‘Spider-Man: Far From Home’: Movie Review

“Spider-Man: Far From Home” is the latest instalment of the MCU; and more importantly, the first movie after the events of the massive “Avengers: Endgame”. So, this would not have been an easy movie to make – the movie does need to address those events as well as the aftermath, but cannot spend too much time on it so as to feel bogged down and heavy on the emotions. Especially with a character like Peter Parker/Spider-Man, who is, especially in this iteration of this character, an earnest kid with a lot of growing up to do. So, does “Far From Home” manage to walk what would seem to be a tight-rope walk between levity and heavy emotion? Thankfully, yes – “Far From Home” is a coming of age, high-school rom-com packaged in a superhero movie, and works as the perfect palate cleanser after the emotionally charged “Endgame”.

 

It’s hard to go too much into the plot of “Far From Home” without delving into spoilers – I will walk my own tight-rope walk of avoiding spoilers of both “Endgame” (for those who’ve been living under a rock) and “Far From Home”. Peter Parker (Tom Holland) hopes to take a break and escape from the burden of expectations on him from people after the events of “Endgame”, as well as constant calls from Nick Fury (Samuel L Jackson) by going on a school trip to Europe – he also has a laid-out plan to woo his crush MJ (Zendaya). But his holiday is quickly interrupted when some other-worldly creatures called “Elementals” cause chaos and destruction, and Spider-Man is roped in to help Quentin Beck (Jake Gyllenhaal), a hero from another dimension. For fans of the comic, who are familiar with the characters in this film, the twists in this movie are fairly obvious and nothing would count as ‘spoilers’ – but for someone like me who wasn’t aware of this specific story arc, I will stop with the synopsis now.

“Far From Home” works very well because of its excellent writing – the teen comedy bits are definitely the highlight of the movie, despite the great set pieces and the grand scale. This is not because the action is lacking or the stakes are not high enough, but because the movie knows where its heart is and focuses on the awkwardness and charming innocence of Peter and his friends. The movie is very funny, and the levity in the proceedings work very well. This is especially evident in the moments where they address some of the ramifications of the events of “Endgame”, now referred to as ‘the blip’. Another example of brilliant writing is how they have contextualized some of the more fantastical elements to have it work and make sense in this universe. The writers also focus on the emotions well – I was especially impressed with how, with not many scenes, they established a bond between Peter and Happy Hogan (John Favreau).

That being said, let us not take away anything from the action which is excellent – although some of it seems generic. Which works fine in the context of the story. But there are some stunningly gorgeous, fairly ‘difficult to put on screen in live action’ scenes which are animated and shot so exquisitely, it is literally like a comic book coming to life – I did not expect to see such amazing visuals so close to “Spider-Man: Into the Spider-Verse”. For that alone, I would recommend watching it on the biggest screen you can find.

The acting here is top-notch. Tom Holland is, for me, the best Peter Parker and Spider-Man. Which is no mean feat in itself. Jake Gyllenhaal is yet another example of Marvel’s genius in casting. All of the supporting cast are great – Jacob Batalon, Zendaya, Marissa Tomei, Sam Jackson.. actually, just everyone is perfect.

On a related note, make sure you stay for all the end-credits (there is a mid-credits scene and an end-credits scene). Not only are they really important and pretty much pave the way for the future movies, for me, it also put some acting choices in perspective. Won’t say more.

On the whole, “Spider-Man: Far From Home” is a fun and light summer blockbuster that would work for all audiences. I didn’t know it going in, but it’s the movie we needed after “Avengers: Endgame”.

‘Article 15’: Movie Review

I think the phrase which would sum up the defining quality of “Article 15” is ‘hard-hitting’. With this movie, writers Gaurav Solanki and Anubhav Sinha (also the director) pull no punches and hit the audience with uncomfortable moments on the important, yet oft-ignored topic of casteism in rural India with all the subtlety of a sledgehammer. But, this treatment works very well for this movie – one, because this is the treatment this subject requires, and two, because the execution and performance of the cast and crew is sincere and earnest.

“Article 15” has new IPS officer Ayan Ranjan (Ayushmann Khurrana) taking charge in Lalgaon where two Dalit girls are found hanging from a tree while a third one is missing. Ayan is furious to see the complete apathy among officers in his station, who are entrenched in the caste system that define the way they interact with one another as well as with the people in the village. With mounting pressure to look the other way on one hand, a lack of support from his officers led by Circle Officer Brahmadatt (Manoj Pahwa), and an uprising among the lower caste led by a young revolutionary Nishad (Mohammed Zeeshan Ayub), Ayan must do what it takes to solve the case and ensure justice is served.

“Article 15” works primarily because the writing seethes with righteous indignation, and the audience is made to confront some harsh realities of India. But, at the same time, the movie works equally well as a thrilling detective film – this movie is not only about the subject of social inequalities, it is an engaging cop film where the investigation takes centre stage. Full credit to the makers to make the two aspects work well together. Ayan’s helplessness in trying to get things done in a system that is so twisted and corrupt is very well shown, and though there is a heavy handedness in some moments, the screenplay and dialogues are very well written and have the desired impact without making it look melodramatic. Full credit to Anubhav Sinha’s direction – he does not shy away from uncomfortable scenes but instead uses close-ups to make the audience even more comfortable to get the message (be it showing dead bodies in close up as the police calmly discuss how to get the body down from the tree, or the daily work of manual scavengers who risk their lives to clean the sewers).

The cinematography is excellent, and the proceedings are always enveloped in a sense of eerie dread. The background score is also excellent. The one issue I had in the movie was the character of Aditi (Isha Talwar), who acts as Ayan’s sounding board. This was one wasted thread that really didn’t do anything for me. Their interaction, which is aimed to showcase Ayan’s thought process and decision making, feels expository to the point that I felt like the makers were trying to tell me how I should feel.

The movie would not have worked without sincere and honest performances, and here too, we have an absolute winner. Ayushmann Khurrana is excellent as the righteous but unaware Ayan – I was honestly surprised at how good the performance was. This could have easily been an over-the-top performance, but Ayushmann handles it with elegance, poise, and maturity. Manoj Pahwa and Kumud Mishra are the real highlights for me here – they are able to convey years of following a caste hierarchy effortlessly. Other actors including Sayani Gupta, Ashish Verma and Mohammed Zeeshan Ayub round off a good supporting cast.

To sum up, “Article 15” is a must-watch. Thankfully, though it is a movie that talks on a social subject, it is entertaining as well as thought provoking.

‘Toy Story 4’: Movie Review

Trust Pixar to deliver a heart-warming tale that is enjoyable for children and adults alike. But to add a fourth instalment to the series that started it all, that too when the third movie was considered a near-perfect send-off to the characters we’ve known and loved – it was considered a project way too ambitious even for Pixar. But, despite the seemingly unmatchable standards they set for themselves, Pixar has not only met, but has surpassed expectations. “Toy Story 4” is, above all, a movie that respects the long and wonderful journey viewers have had with the characters.

“Toy Story 4” starts with Bonnie creating a new toy ‘Forky’ on her first day in kindergarten. Though he becomes Bonnie’s favourite toy, Forky (Tony Hale) comes to life and feels confused and out of place. As he tries to escape during a family road trip, Woody (Tom Hanks) attempts to dissuade and bring him back. A chain of events leads Woody to reunite with Bo Beep (Annie Potts), while having to deal with Gabby Gabby (Christina Hendricks), a doll who wants something from him. Add in a bunch of new characters including a Canadian stuntman Duke Caboom (Keanu Reeves), plush toys Ducky and Bunny (Keegan-Michael Key and Jordan Peele); and of course, the return of old characters including Buzz Lightyear (Tim Allen), and you have the recipe for another perfect “Toy Story” movie.

“Toy Story 4” is, to borrow a line from “Mary Poppins”, practically perfect in every way. A heartfelt story with lessons sprinkled in and loads of laughs for audiences of all ages, excellent voice acting all around, and for a second time delivering a tear-jerking ending that ties a perfect bow on a series that has not seen a weak step, this movie has it all. The movie doesn’t shy away from adult themes like finding a purpose when you have achieved what you’ve wanted in life, sacrificing something for what you believe in, and of course, the importance of friendship and belonging. The return of Bo Beep in particular is handled beautifully, and all the new characters are used so cleverly. The movie has, like its predecessors, a level of maturity that could be too heavy for an animated movie, but it just works so perfectly here.

In case you’re still wondering, “Toy Story 4” is a big recommendation from me – the entire franchise is in a class of its own, and this latest instalment lives up to the legacy.

‘Unda’: Movie Review

I went to watch “Unda” on the recommendation of a friend, who called it a “movie on team building”. And while that in itself does not summarize the movie, it is true – “Unda” works primarily because the plot moves ahead through character interactions, and you root for the protagonists because the screenplay earns it through meticulous character development.

“Unda”, which is inspired by real life incidents, tells the story of a police unit from Kerala who are sent on election duty to a Maoist affected area in Chhattisgarh. Ill-equipped both in terms of capability as well as arms & ammunition, the men must set aside their differences, overcome their prejudices, doubts and fears and work together to not just ensure a peaceful election, but also make it out alive.

As you can expect, the plot delves into the lives of these men, and through clever use of dialogues, establishes each character as a separate individual, which further lets you empathise with them. The casting of Mammootty against type in the lead role is genius – while the superstar has played the average Joe on many occasions, S. I. Manikandan C. P. is unique in how his vulnerabilities and his empathy towards others shape him and the decisions he makes. The other cast members are all very good as well, each adding a layer of relatability to their characters.

Director Khalid Rahman does a decent job of building tension in anticipation of the unseen enemy, but the movie never really leans into it – even if the movie is a dark comedy/satire, it could have handled these bits more effectively to get the audience more invested. The background score in parts was jarring, and took me out of the proceedings. That being said, the movie shines where it uses dark humour and great dialogue to put a spotlight on the apathy of the system and the sheer ineptitude and unpreparedness of the people thrown into this situation, as well as the people who have thrown them there. Full marks to the makers for subverting expectations on multiple occasions also.

Despite its flaws, “Unda” does a pretty good job and tackles an interesting subject well. 

‘Virus’: Movie Review

The risk with making movies on real-life events, especially on something as sensitive as the Nipah virus outbreak in Kozhikode in 2018, is that it can be handled in a manner that looks more to wring emotions out of the events and essentially become a cheap cash-grab exercise. This would be the far easier way for many filmmakers, as opposed to showing restraint and nuance. Which is what makes Aashiq Abu’s “Virus” all the more commendable – the movie is an ode to the many brave souls who helped combat the outbreak, but does not glorify them and instead takes a dispassionate look at what happened. And, not unlike Steven Soderberg’s “Contagion”, it takes a look at various aspects of dealing with a medical crisis.

The movie deals with various facets of dealing with the virus outbreak – from the overworked doctors and medical staff at the Medical College hospital, to the patients who are affected by the virus; the various issues around cremation of the bodies of the deceased patients; the investigation done by a team of administrators and doctors to identify the source of the virus and contain its spread, and the efforts of the District Collector, Health Minister and others to avoid panic and misinformation. While the back and forth between the flashbacks and the present day of various characters can sometimes be distracting, and the movie does tend to drag towards the finish line, full marks to the editing team for achieving a very difficult task of seamlessly crossing between the various threads to create a cohesive narrative, almost never relenting on the sense of urgency and tension that is created. Special mention also for the excellent cinematography (there are great aerial shots in particular), and the great background score, both of which add to the tension in the proceedings.

The movie also boasts a great ensemble, and every actor delivers (so I won’t be mentioning any names in particular). Full marks to Aashiq Abu again for not giving any actor disproportionate preference – be it in characterization or in terms of run-time allocation. Each actor brings their best in terms of what the role demands. The performances are mostly restrained, and lend more dignity to the proceedings.

Al in all, “Virus” is a must watch, though it is not without its flaws. Aashiq Abu and his team have had to do a tight-rope walk in a lot of respects for this movie – and given the scale of the movie, it is commendable that they have delivered so convincingly. Just for that, “Virus” deserves an audience.

‘John Wick: Chapter 3 – Parabellum’: Movie Review

When I had got out of the theatre after ‘John Wick 2’, I thought it was a very good way to end the movie and the series – putting the titular assassin in a seemingly impossible situation from which to get himself out of, but knowing what he’s capable of, the viewers could very well assume he’d make it out ok. They could fill the gaps without necessarily seeing how far things would go, and in most cases, the filmmakers would find it difficult to top anything the viewers could imagine. And boy, was I wrong!! Keanu Reeves, Chad Stahelski and the rest of the cast and crew have gone far beyond anything I could have imagined – they have upped the stakes, delved deeper into the world of the assassins, all the while not taking their foot off the gas when it comes to pure action and thrills.

‘John Wick: Chapter 3 – Parabellum’ (JW3) picks up immediately after the events of the previous movie (so if you haven’t seen the first two movies, firstly – shame on you; and secondly – you need to watch the first two movies to make sense of the proceedings here), with John Wick (Keanu Reeves) being given a one-hour head-start before being declared excommunicado, and being placed under a $14 million bounty. As he escapes from a hoard of assassins in amazing action sequences that constantly push the bar, John navigates through various facets of the assassins world, including a New York theatre which is a training centre for the assassins and the Casablanca branch of the Continental hotel, before returning back to New York and the Continental where it all started. Meanwhile, an adjudicator for the High Table (Asia Kate Dillon), punishes all those who have helped John, including Winston (Ian McShane) and the Bowery King (Lawrence Fishbourne), by employing a league of ninja assassins headed by Zero (Mark Dacascos).

The greatest strength of JW3, like its predecessors, is the action and how far the imagination goes to create amazing action sequences and set pieces. These translate well to the big screen, and I highly recommend that you watch it in a movie theatre. The movie definitely goes bigger and bolder, using everything at hand – from books, horses, motorbikes, dogs and swords. It is a special treat for action fans to see some of the cast members of ‘The Raid: Redemption’ and ‘The Raid: Berandal’ – especially ‘Mad Dog’ Yayan Ruhian – and they have some brilliantly choreographed sequences as well. Halle Berry also has a great action sequence, and she definitely rises to the occasion. Mark Dacascos’s Zero is also a worthy opponent to John Wick. But of course, it is Keanu Reeves as the Baba Yaga who is the biggest draw, and he does not disappoint. He embodies the “focus, commitment and sheer will” of John, as he fights one horde of baddies after another. One of the key reasons the character is so endearing and we root for him at every moment is that each battle takes a lot out of him, and each kill is hard earned. Full credit to the entire crew on the amazing stunt choreography and sheer audacity of the action.

The movie also expands on the world it teased in the first movie and showed us more of in the second one. There are a lot of sequences designed to give us more insight into the shady underworld dealings – the problem here is that the sequences, while bringing a sense of history and lore to the world it builds, can tend to be long and cause the movie to feel bloated. Not a major complaint, but as more of the machinations of the underworld are revealed, the aura of mystery that was so appealing in the first movie tends to fade away. In fact, the only remotely legitimate complaint I can bring up about JW3 is the length – it could have been a bit shorter.

That being said, any action movie fan worth his or her salt should definitely watch all the movies of the ‘John Wick’ franchise. ‘JV3’ is a worthy addition to the franchise – it keeps the essence of its predecessors while upping the ante in every way possible. I don’t think I need to say more to convince you to watch this one.

‘Avengers: Endgame’: Movie Review

To say that ‘Avengers: Endgame’ is simply another movie would be a gross understatement, and a disservice to the legions of fans and the incredible work done by Marvel Studios over ten years and twenty-one movies before this. To be sure, this is a cinematic event on a grand scale unlike any other in the past, and probably in the immediate future – and pretty much everyone has been waiting for this with baited breath. And Joe and Anthony Russo have pulled it off in grand fashion – not only does the movie deliver in terms of thrills, action visuals and all of the glitz, it is a complete package that does not skimp on humour, emotions, or genuinely heartfelt moments that will leave a smile on your face and a lump in your throat – and that is what makes this one such a fitting conclusion to this arc of the MCEU.

To say anything on the plot, other than that the movie picks up 22 days or so after Thanos snapped his finger and destroyed half of all living creatures, and the survivors are left to figure out what to do, would be risking giving away some spoilers. But, as a warning, without any details, I would say this – one of the big positives (and potential challenges for casual viewers) is that this movie really emphasizes on Marvel Studios’ idea that all the movies in the MCEU are part of a shared cinematic universe, and clever nods, callbacks and references to events and characters in the previous movies play a pretty crucial role here. So, you’d better be aware of the events of the previous movies – else you’ll be lost to what is happening here.

It is to Marvel’s credit that their casting decisions were always on point – I have said previously that the casting is such that it is hard to imagine anyone else in these roles. And here, more than ever, the decisions really pay off. This movie focuses on the characters, each with their unique personalities, and their relationships that have evolved over the course of so many movies, and charts out satisfying conclusions to their arcs. Full credit to the writing, which is consistent with the characters, - it’s not hard to believe where they are in their lives, and their journey till the end seems just about right. And the actors bring their A-game here. Without exception, everyone is absolutely perfect here – it is clear to see the actors’ love for their characters, and their investment really pays off.

The writing is nothing short of exceptional. Full marks to the makers for a restrained approach which isn’t just about a bunch of people fighting each other in a CGI mashup – for the most part, the movie is an adventure with people in difficult situations, which they need to use their wits to get out of. The dialogues are crackling with humour and the chemistry the characters share with each other, and there are so many fan-service moments in the movie, it is hard not to cheer them. This is a comic book movie at its best – poignant and measured while at the same time exhilarating, amazing and unabashedly about its heroes.

Of course, though close, the movie isn’t perfect. The movie is 181 minutes long, which may irritate some audience members – that being said, there is never a dull moment and the makers justify the length. There is a lot to cover here, and pretty much every scene is crammed with details that take the plot along. And while it is mostly about the characters, the third act is very effects heavy and kind of a CGI slugfest. But again, works as an integral part of the movie – and the audience at the screening I attended were clapping, whistling, hooting and screaming all around. If you needed any indication of the feedback on the movie, this is it.

I, for one, found it a bittersweet moment when the credits rolled – I didn’t realize these movies really had me so emotionally invested. I cannot emphasize this enough – this is perhaps the only conclusion (out of the 14 million possible outcomes 😉) that would have worked for something like this, and is the perfect goodbye to these characters. ‘Avengers: Endgame’ is a cinematic experience like none other – you cannot miss this!