Sneha Jaiswal's Blog, page 195
December 5, 2022
‘Your Christmas or Mine?’: Movie Review
A young couple are at a train station, each headed to their own home for Christmas break, but in a comedic co-incidence, both decide to surprise each other and change their train and end up meeting the other’s family all alone. Things get weirder when they are stuck where they are due to heavy snow and discover they don’t know a lot about their partner.
Directed by Jim O’Hanlon, written by Tom Parry, the 2022 film ‘Your Christmas or Mine’ stars Asa Butterfield and Cora Kirk as leads James and Hayley respectively. First off, this isn’t a romance, sure there’s a couple at the center of the story, but it’s a comical drama about them spending the Christmas apart and learning things they kept hidden from each other. The plot execution however is more chaotic than comedic. The Kollywood flick ‘Love Today’ about two lovers swapping their phones for 24 hours was far more entertaining than this family swap story.
There are a lot of Christmas-y elements in the film, there’s plenty of snow, alcohol, desserts, yet it never quite exudes an uplifting festive spirit. The writing is too farcical, and while farces can be hilarious, that’s not the case with ‘Your Christmas of Mine’. One of the major conflict points in the story is about how neither James nor Hayley have informed their folks about who they are seeing. Now, it’s totally understandable for a couple that’s been dating only a few months to be discreet about their love life, but why they didn’t share that detail with each other was bizarre.
A: Hey, do your parents know about us?
B: Not yet.
It can be as simple as that. James and Hayley are still studying, it’s not like they are planning to marry each other. So, what’s the big deal? It’s 2022, not 1902. Sigh. Except for some sparse sweet moments, ‘Your Christmas or Mine’ was an annoying snooze-fest.
It’s a 4/10 from me. You can stream it on Amazon Prime Video.
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December 4, 2022
‘Blue Lock’ Episode 9 Review
Dudes, this was the most exaggerated edition of ‘Blue Lock’ yet and I loved it! Isagi Yoichi’s team battle beasts of Team V on the ground, the boys throw a whole lot of technical terms, which are either made-up or real; doesn’t matter, because all of it was epic fun.
(Read ‘Blue Lock’ Episode 1 Review if you have no idea what the show is about)
Titled ‘Awakening’, episode 9 continues the high stakes match between Team Z and V. The former is completely stumped by the unreal agility and accuracy with which Reo Mikage, Nagi Seishiro and Zantetsu Tsurugi score goals. I mentioned in episode 8 review how some more of Bachira would be appreciated, and like a wish granted – the dribbler takes center-stage to motivate his teammates into pushing their limits.
The stark sketch-book style transitions in the tenser scenes make the characters stand out, especially when they are deep in thoughts, strategizing their next play. ‘Blue Lock’ mastermind Ego makes a cameo and is smug about his ‘diamonds in the rough’ polishing themselves and behaving as expected. Not too surprisingly, the match doesn’t get over in this episode and fans will have to watch the next chapter to find out if the boys can survive their seemingly unbeatable opponents.
Stream the series on Netflix.
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Listen to Ep 59 – 9 Must-Watch Animated Films From IMDB Top 100
‘Love Today’ Review: Zany But Inconsistent
The opening sequence of ‘Love Today’ is a long One Plus phone ad, but it blends with the biggest theme of the film, so the blatant product placement wasn’t as awkward. Pradeep Ranganathan is the director, writer and lead character in this 2022 flick which follows the story of the couple Uthaman Pradeep and Niktiha Shastri (Ivana) who are challenged to swap their phones for 24 hours by her father. That’s his only condition to agree to their marriage. Will the phone swap lead to new revelations or will the lovers retain their trust in each other?
Sathyaraj as Nikitha’s strict lawyer dad Venu Shastri gets a more dramatic entry than the hero himself, and deservedly so… since he is the instigator of chaos in lover’s paradise. Radhika Sarathkumar plays Uthaman Pradeep’s mother, who is tired of him being on the phone and hilariously schools him around the house. Pradeep Ranganathan is quirky as the flawed boyfriend, with a motley crew of guy friends who are there to help in out in troubled times. His performance reminded me of Dhanush, although Pradeep isn’t as larger-than-life and has a more relatable persona. Ivana as his girlfriend delivers a decent performance but her character could’ve needed more development. Among the few things the script gets right is the desperate ways in which guys try to get a girl’s attention and how social media can be an absolute hellhole.
‘Love Today’ has a fantastic crowd-pleasing kind of entertaining first half, but what starts off as a zany fun film, gets unnecessarily serious in the second half. Both Pradeep and Nikitha discover things on the other’s phone that angers them, but the script defends some of Pradeep’s clearly creepy behavior by introducing creepier dudes. Basically, viewers are told in not so subtle terms “yeah, this guy is cheap, but there are men out there who are way worse”.
If younger viewers can see this as a farcical comedy and not take any inspiration off it, ‘Love Today’ is an entertaining film, but the second half is too prolonged. Comedian Yogi Babu has a significant cameo as a dentist who is engaged to Pradeep’s older sister Divya (Raveena Ravi). While the secondary couple’s sub-plot is funny, things get soppy and preachy towards the climax. Had the movie been twenty minutes shorter, with the drama toned down, I would’ve gone for a higher rating.
It’s a 6.5/10 from me. Stream it on Netflix.
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Listen to: ‘The Closet’ Horror Comic Series Review
December 3, 2022
‘Goodbye’ Review: A Klutzy Farewell
A father of four frantically tries to reach out to all his children while trying to wrap his head around the sudden death of his beloved wife. Directed and written by Vikas Bahl, the 2022 movie ‘Goodbye’ follows the Bhalla family in their journey through the labyrinth of funeral rituals and retrospection.
Led by Big-B, most of the cast is obviously overshadowed by the veteran actor’s powerful portrayal of Mr Bhalla, the grieving husband, but Rashmika Mandanna manages to steal the spotlight from him by being the most annoying character. Rashmika plays his daughter Tara Bhalla, but just doesn’t fit in the North-Indian family due to her discernible south-Indian accent. The way she delivers her Hindi dialogues is laborious and unlike someone who is used to speaking a particular language with their family. There’s a brief scene with a Malayali character in the first half of the film, and despite his strong accent, he speaks it better than her. It looks like she was cast simply due to her popularity, while a different actor would’ve been able to pull off the role with more ease. Anyway…
For the first half, ‘Goodbye’ focuses on just how selfish and self-centered younger generations can be. They are barely in touch with their parents, don’t talk to them for weeks altogether, don’t pick their calls or respond to their messages. But here’s the glaring plot problem – for working adults who are not used to calling their parents often, several missed calls is a big red flag, it usually means an emergency. You have to be extremely dumb or estranged with your folks to not call-back, if it’s the former, then you wouldn’t want to care about such protagonists, if it’s the latter, the story isn’t able to justify why their relationship is strained. Mr Bhalla doesn’t come across as an unreasonable man, the deceased Mrs Bhalla (Neena Gupta) is made out to be a gem of a person; So why are their adult children jerks who ignore their mother’s messages and calls?
The movie is basically about a bunch of siblings who aren’t on great terms with their parents (for no good reason) and need their mom to die to finally come home and see how their father doing. The narrative goes back and forth between the past and present, but most of the flashbacks seemed pretty pointless. A linear storytelling would’ve worked better. What ‘Goodbye’ does manage to capture well is the absurd outdated funeral rituals families have to deal with while trying to come to terms with a loved one’s demise. Also, it’s some of the subtler scenes and details that are more poignant, like an elderly man on his own death bed having to grapple with his daughter’s passing away.
The second-half is tediously tiring, with some bad humor and lots of unnecessary scenes. Abhishekh Khan has a small cameo as one of the Bhalla siblings who appears at the climactic stage of the story, but he manages to bring a lot of heart with his little part to the dying tale. ‘Goodbye’ has its moments, but quickly loses all charm due to confused execution.
It’s a 5/10 from me. Stream it on Netflix.
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‘Troll’ Review: Good Old ‘Man Vs Monster’ Movie
By Sneha Jaiswal (Twitter | Instagram)
‘Troll’ is the kind of film that deserved a big screen release for viewers to enjoy its magnanimity. Set against the dreamy Norwegian wild, the 2022 movie has been directed by Roar Uthaug, who has co-written the script with Espen Aukan. The makers mix folklore, fantasy, religion with some Nordic history in this monster flick, which has more heart than expected. At few points it feels like a scathing commentary against the ‘Christianization’ of Scandinavian nations, but for large parts it sticks to ‘man vs nature’ theme.
Plot overview: Amid protests by environmental groups, the Norway government carries on with its plan of blasting through the Dovre mountain to build a railway tunnel. But the construction process wakes up a mythical monster, one that’s supposed to have existed only in fairy tales. Top experts, including paleontologist Nora Tidemann (Ine Marie Wilmann) are roped in to figure out what they are up against and how to stop the gigantic creature before it wreaks havoc across the country.
‘Troll’ is reminiscent of movies like ‘Jurassic Park’, where instead of giant dinosaurs, there’s a mythical ‘Troll’ at large, with its own tragic past and hostile history with humans. As a viewer, you have to let go off logical questions to enjoy what Roar Uthaug and team have to offer. They cleverly keep the CGI to a minimum, building suspense over what the monster looks like, giving scarce glimpses of its actual appearance. So, while the Troll is fascinating, all the human characters are pretty bland and forgettable. But that thankfully doesn’t dilute the entertainment quotient of the film.
From the pristine green mountains of Norway, to the modern man-made buildings of Oslo, the cinematography is a visual delight. It’s the perfect fit for those who love watching humans screaming in terror as a massive monster rips through their streets.
It’s a 7/10 from me. Stream it on Netflix.
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Listen to: ‘The Closet’ Horror Comic Series Review
December 2, 2022
‘The Least We Can Do’ Issue #4 Review
By Sneha Jaiswal (Twitter | Instagram)
Drinks, dance, drama, duels… there’s a little bit of everything in the fourth issue of comic book series ‘The Least We Can Do’ by Iolanda Zanfardino and Eliza Romboli. The fiery cover holds the hint of a electrifying edition and sure enough – protagonist Uriel is killing it at combat practice in the very first page of the issue. She is soon about to go on her first real mission against the Eden Army, can she fight or will she be a liability for the rebels?
(Read: ‘The Least We Can Do’ – Issue #1 Review for plot overview)
Iolanda continues to include new ‘Medium’ stones, so while last issue we learnt about the ‘Coal Medium’, this issue we are made familiar with the ‘Quartz Medium’, a stone that can slow down enemies. The issue also introduces a fascinating new character who uses ‘they/them’ pronouns and their character design, dressing style is distinctly different from the rest. Eliza Romboli’s artwork and color schemes in the comic book make it a complete joyride, giving the slightly dystopian tale a fantasy-like touch. There’s an action-packed train battle sequence, which is brought to life by Eliza’s solid strokes.
The story picks up a lot of steam (quite literally) and is going in an exciting direction. Unlike the first few issues that ended on major cliff-hangers, things come to a close on a poignant note. Uriel’s relationship with the Eclipse Rebels is at a turning point and so is their struggle against those in power.
It’s a 4/5 from me.
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‘Godfather’ Review: A Massy Mess
By Sumith Jhawar (Twitter | Instagram)
Telugu mass movies are like my guilty pleasure but that is purely because I enjoy being in a packed theatre watching people around me have a good time. However, watching ‘Godfather’ at home on Netflix meant that the movie had to shine on its own.
Directed by Mohan Raja, ‘Godfather’ is a Chiranjeevi fanatic’s ode to a legendary actor, something done masterfully by Lokesh Kankaraj in ‘Vikram’ with Kamal Haasan. ‘Vikram’ gave scope for other characters to grow and had a solid storyline. Every character here is a mere pawn providing lip service to Chiranjeevi’s magnanimity, which you are never convinced of due the way the character is built. But then, a lot of things aren’t convincing. There’s a scene where Chiranjeevi and co kill a bunch of goons and not a single piece of metal or blood is discovered by a team of investigating cops! Now that’s what you call a wipe-out!
Satyadev is the only saving grace with his badassery and you can’t take your eyes off the movie for the few minutes Salman Khan’s on screen. Just when you think he could not have gotten more wooden as an actor, he shocks you with his ridiculous CGI-filled action pieces.
Story? Ek tha godfather, sab ki maarta tha band, maante sab usko legend. CM ka hua murder, aulaad uske do, Chiru ki masculinity ke alawa, nothing else to show.
At 157 minutes long without pretty much any songs, you wonder how the movie would have been had the slow-mo shots been replaced by well-written dialogues and a dose of Bramhanandamesque comedy which Telugu movies have masterfully incorporated for years now. In summary, Godfather is all style, no substance for a non-Chiru loyalist.
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December 1, 2022
‘Qala’ Review – The Music Makes It Endurable
If it weren’t for its mesmerizing musical score, 2022 movie ‘Qala’ would’ve been a tedious watch. Written and directed by Anvita Dutt, the story is a predictable tale of artistic rivalry and a daughter’s desperate desire for her mother’s approval.
Triptii Dimri plays the titular ‘Qala’, an award winning playback singer living in the Calcutta of 1930s, whose mental health spirals downwards after an interview question triggers traumatic memories. Dimri shoulders her part perfectly, but her character is a nervous wreck for most parts, barely catching a break from the constant chaos in her heart. Swastika Mukherje plays her domineering mother Urmila Devi, who is scathingly sparse in her affection and quick to replace her daughter with a new protege – a naturally gifted singer called Jagan (Babil Khan). Urmila Devi is slightly like Miss Havisham from ‘Great Expectations’, but a lot worse, for she is nasty to her own child.
The music by Amit Trivedi is the highlight of this drama, beautifully rendered by singers Sireesha Bhagavatula, Swanand Kirkire, Shahid Mallya. From the quintessentially Bollywood retro track ‘Ghodey Pe Sawaar’ to the soulful ‘Nirbhau Nirvair’, each song evokes a melodious mood you’d want to revisit again and again. But outside its music, ‘Qala’ isn’t as compelling or picturesque as it could’ve been, despite some hauntingly gorgeous snow scenes set in the mountains. The lighting is poor in many scenes, perhaps to lend a ‘dark’ tone to the settings to match its bleak themes, but makes the viewing experience choppy. Director Anvita Dutt employs some stage techniques, that would’ve best worked if this was a play, but it isn’t. Like a scene where Qala is simmering with jealousy, and black wings spread from behind her, symbolizing the darkness growing within her. Depending on how one perceives it, the scene could either seem artistic, or unnecessary. Also, Dutt and team completely fail to capture the essence of Calcutta and serve a clearly fake Howrah bridge, as seen from a building with Gargoyles.
Despite being crucial to the story, Babil Khan’s cameo is too brief to critique his performance, the character needed more space to make Qala’s feelings of envy, anguish more visceral. The story-telling is slow and just when things finally do get interesting, the movie gets over. With an almost 2-hour runtime, the most crucial twist is made obvious in the first twenty minutes, so it’s weak as a mystery. The psychological breakdown of Qala as an anxiety-ridden artist is poignantly portrayed by Dimri, but isn’t enough to make this dim drama shine.
It’s a 6/10 from me.
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‘Angel Falls Christmas’ Review: Too Cosmetic
A workaholic Doctor would rather spend the Christmas eve at work, than spend some quality time with her boyfriend. He obviously dumps her. So is she going to find a new guy to make the holidays easier, or find a way to work out things with her long-time partner?
Directed by Jerry Ciccoriti, the 2022 movie ‘Angel Falls Christmas’ is a decent looking movie as far as the ‘festive mood’ goes. The story is pretty basic, but with a better cast, it could’ve been a lot more entertaining. Jessica Lowndes plays Ally, the work-obsessed doctor who doesn’t celebrate Christmas, David Reale is her boyfriend Josh, who is tired of playing second-fiddle to her work commitments and there’s Chad Michael Murray as Gabe, a handsome new stranger in Ally’s life who can turn things around for her. All three actors look like plastic dolls come to life, and not in a good way… they don’t have the charm to keep things interesting.
I mean… I don’t even know what to say about this film, it was hard to care about anything that’s happening. Jane Luk plays a character called Maureen, who pretty much pops up everywhere with a ‘know it all’ smile. She is supposed to be likable, but ends up being unnecessary and annoying. To the writers’ credit, the ending is a lot more realistic than most Christmas themed romances, as in, the climax makes sense and isn’t extremely cliched, but with all the boring stuff happening through the runtime, one couldn’t care less about it. Stream something else. Or give it a shot on Netflix.
It’s a 4/10 from me.
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November 30, 2022
‘The Swimmers’ Review: A Stroke of Inspiration
Syrian sisters Sara and Yusra Mardini left their war-torn country by flight for Lebanon, and then were smuggled into Greece on an unreliable dinghy. What was supposed to be a quick getaway ride from Turkey to Greece, turned into a harrowing 3.5 hour swim as the boat couldn’t take the load of refugees, so the swimming sisters bravely jumped off with two others and hauled the vessel to safety.
Directed by Sally El Hosaini, 2022 Netflix movie ‘The Swimmers’ is based on the real life story of the Mardini sisters, and how one of them fulfilled their childhood dream of competing at the Olympics. Natalie Issa makes her acting debut in this film as protagonist Yusra, the younger Mardini sister who was seventeen when they battled for their lives in the Aegean sea. Manal Issa, who is also Natalie’s older sister in real life, plays her onscreen sibling Sara, a feisty young woman who is sick of losing her friends to bombings.
Natalie and Manal are fantastic in their performances as the Mardini sisters, their onscreen bond as siblings is poignant and relatable. Ahmed Malek plays Nizar, a cousin of the sisters, who agrees to leave Syria with them and promises to be by their side until they arrive safely in Germany. Matthias Schweighöfer delivers an understated performance as German swimming coach Sven, who helps Yusra fulfill her Olympic dreams after she makes it to Berlin. He is a crucial supporting character in the second-half, but never steals the girls’ thunder.
The cinematography was slightly choppy and the camera-work isn’t able to capture the sisters’ struggle at sea in the best way possible. The story-telling could’ve been sharper, despite having an already epic true story at their disposal, the makers aren’t able to elevate the tale to the kind of crescendo one would expect. However, it’s laudable how the writers honor millions refugees who weren’t as lucky as the Mardini sisters. Thousands try to flee their homes every day in search of a better life, many of who perish on their way. The sisters are aware their journey across the sea wasn’t unique in any way, but their success afterwards is. So the tale of two young woman making it on their own is undoubtedly inspirational.
It’s a 7.5/10 from me. Stream it on Netflix.
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Listen To ‘The House – An Unusual Animated Anthology’
