A twisted view of filial piety seems like it could be an interesting take — but the film doesn’t satisfy; it’s lacking humour, romance, a substantial plot, meaningful dialogue (excepting the ending speech), and especially… any character growth. Maybe you don’t mind the glorification of violence and misogyny, and only pressed play for gory fight scenes… sorry to say, they also suck. At the end, you’re left thinking all characters are stupid and instead of 3h21m they could’ve done better in just 21m.
The film drags on with insubstantial plot, but never gets around to the ‘why’ of Ranbir’s character. He isn’t presented as a sympathetic hero with deep flaws, just a violent obsessive killer who somehow happens to be the main character. He’ll jump at every chance to commit violence on ‘behalf’ of his family as the ‘man’ of the house… even when they beg him not to. He’s desperate for attention from his father, but dismissive of all others who try to connect, especially women. Decades pass but he seems unable and unwilling to form a relationship more meaningful than the father-son relationship he obsesses over, even after having children of his own. We seem one doctor’s visit or traumatic childhood flashback away from a severe mental diagnosis, but it never materializes. All his decisions make no sense — actually no one’s decisions make sense — why is violence the first and only option? It’s not like that’s what father taught him, they don’t actually spend time together! Why does the girl leave her fiancé to marry him, when he’s so unlikeable and makes her cry? Why did the director even bother filming the actresses’ faces, if he was going to spend the entire film treating them like bodies speaking into the void? Actually if he'd replaced the actresses with mannequins I would've found the film MORE interesting, I could have pretended it was the film’s attempt at clever social commentary. Instead of whatever point he was trying to make with the catheter speech.
It can be said that all actors did well in given roles, which by the script was limited for all but Ranbir. He showed great commitment and vigor to the deranged and emotionally immature character but even he can’t bring depth where there is none in the script.
But ok, let’s say we hit play for gory fight scenes only. I love a good revenge thriller, but this film was not John Wick or Liam Neeson in Taken. This was an unlikeable character who makes unequivocal decisions favoring gratuitous violence on behalf of people he claims to love but never listens to, basically throwing several temper tantrums with flashy artillery. The scenes feel abrupt, as if Vanga was paid to fill a quota of gunshots and blood sprays, the way other Bollywood films decide on the songs first and edit film to fit. Look at the way blood splashes on that face, look at the shiny masks and axes, look at the giant gun — just don’t look at the paper-thin plot or the lacklustre fight choreography. The culminating fight is the most bizarre of all: a slow dance where both opponents eschew guns and goons, slowly stripping for each other between punches, building a weirdly charged connection that ends in a climactic spurt of blood. Both had such a strong inclination to violence it would be impossible without context to tell which was supposed to be the ‘hero’… instead you almost pity them for the relationship they could have had as equals on the same side. The end is just as abrupt and uncomfortable, with a highly emotionally charged speech that once again includes violence but resolves nothing.
It’s not the characters flaws that are the problem, it’s that the script and director doesn’t give us anything else — ALL the characters become unlikeable, either through their actions or their impotent lack of action. The best bad boys are the ones that can be explained, that just the right touch could ‘fix’ — this film’s protagonist isn’t the bad boy, he’s not even the villain with a heart. He’s the abusive ex who might be the reason you wind up dead.
Overall, give this a miss. In fact, based on this I’m prepared to give all Vanga’s works a miss. You want a tense father-son relationship? Re-watch K3G. You want violence? Anurag Kashyap has you covered. Ranbir’s acting is on par with South Indian superstars, but as both action and drama, the film was a flop.
Based on an award-winning young adult webcomic, this animation has a simple child-friendly plot around themes of identity and belonging with a sprinkle of punk style for Nimona. It watches brief breezy and cute, devoting more time to comedy than melancholic drama, which leaves it feeling far fresher than anything Disney has put out lately.
What makes this film a decent watch isn't the time loop at all, but how each loop you get little hints about the couple experiencing a home invasion, and the fraught political situation of the world they live in.
Time travel is a common trope in science fiction, employed to change the past, but ARQ is nothing like 12 Monkeys or Looper. Science fiction lovers will remember "that time loop episode" of their favourite science fiction show. This film is not concerned with whys/hows, and doesn't preach about time manipulation; the machine is only a tool here.
This plays a lot like an extended short film, as each loop is a (slightly different) slice-of-life perspective. I agree with reviewers who say it feels like a pilot (the ending supports this), but disagree that it would make a good series. I think the current length is designed to make you tired of the loops but not quite tired of the actors. The team did a great job of doing something a little different, moving a little faster each time, so you can see them adapting emotionally to the looping.
The Hitman's Bodyguard has a forgettable plot that clearly comes in third, after to Reynolds' and Jackson's buddy-cop snark and their respective romantic troubles, but the action sequences stuffed with absent-minded kills are perfectly satisfying for a summer action flick. Admittedly, you might feel a little shock at seeing a rule-following 'Deadpool' and fly-by-the-seat-of-your-pants 'Nick Fury' but that's rather the point, I think.
This is not a Disney fairytale, but is reminiscent of that mixture of innocence and horror from the Grimm's tales. This twisted short story collection is a feast for the eyes.
I found the stories themselves to be somewhat unsatisfying. The tales are fragmented and instead of a single climax, each has a 'point of no return', where a character makes a choice and everything goes horribly wrong. The cast, however, was excellent and clearly worked hard to not let their characters become the one-dimensional caricatures seen in story books.
The real stars, however, are the Italian castles and caves. This film might be tourism propaganda, and I'm not even mad. Seriously, even if you skip the film go check out the screenshots and film posters on Imdb, they're a treat.
The movie gives you just enough of an interesting concept of a feminist-artificial-life awakening in the first few minutes to genuinely deepen the disappointment throughout the rest of the film. I'd recommend skipping this in favour of the Westworld series, but if you're still curious, watch the trailer and then fill in the plot mad-libs-style. You'll undoubtedly turn out with something far more satisfying (yes, even action-scene-wise).
