kshehzad Reviews

The Legend of Maula Jatt (2022)

Greater Than Hollywood

[9/10 · 16 October 2022]

The Guardian calls it a "Pakistani classic remake is Game of Thrones meets Gladiator." But after witnessing "The Legend of Maula Jatt" (TLOMJ) on silver screen as wholesome cine product one may take liberty of calling it bigger, better and superior than GOT or Gladiator because TLOMJ has every element of giving goose bumps to Ridley Scott and GOT makers. Cherry on the top TLOMJ is a Pakistani Punjabi film. One man army Bilal Lashari who is not only director, cinematographer, editor but also shares writing credits with legendry Nasir Adib. Bilal Lashari must be applauded and also appreciated for taking Pakistani cinema to this standard. One should not fear to say that Bilal's sheer commitment and indulgence match with likes Cecil B. DeMille, David Lean and K. Asif. This TLOMJ which is solely brainchild of Bilal Lashari took enormous time from re conception to reality and what a fine result he has given to Pakistani film industry, totally outstanding. No doubt TLOMJ has put contemporary film makers of Indo-Pak into perplexed situation where they will have to match standards set by TLOMJ which is not impossible to achieve but certainly difficult. Those who were comparing TLOMJ with "Padmaavat" or "Bahubali" mere watching its teaser or trailer must experience TLOMJ in its fullest and they will certainly have their second opinion similar to aforementioned.

Casting "Fawad Khan" and "Hamza Ali Abbasi" as "Maula Jatt" and "Noori Natt" respectively was in itself riskier than whole project but "Fawad Khan" and "Hamza Ali Abbasi" did not disappoints the director but they have left their own deeper shades in iconic characters. Although demeanor of "Fawad Khan" as "Muala Jatt" relieve him from lifting burden of speaking Punjabi which is not his mother tongue but dialogues he delivered does enormous justice of typical Punjabi accent which is nothing but great. "Fawad Khan"s altercation with "Humaima Malik" aka "Daro Natni" is most enjoyable. "Fawad Khan" pairing with "Mahira Khan" was intelligent casting choice. After many years people still are living in "Humsafar" magic. Whenever both appear on screen audience imagination ventures back them into "Humsafar" time. One must admit "Mahira Khan" has done amazing job of catching accent and dialect of language which is not her first language too. Filling "Mustafa Qureshi's" shoes as "Noori Natt" was as riskier as "Maula Jatt". "Mustafa Qureshi" built his whole image around character of "Noori Natt". Slight glitch could cause damaging cinematic blasphemy but this is a skill and persona of "Hamza Ali Abbasi" which has taken this "Noorie Natt's" character beyond. "Humaima Malik" flabbergasts viewers as "Daaro Natni" in her first scene and carries her same lethal image throughout the film successfully. "Gohar Rasheed" and "Faris Shafi" as "Maakha Natt" and "Mooda" respectively have performed stupendous performances. As "Maakha Natt" we cannot expect less then great from "Gohar Rasheed" but "Faris Shafi's" acting skills would have surprised everyone and certain to have more acting jobs for him in future.

With magnificent fight choreography to back ground music, TLOMJ engages every eyeball from first scene to last specially "Sarmad Ghafoor" who has designed amazing BGM which supports every scene grim or light. At last but not least it will be unfair if input from "Nasir Adib" is not discussed. "Nasir Adib" is the same writer who converted "Nadeem Ahmed Qasimi's" small novel titled "Gandasa" into a film screenplay for "Wehshi Jatt" and then "Muala Jatt". His screenplay and dialogues created history and changed the dynamics of Pakistani film industry forever. Again his dialogues rejuvenate TLOMJ and this film is fully equipped to repeat the history in grandeur style. By and large, "The Legend of Maula Jatt" is not only a film but an iconic cinematic event that proves our ability of creating something Greater than Hollywood.

Kamli (2022)

Not Being Easy to Define, Letting You to Wonder About It

[8/10 · 5 June 2022]

Human frailties have many dimensions but when the source of these frailties is a woman who is on verge of mental illness then one can expect anything whether hallucination or encountering a paranormal. With his latest cinematic "mystifier" "Kamli" "Sarmad Sultan" is challenging common denominators with words that I'm not being easy to define my content rather I'm letting you to wonder about it.

Main lead "Saba Qamar" as "Hina" performs her assigned role with challenging requirements from the director in which she had to perform with more demeanor and expression but with lesser dialogues. And she performs with stupendous courage in an environment in which societal values are sensitive though caring of thin lines between societal values and arts is all up to director's awareness but still her portrayal as "Hina" is outstanding.

Debutante "Hamza Khuwaja" does not disappoint. Facing power house of talent like "Saba Qamar" in his first celluloid experience is not easy but he acted skillfully. His character as mysterious "Amaltas" dwindle us. As "Amaltas", is he an actual human being or some sort of paranormal creature like "Chalawa" who is alluring a woman who may be affected by some sort of mental illness because of absence of her long gone husband?

Portrayal of "Sania Saeed" as "Sakina" the blind elder sister of Hina's husband should be applauded massively. Her firm commitment to protect her "Bhabi" becomes tedious and grim even against tenants of Islam she strictly follows. But same time she has the full realizations that "Hina" is only person of her family she has. Her confrontation with "Saba Qamar" in penultimate stage uncovers big secret but again flow of tale leads to other mystery. "Nimra Buccha" plays a fragile character as "Zeenat" who is confronting her own frailty of child-less woman and finds her emancipation in "Hina" but in the end her character becomes as mysterious as "Amaltas".

Cinematography of "Kamili" is excellent but the full brownie points must be given to music directors of "Kamli" "Saad Sultan" and "Izzat Majeed". Their music compliments every frame and makes every shot eye candy and soothing to ears as well.

By and large "Kamli" is the best cinematic offering director like "Sarmad Khoosat" can give to Pakistani film industry.

Thar (2022)

Deserves One Watch

[6/10 · 20 May 2022]

Once Leonardo Da Vinci said "Simplicity is the ultimate sophistication". Though it is difficult to understand sophistication of Da Vinci's words better watch Netflix presentation "Thar" starring "Anil Kapoor" and his son "Harshvardhan Kapoor". With simple, straight but grim story telling "Thar" is one of better cinematic product this year so far.

Critics were not impressed with "Harshhvardhan Kapoor" in his debut "Mirzya" but in short span of time he understood what kind of route he should take when you are tagged as Star-Son. Shedding star father's name is not easy but he opted for a different path with "Bhavesh Joshi Superhero". Lengthy but effectively unique superhero film. With "Thar" "Harshvardan Kapoor" reappears on screen with Ryan Gosling's "Drive" demeanor which not only alters his own performance expectations for future endeavors but also surprises his audience. Though his other role as producer of "Thar" is a smart move which may have its dividends.

As a tiring but capable inspector "Surekha Singh" played by veteran "Anil Kapoor", whose grievances of not being promoted for years bites him consistently, his performance tells what is the meaning of a seasoned actor. His partnership with another veteran actor "Satish Kaushik" presents some lighter moments in out and out gory surrounding. "Fatima Sana Shaikh" is completely wasted and her role can be extended. Since "Dangal" we have not seen her doing noticeable roles.

"Anurag Kashyap" dialogues filled with plenty of cuss words itches ears when an actor like "Anil Kapoor" unnecessarily makes them catchphrase. Cinematography of "Thar" is top-notch which makes land scape of Rajasthan and Thar very attractive. "Shreya Dev Dube" has done commendable job as cinematographer. Though he has been part of Anurag Kashyab's projects like "Black Friday", "Gulaal" and "No Smoking" but the name of "Raj Singh Chaudhary" is relatively new as director. But he has done satisfactory job which could have been better if he would have maintained his focus in making "Thar" slightly more mysterious. On the whole "Thar" is bearable which deserves at least one watch.

Churails (2020– )

Has its Own Style and Essence

[8/10 · 22 August 2020]

I have been a firm believer of distinct but slick quality new breed of Pakistani film makers carry and recent OTT release "Churails" directed by Asim Abbasi has further cemented my trust. Asim Abbasi, who previously won critical accolade when he directed "Cake" in 2018, has served us again rather spicy treat this time on digital platform in form of his first web series. Since phenomena of Indian web series has started impressing Pakistani eye balls on digital platforms like Netflix and Amazon, there was a crying need from fans to experience somewhat similar content on digital platform from Pakistan. Though there were some lukewarm efforts from some Pakistani filmmakers with low quality content, concept and budget but Asim Abbasi's "Churails" has a real buzz which carries more than enough potential to impress local as well as international viewers.

With its bold and controversial subject "Churails" presents talents like "Sarwat Gilani", "Nimra Bucha", "Mehar Bano", "Omair Rana", "Meher Jaffri" and "Adnan Malik" who have performed their gray shaded characters with utmost accuracy and skill. Praising work of one or two actors will be unfair because every actor involved in this ambitious project has performed splendidly.

There is no doubt that "Churails" is different from other web series from across the border in its concept and style of execution but it will not be suffice if we do not discuss its demerits which has fair share of controversial elements. Women empowerment, freedom of speech and one's sexual orientation are misconstrued as the only symbols of liberalism and free thinking today but it does not justify vastness of concept of liberalism. Showing or displaying one's homosexual tendency and extensive use of cuss words do not prove that we have become progressive enough to challenge society which is deeply intertwined with sensitiveness of culture and religion. You cannot win acknowledgment by downing the established norms of the society which have wide and logical acceptability and sacredness. Though Asim Abbasi did not dare to cross few lines but there are certain portions in "Churails" seem off limits to some extent.

There are some improvements required in sound department but on the whole "Churails" is purely Pakistani content which has its own style and essence. Once viewer matches the his or her level of patience with the pacing of Asim Abbasi's latest creation then "Churails" provides an utterly enjoyable experience which cannot be missed at all.

Paatal Lok (2020– )

Your Life will never be same after watching it

[9/10 · 16 July 2020]

Since Ram Gopal Verma's "Satya" we have a long list of crime thrillers with realistic settings and believable characters but new phenomena of web series on OTT platforms provides free thinking creators of today to enact something they actually desire of. Where series like "Sacred Games" and "Mirzapur" twitched our dormant cinematic consciousness which was covered under the dirt of typical Bollywood masala, a series like "Paatal Lok" is a solid punch which gives its viewers plenty of jaw dropping moments.

Director duo of Avinash Arun and Prosit Roy "Paatal Lok" raises the bar of OTT releases to its optimum level. Avinash Arun who basically is a cinematographer and Prosit Roy who directed horror flick "Pari" in 2018, have done astounding job by extracting hard hitting performances from the actors which flabbergast viewers with the gory details. One may easily call it "Breaking Bad" of India even better because of its impact. Writers' team has done exceedingly well by penning down those details which are often shoved under the carpet due to its sensitive nature.

Jaideep Ahlawat plays a cop name Hathi Ram Chaudhry with whom one can easily relate. He is not attractive as Hrithik Roshan, not equipped with Tiger Sheroff like skills but still captures our senses with his portrayal as a policeman who is on a case of his lifetime. No doubt Jaideep Ahlawat wins everyone's heart because of his performance. Other actors like Neeraj Kabi, Abhishek Banerjee, Niharika Lyra Dutt and Gul Panag have done mesmerizing job but character of "Cheeni" played by Mairembam Ronaldo Singh is worth of watching.

On the whole, nine episodes of "Paatal Lok" is an experience and your life will never be same after watching it because of scenes of cruelty, barbarism, dirty politics tangled with media hotchpotch and will stay in your subconscious for a long time.

Piku (2015)

Constipation Has Never Felt That Good Before

[7/10 · 3 May 2020]

Some films have plots and some rely solely on star power but there are one genre of films which is not protected by surprising plots or star power but still win enormous accolade from audience because of simple narrative embedded in small humorous situations. Recently released Indian film "Piku" starring Amitabh Bachchan, Deepika Padukune and Irrfan Khan belongs to such a genre. Some film critics are comparing simplicity of "Piku" with yesteryear cinematic creations of Hrishikesh Mukherjee but "Piku" is simple in different way seemingly filling the requirements of liberated working woman cum loyal daughter. In most of the scenes "Piku" seems successful but in forgettable portions it falters. "Piku" has been directed by Shoojit Sircar who got his quota of critical fame with "Vicky Donor". Shoojit Sircar belongs to such category of modern day Indian directors who crave for Western values wrapped in typical South Asian Indian culture. He presents this unique blend of movie making in way which successfully attracts both critics and masses but not without slight lose ends. With "Piku" he has directed legendry Amitab Bachchan first time and the kind of performance he has carved out of Amitabh Bachchan has been a dream of every actor since beginning of film making. You have to be very skilled and focused director to make an actor like Amitab Bachchan to do such a role where his larger than life persona takes a back seat and a new personality appears which is the exact requirement of director's vision. No doubt Shoojit Sircar must be praised with thundering applaud for his effort to bring a simple story with funny mixture of common human ailment of constipation on silver screen in this magnitude and style and ends with most beautiful, everlasting father-daughter relationship. Some assume Mr. Amitabh Bachchan is playing his last innings but what an innings he is playing. As mentioned before the persona of The Amitabh Bachchan takes a back seat in "Piku" and a personality of very irritating Bengali old man named Bashkor Banerjee appears who is always sick and tired of his constant problem of constipation. For a moment you will completely forget that this man is The Amitabh Bachchan. We do not know whether his performance as Bashkor Banerjee will win him few nominations in the category of best actor or best supporting actor but his trophy is confirmed. With her startling resemblance with actual daughter of Amitabh Bachchan, Deepika Padukone looks like Amitabh's real daughter. The way she has responded in front of legendry actor Amitabh Bachchan and world famous Irrfan Khan, she has become my A-List actress with "Piku". With ever curious face and witty dialogues Irrfan Khan makes "Piku" a wholesome entertainer. In one of the scene in which Irrfan Khan explains Amitabh Bachchan the relation between position of human intestine and conventional technique of using W/C is worth of watching. Overall "Piku" is well themed, performance oriented and entertaining cinematic piece which has a potential of becoming dolly of both masses and classes alike. Constipation has never felt that good before. Must Watch. --I wrote this review in 2015--

Madaari (2016)

A Film Which Will Give You Goose Bumps

[7/10 · 3 May 2020]

When he gets angry, you get angry. When he laughs, you laugh. When he cries, you cry. Irrfan Khan is one of the few actors of modern day cinema who carry unique ability to glue their audience with the celluloid moment in which they create their own reality. An Actor, who has achieved a sort of iconic status lately, has reappeared in his latest Bollywood venture "Madaari" directed by Nishikant Kamat who has previously directed films like "Mumbai Meri Jaan" and "Force". With powerful content, nonlinear storytelling with flashbacks and emotionally charged performance by Irrfan Khan, "Madaari" connects its viewers on their subconscious level and alleviates them to such an emotional state where it becomes difficult for them to differentiate between real and reel pain. A society in which corruption has become daily routine and importance of a human life is always the last thing in the mind of ruling elite, justice seems like a Utopian idea. Under such circumstances a powerless commoner who is also grieving for death of his only son in man-made disaster, can either go for ending his own life or he can take completely different route by seeking answers from individuals who are indirectly accountable for the death of his son. By kidnapping only son of India's Home Minister, equivalent to Interior Minister of Pakistan, he creates such havoc in the heart of powerful ruling elite which eventually make them bow to his demands. Curiosity, anxiety and events leading to penultimate stage of the film are so profound which twitch viewers' sense of seemingly "All OK" perception and create such an impact drama on silver screen which pokes us hard. Nishikant Kamat has skillfully used the talent of Irrfan Khan like an error-free technician who wants nothing but excellence on every frame in which Irrfan Khan appears. In today's world of Indian cinema where only content-less films crossing 100 Crores are important, "Madaari" is an anomaly which blatantly challenges pseudo-realm of typical Bollywood masala flicks. From the first frame to last 'Madaari' is an Irrfan Khan's film but Jimmy Shergill as Investigating Officer Nachiket Verma impresses with his serious but meticulous performance. On the whole "Madaari" is a kind of film which gives you goose bumps and silent moments when you come out of cinema hall and words from Faiz Ahmed Faiz's famous poem "Bol Kay Lub Azaad Hain Tery" are said during final credits of the film in husky voice of Irrfan Khan. --I wrote this review in 2016--

Joker (I) (2019)

Scattered Pieces of Our Insanity Sometime require Focus, and Violence provides it

[9/10 · 8 October 2019]

Once an American writer Phillip K. Dick said, 'it is sometimes an appropriate response to reality to go insane.' What would be the nature of that grim reality which compels one towards insanity? It is nothing but our misjudgment of actual situation which makes us to believe that world needs sympathy more than empathy. Living in a credulous state of mind in which we assume that we have fulfilled our responsibility by sympathizing one with some genuine problem without understanding the psychological trauma of that very individual actually creates suffocation in which violence makes lots of sense.

In today world of cinema, no film explains this situation better than Todd Phillips' "Joker" which in my opinion the most important movie of the decade. Todd Phillips who is better known for his films like "Road Trip" and "The Hangover" has not only directed but also written the "Joker" along with Scott Silver. Even though "Joker" is a known DC character but the kind of treatment Todd Phillips has given to this film is nothing but jaw dropping. Realism and dark narrative in comic based films were started with Christopher Nolan's "Batman Begins" but Todd Phillips dark tale of "Joker" twitches issues like mental health and depleting level of societal sensitivity which give "Joker" an exclusive status in cinematic history reserved only for all time classic films like "Citizen Kane" and "The Godfather". With his writing and directing "Joker" Todd Phillips has alleviated the standard of comic based films to the level which has been a dream of every filmmaker of all the genres.

There are many actors who have played the role of Joker previously but what Joaquin Phoenix has done with it is work of a genius and makes us believe that there is always a step by step method to the madness. If Joaquin Phoenix does not win the Best Actor trophy in next year's Oscar on his performance in "Joker" then one will ask what kind of perfection in acting Academy is looking for? Robert De Niro as Murray Franklin the host of late night TV show is satisfactory but he has completely been overshadowed by Joaquin Phoenix which is understandable because this film solely belongs to Phoenix. Cinematography by Lawrence Sher is a major contributor in creating such a cinematic atmosphere which gives audience same feeling of suffocating grief whenever character of Joaquin Phoenix appears on screen.

On the whole, Todd Phillips' classic re-creation of "Joker" is a kind of film which will remain a focal point of many film critics from several angles, who have already started a positive controversy by identifying heavy influence on it from Martin Scorsese's films like "Taxi Driver" and "King of Comedy" but the fact remains "Joker" has its own standalone individuality. Few critics have also warned about the level of violence shown in "Joker" but they should know that scattered pieces of our insanity sometime require focus, and violence provides it. Violence in any form and situation cannot be justified but in some grey areas of insensitive societies it does find its justification and audience's applaud in penultimate stages of the film proves it vividly.

Ad Astra (2019)

A Slow Burner but Still an Exciting Space Adventure

[7/10 · 21 September 2019]

Once Sir Arthur C. Clarke said, "two possibilities exist: either we are alone in the Universe or we are not. Both are equally terrifying."

Sir Clarke mentions two extreme ends but there are plenty of things in the middle which can only be viewed when you understand the difference of being probabilistic and realist. Brad Pitt starer "Ad Astra" is all about revitalizing the faith in what is lying in the middle. "Ad Astra" is a Latin phrase which means "to the stars" directed by James Gray who previously directed films like "Lost City of Z" and "We Own the Night". Gray has directed "Ad Astra" in similar fashion as Stanley Kubrick and Christopher Nolan but aims different objective. The kind of treatment Gray has given to "Ad Astra" it seems he has valued the aesthetics of modern day viewers who are willing to accept the combination of both commercial as well as art house cinema. By adding commentary in Brad Pitt's voice throughout the film he has not left everything to viewers' own understanding which makes narrative different in its own way but gripping. Unlike Nolan, James Gray has not left every riddle for common denominators to solve but unravel every mystery which makes him creating his own signature style in film-making. One can say Gray's story-telling is similar to Nolan but with no abstract ending. This year belongs to no one but Brad Pitt. First with Tarantino's "Once Upon A Time in Hollywood..." and now in "Ad Astra" he has surprised critics with his subtle but highly attractive acting. In both the movies he has seemingly played tough guy but not without natural vulnerability of a common human being. Psychological dilemma of being a son of highly decorated astronaut father who has gone to historical space mission and same time as a failing husband, Pitt beautifully performs a role of a person who is getting empty from inside but unexpected news about his missing father creates a surge in him to find more about his father's secret space mission called Project Lima which was now threatening whole solar system. Though Brad Pitt is a trained army man with the rank of a major in "Ad Astra" but carries extreme vulnerability of as a son who is worried about his father who lost in deep space mission. Pitt nails this role with an ease due to calm and collected demeanor he possess. In many scenes, Pitt does not speak a single word but with his expressions explain all. So far this is Brad Pitt's best performance. Two space cowboys Tommy Lee Jones and Donald Sutherland are seasoned actors and have performed their assigned roles with their known exuberance.

The other noteworthy aspect of "Ad Astra" is its technical department. Cinematography is jaw dropping which was expected because astute James Gray has acquired the services of 'Hoyte Van Hoytema' who has also shot "Interstellar" for Nolan. There is lots of influence of Alfonso Cuaron's "Gravity" on sound department. There is no doubt "Ad Astra" will be an automatic selection for next year's Oscars in both cinematography and sound design categories.

On the whole, "Ad Astra" is a slow burner but still an exciting space adventure wrapped in Kubrick's style psychological layers and presented in Nolan's way. With the heavy influence of other legendary film makers still James Gray has successfully carved out his own compelling style of storytelling which makes "Ad Astra" one of the best films of this year.

Raatchasan (2018)

Well Crafted Serial Killer Movie from South Indian Cinema which challenges South Koreans in Thriller Genre

[7/10 · 28 August 2019]

Once famous Indian director Anurag Kashyap said,' there is more to Indian cinema than just Bollywood. I think regional cinema, specially Tamil and Marathi cinema, are exploring some really bold themes.'

It is a travesty that our knowledge of Indian film industry does not go beyond typical Bollywood "masala" movies when someone tests our knowledge about the subject. A country like India where every language tends to change its dialect after every fifty miles, Indian film industry further divides into several different regions, specially, in Southern demographic portion of the country and makes us acquainted with Kannada, Malayalam, Tulu, Telugu and Tamil film Industries collectively known as South Indian Cinema.

As Anurag Kashyap hints indirectly about risk taking ability of regional Indian cinema in his comment, a Tamil psychological thriller "Ratsasan" (Monster) released in 2018 further validates authenticity of his observation. "Ratsasan" directed by Ram Kumar shocks its viewer with dark but gripping narrative, emotionally charged performances and tactful treatment. The suspense of this Tamil thriller is so captivating that it kept me hooked till the end even there were no English subtitles available. The way it has been shot, narrated and paced you can easily fathom whatever situation "Ratsasan" unravels in its whole run time. Ram Kumar who has directed only two films so far including "Ratsasan" seems to be heavily inspired by South Korean serial killer movies like "Memories of the Murder" and "I Saw the Devil", in one of his interviews he admitted the same. In "Ratsasan" he successfully creates similar atmosphere of consistent fear on screen with a potential of sending shiver to viewers' spine.

"Ratsasan" is a story of struggling film writer who wants to make a movie on psychopaths but after being rejected by many film producers despite having a good script and family pressure he joins police force. Fate plays a unique trick on him after joining the police force when he finds stark resemblance between couple of recent murders and those unresolved cases from the past which he took as research material for his ambitious film script. Though his immediate superior creates few problems for him but with his typical writer's curiosity and instinct he investigates those murders and proves that these recent murders are the work of the same serial killer.

Film's main lead Vishnu Vishal as Arun Kumar has done satisfactory job as per director's requirement because role demanded both resourcefulness and vulnerability same time and Vishnu Vishal seems comfortable in balancing both as story's main protagonist. Along with Vishnu Vishal the other actor who shines is Manishkanth who plays Vishnu's brother in-law. In few sequences he steals the show. Amala Pual who plays the love interest of Vishnu just plays the love interest of Vishnu, nothing more.

On the whole, "Ratsasan" is well crafted serial killer movie from South Indian Cinema which challenges South Koreans in thriller genre but there are certain positive as well as negative technical aspects which need to be mentioned. Background score plays major role in psychological thrillers, if it has been incorporated well, increases viewers' interest in knowing what will happen next. Mohammaed Ghibran as an editor has done splendid work and his score increases the intensity as well as impact of grim situations. Editing seems reasonable not choppy but initial scenes of the film in which Vishnu's progression from failed script writer to police officer has been shown, feels bit hasty, more character development was needed there. Though film's villain Christopher creates right amount of shivering fear in viewers mind but in prosthetic makeup his character miserably fails and looks farcical and could have been better.

Mission Mangal (2019)

This Film Has Two Agendas, How Superior Indian Minds Are and Validation of Six Years' Performance of India Under Modi

[3/10 · 19 August 2019]

The slingshot effect or theory is a gravitational push to gain additional velocity for a space craft to break the gravitational pull when spacecraft passes close to a planet. If not for the scientists but it has been an attractive concept for Hollywood movies like Michael Bay's "Armageddon", Nolan's "Interstellar" and Ridley Scott's "The Martian". Recently it has been shown in new Bollywood biggie "Mission Mangal" starring Indian/Canadian actor Akshay Kumar and directed by debutant Jagan Shakti.

"Mission Mangal" is based on the events around Indian Space Research Organization's (ISRO) successful and historic Mars Orbiter Mission (MOM) commonly known as Mangalyaan. No doubt ISRO's mission was unique because of two main reasons. First no one from the elitist space club of the world ever expected a successful launch of such a space mission from third world country. Secondly, Mangalyaan was exemplary for its cost effectiveness. Historic effort by ISRO scientists deserved cinematic recognition but the kind of initiative typical Bollywood has taken to appreciate this event is nothing but a mockery of their own country's achievement. Filmmakers are notorious for taking cinematic liberties while reenacting historical moments for silver screen all over the world but how immaturely Bollywood filmmakers revitalize history in films proves that greed has completely overshadowed creative arts in India. It feels like making money out of anything has become number one priority of Bollywood filmmakers.

This summer Hollywood filmmaker Quentin Tarantino has presented his ambitious "Once Upon A Time in...Hollywood" which also touches real incident from the history but how creatively Tarantino builds the reality of his fictional characters around the facts increases the effectiveness of real incident is worth of your time and money even though Tarantino has completely changed the details of real incident. It still sounds proper homage in Tarantino's way. When it comes to Bollywood, there is only one target their filmmakers want to hit every time, how to make sick amount of money? Out of this world characters, farcical situations, heavy dose of clichés and preachy dialogues to raise nationalistic dogma show that creators of "Mission Mangal" had only two agendas, how superior Indian minds are and how "Mission Managal" can validate six years' performance of India under Modi.

There are certain valid technical as well as non-technical hotchpotches in "Mission Mangal" but this film is full of contradictions. Where India is notorious as "Rape Capital" of the world, "Mission Mangal" propagates that Indian women are liberated enough to experience non-marital sex. Where lynching incidents of minorities have become a daily norm, "Mission Mangal" deceives audience by showing a teenage hindu is free to choose whatever faith he or she believes in. Individuals from space centers from all over the world are assumed to follow strict discipline but lead space scientist in "Mission Mangal" does "Patch Adams" shenanigans to prove his scientific point in front of his superiors and panel of space scientists.

Performance of lead actors like Akshay Kumar, Vidya Balan and Sonakshi Sinha are satisfactory for Indian audience of today who are already over-hyped with exaggerated nationalistic & religious fervor but not for matured ones. On the whole, "Mission Mangal" is a typical Bollywood Masala which has been wrapped in space science. No doubt "Mission Mangal" will have thunderous response from the audience in form of mammoth box office collection because this is the only purpose this film serves.

Parey Hut Love (2019)

Enormous Risk with This Kind of Storytelling but the Glittering Effect makes it Worth of Your Time and Money

[5/10 · 15 August 2019]

Once I was discussing about revival of Pakistani cinema with my friend who happens to be a big fan of South Korean movies. We know our neighboring film industry also carries extreme fondness for South Korean cinematic work to the extent that they are often found copying the same. We also discussed chances of someone from Pakistan copies from other regions then what should be the benchmark for that filmmaker. We had difference of opinion but had consensus on one point that no Pakistani filmmaker go for replicating Bollywood movies ever because it will be like the copying the copied stuff. It gives us extreme satisfaction to learn that Asim Raza who debuted with a great film like "Ho Mann Jahaan" took a different path and went for getting "inspired" from one of the best rom-coms ever."Parey Hut Love" is an unofficial Pakistani remake of Hugh Grant's "Four Weddings and a Funeral".

As an avid moviegoer I was always keen to see how a Pakistani director with the caliber of Asim Raza interprets British aesthetics for such common denominators whose taste buds have completely been corrupted by Bollywood Masala for decades. It was a tricky job maintaining a shaky balance between "Desi" sensitivities and a Western plot line because our audience may feel estranged from the plot and higher dose of Bollywood ingredient can downgrade the slick quality which has been a trademark of every better Pakistani film of this revival period. Good news Asim Raza narrowly escapes and slightly achieves what exactly he was aiming for with "Parey Hut Love" but the title of the movie could have been better.

Sheharyar Munawar, who lacks in displaying the ability of being nervous and frisky same time like Hugh Grant, plays lover-boy-next-door kind of a role which seems to be the requirement of the script to increase the acceptability of his character for the audience. And he does with an ease but element of loudness in his character could have been toned down. Overall he looks good and he performs well.

Maya Ali who won everyone in her debut film "Teefa in Trouble" mesmerizes again but this time her character becomes slightly serious. Ahmad Ali Butt who was completely unstoppable in "Jawani Phir Nahi Ani 2" remains off color. Veteran actor Nadeem Baig is completely wasted and Hina Dilpazir is just repeating herself and there are scenes in which she seems overdoing. Zara Noor Abbas has a spark and deserves more brownie points. Mahira Khan and Fawad Khan appear in cameo roles.

Azaan Sami Khan proves his genes by composing one of the best melodies of the year for "Parey Hut Love". Every song has its own appeal and delight. Visuals are stunning and cinematography by Serkan Erzin and Salman Razzaq makes "Parey Hut Love" as one of the well shot movies of Pakistan. Production design and art work are magnificent and raise the bar. They just needed to refrain from product placement which is nothing but irritating.

On the whole "Parey Hut Love" is a diligent cinematic piece of work with narrative style which has never been explored before in Pakistani films. Asim Raza has taken an enormous risk with this kind of storytelling but glittering effect of "Parey Hut Love" makes it worth of your time and money.

Once Upon a Time... in Hollywood (2019)

"Once Upon A Time in... Hollywood"-Tarantino has tried to create an alternate reality according to his perception and wild imagination

[7/10 · 15 August 2019]

There are two kinds of realities in the world. One reality which we live in, other reality belongs to Quentin Tarantino. Tarantino is a rare breed who works under traditional Hollywood system but always takes an independent route while making films. The novel quality he carries distinguishes him and his creations from the rest. "Once Upon A Time in Hollywood" is Tarantino's 9th film starring two stalwarts of our time Leonardo DiCaprio and Brad Pitt. Expectations are always high when a well-known director has a support of talents like DiCaprio and Pitt but when it comes to Tarantino's film then star cast takes the back seat but how Tarantino is going to shock us this time becomes priority whether you are fan of his work or not.

His new cinematic piece is a story of a struggling TV actor Rick Dalton (DiCaprio) and his stunt double Cliff Booth (Pitt) who just exist in Tarantino's cinematic imagination about 1969 tinseltown. What makes reluctantly believable and interesting is their co-existence with the actual Hollywood characters of yesteryear like Sharon Tate (Margot Robbie), Roman Polanski and legendary Bruce Lee. The way Tarantino tangles his fictional characters with the real ones it becomes difficult to separate fact from the fiction.

Pacing of "Once Upon A Time....." is tediously slow like previous Tarantino films but required to build reasonable backdrop of fictional characters and their connections with the real ones. Once fictional characters find their solid base they all move forward towards such a jaw dropping climax which is the specialty of every Quentin Tarantino's movie. All bizarre and seemingly trivial presence of even actual characters with fictional ones finally creates an alternate ending of real tragedy you have not even imagined but subconsciously assume appropriate. Style of Tarantino's direction is like playing field hockey where eleven different players of same team holding different positions dribbling the ball in all corners of the ground but eventually delivers the ball into goal post with perfection.

Analyzing Dicaprio's performance is nothing short of a blasphemy because whatever he does seems immaculate. Brad Pitt with his controlled demeanor looks attractive but his ruthlessness in penultimate stages of the film is jaw dropping and will be remembered for years. Margot Robbie as Roman Polanski's wife Sharon Tate is adorable and presence of her character has a purpose.

On the whole, "Once Upon A Time...." is not the best Tarantino's movie ever but it is Tarantino's movie. It seems this time he is paying homage to victims of notorious Manson Family Murders and with "Once Upon A Time in Hollywood" Tarantino has tried to create an alternate reality according to his perception and wild imagination. Has he succeeded or not? You will have to experience it to know it. In future Tarantino is gearing up to conquer space with his wildest imagination in next Star Trek.

Baaji (2019)

Not Bad At All and Has Unexpected Ending

[5/10 · 4 August 2019]

American poet and essayist Christopher James Gilbert once said, "An anomaly has his own ambitions. You can try reasoning with him, but that's like using money to bribe a beast." In definition an anomaly is something which deviates from what is standard, normal or expected. Meera is not less than an anomaly for Pakistani showbiz and mainstream films. Whatever Meera does deviates from what is standard, normal or expected. Again with her new release "Baaji" she has successfully deviated from the expectations of those who are her consistent naysayers. This time she has not faltered and avoided providing an opportunity to them for cracking jokes on her colorful English and shenanigans. From her first scene to last she has given noticeable performance.

Saqib Malik who initially directed Fuzon's video "Khamaj" has brought forth his first all in all Pakistani cinematic product with "Baaji" but it may surprise a few that "Baaji" is not his first directorial venture. Few years back he has provided his services as Second Unit Director to Mira Nair's "The Reluctant Fundamentalist". This may be the reason despite of having a weak story-line, his first Pakistani film feels fresh and same time matured. Wave of revival of Pakistani film industry is all over and new directors are not willing to take risk by casting ghosts from the past but Saqib Malik must be applauded for betting on Meera as main lead. No doubt Saqib Malik has played a gamble and his gamble has paid off well. By all means "Baaji" is well crafted film and nothing seems overdone.

Amna Ilyas as Neha is Ok but two shades of her role does not justify her character archetype. In film she belongs to a lower middle class family of Lahore and works as masseuse. She is naïve, vulnerable and shy but when she comes under Meera as assistant her character takes 360 degree turn and appears to be more confident and dealing her boss Meera's financial and professional matters even clubbing like pro which is confusing. In writing less than required work been done to build relationship between her and Osman Khalid Butt. It is abruptly revealed to the audience that both are in love in penultimate stages of the film.

Osman Khalid Butt as America return film director Rohail Khan does satisfactory job. No doubt he has taken a giant leap from roasting Meera on his YouTube channel to playing as main lead opposite her in a film. Ali Kazmi and Mohsin Abbas Haider have played assigned roles like seasoned actors. But one actor who easily wins more brownie points is Nayyar Ejaz. With his mischievous acting he provides brief lighter moments to audience in such a film environment where director has seemingly restricted every actor going overboard.

Music is soothing especially song "Badlaan" excellently sung by Zeb Bangash, easily one of the best songs of this year. Cinematography is attractive, glitters every scene and editing is hasty which seems like the result of sloppy writing of some brief portions of the script. On the whole, Baaji is bearable addition in the tally of Pakistani films which is Not bad at all and has unexpected ending.

Fast & Furious Presents: Hobbs & Shaw (2019)

Owners of Fast & Furious Franchise Must Take Some Cues from the Makers of Mission: Impossible-Fallout

[5/10 · 4 August 2019]

When a successful cinematic franchise is milked fully and sucked till bottom content wise then run of the mill spin offs become the only and logical offset of any further creative efforts from the makers of same franchise. Like it or not but aforementioned seems the understandable reason of existence of new Fast & Furious spin off "Hobbs & Shaw" which has been directed by David Leitch who is known for the films like "John Wick" and "Dead Pool". Although John Wick and "Dead Pool" were all in all action movies but critics loved them because of their novelty in the treatment of the story line but unfortunately "Hobbs & Shaw" severally lacks in it. Though "Hobbs & Shaw" is certified Hollywood production but seems like writing team led by Chris Morgan has been taken notes from 90s Bollywood movies starring Akshay Kumar and Saif Ali Khan. It seems writers did not do much brainstorming to create something new but they would have spared some time to watch John Woo's "Mission: Impossible II".

There is no need for disappointment for the Fast & Furious fans because there are few elements which still make "Hobbs & Shaw" a watchable treat. First and foremost the main lead Dwayne "The Rock" Johnson and Jason Statham who are the main USP of this spin off. Their presence, persona and banter for each other prove how beautifully they have excelled in the field of acting. Albeit they are known for their action skills but with "Hobbs & Shaw" they have shown their fans and critics that they are fully capable of taking roles which require zero action. First time fans and critic will give this Fast & Furious spin off a second watch only because of their acting skills but not the action. One can expect outstanding action, jaw dropping stunts "Hobbs & Shaw" does not disappoint us apart from less than few scenes which are insanely stupid but does not devalue & derail overall product.

Acting talent of an actor like Idris Elba has been completely wasted along with weak script but on the whole "Hobbs & Shaw" is good summer treat for the fans of action movies. After watching "Hobbs & Shaw" it seems like today's action directors from Hollywood are more focused on showing the miracles of new technologies on silver screen than the interesting content. In my opinion owners of Fast & Furious franchise must take some cues from the makers of last year's "Mission: Impossible-Fallout" to learn how to maintain an ideal balance between action and content.

Laal Kabootar (2019)

If Oliver Stone would have come to Pakistan to make film on Karachi then it would be somewhat similar to "Laal Kabootar".

[8/10 · 25 March 2019]

Once an American social reformer Frederick Douglas said," men may not get all they pay for in this world; but they must certainly pay for all they get." In midst of target killing, mobile snatching and land mafias, hoping an opportunity to improve quality of life for an individual from middle or lower class of the society is not less than boiling the ocean. This is the tragedy of life of Adeel Nawaz (Ahmad Ali Akbar) the male protagonist of newly released Pakistani film "Laal Kabootar".

Directed by debutante Kamal Khan, "Laal Kabootar" is such a cinematic piece which drags its viewer into darker side of Karachi. Though Karachiites are well acquainted with this darker shade of the city but the one who carries only surface knowledge of this mega city may have his or her shock of life after witnessing the events on silver screen and those events are blunt and ruthless. These are the elements which make "Laal Kabootar" such a content no one has dared to show on silver screen before. No one can do it if he or she has not tasted the real essence of Karachi and Kamal Khan has done it. Along with Kamal Khan the producers of the film Hania Cheema and Kamil Cheema must be commended for taking on such an uphill task in their young age.

Ahmad Ali Akbar, who has been a regular feature of few good films lately with forgettable roles, appears as an actor par excellence. One may no doubt on his acting caliber but "Laal Kabootar" has provided him enough room to blossom his skills and he does it brilliantly. Critics who understand the pros and cons of realistic performances would have already short listed him in the category of Best Actors in next year's award shows.

Ahmad Ali Akbar steals the show with his realistic portrayal but Mansha Pasha does not fall back and shines with equal intensity. Rashid Farooqui who last impressed film critics in "Ramchand Pakistani" gives outstanding performance as a typical police-wala with genuine needs. At last but not least Saleem Mairaj, who appears as a cameo but frightens enormously. With his acting prowess Saleem Mairaj may challenge India's Nawazuddin Siddiqui and as a critic I would love to see him proving his metal along with him someday. Background score, editing and music are top-notch. Mo Azmi has done splendid job in cinematography and makes "Laal Kabootar" a well-shot film.

On the whole, "Laal Kabootar" is a film with gripping narrative, realistic treatment and impeccable performances. The way Kamal Khan has carved out his first film project it will not be an exaggeration to say that if Oliver Stone would have come to Pakistan to make film on Karachi then it would be somewhat similar to "Laal Kabootar". Do not miss it.

Sher Dil (2019)

Pakistani Prime Minister Imran Khan's message to India in cinematic form which is nothing but Peace and Mutual Respect

[6/10 · 24 March 2019]

"And, when you want something, all the universe conspires in helping you to achieve it." If not before but now Mr. Nomaan Khan the writer & producer of recently released Pakistani film "SherDil" would have started believing in this famous quote from "The Alchemist". Nomaan Khan started working on this film project couple of years ago but events shown in "SherDil" has startling resemblance with recent Indo-Pak tension. "SherDil" is one of the most anticipated Pakistani films of this year and timely tribute to Pakistan Air Force.

"SherDil" has been directed by Azfar Jafri who is known for films like "Siyaah", "Janaan" and "Parchi". Though he has been associated with films from different genre but with "SherDil" he has added one more feather in his cap. Directing war film is not a child's play in Pakistan but Jafri has pulled it off with an ease. There are certain dull moments in "SherDil" but ignorable due to some witty dialogues and situations which maintain audience's interest in the film till the end.

The main offering of "SherDil" is its visual effects and cinematography of aerial combats which have been shot magnificently. Arguably such dogfights we have never seen in any film from subcontinent. There should be no doubt that "SherDil" will always be remembered for combat scenes between JF-17 Thunder and Mirage 2000. We must thank Scott Newman for providing believable visual effects and Riki Butland for unbelievable cinematography. Prior "SherDil" Riki Butland has been associated with Hollywood blockbusters like "Star Trek Byond" and "Fast & Furious 7". Services rendered by Scott Newman and Riki Butland for "SherDil" has raised the bar of Pakistani films to the next level.

Mikaal Zulfiqar is one of the main heartthrobs of Pakistani dramas and films, shines in "SherDil". There is always a low opportunity to show acting prowess in an out and out action film but still Mikaal Zulfiqar has done satisfactory job as a main lead and he looks believable in uniform. Hassan Niazi as nemesis of Mikaal Zulfiqar justifies his selection in "SherDil". His verbal confrontations with Mikaal Zulfiqar are one of the main features of "SherDil" which does not only provide entertainment but also shows glimpses of irk between Pakistan and India.

Writer and director of "SherDil" should be commended for not doing mud sledging while showing confrontation between a Pakistani and Indian fighter pilot. Though "SherDil" is an effort to boost patriotic and nationalistic feelings but same time refrains from spreading jingoism and war hysteria. Armeena Rana Khan and Sabeeka Imam are completely wasted in the film. May be storyline does not require their extended roles but one thing is certain their importance in "SherDil" is not more than the props. Music is completely irrelevant and forgettable, only drags the pacing of the film.

On the whole, "SherDil" is refined cinematic product from Pakistan which does not only entertain but also explain the current Pakistani standpoint towards India. One may brag to claim that "SherDil" has a power to convert the happenings of 26-27 February into mere its promotion. On positive note "SherDil" seems like Prime Minister Imran Khan's message to India in cinematic form which is nothing but Peace and Mutual Respect.

Teefa In Trouble (2018)

A Complete Entertainer Which Raises Bar for Film making in Pakistan

[7/10 · 26 July 2018]

Once Sir Alfred Hitchcock said, "Length of a film should be directly related to the endurance of the human bladder." In spite of its two and half hour long runtime "Teefa in Trouble" nullifies Hitchcock's saying which an incredible feat to achieve for a film from this part of the world. To make it possible a film must have a content audience could relate with and this is an element which makes Pakistani films of new era unique. Though "Teefa in Trouble" does not offer novelty in story line but what makes it an extremely watchable experience for everyone is its slick execution and style. As a keen observer of development of new cinema in Pakistan I've never expected less than a visual excellence from Ahsan Rahim the director of "Teefa in Trouble". Stunning cinematography, well-choreographed action sequences and spontaneous humor with typical Lahori Punjabi accent are the main USP "Teefa in Trouble" offers. Ahsan Rahim has proved himself as an accomplished director who knows what exactly Pakistani cinema goers are craving for.

Multi-talented Ali Zafar who started his filmy career in neighbor's tinsel town, enhanced his skills there as an actor and came back to home with a dream of setting new bench mark in reviving film industry of Pakistan. One may envy his fortune for actually seeing his dream coming true. With "Teefa in Trouble" Ali Zafar has successfully presented himself as a complete package that can do anything in error free manner. From his meticulous funny acting with full of amusing punch liners to his capability in performing difficult action stunts with an ease we can rate Ali Zafar as next big thing in Pakistan film industry.

Faisal Qureshi has been a lucky mascot for Ahsan Rahim's professional career. Again with his witty punch liners Faisal Qureshi has not disappointed us in "Teefa In Trouble". There is no doubt Faisal Qureshi's performance as sidekick of main protagonist of the film will impress cinema goers and critics alike.

Mehmood Aslam is veteran actor of Pakistan TV industry who divorced his filmy career many years ago but reappears on silver screen with a Bang as "Butt Saab" in "Teefa in Trouble". His typical Lahoriya style acting is noteworthy.

Javed Sheikh is playing "Bonzo" a non-Resident Pakistani millionaire who is concerned about her daughter's marriage. Bonzo's real name is Basheer in film and whenever he transforms himself from Bonzo to Basheer is treat to watch and one of the main features of "Teefa in Trouble".

With "Teefa in Trouble" Maya Ali is commencing her filmy career and what a debut she has made. She is not only looking beautiful but comfortable in performing such a role which demands more than what she has been doing on small screen. Traditionally female lead is not more than a prop in an out and out action film but the way writer, director Ahsan Rahim has balanced her out invalidates all stereotype perceptions.

As far as technical department is concerned, this is an area where film performs superbly. One can proud to have a talent like Zain Haleem the cinematographer. Every shot which he has taken, gives soothing effect to viewer and editing seems flawless. Music of "Teefa in Trouble" is already allover and being watched, reviewed and discussed extensively on social media. Though "Non-Item Number" has already become chart buster but "Sajna Door" is another melodious number which will stay in your list of favorite songs for a very long time.

No film is free from loopholes and "Teefa in Trouble" has few minuses which must be briefly discussed. First half of the Film is perfect but after interval it has been dragged. The dream sequence in which Teefa confronts different forms of his own alter egos seems trivial, unnecessarily increases the runtime of the film to the dangerous level, albeit, this sequence in itself a novel idea for a Pakistani film. This sequence can easily be removed to maintain the fast pace of the film. Brand affiliation do wonders for any film but when same brand affiliation transforms into product placement and becomes part of film, it gives bad taste to its viewers. Same thing happened with "Teefa in Trouble" when we surprise to notice "Diamond Supreme Foam" appearing from nowhere in Poland. Whether it is Hollywood, Bollywood or Pakistani film industry filmmakers must realize the fact that product placement in films is nothing short of a poison which kills the connection a viewer establishes with the visuals on cinema screen.

"WAAR" was the landmark film which triggered all what we're witnessing today, "Teefa in Trouble" is natural outcome of consistent struggle of our new breed of filmmakers who believe that they have the capability and capacity to change the fate of Pakistani film industry for the future. On the whole, "Teefa in Trouble" is a complete entertainer which raises the bar for every department of film making in Pakistan. Go and watch it.

Cake (I) (2018)

Revitalizes Our Confidence In New Breed of Pakistani Filmmakers.

[8/10 · 7 April 2018]

Peter Guber says, "Stories are not icing on the cake; they are the cake!" One may confirm the validity of Peter Guber's words after watching newly released Pakistani family drama film "Cake" directed by newcomer in tinsel town Asim Abbasi who previously directed few short films. Still young but the kind of immaculate maturity Abbasi has shown in his first full length feature film is sufficient to make us believe that land of our film industry is fertile. Where most of our film makers and directors are more focus on Bollywood type spicy masala, Abbasi bakes dessert like "Cake" in which he values adequate amount of right ingredients to mesmerize the taste buds his consumers to the optimum level and he sufficiently succeeds in it. First, as writer Abbasi transforms his thoughts on the paper to develop such a content which brushes the sensitive boundaries of our society but do not cross it and same time adopts an outlook to fulfill taste and requirements of the modern day. With amazing writing and interesting screenplay Abbasi has actually proved the authenticity of an old axiom that content is the king.

As far as performances are concerned, Pakistan film industry is fortunate to have services of an actress like Aamina Shaikh who is as glamorous as Depika Padukone and as talented as Smita Patil or Shabana Azmi. "Cake" is the second film after "Seedlings-Lamha" which has shown her acting prowess on silver screen with full power. Her actions and reactions on grim situations of the film are worth of watching. Sanam Saeed has performed magnificently as Aamina Shaikh's younger sister whose is battling with ghosts from her past to find late but valid vindication.

Though all the actors have performed stupendous job in "Cake" but Beo Raana Zafar is real gem of the film. Her flamboyant old age persona is novel for Pakistani viewers but her blatant comments spread joy on silver screen and save the film from dull moments. There is no doubt Beo Raana Zafar will be top contender to win few awards next year. Muhammad Ahmed as Beo's husband in first half of the film is more like a backup player but he comes in forefront in second half and steals the show. Adnan Malik has done satisfactory job and Mikaal Zulfiqar appears as cameo.

On the Whole, "Cake" is surprise addition into tally of mature films from Pakistan. Watertight script, interesting screenplay and Impact ful performances make "Cake" delightful experience for cinema goers. Films like "Cake" revitalizes our confidence in new breed of Pakistani film makers.

Padmaavat (2018)

"Padmavaat: Picturesque Quality But Forced Prejudice Transforms It Into Bitter Almonds."

[4/10 · 6 February 2018]

Once an American animator and filmmaker Charles Martin "Chuck" Jonese said, "We must not confuse distortion with innovation; distortion is useless change, art is beneficial change."

Latest period drama by ace Indian filmmaker Sanjay Leela Bhansali "Padmavaat" explains the rationality behind Chuck Jones' words. Sanjay Leela Bhansali who is known for taking on gigantic silver screen projects, enacts the most controversial cinematic piece of his career.

Film "Padmavaat" is based on an epic poem "Padmavat" written in Awadhi language in 1540 by Sufi poet and saint Malik Muhammad Jayasi. Before going into pros and cons of Bhansali's film if we make little effort of knowing more about this Sufi poet then we may find few interesting details of his life.

He was blind in one eye and had seven sons. According to one legend once he mocked the opium addiction of another saint in his poem "Posti-Nama", the roof of his house collapsed, killing all of his sons. He was, then, invited by Raja Ramsingh of Amethi to recite the verses of his poem Padmavat in his court. Jayasi spent last years of his life in forest near Amethi and legend says he would often turn himself into a tiger. One day he was roaming around forest as a tiger, Raja's hunters killed him by mistake. Raja revered his memories by ordering recitation of Holy Quran at his memorial. Whether Sufi Jayasi had a power of transforming himself as tiger or not, this is a myth but one fact is crystal clear how past rulers of subcontinent used to respect other faiths.

After massive but unnecessary hue and cry Bhansali's "Padmavaat" has finally been released. Was it worth it? One may answer with Yes, and No. The kind of budget (probably INR 200 Crores) and production value "Padmavaat" carry, Bhansali's effort seems justifying every single penny spent but the content which has been carved with mixture of humongous distorted facts transforms it in a beauty without true soul.

Honesty is not taken as best policy in an industry where only numbers matter. Not only the history but Bhansali has also meddled with Jayasi's literature by not mentioning talking parrot name Hiraman, may be in an effort to give his take on Padmavat more "realistic" feeling and to protect the "sanctity" of fictional princess because Jayasi's poem tells Hiraman the talking parrot of her used to stir up sexual desires in her by telling erotic stories. Hiraman, the parrot flew away when resenting father of princes ordered his guards to kill talking bird. Hiraman found refuge with Ratan Singh, the ruler of Chittor.

Excluding talking parrot from story can be ignored for the sake of creative liberty every director takes but the travesty Bhansali has committed while revitalizing Alauddin Khalji, the second most powerful ruler of Khalji dynasty, is utterly indigestible. Though Ranveer Singh has given everything to his character as Aluddin Khalji to make it memorable but unfortunately it will always be remembered for wrong reasons. Bhansali's Alauddin Khalji is a ruthless, uncivilized, backstabber and mischievous Muslim ruler who can go to any length to satisfy his lust for power, wealth and woman. Since hardliners have come into power in today's India, Bhansali's "Padmavaat" seems like a pitiful effort to bottom feed antagonism against Muslims.

No idea about the actual motivation behind Bhansali's so-called dream project but it gives us a feeling he wanted to cash in prevailing communal-political situation of India. But politics is like a double edged dagger and Bhansali would have never expected to confront extreme reaction from same section of Indian society he actually wanted to glorify with this film. And not a single word has been reverberated by Indian Muslims against "Padmavaat" which is surprising but wise and commendable.

We have been witnessing a continuous drive of changing history of Indian subcontinent from a peculiar but very strong section of Indian society which has taken their efforts to new whole level since Butcher of Gujrat has become leading man of largest "democracy" of the world. From the point of view of Bhansali, where he admits Alauddin Khilji's successful resistance against barbaric Mongols to save India in his film but the same time he completely tarnishes Khilji's personality with fictional inductions.

Showing Alauddin Khilji's army carrying flags similar to Pakistani flag, Alauddin Khilji's self-commitment to have every "nayaab" rare thing or person as his property by hook or crook, giving darker color grading to portions in which the character of Alauddin Khilji has been filmed, are typical "Bollywood-ish" shenanigans and has been trade mark of every Indian filmmaker who wants to exploit communal sentiments against Muslims just for the monetary purposes. Saving Indians from Mongols more than four times, establishment of an organized army and some economic reforms introduced by Alauddin Khilji have no value for Bhansali but an inhuman act of "Jauhar" the mass suicide of women is exalted in grandeur manner.

Unlimited words can be added here to highlight film portions where Bhansali went wrong but there are certain worth mentioning elements of "Padmavaat" which makes it unique silver screen experience. One of those elements is performance of Ranveer Singh. Though his presentation as Alauddin Khilji carries more resemblance with "Khal the Drago" from "Game of Thrones" than any of Muslim rulers of subcontinent's history but still Ranveer Singh shines like a star. In his first scene where he appears with an ostrich is nothing short of an epic. His flamboyance with mischievousness keep us glued with the screen till the end.

Deepika Padukone as princess Padmavati is a result of a poor casting decision based mere on star power. Princess Padmavati is envisioned as the most beautiful female ever but there are several scenes in the film in which Aditi Rao Hydari as "Mehrunissa" the wife of Alauddin Khilji looks more gorgeous than her. Her performance is satisfactory but cannot be considered as one of her best.

Jim Sarbh excels magnificently as Malik Kafur the eunuch confidante slave of Alauddin Khilji. The kind of character he has played in "Padmavaat" is not less than a challenge because many heavyweights have refrained from performing similar roles in the past. Because of Malik Kafur few historians have raised questions about Alaudin Khilji's sexual orientation and called him homosexual but many historians have discarded it by stating that Alaudin Khilji kept Malik Kafur close only because of his loyalty and wisdom in political and administrative affairs.

Like Deepika Padukone, Shahid Kapoor has also been completely wasted in "Padmavaat" as Ratan Singh but he must be praised for accepting such an assignment where his talent was to be substantially marginalized.

Sudeep Chatterjee the cinematographer has done award winning job. The kind of lenses he has used while filming different characters of "Padmavaat" enhances the impact of performances. Visual effects are commendable and can easily be compared with "Bahubali2".

On the whole, Sanjay Leela Bhansali's "Padmavaat" carries picturesque quality with interesting performances especially from Ranveer Singh and Jim Sarbh but forced prejudice against Muslim rulers of the past transforms Bhansali's "Padmavaat" into bitter almonds.

Arth (2017)

The Destination: A Classic Out of A Classic

[7/10 · 29 December 2017]

If you are stepping in cinema hall carrying nostalgic burden of Mahesh Bhatt's classic "Arth" one must advise you to lay it off because you will not be doing justice to Shaan Shahid's "Arth". Though Shaan Shahid's Arth is an official remake of Mahesh Bhatt's classic of yesteryear but new Arth has its own soul, individuality, impact and most importantly time. As a film critic and fan of old Arth it gives me an uttermost satisfaction that Shaan Shahid did not make any effort to destroy the essence of the original instead he has carved out a new story with altogether different perspective of a character from the original which was waiting to be explored.

With his Arth Shaan Shahid has given a great lesson to all those so-called film makers from both sides of border how to get inspired but not conspired. For new generation of millennia who have no acquaintance with Mahesh Bhatt's classic, Shaan Shahid's Arth introduces them to those characters in more relatable form. In other words, Shaan Shahid has increased the nostalgic value of original Arth in many folds. I had little doubts in Shaan Shahid's skills as a director but how aesthetically he has handled a classic content is absolutely commendable. Yes there are few technical loopholes if ignored then Shaan Shahid's "Arth" is a treat to watch.

As aforementioned new Arth explores the character of Raj Kiran from the original and Shaan Shahid shines magnificently in it. For last many years we have been witnessing Shaan Shahid performing roles like "Mard Ko Dard Nahi Hota" type but his vulnerability as human being who also feels pain was completely unknown to us. As a struggling singer who is trying hard to re-win his lost audience, Shaan Shahid's performance is full of impact and relate-able. His performance in song "Ronay Dey" is a real tearjerker.

Due to no back story of Raj Kiran's character in Original Arth, Shaan Shahid had a reason to play around his character. In case of Uzma Hassan she did not have this liberty but she blossoms in her character and emerges as shocking revelation. Comparing Uzma's performance with Shabana Azmi is unfair but she has certainly matched Shaan Shahid's acting prowess.

Humaima Malik has given her hundred percent as famous film star but there are moments in the film where she seems going overboard and unnecessary loud. Samita Patil had little time share on screen in original comparing others but with her restrained and effective performance she is remembered. Still Humaima Malik must be praised for playing a bold but very important role which triggers other characters. One may assume what she has done on screen was the requirement but not intentional.

There are few film critics who have written off Mohib Mirza in Arth which is unfair reaction to a fine actor. He has performed according to script. He was required to appear with controlled demeanor and he has done exactly the same.

Cinematography of Arth is eye candy and music is phenomenal. There are many beautiful songs in Arth which give soothing effect to listeners but it is really surprising why makers of new Arth has not promoted song like "Kabhi Main Sochta Hoon" which in my opinion is one of the best songs of this year.

On the whole, Shaan Shahid's "Arth" is one of the good films of 2017. The kind of heart and soul Shaan Shahid has invested in this project as producer, director and actor, one may expect from "Arth: The Destination" to emerge as classic out of a classic in years to come.

Verna (2017)

It Will Stun You Beyond Belief

[8/10 · 19 November 2017]

Rape is not about sexual pleasure. It is all about power which is practiced ruthlessly to eliminate freedom of an individual on whom it is applied. In societies like ours where understanding and discussion on forbidden topics are taken as taboos, a rape victim becomes liability and a slave of her or his own fears. This miserable situation is not less than a hell built by our own hands.

Depicting social ailment of rape on silver screen has always been a tricky trade but the way Shoaib Mansoor has shown in form of "Verna" is work of a genius. He has not shown anything but he has unraveled everything. He has not said anything but he has declared everything. Though Shoaib Mansoor slightly touched the sensitive issue of rape in his previous two installments "Khuda Kay Liye" and "Bol" but "Verna" is a blatant reality of existence of rape in our society muddled in dirty politics of elites of our time.

Beautiful Mahira Khan who was in and out of controversy lately not only emancipates but alleviates herself gorgeously with her intense portrayal of a rape victim Sara in "Verna". The kind of performance she has given in "Verna" can easily be compared with Jodie Foster's rape-drama of yesteryear "The Accused". Mahira Khan single-handedly propels the plot albeit Shoaib Mansoor's imagination and input cannot be removed but her magnificent ability of reflecting words with believable emotions is extremely engaging and her main USP.

Debutant Haroon Shahid is surprising revelation. The way he has matched with the acting prowess of seasoned Mahira Khan in intense scenes, it does not feel "Verna" is his first acting assignment. Audience first sympathizes and then hates Haroon Shahid's volatile character as husband of Mahira Khan and this does not seem like a work of a first timer but a matured actor.

Zarrar Khan as powerful, flamboyant and moral-less son of feudal lord and Governor is a sort of character one will love to hate. In one of the scenes in which he orders his servant to drink glass of his mouth-gargled water is jaw dropping. Rasheed Naz as Zarrar Khan's lawyer is amusing and gives few moments of humor in an out and out intense drama like "Verna".

Others actors have done satisfactory job as required by director Shoaib Mansoor. Film's cinematography is phenomenal and gives picturesque quality in every scene. Songs are melodious but grim and do not feel like out of place even supports actual pacing of the film.

On the whole, "Verna" is gripping and hits like a solid punch with an unbelievable climax specially penultimate stages when Mahira Khan's father dies which literally gives Goosebumps. If this latest venture of Shoaib Mansoor is marketed well internationally and proper PR is done then it can emerge as worthy contender for Oscars in 2019. Watch "Verna" it will stun you beyond belief.

Lucy (I) (2014)

Lucy is Another Limitless But coated in Theory of Evolution

[6/10 · 16 October 2017]

Theory of Evolution Charles Darwin twitched his contemporaries with so-called "compelling" evidence in his 1859 book "On the Origin of Species", presenting counter defense for his theory of evolution. Core of his theory was based on concept of "Natural Selection" according to which "species act to preserve and accumulate minor advantages in result of genetic mutations. Suppose if a member of a species developed a peculiar functional advantage such as wings and learns to fly, its offspring would inherit same advantage and pass it on through process of reproduction. In simple words, natural selection is the preservation of a functional advantage that enables a species to compete better in wild and seemingly inferior and disadvantaged members of the same species would gradually die out."

Director Before dissecting new sci-fi thriller "Lucy" it was necessary to give readers a small bite of theory of evolution which has been inspiring Hollywood directors throughout cinematic history. Director of "Lucy" Luc Besson is no different. Luc Besson is the same French director who touched the fame in Hollywood tinsel town with Bruce Willis starer "The Fifth Element" in 1997. He has its expertise in telling sci-fi stories but with "Lucy" he has gone nose deep explaining Darwin's "theory of evolution" with high octane car chase sequences on streets of Paris and same time predicting about possibilities if someone, by chance, gets capability of using 100% of his or her cerebellum capacity. Using 100% of brain capacity does not seem an idea which has never been exploited by Hollywood. Fans of sci-fi adventure movies have already seen similar idea in Bradley Cooper and Robert De Niro starer fabulous movie "Limitless" in 2011 but in "Lucy" Luc Besson has tried to explain similar concept in a grand manner.

Plot The plot of the movie revolves around a blond American girl name Lucy (Scarlet Johansson) who is trapped in the middle of horrific drug deal by his boy friend. She was forced to deliver a case filled with some highly advanced lab drug to dangerous mafia boss Mr. Jang (Minsik Choi – Old Boy, I Saw The Devil). She is further dissected and filled with same drug in her abdominal by Mr. Jang's men to make her a conduit of delivery to his clients. Because of torture during her captivity packet of drug in her body leaks to the maximum level and creates some chemical reaction after mixing with her DNA and results super ability of using her brain to exceedingly optimum level. With her newly gain super power she contacts Professor Norman (Morgan freeman) who has done extensive research on concept of utilizing human brain more than 10% which is the maximum level to date. Mixing of drug in high quantity in her body gives Lucy limitless powers to see beyond the existing and visible world. Due to her possible death in result drug she was advised by Dr. Norman to see and record evolutionary process of human being from single cell to multi-cellular organism.

Performances "Lucy" is filled with multi-star cast from Hollywood, France and Korea. As mentioned above main lead has been performed by beautiful Scarlet Johansson. She has brilliantly displayed both shades of naivety and fearlessness. As far as Hollywood reverend Mr. Freeman is concerned, it seems he has become an integral part of every movie with similar concept. Oblivion, Transcendence and now Lucy Mr. Freeman has not shown slight diversion. Along with fast paced action the other USP of the "Lucy" is performance of Korean actor Min sik Choi who has given not surprisingly fantastic performance without speaking a single word of English in whole movie. His ruthlessness as mafia boss and drug dealer is worth to be witnessed.

Conclusion Lack of novelty in story is big minus of the movie but unique style of storytelling by Luc Besson, execution and performance of Min sik Choi make "Lucy" worth of repeat watch.

Actor in Law (2016)

ACTOR IN LAW: Humor Which Is Not Artificial But Very "Pakistan-ish" & High On Value

[8/10 · 16 October 2017]

One can derive any meaning from the acronym "A.C.T.O.R" but the supposed abbreviation of this acronym can be best described as Action, Collaboration, Tone, Oration & Rhythm. These are the five inevitable elements if followed with religious zeal then can bring sea change in anyone's life regardless of his or her line of work. Acting and practicing law are two seemingly different professions with no connection whatsoever but when someone whispers that one of the greatest personalities of our yesteryear Muhammad Ali Jinnah the Quid-E-Azam and founder of Pakistan who was a practicing lawyer and a political man had enormous inclination towards acting then it can raise few eyebrows. He was so fond of acting that he used to read Shakespearian writings often loud even in days of his most active political life. During his young days in London he once decided to join a theater company and got himself selected for his dream role of Romeo but when his father Mr. Poonja Jinnah came to know about his son's latest hobby, he wrote him and strongly disapproved Quid- e-Azam's career intentions in acting. As an independent citizen of Pakistan, I thank Mr. Poonja Jinnah but as an enthusiast of drama, film and art I assume we missed possible acting legend.

Quid-e-Azam Muhammad Ali Jinnah's interest in acting was an open secret but limited to those who carry a habit of nose diving in history of great people. To general Pakistani public it is nothing short of a cultural shock because no one intend to reveal it to them before the film makers of block buster "Actor In Law". Though film is not based on life of Quid-e-Azam Muhammad Ali Jinnah but the whole concept of the film is inspired by aforementioned story. "Actor In Law" which is already roaring at Pakistani box office is second but intelligent presentation of producer / director duo of Fiza Ali Meerza and Nabeel Qureshi who previously collected accolades for cult hit "Na Maloom Afraad". With genuine never-told- before story, skilled direction and cinematography soothing to eyes, "Actor In Law" one of the few best films of the year. Though post interval part of the film is not as high octane as preinterval portion but as a whole cinematic package "Actor In Law" entertains in a big way. Nabeel Qureshi as director once again impresses with his capability of handling meticulous plot like a veteran who does not drifts away from the main story line. I must say the revival of Pakistani film industry has brought league of such a talented league of extraordinary directors who make films with their brains but does not allow brains to occupy vicinity left for hearts and Nabeel Qureshi is one of them.

The journey of Fahad Mustafa from screen actors to an ardent TV show host to complete celluloid actor who can act, emote and dance with an ease, seems not bumpy but result of sheer talent he has been carrying all along. His role as struggling actor cum fake lawyer Shaan Mirza is par excellence and worthy enough to win few awards next year. Mehwish Hayat as Parsi TV reporter shines like star and her surprising Parsi accent is sufficient to prove that she is not only beautiful but brainy too. Seasoned actor like Om Puri who has proved his metal from Bollywood to Hollywood, looks struggling with heavy Urdu adjectives which are not alien to him but it will be the first time when he would have to deliver all of them without support of his native Hindi language. His scenes with Fahad Mustafa as disapproving father are commendable but his performance takes nose dive during climax which could have been more dramatic. Aly Khan's performance as manipulative TV host is as effective as it was required.

As a whole "Actor In Law" is an out and out commercial "Paisa Vasool" entertainer but delicately touches various social issues of the day without losing fun element of the film. Due to this factor one may dare to claim that recent Pakistani comedies like "Jawani Phir Nahi Ani", "Wrong No." and now "Actor In Law" re-invent humor by coating it with societal problems which is not fabricated or artificial but very "Pakistan-ish" and high on value. Highly Recommended.

Interstellar (2014)

Interstellar Will Give You 15 Minutes of Speechless Moment When It Ends

[8/10 · 16 October 2017]

Recently highly anticipated Pakistani movie "021" starring Shaan Shahid received Boos and Hoots in Capri Cinema in Karachi. 021 which was being tipped as brainiest Pakistani movie ever by critics has not been well received by audience of single screen cinemas. Negative response from such an audience must not be assumed as final verdict because there is large section of society which praised this movie overwhelmingly and critics loved it. Same goes with Christopher Nolan's "Interstellar".

Mr. Nolan's space adventure will confront same fate if it is released on same single screen cinema in Karachi. We will not be entirely wrong if we claim that Interstellar is for Nerds but not for Jerks. Since Mr. Nolan's romance with Batman franchise has ended he has been creating plots which have been difficult to decipher. First Inception and now with Interstellar Mr. Nolan has proved himself as a director who always intends to tingle with audience intelligence and consciousness through his unique ideas and does not have slightest fear of negative response from audience.

Interstellar starts with a future world facing increasing level of nitrogen in earthly atmosphere and depleting level of oxygen causing catastrophic outcome. Crops have died and farmers are not able to produce anything except corn. Fertile grounds are converting into desert and massive sand storms have become daily routine. There are no armies in the world and US Government has shut down all unproductive endeavors such as NASA to save scarcely available resources. In this grim time NASA drop out engineer and currently corn farmer Cooper (Matthew McConaughey) finds unknown gravitational anomaly which leads him to discover NASA working underground for years to save last of humanity.

NASA's chief Professor Brand (Michael Caine) along with his daughter Amelia (Anne Hathaway) reveals him that NASA has discovered some sort of Traversable wormhole in our solar system near planet Saturn. Professor Brand convinces Cooper to lead a team of explorers to surpass the limitation on human space travel to discover inhabitable planet in other galaxy for humanity by using interstellar voyage through newly discovered wormhole.

Cinematic presentation of concept of intergalactic traveling is not new for moviegoers but Interstellar gives us a slight nose dip with touch of reality. Interstellar looks like that Mr. Nolan has wrapped Paul Anderson's 1997 "Even Horizon" into Stanley Kubrick's "Space Odyssey" but with lots of emotions involved in. In one of scenes in which one of Interstellar voyager explains how Traversable wormhole works has an enormous similarity to one scene of "Event Horizon".

As we know that Mr. Nolan is master of creating climax in almost every scene, Interstellar gives its viewers brainstorming sessions from beginning to end. As I have mentioned above this new Nolan's saga is a treat for Nerds and if you are not aware of the concepts such as Murphy's Law, Theory of Relativity, Traversable Wormhole, Black Hole and singularity then Interstellar is nothing but waste of 169 minutes of your life. Interstellar invokes many questions with subjective layering such as assuming love as the fifth dimension of the time and interstellar voyagers are shown discussing about "They" who presumably put this Wormhole up there in our solar system.

This is the cleverness of Mr. Nolan who pops up many questions and expects viewers will draw conclusion according to their own set of beliefs. If you are Muslim believing in ascendancy of Prophet Mohammed (PBUH) to heaven on the eve of "Isra and Mi'Raj" then Interstellar will strengthen your belief in it. If you are just a Nerd and love Einstein's Theory of Relativity then Interstellar is a roller- coaster ride for you with an unexpectedly happy ending. If you are father then you will shed tears with believe that father's love for his daughter can transcend everything in the universe. Whatever reason you can carry to watch Christopher Nolan's space outing but one thing is certain it will give you 15 minutes of speechless moment when it ends.