Mirzya – A Review

Image result for mirzya posterRakeysh Omprakash Mehra directs debutantes Harshvardhan Kapoor and Saiyami Kher in Mirzya. Mirzya is the story of the famed folk tale of Mirza Sahiba the star crossed lovers who meet a tragic end.


Monish and Suchitra are childhood friends who go to school together. When Suchitra covers for Monish when he hasn’t done his homework she is punished. Monish enraged by such cruel treatment of her beloved takes drastic action and is sent to the correction home for young criminals. Suchitra moves away distraught. Years later Suchitra is engaged to the prince of Jaisalmer Rajasthan and Monish having escaped the remand home and changed his name works as the horse groomer for the prince fully aware of Suchitra. What follows from here on is the tale on the lines of the Mirza-Sahiba.

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Rakeysh Mehra used the dual timeline to tell the story in the landmark Rang De Basanti tries it once again with Mirzya. There is Mirzya the warrior who bids for the princess’s hand and then elopes with her on her wedding night only to be pursued by the princess’ clan and her fiancé and there is Monish and Suchitra the modern day Mirzya and Sahiba. Where Mehra succeeded in Rang De Basanti was the relentless pacing of the movie that kept the audience engrossed and the two timelines never repeated what was happening by merely changing the props. With Mirzya the story is literally scene for scene retelling of the same snippets of the stories in the two timelines. It isn’t entirely unpleasant simply because of the jaw dropping scenery involved. The ancient tale is set on the virgin landscapes of Leh and Ladakh and the contemporary is set amidst the golden sands of Rajasthan, arguably two of the most beautiful places not only in India but the world over.

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Polish cinematographer Pawel Dyllus frames each scene as if a couplet of poetry. Every tragic scene is captured so beautifully that all you can do is sigh contentedly. The music by Shankar Ehsaan Loy coupled with the Gulzar’s heartrending  lyrics is the absolute stand out of the movie, a little restraint perhaps would have proved to be more effective the “nadiyaa” song seems a throw away but the Hichchaki and the title track are goose-bump inducing. The frenzied dancing of the blacksmith is the meeting of the two flowers of yesteryear and I for once commend the director for making that visual choice instead of the writhing bodies of the hero and heroine. The imagery on the walls of the village is also a nice touch.

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Harshvardhan Kapoor seems to have inherited his father’s ruffian charm. As a debutante he is composed and charming and entirely believable as the Rajasthani horse groomer. I cannot wait to see what he does next. Saiyami Kher is a stunning beauty with flyaway curls a plenty and bambi like eyes that hold your attention. She however lacks the gravitas to pull off the role of the tragic heroine Sahiba and her performance seems a little superfluous. In the final scenes though she does full justice to Sabyasachi wedding lehenga running across the unending dessert as if from the pages of some editorial. A few diction lessons and practising a resting face will do her good in the long run. Anjali Patil as Zeenat in a minuscule role leaves a lasting impression and Anuj Pandey as Prince Karan is mostly believable.

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Go for the visuals, stay for the soulful lyrics and leave with the spine tingling music still buzzing in your head. Every frame is a moving painting, every word a story of heartbreak in itself and every note a life affirming experience. Go watch Mirzya!

M.S. Dhoni – an untold Story : A Review

Image result for ms dhoni the untold story posterNeeraj Pandey directs Sushant Singh Rajput and Anupam Kher in M.S.Dhoni the biopic on India’s most successful cricket captain. A man of few words, Mahendra Singh Dhoni has lived an incredible life, it is the classic underdog story where the underdog is an outright over achiever only limited by his circumstances.


Neeraj Pandey directed one of the finest movies to have come out in the last decade A Wednesday. Ever since he has been one of the most anticipated film makers, Special 26 while adored by many was a disappointment for me as were his other collaborations as a producer. I was left shocked when the credits rolled that this was directed by Neeraj Pandey. Where A Wednesday was a fast scoring high adrenaline T-20 match between India and Pakistan this was a laborious 5 day test match on a flat pitch.

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The story starts with Dhoni’s childhood a football goalkeeper Dhoni reluctantly agrees to keep wickets for the school team. There is a charming moment when a precocious Dhoni responds to his teacher stating very firmly that his reluctance to play cricket has nothing to do with the fear of the hard ball. There seem to be hints of his reluctance towards the game and his father’s job as the pump operator for the local cricket ground, but it is left unexplored. It moves to a teenaged Dhoni played by a poorly CGI-ed Sushant Singh Rajput made to look unnaturally young. Through the many ups and downs we journey with Dhoni to when he is selected to play for the east zone team but cannot make it for the flight on time and misses out on his big break. The movie seems keener on ticking off the milestone moments on Dhoni’s journey to the India team than focusing on a coherent story. And when it comes to milestones it misses out on the defining ones like when he is selected to lead the T-20 team, when he takes on the ODI captainship, his vice-captainship before that.


Sushant Singh Rajput does a fine job portraying the very essence of Mahendra Singh Dhoni, Mahi to his millions of adoring fans. Mahi is a man of few words and his actions speak for him, Rajput does that job brilliantly, underplaying the character with subtle nods to Mahi’s mannerisms. Disha Patni as Dhoni’s doomed lover Priyanka is spectacular in a brief time she spends on screen. I just wish the director hadn’t over done the whole “we have enough time right?” bit. Once was enough to allude to the upcoming tragic end. The introduction to Kiara Advani as Sakshi is about as cute as it gets. Anupam Kher transforms before our eyes without the need for CGI. The actor who plays Mahi’s mother and Rajesh Sharma who plays Dhoni’s coach Deval Sahay deserve special mention for the realism they brought to the roles they played.

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For a story as spectacular as Dhoni’s journey, this biopic seems like a disservice. Abysmal camera work where you get dizzy every time the camera zooms in or pans out too quickly. I also seriously question the editorial choices that were made. One look at the imdb page and you see names like Ram Charan and Fawad Khan being credited for playing Suresh Raina and Virat Kohli respectively and they are nowhere to be seen in the movie at the same time an insane amount of time is spent in tenis tournaments, the Railways cricket audition and tennis ball tournament. Also as a director Neeraj Pandey missed a massive opportunity to use real footage of Mahendra Singh Dhoni, rather than try and digitally try and fit Sushant Singh Rajput into those frames. Look at Narcos, or biopics like Frost Vs Nixon and you can see the gravitas the actual footages lend to the overall story.

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The final scene however does bring back happy memories! That six to clinch the 2011 world cup the eruption of the wankhede stadium that was echoed across India by its billion strong cricket lovers and the architect of it all – Mahendra Singh Dhoni. I just wish the film was half as unconventional as its subject matter then maybe it could have done justice to this fantastic character of game who changed the face of the gentleman’s game.

Kubo and the two strings – A Review

Image result for kubo and the two strings posterFirst time director Travis Knight directs the vocal talents of Charlize Theron, Matthew McConaughey and Art Parkinson in the animated feature film Kubo and the two strings. A young boys adventure to find the mythical armour that would protect him from his grandfather the moon king who killed the boy’s father and left his mother a mere shadow of her former self.


This is an animated movie but by no means a children’s tale. The opening line “Blink now if you must” gives us a precursor of the dark things to come. We are introduced to Kubo a precocious little boy who takes care of his mother who suffers from memory lapse ever since she smashed her head while trying to escape her sisters and her father the moon king. During the day he goes into the market of a village near by and earns a living by telling fantastical tales of a legendary warrior Hanzo. The tales he tells come alive with the origami creatures he creates and the music of his Shamisen. But Kubo must return to his mother in the cave they live in before sundown, one day Kubo stays out beyond his curfew and that’s when all hell breaks loose. His evil twin aunts voiced by Rooney Mara attack Kubo and his mother comes to his rescue and tell him to go find the mythical magical armour to protect him from his aunts and his grandfather.  On this quest Kubo is joined by a Monkey voiced by Charlize Theron and a Samurai Warrior trapped in the body of a beetle voiced by Matthew McConaughey. What follows is a journey interspersed with action and humour.

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The action is dark and violent and probably not suitable for the little ones and the humour is crisp, dry and perfectly timed and again more suited for a more mature audience. There was a particular joke which after it landed took me a second to get it and had be laughing for a solid few minutes after it. The writing is seriously brilliant. The myths and legends of Japanese folklore are woven into the narrative seamlessly. The animation is spectacular especially the origami bits. The evil twins are truly terrifying with their porcelain masks. The one aspect where the movie suffers is the pacing. In parts the story seems to drag slowly and in others it seems to be in a rush to conclusion. For instance the scene with the giant skeleton seems overlong and the final scene seems rushed to conveniently conclude the story. But it is offset by the brilliant reveal of the true identities of the monkey and the beetle and how wonderfully that plot point is handled.

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This year hasn’t necessarily been the most spectacular for animated features. With the exception of Pixar’s Finding Dory the genre has been mostly lacking. Dreamworks is developing silly Trolls script to fuel a toy franchise. Laika studios has thankfully stepped up to the plate and delivered a compelling and adult focused animated feature length film. If for nothing else watch it for the spectacular origami magic sequences and stay for Regina Spektor’s rendition of Beatle’s  classic “While my guitar gently weeps” as the end credits roll.

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Rustom – A Review

Dharmesh Suresh Desai directs Akshay Kumar, Ileana D’Cruz and Esha Gupta in the court procedural, thriller drama Rustom. The story inspired by the infamous Nanavati case that saw the end of the jury system in India.


The story starts with Indian Naval Commander Rustom Pavri who returns home 2 weeks earlier than expected, only to find his wife not home and letters from her lover in their cupboard. The following day when she returns he leaves and confronts notorious playboy Vikram Makhija and kills him with 3 bullet wounds. Rustom surrenders to police and the story takes off. Pitting the two prominent communities of Bombay, the Sindhis and the Parsis against one another. A tabloid gets the scoop on the case and starts to influence the national opinion in favour of Rustom – the decorated officer and a soldier who did the right thing but the wrong way. We are reminded of this once again when a screeching housemaid of Rustom asks the judge what he would do if he found his wife was sleeping with the prosecuting lawyer. The movie set in the 50s seems to have been made with the same ethos, the court room drama is nothing more than a farce with the Judge played by Anang Desai – Babuji of the popular sitcom Khichdi, more in character as the kudkud kumar. Sachin Khedekar an accomplished Marathi actor playing the prosecuting lawyer Khangani is more slapstick than slick prosecutor. Pavan Malhotra who plays investigating officer Vincent Lobo has two very peculiar ticks, he taps his pens 3-4 times each time he wants to write and his ears fan out like Dumbo each time he expresses surprise.

Ileana D’cruz is beautiful but has very little to do in the movie other than shed massive tears from those beautiful doe-y eyes. She plays the simpering fragile wife with aplomb but her lack of conflict does question the basic premise of the movie. Arjan Bajwa playing Vikram Makhija is the bond-esque villain albeit in a 60s Prem Chopra avatar.  Esha Gupta was the clear standout for me. Not for her acting abilities – I seriously doubt she has any, but for her styling and make up. She brings the glamour to the 50s era Vamp that Nadira would be proud of. The final twist where a phone recording is introduced her perfectly detached reactions and eye rolls are the highlights of the file for me so silent-movie vamp like that I was enthralled. Akshay Kumar brings a stoic presence to the film that is perfectly attuned to his upright naval officer character. The only one who doesn’t go the slapstick way with the court proceedings, underplaying each line he is given and thus achieving the desired result.


Why is it that every time a period movie is made in India they rely on oversaturated and unnatural colors of the sky. The green screen/CGI work to recreate the Bombay of a bygone era is partly successful and fails miserably in places. The music is a hindrance and gets in the way of storytelling with three songs that have no rhyme nor reason for their stake at the screen time. I can understand wanting songs to build a buzz pre-release but release them as music videos rather than forcing them into the narrative where they do not belong and you are left with an otherwise believable Akshay Kumar looking like the 90s fool that he was when he romanced the likes of Shilpa Shetty and Raveena Tandon.  The story is intriguing and the final twist, a work of fiction (as opposed to the inspiration from the Nanavati case) is interesting enough.

With uneven acting and cringe worthy courtroom scenes this is by no means a perfect movie. But with Akshay Kumar’s understated acting, an interesting story based on true events and overall production value where special care is given to recreating the era with Ileana’s Parsi embroidery sari and Esha Gupta’s gloriously vampy styling this movie entertains more than it irritates.

Udta Punjab – A Review

Abhishek Chaubey directs Shahid Kapur, Alia Bhatt, Kareena Kapoor Khan and Diljit Dosanjh in Udta Punjab a story set in Punjab and the crippling effects of drugs and the complicated narco-politics. Udta Punjab hogged the headlines for a better part of the two weeks leading up to its release with its run-ins with the chief of the Censor board in India.

Udta Punjab is a story of two halves, the privileged – a Rockstar and a doctor and the under privileged a migrant labourer and cop trying to find his conscience. A half that is putting up a valiant fight in the war on drugs and the other that is responsible for perpetuating the drug menace.

Shahid Kapur plays Tommy a Rockstar whose songs promote drug abuse and the only way he can seem to perform is by getting high. Daljit plays Sartaj a Cop who turns a blind eye to the drug trafficking and accepting bribes. Kareena plays doctor Preet who runs a rehab project and treats patients of overdose. Preet is also a campaigner for the war on drugs. Alia plays an unnamed Bihari migrant worker who falls victim to drug addiction when she is kidnapped and kept locked up as a sex slave. She fights the addiction and tries to find ways to escape her predicament.

Udta Punjab is a story of halves, in that the first half tries to establish the backstory for each of its four protagonists and the second halve sees their story to its conclusion. The second half is gritty and grim with a couple of elements of slapstick which bring a welcome relief to the tragic drama unfolding. The first half suffers in comparison with the over the top antics of Tommy which add nothing to the movie. Also because the epiphany that he feels in the second half cannot somehow be reconciled with how his character has grown. The first half grates and the second half has pacing issues. Also Kareena is less Doctor and more investigative journalist. It honestly would have worked better had she played a journalist who is the sister of a doctor who runs the rehab clinic – the story would have seemed more plausible.

The actors all put in strong performances ranking them in ascending order of merit we start with Kareena who puts in a restrained performance that is a rarity from her. Diljit shuffles between a bumbling do-gooder cop and a hot headed corrupt cop but with the amount of time he gets on screen he is immensely watchable and a welcome authentic regional casting choice as a Punjabi cop. Shahid Kapur is fantastic the opening Chitta ve number is reminiscent of Vishal Bhardwaj’s Kaminey’s Dhan Te Nan vibe. He gives himself completely to the role and the only reason why he is the top performer in this movie is because his character is not fully developed. They try to make him into a good guy towards the end and the transition is sudden, abrupt and a bit disingenuous. The best of the lot is Alia Bhatt. She as the unnamed Bihari migrant farm worker who ends up suffering the most is the only character that you are invested in from the beginning. Her vulnerability and inner resolve make you root for her from the very get go. Alia has mastered emotional outburst – she showed glimpses of brilliance in Highway but here she goes ballistic when she recounts her tale and the misery she has gone through in the second half. When Shahid suggest suicide to end this misery, she throws a shoe at him for putting such thoughts in her head. You know her strength. You know she won’t give up. Alia is a beautiful privileged star child who was launched into Bollywood with a dream launch but the path she has carved out for herself with the acting choices is worthy of appreciation. She is the stand out star of this movie despite a role that isn’t that big.

The music isn’t that great. The story telling is chaotic. The dialogues are either too run of the mill or make no sense. Especially the Jameen Banjar Aulad Kanjar makes no sense because Punjab’s land is one of the most fertile and its sons form a majority of the forces protecting our borders. Abhishek Chaubey’s direction isn’t distinctive enough but Rajeev Ravi’s work behind the camera is stunning.

The controversy that preceded the movie and the PR by its makers would lead one to believe that this was a movie that would make ground shattering statement that would hold up a mirror to the society. This movie does that in parts but it essentially bungles up a fantastic opportunity. It is neither Requiem for a Dream which shows the devastating effects of drugs nor is it Sicario which focuses on the war on drugs. But thanks to Alia Bhatt’s riveting performance this rises above the mundane.

TE3N – A Review

Ribhu Dasgupta directs Amitabh Bachchan, Nawazuddin Siddiqui and Vidya Balan in the mystery thriller Te3n. With talent like this and the executive producer stewardship of Sujoy Ghosh who in my opinion directed Bollywood’s best thriller Kahaani, this had me excited.


The opening sequence had me sit up and take notice. What the hell was going on, Amitabh choking on a garbage bag, Siddiqui driving past and crashing – this was going to be dark and twisted and I was going to love it. Sadly things start to fizzle out after the initial sizzle with only an occasional sputter of genuine surprise.

The story follows Amitabh’s John who is pursuing the course of justice for his dead granddaughter who was kidnapped 8 years ago. He visits the police station every day to find out of there has been any progress made on the case. With no new leads Vidya Balan sends him away compassionately each day, urging him to find closure and spend time with his beautiful wife. Cue the wife – a nag of the first order. You can understand why John would want to seek solace in the police station each day. John also reaches out to Father Martin who used to be inspector Martin played by Nawazuddin Siddiqui. We don’t really get an insight into why he switches the uniform. Not unlike Irrfan Khan who is a fine actor who seems to be turning into  a victim of his own hype I am beginning to tire of Siddiqui’s overly self-assured acting. This performance is a phone-in and especially the second half when he and Vidya deliver dialogue like they are camera blocking and rehearsing scenes without any real conviction.

When it comes to mysteries and thrillers, coincidence is the crutch of the lazy and Dasgupta and screen writers Bijesh Jayrajan and Suresh Nair rely too much on coincidence. The first one when Amitabh finds a needle in a haystack shopping for fish and then when another character suddenly remembers a small but significant detail when Amitabh is fixing his scooter’s spark plug. The writing which seems to hold promise in the first half loses all steam in the second half where important plot details are discussed as afterthoughts. The total disregard to logic and law is baffling too. Amitabh breaks and enters many a houses to find answers and curiously enough after catching one of the “suspects” he takes him along for a tram ride through Kolkata and does the interrogation on it!



Disappointments aside what lifts the movie above being abjectly terrible is the grand old man of Bollywood. Amitabh Bachchan defies the law of averages and keeps getting better with every progressing movie. You feel the burden the last 8 years have taken on him, his tired eyes, slightly confused expression, and the gape mouthed blank stare, he is brilliant. His vulnerability moves you, his resolve inspires you. Every time he is on the screen you forget the gaping plot holes and are focused on his craft. The second half suffers with a lesser screen time for Amitabh. The twist just before the interval and how the story manages to sort itself out towards a semi-logical conclusion is commendable but only because Amitabh keeps you interested.


The music by Clinton Cerejo and the vocals by Amitabh make it an enjoyable accompaniment to Tushar Kanti Ray’s camerawork who frames the crumbling Kolkata beautifully.


Adapted from Korean film Montages the choice of movie’s name is the least of its baffling choices. A half-hearted attempt at the second half and haphazard screenplay stop this one short of being a fantastic movie. Watch it for a mildly amusing story and for Amitabh and continue to marvel at how after 5 decades in the film industry he never ceases to amaze.

X-Men : Apocalypse – A Review

Bryan Singer directs Jennifer Lawrence, James McAvoy, Michael Fassbender and many others in the third instalment in the X-men reboot X-Men: Apocalypse. After basing the First Class in the 60s and the Days of Future Past in the 70s we are in the 80s now and the characters don’t seem to have aged a day since the fateful events of 10 years ago when Mystique/Raven played by Jennifer Lawrence changed the course of history by ending the Sentinel program of Bolivar Trask. This time around we are witness to events of 3600 BCE when En Sabah Nur ruled Egypt and is believed to be the first Mutant by Agent Moira MacTaggert of CIA. After lying entombed for several millennia he is accidentally awoken by Moira herself as she lets the rays of sun hit the PCB-Pyramid.

I have always vehemently defended the superiority of the X-men universe over their Marvel rivals The Avengers but I was massively disappointed by the almost cartoonish tone of the first half where Oscar Isaac who plays En Sabah Nur – or Apocalypse goes about recruiting a young Storm, Psylocke, Angel and Magneto. There are moments of brilliance when we are introduced to an incognito Magneto and the subsequent breakdown that is more Macbeth than Magneto but brilliant nonetheless. Michael Fassbender can do no wrong.

After what seemed like an eternity trying to establish character back stories the 2 line plot reaches its climax. Essentially it is Apocalypse trying to recruit mutants into fighting against the human race.

I love Olivia Munn and had high hopes of her being one of the four horsemen of apocalypse. But while she slayed as Sloane Sabbath in The Newsroom with quick wit and perfect timing in terms of dialogue delivery she is given no more than 2-3 lines. She does however wield the sword and the telekinetic “light sabre” and Lasso well. I believe this is not the last we have seen of her. Also disappointing is Alexandra Shipp as the young storm. Haley Berry was perfection as storm and to get that kind of iconic character so wrong is nothing short of criminal. Here’s hoping Shipp improves with future outings. I also feel a little cheated with how Wolverine was used – by teasing the fans with a glimpse of the adamantium claws in the trailer and what we end up getting is more stryker than wolverine. But stick around for the post-credit scenes and your disappointment will dissipate significantly when you see what is in store for the next instalment.

The high points are the introduction of Kodi-Smith McPhee as Nightcrawler who brings in the comic relief and Sophie Turner as Jean Grey the Telepathic Mutant played in the first three movies by the brilliant Famke Jansen. Jean Grey in my opinion is a criminally underused character so far and seems like Bryan Singer is about to set that straight. I am almost certain that the future instalments of this franchise are going to feature a more prominent role for Jean Grey. I say this because of the final words of Apocalypse. Evan Peters reprises his role as Quicksilver and is also a welcome comedic presence in an almost entirely grim outing.

For Fassbender, Turner and Smith Mchpee alone I would say that this is an easily watchable feature. Not the best in the series but certainly not the worst (that would be The Last Stand – which was effectively written off by Days of Future Past)

Florence Foster Jenkins – A Review

Stephen Frears directs Meryl Streep, Hugh Grant and Simon Helberg in the biopic Florence Foster Jenkins. Florence was a New York socialite, the founder of The Verdi Club and a patron of the music scene in the city. Florence’s record The Glory of the Human Voice was chosen by David Bowie as one of his top 25 vinyl possessions and Florence was also laughed at by many who dubbed her the women with the worst singing voice. Frears having previously tackled aging divas with Helen Mirren in The Queen and Judi Dench in Philomena is the perfect choice to bring to the big screen the life of this enigmatic artist and who better than Meryl Streep to play her.


We all know the basic premise – Florence Foster Jenkins had an unusual singing voice and in comparison to traditional classically trained musicians she sounded terrible. The trailers have masterfully built up the anticipation of just how terrible did Florence sound especially how will Meryl, who has a better than average singing voice as witnessed in Mama Mia! and Into the Woods, take on the bad singing. From the opening sequence you are waiting for her to dive into her singing and it does happen, the anticipation builds. You see Florence play the angel of inspiration with a  golden harp and the Viking Valkyrie in stage productions and you still waiting on bated breath to hear her sing the first note. It it not until Simon Helberg as Cosme McMoon ( Howard from The Big Bang Theory) is selected as the pianist to assist Florence that you are rewarded to the truly atrocious singing. It is so bad that with every progressing note you are overtaken by a fit of giggles, as the notes get more off key so do the guffaws – you are no longer politely sniggering into your palm, I was howling both with laughter and the stitch in my side from trying to stifle the laughing. Meryl is masterful! You see her earnestly try to sing and the looks of surprise from Cosme as sounds that cannot possibly be human come out of Florence’s mouth. For Florence it might have been natural but it must take an exceptional amount of talent to be this bad on purpose and no one but Meryl could have taken this on. She makes you feel bad for Florence – about her delusions of grandeur but also about her naivety and innocence about the whole thing.

Meryl is very ably supported by her doting husband, a failed Shakespearean actor St Clair Bayfield played by Hugh Grant. Grant was lured out of retirement by Frears by the script and he is marvellous in this role. There are more layers to Bayfield than meets the eye at the outset. His devotion to Florence is complete but he is not without his flaws and towards the end you are left questioning if they really are flaws at all. Simon Helberg is unrecognizable as the soft spoken and delicate Cosme McMoon who is a stark contradiction to how he plays Howard Wolowitz on the hugely popular The Big Bang Theory. Here Helberg makes no eye contact, talks in dulcet tones and is constantly in a fit of giggles. Being the 1940s there are mere hints at McMoon’s sexuality and it is dealt with deftly. Alexandre Desplat is the other supporting character who does well to lift the story with his skilful background score. Where I found the movie lacking was in the character actors who played the bit parts but were curcial to the proceedings. Nina Arianda as the showgirl Mrs Agnes Stark and Rebecca Fergusson as the mistress Kathleen are beautiful to look at and while not particularly bad they are less than believable in their roles. Perhaps a little more time devoted to their character would have helped.

That minor misstep aside what really shines is the story and how Frears slowly unravels it. You find out a little bit about each of the characters slowly as the story progresses. You are given an insight into Florence’s backstory, her idiosyncrasies, her penchant for dressing in outfits laden with feathers and sequins, and her delusions of youth and grandeur as she dresses up and dances awkwardly while performing at Carnegie Hall.

There is no way this is not going to be Nomination number 20 for Meryl Streep because she is incredible as Florence Foster Jenkins and she manages to make you fall in love with the New York socialite with the worst singing voice every. There are plenty of laugh out loud moments and sweet tender moments that tug at your heart strings. A beautiful devoted romance between Streep and Grant and a stellar turn by Simon Helberg. Try not to scour the internet for Meryl’s singing as Florence Foster Jenkins – let yourself be surprised in the theatre and trust me you will be doubling over with laughter when you first hear the sounds!


Fan – A Review

Maneesh Sharma directs Shah Rukh Khan in and as Fan. The story of Bollywood superstar Aryan Khanna and his doppelganger and obsessive fan Gaurav Chandna. What starts as a story of a middle class boy from Delhi’s Indra Nagar who devotes every living minute of his day to his idol Aryan Khanna quickly devolves into a cat and mouse chase through Mumbai, Dubrovnik, London and eventually Delhi. After a series of critical flops which made an absurd amount of money at the box office does SRK redeem himself? After all he is no stranger to playing double roles and he had carved out a niche for himself playing characters with grey shades in Baazigar, Darr and Anjam.


There is little to cheer about in this movie so let me get that out of the way first. The make-up and prosthetics on SRK when he plays Gaurav Chandna is exceptional. The use of visual effects to show the younger of the two characters works seamlessly, Gaurav Chandna is skinnier, with a smoother looking face and thinner nose and more pronounced teeth. The older, Aryan Khanna is SRK himself, beefier and with a face that has weathered over time.  In terms of acting this isn’t his best performance but it also isn’t his worst. So that is something to cheer about. When he is playing Gaurav Chandna he is at his best as he manages to strike a fine balance between the innocent obsession and a psychotic madness with the lines often blurring. When he is Aryan Khanna he phones it in, there is no nuance to his portrayal and as an audience I couldn’t connect with him. There is no vulnerability, no human frailty just the idea of him being a super hero instead of a movie star which takes away the believability element.

That is where the positives end. With a plot like this there is so much that could have been achieved but precious screen time is wasted in three elongated and entirely pointless chase sequences which yield nothing meaningful other than capturing the crumbling south Mumbai building, the picturesque Dubrovnik and the claustrophobic New Delhi.  Maneesh Sharma whose first film was the brilliant Band Baaja Barat and the second the underrated Ladies Vs Ricky Bahl has an organic way of directing and storytelling.  He was either too overwhelmed to be working with arguably the biggest superstar of Bollywood and he surrendered to the over indulgent nature of showcasing the superstar rather than the story or it was actually someone like Rohit Shetty who directed this one instead. The groundwork that was carefully laid in the first half is wrecked in the second half where two incidents destroy the public image of Aryan Khanna.  Clearly the superstar himself isn’t aware of just how much someone like him can get away with. Just cast a glance at the recent tabloid headlines and you have a wide variety of scandals to pick from, leaked pictures (either in the buff or doing lines of the wrong stuff), casting couch, or making controversial statements. It is a literal minefield out there and it would have lent more gravitas to the story and made you feel sorry as you witnessed a slow descent of Aryan Khanna.

The chase in Dubrovnik is un-believable and not in a good way. It is a straight lift from the opening sequence of Skyfall and even the music echoes those familiar Bond-esque notes. The Lawyer who accompanies Aryan Khanna to deal with immigration issues becomes a special services agent doing surveillance. In Mumbai no less than 8 police officers risk limb and life to try and capture a perp who isn’t a terrorist or murderer or even on a most wanted list. In London Gaurav takes a train for Dubrovnik from St Pancras and then St Pancras is shown to be Dubrovnik airport. It is gaping plot holes like this which question the sanity of the people behind this movie.  The climax is a long SRK monologue and a rehash of one of his more iconic movies’ final scene.

A plot with immense potential is rendered impotent by an overindulgent second half, average acting, uninspired dialogue and an overall terrible execution fails to make me a Fan. Shameless product placement for a car giant and even more absurd placement for an international remittance company who get their tag line mentioned not once, not twice but three times make this movie unbearable.  A movie that wants to be a study of the psychology of obsession but gets in its own way by trying to be a thriller is a movie best left alone.  Rewatch Swades or Chak De instead and reminisce what SRK was capable of.



The Intern – A Review

Nancy Meyers directs Anne Hathaway and Robert De Niro in The Intern. De Niro plays a 70-year old widower who applies for an senior intern outreach program at a tech company and is hired when he sends in a heartfelt cover-video. Assigned to difficult-to-work-with founder of the company Jules Ostein we see how an old dog can teach the new dogs some new tricks.

De Niro’s career graph has been ridiculed with the choices he has been making off late and how he is scurrying away one of the most impressive resumes in the industry by signing up for trash movies. And from the sounds of it The Intern should have joined the long line of disappointing De Niro outings but it doesn’t, instead what we are treated to is a feel-good movie that I frankly haven’t seen the likes of since Meyer’s The Holiday and David Frankell’s  The Devil Wears Prada which incidentally Hathaway starred in as well. And if you know me a TDWP comparison is about as high a praise as one gets from me in terms of rewatchability

What lifts the movie up from the generic banalities that litter the rom-com landscape is Meyer’s nuanced writing and an almost intuitive direction. There are no big moments of epiphany or any similar histrionics. The story pushes a feminist agenda but without bashing your head in with a meat cleaver.  Anne Hathaway (contrary to bitchy bloggers) is immensely likable as the runaway success story of a founder of a e-commerce business who is struggling to keep the successful enterprise and her blissfully happy domestic life chugging along while she continues to take on everything on herself. She is both believable and relatable.

De Niro is the gentlemanly grandfather types who doesn’t act gross or all wise and condescending but rather is trying to fit into a cool Brooklyn startup without giving up his old habits. There are many wonderful moments in the movie and so many come to mind but my favourite has got to be the late night working when Jules comes over and offers Ben a slice of pizza and shows him how to get on Facebook and he in turn shares his story of his days of working for a telephone book company.

Meyers touches on Sexism & Ageism with a delicate flourish that actually make you sit up and take notice rather than those movies where the agenda is front and center and the story is merely a vehicle to push the said agenda forward. I cannot help but compare this to a recent Bollywood movie Ki and Ka where the gender norms are turned on its head and the Man is a stay at home husband and the wife a hotshot executive. that movie was so badly executed that it actually did more of disservice to the message it was trying to convey than do it any justice.  This is how it could have been handled. The only complaint I have with Meyer is her choice in the actor who plays Hathaway’s husband while Andrew Holms is wonderful when he is playing dad to little Paige ( cute as a button) he really lacks the acting chops when it comes to the more dramatic scenes. Also somehow he looks like an understudy next to Anne Hathaway who is akin to a Thespian .

Andrew Rannells who was over the top in The New Normal plays it cool this time around, Adam Devine (Andy from Modern Family ) is brilliant with his comedic timing but it is Rene Russo who gets the the meatier of the supporting roles as Ben’s love interest. She is having a fantastic renaissance of a career after her brilliant turn as a soulless TV reporter in Nightcrawler and now as the wonderful in house masseuse.

Watch this as De Niro delivers a wonderful performance that complements the charming turn by Anne Hathaway. I cannot wait for what Meyers does next. This was a refreshing break of a movie and something I am sure to come back to again, maybe not as much as TDWP.