‘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.