Thu, July 11 2024

Wed, July 10 2024

Inspired by The Hangover, the new Indian Netflix movie fails its title and attempted genre.

Early into Wild Wild Punjab—the new Indian Netflix original movie—a line of dialogue lays bare the film’s inspiration: The Hangover trilogy. It’s not implied, mind you. One of the film’s four lead characters namechecks the high-grossing franchise as a comedic reference. Except Wild Wild Punjab doesn’t stop at acknowledging its existence. It liberally borrows several subplots from The Hangover, including stealing a police vehicle, being chased by gangsters, and drunkenly marrying a random woman. But Wild Wild Punjab—directed by feature debutant Simarpreet Singh and written by Harman Wadala and Sandeep Jain—displays zero understanding of good comedic filmmaking.

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Thu, July 4 2024

The Netflix film starring Varun Sharma, Sunny Singh and others is a blur of ham-fisted hi-jinks and inane humour

It was evident, even before Varun Sharma clambered onto the roof of a car, unfastened his fly and shot out a tall projectile of piss, that Wild Wild Punjab was not a serious film. But is it even that wild? The aforementioned scene is probably the looniest thing that happens — a nod, perhaps, to Fukrey 3, which had an entire pee-based plotline dedicated to Sharma. The rest of Simarpreet Singh’s film is oddly strained and docile, a blur of ham-fisted hi-jinks and inane one-liners. “Respect, dude,” someone tells Sharma’s character, a compliment I cannot extend to the film.

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Fri, July 5 2024

Afraid of evolving, the overlong third season of Mirzapur doesn’t know how to best utilise its principal characters, let alone the giant ensemble at its disposal.

In season 3, Mirzapur wishes to place an even bigger emphasis on the world outside of it. As a feud between two clans ratchets up, a meeting of all the gangsters of Purvanchal—the easternmost section of the state of Uttar Pradesh—is called more than once. They bicker, they whine, but they have no real voice, no real say in the matter. A mediator warns the two parties not to escalate violence and vows that larger powers will come down on them heavily. But it’s all talk. Mirzapur isn’t willing to follow through as it’s only the protagonists who matter. Everyone else is simply window dressing. They feel like plastic, as do those who work for the feuding clans. Its larger world is irrelevant. Mirzapur is a macro show that has no interest in the micro.

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Thu, July 4 2024

Fawad Khan and Sanam Saeed star in this feverishly artful series by British-Pakistani director Asim Abbasi

“The past is not dead. It’s not even past,” wrote William Faulkner. Everything in Barzakh — images, ideas, sounds — responds to that famously Faulknerian sentiment. The title refers to a kind of limbo, an earthly purgatory, where the dead move amidst the living. The six-part series has been shot in the ravishing Hunza Valley, in Northern Pakistan, and is drenched in a despairing, deciduous beauty. Characters converse in pseudo-spiritualistic fragments and heartsick hokum (and also do shrooms). Mountains, as usual, hold the key to everything. Watching the series, I found myself nervously wondering if, across the border, the director Imtiaz Ali was paying attention. What if he feels a little bested, and takes it up as a challenge?

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Thu, June 20 2024

Like a forlorn Jeetu Bhaiya, the Netflix series stumbles its way through a befuddling (potential) final season.

Kota Factory has never lived up to its title. The name suggests a grim look at the dystopian reality of teenagers in their formative years transported to a town in the middle of nowhere for a single mindless pursuit. Instead—over 10 episodes across two seasons—we’ve been treated to a sentimental and meandering look at the life of students. Kota Factory isn’t in black-and-white because it’s drained of life. It’s in black-and-white because the creators, themselves former IITians, are nostalgic for the past. The third—and what feels like the final—season wants to course correct. It wants to brush up on lessons it has ignored so far. But it has no idea how to communicate any of it. Everything is too literal or spelt out.

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Thu, June 20 2024

In its third and potentially final season, Kota Factory seems to be responding to past criticism. We discuss the show’s sudden bout of self-reflection, and the confused manner in which it examines the harsh realities of towns like Kota and the industries they service. We also talk about its aversion to human moments, and why the handful of them this season stand out. Later in the episode, we wonder why the show remains watchable on a very fundamental level, even though it often makes the same storytelling mistakes that it used to.

Sun, June 16 2024

Dibakar Banerjee is going to have to make two good movies to compensate for whatever hellish assault on the senses Love Sex Aur Dhokha 2 was. We discuss the film’s muddled social commentary, the frustration oozing out of every frame, and the general incoherence of the arguments. We also compare LSD2’s aesthetic and thematic shortfalls, especially when compared to Banerjee’s past work, while wondering why he couldn’t find room for any self-reflection.

Fri, June 14 2024

The new Pixar movie cannot match the greatness of its decade-old predecessor. It’s nigh impossible. But thanks to a new emotion, Inside Out 2 pushes into more complex territory.

Inside Out was a breathtaking showcase of Pixar at its best. In imagining our inner selves, the original Pixar movie gave life to our warring emotions, how memories are formed or repressed, and what it means to embrace great change. It truly understood how our brains work. But it wasn’t a philosophical treatise—Inside Out was great entertainment too. Amy Poehler’s unbridled optimistic Joy was a driving force behind that. She contrasted nicely with Anger’s (Lewis Black) outbursts, Fear’s (Bill Hader) jittery and Disgust’s (Mindy Kaling) judgmental behaviour, and Sadness’ (Phyllis Smith) willingness to wallow.

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Tue, June 11 2024

Spinning wheels and packed with ideas and subplots that are neither engaging nor thrilling, Prime Video’s anti-superhero series is a mishmash of culture wars with precious little to say.

In one of the early episodes from The Boys season 4, a white woman—dressed in a tight-fitting red and blue outfit, who describes herself as an author, filmmaker, political activist, commentator, and leading voice of the alt-supe movement on YouTube—addresses a small audience at a conspiracy theory convention. In her opening rant, which she says will last the next two hours, she claims that Starlight (Erin Moriarty) is working with the “Hollywood paedophile cabal”. She plugs in a false flag operation, references to Satan, and implies that Tom Hanks had a whistleblower killed. Sitting amidst the audience, Kimiko (Karen Fukuhara) asks Frenchie (Tomer Capone) if people really fall for this kind of nonsense. He replies: “People will believe anything. Even something as ludicrous as the moon landing.”

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Tue, June 4 2024

The new Star Wars series benefits from its distinctive action choreography but it’s undone by its storytelling.

Since the beginning, every Star Wars movie has had a lightsaber duel. On rare occasions, only in the prequel trilogy, have there been situations where we have had more than two lightsabers in one scene. Towards the end of the fourth episode of the new Star Wars series The Acolyte, a masked stranger—wielding a red lightsaber—confronts our protagonist. In response, they are met with eight lightsabers: some green, others yellow, and one blue. It’s a fascinating and incredulous moment, not least because we haven’t seen the likes of it in live-action Star Wars. It’s made possible thanks to The Acolyte’s setting in the High Republic era—a hundred years prior to Episode I – The Phantom Menace—during a time when the Jedi Order was at the peak of its power.

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Mon, May 27 2024

Crew, the new heist movie starring Tabu, Kareena Kapoor Khan, and Kriti Sanon, effectively weaponises middle-class angst against corporate overlords. We praise the film’s dedication to punching up, the instant relatability that it is able to generate for its characters, and its tightly constructed first half. But we also criticise its endless product placement, and the relatively disappointing second hour, which asks the audience to re-engage with the film through a whole new lens.

Thu, May 23 2024

Unlike any other Mad Max movie before it, Furiosa is expansive, character-centric, and revisits the past. And it does all that while delivering stunning action.

Less than an hour into Furiosa: A Mad Max Saga—the franchise’s first prequel, first spin-off, and first movie centred on a woman—the audience is treated to a 15-minute ultra-complex action sequence. In it, a young Furiosa (Anya Taylor-Joy), who has hidden herself to escape the brutal and captive life she’s known, is caught in a raid on a newly built War Rig. It’s a giant of a thing—an all-wheel drive truck pulling a chrome-plated tanker, with a rail on top that allows men to defend it, and two digger arms attached to the side to deal with nuisances. The scene is even more fascinating. What begins as a parasail wing shooting out of a motorcycle is just the start. It has countless moving parts—the multiple fliers add dynamism to the set piece—and yet it’s all coherent and easy to follow.

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Mon, May 20 2024

Writer-director Kunal Kemmu’s Madgaon Express smartly avoids taking the sleazy route and mostly succeeds in finding the soul of its cartoonish characters. We talk about the film’s familiar set-up, and how it transports a Hangover-like premise to India. We also discuss the performances of Divyenndu, Pratik Gandhi and Avinash Tiwary, while noting the tightrope walk actors have to pull off in absurd films like this. We praise Kemmu’s handling of the climax, his gag-a-minute narrative, and his self-awareness, but also note flaws in the film’s central action sequence.