Sneha Jaiswal's Blog, page 120
January 26, 2024
Expats Episodes 1-2 Review
If you haven’t seen the trailer for “Expats” yet, it’s best to go in blind into the series, because the suspense over a major sub-plot is tightly maintained in the first episode, keeping viewers confused and intrigued about what the bone of contention seems to be.
Crafted by Lulu Wang, the 2024 series “Expats” is an adaptation of Janice Y.K. Lee’s novel, “The Expatriates.” The series intricately delves into the lives of three American women residing in Hong Kong, each grappling with their distinct and profound existential crises.
Titled “The Peak,” episode one begins like a documentary, with a narrator rapidly describing three unrelated tragedies and emphasizing how such stories typically focus on the victims rather than the perpetrators. The presentation is so cut-and-dried that, for the first few seconds, I mistook it for an ad for a documentary playing on Prime before the series had officially started. After introducing one of the protagonists solely by face, walking down a busy Hong Kong street, the scene shifts to a luxurious hotel meeting. American expat Margaret (Nicole Kidman), a landscape architect, discusses the details of her husband’s 50th birthday party with an event organizer, while her two children lounge around. Margaret is unable to pursue her career in Hong Kong, where her husband is posted—a posting that was initially meant to be temporary, but a tragedy alters their circumstances.
Sarayu Blue plays Hilary Starr, Margaret’s friend, who has hit a rocky patch in her marriage, and there also seems to be significant tension between the friends. Ji-young Yoo is Mercy, the third protagonist, whose accidental presence at Margaret’s party as a waitress ruffles a lot of feathers. How the lives of these three women are intertwined forms the crux of the series. Margaret and Hilary live in the same building, are upper-class married women with house-helps at their disposal, even though their lives diverge in their familial circumstances. Meanwhile, Mercy is a young woman in her early twenties, with a degree from Columbia, but doing different jobs in Hong Kong to sustain her independent life.
The cinematography of “Expats” exudes a modern loneliness, with warm tones and aesthetic settings, sometimes contrasted by the busy bustling streets and markers of Hong Kong. The scenes often change abruptly, especially in the first episode, leaving you confused about where the plot is heading. One second, Mercy is having a drink with her friends; another second, some character is at a church, and within a few seconds, the scene shifts to someone else. The scenarios are like jigsaw puzzles that fortunately fall into place satisfactorily by the end of episode one.
Episode two starts with flashbacks displaying how Margaret met Mercy at a yacht party, their encounter eventually leading to a tragic incident that changes both their lives. The edition dispels most of the mystery and intrigue in the story and ends in a way that just the first two episodes could make up a coherent movie by themselves, but the kind that leaves viewers with an open-ended “figure out what might have happened yourself” kind of climax.
So far, Nicole Kidman pretty much overshadows everybody else with her strong performance as the conflicted expat Margaret, who is torn between two worlds and riddled with grief. There’s a chilling scene in episode one where Nicole switches from dancing gleefully at a small restaurant to freezing when she sees her face in the mirror, as if stunned for allowing herself to be happy. There’s an unexplained subtle violence in the scene, where Margaret looks like she is ready to murder someone, but the only one she kills is herself in that moment.
In terms of themes, “Expats” explores a myriad of issues, ranging from interpersonal relationships between married partners, relatives and friendly peers who are equals to the often awkward relationships between upper-class employers and their domestic staff—whether maids, nannies, or drivers.
It will be interesting to see how the story goes forward in the next few episodes.
You can stream Expat on Prime Video.
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Sweaty Larry – Short Horror Film Review
Sneha Jaiswal (Twitter | Instagram)
Can a girls night out be complete without swapping scary stories or trying out some spooky game? Not if you are a horror fan!
Directed and written by Vanessa Ionta Wright, the short film “Sweaty Larry” is a fun and crisp horror-comedy that follows three young friends attempting to summon an entity from a little-known legend that may or may not have originated in ancient Arabia.
About six minutes long, “Sweaty Larry” opens with a deceptively tense and engaging scene of a bunch of kids meddling with a Ouija board. The scene switches to Amy (Sienna Cheryl Burton) and her friends Violet (Camryn Bentley) and Darla (Quinn Reames) huddling together to try a different supernatural game altogether. It’s a bit like the conjuring of Bloody Mary—where you have to flush the toilet nine times and call for ‘Sweaty Larry.’
The actors share an easy camaraderie, and Haley Leary, portraying Amy’s older sister Hannah, emerges as arguably the most relatable character—the elder sibling dealing with noisy, nosy, ‘up-to-no-good’ kids at home while attempting to enjoy some quiet ‘study time’ with her girlfriend.
The cinematography creates an engaging mash of different moods. While the film begins with a dark, gothic mood, setting a séance-like atmosphere, the scenario soon changes to a cozy living room setup where Amy and her friends are trying to have a fun night out, and the last leg of the story looks like Matrix meets Goosebumps. I love how Vanessa Ionta Wright and team waste no time in dramatic pauses or shady shots and keep the story moving.
The short film “Sweaty Larry” exudes a clever self-awareness, embracing the conventions of horror comedy while injecting quick humor through the casual banter of its young protagonists. In its brief runtime, predicting the direction of the climax proves challenging, yet it unfolds swiftly, almost abruptly, leaving you with a hearty chuckle.
Watch the teaser for “Sweaty Larry” on Vimeo.
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January 25, 2024
Blue by Pat Grant – Graphic Novel Review
Sneha Jaiswal (Twitter | Instagram)
Like its title, the graphic novel “Blue” by Pat Grant will make readers fall in love with the color blue all over again (unless you aren’t already a fan of the shade, than you’ll probably be just apathetic). I loved the artwork and the pleasant blues in this book. Set in a fictional Australian town called Bolton, the color blue pervades most pages, whether its protagonists are hanging by the sea, surfing blue waves, building sandcastles; and even if the sky and sea aren’t seen in the setting, the grass is blue in this graphic novel.
However, the plot is quite abstract; it revolves around an old resident recalling how their small town, once exclusively inhabited by Australians, eventually became overrun by blue beings who slowly began erasing the town’s long-established way of living. I realized I may not have interpreted this graphic novel in the way Pat Grant intended because “Blue” seemingly advocates racism, serving as a metaphorical lament against immigrants, although it doesn’t cast the locals in a favorable light either. Only towards the end, in the author’s note, does Pat Grant indicate that the story is meant to be a criticism of anti-immigration sentiments. Unfortunately, this theme was somewhat muddled in the book.
Quite a few dialogues and actions in the book display racist behavior, with no one explicitly (or even subtly) condoning them. The narrator recalls discussing the blue creatures with his friends, who don’t even know what country they are from. “They are from some other country. Like near Africa or some shit,” one of them says at one point. When her friend questions if it isn’t racist to refer to them as simply ‘blue people,’ she responds by saying it’s not racist because they are blue in color, so a fact cannot be racist.
Pat Grant’s artwork kept me invested in the graphic novel, while the characters are simplistic blob-like beings, almost like cactus plants depicted as humans, Pat puts in a lot of work into the background illustrations. Bolton looks like a lovely quaint sea-side town, almost like a ginger-bread cake town covered in blue frosting. Sample this illustration (below) of a bunch of houses in Bolton; am I the only one who thinks they look like they could be cake?
So, while the artwork is quite the treat in this work, the story just kept meandering, with the protagonist focusing the tale on a day when he first saw a blue being show up in Bolton. On one hand, a bunch of kids are cutting school to go surfing and see some gory local sights, on the other hand there’s news of strange new blue-colored creatures with multiple limbs showing up in the town. These creatures at first try to mimic the locals, but then eventually becomes the dominant residents, pushing out families that used to be the roots of Bolton’s community. The fact that the immigrants thrive despite the odds, is probably the only subtle positive point in their favor.
Pat Grant mixes his own personal childhood experiences with political themes, and the result is an awkward story which ends up just when it gets a little interesting. Perhaps, if the book had been at least 50 pages longer, the creator could’ve wrapped up this tale in a more coherent manner.
Rating: 3 on 5. “Blue” is also available on Kindle Unlimited.
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Percy Jackson and the Olympians Episode 7 Review
Disney’s fantasy series “Percy Jackson and the Olympians” is heading towards its season finale as the leads – (Walker Scobell), Annabeth Chase (Leah Jeffries), and Grover Underwood (Aryan Simhadri) – find their way to the underworld. There, they must face the God of the Dead to retrieve Zeus’ bolt and negotiate the safe return of Percy’s mother. However, a bunch of twists await the young heroes.
Aptly titled “We Find Out The Truth, Sort of”, episode seven of “Percy Jackson and the Olympians” starts with Percy entering what looks like a mattress shop, but is actually a front for an alternative entrance to Hades’ realm. Two parallel plots run through this edition, one focusing on the trio’s attempt to get to Hades palace by fighting/outwitting the ferocious Cerberus who guards the underworld; while the other consists of flashbacks were Percy’s mother Sally Jackson (Virginia Kull) attempts to enroll a younger Percy into a boarding school against his will.
The casting directors (and make-up team) have done a fantastic job in selecting Azriel Dalman as the younger Percy. The child actor looks so much like Walker Scobell that, for a moment, you wonder if it’s a digitally altered version of the actor or if they are related (they aren’t). And the flashback scenes help in establishing the deep connection between Percy and his mother, even though Virginia Kull still isn’t very convincing as Sally. Meanwhile, Jay Duplass makes his first appearance in the show as Hades, who was quite amusing as the God of the Dead. However, I was expecting somebody a little more intimidating, even if it didn’t fit the traditional depiction of the character. For example, Gwendoline Christie made such a fantastic Lucifer, the ruler of hell, in “The Sandman” series—a departure from the usual male characterization of the fallen angel.
Despite the kids finally making it to the underworld, episode seven wasn’t very exciting, maintaining a tepid mood throughout the runtime. While the underworld is obviously a cold, dark, foreboding place, even otherwise the cinematography is unnecessarily dominated by low-lit scenes, including the flashback moments, where little Percy and his mom are at a restaurant having milkshakes, but it looks like a scene from a horror movie. The color schemes and poor lighting make the show seem a lot more depressing than it really is, which is quite the downer, given the script is even otherwise pretty serious.
For a penultimate episode, “We Find Out The Truth, Sort of” doesn’t set an exciting groundwork for the season finale, but some pretty wicked revelations are made in the second-half, and things do end on a tense cliffhanger. Perhaps the last episode will make up for the slackening in pace and mood of the tale.
‘Percy Jackson and the Olympians’ is available to stream on Disney Plus.
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January 24, 2024
Dragons of Wonderhatch Episode 8 Review
Minor story spoilers ahead
Pytonpyt has begun invading Japan, and Tyme is desperate to find a peaceful resolution to help keep both worlds safe without more bloodshed or destruction!
Titled “Door to the World,” episode eight of “Dragons of Wonderhatch” (Wandahatchi: Soratobu Ryu no Shima) serves as the season finale. At 52 minutes, it is almost twice as long as episode seven, which was only 32 minutes. Viewers finally get a dragon versus dragon fight in the real world, with Akuta (Makenyu) mounting one of them, but it was ever so brief! And in one of the biggest disappointments, Tyme’s (Okudaira Daiken) dragon Guphin is almost a no show!
For a season finale, episode 8 was a mixed bag, featuring some beautiful cinematography and world-building that helps balance the lack of exciting action scenes and a coherent story ending. Pytonpyt, the massive dragon-like entity that invades Japan, is an imposing white figure against the pleasing blues of the clear Japanese sky and seashore. Akuta teams up with Tyme to venture inside its confines and find a way to prevent it from destroying Upananta and Japan. Meanwhile, Nagi (Sena Nakajima) attempts to prevent her mother from going to Upananta and starting a new life (which seems in peril anyway).
Okudaira Daiken proves to be a worthy leading hero as the optimistic-idealistic Tyme, lighting up the screen each time with his smile and cheery energy. Even in the toughest of times, Tyme’s spirit keeps those around him going. Even Akuta acknowledges this after brutally snubbing his young junior in earlier episodes. A small sub-plot involving Nagi’s friend Son (Emma) trying to protect himself and a bunch of humans on the floating island from a dragon’s attack was mildly comedic and very random – he is able to create a magical flying ship from the substance he got from Tyme. Very random.
The ending was also kind of random, it ends with an underwhelming (and temporary) solution, which leaves a lot of scope for a season two, but doesn’t wrap up the first one with a satisfactory conclusion. I expected more.
You can stream “Dragons of Wonderhatch” on Disney Plus and Hulu.
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The Brothers Sun Review – Eat, Fight, and Scheme
Sneha Jaiswal (Twitter | Instagram)
Charles Sun loves watching cooking shows and baking sweet things, but he is a notorious Taiwanese gangster known for brutally killing his opponents. So when his father, Big Sun, a top triad boss is fatally shot, Charles rushes off to Los Angeles to protect his mother Eileen and younger brother Bruce, who have been living fairly regular lives.
Created by Brad Falchuk, Amy Wang, and Byron Wu, the 2024 action-comedy series “The Brothers Sun” spans eight episodes. Justin Chien is daddy’s boy Charles Sun, who has a constant target on his back and thinks an old triad rival wants his family dead, but it seems like a dastardly new organization might be trying to kill them all. Michelle Yeoh is Eileen AKA ‘Mama’ Sun, who works as a nurse, while Bruce (Sam Song Li) is studying to be a doctor and has no clue about his family secrets. Eileen wants Charles to keep Bruce away from their violent world, but he wants the younger brother to buck up and get to know the family business. So, “The Brothers Sun” is a pretty fun show about two estranged brothers bonding while they fight off a sinister pack of blood-thirsty goons who are constantly chasing them around the city.
After watching Michelle Yeoh play non-action-involved roles like that of a celestial deity in fantasy series “American Born Chinese” and a phony medium in “A Haunting in Venice”, I was honestly hoping to see her bust some (a lot of actually) Kung-fu moves in this series. But it’s Justin Chien who gets to execute the bulk of the action scenes in “The Brothers Sun”, as the older Sun brother, who has a legendary tale of violence attached to him. The first two episodes does a fun job of establishing the Sun family personalities, Charles is the serious fighter drowning under his elder son duties; Bruce is the goofball, who is secretly doing expensive improv classes instead of focusing on college; Yeoh’s Eileen is the tiger mum, who’d do anything to protect her babies, but also has her own ambitions.
While the fight sequences aren’t as fun as I was hoping them to be, the groovy background music, and fun interactions between the characters (even if they some-what cliched) makes “The Brothers Sun” an entertaining watch. Sam Song Li will probably have audiences divided, because his character Bruce is supposed to be an idealistic happy-go-lucky medical student, who squirms at the sight of severed body parts and is constantly making questionable decisions. Bruce is supposed to sort of cute and slightly moronic, and Sam Song Li is either cheering cute or stupidly annoying throughout the series. Between the clashing personalities of the brothers Sun, Michelle Yeoh’s foresighted Eileen brings a calculated grace to the show.
A sub-plot about an officer called Alexis (Highdee Kuan) investigating violent incidents related to Charles’ presence in LA, adds some interesting twists and complications in the tale. Madison Hu was awkwardly cute as Grace, a classmate who Bruce develops a crush on. Jenny Yang and Jon Xue Zhang play triad gangsters Xing and Blood Boots, a killer duo who reminded me of Hazel and Cha Cha from Netflix series Umbrella Academy.
“The Brothers Sun” wasn’t the kind of series that sent me into a binge-watching spiral, but I streamed its eight episodes over a week, and it serves as an entertaining way to wrap up my day. There’s plenty of action, blood, brotherly bickering, violent fighting, triad rivalries, and family politics to keep you invested in this action-comedy. The climactic episode was ironically titled “Protect the Family,” with the irony playing out in the form of infighting and betrayals, but the ending gives a deserving player the victory they vie for.
Rating: 7 on 10. Stream “The Brothers Sun” on Netflix.
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January 23, 2024
From the Ashes Review – Some Smoke, No Fire
Director Khalid Fahad’s film “From the Ashes” is loosely based on real incidents and follows a school blaze that claims lives, including exemplary model student Amira Saeed, discovered locked in a storeroom. Was the fire accidental or arson? And was Amira merely unwitting collateral damage or a victim of deliberate malice?
Set in an all girls school in Saudi Arabia, “From the Ashes” starts off as a seemingly simple tale about grades, classroom rivalries, bullying, and envy. The nerdy Amira Saeed is constantly targeted by an unruly trio of friends, while her best-friend Rana, who is the principal’s daughter, does little to help. And when Amira dies in the school fire because someone locked her in the storeroom, her bullies become primary suspects and are subject to an internal investigation led by the principal of the school.
Despite its immense dramatic and emotional potential, the script plays it far too safe, is quite muddled in its themes, and ends up as an underwhelming film experience. While some of the cinematic elements of “From the Ashes” do come together well — from the believable school premises and conservative costumes to artistic shots that play with light and settings — the performances of majority of the actors feel subdued and withdrawn, and in some cases, even disinterested.
One of the most crucial aspects of the story is almost ignored, wherein the students and teachers are prevented from escaping the school fire because the main gate is locked from the outside, and the guard refuses to open it because they are not modestly dressed. This infuriating instance of moral policing taking precedence over innocent women’s lives is reprehensible. But nobody breathes a word about it later, even though the scenes do subtly highlight the regressive absurdity of it all. Instead of offering them water or first aid, the men first offer the girls their own headscarves so they can cover their hair and faces.
“From the Ashes” tries to be a character-driven story, but with a tight 90-minute runtime, in which over 20 minutes are taken up by the chaos of the blaze which engulfs the school, the characters don’t get enough space to make a lasting impact on the viewer. So when everything is said and done, it’s hard to care about anything that takes place. The creators should have had a sharper focus for this tale, instead of letting multiple issues and incidents dilute the storytelling.
“From the Ashes” is available to stream on Netflix.
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January 22, 2024
Nostalgia Issues 3, 4, and 5 Review
Plot overview: Created by Scott Hoffman and Danijel Žeželj (Artist), Nostalgia follows the adventures of a fading music super star Craig Mantis AKA Nostalgia, who was God-like in his influence at the height of his popularity. But with no new music in years, he lives a life of quiet luxury as a recluse, but the routine of his new peace id disturbed when a stranger sends him a package and claims to be related to him.
This comic book series is a weird weird trip unto itself, fueled by vibrant neon illustrations, a cryptic poetic language, and idealistic notions about music and art, all set against a backdrop of techno cyberpunk dystopia. Just like issues 1 & 2 of “Nostalgia”, the third issue too begins with an old article, this time from a gossip magazine about Craig’s ‘fast and furious’ rise to fame and his lavish lifestyle. Then the focus shifts to the cliffhanger issue 2 ended with – Nathan is shot during a public protest in the city. Craig however, comes to his rescue, takes him to the best doctors, and then the two bond over music, art, and space. But just when it seems the two are getting along, a sinister event takes place, which puts Craig’s reputation in jeopardy.
Issues 3 & 4 meandered between the rocky new relationship of Craig and Nathan while also delving into Craig’s journey to superstardom in the past. It wasn’t just talent that made him the rock god in ‘Nostalgia,’ but the unwavering support of a formidable trillionaire (it’s not even a word yet, but sometime in the future, it will be). Scott Hoffman employs a plethora of imagery and artsy hyperbole to guide readers through a tale of music, dissent, and a group’s efforts to make their voices heard in an apathetic society. Craig symbolized shattered hope, a man who was once a beacon for change but now harbors no faith in the possibility of making any difference in anyone’s life.
The cyberpunk-themed artwork by Danijel Žeželj remains the primary highlight of this comic book series. It’s a burst of captivating shades and strokes, almost dreamy in nature, akin to watching a live concert of colors. Scott Hoffman places art on a pedestal in the narrative, emphasizing its dual role as both a powerful tool for communication and unity, and at times, its failure to make a concrete impact.
Issue 5, the final comic book in the series, begins with a fantasy news article harshly critiquing Craig’s musical journey and stardom. Then comes the biggest plot twist in the tale, elevating this bizarre series into a genuine techno-dystopian narrative.
Rating: 3.5 on 5. Nostalgia is available on Kindle Unlimited.
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Sixty Minutes Review – Tick Tick Snooze
Sneha Jaiswal (Twitter | Instagram)
If only this film were sixty minutes long! With an almost 90-minute runtime about an MMA (mixed martial arts) fighter ditching an important match to get to his daughter’s birthday because his ex threatens to sue for full custody if he doesn’t make it in time, the German film “Sixty Minutes” (original title: Sixty Minuten) is too long.
Directed by Oliver Kienle, who co-wrote the script with Oliver Kienle, the film stars Emilio Sakraya as protagonist Octavio Bergmann. Octavio has only sixty minutes to get to the other side of town for his daughter’s birthday, and a whole bunch of goons are trying to get him back to fight a match because a lot of betting money is at stake. That’s pretty much the story – a fighter trying to ward off dangerous men, fighting a lot of them along the way, while he tries to get to his daughter’s birthday in time.
So, ‘Sixty Minutes’ is supposed to rely on compelling cinematography, kick-ass action scenes, and a thrilling background score. While the music is pacy and helps create tension and suspense throughout the runtime, most of the fighting choreography was mediocre at best. However, even though Emilio Sakraya gets Octavio’s emotions and violent body language right, the character is barely likable—he is a hothead, runs a loss-making gym facility, isn’t a great MMA fighter, and is definitely a very questionable kind of father because his little daughter is pretty sure he is lying about coming to her birthday party. Octavio rarely shows up for her and needs an ultimatum about losing her custody altogether to wake up to his dad duties. Even then, while he is trying to make his way to her place, he swears at cops when a car runs over him, not because the cops were in the car, but they just happen to be on the scene. Then they arrest him for berating them. If you are in a hurry to get someplace, the last thing you want to do is piss off cops along the way. Why should we care about what happens to this guy? “Oh but he has a good heart,” is probably what the creators would say.
It’s not like one expects a lot of logic from action movies, but “Sixty Minutes” just runs with a terrible protagonist, whose personality is buried under snazzy colors and gritty music. The writers should’ve just made this film about a fighter trying to get to his girlfriend/wife’s place before she leaves him for good, making one last grand gesture to convince her of his love. At least, his character flaws wouldn’t seem as problematic because the victim of his callousness would be an adult woman, not a little girl who just wants to see her father on her birthday. The climax could’ve been heartwarming if the characterization had been better. Overall, this was a predictable snooze-fest but go ahead and give it a try if you are in mood for a mindless action flick.
“Sixty Minutes” is available on Netflix.
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January 21, 2024
Guthlee Ladoo Review – Dhanay Seth Charms As Guthlee
Sneha Jaiswal (Twitter | Instagram)
Guthlee is a bright-eyed boy who dreams of nothing but going to school, but born to a poor cleaner, he isn’t allowed to enroll into the only school in town as it discriminates against children from his caste.
Created by Ishrat R. Khan, Srinivas Abrol, and Ganesh Pandit, the Bollywood movie ‘Guthlee Ladoo’ stars Dhanay Seth as the titular Guthlee, while Sanjay Mishra plays Harishankar, the principal of the school where Guthlee is always hanging out, peeping through windowsills to learn alphabets, numbers, and even poetry. The story follows how the upper caste teacher and the impish Guthlee form a bond, which could help the boy’s desire to study come true, even though the path is laden with hurdles.
I couldn’t help but fall in love with Dhanay Seth’s portrayal of the spirited Guthlee within the first few minutes of the film, his excitement and hunger for knowledge is infectious. “See? All of you sit inside the classroom yet your minds wanders outside, while Guthlee is outside but his mind is inside,” a teacher tells her students when nobody is able to answer her questions except the stoked Guthlee standing by the window. Unfortunately, Dhanay Seth’s Guthlee doesn’t get as much screen-time as one would anticipate, considering he is the titular lead. Heet Sharma plays Guthlee’s best-friend Laddoo, and his character doesn’t stretch beyond being a chubby kid who loves eating sweets.
Adults dominate a world where the kids should’ve shone, although all the older actors do justice to their roles. Sanjay Mishra is entertaining as the aging bachelor Harishnakar, who lives with his bossy mother and is scared of smoking around the house because of her taunts. Subrat Dutta and Kalyanee Mulay play Guthlee’s parents Mangru and Rania respectively. Subrat Dutta’s Mangru is a loving, doting dad who doesn’t realize there’s more to life than cleaning bathrooms for members of his community until he meets an officer from a lower caste who makes him see education can pull his community out of adversity. Arif Shahdoli is greasily-despicable at the casual, two-faced antagonist in the tale, the corrupt Chaube, who owns Harishankar’s school and won’t allow lower caste children admission, despite a government mandate stipulating a number of seats to be reserved for underprivileged kids.
While the cinematography effectively captures the dust, grime, and charm of small-town India, the background music is overly dramatic and loud in moments where the creators should’ve let the actors’ emotions convey the mood of the scene. The music screams, “This is a sad scene; you must feel bad,” instead of subtly complementing the events unfolding on your screen. Even though the climax heads to a triumphant ending, it feels underwhelming because of the muddled direction.
Overall, “Guthlee Ladoo” feels very formulaic, relying on old text-book tropes to stir up emotions within the viewers. But underneath the formulaic facade, lies a laudable attempt at highlighting the power of education and human determination. I just wish both Guthlee and Laddoo had more screen-time.
Rating: 3 on 5. Stream on Prime Video.
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