Review - The Big Short

Crazy Stupid Love reunion!

 If you are not a stock broker or an economist, reading The Big Short's plot premise would feel like a general relativity lesson to an arts student. "Subprime Bonds","Default swap", "Collateralized Debt Obligation", "AAA ratings", "BBB ratings" - the banking jargon is so recurrent that you could probably lose the sense of what's happening onscreen. But Adam McKay's largely approachable film achieves it's goal - to educate layman movie-goers about the financial crisis of late 2000s effectively and yet, not boring them.

The Big Short concerns itself with mainly four characters who foresaw the housing mortgage bubble - how they took advantage of the impending economical Armageddon by betting against these extremely fragile bonds. The four characters are partly or entirely based on real-life people, played by the likes of Christian Bale, Steve Carell, Ryan Gosling and Brad Pitt. We see them being doubtful and speculative at first, then negotiating with the banks regarding the default swaps and reverse insurance (who are, willfully or not, completely ignorant about the crisis at the twelve o'clock), and finally making big bucks when the American economy goes down the toilet in 2007. Charles Randolph and McKay's screenplay avoids making any judgement about the leads' ethics or morality and rightfully focuses on the events. The film isn't a character study - apart from Bale and Carell, none of the other characters are fully fleshed out. It is more of a sociopolitical black-comedy, which discusses an extremely important issue with a splash of humor.

Comparing another important film of 2015, Spotlight, with The Big Short, it is pretty clear that both the films are an exposé of horribly corrupted American system, which is exploiting the commoners. Spotlight, however, is slightly more impactful than this film as Spotlight maintains a strict serious tone overall, while The Big Short is quite uneven - sometimes playing out as a comedy, sometimes like a farce and sometimes like a documentary - all mashed up into a single narrative, which reduces its impact.

But this uneven tone makes The Big Short somewhat delightful if not impactful. Telling a story about financial meltdown without making the story boring is a gargantuan task. To make audience get what the entire crisis was, without diluting the facts or overstating any events, is a big achievement. McKay deserves many praises for employing some intriguing plot-devices like celebrity cameos defining and describing banking terms (Margot Robbie and Selena Gomez make an appearance), third-wall breaking and humorous narration by the leads - which keeps the momentum going for the film.

Just like Spotlight, this film also ends with harrowing descriptions - about the aftermath of the recession and how it may still occur. Among hundreds of frauds, only one person was convicted, which is a real shame. Many people lost their jobs, their homes and yet, the system is still there, still making common people fool and blaming immigrants and the poor. The Big Short could have been a deeply troubling film and thankfully or not, McKay brushes off the distress with humor. With all-round good performances and a unique take on a deeply troubling issue, The Big Short is an essential watch. You may not get it entirely, but just like me, you may get the gist of things - which is terrifying and alarming.


3.5/5

Review - Spotlight

Subtle, important and brilliantly acted.

The brilliant ensemble of Spotlight.

"It takes a village to raise a child. And it takes a village to abuse one." Aptly reflected by Stanley Tucci's advocate character in Tom McCarthy's journalist-drama Spotlight, based on the story that shook the entire United States in early 2000s. The film is about the Catholic Church's most biggest impropriety - the cover up of child sex abuse by priests, occurring over many decades. And not a few, but about 80 of them were accused of child molestation and all of them were immorally and unethically saved by the American law and the Church. The entire scandal was divulged to the public by some brave journalists of Boston Globe, who are the main players in this film.

What works brilliantly in McCarthy's vision of the Pulitzer-prize winning story by the Boston Globe is its impeccable realism and subtlety. Hollywood has the tendency to over-dramatize the events, its characters and increase the hysteria, just to spice up things. But Spotlight resists any tendencies to turn such a delicate subject matter into a loud newsroom drama. Co-written by McCarthy and Josh Singer, the film is richly realized within the screenplay itself, providing a strong foundation for the film. All characters feel like your common hard working journalist - one who work late nights, sit in dingy cabinets, focused and determined to put their story without blowing up the things into an attention seeking piece. 

Spotlight works so well also because it has a brilliant cast - with likes of Keaton, Ruffalo, Tucci, Schreiber and McAdams, the film's actors are synced and composed like a choir, with all of them supporting each other in such a manner that the combined effect of their talent creates the soul and spirit of the film. First time in many years, I have seen a film in which no cast member outshines any other, and yet removal of any one would have certainly lowered the film's impact. To speak of, Ruffalo gets one meaty scene in which he dominates, which will probably bring him some awards attention. But still, no one should be singled out in such a accumulative performance display, which redefines the word "ensemble cast". Everyone here is deeply soaked and drenched in their characters, which is a triumph for McCarthy as a director as well.

The film is low key, almost devoid of any big dramatic scene. Yet, it never feels slow paced or any less intriguing, much credit to the film's editor Tom McArdle. The film starts with a decent pace and remains steady throughout its two hour run time. Shot in unflattering and gloss-less manner, Spotlight looks like a docu-drama, only without the shaky handle-held moments. The film was shot on location and on the set replica of Boston Globe office, and perhaps that's what contributed to the film's realistic style. 

Spotlight is a brilliant film. The last moments of the film are devastating - the list of hundreds of locations where child abuse have taken place within the institution of religion. It shakes you up and implores you to think. It deals with an important theme and even a controversial one, without diluting or exaggerating its facts, which is rare feat. The straight-forward yet impactful approach and powerful amalgamation of performances by the outstanding cast puts Spotlight as a must see film of 2015.

4/5

Review - The Martian

So mediocre that it is not even worth a watch.

Enjoying ourselves, are we?

Matt Damon is lost once again - and that too, consecutively twice in outer space.  Only this time, he is playing God, Jesus or perhaps an Oracle. He knows in advance that he is not only going to be saved, but is going to be the centre of coverage for the prime time news in no less than three continents. He is clearly having the best time in Ridley Scott's average affair with the Red Planet, which is unfortunate as he is the one who gave is brilliant films like Alien. Based on the best selling book by Andy Weir, the film pretends to be the celebrating the spirit of science or the power of do-it-yourself; but in the sheer jollification, Scott has completely forgotten that -

1. The film is a science-fiction thriller and survival drama. 2. Did I say that it is a thriller? 3. Thrillers have thrills. The Martian has none. 4. Survival dramas have their leads which show some stress at least, our hero behaves as if he is on a vacation millions of miles away from Earth. 

For the plot, we have a one - *God* Mark Watney (Matt Damon) is on his space mission to the Mars. As he leaves his space pod for whatever reasons, a disastrous storm  hits, which pretty much beats the shit out of the crew. The crew, leaded by Melissa Lewis (Jessica Chastain - sounds like Interstellar reunion!) decides to leave him, and as expected he is stranded, all alone on the Red Planet. He has limited supply of food, power resources and other stuff, which simply means that he has a few "sols" to live. But dear audience, no need to fret - our protagonist is chilling, relaxing on the red soil, without a shred of anxiety, busy on producing crops (with his poop), reinstating power and listening to disco on Lewis's iPod. Too much fun.

Sarcasm aside, the basic problem with the film is that it is way too optimistic in its approach. Scott, undoubtedly wanted to make a film which doesn't scares the audience with dangers of outer space and perhaps, he wanted to show that if you know your science right, nothing is impossible. But he overdid his theme, by virtue of it, the film went flat, devoid of any dangers and suspense. Mark Watney most of the time remained calm, or even joyful during his entire stay on the Mars. Either he knew that he was going to be saved, or he was high on drugs. The film even goes cringe worthy near the end, people cheering when Watney is being saved - which is broadcasted live in Japan,  UK and the US.  You read it right. 

Matt Damon is playing the "cool" guy, pseudo Einstein who pretty much fixes and invents anything and everything from the scratch. He cracks jokes and is overly cheerful. Damon did it well, so well that his character was irritating. Maybe Scott wanted him to play his role like that only. Everyone else in the film is behaving as if the situation is a big crisis. But it is never a crisis, at least from our protagonist's point of view.

Even technically, the film is mediocre. Mars appears to be the Death Valley shot in red filters. The vast, deserted landscape of Mars doesn't look outlandish or from any other planet than the Earth. Music by Harry Gregson-Williams is completely disappointing, without any memorable theme or a single composition which underlines the respective scene. Visual effects are fine, nothing worth praising or criticising. The final climax is reminsicent of Gravity (those tethers) and there is hardly anything new that this film offers. 

You can skip The Martian, there is nothing worth watching in this mediocre science lesson and a quick "How-To-Do-It-Yourself" crash course. Yes, you may learn a thing or two about Mars, but you are better off browsing NASA website or even Wikipedia. Paying a hefty 3-D ticket sum for science lessons, and too for a big fat bore isn't a good idea. See it, if you really want to, while skipping your channels during a mundane weekend.

2.5/5

Review - The Hateful Eight

Gory, vile and trademark Tarantino, 
and still not entertaining enough.

Blizzard and Guns, sounds fun.

For me, any Tarantino film's USP is not bloodshed, crazy bang-bang action; nor its quality to offend - but his screenplay - his crisp, smart dialogues and his ability to create tension. Let it be the first act of Inglorious Basterds, or the dining room scene of Django Unchained. He chills out the atmosphere without any atmospheric blizzards. However, in a film with real blizzard, Tarantino falls short of creating chills - by self-indulging pompously and going overboard with a runtime of about 3 hours.

The Hateful Eight depicts, no points for guessing, eight hateful characters - a black ex-civil war militant turned Bounty Hunter, another white Bounty Hunter who doesn't kills, an inapt newbie Sheriff, white Bounty Hunter's female prisoner, a Mexican, an Englishman, a confederate and a cowboy. All of them taking shelter in a cabin, after a blizzard blocks the paths in landscape of snow-clad Wyoming. As their paths cross, identities are concealed, hidden motives are revealed and of course, blood is shed. It is exaggerated - like Django Unchained, The Hateful Eight's violence isn't disturbing, rather it is comic - almost cartoonish.

Acted well by almost everyone (Jackson, Goggins and Leigh did the finest job), what keeps The Hateful Eight from going on is its sluggish pace. The first half of the film is painfully slow, the characters keep talking in brilliantly photographed shots by Robert Richardson. Their talk isn't even intriguing or whip smart. And talking is what they do most of the film. When the bullets fly and blood is splattered, unfortunately too much time is lost. Even the more dramatic moments of the film, which are far in between, lack the suspense and nerve-wrecking tension of which Tarantino is expected of.

Shot in 70mm film, the film is gorgeous to look at. Outdoor shots of both The Revenant and The Hateful Eight are visually similar, though Lubezki clearly triumphs over Richardson in terms of complexity and composition. Most of this film, though, is indoors, taking place inside a room, when a cracking storm rages outside. Taking full advantage of the scenario, Tarantino and his sound effects team create an immersive atmosphere. With an apt western score by Ennio Morricone, the film shines in the technical departments.

What is lacking, then, is a sense of involvement. Tarantino's script feels detached and sketchy - you can even accuse the film of racism, misogyny and homophobia, but since everyone is hateful, it is meant to be offensive. The stand-offs are lukewarm and action is a lot less. Even with a great plot-outline which promises to be highly entertaining and providing sheer adrenaline rush, The Hateful Eight falls short of everything.  Basically, Tarantino himself is missing - even in the best parts, there is a lot to be desired.

3/5

Review - The Danish Girl

Exquisite but not extra-ordinary.

Isn't it pretty!

In the time of hard hitting and realistic portrayal of transgender people in Amazon's Transparent and recent transgender movement, The Danish Girl is a welcome addition. Tom Hooper's film is pretty important one - telling the story, though largely fictionalized, of first person who underwent sex reassignment surgery, and perhaps the story of first transgender woman, Lily Elbe.

The film follows the life of landscape painter Einar Wegener (Eddie Redmayne) and her portrait painter wife, Gerda (Alicia Vikander). Set in 1920s, both of them are equally supportive of each other, equally in love. Things take turn when Einar stands for one of the Gerda's portraits, in place of a female model. Wearing stockings and striking a feminine pose, a flurry of repressed feelings engulf Einar. This follows a brief cross dressing fun game suggested by Gerda herself, in which Einar goes out as 'Lily' in a party. One moment follows another, Einar loses himself and Lily emerges - causing a great turmoil in their life. Ultimately, with never-ending support of Gerda, Einar goes for sex reassignment surgery and becomes the first transgendered woman, albeit it all ends tragically.

Eddie Redmayne's physical transformation as Lily is astonishing to watch. His smile and his androgynous features work as a trump card. However, his performance is more or less reduced to technicalities - his gestures and gaze as Lily seem well rehearsed and well observed, but never organic. His performance lacks soul and layers of trapped repression, ultimately reflecting a bird's eye view of the character. Still, given the level of difficulty, Redmayne has done a great job, an Oscar nomination is surely there for him. 

But The Danish Girl isn't all about Lily/Einar - Hooper's film is as much about Gerda as it is about Lily. And, as Alicia Vikander embodies Gerda scene by scene, you cannot help but to be amused by the fact that she stole the show from Redmayne - without any acting technicalities or transformations. With a performance erupting with emotions, Vikander's Gerda feels more rich and deeply realized than Redmanye's Lily. Even Hooper devotes much focus on Gerda, sometimes it felt that the titular Danish girl is Gerda, instead of Lily.

As an overall film, The Danish Girl is all about surfaces - the film never goes deep into the characters' lives. Hooper weaves his film around Lily and Gerda, ticking all the major plot outlines, never dwelling on them with a closeness. Also, the film feels shy of depicting much explicit human anatomy, which seems pretty obvious for a film about transgender surgery. With a polished production design, beautiful cinematography by Danny Cohen and equally elegant Alexandre Desplat's score, The Danish Girl depicts everything about Lily Elbe's life - but through a thick window pane, which distances the viewer from its characters.

3.5/5