yr old actor has a great potential and will help her in her upcoming career. Alongside Aryana Engineer and Jimmy Bennett as siblings have shined as well. Especially Aryana. Wonder how director executed the chilling scenes without affecting all the child stars. Maybe Mr. Kubrick attended the filming in spirit and gave suggestions from The Shining (1980). Finally the parents, play the roles of a believer and a non-believer in each other's theories. Posing as opposing thought invokers for the audience. This is also the writers' achievement.

In a nutshell, if you haven't been scared intelligently then Orphan is waiting for you. Just sit back and bite your nails because you may not find time to chew on the popcorn.

My rating: 8/10.

Dev D (2009)

Requiem for DEV/
DEV-spotting

Written and Direced by: Anurag Kashyap

Starring: Abhay Deol, Kalki Koechlin, Mahie Gill.

Music and background score by: Amit Trivedi

"Sattu, don't send me to London","Don't call your father by his name", "Well Grandma calls you Sattu too", " Because she is my mom". Rare occasion might be but this conversation between young Dev and his father provides enough insight to Dev's ungreatful and remorseless character. In next 2 minutes grown-up Dev (Abhay Deol) asks Paro (Mahie Gill) for a 'bit' of a cyber fun. She agrees while knowing what a tease it will be. Follow-the-heart or in other words where the heart is at, the LIBIDO.

Please welcome back with a round of applause to the mind behind grenade exploding Satya (1998) and bone-chiller Kaun (1999)'s writer Mr Anurag Kashyap. I missed out on his first directorial venture, Paanch (2003), but Black Friday (2004) and No Smoking (2007) gave me reason to wonder his courage, only. Dev D is a chance at reminder of his true writing talent resembling the widest horizons of Satya and Kaun. Dev D is a movie of the generation of MMS voyeurs, cyber punks and flesh famished junkies. Male and Female hand in hand narrowing the gap to a single 'byte'. The 'byte' being the difference between the core properties of their respective 'connectors'. Nobody can ask Mr Kashyap," So what is your contribution to Saratchandra Chatterjee's classic novel?" It is as blatant as any internet sensation's strength to spread over the globe overnite. Nailed it!! I mean, 'proper' nailed it.

Abhay Deol does it again. After playing desi-version of JJ Gittes, Manorama-Six Feet Under(2007), and a cool superchor, Oye Lucky Lucky Oye (2008), he is back as arguably the most popular loser in the history of Indian literature, Devdas. Unlike charming Yusuf saab's 1955 version or beloved Shahrukh Khan's 2002 version, this one is a brat. Not only that but he is surrounded by brat versions of Paro (Mahie Gill) and Chandramukhi (kalki Koechlin). Blame Dev and Paro's 'choices' on the age of internet but Chanda has her strong reasons. Talk about character building. Chanda's pre-call-girl story is unfaltering. Reminded me Fenix's troubled and bloody childhood in midnight-movie-genre inventor Alejandro Jodorowsky's Santa Sangre (1989). Can't really blame Chanda's choice at the life style. But it is rather necessary to get drugged to the tunes of 'Ankh Micholi' as Chanda leans her head out of the bus' window. Strongly reminiscent of Joker's head tilt out of the stolen cop car's window in The Dark Knight (2008). Talk about Dev and his character's impulses. Well impulse is what makes us human. The characters in this movie have impulses to watch porn, gulp down vodka-coke (i mean seriously?, screw-the-world choice maybe) and chase dragons. These guys have 'rivers of white water' (like the dudes in Dil Dosti Etc). Regret is unheard of. Fear is un-felt of, untill one moment for Dev. It had to be the fear of death for Dev to re-evaulate his choices in life. The character study doesn't get any more convincing than this. Abhay understands the necessity all the way and gives a stunning performance. The scene with his mother is a great example.

When writing stops the camera starts to show it's power. Kashyap went with Danny Boyle's suggestion to use the German camera, used in Slumdog Millionaire, to shoot Dev D. The revolving takes focusing nothing but Abhay's drooling face are illustrious. The steadicam reminds of Arronofsky's Requiem for a Dream (2000). The luminous streets of Delhi and blinking cheap hotel signs are 'Oldboy'ish and striking. Amit Trivedi's music becomes an integral part of this bonanza. 'Saali Khushi, Nayan Tarase, Pardesi and Emosanal Atyachar' blend and make this flicker-show fly high.

How much ever Dev D reminds of anything seen before, this one stays as one of the remarkable original works of art. Dev D is an important addition to the current golden era of Bollywood. The era of A Wednesday, Rock On, Manorama, Dil Dosti Etc and Luck By Chance. This era is reminiscent of the independent film driven '70s Hollywood era of Taxi Driver, Network, Dog Day Afternoon, El Topo and Chinatown. That era was ended by gargantuan commercial success of an independent film called Star Wars (1977). Paul Schrader said, it killed Hollywood. I am fingers crossed for the independet filmmakers of Bollywood.

My rating: 9/10.

The Wrestler (2008)

It is a SIN!

Directed by: Darren Aronofsky.

Written by: Robert D. Siegel.

Starring: Mickey Rourke and Marisa Tomei.

"Don't go. You are gonna get hurt", says Cassidy. Randy replies, " The only place I get hurt is out there. The world don't give a sh!t about me", and begins heart-stopping guitar riffs of Sweet Child'o Mine in the background as Randy walks to the ring of infamous independent wrestling rematch with Ayatollah.

The Wrestler is a story of a gone-are-the-glory-days professional wrestler Randy 'The Ram' Robinson's (Mickey Rourke) survival-of-the-fittest days. Making ends meet is perhaps the last thing on his mind. His fling with a local strip-club dancer Cassidy (Marisa Tomei) and his self-CPR to revive as a father to his estranged daughter has its moments. Only to realise he continues to fail. Not to mention the sleepovers in his truck since the trailer-park manager changed the locks on Randy's trailer since he failed to pay the rent.

How much ever poignant and painful it might have been written by Robert Siegel, this film has no meaning without Mickey Rourke and Darren Aronofsky. Arronofsky is straight-to-the-core director. May it be the protagonist's attempt to drill his own skull in Pi (1998) or the dilation of pupils after injecting heroine in Requiem for a Dream (2000) Arronofsky wastes no time to exhibit his character's visceral state. Duplicated in Wrestler, as Randy adorns the hair-net and takes a long walk from the bathroom with the camera following his back and hears crowd cheering and screaming all the way to the plastic curtain. He opens the curtain to enter the bakery-station in the market. The cheering stops. One of the best scenes in the movie. Unmistakable character study.

But the main shining event is Mickey Rourke. He,reportedly, literally bled with fork wounds and staple gun. He jumps on to a barbed wire. He slits his forehead while opponent fakes an argument with the referee. And in the end he gives a bleeding grin and hugs his opponent in the locker room. He gets knocked on the face with the door by a prospective employer 1/10Th of his size. He apologises. He gets 'Ram-Jammed' as the neighborhood kid walks out after playing Nintendo for 10 min. He gets whacked at his daughter's disapproval of his fatherly love. He is knocked out by his own heart. Mickey Rourke is as sensational and spellbinding as maybe Hillary Swank with sock-stuffed-jeans as Brandon Teena in Boys Don't Cry (1999). This is a complete knock-out.

It is a SIN! First Academy overlooked Heath Ledger's breathtaking performance in Brokeback Mountain (2005). Then for some reason in an attempt to revitalise the status, awarded Sean Penn for portrayal of gay politician in Milk (2008). Moreover the jury for some other reason never hears Bruce Springsteen's brilliant composition The Wrestler that plays over the end credits and Springsteen doesn't even get a nomination. It can only be qualified as a SIN! Ironically matching the underlying theme of unsuccessful attempt of this movie, just like the strength of destiny for Slumdog Millionaire.

But in the end, as human nature goes, this will remain the most acclaimed performance and a fascinating film.

My rating: 9/10.

Slumdog Millionaire (2008)

D. It is WRITTEN

Directed by: Danny Boyle
Written by: Simon Beaufoy, Vikas Swarup
Starring: Dev Patel, Freida Pinto.

A young boy wearing a green t-shirt runs and delivers ball to a batsman. The batsman hits it high while the bowler screams,"Jamaal, catch it". Dumbfounded Jamaal (Ayush Mahesh Khedekar) looks up in the sky and starts running at the end of flying ball's trajectory to catch it and suddenly a plane flies too close and shocked Jamaal falls. This is when we see that this game of cricket is being held on an airstrip and two cops drive on two-wheeler mopeds with sticks in their hands to runs these slumdogs away. A.R. Rahman uses his vocals to sing an Aaalaap to a fast paced symphony that matches the steps of running boys and Danny Boyle's fast cuts filmed from unusual angle. This is nothing but a terrific start to one of the fascinating movies of 2008, 'Slumdog Millionaire'.

This is a tale of Jamaal (Dev Patel) answering questions of the popular game show to become a millionaire. But he is surprised and horrified to find questions flashing his own life. This life gave him unforgettable moments and those moments become answers on his way to a million rupees. Really unforgettable? Yes.

With a surprise of silence to the tune of Brian Eno's The Ascent in a zombie movie, 28 Days Later (2002), approaching sun's reflection on aviator sunglasses of an obsessed crew member of Icarus, Sunshine (2007), or the camode dive of a heroine addict, Trainspotting (1996), Danny Boyle always brings images and moods quite unique and extraordinary. Slumdog Millionaire is no exception. This time rather he takes his skills even farther. No doubt there is a great help from Simon Beaufoy's marvellous screenplay to Vikas Swarup's novel 'Q & A'. But Danny's vision to put viewer in first person's point of view is unparalleled and admittedly this is the reason this movie stands out. He should hope for an Academy nod.

Next credit is to actors Ayush Khedekar, Tanay Chheda (Middle Jamaal) and Dev Patel (Jamaal). These guys are fearless. They can 'jump in a dump', hang upside down from a train or sit and answer 'Millionaire' questions ferociously. Although Dev Patel has the longest screen time and will get nominated in several film festivals, Ayush and Tanay are remarkable and memorable. I wonder what Danny Boyle must have felt when he saw their expressions through the lense. So were the performances by Azharuddin Ismail, Ashutosh Gajiwala and Madhur Mittal as rightful and wrongful father figures, Salim, to Jamaal. Freida Pinto as Latika could be a very simple and shy girl but gives enough reason to Jamaal and us to her undoubted beauty. Irfan Khan, a cop, wants to know the truth. Short appearance maybe but as Jamaal spells the truth out to him he could very well give the expression of realization. Anil Kapoor as the game show host is a surprise character twist to Mr Bachchan's Kaun Banega Crorepati. There perhaps is no bad performance in this 120 min drama.

Other mentionable additions are cinematographer Anthony Mantle and editor Chris Dickens. This movie is a stunning experience in cinema watching. Though there might be a constant reminder of Mira Nair's Oscar nominee Salaam Bombay (1988) for the theme of orphans living in slums of Mumbai. But the difference is huge. Salaam Bombay creates extreme recurring pity and sympathy for the slum kids while Slumdog Millionaire, though shows dark side at times, it creates an excitement over and over again for the kids. The main requirement to every answer to the game show questions is an unforgettable moment in Jamaal's life. Not only the writers have come up with those lines but Danny has shown images which anybody in Jamaal's shoes would never forget. This is a must see.

Rating: 9.5/10

Manorama Six Feet Under (2007).

Raymond Chandler's 'Lakhot'.

Written and Directed by: Navdeep Singh.Starring: Abhay Deol, Gul Panag, Raima Sen and Kulbhushan Kharbanda.

Manorama (Sarika) in her 40's (or 30's?) walks in to Satyaveer Randhwa's (Abhay Deol) house in Lakhot, Rajasthan. Styaveer has recently debuted his first mystery novel, titled Manorama, which Manorama has read and curiously asks him to do a job for her. For a budding novelist, who doesn't keep a copy of his own novel since it reminds him of his failure, 10,000 Rs is quite a temptation. But the job turns out to be a list of scandals and illusions mysteriously unfolding into a grand finale.

Manorama Six Feet Under is THE noir cinema. Navdeep Singh, along with Devika Bhagat, has written a marvelous screenplay. Right from the need for a detective protagonist, to femme fatales, a cop who helps protagonist solve mystery, flashbacks, high contrast images, silhouettes, habitual liars, corrupt villain and secrets that are violently dark are all necessary noir elemnts seen through Hollywood film-noir and neo-noir. Although the 'sad end' is rather toned down cleverly. This movie reminds of J J Gittes and his 'Chinatown' (1974) so much that at one point the nose-cut seen featuring director Roman Planski's cameo is shown on the tv. In this Bollywood era of Hollywood copiers where plots are copied but the required environment for that plot is never even understood let alone copied. This movie stands alone for director and writer's ability to transfer exact noir elements from Raymond Chandler's Double Indemnity (1944) and The Big Sleep (1946) which of course were adapted in Chinatown as well. The muted trumpet is used aptly creating a mystery atmosphere. This is an extraordinary debut.

Abhay Deol has shown great potential as a novelist using his writing abilities to find clues in his own life. His choice of movies have been unusual, for instance Ek Chaalis ki last local (2007). Next up is Raima Sen as Sheetal. She comes quite natural here. Kulbhushan Kharbanda never fails to perform. Gul Panag as Satyaveer's disagreeable wife is rather convincing. Sarika has a short appearance. But the best performance above all was Vinay Pathak as Brij Mohan, Satyaveer's brother in law and cop. He blends in with his sentence delivery as hot as Rajasthan's desert.

Last but definitely remarkable is the cinematography. The hot sand, empty roads, dried bushes, burning sun and desert mountains are stunning and a bonus to this fast paced story that has twists after twists. Almost every event and person has a meaning and purpose. Nothing goes untouched for the second time. With an achievement like Manorama I wonder what's next for Navdeep Singh. This movie you do not want to miss.

My rating: 9.5/10.

AIDS Jago: Short films (2007).

Bill and Melinda Gates foundation, for one of their project on helping humanity, have united with 4 directors Mira Nair, Farhan Akhtar, Santosh Sivan and Vishal Bharadwaj to co-produce 4 short films on issues regarding AIDS education and awareness. These short films are taking the AIDS awareness on more personal level with some beautiful and some incredible journeys involving blood relations, lovers and strangers with urges either sexual or just plain human.

1. Migration (2007).

Directed by: Mira Nair.

Written by: Zoya Akhtar.

Starring: Shiney Ahuja, Sameera Reddy, Irfan Khan and Raima Sen.

URL: MIGRATION

Migration is a set of parallel stories between a husband and his lover, husband's wife, a mason worker his wife and infants. This short is very well directed, right from the drought death visuals to marine drive tides. The cinematography is eye catching. Thanks to Shiney Ahuja's speaking eyes and Irfan Khan's emotions for his lover, one way maybe. The core message of the story is delivered by sex education street actor Vijay Raaz with Beedi song in the background. Its the unconventional migration that is thought and written by Zoya Akhtar gives a different but convincing journey. It was exciting to see marathi stage and screen actress Sulabha Deshpande as Sameera's mother-in-law, little has she changed from Choukat Raja's (1991) mother.

2. Positive (2007).

Directed by: Farhan Akhtar.

Written by: Rajesh Devraj.

Starring: Boman Irani, Shabana Azmi and Arjun Mathur.

URL: POSITIVE

Positive is the story of AIDS awareness for a family as one of the members becomes HIV positive. The effects of it in a broad picture and a very tiny extremely personal point of view is very well written by Rajesh Devraj, whose future writings are Farhan Akhtar starrer Fakir of Venice and Shashanka Ghosh project Quick Gun Murugun. Boman Irani is fantastic with his lowering speaking abilities and at the same time with the desires of a young photographer to capture something. But it needed Farhan Akhtar's trick to bring out the moment absolutely necessary for this story. The moment when Arjun's character is positioning the rose in the window. This is perhaps the same transformation moment that occured in Dil Chahta Hai (2001) when Akash (Aamir Khan) calls up Sameer (Saif Ali Khan) only to realise subconsciously he dialed Sid's (Akshaye Khanna) number. Incredible. Shabana Azmi is short but plays the character who has already past previously mentioned transformation.

3. Prarambha (2007).

Directed by: Santosh Sivan.

Starring: Prabhu Deva and Skandhas.

URL: PRARAMBHA

A truck driver (Prabhu Deva) finds an unknown boy Kittu (Skandhas) hiding in the back of his truck. Truck driver finds it unsolvable to get rid of an unknown boy riding with him. Kittu hands him a letter written by his mother with an address. Truck driver agrees to take him there. But then out of humanity he finds himself on a quest to make the people around Kittu realise what he feels for kittu. This movie is a cry out towards those strangers who might have some humanity left in them. Prabhu Deva does a great job. His apological and optimistic smiles are the driving force for the audience and kittu as well. Skandhas as Kittu is nothing short of a applauding performance. He represents the understanding son, rejected school friend and a happy boy. Though there aren't many opportunities for Mr Sivan to use his lens he still captures the moments that do not need words.

4. Blood Brothers (2007).

Directed by: Vishal Bharadwaj.

Story idea by: Matthew Robbins and Ajit Ahuja.

Starring: Siddharth, Pavan Malhotra and Ayesha Takia.

URL: Blood Brothers

This story brings in the most courageous factor in the AIDS awareness. The point of view of the main victim, the one with the disease. This is the best short among the four. An ordinary man hears his doctor say that he is HIV positive. Devastated by the news he gives up on his life to find something that out smarts him. This is an absolutely astonishing story. This movie proves the fact that you do not need 1000 cuts in a 5 min movie to make it interesting. Though non-linearity exists in the narration it never seems a cliche by the creation of scars on Siddharth's faces. This short challenges the viewer by putting in the shoes of the protagonist and ask them what if? Kudos to Mr Bharadwaj. This one is a must see.

Overall rating: 8/10.

The Dark Knight (2008).

He is a Dark Knight!

Written by: Christopher Nolan and Jonathan Nolan.

Directed by: Christopher Nolan.

Starring: Heath Ledger, Christian Bale and Aron Eckhart.

As Gordon (Gary Oldman) says, "He is not a superhero. He is a guard. A dark knight" and credits roll it shouldn't be hard to realise that this is the best explanation there is to this great saga called as 'The Dark Knight'. Just like the last line in The Prestige (2006), 'You just want to be fooled', or Memento (2000), 'so where am I?' this movie does say the ultimate saying and leave you thinking for your drive home.

At a private meeting of Gotham city's thugs and mafias where they talk about a common solution to the problem, which to them is money laundering, Joker (Heath Ledger) interrupts pointing to the right direction. 'Kill the Batman'. If not this eye opener for mafias to kill the batman then atleast for the audience its the 'disappearing pencil' trick that convinces at the very first communication that he is serious. Well not 'so...' serious. After his proposal falls through he begins a game that not only realises the city of Gotham of his freedom of action but also keeps them on their toes as they miserably run for their lives. Now the newly appointed commissioner Gordon, district attorney Harvey Dent (Aron Eckhart) and Gotham's guard Batman (Christian Bale) start planning to capture Joker only to find him a step ahead at every point. The plans involve not just a high octane action but also a great storyline that dives deep into the character's mind sets. Almots all of them.

It has to be Christopher Nolan to grab all of the primary awards of story telling, writing and directing. Without his screenplay and direction this picture cannot handle the facets, open and hidden, this meticulously. His character studies are extremely rare to be invented. It is the idea to emphasize very strongly on the very core, like 'Embrace your worst fear' in Batman Begins (2005), that makes Mr Nolan stand out. This movie isn't an exception to an emphasys as the screenplay and Joker insist on calling Batman a dark knight and it has to be 2 hrs 30 minutes of the story that makes that point. The applied makeup of Joker is his identity just like the Batman who wears a mask. But its the Joker that understands the human psyche best among given. Mr Nolan knew it and did it all the way. The screenplay is well written, especially for Joker. His thoughts, DA's fight and Batman's struggle to keep us are all very clear. Bravo! It is hard to get dragged, almost.

Perhaps this paragraph is written by almost everyone who liked the movie. Heath Ledger. It is said that he locked himself for a month in a room to prepare for his role. I guess it was the time best spent. His makeup hides his traumatic childhood and forms an identity for his actions. Its the pauses at uncommon places in sentences, the screamig laughs, the lower lip-lick, the unkempt hair, the ability to look straight into eyes and a strong statement to know people he has killed with knives (Thanks to Mr Nolan again for creating this hidden facet). Its Mr Ledger's ability not just to get under the skin but let himself drown in it. It had to be Heath to play this role. He had proved his potential before he chose Joker when he did not recieve the Oscar nod for Brokeback Mountain (2005). Seems like he might get only a nomination this time because as the Oscar legacy grows only once has Academy bestowed the prize posthumously (Peter Finch in Network, 1977). May he win it or not you cannoit forget the image of him leaning against the wind from a car window. In summary just like Shyamalan's Unbreakable (2000) in which its the villain who makes the hero realise his true identity, likewise does this movie. But couldn't have been without Heath Ledger.

As the cape crusader has necessary gadgets, its the Aron Eckhart's DA that stands next to Joker. The coin flips and the unwanted accidental choices which act as 'gravity, all it needs is a small push'. He is memorable as well. He might also get a nomination. Short but noteworthy are Gary Oldman, Michael Caine and Morgan Freeman. Then there are absolutely unforgettable and unique battle sequences. You have to watch them to realise the second most important facet of this movie. There are some distractions to the pace, a very few, but I wouldn't blame the writer-director.

Mr Nolan's first installment made Bruce Wayne fearless and now this movie dares to drop the quotes of 'hero' for a superhero franchise and dig deeper. It is Mr Nolan's stortelling abilities that keep us glued to the seats untill the grand finale. This is a must-see.

My rating: 9.5/10.

Sex and the city: The movie (2008)

Written and directed by: Michael Patrick King.

Based on the characters by: Candace Bushnell.

Starring: Sarah Jessica Parker, Kim Catrall, Cynthia Nixon, Kristin Davis.

Review:

CLOSURE!

My rating: 6/10.

I'm not there (2007)

"It's like yesterday, today and tomorrow all in one movie".

Directed by: Todd Haynes.
Written by : Todd Haynes (story/screenplay) Oren Moverman (screenplay).
Starring: Cate Blanchett, Christian Bale, Heath Ledger, Marcus Carl Franklin.

The title of this review is all I can understand about the story of the iconic singer, song-writer and Pulitzer prize winning Bob Dylan's semi-autobiographical art known now as 'I'm not there'. It depicts his life starting as a kid (Marcus Carl Franklin) running away from his folks on a train with a guitar inside a box that says 'kills fascists', to a young boy (Ben Whishaw), to a young man (Christian Bale, Heath Ledger), to the grown Dylan I have seen over media (Cate Blanchett) and finally the old man (Richard Gere) who runs from his hometown in Riddle, MO on a train to find a guitar with a box that says 'kills fascists'. Well that is the exact movie chronology. Now I would let you figure out what this means.

I personally am not familiar with Bob Dylan's work so it will be difficult to write about I'm not there as opposed to Pink Floyd's The Wall (1982). But as a movie this one has a peculiar narration which is surrealistic as opposed to just surrealist images seen in many movies. The screenplay is well written for this narration and the director and the editor have done justice to it completely. In this sense this surrealy narrated movie is rather simpler to understand than a surreal movie. Though it drags at few occasions, the later half of the movie is utterly interesting. The story is particularly well summarised for the time spun (50's to late 70's). Sometimes it takes a little longer to make a point which rather suits the intensity of it. The idea of choosing different actors for different life times of the singer is not just for the looks of the character but I guess the ability of those actors to pull the behavior of the singer more easily. Because maybe it would be difficult for an actor to portray so many different phases of the singer's complicated life as we see or maybe not. But this idea of choosing different actors fits very well in the confines of the movie. Few images seemed inspired by Fellini's 8 1/2 (1963). Never thought those could be recreated. Congratulations to writer director Todd Haynes.

Now there are so many actors the question comes are they equally good. Well most of them have given extraordinary performances. Marcus Franklin as the young kid is quite remarkable. He is charismatic in his role. Maybe he did actually play the guitar. In the grown ups, Christian Bale gives another memorable performance. So does Heath Ledger. But the outstanding performance is by Cate Blanchett. The whole idea to carry a stoned and surreal but poetic singer is extraordinary. If she holds a cigarette, walks down the stairs, sings a song or just simply says 'man', she is unbelievably charming. She should have got the Academy. But I guess its the unpopularity of the movie which presumably also affected Ryan Gosling's Lars and the real girl (2007) performance. Richard Gere and Ben Whishaw give short notable appearances.

If you like Bob Dylan then perhaps you would like this movie. If you are not aware of his work but just simply like movies then give this surrealy narrated movie a try.

My rating: 9/10.

Dil, Dosti, Etc. (2007)

An "Indian Pie" with a social message.

Not always a title will blend in everything to a discussion/monologue. The title above may not be suitable to other viewers. But I think Dil Dost Etc does have a social message which is targeted on an individual basis. This film portrays college days of Apurv (Imaan Shah) and Sanjay (Shreyas Talpade). Sanjay is a student from a middle class family in Bihar who is trying to run election and also win it by all the means he can. Apurv is his fellow mate who is born with a silver spoon. These two students have a totally different background but currently they face almost same situations in the college and they have almost opposite perspective on moral/ethics background. These two students bet to each other and that initiates a series of events which connect them together in the end.

I must say that this film is a great blend of psychology and philosophy of college students who are religious towards timely pop culture and matured audience who perhaps are competitive enough to exercise any and every means towards their goal. Debutant Manish Tiwary has written a clever script that from the first minute ("River of White Water") till the end of the film initiates and propagates various thought processes and live it open to individual comprehension. With humor as a positive ingredient his protagonists speak a language which is definitely thought for. The educational institute seems to be a perfect place to place two characters with different backgrounds and mentality. Though I have seen Sanjay at other occasions but Apurv shocks me. Not only his philosophies and self-ethics bother me but when he talks he seem to have understood a much about his surroundings. He does not apologise for a failed kissing attempt to a school girl (Ishita Sharma) and he survives a great deal of endeavor in the end. "A glimpse of the goal clears away some paths" as he utters this line I wondered where is this movie going to end. Manish Tiwary has ended this film with a social message which has to be self realised and self applied.

Imaan and Shreyas both have acted well. Shreyas as usual is very natural. It was good to see him in a matured serious role. I have never seen Imaan before but I wonder about his courage. Whether I should appreciate his ability to focus on the goal or the goal itself is a mystery. Smriti Mishra as the prostitute is also a great portrayal. The direction and screenplay are running at the same pace. For a debut this is a remarkable film. This is perhaps the best college flick since Jo Jeeta Wohi Sikander (1992) though I doubt I would watch it as many times as I watched Sanjaylal Sharma and the cycle race.

My rating: 8/10.

Jodhaa Akbar (2008)

Two hearts amidst an epic setup.

Written and Directed by: Ashutosh Gowariker.

Starring: Hrithik Roshan, Aishwarya Rai.

Music: AR Rahman.

A young boy named Jalaluddin stands on a war front In 1555AD India to be crowned as the new Moghul Emperor after the death of his Father Humayun. The ministry wages the war and defeats the rival King. They bring him in front of the new emperor and ask him to behead the defeated King. Only to find that the young emperor recognizes that disgrace is worse than a death and denies following the orderes. This young boy grows up to become Jalaluddin Muhammad (Hrithik Roshan) Akbar (as honored by his country eventually). He marries a Hindu Rajput's daughter Jodhaa Bai (Aishwarya Rai). How? You will find it out.

Jodhaa-Akbar is a story of love between a husband and a wife after they get married. Given some exposure to Akbar's learning curve to understand the common man in his country with the help of his wife's thoughts and philosophy this movies tries to connect the dots between a husband and his wife and an Emperor and his people. The first winner of this movie is writer-director Ashutosh Gowariker. Making a comeback after a highly spiritual Swades (2004) Ashtosh may not have as appealing story as Swades but the love in Jodhaa Akbar cannot be denied. He brings in different shades of connections between the two like the first time Hindu vegetarian meal for Akbar, a sword fight or a confession of love in a room lit by setting sun. Gowariker handles these facets very carefully by taking his time to create an atmosphere. He is one of the young directors with his own vision that he follows.

The next one on my list is Hrithik Roshan. With a muscular physique and eyes full of emotions his portrayal as an Emperor with roots of humanity is something to look for. An emperor slowly learning about the people around him and eventually following his heart and philosophies is a very good character to be seen. His fight with his ownself to understand Jodhaa is convincing. Not to forget Aishwarya Rai as Jodhaa bai. Personally I haven't been able to appreciate her beauty in a long time since maybe Aur Pyar Ho Gaya (1997).

I have saved the best for last and that is Mr AR Rahman. His background score and musicals like 'Jashn-e-bahaar' and 'In lamho ke' are appreciable. But 'Khwaja' is something beyond great or extraordinary. The prayer and appeal by sufi singers to the priest are nothing short of 'magical'. You will be drawn into the prayer just like the emperor when he gets up and shows his excitement to God. Wow!!!

Independent movies are said to be daring and courageous. Jodhaa Akbar may not be an Independent creation but it is a period movie with a magnitude that perhaps was last seen in K. Asif's Mughal-E-Azam released in 1960. It took 48 years for Bollywood to make a movie like this so in that sense it is a daring and courageous effort.

My Rating: 9/10.

In the valley of Elah (2007).

Welcome back Mr. Haggis!

Written and Directed by: Paul Haggis.
Starring: Tommy Lee Jones, Charlize Theron, Susan Sarandon.

'Everyday Goliath came down in the valley and challenged for anyone who wants to fight. One day a boy named David accepted it. Killed Goliath with a slingshot', as Sgt Hank Deerfield (Tommy Lee Jones) tells this story to Detective Sander's (Charlize Theron) son, she later confronts him about the inaccuracy. To this Hank says, 'Course it is true'. Hank recieved a phone call few days ago about his son's absence from a military base who got back from Iraq few days ago and disappeared from the base later. Events that follow will be strongly connected either by human nature, or the absence there of.

After writing an Oscar winning screenplays 'Million Dollar Baby' and 'Crash', Paul Haggis comes back with a story that does surprise you and shock you at the same time. Based on true events Paul Haggis has superbly wrote and directed Valley of Elah. I am surprised how could Academy awards commitee could not consider this one for the best picture? I guess days of getting preached are over after you graduate high school. Agree about the preachiness. But the way Mr Haggis makes the point is extraordinary. His story telling habits are sharp. May it be Milllion Dollar Baby, Casino Royale or Crash. This time he seems to have picked up the same pen that he put down after Million Dollar Baby, which has lines like "People die as a janitor. She could say to herself atleast I tried'. I guess that itself stirrs and changes the viewer's point of view. Valley of Elah is one good example of the cinema that keeps shaking you all the time. You say to yourself its over and it is not.

Tommy Lee Jones gives an oscar worthy performance. A retired seargent with deep eyes that are giving up after witnessing horrors and are looking for traces at the same time because his heart doesn't give up. This constant war of horror against fatherly love is constantly portrayed with a lot of anguish. He is marvellous. But in the winning race unfortunately he cannot surpass the bloody eyed Daniel Plainview's (Daniel Day Lewis) hunger to become an epic Oil-man in Paul Thomas Anderson's 'There will be blood' (2007). Charlize Theron puts on a very little makeup as a newly appointed detective being bullied by fellow seniors. Susan Sarandon gives a memorable performance as Sgt Deerfield's wife. The southern accent reminds of 'Louise'.

In the end the winner is Mr. Haggis for cleverly twisting and turning the story just about right to create an environment where an aging father faces the fear of Goliath to slingshot him. But the reason for initiation of fear is far placed than the termination.

My Rating: 8/10.

Oscar Nominees/Predictions.

My predictions are in Italics. Movies that I have not seen are asterisked.

1. Performance by an Actor in a leading role:

-George Clooney in “Michael Clayton” (Warner Bros.) *
-Daniel Day-Lewis in “There Will Be Blood” (Paramount Vantage and Miramax)
-Johnny Depp in “Sweeney Todd The Demon Barber of Fleet Street” (DreamWorks and Warner Bros., Distributed by DreamWorks/Paramount) *
-Tommy Lee Jones in “In the Valley of Elah” (Warner Independent) *
-Viggo Mortensen in “Eastern Promises” (Focus Features).

2. Performnace by an Actress in a leading role:

-Cate Blanchett in “Elizabeth: The Golden Age” (Universal)
-Julie Christie in “Away from Her” (Lionsgate) *
-Marion Cotillard in “La Vie en Rose” (Picturehouse) *
-Laura Linney in “The Savages” (Fox Searchlight) *
-Ellen Page in “Juno” (Fox Searchlight).

3. Performance by an actor in a supporting role:

-Casey Affleck in “The Assassination of Jesse James by the Coward Robert Ford” (Warner Bros) *

-Javier Bardem in “No Country for Old Men” (Miramax and Paramount Vantage)
-Philip Seymour Hoffman in “Charlie Wilson’s War” (Universal)*
-Hal Holbrook in “Into the Wild” (Paramount Vantage and River Road Entertainment) *
-Tom Wilkinson in “Michael Clayton” (Warner Bros.) *

4. Performance by an actress in a supporting role:

-Cate Blanchett in “I’m Not There” (The Weinstein Company) *
-Ruby Dee in “American Gangster” (Universal) *
-Saoirse Ronan in “Atonement” (Focus Features) *
-Amy Ryan in “Gone Baby Gone” (Miramax) *
-Tilda Swinton in “Michael Clayton” (Warner Bros.) *

5. Adapted Screenplay:

-“Atonement” (Focus Features)Screenplay by Christopher Hampton *
-“Away from Her” (Lionsgate)Written by Sarah Polley *
-“The Diving Bell and the Butterfly” (Miramax/Pathé Renn)Screenplay by Ronald Harwood *
-“No Country for Old Men” (Miramax and Paramount Vantage)Written for the screen by Joel Coen & Ethan Coen
-“There Will Be Blood” (Paramount Vantage and Miramax)Written for the screen by Paul Thomas Anderson.

6. Original screenplay:

-“Juno” (Fox Searchlight)Written by Diablo Cody
-“Lars and the Real Girl” (MGM) Written by Nancy Oliver
-“Michael Clayton” (Warner Bros.)Written by Tony Gilroy *
-“Ratatouille” (Walt Disney)Screenplay by Brad BirdStory by Jan Pinkava, Jim Capobianco, Brad Bird
-“The Savages” (Fox Searchlight) Written by Tamara Jenkins. *

7. Motion Picture of the year:

-“Atonement” (Focus Features) A Working Title Production Tim Bevan, Eric Fellner and Paul Webster, Producers *

-“Juno” (Fox Searchlight)A Mandate Pictures/Mr. Mudd ProductionLianne Halfon, Mason Novick and Russell Smith, Producers

-“Michael Clayton” (Warner Bros.)A Clayton Productions, LLC ProductionSydney Pollack, Jennifer Fox and Kerry Orent, Producers *

-“No Country for Old Men” (Miramax and Paramount Vantage)A Scott Rudin/Mike Zoss ProductionScott Rudin, Ethan Coen and Joel Coen, Producers

-“There Will Be Blood” (Paramount Vantage and Miramax)A JoAnne Sellar/Ghoulardi Film Company ProductionJoAnne Sellar, Paul Thomas Anderson and Daniel Lupi, Producers.

8. Best animated film:

-“Persepolis” (Sony Pictures Classics) Marjane Satrapi and Vincent Paronnaud *
-“Ratatouille” (Walt Disney) Brad Bird
-“Surf's Up” (Sony Pictures Releasing) Ash Brannon and Chris Buck

Taare Zameen Par (2007)

A tale of an Artist.

Starring: Darsheel Safary, Amir Khan.
Screenplay by: Amol Gupte.
Directed by: Amir Khan.

A drop of a red paint falls on a canvas. Then a finger comes and adds some yellow color to that drop. The drop shows some light turbulent mixing of smaller pigments of yellow and red, then that same finger starts mixing those colors. Then appears a creation of color on canvas as seen by Ishaan (Darsheel Safary), an 8-year old kid who just destroyed his graded exam solution of non-art subjects. Well, because he failed in those. There is something that drives Ishaan away from the books and exams to painting, to catching fishes in the gutter, to jigsaw puzzles, to almost anything that catches his eyes. He mentions his teacher that the letters in the book are dancing. That would make him dyslexic. But not dumb. Perhaps his vision is different than an average human being. When he has been send to a boarding school hundreds of miles away from his home then it appears as a child departing from his parents in his flip book. Can we help Ishaan? Perhaps professor Nikumbh has the answer. You have to watch Taare Zameen Par, to know what that answer is.

Amol Gupte wrote the screenplay for this beautiful and powerful film. He also was a creative director and I guess that is the basic need of this film. The number one thing expected from any filmmaker is to create sympathy for his protagonist. May it be emotional, but definitely has to be psychological. Amol Gupte puts you right where you are able to observe through Ishaan's eyes at a kid sitting on his father's shoulder and slurping a shaved ice cone. So much indulgence that it makes you unaware of the cone in your 'own' hand that melts and falls. There are so many sequences like those and Amir Khan (also the debutant Director) understands the conveyance need of those visuals as much as Amol Gupte and creates an impact. Slow motion gives us time to understand Ishaan's fast grasping. The connection of images, surreal, if I may, of the solar system to the math problem in Ishaan's exams is simply brilliant. How Ishaan thinks and imagines and applies it to his real world creates sympathy. Not to forget the confrontation by professor Nikhumb to Ishaan's parents is one of the scenes with convincing words. Perhaps convincing for any parent. There does exist get-beaten-first-followed-by-triumph-later-superhero psychology which works. Amol Gupte and Amir Khan both have done a great job.

But how much ever you write or direct a movie, it is useless without the actors who make you feel what they are feeling in all the situations in the movie. Darsheel Safary as Ishaan falls short at nothing. He is an actor that has not been bound by anything. He excites at fishes in the gutter, he fights a bully twice his size, he feels guilty and apologises to his father at first and gets angry with strained eyebrows later at revelation of father's lie. He cries with the sorrows that you will feel and laughs with joys that shake you. Sight of a dawn over mountains and a lake creates an image in his mind that later shows up on a canvas that screams his urge to see what people don't see and you will stand beside him all the way. He deserves all the accolades he stands nominated for.

Amir Khan has chosen a unique tale of parent-kids relationship, that is sad, because that relationship has been ignored long enough to make a movie but at least now we have a movie. Shankar-Ehsaan-Loy give music to songs written by Prasoon Joshi that add to the surreal environment of this child. This movie is a great attempt to look at every child because he/she is special beyond our comprehension.

My Rating: 8/10.

No Country for Old Men (2007)

Well, Its about time.

Written and Directed by: Joel and Ethan Coen.

Based on the book by: Cormac McArthy.

Starring: Javier Bardem, Josh Brolin, Tommy Lee Jones.

Well its about time right here to get blown away. Please welcome Ethan and Joel Coen. They are carrying a metal cylinder filled to the top with a gas, under high pressure. They are going to aim the pressure hose on your forehead and put a hole about two inches deep. You fall on the floor and thats the story of you.

No Country for Old Men is a western set in the 1980's. While hunting for deers Llewlyn Moss (Josh Brolin) comes across a case full of hard cash amongst dead bodies. As aware as he is to face a shower of bullets, hardly he is aware of facing Anton Chigurh (Javier Bardem). Anton is someone who would kill even after getting the money just for the inconvenience he had suffered, as Carson Wells (Woody Harrelson) mentions to Llewlyn who is under a medical observation in an hospital for the wounds he suffered from ..............well, Anton. So what happened, and what would happen? Even if you guess you are not going to believe what happens in this country.

If you appreciated the cold-blooded wood-chipper body disposal in Fargo (1996) or fearless furious bullet shooting by Albert Finney in Miller's Crossing (1990) then you would know how fantastically Coen Brothers directed those crime thrillers. No doubt they have tight screenplays but also they sure do take their time to make a point and numb you. The visuals are gritty, bloody and absolutely extraordinary. There are sounds, there are shadows, there are quiet walks and there are blow ups of cars. And then there are punch lines like "How much you have ever bet on a coin toss?" Coes brothers come back after almost a decade with never before energy and a sharp edged knife. I smell Academy nominations for adapted screenplay and direction. This is a marvellous creation.

One face is unforgettable on this desert and that is Javier Bardem's outlaw. He is innocently quiet and stays that way while terrorizing every one who crosses his path. His self sufficient operation of bullet ridden wounds lets you know that help is the last thing he needs. He has all the tools and if there is something missing, he has the brain and guts to get it. He has no sympathy but just a determination and will cross boundaries to follow that determination. This is perhaps the baddest character after Tony Montana and his "little friend". Absolutely Unforgettable.

Josh Brolin and Tommy Lee Jones as the sheriff are also entertaining and believeable. Woody Harrelson makes a short appearance with the same mystic smile from Natural Born Killers. But in the end its the desert of Texas and the deep philosophical roots that perhaps are dying with the old cowboys since the new outlaws make you forget the "ethical" Clint Eastwood from Dollar Trilogy.

Please go and watch this intense heart-stopping drama that would keep you on the edge of the seat.

My rating: 10/10.

Lars and the Real Girl (2007)

A plastically real and hilariously warm love story.

Written by: Nancy Oliver.

Directed by: Craig Gillespie.

Starring: Ryan Gosling.

As opening credits fade, Lars (Ryan Gosling) is seen watching from a window. His neighbour, Karin (Emily Mortimer), comes in and invites him for lunch. He promises and never shows up. Gus (Paul Schneider), Karin's husband, wins 5$ bet with her. Lars goes to the office. Doesn't talk with anybody. Lars comes home and sits on the bed and is frozen in a stare on the empty wall. Six weeks later Lars knocks on Gus and Karin's door and invites them to meet his girlfriend, Bianca, who is half Brazilian half danish, and bound to a wheel chair. She is religious and so Lars and Bianca decide not to sleep on the same bed. If this isn't intriguing enough then what happens after that is hilariously shocking. Lars is in love with a DOLL. Is it shocking now?

First time adventure by Director Craig Gillespie and first writing for the screen by Nancy Oliver (also the writer of "Six Feet Under"), Lars and the Real Girl is a complete knockout. How much ever "anatomically correct" their "plastic" creation is, it is absolutely alive. Why is Lars with the Girl? Will his neighbours accept this? Where is this all going? Let me say something, you will believe in Lars.

Ryan Gosling is FANTASTIC! Its about time Hollywood needs a new face. Unfortunately he isn't that new. Previously acted in Half Nelson (Academy Award nomination for Best Actor) and Fracture, Ryan is perhaps using his potential to push himself farther than his own imagination. This is the best performance by an actor in a long time. He is simply brilliant. His conversations with Bianca, his dancing in the party, his "in love" smirks and the ability to converse as humoristically anti-social as possible is unbelievably amazing. This is a very well written character. This is a sure oscar nomination performance and possibly a win.

Nancy Oliver and Craig Gillespie have raised a point that perhaps goes to the very core of any social system. We love someone as a friend, a brother, a sister or a son and we love what they love. We never mention about the unusual things they do. Our love binds us to them and persuades us to care. Every single factor in any social circle is touched in this beautiful tale. This is a little tricky explanation of how this concept attacks to the very basics. If you remember Sideways and if you felt completely different about "Old Wines" then think about this. When Paul Giamatti and Virginia Madsen are talking about their penchant about wines, they explain in a realization that they are actually talking about themselves. The wines they talk represent them. Now that is a best example of screen writing basics exploring to the very core. You can talk about wines and convey your feelings to the person next to you. The way Lars and the Real girl screenplay attacks to the very core of the social system is just the same. Situations are created and questions are answered. This is a story about true love. Moreover it is about us. Our ideas, our faiths, our hatred, our fears, our laughter, our tears and our urge to be human.

Well, don't you want to know what happens to Lars and his Real Girl?

My Rating: 9/10.

The Number 23 (2007)

2+3=5 :: Chaos.

Starring: Jim Carrey, Virginia Madsen.

Directed by: Joel Schumacher.

Written by: Fernley Phillips.

The explanation of the events in this movie is pretty much summarized in the title of this review. CHAOS. I got that synonym for No. 5 from the DVD extras of this movie. It does actually suit to the events, but do not confuse with the feeling that so chaotic that it is difficult to comprehend.

The number 23 is the title of the book William (Jim Carrey) gets as a present on his birthday by Agatha (Virginia Madsen), his wife. As he reads through it, he first gets fascinated by the creativity by the author and then starts to think that the events in the books are very similar to his life. So he starts obsessing and is on a mental journey to figure out what happens next.

BRAVO Fernley Phillips for this unique and stylized thriller. This is his first ever screenplay. All the characters and, if I may say, their surreal counterparts are simply fascinating. The blend of confusion and curiosity is well written. It makes you think all the time. Now this project makes me curious about his next project with Bryan Singer, about two teenagers' journey from chat introduction to bloody violence.

Being a drama/thriller-genre lover I never thought I would ever write about action director Joel Schumacher. But I am here for the reason being he perhaps was the best person to picturize this chaos. Looks on the faces of Jim Carrey and Virginia Madsen are choreographed to the almost perfection of their character requirements. As if this is what screenwriter had in his mind. The lights from the fires, the wet dirty roads, suicide blonde sequence, dark nights and background score, these are the things to remember and the director has put it in a box that makes this a visual treat, just like Kate Beckinsale's stylised Vampire-Vulcan-high-tech thriller Underworld (2003).

It would be ignorance to neglect Jim Carrey from this review. The rubber faced comic gives yet another great performance after Eternal Sunshine of the Spotless Mind (2004). He makes the obsessed William and diabolic Fingerling a must watch. His eyes shed tears and blood. This is what makes him sit on a curve and swing back and forth between the good and evil. Same goes with Virginia Madsen as Agatha and Febrizia. Wow!.

This is an edge-of-the-seat thriller. Do not miss it.

My Rating: 8/10.