It is rather surprising that with all the war movies that have been made in India, not one has ever focused on our naval forces, let alone one set in a submarine. Therefore, the promos of The Ghazi Attack brought with them a sense of intrigue. When one thinks of movies set on a submarine, the mind goes to the dark and claustrophobic Das Boot, the tense Cold War thriller, The Hunt for Red October, the gripping Crimson Tide, and the classic, Run Silent Run Deep. The question here is, can debutant director Sankalp Reddy make an impact, through the narration of a war tale, long forgotten, the tale of the sinking of PNS Ghazi?Continue reading “The Ghazi Attack Movie Review: Thunder Down Under”
Note-IndieYogi’s posts are short/quick reviews,catering to the reader on the go. The attempt is to try something new in addition to the regular style of writing/reviewing.
Delightful, completely irrelevant, note about circumstance: I went into this movie completely uninitiated; all I knew that there was a new Anurag Kashyap movie coming out some time around now, and that it had Karan Johar. The plan was concocted over drinks at Irish House in Kala Ghoda, and we went to Regal because it was the closest theatre whose prices didn’t leave the insides of our noses sore; for the longest time I was wondering where I had seen the intersection in the movie before. (If this doesn’t make sense to you, I suggest that you resist the urge to find out and let it hit you while watching the movie.)Continue reading “Bombay Velvet Movie Review: Ellipses and Environment”
There are spoilers. Be warned and be pleased.
Running Time : 149 Minutes | Language : Hindi | Director : Anurag Kashyap
There are “Beefeater” cartons stacked up behind the kitchen of “Bombay Velvet”, a place where Kashyap’s Hollywoodised Bombay’s jazz thrives, a center where the city’s big shots come and go, discuss their money and pass it on to each other. In the wake of the recent beef ban in Mumbai, it is a light chuckle inducing carton placement to show how different Bombay was to Mumbai. There’s little of the “Bombay” we know in Anurag Kashyap’s “Bombay Velvet” and almost none of the velvet that the title promises.Continue reading “Bombay Velvet (2015) Movie Review: All gloss and A Script Which Sleeps With The Fishes.”
“Apan ko jo bhi mangta hai, sab log bolte hai apan ke aukat ke bahar hai. Apan ko apan ka aukat badalne ka hai.”
This was what Anurag Kashyap might have been going through inside his head, before making this multi-starrer blockbuster. And oh well, was it able to gain that aukat?
Set in a period of post-Independence, from 1949 to 1969, the film opens with a wonderful background score by Amit Trivedi and visuals of Old Bombay in a newsreel format against the song Aam Hindustani being sung by Dahlia (Raveena Tandon). Honestly, just that start there gives you a hope. An assurance that this might turn out to be the best film you have seen so far. But, oh wait!Continue reading “Bombay Velvet: Worth To Be A Big-Shot?”
Anurag Kashyap’s Bombay Velvet is his big, brassy and boombox-ed entry into the big budget films league. It is also his dream venture, and is meant to save the day for Ranbir Kapoor, whose goodwill continues to recede after Besharam and Roy. Buttloads of money has been poured in this film by Phantom as well as Fox Star Studios, and believe me, it shows, as grandeur oozes out of each frame. But alas, Bombay Velvet is an aggrandized product, one which has little depth to suck you in beyond its visceral thrills and some good performances. The suspected word is out, and its going to be a nightmare night for the phalanx that came together for this difficult film. Difficult to shoot and produce, not difficult to make a mess of, of course. Continue reading “Bombay Velvet Movie Review : Underwhelming, But Not Terrible”
The one admirable quality about Neeraj Pandey is that he is consistent. What his movies lack in nuance, and grit, they more than make up for it with a solid script and performances. He may aim to be Bollywood’s Katherine Bigelow or Paul Greengrass, but somehow he’s managed to be to this decade what Subhash Ghai was to the 80s and Rajkumar Santoshi was to the 90s. A storyteller, who can spin out a yarn that may seem implausible, but doesn’t insult your intelligence. Baby continues this tradition of his.Continue reading “Baby Movie Review: No child’s play, this!”
Ever since the release of the third film in Vishal Bharadwaj’s Shakespeare trilogy “Haider”, there has been a lot of debate about the movie’s ostensible representation of the Indian Army as the villain in the 1990s disturbance in the Kashmir valley. While there has been less dispute about the artistic merit of the film, viewers have been equivocal about the way Haider decides to perceive the then government and the armed forces, which include the Kashmir police and the Indian Army. It is no news now that a lot of people on Twitter had called for boycotting the film for the mere reason that they found the portrayal of the Army disdainful.Continue reading “Why the Haider debate on anti-nationalism is misplaced!”
Sometimes it is so difficult to collect all the thoughts to write a review for a movie. What do I do then? I ask myself. Us Bhakts of Bhardwaj get swept away, most of the times, in blind faith. But the truth is, there is no way you can ignore the reality, as I learnt while I was talking to Sethu. The truth, in all of its probability is, that this Vishal Bhardwaj’s masterpiece…is not aberration free. There are things in the plot that call for an unwelcome “what a coincidence.” There are things that call for an unwelcome “really?” moment. I mean how do you respond to a thing that’d happen – even in the context of the movie—but won’t because it’s a movie, based on a play — so there are events pending to happen? How do you respond to characters that exist because…well, it’s convenient for the storyteller? And no, I am not talking about Irrfan Khan’s Roohdaar (without trying to spoil anything.) There are coincidences, and character decisions — and yes they can happen, but! — But that jarred. Because it felt like some kind of an easy make-shift solution to drive the movie forward. That makes things look superficial. It takes away the gravity from a scenario otherwise really intense. It hinders seamless involvement.Continue reading “Haider Movie Review: Love-ed”