Sneha Jaiswal's Blog, page 112

Avatar: The Last Airbender Review – Gordon Cormier Takes Off

Rating: 3.5 out of 5.

Sneha Jaiswal (Twitter | Instagram)

Set in a fantasy-fiction world where some people can ‘bend’ one of the four elements – water, fire, air, and earth – the 2024 Netflix series “Avatar: The Last Airbender” follows the adventures of Aang, a one-of-a-kind Avatar, who is born once every generation and can bend all elements. Aang is only 12-years-old, when the Fire nation decides to wage war against the rest of the world, wiping out all the airbenders, except Aang. It’s up to Aang to channel the power of Avatar and put an end to the reign of terror unleashed by the firebenders.

Based on the animated series by Michael Dante DiMartino and Bryan Konietzko, the live-action production created by Albert Kim is a spirited recreation of the fantasy world and unfolds over ten episodes. Gordon Cormier leads the ensemble cast as protagonist Aang, the titular “Avatar – the last airbender”, who must master all the four elements to aid the world against the tyranny of the Fire Kingdom. Joining Aang on his quest are newfound friends Katara (Kiawentiio), who can bend water, and her brother Sokka (Ian Ousley). Meanwhile, the Fire Lord Ozai’s (Daniel Dae Kim) banished son Prince Zuko (Dallas Liu) is on a mission to capture the Avatar.

The first two episodes are entertaining, and the cinematography in this series is a visual treat. From the costumes, most of which retain the style of the animated original, to the expansive magical landscapes of various elemental kingdoms, and the special effects depicting everyone’s unique powers — such as the firebenders conjuring fatal pyrotechnics or the waterbenders shaping water into diverse and deadly ice formations — “The Last Airbender” team delivers a riveting visual spectacle for viewers.

Gordon Cormier is a firecracker as Aang, who is first introduced as a fun-loving kid who trains hard at air-bending, and isn’t ready to be the ‘Avatar’. One wishes the series could’ve spent more time in showing Aang’s life before the firebenders destroy the air kingdom, but as far as Gordon’s delivery of Aang is concerned – he is expressive, cute, feisty and highly likable as the protagonist. The writers should’ve let Aang be a little more carefree though, instead of portraying him as a world-worn wise little man, who is constantly worrying about everything that happens around him.

Kiawentiio is quite delightful as the optimistic Katara, who immediately grows fond of Aang and the two forge a lasting friendship. Katara’s character serves as a feminist role-model in the series, she learns to waterbend to fight her opponents and teaches an entire kingdom how women can use their bending skills in combat too. I wasn’t too fond of Ian Ousley’s portrayal of Sokka, it’s probably because he kept reminding me of Taylor Lautner (Jacob Black in “Twilight” series) and he seemed a little self-conscious in the role. Dallas Liu was perfect as antagonist Prince Zuko, he pulls off Zuko’s scar, attitude, arrogance and stubbornness with conviction.

Paul Sun-Hyung Lee, who portrays Zuko’s uncle Iroh, a former Fire General, is one of the most entertaining characters in the series. He is consistently fixated on food in the first few episodes and watches over Zuko like a doting parent. However, it’s disappointing that the writers discontinue (or forget) the food gag and diminish Iroh’s gastronomic personality in the second half of the series. In fact, the show adopts a much more serious tone than necessary for an action-fantasy series aimed at a younger audience. Daniel Dae Kim is his brother and Zuko’s father – Fire Lord Ozai – and definitely looks the part of an intimidating, evil, power-hungry king looking to extinguish entire clans. Apart from being tyrannical, Ozai is also a manipulative father, who pits his own children against each other, adding another layer of complexity to Zuko’s story. While Zuko is chasing the Avatar, his sister Azula (Elizabeth Yu) is preparing to take over the throne.

The second episode was my favorite edition, where Aang and friends go to Kyoshi Island, which is run by fiery women warriors. It’s where Aang enters the ‘avatar state’ for the first time, showing witnesses what he is capable of. Episodes 3-4 take place at the Earth kingdom called Omashu, which wasn’t as fascinating as the land of the Kyoshi warriors, but introduces some new curious characters that keep up the momentum of the fantasy series. The last two episodes are centered on Aang’s efforts to help the Northern Water Tribe in their stand against the fire nation, which is headed with a huge fleet of battleships to snuff them out.

“Avatar: The Last Airbender” is a nice starter lesson for a younger audience against racial elitism, sexism and egoism. Through most of its episodes, it subtly reiterates the importance of friendship, trust, support, and the strength of collective action over individual effort. Some of the character interactions might seem sappy, especially in motivational scenes, but at least there are no preachy monologues.

If it weren’t for a small unnecessary romantic sub-plot involving Sokka and the Water Tribe princess (Amber Midthunder), the “Waterbenders versus Firebenders” edition was fantastically executed. There’s a Godzilla sized twist towards then end, which adds a lot of excitement to the war, even though another twist involving a lunar legend felt too far-fetched and contrived. So while I have mixed feelings about the climax, it ends in a way that left me enthused for a season two.

Rating: 7/10. Stream the show on Netflix.

Read Next: Spaceman – Introspective Outer-space Ballad

Also Read: Einstein and the Bomb Review (Audio Version Below)

The Great Escape at Stalag Luft III – The Camp from “Masters of the Air”

In the annals of history, there are tales that transcend the ordinary, stories that captivate the imagination and leave an indelible mark on the human psyche. Among these, few rival the audaciousness and resilience displayed during the Great Escape at Stalag Luft III. The camp has been featured in many World War II-themed films and series, the latest being “Masters of the Air”. However, the Great Escape is only briefly mentioned in the show, even though Stalag Luft III occupies a significant portion in the latter half, as two primary protagonists, both American pilots, find themselves imprisoned by the Nazis. So, here’s a look at the legacy of the camp and what “the great escape” was.

Nestled deep within the German countryside during World War II, Stalag Luft III was a prisoner-of-war camp specifically designed to hold captured Allied airmen. Encircled by layers of barbed wire and guarded by watchtowers, it was meant to be an impenetrable fortress. Yet, in the face of such adversity, the prisoners refused to surrender their spirit of defiance.

The genesis of the Great Escape can be traced back to the ingenuity and resourcefulness of the Allied prisoners. Led by Squadron Leader Roger Bushell, a British RAF officer, the plan was nothing short of audacious: to dig not one, but three tunnels—nicknamed Tom, Dick, and Harry—under the noses of their captors and orchestrate a mass breakout.

The logistics were daunting, the risks enormous, but the prisoners were undeterred. With makeshift tools and unyielding resolve, they worked tirelessly, tunneling through the sandy soil beneath the camp. Each tunnel required meticulous planning and precise execution to avoid detection. The ingenuity of the prisoners knew no bounds; they fashioned lamps from tin cans, constructed ventilation systems, and even devised a method for dispersing the excavated soil to prevent suspicion.

But perhaps the most remarkable aspect of the Great Escape was not the sheer audacity of the plan, but the unwavering camaraderie and solidarity that underpinned it. In the confines of Stalag Luft III, nationalities blurred, and bonds were forged that transcended borders. The prisoners supported one another, pooling their skills and resources to overcome obstacles and keep the tunnels secret from their German captors. While 600 prisoners worked on building the tunnels, they knew only 200 would be able to use it to escape. Lists were drawn on the basis of who had the most chance to escape, with the knowledge of German being an essential asset, while some where simply chosen by drawing lots.

As the tunnels grew deeper and the breakout drew closer, tension mounted within the camp. The risk of discovery was ever-present, and the consequences of failure unthinkable. Yet, the prisoners remained undaunted, driven by a shared determination to reclaim their freedom and strike a blow against tyranny.

Finally, on the fateful night of March 24, 1944, the Great Escape was set into motion, as it was a moonless night. Under the cover of darkness, 76 prisoners slipped into the tunnels and began their journey to freedom. The odds were stacked against them, but their resolve never wavered.

Unfortunately, the escape did not go unnoticed. Despite the prisoners’ best efforts, the tunnel codenamed Harry was discovered by German guards. In the ensuing chaos, only a fraction of the escapees managed to evade capture. The rest were swiftly recaptured, and tragically, 50 of them were executed on the orders of the Gestapo—a stark reminder of the brutal realities of war.

In the aftermath of the Great Escape, Stalag Luft III became synonymous with heroism and defiance. The courage and sacrifice of those involved inspired countless others and left an enduring legacy that continues to resonate to this day. It serves as a testament to the resilience of the human spirit and the power of hope in even the darkest of times.

Read Next: Wil Review – Violence Comes Full Circle Here

Also Read: Einstein and the Bomb Review (Audio Version Below)

Ricky Stanicky Review – Bros Before Brains

Rating: 2.5 out of 5.

Sneha Jaiswal (Twitter | Instagram)

One of the most fun bits of the 2024 comedy “Ricky Stanicky” is the opening sequence, where the lead trio are introduced as little boys trying to prank somebody on Halloween night. However, when their prank goes horribly wrong, the boys create an imaginary boy called Ricky Stanicky to take the fall for their actions. Throughout the years, they persist in using the fabricated Ricky as an excuse for all their immature antics. But as the lies start to unravel, they devise a ludicrous scheme to avoid facing the consequences from their significant others.

Directed by Peter Farrelly and written by Jeffrey Bushell, Brian Jarvis, and James Lee Freeman, “Ricky Stanicky” is an R-rated comedy. While it’s intended for adults, it employs very childish humor – some jokes hit the mark, most fall flat. Although, if you go with very low expectations, it might turn out be highly entertaining. So there’s a little tip.

Zac Efron, Andrew Santino and Jermaine Fowler play best-friends Dean, JT, and Wes respectively, who keep fibbing about their imaginary BFF Ricky Stanicky. When the trio opt to skip JT’s wife’s baby shower party, citing the need to support their supposed cancer-stricken pal Ricky, the pressure escalates as they are expected to bring Ricky to a family gathering. To resolve the dilemma, the friends enlist the help of a Las Vegas performer named Rod (John Cena) to impersonate Ricky Stanicky for the day, leading to more chaos.

“Ricky Stanicky” is essentially a no-brainer comedy about a bunch of man-children, and it doesn’t pretend to be anything else, however, the writing could’ve used a lot more wit. John Cena is kinda hilarious as “Rock Hard” Rod, a failed actor and struggling Las Vegas performer who turns popular songs into raunchy parodies, but except for his Britney Spears get-up, nothing is ‘laugh out loud’ material. Just imagining any bulky former wrestler in a “Hit Me Baby One More Time” costume is funny enough, but points to the writers for that. When Rod is hired to play Ricky Stanicky, he takes the role too seriously, winning over everybody and inviting new problems for the friends.

In a clever ploy, to avoid the whole “straight dudes being douche-bags” cliche, the writers make Jermaine Fowler’s Wes an openly gay aspiring author. He is also the goofiest of the trio, as Zac Efron, Andrew Santino as Dean and JT are a lot more uptight, and the two also work together in the same firm. Zac Efron seemed out of place in the film, he was too stiff and looked like he was part of a different set altogether.

The second-half of the film gets wacky, makes little sense, and is not very funny. But if you’re looking for a buddy-comedy, with a lot of expletives and raunchy jokes, “Ricky Stanicky” might prove to be a fun enough watch.

You can stream the film on Prime Video.

Read Next: Dunki Review – Dreams, Delusion & a Love Story

Also Read: Einstein and the Bomb Review (Audio Version Below)

But You Have Friends – Graphic Novel Review

Rating: 4 out of 5.

Sneha Jaiswal (Twitter | Instagram)

“My Dear friend Charlotte died one Wednesday in May 2018. She was 34 years old. A few weeks after XC died, I started sketching my memories of our friendship. I was worried I might forget things without having her there to remind me. Eventually, I turned the drawings into this book. I think it’s important to say that this story isn’t about C’s life…”

Emilia McKenzie

There are all sorts of graphic novel memoirs out there, most about the artist’s own life, identity, and career struggles. Many others delve into themes like love, relationships with parents or siblings. And then there are the rarer few like “But You Have Friends”, which explores the artist’s relationship with her best friend and her journey to come to terms with her friend’s mental health struggles and suicide.

This graphic novel memoir by Emilia McKenzie she begins with the creator introducing herself and her family, which kept moving countries due to her English father’s job, until they finally moved to back to the UK for good. Just 13, Emilia talks of how it was tough for her to connect with her peers in school, until she met the opinionated Charlotte. The two hit it off and Emilia takes readers through decades worth of friendship, even though the graphic novel is only 118 pages long.

The artwork is very simple, doodle-like, so it might not engage some readers, but it does have a cute-sy charm of its own that might appeal to others. The drawing style is only a notch above stick figure illustrations, but the simple doodles also lends “But You Have Friends” a very personal touch, like you are going through someone’s illustrated daily diary.

Emilie McKenzie categorically says in the introduction to the novel that this book isn’t about Charlotte, but about their friendship, and she poignantly reflects that bond through her art, memories and anecdotes. Emilie and Charlotte start out at two regular teens who vibe to indie music, discuss boys, feminist literature, and bitch out other classmates and everything else under the sun. While they move to different cities for college, they keep in touch, meet up whenever they can, and have a close-knit circle of friends they can depend upon.

Charlotte’s mental health becomes an issue that plagues her through her 20s, and 30s, and while Emilie and others hope she would eventually recover, they aren’t able to grasp the true nature of Charlotte’s crisis, and she is eventually diagnosed with manic depression and spends the last few weeks of her life at an institution. Emilie candidly describes both her initial guilt over not being there enough for her friend because she thought “she will get fine” and the grief she experiences over the loss of a loved one.

The title “But You Have Friends” is thus sadly ironic —one might assume that someone as popular as Charlotte would find solace in her friendships. Unfortunately, life isn’t always that simple. Since the story unfolds through Emilie’s perspective, readers don’t get a full glimpse into what troubled her friend. Charlotte herself admits to feeling unsure about her own struggles, often experiencing episodes of intense crying without clear cause.

Overall, “But You Have Friends” offers an emotional exploration of close friendships and how many of us can unwittingly become too absorbed in our lives, losing sight of those who are dear to us. It’s also a celebration of friends who become like family, and how, even when we don’t fully understand them, simply being there for them—listening to them, watching their favorite movies, or sharing their favorite food—can be a profound act of comfort.

Rating: 4 on 5. “But You Have Friends” is also on Kindle Unlimited.

Read Next: 5 Authors to Read If You Like Haruki Murakami

Also Read: Wives and Daughters – Book Review (Audio Version Below)

Dead Friend Forever – DFF Review

Rating: 3.5 out of 5.

Sneha Jaiswal (Twitter | Instagram)

“Dead Friend Forever – DFF” is a Thai thriller-horror, which will remind some viewers of horror-mysteries like “I Know What You Did Last Summer”, where a group of young friends are targeted by a masked killer over something horrible they did a few years ago. Be prepared for mild gore, violence, deaths, plenty of grey characters and a whole lot of chaos.

Directed by Ma-Deaw Chookiat Sakveerakul and Chantana Tiprachart, “Dead Friend Forever – DFF” features an ensemble cast. It follows eight friends heading to a remote but plush mountain cabin to have a farewell party for one of them who is going away to study abroad. When the friends decide to film a horror movie for fun, eerie events begin to take place, spooking five members of the group who think they are being cursed by Non, a former friend who disappeared. The remaining three claim to have no idea who Non is and try to find out what really happened to him and why the rest refuse to reveal any details. But until they unravel the truth, violent events threaten to leave them dead, one by one.

Episode one of “Dead Friend Forever – DFF” begins with the friends having a ‘going away’ party for Jin (Copper Phuriwat Chotiratanasak) at the wealthy Por’s (Us Nititorn Akkarachotsopon) bungalow in the woods, where there’s no cellphone reception or WiFi. Their party takes a dark turn when Por follows a mysterious shadow out; he is chased by a masked assailant and is then fatally stabbed by a branch in the woods. The rest of the friends try to get help, only to realize they are practically trapped in the area, with their car not working and the landline connection cut off. Some of the others feel there’s a ninth person in the house trying to target them. Tee (JJay Patiphan Fueangfunuwat) and Top (Jet Jetsadakorn Bundit) are the most freaked out, both convinced that Non must be planning to kill them one by one, just like in a horror movie five of them had made in high school at the same location. Phee (Ta Nannakun Pakapatpornpob), Tan (Mio Athens Werapatanakul), and Tee’s boyfriend White (Fuaiz Thanawat Shinawatra) are the most curious to know the truth about this Non, as they joined the friend group later.

The next two episodes are slightly challenging to watch because the script isn’t very coherent, and it’s hard to establish if “Dead Friend Forever – DFF” is a campy slasher-thriller or a supernatural horror show with actual ghosts. A local forest lore about a deity called Janta, whose followers offer him live human sacrifices for their wishes to be granted, is thrown into the tale to give the story another eerie angle. Besides, the writers keep up the suspense surrounding the mystery character Non, so until viewers finally get the backstory, you wonder just how bad things could’ve been in high school for somebody to go on a murder spree. Or is a follower of Janta looking for live sacrifices? Or is there something else afoot? Romance, friendship, greed, betrayals, ambition, bullying, self-harm, revenge, sex, drugs, there’s a little bit of everything you’d find in a teen drama here.

Flashbacks of who Non was and what really went down in the friend group are shown from episode 4 onward, where Barcode Tinnasit Isarapongporn takes center stage as the shy, asocial, and creative Non, who helps the wealthy Por and his group write a horror script, which helps them win funding to create it. However, Non is amply bullied by Por, Tee, and Top during the filming process. But it wasn’t just regular bullying; Non is taken for a ride and thrown into a vicious cycle of abuse, which takes a heavy toll on him. A big twist at the end of episode six helps to set the ground to explain a significant amount of events that remained under a cloud until then. Episode seven is perhaps the highlight of this show, which introduces Non’s secret partner, who nobody else (strangely) seems to know about. It’s a roller-coaster edition that begins with a cute montage of Non’s romantic life, but by the end of the episode, the bullying becomes excessive, and you wish the show could just go back to the present, where things are much simpler – a masked murderer is on a killing spree.

Barcode Tinnasit Isarapongporn, who made his acting debut with “KinnPorsche” (along with Ta), delivers a riveting performance as the young, gullible Non, who goes on to make many questionable decisions himself. From being a studious, creative, upright teen who is bullied, Non evolves into a morally grey character. Despite being portrayed as intelligent, he easily falls into traps and isn’t averse to going down the wrong path to save his skin. Ta Nannakun Pakapatpornpob as Phee emerges as the primary protagonist in the series – he is level-headed, calculative, and has great chemistry with his co-stars.

All the other young actors in the cast too deliver entertaining performances, although Jet Jetsadakorn Bundit wasn’t able to portray his character’s fears with conviction. Fuaiz Thanawat Shinawatra as White was a whole different mood from the rest of the characters, he is like the ‘soft princess’ of the squad, who didn’t even want to come on the trip and is caught in a nightmare that’s about a person he has nothing to do with. JJay Patiphan Fueangfunuwat is Tee, who constantly reminded me of popular Thai actor Mew Suppasit of “TharnType” fame. Like most of his other friends, Tee is a selfish bully, but gets an unnecessary redemptive arc towards the end of the show. Mio Athens Werapatanakul is understated as the shady Tan, just as his role requires him to be.

The cinematography for “Dead Friend Forever – DFF” shines best during the non-horror bits, although, most of the violent-bloody scenes are executed well, with a campy loud style, so the shock value of the gory sequences might be too much for some viewers, but regular horror fans would want to see more of them. Some of the camera shots were annoying in some episodes, with some cuts/transitions being jumpy and jarring, but for most parts, the series is visually engaging. The background music does a fantastic job of setting the mood for different scenes, from the haunted/scary sequences to the romantic-soft flashbacks. The original track “No More Dream” composed by Jeff Satur and sung by Barcode for the show is a moody love ballad which caught my attention and definitely made me want to revisit it.

While the pacing of “Dead Friend Forever – DFF” can be quite erratic, major revelations in the last few episode help viewers find the pieces of the missing puzzle, even though some parts remain unexplained and exaggerated. The creators should’ve ideally wrapped up the show by episode eleven, where the cat is out of the bag, but they go on to extend the series and episode 12 was a complete “mind-fuck” edition. There’s just no better way to describe it. And in the end, viewers also get a small “two years later” epilogue scene, which instead of ending the show on a conclusive note, brings the curtain down with a open-end which does not sync well with the time jump. The writers should’ve come up with something else. Overall, this is a pretty entertaining show for horror-thriller enthusiasts, so watch it if you are in mood for some youngsters going crazy in an isolated cabin in the woods.

Rating: 7 on 10. You can watch “Dead Friend Forever – DFF” on iQiYi.

Read Next: ‘The Exorcist: Believer’ Movie Review

Also Read: Einstein and the Bomb Review (Audio Version Below)

Damsel Review – Familiar but Fairly Fun

Rating: 3 out of 5.

Sneha Jaiswal (Twitter | Instagram)

It’s a bit of a bummer that both the trailer and even the Netflix synopsis “Damsel” on the streaming page, give away the story of the 2024 fantasy film. So you know what’s likely to happen next and you’ll figure out most of its little twists. However, its stunning cinematography, which conjures up a magical “once upon a time” land with grand palaces, kings, and pretty princesses, keeps the film engaging.

Created by Juan Carlos Fresnadillo (Director) and Dan Mazeau (Writer), “Damsel” stars “Stranger Things” star Millie Bobby Brown as Elodie, a princess from an impoverished, starving Kingdom, who is sought out as a bride for the Prince Henry (Nick Robinson) from the wealthy island kingdom Aurea. Under the guise of grand nuptials, lies a sinister plot to sacrifice the new bride for an ancient ritual in an inescapable cave. An unsuspecting Elodie must fight for her life and not become another innocent sacrificial lamb for the royal family.

One one hand you have happy, saccharine fantasy fairy tales like “Cinderella”, on the other there are dark twisted fantasies like “Game of Thrones”, and “Damsel” falls somewhere in between. It starts off as a dreamy royal story – poor princess Elodie goes to the grand golden palace in Aurea, meets a handsome prince and she is seemingly set for a happy ending. So, the first 30 minutes of the film are rich in colors, settings, and both the costume team and the special effects team do a fantastic job with world-building. From the lush green fields of Aurea to the gilded halls and grand gowns found in its palace, “Damsel” is visually very pleasing. Once the darker part of the tale starts, where Aurea is betrayed and left to fend for herself against a powerful monster, things are interesting for a bit, and then the pace slows down.

Millie Bobby Brown is charming, feisty, daring and all things likable as the down-to-earth Princess Elodie, who displays exceptional courage, and will in the face of a formidable opponent. But a lot of what Elodie experience in the cave where she is trapped felt far-fetched and just a tad bit underwhelming. Except for a young woman fighting a dragon, there isn’t much novelty to the story, with familiar themes of greed, royal corruption, betrayal, and bravery touched upon ever so fleetingly. But hey, it’s fun to see a princess be her own knight in shining armor.

Overall, “Damsel” is well-paced, with deftly executed special effects, although it falters in a crucial climactic scene. I was definitely hoping for Elodie to get a more kick-ass ending. Regardless, this is a pretty fun film to watch with friends, family, or alone on the weekend, especially if you’re a fantasy fan and don’t take things too seriously.

Stream “Damsel” on Netflix.

Read Next: Spaceman – Introspective Outer-space Ballad

Also Read: Einstein and the Bomb Review (Audio Version Below)

Indrani Mukerjea Story: Buried Truth Review – A He Says, She Says Tale

Rating: 3 out of 5.

Sneha Jaiswal (Twitter | Instagram)

“Did you murder your daughter Sheena?”

“What a stupid question.”

This exchange is part of the trailer for Netflix’s documentary series “Indrani Mukerjea Story: Buried Truth” (directed by Uraaz Bahl and Shaana Levy), which attempts to unravel the Sheena Bora murder case. The case is still under trial, and no comprehensive conclusions have been reached by the courts yet. And unlike the title, there’s isn’t much ‘buried truth’ that comes to the surface in this four-part documentary series, in fact a disclaimer at the beginning mentions that the documentary doesn’t contain any event or revelation that’s not already in public domain. So for those who’ve follows the case on the new, there isn’t much on offer, except for a coherent look at the case, with sit-down personal interviews with some of the key players.

For the uninitiated, Indrani Mukerjea, the former CEO of the Indian media group INX Media, was arrested in August 2015 by the Mumbai police along with her husband Peter Mukerjea and driver Shyamvar Rai for allegedly murdering Sheena Bora. In Indrani’s circle, Sheena was known as her sister. However, when Sheena began dating Rahul Mukerjea, Peter’s son from a previous marriage, tensions arose. Indrani was allegedly unhappy with the relationship and upset that Sheena had started revealing her biggest secret to people —that Sheena was actually Indrani’s daughter, not her sister. Sheena disappeared in April 2012, and it took three years for the cops to figure out she might be dead.

The first episode/part of “Indrani Mukerjea Story: Buried Truth” begins with an audio recording of a phone call between Rahul Mukerjea and Peter. “What has happened to Sheena? What has happened to Sheena?” Rahul frantically asks his father, who explains that she “has gone off somewhere and doesn’t want to be in touch”. The first interviewee however is Vidhie Mukerjea, Indrani’s daughter, who was 17 at the time of her arrest and was legally adopted by her third husband Peter Mukerjea. Vidhie describes her mother and how the case affected her family. Her perspective is followed up by interviews with journalists who covered the story and cops associated with the case.

To maintain the momentum of this true-crime story, the creators place Indrani in the interviewee seat during the final few seconds of the first episode, ensuring viewers stay tuned to hear the tale directly from her. “I am ready, guys. Ask me whatever you need to,” Indrani says, looking straight at the camera, dressed in a crisp red-and-black saree, seemingly prepared to give her version of what happened. Episode two thus focuses on Indrani’s side of the story, where she makes some disturbing revelations about her early life (revelations – if you haven’t been following the case), going on to justify why she chose to leave her biological children, Sheena Bora and Mikhail Bora, with her parents in Guwahati.

From real photos, video footage, and audio recordings of phone calls, this Netflix documentary also incorporates dramatized recreations of certain events to maintain visual engagement, a common feature in many Netflix documentaries. It’s essentially akin to a well-produced version of the popular Indian series “Crime Patrol,” presented in documentary format, with gritty suspenseful music running throughout to keep the narration tense. However, despite the makers’ efforts to present all sides of the case, they were unable to secure four crucial interviews – those of Peter Mukerjea, Shyamvar Rai (the driver who spilled the beans), Sanjeev Khanna (Indrani’s ex-husband who was also arrested for abetting the murder), and Sheena’s partner Rahul Mukerjea. In the end, the creators do add a note that they tried to get everybody onboard, but failed to do so. But because of this failure, you can’t help but feel that this series is a lopsided.

“It’s a bizarre case,” one of the journalists says in their interview, and sure, it does seem extremely bizarre if you begin to dwell on it. Although the possibility that it was Indrani who killed her daughter does remain the easiest theory to go with, even though there are definitely signs of a cover-up and that it couldn’t have been as simple as a powerful woman bumping off her daughter because she was unhappy with her love affair. In his interview, Mikhail Bora is adamant that Indrani wanted to kill him and his sister, Sheena, while Vidhie is ready to give her mother the benefit of the doubt, ironically after penning a book called “Devil’s Daughter” in 2021. As a result, the series is dominated by opinions and perspectives rather than factual evidence and concrete facts.

The last episode wraps up the documentary with the legal aspects of the case, including a rapid summary of what happened during the court proceedings, along with an interview of Indrani’s defense lawyer, Ranjit Sangle. For those who don’t know much about the case, “Indrani Mukerjea Story: Buried Truth” can be a pretty riveting watch. However, you may be left feeling that it leaves you with a lot more unanswered questions.

Read Next: Lover, Stalker, Killer – Documentary Review

Also Read: Einstein and the Bomb Review (Audio Version Below)

Mirror of Love – An Epic Poem by Alan Moore

Rating: 3.5 out of 5.

Sneha Jaiswal (Twitter | Instagram)

So… I was looking for graphic novels when I stumbled upon “Mirror of Love” by Alan Moore on the Kindle Store, for some reason it was tagged under the genre, even though the book description clearly said it’s an epic poem with pictures. But since Alan Moore’s also behind titles like “The Watchmen”, “V for Vendetta”, I decided to read his poetry.

My edition begins with a foreword by American author Robert Rodi, penned in 2003, while “Mirror of Love” first came out in 1988. Rodi writes about his review for this epic poem, where he called it “an attempt to distill the entire history of homosexuality to serve as the subtext to a sustained love affair between two hermaphroditic angels, mirror images of each other.” Which is a fair summary of what the poem is about. Rodi explains how “Mirror of Love” was published to counter Britain’s antigay Clause 28 – a piece of legislation introduced under Margaret Thatcher’s government that stated a local authority “shall not intentionally promote homosexuality or publish material with the intention of promoting homosexuality”.

Given the context of why Moore wrote “Mirror of Love”, it is of-course serves as a compelling piece of literature, a reminder of the historic trials and triumphs of those who loved without regard for gender norms. From Greek legends, to real figures like Oscar Wilde, Wilfred Owen, Moore packs his poem with stories, anecdotes and a scathing critique of the Thatcher government’s homophobia. But even though the poem is over 100 pages long, it doesn’t feel “epic” in nature, and gets over in a flash.

Perhaps it’s Moore’s usage of free-verse style, which makes “Mirror of Love” read like a short essay, rather than a grand literary poem. There’s no rhythm or meter to the words that flow through the pages, and while I enjoyed reading it, it’s not the kinds I would want to revisit.

Rating: 3.5 on 5.

Read Next: 5 Authors to Read If You Like Haruki Murakami

Also Read: Wives and Daughters – Book Review (Audio Version Below)

“The New Look” Episode 6 Review

In Episode 5 of “The New Look,” Christian Dior persuades wealthy entrepreneur Marcel Boussac to allow him to establish his own atelier in Paris instead of working for someone else. However, the episode concludes with a heartrending twist: Christian’s sister Catherine returns from a Nazi camp, appearing dazed, malnourished, and a mere shadow of her former self. Christian finds himself torn between throwing himself into his new venture and devoting all his time to helping Catherine recover. Meanwhile, Coco Chanel prepares to wage war against her business partners for selling her popular perfume behind her back.

Titled “If You Believed in Me”, episode 6 begins with a sombre sequence of Christian ((Ben Mendelsohn) taking care of a troubled Catherine (Maisie Williams), who has shrunk to the size of an underfed child and is suffering from temporary amnesia due to the torture and trauma she endures during her imprisonment. His current situation is contrasted with Coco Chanel’s (Juliette Binoche) stay in a luxury hotel in Switzerland, where she continues to live it up, despite losing access to her money.

Except for the parts that focus on Catherine’s struggle to recover, harrowingly portrayed by Maisie Williams, this edition felt rather slow, and empty. Juliette Binoche continues to be amusingly entertaining as Coco Chanel, but the character itself is losing its novelty. She is being reduced to a middle-aged spoiled brat throwing tantrums. I was expecting a twist in her character arc, and even though there is a slight surprise in her tale towards the end of the episode, it wasn’t what I anticipated.

At this point, I am slightly disappointed that with the war over, the fashion aspect of the story still continues to languish in the background. After the beautifully flashy display of dresses by Dior in Episode One of “The New Look” and brief glimpses of French couture in Episode 4 as part of the “Théâtre de la Mode”, there hasn’t been any spotlight on Dior’s work in fashion. Everybody keeps calling Christian “talented”, but the creators of the series are miserly in their display of his skills with fabric. Hopefully, the next few episodes will pick up steam in terms of pace and content.

You can watch “The New Look” on Apple TV+

Read Next: Wil Review – Violence Comes Full Circle Here

Also Read: Einstein and the Bomb Review (Audio Version Below)

Spaceman – Introspective Outer-space Ballad

Rating: 3 out of 5.

Sneha Jaiswal (Twitter | Instagram)

“You long for your mate, only when she leaves. Why?”

Imagine an alien asking you questions that can throw you into an existential crisis while you are already battling acute loneliness, depression, and sleep deprivation. Things can get weird, fast. So before you decide to watch “Spaceman,” you should know this – it is NOT a space movie like “Gravity” or “Interstellar,” but a love story about a man coming to terms with the reality of his floundering relationship with his wife while he is a million miles away from home.

Based on the novel “Spaceman Bohemia” by Jaroslav Kalfar, the 2024 sci-fi movie “Spaceman” is directed by Johan Renck and written for the screen by Colby Day. Adam Sandler plays Jakub Prochazka, an astronaut who is on a solo mission to Venus. Six months into his lone space odyssey, he encounters a spider-like alien who attempts to understand Jakub’s life back on Earth, particularly his relationship with his wife Lenka (Carey Mulligan).

“Spaceman” is slow, ruminative, and at points feels like you are watching Jakub having reluctant sessions with his therapist, and eventually warming up to them. For me, the pace turned out to be quite challenging, but Jakub’s philosophical conversations about food, family, and love with the alien he names Janus are amusingly engaging. Janus, the giant space-traveling spider, is excellently voiced by Paul Dano, whose soothing voice lends the spider a worldly personality. So despite his initial creepy appearance, Janus begins to grow on you, like Chewbacca from Star Wars, but with the ability to talk.

The cinematography for “Spaceman” flits between Jacub’s cluttered spaceship, which is an awkward post-modern mash of technology, and his wife’s Lenka’s world, which is far removed from his outer-space exploits. It’s the background music that serves as a major protagonist in this 1 hour 47-minute-long film, including a decent amount of loud, annoying whirring noise coming from Jakub’s space toilet. I mean, I didn’t like a lot of the background sounds, even though some of it helps create an oppressive atmosphere it’s tale.

Adam Sandler and Carey Mulligan deliver riveting performances as a couple stuck in a strained relationship – Lenka feels she is trapped in a world that’s too far removed from her partner’s space ambitions, leaving her feeling like an insignificant speck, while Jakub is a self-centered astronaut from a humble background who lets his ambitions blind him from what’s important. Can they salvage their relationship? It takes a weird, curious alien to help Jakub introspect into his personal life and if going away a million miles from those he loves is really worth it.

“Spaceman” might seen bizarre at first glance, but it’s an interesting allegory on human relationships, particularly ones where one partner seems to be making more sacrifices than the other. However, it’s too slow, and maintains a consistent flat gloomy pace that can be quite the downer. Watch it only if you’re up for a moody, ruminative and meandering tale about one man’s struggles with his love-life.

You can stream “Spaceman” on Netflix.

Read Next: One Day Review – Leads Dazzle In Exhausting Drama

Also Read: Einstein and the Bomb Review (Audio Version Below)