Archive for the ‘MovieTalks’ Category

Justice League – Film Review & The Ultimate Case

Posted: February 17, 2018 in Film Reviews, MovieTalks
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Justice League film is not the ideal assembling of the greatest superheroes team for scores of reasons. Because the continuity of the universe is faltered from here and makes you feel if the other powerful substance stole the power from the God of this DC cinematic universe and in the process, claims to be God. When the universe is in the process of perpetuation, make your mind how to maintain and execute the project. The planning of the infrastructure of the universe should be done even before the beginning of this all Project: DCU.

In short: “If the God is making silly mistakes, do not blame the universe.

ONE LITRE OF WATER IN A GLASS?!?!

Superman is dead. Steppenwolf, Darkseid‘s uncle, has threatened the world to destroy the earth by stealing the three Mother Boxes he once stole and then lost in a prodigious battle to a unified army of the Amazons, Atlanteans, Olympian Gods, and Green Lantern Corps (I also have doubt that Thanagarians were involved too). With all the Mother Boxes with Steppenwolf, Batman creates a team of metahumans to honour Superman and fight against Steppenwolf and his military of Parademons.

This all sounds a pretty impressive plotline on paper but this all doesn’t fit in a universe whose existence is in a premature state. This is like some kind of sports shaping into the invention and is further announced for a global competition and in a few days, a team is created from nowhere to participate and win the jackpot. Yes, that last sentence didn’t make any sense. And that is my explanation about the fate of this DC Universe.

The audience knows nothing about these metahumans, Barry Allen aka The Flash, Arthur Curry aka Aquaman, and Victor Stone aka Cyborg, nor do they touch their origins. They are just contacted by the team leader and asked for help! Their becoming superheroes are just concerned in the dialogues which are not enough. And with the space of hardly two hours of the screen time, the film is a source of confusion and running a 100-metre sprint race without firing a starter pistol, just like Suicide Squad.

JL film creates a colossal issue of hows and whys of the universe. Many questions are to be raised by the audience especially the one who has never known this superhero team but wants to know. Why is Barry’s father in prison? How did Victor die before he became Cyborg? What’s this conversation of Mera and Arthur about? All the answers to these questions are in the dialogues which are not enough. You cannot explain and present the entire hows and whys in mere two hours. And with shortening or cutting the screen time of the film by almost 50 minutes, the filmmakers ask you to stop thinking that much and focus on the what-the-hell continuity.

MAN OF STEEL RETURNS

Now Superman’s return. From the release of Batman v Superman to Justice League, a lot of opinions and theories were established. Many questions were raised. Should Superman return? If so, then how? Why? Exactly when? Of course, the creation of a superhero team without him is impractical. The return was certain but to wait how long? 21 months? He died in one film and returns in the next. It all happened in haste but why so hurried? What train are the executives missing?

Superman’s return as many stated one of the best scenes, didn’t impress me, to be honest. First of all, the idea of his return itself is not so spectacular. Using the Mother Box to resurrect his body is not a wow! to me. This is not an ideal return. Imagine where does this resurrection nonsense stand in front of the comics storyline in the making of his return after his death while fighting Doomsday, nowhere!

Once he returns from the dead. He is confused and not at all alright. Fights his soon-to-be friends and before it is too late, enter Lois Lane to melt his anger and he flew with her to Smallville like what the actual f***! This scene is even worse and illogical than Martha one.

Yes, Superman not included in the marketing campaign was a wise idea as it produced a spectacular wait for the release of the film and watch the grand revelation of his magnificent return but his return was nonsensical. And what about Bruce’s Knightmare sequence in BvS? What was that all about if Clark had to return this way? Barry eventually was right that Lois is the key and she is the one who brought Clark back to his consciousness but I am not convinced that this was the motive behind the Knightmare sequence. Will this confusion be cleared in the Flashpoint film? Because I am not understanding when did Barry go and warn Bruce?

If Superman is returning, so is Clark. Superman’s return may be understood by the world but what about Clark? How is he back? Why are people in the surroundings not surprised? Hopefully, these questions may be responded in the sequel of Man Of Steel.

ISSUES AND TISSUES

Barry, in his own words, is afraid of guns and murder, and obnoxiously tall people. And he has never done battle. Victor, on the other hand, is new to the language on his head which he doesn’t understand and fresh of becoming some robot who is not aware of his powers which he is getting every morning. A shaky beginning of such metahumans who are put into a team to fight against the global threat. They haven’t proved their worth in their cities, Cyborg is hiding after his father’s experiment on his son’s dead body while Barry hasn’t even joined CCPD, but they are recruited to save the world from Steppenwolf.

CGI of Steppenwolf is very different and looks less-threatened to a Steppenwolf the filmmakers showed in a cameo in BvS. I have no idea how and why his face is so changed in a time period of two films but is easily the worst supervillain offered by the DCU so far. Even Doomsday or Zod looked more threatening than him. With the return of Superman, Steppenwolf is so easily defeated that gives a furthermore wrong impression about his threat. This was the same monster who with his army was fighting against a unified team in the beginning. How on earth is the normal mind to accept the fact that this killing beast Steppenwolf who was stopped with the collective efforts of the ancient Gods, Amazonians, Atlanteans, and Lanterns was manhandled by Superman alone? For Superman, he was such a piece of cake that he smashed him, then he went to save the civilians, raced with Barry, returned back and asked his teammates if he was still bothering them and resumed the beatings like if Steppenwolf was ever bullied by Superman back in the college before! This was so so wrong! Who was writing this part? Joss, was that you?

Aquaman’s first appearance in the film is so ordinary. His first appearance could easily have been where he saves a man in the boat. His character in the film is very underdeveloped. It is just a Jason Momoa show, not Aquaman. Although I liked the father-son conversation between the Stones but overall Cyborg was average. The excellence of Wonder Woman continues from where she left in the previous instalment and in fact, she further impresses with her leadership qualities. Her relation with Bruce was one of the positive points of the film. Barry Allen is funny and his character is lighter than the one in the Arrowverse. Superman doesn’t have enough lines but I think his character has been more lighted than the previous two appearances. I am convinced with this decision. A slight change in his personality after the resurrection helps the environment of the DC films proceed in the same mode. 

I don’t know who was editing this film but it was a very unattractive start to the film with a camera recording Superman in one of the worst possible CGIs in an attempt of hiding his moustache. With such an enormous amount of money invested in this project, how possibly could CGI go that wrong? I wonder what made the makers think about keeping Superman clean shaved. In the comics, he did grow the beard. Speaking of the opening, in my opinion, the film could have its super blockbuster opening if they had shown that Steppenwolf’s ancient war against the unified army as the opener. Imagine the film opening with Steppenwolf stealing the Mother Boxes and with his army of Parademons about to invade the earth and suddenly steps a unified army to stop the threat. A perfect 10-minute starter making the audience understand the significance of the Mother Boxes and also explaining why exactly a League of Justice must be established. And by the way, this fight sequence is the only time in the whole film which made me convince to be directed by Zack Snyder. One of the best scenes of the film sadly was hardly a minute of screen time.

JL film is lighter in tone. Yes, a lot of humour is added but few were unnecessary like Aquaman sitting on Lasso of Truth, The Flash’s That’s Rude scene, and Cyborg and The Flash digging Superman’s grave, yes they were digging. I mean there could have been many ways to bring out Superman’s dead body. If this was some comic reference or homage then pardon me.

The fighting sequences are impressive. I liked the teamwork the way the heroes are helping each other like The Flash helping WW pick her Sword of Athena or Superman and The Flash dividing their work in saving the civilians or Aquaman reaching at the nick of time and saving his new friends by lowering the water pressure through his Trident of Neptune in the tunnel of the Gotham Harbor (The Ten Commandments tribute, anyone?).

COMICS EASTER EGGS & REFERENCES

Like all the DCU films, JL also has honoured some notable comic book references and dropped some easter eggs. The one obvious is the race between The Flash and Superman which happened twice in the film. This comic tradition of the race between the two speedsters has been presented many times in different mediums but this all began in the 199th issue of Superman back in 1967. The idea was devised by the writer of this issue, Jim Shooter, and penciler, Curt Swan. At that time, Jim Shooter was only 16 years old.

Parademons are exactly the same from the comics. Crispus Allen appears for a scene with Commissioner Gordon discussing the drawing of the Parademon. Who knows if Crispus becomes the Spectre in the future just like in comics. As I mentioned before that Steppenwolf is Darkseid’s uncle but this fact should not be confused if he is found later in the films that he isn’t his uncle because, in The New 52 version, he is just the general. This DCEU has been more based on The New 52 as you may notice the lineup of JL is exactly the same as New 52 comics. Cyborg replaced Martian Manhunter from the original work.

Bruce plans a headquarter for the JL which has to be the Hall Of Justice for sure. And further on, Diana adds the line “With room for more”, giving an obvious hint to have more superheroes in future to join the league. After winning the fight against Steppenwolf, Cyborg utters the word ‘Booyah’ which is not a comic reference but one of the most popular catchphrases Cyborg introduced in the Teen Titans cartoon. Barry’s Pet Sematary joke comes from Stephen King‘s novel and film with the same title.

A very important comics discovery was the Green Lantern fighting in that ancient war against Steppenwolf. That GL was none other than Yalan Gur. Check the comparisons in the pictures below. I screenshot the film sequence where, by few microseconds, the face is the clearest.

In comics, Yalan Gur abused his power and turned corrupt due to the fact his ring was then passed to Alan Scott who was the first character to bear the name, Green Lantern. Yalan Gur is killed by Steppenwolf in the sequence and so the ring leaves the finger and flies somewhere. Has the ring now passed to Alan Scott? Is Alan Scott the Green Lantern we are waiting for in the future films?

In the first meeting, when Bruce asks Barry about his powers, Barry in response is pretending and answers that he is skilled in learning sign language and gorilla language. That has to be quite obvious that Gorilla Grodd exists in the universe.

Batman standing on a skeletal gargoyle before meeting Commissioner Gordon is the tribute to the cover of the 682nd issue of Detective Comics. Cyborg’s body reconstruction with the help of Mother Box is from Geoff Johns and Jim Lee‘s Justice League: Origin. On this book, the animated film, Justice League: War was produced. Bruce riding a horse in quest of Arthur looks like one of the homages of Frank Miller‘s The Dark Knight Returns which Zack perhaps missed in BvS. Arthur sitting on Lasso of Truth may be another homage to the comics incident when Hal Jordan accidentally touched Lasso of Truth and spoke his soul out.

UNAPPEALING SCORE

DCEU films have been blessed with the impressive musical scores from Man of Steel to Wonder Woman. Even before this universe, Hans Zimmer gifted our ears the unforgettable work on The Dark Knight Trilogy. But this time, even the music department looked compromised. Danny Elfman‘s score was flat and very ordinary. It was supposed to be Junkie XL but was later decided to replace him with Danny. Yes, Danny is the one who produced the iconic Batman theme which was also used in Batman: The Animated Series but that doesn’t guarantee his producing another top-notch. Instead, he reused the famous themes of Batman and Superman, the result? Average response. Listen to his score straight after the credits when the burglars are about to rob the bank and you will realize how ugly his score sounded. Also, many of his scores will remind you of his work on Hulk. Removing Junkie from the project was a bad bad bad decision. No situation in the film gives you the feeling from the background score. The genuine score builds the mood of the audience and sets a proper tone. Take an example of the No Man’s Land Scene when Wonder Woman raises and presents herself to the world as the answer for the victory and confronts all the shots and bullets. This is what I am talking about. The score in that scene melts you and that is what I wanted in JL like all the previous DCEU films, some quality.

JUSTICE LEAGUE NEEDS JUSTICE

JL film is as expected a very early breakthrough which should have happened after the audience gets the awareness of the superheroes, their worlds, their origins and hows/whys of becoming a superhero. After all this, then the God of this universe should have dropped the bomb over their heads by bringing a monster, a threat, a disease, against whom they collectively fight together for a better cause.

If the box office collections are low and the response of the audience is negative, Warner Bros. is to be blamed. They should not involve themselves in the director’s vision and creativity nor should they decide what to cut from the film. After director Zack Snyder’s departure due to the family tragedy (strong rumours are that he was fired), WB hired Joss Whedon which was a massive blunder. Many scenes were reshot and further added $50m to the extraordinary budget of $250m. Then the Warner Bros. CEO, Kevin Tsujihara, cut the screen time to 1hr59m which is extremely short for a superhero film like JL which needed a heavy detailing about the heroes and their worlds.

Many important scenes are rumoured and reported to be cut from the theatrical release. Barry’s love interest Iris West and Arthur’s advisor Nuidis Vulko are not featuring in the film. Two of the Lanterns, Kilowog and Tomar-Re, were to meet Batman in his Batcave in one scene but that was scrapped. Film’s principal photographer has confirmed Superman wearing his iconic black suit which never happened. Some sources are claiming that Darkseid was to appear in the film which never happened. Plus, few scenes which were observed in the trailer never featured in the film which is quite strange. Most significantly the one in which someone showed up to Alfred in the trailer became a mystery to the viewers and began finding the answer who that superhero can be by zooming Alfred’s glasses and observing the colour. To that level of madness among the die-hard fans, the producers chose to scrap this scene, wow! Now that scene has been added as the deleted scene in the digital release. All the above-mentioned scenes would have helped the audience leaving the room with comfort.

WARNER BROS! DO YOUR HOMEWORK!

I have never understood this philosophy or ideology of cutting the screen length in the theatrical release. Warner Bros. decided to cut almost half an hour of BvS in the theatrical release and paid the price of making the film confused and misunderstood full of plotholes to the viewers. From here, I actually thought Warner Bros. will learn from their mistakes because later on, they hit their peak through Wonder Woman. But for JL they cut no less than 50 minutes which is an extraordinary length. The audience can watch a film with a running time more than three hours IF the film makes you understand things what the director wanted to. Just in case if you had not watched the ultimate edition of BvS, you would never know that how come Superman couldn’t detect the bomb in the court or Steppenwolf and Luthor did meet each other. Warner Bros. has to get rid of making the horrible decisions before the viewers begin taking less interest in their films.

Warner Bros. has to slow them down and stop competing against the Walt Disney Studio to match the standards where their Marvel Cinematic Universe today is. This is not how you assemble the team and expect praise from the audience. Stop being in haste and focus on making people understand your universe.

The reason why Wonder Woman worked both on the box office and praised by the critics and the audience was that Wonder Woman was produced to make the audience understand the superhero, realize why she exists, and why the world needs this woman. Same goes for the other metahumans. Instead of implementing a JL project, the God of this universe should have focused on introducing the metahumans in their own solo or origin films so that the audience would be convinced and understood their involvement to their world.

MCU’s approach was the perfect one, they had the right plan in both cinema and TV on assembling their heroes in a convincing way. But I guess Warner Bros. decided to innovate a different structure of explanation and presentation so that they can separate the ideology from the Walt Disney Studio. But how long can they keep them away from the MCU philosophy? Two of the DCU films did follow the trend of surprising the audience with the post or end credits, JL and Suicide Squad.

Status of Zack Snyder in this universe is now confusing. Is he really fired? Because according to IMDb, he is the announced producer of future DCEU projects. But in any case, losing him as a director is a major setback. In addition, Warner Bros. is adding way too many films on so many characters in the universe and most specifically from Gotham city which I find unnecessary. Instead of rushing with so many projects like films on Nightwing, Batgirl, Black Adam, Gotham City Sirens, Lobo, Harley Quinn, JL Dark and God knows what else, better they stabilize the DCEU structure and reconsider what and how exactly they want from this universe and how to continue it with improvements.

For the sake of DCU’s prosperity, increasing a universal fan-following, overwhelming responses from the critics, and boosting the commercial sales through the marketing campaign and merchandising, WB have to take immediate and effective steps before the universe collapses and becomes a laughing stock. Things have still not gone that down financially. Their each DCEU film has worldwide grossed at least $650m despite the negative reviews which is absolutely not bad at all. From DCEU, Warner Bros. has earned $3.7b from only 5 films which shows the worldwide fan-following of DC Comics are excited and not giving up at all! I am hoping for a decent turnaround and may they learn from their mistakes and make the fruitful but not dreadful decisions.

RATINGS: 5.5/10

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My Bollywood’s Best of 2016

Posted: June 30, 2017 in MovieTalks
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The thing is that I am indulged in presenting the very best of Hindi-language cinema every year and I enjoy investing my precious time for the sensible readers and filmgoers who would like to know what honestly have been the best films under different categories. It is a common understanding that the film awards in India have lost its credibility by handing the awards mostly to the wrong hands from a very list of nominations. It exasperates me when the deserving individual or a film is not recognized on the stage in any given function.

For the past two years, I am making such a specific blog to recognize the contributions from the Indian films released in India in that specific calendar year. You may read my previous selections here in 2014 and 2015.

This blog will focus on the year 2016. Like before, I will segregate the categories in three different sections i.e., musical (5), technical (10), and major section (6). In most of the categories, I will brief a small explanation where I find necessary. In most of the categories, I will also make some honorable mentions which are the individuals or the films deserve to be counted among the best.

This is to inform you that the list of 21 categories from the 3 sections is created and presented from my selection and observing the following films released in India in 2016: Chauranga, Wazir, Chalk N Duster, Airlift, Saala Khadoos, Neerja, The Blueberry Hunt, Fan, Nil Battey Sannata, Traffic, Buddha in a Traffic Jam, Sarbjit, Veerappan, Waiting, Dhanak, Te3n, Raman Raghav 2.0, Madaari, M Cream, Pink, Parched, Dear Zindagi, Dangal, Ae Dil Hai Mushkil, Baar Baar Dekho, Udta Punjab, Kapoor & Sons, Fitoor, Mirzya, and Aligarh.

The above-mentioned films which miss all the recognitions below are to be believed that those films didn’t live up to my expectations. Also for your reading, let me clear that the films are not ranked in ‘Other Notable Works’.


MUSICAL SECTION

BEST BACKGROUND SCORE

TAPAS RELIA (DHANAK)

Other Notable Works:

  1. Mikey McCleary (Waiting)
  2. Studio Fuzz (M Cream)

BEST PLAYBACK SINGERS

There wasn’t a decent vocal competition in the year 2016. I have listened to a lot of tracks from the 4-5 successful music albums of the films and I found only a couple of male tracks from the same film and a few good female singing in the other films but still not good enough.

AMIT MISHRA (BULLEYA – AE DIL HAI MUSHKIL)

Other Notable Work: Arijit Singh (Channa Mereya – Ae Dil Hai Mushkil)

NEETI MOHAN (SAU AASMAAN – BAAR BAAR DEKHO)

Other Notable Works:

  1. Qurat-Ul-Balouch (Kaari Kaari – Pink)
  2. Kanika Kapoor (Da Da Dasse – Udta Punjab)

BEST SONG & LYRICS

CHANNA MEREYA (ARIJIT SINGH/AMITABH BHATTACHARYA/PRITAM – AE DIL HAI MUSHKIL)

Other Notable Works:

  1. Tere Bin (Sonu Nigam-Shreya Ghoshal/Vidhu Vinod Chopra/Shantanu Moitra – Wazir)
  2. Pashmina (Amit Trivedi/Swanand Kirkire – Fitoor)
  3. Gehra Ishq (Shekhar Ravjiani/Prasoon Joshi/Vishal Khurana – Neerja)

BEST MUSIC

AMIT TRIVEDI (UDTA PUNJAB)

Other Notable Works:

  1. Tapas Relia (Dhanak)
  2. Shankar-Ehsaan-Loy (Mirzya)

TECHNICAL SECTION

BEST COSTUME DESIGN

ASHIMA BELAPURKAR (PARCHED)

Other Notable Work: Theia Tekchandaney & Shruti Wadetiwar (Neerja)

BEST PRODUCTION DESIGN

ANNA IPE & APARNA SUD (NEERJA)

Other Notable Work: Amardeep Behl (Parched)

BEST SOUND DESIGN

SUBHASH SAHU (NEERJA)

Other Notable Works:

  1. Boby John (Dhanak)
  2. Vinit D’Souza (Raman Raghav 2.0)

BEST SCENE

MADAARI

There have been few scenes in my mind which were quite outstanding. Like Aliya’s expressions of misery to Shahid in Udta Punjab, or Nawazuddin killing a family in Raman Raghav 2.0, or the hijacking scene in Neerja, or the final court scenes in Pink. But I decided to choose the winner between two of the best scenes of the year 2016. Shakun Batra’s marvelous direction bemused me about the selection of the best scene of the film. The plumber scene, Annu aunty in party scene, and the truths-revelation scene before the family photo all carried equal weight of remarkable sketch of a highly intense family drama. So undecided that I prefer to conclude the winning scene with Irrfan’s showstopper and a heart-melting scene from Madaari when he asks for whereabouts of his son in the hospital. Perhaps no one would bring the efforts what Irrfan did here and hence proved again why is he the most inspiring actor holding more demand in the global cinema than any other Indian. This scene really beats the others.

BEST EDITING

GAIRIK SARKAR (TE3N)

Other Notable Works:

  1. Aarti Bajaj (Raman Raghav 2.0)
  2. Monisha R Baldawa (Neerja)

BEST CINEMATOGRAPHY

MINGJUE HU (M CREAM)

Other Notable Work:

  1. Chirantan Das (Dhanak)
  2. Priya Seth (Airlift)
  3. Jay Oza (Raman Raghav 2.0)
  4. Satyajit Pande (Dangal)

BEST ACTION

Parvez Singh (Raman Raghav 2.0)

The action is not about larger-than-life supernatural fights. My science of understanding here says to me that the action is when the reality is bound to bring intensity in the screenplay. Violence is the key, torture is a form and dismantling the brain and eyes towards the seriousness of the buildup is where the finest of action qualifies. Neerja and Raman Raghav 2.0 were the only films in my mind. Neerja’s technical aspects helped to build the intensity from hijacking till the last attempt of escaping. Whereas Raman Raghav 2.0 was a silent screamer and a gritty writing making the viewers hopeless and disconsolate of any likelihood of survival, the bloodbath is a sine qua non.  

BEST SCREENPLAY

RITESH SHAH (PINK)

Other Notable Works:

  1. Ashwiny Iyer Tiwari, Neeraj Singh, Pranjal Choudary, and Nitesh Tiwari (Nil Battey Sannata)
  2. Gauri Shinde (Dear Zindagi)

BEST DIALOGUES

SHAKUN BATRA & AYESHA DEVITRE DHILLON (KAPOOR & SONS)

Other Notable Works:

  1. Ashwiny Iyer Tiwari, Neeraj Singh, Pranjal Choudary, and Nitesh Tiwari (Nil Battey Sannata)
  2. Atika Chohan (Waiting)
  3. Agneya Singh (M Cream)
  4. Ritesh Shah (Pink)

BEST STORY

NITESH TIWARI (NIL BATTEY SANNATA)

Other Notable Works:

  1. Bikas Ranjan Mishra (Chauranga)
  2. Anu Menon, James Ruzicka, and Atika Chohan (Waiting)
  3. Agneya Singh (M Cream)
  4. Gauri Shinde (Dear Zindagi)

MAJOR SECTION

BEST SUPPORTING ACTRESS

RATNA PATHAK (KAPOOR & SONS)

 

Parched acting trio of Tannishtha, Radhika and Surveen was highly expected to surpass the expectations but the trio of Pink was a massive surprise to me. Alia Bhatt gave her remarkable presence in Kapoor & Sons.

Well, a pause in the clause is that the Indian theater actresses will eat your skull if they outplayed the emotional character. Shabana Azmi for Neerja and Ratna Pathak for Kapoor & Sons were the most standout performances from this category. It wasn’t easy to pick and ignore the other nor do I want any joint winners. But as per the capacity of acting and appeal on the screentime, Ratna had more space to suffer Mr. Kapoor and Sons than the mother of Neerja waiting for the updates after the hijacking incidence. Ratna had more time to fight and argue with more than an individual at a time than Shabana’s emotional resistance. 

Other Notable Works:

  1. Shabana Azmi (Neerja)
  2. Kirti Kulhari (Pink)
  3. Tannishtha Chatterjee (Parched)
  4. Alia Bhatt (Kapoor & Sons)

BEST SUPPORTING ACTOR

RISHI KAPOOR (KAPOOR & SONS)

The mad terrorist in Neerja was phenomenal as well as a highly potential debut of the singer Diljit Dosanjh in Udta Punjab. Rajkummar was decent in assisting Manoj Bajpayee in Aligarh and Vicky Kaushal is rapidly making his name with Masaan and 2.0. But the real focus was on the dadaji of the dysfunctional family in Kapoor & Sons.

Yes, the makeup has a prominent role in the building of the character which doubles the charm in the performance like how Amitabh brought the momentum in his Auro character in Paa after an extraordinary change in his stature and looks. But Rishi as a nonagenarian fittingly classified as the best dadaji whose role grew on the viewers with the growing heat in the disturbed family. Chintuji and Amitji are the only boys of the 70s badge who are regularly performing in the selective roles being recognized with the positive responses in today’s cinema. And this role again defines Rishi’s versatility in acting. The film would be incomplete if Rishi would not have been picked for this role. 

Other Notable Works:

  1. Jim Sarbh (Neerja)
  2. Vicky Kaushal (Raman Raghav 2.0)
  3. Diljit Dosanjh (Udta Punjab)
  4. Rajkummar Rao (Aligarh)

BEST ACTRESS

ALIA BHATT (UDTA PUNJAB)

If there is any category which was the most impressive, that was the performances of the leading actresses in the films released in the year 2016. There is Swara Bhaskar who is rapidly becoming of the noticeable actresses who brought a spectacular performance to her credit in Nil Battey Sannata. The body language and the emotional details of her character-play were striking. Kalki’s strong CV continues to fill more golden pages with Waiting. Ash in Sarbjit was a surprise package. Throughout her acting career, this is easily her first and best acting performance. That is the other thing that Ash doesn’t resemble or remind us Dalbir Kaur but the director has really worked with Ash on her character. People were informing me that Taapsee has done a wonderful job in Pink and I was not coming out of my visual understanding after watching her in Chashme Baddoor. Taapsee Pannu displayed a powerful role and I hope she is not a one-role wonder lady.

As far as Alia is in the wacky race, she is my girl for this category. She is at the peak of her career and easily one of the fastest growing actresses in the Indian cinema. Alia does have a lot of help at home from her mother Soni Razdan who has pulled the strings of acting and playing mentally complicated characters in many of her husband’s films in the 80s and 90s, and papa Mahesh Bhatt who has been critical in making top-notch films in the parallel cinema. But then, it is the baby who has to face the camera and has every potential to make her name with acting greats like Shabana Azmi, Smita Patil, Tabu, or Nandita Das in very near future.

She began performing from Highway and sought attention from the sensible viewers including me. But 2016 is her best year ever with high-class performances in not one but three films (Kapoor & Sons, Dear Zindagi, and this). As far as the mental or physical challenge is the condition, it definitely is her role of Mary Jane in Udta Punjab which beats the other competitors in the wacky race. She has shown the misery of a girl stuck in the series of unfortunate events. You feel sorry for the character but when you feel apologetic, there is Alia’s success to justify the role she plays. Highway’s Veera Tripathi and Udta Punjab’s Mary Jane have suffered but their character-destruction from Alia’s visual presentation is different. Well done Alia. 

Other Notable Works:

  1. Swara Bhaskar (Nil Battey Sannata)
  2. Taapsee Pannu (Pink)
  3. Kalki Koechlin (Waiting)
  4. Sonam Kapoor (Neerja)
  5. Aishwarya Rai (Sarbjit)

BEST ACTOR

MANOJ BAJPAYEE (ALIGARH)

If you are mature enough to understand the credibility of the actor and his substance of a performance in a given screentime, you will realize that the award functions in India are commercialized which depends on revenue and care less for the individuals who deserve the award at the right time in their lives. In 2015, Filmfare omitted Sanjay Mishra for Ankhon Dekhi, who was a clear winner in the category of Best Actor. Last year, Filmfare omitted Nawazuddin for Manjhi who actually was the most deserving individual to win the category of Best Actor.  And now a hattrick of blunder is completed with Manoj Bajpayee’s turn who lost his place to get into the nominations. And most of the viewers will raise the eyebrows over the quality of decision making by the juries who repeatedly add box-office mahatmas, Salman Khan and Shahrukh Khan, in the category almost every year from nowhere.

This is easily Bajpayee’s best performance ever and is the toughest character of a homosexual teacher he can play. The best part of the role is his complexity towards the sexual orientation for which he is suspended and bringing his ass to the court. He has a portion of love for the lettering and listening to Lata’s songs but overall a disturbed soul. He is a departed loner but expects people to understand him. Bajpayee has given the word ‘Tragedy’ a fresh cinematic meaning. A wonderful and very underrated performance I subject to recognize here.

Besides, Shahid enjoys another successful year with another role of a maniac, this time in Udta Punjab. Shahid is like Saif Ali Khan who is reintroduced to the viewers as a promising actor not to ignore. After a series of repeated failures, Shahid is finally off the mark from Haider. Irrfan’s Madaari is another brutal omission from the same category in Filmfare and you will be surprised to know that besides Paan Singh Tomar, he has never been nominated in this category in Filmfare.

Naseer sir in Waiting is magnificent as always in almost every film which he is part of. Amitabh had three different roles in Wazir, Pink, and Te3n, and I must say that Amitji at this age has become more choosy in his roles than ever. Since 2015, he has played some very good roles in Shamitabh, Piku, and the above-mentioned films. If I have to pick between the three, it would be Te3n.

By watching his superior performances in first Badlapur and now Raman Raghav 2.0, I am fully convinced that if in any timeline the Batman franchise happens to drop in Indian cinema, the only actor who can play the role of the Joker is Nawazuddin Siddiqui. His latest role of a psychotic killer will disturb you, by watching this performance you will never wish to meet him. What Randeep did in Sarbjit was the most dedicating among all the best performances of 2016. He lost 18 kgs in 28 days to justify his role in the prison life. Randeep presents you the pain of being an unfortunate and displays an impressive emotional drop and terrific body language. He makes the viewers feel when he groans and express his pain to Aishwarya in the prison.

Other Notable Works:

  1. Shahid Kapoor (Udta Punjab)
  2. Irrfan Khan (Madaari)
  3. Naseeruddin Shah (Waiting)
  4. Randeep Hooda (Sarbjit)
  5. Nawazuddin Siddiqui (Raman Raghav 2.0)
  6. Amitabh Bachchan (Te3n)

BEST DIRECTOR

GAURI SHINDE (DEAR ZINDAGI)

Besides the names mentioned below, the competition for this category, in my opinion, was between Shakun Batra and Gauri Shinde. Both were the masterclass in utilizing the scripts. But I picked Gauri the winner from this category. Shakun’s impressive direction has a blend of major other aspects involved like very realistic dialogues, a lot of impressive performances within a scene etc but Gauri’s direction heavily depends on Alia’s character growth in the film especially a very important first half before Shahrukh is introduced.

Other Notable Works:

  1. Shakun Batra (Kapoor & Sons)
  2. Ram Madhvani (Neerja)
  3. Anurag Kashyap (Raman Raghav 2.0)
  4. Abhishek Chaubey (Udta Punjab)
  5. Aniruddha Roy Chowdhury (Pink)

BEST FILM

KAPOOR & SONS

I mean what else? what really else can be a better film than Kapoor & Sons? A decent family drama which portrays/sketches a dysfunctional family with mix elements of humor and suspense. The film has no nonsense of silly masala, item numbers or unnecessary cameo appearances despite the fact that the film was produced under the banner of Dharma Productions. Then the film is very honest to its script and describes a shattered bond in a very distinctive way.

There are numerous amazing scenes which catch our attention swiftly because we are accustomed to our domestic life especially the plumber scene. Then the revelation of secrets and a tragic accident. The film touches your heart. The remaining plusses are left with superb performances from all the major cast. Everyone has his share and their roles carry the same depth. And that is the beauty of the film that there is no leading character. Every major character is supporting to the other.

Other Notable Works:

  1. Dhanak
  2. Nil Battey Sannata
  3. Waiting
  4. Neerja
  5. Dear Zindagi
  6. Udta Punjab
  7. M Cream
  8. Pink

(Please share your views about my selections. Write your opinions in the comments below. Let me know if you don’t agree and explain your reasons.)

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francois-truffaut

French New Wave (FNW) is a celebrated dominating cinematic era crossed in the timeline of French film industry in which the films became equivalent to the art and literature in the state of free expressions and a break from conservative cinematic ideology. Among the peers of that golden era, François Truffaut (FT) is an ageless name who will always be remembered as one of the founding members of the historic movement and will be considered one of the greatest directors of the twentieth century.

Being a critic on my own judgment, I watched all his 21 directional works in 45 days to fathom his brain behind the camera and to dig the answer why is he a cultural and celebratory icon in arts and entertainment. I discover the answer compelling and I don’t know how to describe in the shape of the blog but will endeavor my best.

Mr. Truffaut became well-known and controversial for his acid film criticism in the pages of Mr. Bazin’s film magazine, Cahiers du cinéma, before turning his hand to filmmaking in the late 1950’s. To understand FT’s work, the viewer must understand the concept of FNW which I have defined in the very first lines. Due to his fabulous contribution to western technical and cinematic innovations, Satyajit Ray acknowledged his debt to him. His admirers had particular praise for his screen depictions of children, obsessed men, and women driven by strong passions.

Among all his films, one thread is common. In almost every film, FT is a keen observer of life and reaches towards the smallest details no matter if it is related to the story or not. Either you watch his quintuple set of Antoine Doinel (AD) series, or the skirt-chasing film L’homme qui aimait les femmes (The Man Who Loved Women) or child-behavior centered L’argent de poche (Small Change); FT fetches minor but rich details like the classroom environment, parents’ behavior towards their child, line pickings by a womanizer etc.

Every film has an attention seeking subject which compiles the viewers to watch. AD was a fictional character created by Truffaut himself and made five films in two decades. Being a realism-loyal, FT borrowed the time of Jean-Pierre Léaud to gift him the career highlight of his life, who played the character in all the films from childhood to adulthood. The character is often called FT’s own alter ego. It is about a disturbed and misunderstood boy in Paris who was sick of his parents and teachers, domestic and school life; and one day he ran away and his story continued in the next four installments.

The first part Les Quatre Cents Coups (The 400 Blows) is considered among the greatest films of the last century and a gateway to the FNW movement. The film earned awards and nominations at many recognized awards functions like Cannes and Academy. Truffaut was so convinced with the character that his brilliance can be watched in next films of his series. The next installment was a short film Antoine et Colette (Antoine and Colette) which described his failed love affair with Colette in his teenhood. Baisers volés (Stolen Kisses) dramatized the building of Doinel’s character by struggling in the young hood and trying to settle in one job. Domicile Conjugal (Bed & Board) spoke about his marital life with Christine and superb depiction of society. L’amour en fuite (Love on the Run) showed Doinel in his thirties who is divorcing Christine but also in an affair with a record-seller, Sabine.

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As FT is widely recognized for the films on AD but his directional artistry is stretched and dilated to his other notable works on different subjects. Truffaut was sensitive and tactful to child behavior due to his own disturbed childhood. He lived with his parents for the first time when he was eight years old after being passed to various nannies and his grandmother who instilled a love for books and films in him. His love for books can easily be seen in his films like Doinel reading Balzac in The 400 Blows, or Ferrard opening the package of books he ordered in La nuit américaine (Day For Night).

Even his only English-language film Fahrenheit 451 was based on the books. The film shows a fictional world where some totalitarian government controls general people’s life by dissuading them from the books. For this purpose, the government employs a group of firemen who detect books from every corner and burn to ashes. Fahrenheit 451 and Small Change were among Truffaut’s best works after The 400 Blows.

Small Change is one of a kind when it comes to child behavior. It is about the kids from different backgrounds mostly lower and middle class, their social life, and behavior towards people from different ages. There is a sketch when a man catches a boy to send his letter to one of the buildings to a married woman for five francs. Then in another sketch, the boy’s manners in eating dinner are brought to our attention. My favorite aspect of the film is the depiction of children’s fascination and excitement in sexual behavior. It is a natural phenomenon but the cinematic presentation demands bold details on which the acting of child artists are subjected to sensitivity on their shoulders. It is easily one of the best coming-of-age films I have watched.

The same case is the film L’enfant Sauvage (The Wild Child) produced in 1970 based on a true and very tragic story of an unfortunate individual, Victor of Aveyron, who spent his childhood with no human contact and was caught by hunters in a nearby village. Although it looks like a documentary more than a feature film but Truffaut gives a remarkable insider of the boy’s development from the delayed general human behavior.

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Besides child-centered subjects, one of the FT’s biggest accomplishments was presenting a guide towards the making of a film and the complications of shooting it. He was so caught up in the technical as well as the artistic aspects of filmmaking that he made a film about filmmaking, Day for Night.

Truffaut leaves no space to reveal the smallest of filming issues like a love affair between the two artists, producer/director dealing with insurance company, forgetting dialogues, using the animal in a scene, hiring people on the spot, re-takes and rehearsals etc. It shows a further reality that sometimes due to some reasons, the dialogues and the scenes are changed or the artists are convinced to do a scene so and so. These are small but very important and interesting details.  

In 1974, the film won BAFTA for Best Film and Oscar for Best Foreign Film. In addition to winning the Academy Award, it was named the best film of 1973 by the National Society of Film Critics in the United States, which also voted him the year’s top director. Easily one of the best films in filmmaking docudrama.

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Romance has always been a prestigious and distinguished subject in the French cinema and Truffaut’s directional excellence shares same artistic heritage. Les Deux Anglaises et le continent (Two English Girls) and Jules et Jim (Jules and Jim) were the films focused on love triangle both based on Henri-Pierre Roché‘s novels of the same titles. Two English Girls is a sublime blend of fluctuations of romantic affairs, exchange of emotions, description of capriciousness and very jeopardized harmony. Whereas Jules And Jim is a cinematic innovation to be always remembered for Truffaut’s marvelous efforts in bringing the best outcome in the film’s cinematography. Such qualities of camera work like panning shots, newsreel footage, photography stills or freeze frame were not common in cinematic business those days. Freeze frame was also done at the end of The 400 Blows.

The other romantic film which comes in my mind is the true story based on Victor Hugo‘s daughter, Adèle. A British army officer loved and proposed her which she refused. Later she had a change of heart and traveled Halifax during American Civil War to declare but the soldier loved her no more after the refusal. That drove her insane and made failed attempts to win him. Her obsession increased and began showing signs of mental illness.

L’histoire d’Adèle H. (The Story of Adele H.) brought the actress Isabelle Adjani in the limelight and earned a nomination for Best Actress in the Academy Awards. Truffaut’s direction was again hard to ignore. It was his remarkable presentation of dropping of emotions by Adele Hugo picturized on Adjani. The translation of mental collapse was very defining and tragic as overall FT produced a profoundly beautiful, tragic and dark film.

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After watching all his films, one of my most important observations is that his films were more centered/inclined towards the story than the character. Through his films, he brought subjects to the attention of the viewers and didn’t focus a lot on the overall performances of the actors and their characters who mostly displayed average performance.

 Almost all the films were based on literary works of many famous novelists but the message precise among all his films was the subject. La peau douce (The Soft Skin) and La femme d’à côté (The Woman Next Door) were subjected on an extramarital affair, Fahrenheit 451 was on books burning, Small Change on child abuse, Day for Night on filmmaking, The Man Who Loved Women on skirt-chaser and Vivement Dimanche! (Confidentially Yours) a murder-mystery. It is no hiding to the fact that character-centered films also made a huge name in French cinema like Léaud as AD and Isabelle as Adele.

In the smallest of details, the viewer will notice Truffaut’s love for animals especially cats. Two of his films had identical shots of cat nosing a lunch tray outside the door. Truffaut in Day For Night did show his fascination with cats by shooting the same cat-eat-lunch scene and went on describing how hard is it to convince a cat to eat the food during the shot.

Among other details, we will often witness one common scene in many of his films depicting the domestic life of couple i.e., the couples reading books together in bed before sleeping. Repeating the same scene might give us a clue of Truffaut’s personal life and some portion of his relationship with his wife and partner.

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Out of his 21 full-length directional works, my five personal favorite films are The 400 Blows, Small Change, Day For Night, Jules And Jim, and The Wild Child.

In 1963, FT was approached to direct famous American film, Bonnie And Clyde. Truffaut showed his interest only in script development but later declined. FT admired the works of Alfred Hitchcock and two of his films, La mariée était en noir (The Bride Wore Black) and Confidentially Yours were a tribute to him. In 1981, Vincent Canby of The New York Times called Truffaut ”one of the most continuously surprising and accomplished directors of his day.”

His headquarters for years was the Paris office of his production company, Les Films du Carrosse, which he named after La Carrosse d’Or (The Golden Coach), a film by the French director Jean Renoir. As an actor, he played roles only in his own films. Later in his career, he went on to play the role of a French scientist in Steven Spielberg‘s Close Encounters of the Third Kind which was his only outing as an actor.

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Truffaut was married to Madeleine Morgenstern from 1957 to 1965, and they had two daughters. He had affairs with many of his leading ladies. In 1968 he was engaged to actress Claude Jade who starred in AD series. He and leading actress of his last two films Fanny Ardant lived together for three years. During his relationship with Ardant, he had a stroke and was later diagnosed with brain tumor. On 21 October 1984, Truffaut passed away at the age of 52.

The credit goes to Truffaut who redefined the ‘Auteur Theory‘ and criticized the quality of French cinema by further hitting with the statement that the worst of Jean Renoir’s films would always be more interesting than the best of the films of Jean Delannoy. Truffaut aimed to retire from direction after completing 30 films and write books later but he wasn’t destined to what he planned. But still left the world with a global recognition in filmmaking. He is a huge cinematic inspiration and alive in the hearts of cinephile, sensible filmgoers, and the film critics of the highest quality. I regard and consider him among the greatest filmmakers of the twentieth century and personally one of my favorites. I wish if we would have seen more of his work instead of knowing his passing away so early.

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Fahrenheit 451 is the first colorful and the only English-language film of François Truffaut’s illustrious directional career. Produced in 1966, the film is based on Ray Bradbury’s novel of the same name. For me, it is one of the strangest films I have ever experienced watching.

The film shows a fictional world where some totalitarian government controls general people’s life by dissuading them from books. For this purpose, this government employs a group of firemen who detect books from every corner and burn to ashes. Among these firemen, there is Guy Montag (Oskar Werner) who gets reading inspiration from his neighbor, a 20yo schoolteacher Clarisse (Julie Christie). Once he reads, he tries to motivate his wife and her friends. Time passes by and he begins growing hatred towards his book-burning job. When he becomes a book-burning rebel, the government makes an attempt to seize him and he tries to escape and survive.

On the internet, the general description or summarized explanation of the novel is a future American society where books are outlawed and “firemen” burn any that are found. For me, my theory and basic understanding towards the novel/film are broad. What inspires me is the theme and content of the film.

Generally what we see in the film is a foundation of the ground realities clouding our brain. The film does show you an oppressive future but questions numerous objects co. existing in the same sorry state universe. Truffaut made this film in the 60s but I see this way advanced to the-then existence. The plot is easily applicable today. We see many totalitarian governments controlling people’s life. Last century, the world witnessed the same style of leadership in Stalin, Hitler, Mussolini, Saddam and II-sung.

Next aspect, the book is a source of objection by such government in the film. The firemen search everywhere to every length to dig the books; and when they find, they collect and gather all the materials and burn these all. In the film, exaggeration is tremendous. Firemen are shown digging books even in public parks, stopping people and checking their dresses. One fireman even checks shirt-pocket of an infant crying in the pram, finds a book and naively discourages the infant not to read books. This scene shows tremendous hatred and point of exaggeration where the director conveys his entire message in one shot.

There have been numerous book-burning incidents in the past. The one which particularly reminds me is from the McCarthy era when the books written by the authors favoring communism were disposed and burned under Eisenhower’s presidency. Bradbury has also stated his concerns about the above-mentioned events being the base of writing Fahrenheit 451.

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Why books? In the film, this question will give you a lot of answers. Especially in one scene where the home of Clarisse’ friend is raided for an understood reason, the captain of all firemen (Cyril Cusack) spots a room full of books and gets some space of more than five minutes with Montag to present his hatred and forward his explanation/opinion about the literature. One of the lines the captain speaks to Montag in the film goes this way, Go on, Montag, all this philosophy, let’s get rid of it. It’s even worse than the novels. Thinkers and philosophers, all of them saying exactly the same thing: “Only I am right! The others are all idiots!” This captain’s ideology hit me for a second and showed a different perspective for a book-reading habit. Is this an ego which turns you a writer and makes you think that people will avoid others and listen to you?

About fictional novel, the captain discourages the viewers that people in such books never existed but by reading, they tend to assume such characters leading their lives towards unhappiness by thinking that they can never live that life described in such books. I must admit, this lengthy scene was one of the best in the film.

Montag the leading character has another explanation that the books make the readers unhappy and anti-social! How come? Because according to Montag, books change the people, their ideology, their way of living and thinking; and them reading people tries to become better than the others. How true is this? If you really begin judging the reading habit from Montag and captain’s angle, you will think twice.

Truffaut’s depicted future-world looks highly realistic and fashionable. I am very impressed with the heavy detailing of Montag’s place of residency. The color of walls, interactive TV program, wall telephones, and furniture was outstanding. Then we see monorail which was not frequently watched in the films those days.

Last 20 minutes of the film takes the viewers to a different dimension. The dystopian state turns into utopian. Montag shifts from one world to the other. While escaping from the cruel book-burning world, he unintentionally enters the world of hope where people from different communities and walks of life are named by some famous books. These individuals are learning by heart and repeating every word of their books to spread the literature to the future generations and avoid ignorance. There is one striking scene where a dying old man is filling/feeding the words of Weir of Hermiston to his nephew.

From a religious point of view, it reminds me the time when knowledge was to overtake ignorance in the times of Prophet Muhammad PBUH with time by learning and repeating the verses of Holy Quran and his Sahabah (Prophet’s companions and disciples) by recording the testimonies what the prophet said. It is just my understanding from those particular book-people scenes.

The film overall is a wake-up call to save the books, the literature, the treasure of knowledge from various categories of books and defeat ignorance. Truffaut’s artistic direction is yet again the winner. Very very ostentatious and fascinating work! This is like someone presents a theory in cinematic format and brings the world to knees. The film is sci-fi in some sense but also very humanistic theoretically. But his work plays on you, hypnotizes and manipulates you. Although there are some differences and missing elements from the film as compared to the novel but overall I believe Fahrenheit 451 is easily one of Truffaut’s most impressive works.

Ratings: 8.4/10

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340326Need a rich exploitation of cinematic brilliance among Western films? The only piece of advice I will forward you is to watch Sergio Leone‘s Dollars Trilogy (DT) which will easily erase your memories of John Wayne films. These films are A Fistful Of Dollars, For A Few Dollars More and The Good, the Bad and the Ugly, and all these films were produced in consecutive years without any gap.

Why DT? Because these three films were trend-setters and Western films had a new dimension from the age of 60s. All three films were the landmark of ‘BAD-ASS’ fashion of Western genre. Legendary actor Clint Eastwood played the leading role of a fearless bounty hunter ‘The Man With No Name‘ and brought a new style of heroism among the leading actors of future generations.

Eastwood’s character had an all-round attraction; his gestures of inclining his hat, smoking cigarette, walking, shooting and dialogues delivering were super excellent. I can now easily figure out from where Amitabh Bachchan got influence for his famous ‘Angry Young Man’ persona in 70s. Another prominent feature of his character was that he had no name which is unusual. He had been given nicknames Joe, Manco and Blondie in respective films but the viewers were not entertained with his real name. His cowboy stature had a different persona than what the viewers had experienced in past Western films. I like the character’s costume especially green poncho.

Director Leone re-introduced the art of film-making ‘Spaghetti Western‘ (SW) from this franchise. The general explanation to the term is that such Western films were produced by the European production companies or in collaboration between European companies. In case of this franchise, producers from Italy, Germany, Spain and US were involved as per Wiki source. So in short, this trilogy has the honor to become the most influential Spaghetti Western film which laid its foundation here. Over 600 SW films were produced till the 80s.

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The beauty of all the three films not only lies in Leone-Eastwood combo but also the storytelling. The flow of the story grows on your nerves and it fires you at the most critical point. Few of the scenes demand your full attention especially the last scene of trilogy, that epic Mexican Standoff scene won’t allow you to move your eyes here and there. Dialogues are brilliant and it is a sin to miss Eastwood’s dialogues who rarely talks in all the three films.

Amazingly, Eastwood had no acting recognition nor had ever played a leading role in his career before this franchise. For the first part, he was paid $15k which later increased to $50k for the sequel. For the last part, he received percentage-based salary. Same case with the financial budget which was only $200k in first part, $600k in sequel and $1.2m in the last part.

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Another impressive aspect in directing this film is its depiction of violence. Gunshots are loud, noisy and on your ears. But by violence I mean Leone’s theory of presenting a Western film which differs with the Western films of the past. If the viewers carefully notice, the ideology of heroism in Western culture was changed here. The trilogy was more of amigos whose nature was more of anti-hero. In final part, all three major characters were antagonist to each other. These three films changed the thinking towards the Western by focusing more on capitalism and greed which weren’t their critical subjects in past Western films.

It will be incomplete to give my review of this trilogy without its scores. One of the most versatile composers of the 20th century, Ennio Morricone, raised the curtains of his illustrious career from this franchise. With very impressive scores in the first two parts to his credit, his iconic coyote-howling opening theme for the final part is easily considered one of the greatest instrumental film scores of all time. The world-famous theme is still alive and often listened in many different mediums and sources. Hard to believe Morricone didn’t win Academy for this score which seemed to be a unanimous decision. He had to wait 50 more years to win his first and most possibly last Oscar for the Best Score in the last Academy Awards function for The Hateful Eight.

Personally, my favorite film among the three is the second one which introduced a brilliant villain El Indio. Also among the trilogies I have watched so far, the DT is only second to ‘The Lord Of The Rings’ Trilogy to be considered among the greatest. The DT is one of the greatest achievements in global cinematic village. The trio of Morricone’s score, Leone’s direction and Eastwood’s character will remain one of the most iconic moments of the 20th century cinema.

Overall Ratings: 9.2/10

My Bollywood’s Best of 2015

Posted: July 20, 2016 in MovieTalks
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Half a year is done and I forget to write a blog on my picks from different categories of Bollywood films. I did this last year for 2014 edition. I hope I am not that late as time pass swiftly nowadays. 

Like every passing year, Bollywood’s growth increases worldwide but the quality and standard of the film decreases. Recognition nowadays among the actors is star-power and among the leading actresses is the one with useful skin-shows. Above all you insured to be more successful in this industry if you have a strong background and belong to rich people who are industrialists, politicians, businessmen, military or in same cinematic profession. The unlucky ones have to join parallel cinema with more brain and wisdom among the cast and filmmakers.

In recent years, there has been change in atmosphere as the artists of parallel and entertaining cinema are involved in same projects and work together. Some sensible writers and talented directors work with involvement of more production companies. Some of the films from last year have been highly impressive and these were those which were not eye-catching in box-office collections.

What disgust me was pathetic inclusions in nominations for different categories in their recognized FILMFARE awards. Tragedy is that the functions are not worth and are more focused on high-level tcp ratings. If you notice, many many big names of the industry are absent and are disappearing in years. People have lost interest in FILMFARE because the functions are bias and predictable. Awards nowadays are won not by right and deserving candidates. Forget about winning, when the nominations are announced the viewers go insane because of plenty of blunders.

From below the categories, I will try to speak some lines where I see FILMFARE at huge fault. Like last year’s blog, I will divide the categories in three sections i.e., Music, Technical and Major. My selections are purely my honest selections to what I believe was deserving. Some of the categories do not need details because it is unnecessary. With the name of winners from each category, I will mention other names who deserve to be the other bests. So here I go;

MUSICAL SECTION

BEST BACKGROUND SCORE

SANDESH SHANDILYA (MANJHI: THE MOUNTAIN MAN)

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Other notable works: Amit Trivedi (Bombay Velvet) & Hitesh Sonik (Hunterrr)

 BEST PLAYBACK SINGERS

PAPON – MOH MOH KE DHAAGE (DUM LAGA KE HAISHA)

NEETI MOHAN – DHADAAM DHADAAM (BOMBAY VELVET)

BEST SONG & LYRICS

AGAR TUM SAATH HO (ALKA YAGNIK/ARIJIT SINGH/IRSHAD KAMIL/A.R.RAHMANTAMASHA)

BEST MUSIC

ANUPAM ROY (PIKU)

Other notable works: Amit Trivedi (Bombay Velvet) & Indian Ocean (Masaan)

TECHNICAL SECTION

BEST COSTUME DESIGN

ANJU MODI & MAXIMA BASU (BAJIRAO MASTANI)

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Other notable works: Niharika Khan (Bombay Velvet) & Wafisha Rahman (Manjhi)

BEST PRODUCTION DESIGN

ERROL KELLY, SONAL SAWANT & SHAIRA KAPOOR (BOMBAY VELVET)

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Other notable works: Sriram Iyengar, Saloni Dhatrak & Sujeet Sawant (Bajirao Mastani)

BEST SOUND DESIGN

BISHWADEEP CHATTERJEE (PIKU)

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BEST SCENE

MASAAN

Imagine a boy from extremely poor background, whose ancestors have history of working in profession of burning corpse and a girl from upper caste begin loving each other. And one day, after exchange of a lovely relationship for weeks, he happen to see her dead body in his working site brought to burn the corpse! We don’t see such tragic moments in young love stories like this. It was an intimate scene and full of intensity. There come this scene and the obvious case is more grieving. Vicky Kaushal‘s presentation of agony is unexplainable here. I could not find a HQ video of the scene. I have no doubt this is the best scene shot in any film of the year.

BEST EDITING

A.SREEKAR PRASAD (TALVAR)

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BEST CINEMATOGRAPHY

NIKOS ANDRITSAKIS (DETECTIVE BYOMKESH BAKSHY)

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Other notable works: Avinash Arun (Masaan) & Rajiv Jain (Manjhi)

BEST ACTION

BADLAPUR

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Other notable works: Titli & Detective Byomkesh Bakshy

BEST SCREENPLAY

JUHI CHATURVEDI (PIKU)

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BEST DIALOGUES

JUHI CHATURVEDI (PIKU)

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BEST STORY

KANU BEHL (TITLI)

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Other notable works: Jeethu Joseph (Drishyam) & Harshavardhan Kulkarni (Hunterrr)

MAJOR SECTION

BEST SUPPORTING ACTRESS

KONKONA SEN SHARMA (TALVAR)

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Konkona don’t need any introduction. Open her filmography and you will find dozens of impressive roles she has played in her acting career. Talvar is another addition in her CV. She along with Neeraj Kabi displayed one of the best supporting performances in recent years and guess what, she wasn’t even nominated in Filmfare for this category.

Other Notable Performances: Shefali Shah (Dil Dhadakne Do), Tabu (Drishyam), Shivani Raghuvanshi (Titli) & Huma Qureshi (Badlapur)

BEST SUPPORTING ACTOR

NAWAZUDDIN SIDDIQUI (BADLAPUR)

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The year 2015 was remarkably a year for best male performances in supporting roles. Title was a trinity of performances between three brothers. Anil Kapoor developed his skills playing role of angry father in Dil Dhadakne Do. Neeraj Kabi brought all his theater experience in Detective Byomkesh Bakshy and Talvar. Vicky Kaushal turned out to be one of the most promising newcomers in Masaan. Karan Johar was the surprise package in Bombay Velvet and Ashraful Haque did superb job as Manjhi’s father in his final film.

But above all it is the actor in his heydays who is building a very strong career making his name in almost every film. Nawazuddin Siddiqui in Badlapur is someone you would like to hit and slap as much as hard you want. He gives a lot of energy to his villainous role and don’t even feel bad for the guy who lost his family. His character has shades and changes color like chameleon. He and Varun, the two leading actors of the film are two sides of the coin begging for mercy.

Other Notable Performances: Karan Johar (Bombay Velvet), Amit Sial/Ranvir Shorey (Titli), Vicky Kaushal (Masaan), Anil Kapoor (Dil Dhadakne Do), Ashraful Haque (Manjhi), Neeraj Kabi (Talvar)

BEST ACTRESS

RICHA CHADDA (MASAAN)

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It wasn’t a year of extraordinary performance by the leading actresses. Then Richa Chadda happened. She is Devi Pathak in Masaan who was caught with him by the police in the hotel for obvious reason. Then her struggles begin to make a life of herself by switching jobs but cannot afford a payment of hefty bribe the policemen ask her and her father for the video they made in hotel. It was tough to decide the winner but then I decided that Deepika for Piku was the closest and second-best to her.

How rude and disgusting that such performance wasn’t appreciated enough to be nominated in Filmfare for the same category. More to a mockery, Kajol and Sonam Kapoor were gifted places in the category for Dilwale and Dolly Ki Doli whose performances were no where in comparison to this.

Other Notable Performances: Besides Deepika Padukone for Piku, Anushka Sharma did a terrific job in Bombay Velvet as Rosie the Jazz singer. She performed impressive facial expressions in numbers like Fifi and Dhadaam Dhadaam. Then there is Bhumi Pednekar (Dum Laga Ke Haisha) who gained 30kg for the role of an overweight wife and made a stunning debut, was also ignored by Filmfare in the category. And why should I not count lil’ Harshaali Malhotra! 8-year-old child actress made promising debut as Munni in Bajrangi Bhaijaan and was the only shining moment in the whole ridiculously garbage film. At this tiny age, she showed a character and discipline of emotions on a dolly face.

BEST ACTOR

NAWAZUDDIN SIDDIQUI (MANJHI)

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It will be a sin to overlook such astonishing performance. It will be a mockery to consider it only one of the best performances. His star is shining brightly in recent years but this performance need an author to release a book full of praise. I hardly have seen actors reaching closest to the perfection like J.K.Simmons in Whiplash or DiCaprio in The Revenant worldwide but in India, it is hard to bring that so much in the artistry to present a character what Nawaz did in portraying Dashrath Manjhi.

Nawazuddin’s title role of Manjhi is full of life. You want a father or a husband, you want a man of his principles or determination, you want an example of sacrifice and hardship and last but not the least you want to see a man who broke the mountain to honor his wife he loved the most in entire life – there you have all superbly defined.  

When it comes to emotions, this actor has no boundaries to express. A facial performance is very vital in acting and keen learners of theater always win the performances. He easily is the best actor for last year.

In three words – Shandaar! Zabardast! Zindabad!

Some readers may get confused of not picking Manoj Bajpayee for Aligarh. Let me clear, the reason I omitted is because the film is released in India this year in February. The closest to this competitor was hugely/heavily ignored Shashank Arora for Titli.

Omission of Nawaz for Manjhi from the last Filmfare Awards easily is one of the most shocking blunders in their history. How disgusting and utter disappointing is to see the genuine winner not included in the nominations but Salman Khan and Shah Rukh Khan for Bajrangi Bhaijaan and Dilwale respectively! This shows the standard of Filmfare nowadays and ridiculous selections by the judges of these panels.

Other Notable Performances: Shashank Arora (Titli), Sanjay Mishra (Masaan), Amitabh Bachchan (Piku) & Varun Dhawan (Badlapur)

BEST DIRECTOR

SRIRAM RAGHAVAN (BADLAPUR)

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Yes he is and I am not surprised. A silent and dark tale of two characters hanging on different corners eagerly waiting to leave a mark on each other. It is about making an extraordinary film from an ordinary script. We have watched films when the leading actor loses the one he loves and plans to take revenge. Same goes here but with same story, it easily distinguishes from other films of the past thanks to Sriram’s directional artistry. 

What propels you is the building of intensity on Raghu (Varun Dhawan) when he loses his wife and child in very first scene. The rage factor of Raghu is where he work out, the way he beat or hit few characters by hammer is violent and loud to your ears. With time much to offer, Sriram builds the leading character very well. He is excellent on bringing the best of the leading performer as he did with Urmila in ‘Ek Haseena Thi‘ and Neil Nitin Mukesh in ‘Johnny Gaddaar‘. 

Other Notable Performances: The closest competitor to Sriram is Shoojit Sircar for Piku. Meghna Gulzar for Talvar was surprise package. I found Anurag Kashyup‘s direction for Bombay Velvet very very impressive as the film was hugely rejected by the viewers. Neeraj Ghaywan was also fantastic keeping a balance between two different stories in Masaan.

BEST FILM

PIKU

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Piku (Deepika) plans a trip to Kolkata with her dad (Amitabh) but none of Rana’s (Irrfan) cab drivers are available. So Rana decides to serve them and the real fun begins. This is a freshly-baked comedy-drama film with mehfil-loot performances by main actors. Father-daughter chemistry is terrific and the characters development is right on spot. 

Piku is a beautiful slice of life or your favorite cup of coffee, a mind freshener giving your energy an extra-boost because the flow of the film builds on you. A combination of brilliant story, screenplay and dialogues make this very-original film exciting for the viewers and can be repeatedly watched. 

Other Notable Films: Masaan, Talvar, Titli, Manjhi, Bombay Velvet, Hunterrr, Drishyam and Badlapur.

FOLLOW ME ON TWITTER @saminaik_asn

Dawn Of Justice – The Ultimate Case (Part-2)

Posted: July 13, 2016 in Film Reviews, MovieTalks
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This part will touch some more important issues and aspects related to the film Batman v Superman (BatSup). Before I begin, I must remind the readers here that this blog is continuity to the previous blog. So the first timers of the ultimate case here should first read the previous part here.

BEST SCENES

 

1) COLLAPSE OF WAYNE BUILDING

Although it was General Zod‘s wrath on Metropolis as Mr. False God tried to avoid as many casualties as he can but it was too late and severe was the collateral damage. One of the damages perforated the owner and made his mind to save the entire human race from the culprit even if there was a 1% chance. The visual presentation of the collapse was intense and powerful. And the collapse was where the rivalry came to birth. Scenes after the collapse will remind the comic readers the story-lines, Batman: Cataclysm and Batman: Aftershock.

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2) GRANNY’S PEACH TEA

No matter how bad was Shah Rukh as Lex Luthor, he did a cruel favor to Senator Finch and viewers by teaching a very expensive lesson. The court hearings abruptly paused by the scared Senator when she witnessed the jar. To the standards of a deceiving villain, this was unpredictably more than a cruel punishment. Luthor played an astonishing strategy behind the scenes and successfully manipulated much of the outsiders of court to gash more hatred towards a False God.

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3) BRUCE WAYNE’S WORKOUT

The Batman of 40s cannot offer you much of the 127 styles of martial arts he learnt in young age in his prime fighting career but he performed impressive workouts which was highly necessary to present.

4) THE GLADIATOR MATCH

This was the match written in the clouds. As Lex played the role of Michael Buffer by announcing and adding more spice by billing the fight as God versus Man, Day versus Night, Son of Krypton versus Bat of Gotham, this created more intensity. Result? I found a much heavenly comfort to see the fight between the iconic heroes and that turned out to be jubilant. The fight surpassed my expectations. This is exactly what we all needed. Plus the glimpse of fight is somewhere similar to the writings of Frank Miller’s The Dark Knight Returns. One cannot ask for a better fight between God and man than this.

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5) ARRIVAL OF WONDER WOMAN

As much as Lex proved an overacting jester to me, his creation shattered the level of curiosity to know him. Doomsday was Lex’s answer to destroy the MOS. The battle was deadly but it was more like a hard struggle of lowering down the sound knob of stereo system when it is the loudest when you are very far and your parents are about to enter home.

Anyhow the battle met its peak at the sudden arrival of Wonder Woman who as Diana Prince was walking hither and thither before. I would say the flow of that battle action sequence was so deep to me that I couldn’t realize that the one who saved poor Batman’s ass from Doom-Doom wouldn’t be the recharge Superman on the space but her. Wonder Woman theme was very impressive but the intro of WW was far better than the other two heroes in the film.

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WHY BATSUP DIDN’T COME UP TO THE EXPECTATION?

 

1) DEADPOOL

Not many have noticed and tried to analyze as what exactly made the response of general public so negative. What deceived them? Why did the film with so many promises become unacceptable? In my view, the first reason was the funny guy in the red suit. Deadpool was released a month prior to BatSup. Being r-rated, Deadpool wasn’t a huge threat to the film’s business as Captain America: Civil War which was released after it. But Deadpool the superhero and Deadpool the film met an unexpected universal appraisal.

Contrary to philosophy and filmmaking of DCs, Deadpool was a highly entertaining popcorn grabbing comedy film which won heart of all age of viewers turning the tables wrong on the producers of BatSup who were prepared to show a very dark humorless presentation of the film a month later. Being the highest grossing r-rated film, such success built uninsured change in emotions among the viewers in tatters as the overjoyed viewers of Deadpool fell in their graves in the theaters to find the film awful. Naturally it was like watching any Terrence Malick film after any of Frat Pack films.

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2) UNDERSTANDING A UNIVERSE DIFFERENT THAN MARVEL CINEMATIC UNIVERSE

Being a DC Comics lover, I have a lot of respect for Marvel comics as both the giant comics publishing companies created the most loving superheroes in the golden age for generations. But what hurts me is such a powerful cinematic universe of Marvel are more inclined towards box office collections than the character development of their superheroes. Filmmakers in MCU produce popcorn grabbing circus films where the focus is on winning hearts of the viewers by entertaining them. The producers are more focused on eating peanuts in circus rather than reading to us Marvel’s best comics stories. They make their superheroes jesters in the court. We see superheroes performing slapstick, acting silly and speaking one-liners. Films like Iron Man 3, Ant-Man, Guardians of the Galaxy and Age of Ultron were all funny films. Recently released Captain America: Civil War made a mockery of all involved major superheroes fighting in airport and joking/apologizing while punching each other.

As Marvel Studios were the first among the comics publishing companies to create a cinematic universe with the help of Walt Disney Studios, it became acceptable for viewers to recognize the films based on Marvel superheroes as the true comics cinematic industry. There was no competition in years as WB were focused on Christopher Nolan‘s The Dark Knight Trilogy. When The Dark Knight Rises was released,  MCU were concluding their first phase. This year with the release of BatSup, MCU have entered in their 3rd phase.

Many of the DC superheroes are not that universally recognized as Batman and Superman. Even the third hero of trinity who is Wonder Woman never got a single film before this in 75 years, so is the case with other heroes. So for the viewers, it will take time to understand the existence and culture of this universe and its heroes, and their powers and villains. It is pretty hard to expect their heroes to be as funny and perform slapstick as heroes existing in Marvel universe.

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3) IMPROPER CONSTRUCTION OF DCEU

After announcing the birth of their cinematic universe rival to MCU, the biggest challenge for the big bosses of DC/WB was to create a distinguished, recognized but an acceptable universe. WB lacks no finance to fund the DC films but it was all about the best brain creating a perfect theory before forwarding a proposal. For me the outcome was very strange and questionable.

In Oct.2014, when WB announced 10 DC films to be produced and released between 2016 and 2020, it was a massive disappointment to see every JL superhero gifted a solo film but not Batman! (Superman had his MOS before all this)

Besides that, film for Green Lantern, being such a beloved superhero among the comic readers was adjusted last which gave a hint that he will be introduced to us pretty late. Shazam indeed is a potential name but wasn’t DC’s original property in first place. Shazam character was created under Fawcett Comics and ran the issues until the company shut down. In 1972, DC publisher licensed Shazam from Fawcett and revived.

Two JL films were slated in different future timelines, the first part being the fourth in line to release even before solo films on Aquaman, Flash and Cyborg with no proper introductions which brought more confusions to understand their strategy towards assembling a team of heroes so early and so undefined with underdeveloped characters.

The reason why the story of BatSup to the viewers in theater fell so incoherent was the very reason described in previous paragraph that for assembling a team in so near future, they made the film look overstuffed.

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4) BRINGING TWO ICONIC HEROES FACE-OFF TOO EARLY

Indeed historic announcement of bringing BatSup together at San Diego comic-con three years ago was crazy which made the attendees and viewers lose their mind in excitement. But some brains surely began thinking as what made them brought none other than Batman in to Superman’s world? Was that their only key to challenge or announce a new universe rival to them?

Bringing Batman meant connecting two different worlds in same film with more than one story. With recent conclusion of Nolan’s trilogy, reintroducing Batman in mere four years was too early. Producers needed some more breathing to watch a new Batman. Nolan’s and Zack’s Batman were very different, could have been better if he had been given his own standalone film first and later introduced him to MOS.

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5) RELEASED PG-13 THEATRICAL CUT

This was the major reason why the film received negative reviews by critics and general public. A 150-minute film released in March worldwide offered us a confused broken story-line making every viewer Sherlock to magnify and puzzle the broken pieces himself/herself. The editor who chose to cut no less than 30 minutes lacerated very very critical and defining moments of the film due to the fact, the critics and general public turned clueless and gave up.

Had the producers decided to release the 182-minute original cut in first place, the critics would have penned positive reviews and would also have made the percentage bar rise above in Metacritic and Rotten Tomatoes. The general viewers would accept and the box office collections would definitely hit a billion-dollar mark. Like I said before, I waited months and watched the original cut at first place, and I admit that this version meticulously made more sense than the released one, defined the core characters more broad and created a more cohesive transition.

ADDITIONAL FOOTAGES IN ULTIMATE EDITION

 

Like I wrote above that many of the important scenes were badly cut from the released version. Let me notify you the deleted scenes proving the laziness of WB for forwarding the film without pointing or realizing what a terrible mistake that was;

1) Jimmy Olsen wasn’t introduced in the beginning.

2) Superman wasn’t shown helping the rescuers pulling out dead bodies after the blast in court which after that he flew in disdain and left the scene with the witnesses sharing negative responses.

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3) The very next scene, Lex Luthor rushed to LexCorp only to spot a damaged glass-box with no kryptonite. It never showed the viewers that Lex Luthor had seen the footage from one of the CCTV cameras that Batman entered the LexCorp office and grabbed the element. Had they shown this scene in released version, would make sense for viewers how in the world the Caped Crusader got the Kryptonite.

4) Both scenes featuring Jenna Malone was cut from the released version which made the viewers pay a very heavy price of dislikeness. Malone played the scientist at S.T.A.R. Labs, Jenet Klyburn, who has a couple of scenes in the film of sheer prominence. UE version clears that she is the one to whom Louis Lane hand over the bullet for scanning  which was shot and found in Africa.

In the other scene after the blast in court, it is again she who confirms that the same bullet and Wallace Keefe‘s wheelchair were made from the same metal and the inside of wheelchair was lined with lead. And we know Superman’s weakness that he can detect any solid object but not lead. Without this confirmation in released version, viewers would have raised the question how come Superman didn’t detect a bomb in the court.

5) The most important cut from the released version easily was the moment before the arrest of Lex Luthor which shows the upcoming JL villain Steppenwolf. His cameo before the arrest of Lex Luthor in UE was a very critical bombshell on the viewers after watching the whole film. WB will regret cutting this scene from the released version. An angry departure of his hologram existence after communicating with Lex Luthor raised questions. Was Lex aware of Steppenwolf’s existence even before he planned to take on Superman? Was Lex already in talks with him? Was creation of Doomsday idea of Lex or his? and many more. But in any case, his short appearance in ultimate edition made some sense of properly introducing the commander of parademons. The announcement of his being main villain was unnecessary if they had included this vital scene in released version.

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HOW DC EXTENDED UNIVERSE SHOULD HAVE BEEN CREATED AND PRESENTED?

 

Ok I know the existing universe will run as planned whatever the case is but I have every right to forward my idea of a better and acceptable universe than this. Because in first place, I disagree with the decided structure of this running cinematic universe due to the reasons I explained above in Improper Construction of DCEU.

I need no urgency or haste to play cat and mouse game in order to come close to Marvel and their universe. If WB would hand me this responsibility, I would prefer presenting origin stories of iconic heroes over a gladiator match and assembling of JL at the speed of light. My creation of universe will have phases (say Phase I, II, III and so on). For a better foundation, my pillars in Phase-I should be strong enough to hold the next phases.

My Phase-I will have 8 films, seven of these will be origins-based solo films for each original member of the JL. Those members are Superman, Batman, Wonder Woman, Green Lantern, The Flash, Aquaman and Martian Manhunter. The reason of strictly picking these seven heroes for Phase-I is because when the first ever Justice League was assembled as JL or Justice League of America (JLA), the above-mentioned superheroes were assembled to appear in The Brave and the Bold (issue#28) back in 1960 conceived by writer Gardner Fox. With seven origins-based solo films, my eight and final Phase-I film will be a proper JL film where all the seven above-mentioned heroes will unite to fight against one of the main allies of Darkseid.

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This is the most simplest way to present a universe with more breathing in origins and character developments in superheroes each film. Just like MCU did for their first and the most impressive phase. By second and third phase, all seven superheroes can proceed to complete their trilogies with other films to introduce other potential superheroes like Green Arrow/Black Canary, Booster Gold/Blue Beetle, Shazam/Black Adam, Birds of Prey, Teen Titans, Supergirl, Hawkman/Hawkgirl, Lobo and many more.

WHAT TO EXPECT FROM FUTURE DC FILMS?

 

With 81% record drop in box office collections in second week, WB was hit by a meteorite with the most harsh responses and many of the viewers complained the film to be humorless. For the sake of excellent collections from future DC films, the producers are compromised to add humor in a dark universe and fulfill their demands, so that their eyes would meet a glimpse of a colorful circus show like the shows which are produced by Marvel studios. This is like a gunfire on an old pedestrian walking in a narrow street.

Some sources say that many scenes of upcoming Suicide Squad are re-shot for adding humor. Zack Snyder also has cleared that upcoming JL film will have a lighter tone than BatSup film. My expectations can raise the bar only if the upcoming films offer me potential stories and strong connectivity with storyline of other films keeping a balance between humor and dark. A serious story like BatSup cannot offer you humor but may entertain you once you understand the characters and their worlds.

For me, my major concern in future DC films is seducing me with dynamic presentation of stories where the directors properly focus on hero’s character development and nurture him/her with the flow. No matter the film is dark or funny, the director should use the influences and creativity of great comic writers and apply in their story, the winner must be the true portrayal of superhero and the audience should provide a positive response.

Roping and involving Geoff Johns and Ben Affleck for upcoming JL and Batman standalone films is a brilliant decision from WB. A creative team of comic-book consultants should be established under Johns who would have authority to raise their voice over the scripts and screenplays.

CONCLUSION

 

BatSup case is a mature affair with super-excellent work on screenplay and action sequences. The characters, Alfred and Lex Luthor, offer you to listen the best and powerful dialogues whereas performance-wise Ben Affleck as Batman is the true winner and his portrayal will remind you numerous Bruce Waynes from comic books. Laurence Fishburne as Perry White and Amy Adams as Lois Lane play tremendous supporting roles.

Henry Cavill as Superman is a dignified figure but not signified. He has been impressive but after finishing two superhero movies, I am still waiting for some signature mark on the character. He is yet to remind me Superman from the comic books as Christopher Reeve defined him in his time.

No wonder how many great actors have played the role of Alfred Pennyworth but none of them remind me the character I read in the comics. Not only the films, neither Alfred of Gotham TV show nor the one in the game Arkham Knight reminded me. Hans Zimmer (in his final superhero film) and Junkie XL produced very impressive scores. Zack’s favorite cinematographer Larry Fong has done terrific cinematography like previous Zack films.

I would like to humbly request all of you who have read such a lengthy review or to which I call an Ultimate Case, to kindly avoid/ignore the released version and consider it as a bad dream but give a favor to yourself and watch the Ultimate Edition. May the future DC films does Justice, Amen.

FILM RATINGS: 8.3/10

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