Independent film critic and author of the movie blog 'A Potpourri of Vestiges'
Murtaza Ali Khan is an independent film critic based out of New Delhi, India. He is the Author of the movie blog “A Potpourri of Vestiges”. His education spans science, technology and management. Cinema is not only his passion but also his greatest obsession. His all-time favorite filmmakers are Akira Kurosawa, Stanley Kubrick, Luis Bunuel, Andrei Tarkovsky, Charles Chaplin, Orson Welles, Federico Fellini, Ingmar Bergman, Satyajit Ray, Fritz Lang, Jean-Pierre Melville, Sergio Leone, Krzysztof Kieślowski, Francis Ford Coppola, Martin Scorsese, and Lars von Trier.
Overall, Shaandaar can best be described as a nonsensical entertainer that epitomizes commercial escapism in modern-day cinema. While the movie lacks any real substance, the creative thought that went into it needs to be commended.
Bridge of Spies is unlike anything Spielberg has done in the recent years. In today's age when we are so used to watching spy films that are replete with nonsensical action, forced gimmicks, fake gadgets, and flashy special effects, a piece of story-driven cinema like Bridge of Spies comes as a welcome surprise.
Overall, Jazbaa proves to be a decent movie viewing experience with a strong social message. The movie's plot suffers from several inconsistencies and flaws, but Sanjay Gupta's direction succeeds in holdings the things together.
While the movie, its propaganda aside, is not really bad but one finds it rather difficult to appreciate its desperation as a work of cinema. Everything about the movie looks rather forced as if someone is knocking at the doors of creativity in a hope to conjure up a semblance of realism. Alas, a craving for realism in an attempted 'whodunit' doesn't sound like the best idea!
As far as Hollywood is concerned, space travel has become a recurring motif in recent years. While it was Christopher Nolan' Interstellar last year, it was Alfonso Cuarón's Gravity the year before. The Martian is certainly superior to Gravity in that it talks about more than just the perils of space travel, but it fails to match the metaphysical depth of Interstellar.
Overall, Court comes across as a multifaceted work of cinema that is extremely relevant to our times. The movie impeccably blends cerebral and emotional elements while never compromising on subtlety and detail to conjure up a powerful social commentary oozing with tragicomic motifs.
Plainly speaking, Katti Batti is devoid of any substance. The movie heavily relies on the use of gimmicks as a convenient substitute for organic storytelling. Nikhil Advani's blunt direction fails to give any flow to the shoddy material at hand. Except for the final few scenes, Imran Khan and Kangana Ranaut fail to exude any romantic chemistry. Katti Batti, in a nutshell, is a mishmash of ideas which lack both coherence and structure.
Thanks to Kobayashi's unbiased camera and his cutthroat storytelling style the hitherto glorified, coveted, and resplendent life of a samurai appears less appealing and more realistic with each passing frame as resplendence makes way for austerity and glory makes way for humility.
The movie is essentially a throwback to the first two films of the MI franchise--Mission: Impossible (1996) and Mission: Impossible II (2000). Also, the influence of the classic James Bond films cannot be overlooked. As a matter of fact, Mission: Impossible - Rogue Nation is a lot closer to the 007 films of yore than the most contemporary James Bond films, which, because of their over-dependence on the plot elements, lack not only in action but also in style and adventure.
If ever there has been a master of cinema so diverse and versatile in talent and abilities to be truly worthy of being called the consummate artist, it is the great American filmmaker Orson Welles. Prodigiously gifted, Welles was a radio jockey, playwright, theatre director, film producer, actor, screenwriter, but most importantly an auteur par-excellence.
Nayak is a testament to Satyajit Ray's remarkable range as a filmmaker par excellence. As a brooding character study, Nayak is distinctively different from Ray's early ubiquitously renowned works like Pather Panchali (1955) and Mahanagar (1963), which are essentially dramas laden with social commentaries.
Alas, the big celebrities from Bollywood and elsewhere simply don't care! They would raise their voices against someone like Gajendra Chauhan but not many would be willing to leave their lucrative assignments in the tinsel town in favour of a mentoring role at an institute like FTII.
Overall, Terminator Genisys has nothing new to offer but it does succeed in making us experience several bouts of nostalgia. For the action movie enthusiasts, Terminator Genisys is nothing short of a delectable feast.
What makes Murnau's Nosferatu remarkable, in comparison to the countless other adaptations, is that apart from keeping the eerie feeling of Stoker's Dracula intact it also succeeds in doing away with the theatrical gimmicks that can often tear apart an entire narrative; Nosferatu relies heavily on the development of its characters as well as its plot.
More than 50 years later, Pyaasa continues to remain a formidable work of cinema that presents the art of filmmaking at its finest. The movie fulfils in its absolute sense the real purpose of cinema: to entertain and educate, simultaneously.
Here is my pick of five unconventional movies from 2015 that you ought to check out - that is if you haven't already. I have considered various factors before closing-in on these films. First and foremost, considerable importance has been given to films that offer some food for thought and have cinematic flair in addition to being socially relevant.
Jurassic World is everything it is supposed to be and more. Needless to say, there is action, adventure, fun and frolic, and loads of creepy dinosaur mayhem. As one would expect, the film employs cutting-edge CGI and VFX, and the excellent 3D effects make it an experience of a kind.
The story revolves around rich people, their extravagant lives, scandalous affairs, and the problems that surround them. Reema Kagti and Zoya Akhtar must have had the Indian diaspora in their minds while devising the movie's script.