Ridley Scott made the original Blade Runner back in 1982, loosely based on Philip K Dick’s novel ‘Do Androids Dream of Electric Sheep?’, taking as many creative liberties as he could to give us the influential masterpiece it is today. It was also a decade which saw the rise of many unique cinematic visionaries, and Hollywood was not quite the franchise-churning machine it is today. While it is difficult to find modern visionaries in the rubble of superhero films and nostalgic sequels, there is one I have been keenly following for a while – Denis Villeneuve. Standing miles ahead of his peers with his previous films like Prisoners, Sicario and last year’s Arrival, he has just ventured into sequel territory (which usually means creative death), but comes out all guns blazing, with Blade Runner 2049. Unfortunately, Blade Runner does not enjoy a pop culture fan following à la Star Wars and Ghostbusters, a compromise it made when it opted for thematic depth over blockbuster entertainment. This was made evident when I saw that I was one of only 10 people at the screening, and the pitiful box office response. Continue reading →
Diana Prince had several tasks to carry out: she had to get accustomed to the world outside her bubble of Themyscira, fulfill the mission of the Amazons, and most importantly, lay the foundation for female-led superhero films, or even films, in Hollywood. And while following in the footsteps of such flops as Catwoman and Elektra isn’t difficult, Patty Jenkins and her team more than had their hands full with the expectations going in. Wonder Woman faced the inevitable (and more than anything, petty) backlash from male audiences who cannot fathom female fans let alone a female superhero, and on top of that, it came within the DCEU, a franchise which has only received mixed opinions so far. Owing to all this, I walked into the film with uncertainty and fear, both of which were converted to hope for not just the future of the DCEU, but also of a Hollywood which can think beyond white males to helm their films.
It seems that the events of 2016 have birthed a new generation of cynics, and at the turn of the new year, all one can hear around are people crying over the horrible year that has passed. However, being one who prefers to count gifts over curses, I consider ourselves blessed to have received a stellar list of films, taking various different genres to stranger waters, and realizing the full potential of some others. Now while the movies that big franchises and studios have churned out were more in the form of financial investments than works of art, 2016 has witnessed masterpieces from global filmmakers and the independent categories. The following is the list of films that I think made the most of their run-time this year, and deserve to be seen by one and all. (This year, I’ve added suggestions of old movies similar in some way to each film on this list, so the doubtful ones can decide what to watch.) Continue reading →
What makes a great song, a great film or, for that matter, any great work of art? Damien Chazelle’s answer to that question is that great art is anything done by a person who is passionate about it. His latest film La La Land is then a testament to great art, combining the passionate performances of Emma Stone and Ryan Gosling with the equally passionate filmmaking by Chazelle in a story that brings two characters, equally passionate in their own arts, into each other’s lives. While being a refreshing revival of the grandiose Hollywood musical, La La Land also turns out to have the biggest heart of any film in a long time. And in this year when most of the world seems to be taking a step back for the worse, isn’t an escape of optimism something we could all use? Continue reading →
They say the best pictures need no words, and what are films but moving pictures? La Tortue Rouge (The Red Turtle) is the latest animated feature from Japanese giant Studio Ghibli, and has its signature themes of surreal journeys, humanity and ennui written all over it. In fact, it was the studio’s wonder child and animation maestro, Hayao Miyazaki who saw director Michael Dudok de Wit’s previous work in Father and Daughter and convinced the studio to take him on. Free of the restraints of language and dialogue, this Robinson Crusoe-esque tale of a man washed ashore on an island sings a universal song of isolation, dreams and the cycle of life. Continue reading →
Harry Potter fan or not, when you hear about a spinoff to the British franchise 5 years after the last movie, set in New York and based on the author of one of Harry’s schoolbooks, only one word comes to mind: ‘cashgrab’. Especially when said spinoff is a prequel, studios tend to crowd the movie with references and easter eggs – usually in the form of ancestors of the original characters – turning them into a commercial mess and without a story to stand on its own on. However, finally relieved of a ‘chosen one’ protagonist and stepping outside school grounds, the franchise of witchcraft and wizardry takes us into an interesting period in magical history which we have only heard mentioned second-hand before. Bursting at the seams with pure imagination of the likes to only come from J K Rowling’s wonderful mind, and walking the fine line in building its world and telling a compelling story on its own, Fantastic Beasts and Where to Find Them is a delightful film to be lost in. Continue reading →