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5/10
Bad acting, terrible script, overblown jingoism
26 March 2019
I had heard good things about this movie and I was expecting a tense submarine drama not unlike the Hunt for Red October.

Instead what I got was a poorly written movie that even an otherwise polished actor like KK Menon struggled with. The submarine captain KK plays comes across like a petulant school boy who's throwing tantrums because daddy (a paunchy Om Puri as Admiral) isn't letting him play his favorite game, war.

KK is whining and smug by turn, is required by the bizarre script to tolerate a subordinate who has been sent by the admiral to play nanny and who keeps contradicting his orders publicly, surely an act of insubordination that would be punished instantly in any reasonable military. It was intended, I suppose, to replicate the tension due to the dual power structure on a Soviet sub where the political officer has power rivaling the captain in some things, hence the need for Captin Ramius to bump him off early in Red October. In an Indian context, there is simply no creditable parallel so the only reason it was shoehorned in was so that Rana Daggubati, as all conquering hero needn't be made to look subordinate to a character actor. Coming to Daggubati, that body stuffed into a too tight naval uniform must cause concern for the safety of the uniform's buttons which performed courageously beyond the call of duty to keep that 56 inch chest from bursting through.

I was half expecting Daggubati to leap out of his sub, swim to the enemy sub, punch a hole in the hull, enter said sub and strangle the enemy captain with his bare hands, then beat up the rest of the crew by himself. That would perhaps have been a more entertaining movie and you wouldn't need to worry about script and credibility, it would just be a regular Telegu land gang-banger, just underwater.

I shouldn't forget to mention Atul Kulkarni as the sub's XO - this was miscasting on an epic scale. He was the most feminine character in the entire film, not excluding the pretty Bengali shipwrecked girl who conveniently washes up on to the sub so you don't have to look at only men for 2 hours.
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8/10
Lovingly crafted movie
10 June 2017
This is a little gem of a movie, with pitch perfect casting, excellent pacing and very competent direction.

The movie takes you to a world of languid indolence as an extended family vacations at a once grand but now somewhat derelict Anglo-Indian hamlet. There are little stories within, mostly pivoting around Kalki as the coquette - glimpses of illicit lust; and unrequited longing.

But in the middle of this happy dysfunction, there are jarring moments that tighten the little knot of dread-filled anticipation at the bottom of your heart. The title promised you a death and the opening scene reinforced that promise. You don't know who and you don't know why, you only know it's coming.
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45 Years (2015)
6/10
A novel that should have been a short story
15 November 2015
A sequence of events in the run up to a big celebration of the couple's 45th anniversary. An unexpected letter with some unsettling news that pulls, just a little, at the seams of the marriage.

Scenic English country side outside a historic market town. Accomplished performances by all of the cast. Charming British accents. Lovely camera work. Tight scripting & dialogs that brings out the affections and tensions of a long, childless marriage. All of this points to an engaging movie, and it is.

Except, there isn't enough in it. It's like someone took the plot of a short story and decided to spin it out into a novel and you wish they hadn't. It's like a samosa where they skimped on the aloo. It is worth a watch, just about, especially on a day where you feel your life has been too dramatic and you want to tamp it down a little.
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7/10
Unexpected delight
15 November 2015
Warning: Spoilers
I went in with low expectations, based on reviews I read, because I couldn't get in for the movie I was actually planning to watch. But it turned out to be one of the more satisfying movies I was able to catch at MAMI 2015.

It's a little love story, sort of, told twice. A famous director of art-house cinema is killing time in a sleepy Korean town by visiting the one local attraction, a Palace turned into a museum. A scheduling mix has caused him to reach a day early for a planned lecture at the local film festival (yea, lot of self-referential stuff). He chats up a young woman who has given up a modeling career to become an artist. The events that follow unfold over the course of the day and the next, until his lecture and return to Seoul.

There are subtle variations in how events unfold causing the male protagonist to fall flat on his face in the first telling ('Wrong then') but coming to a more fulfilling culmination in the second sequence ('Right now'). He's a cad, but the second time around, turns out to be a lovable one.

Don't have too many expectations, and you will find a sweet movie.
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Interruption (II) (2015)
5/10
Stylish but ultimately hollow
15 November 2015
Warning: Spoilers
The last movie I saw at the Mumbai Film Fest and for sometime it looked like I would be going out on a high. The movie grips from the beginning, with a modern dramatized interpretation of an ancient Greek myth setting the stage for a takeover by a shadowy group of armed men and women, their mesmerizing leader thrusting himself as the chief orchestrator of events. The play audience is pulled in to the performance, not realizing that the bizarre turn of events was not part of the programmed script. The tension builds up, and you are hoping that the director can pull of a grand denouement.

The entire movie theatre was gripped - even in the quiet parts there was no restless stirring or chatter. But in the end it doesn't so much fall flat as just fizzle out. We were left puzzled - who were the hostage takers, what were their motives, what did they hope to achieve by hijacking the play and its audience, was there a personal connection/antagonism with any of the cast members ... It was like the director had a stylish premise, a unique plot device that he hoped to build a movie around, but didn't have the story to back it up.

At the end, the tepid applause from a festival audience that gives even mediocre movies a good clap told it all. It was a feeling of deflation, of being let down after a stirring build up, of making a bad choice when what was playing in the next auditorium was possibly the better movie.
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