Sneha Jaiswal's Blog, page 209

The Blood of The Dinosaurs Review – Wack AF!

By Sneha Jaiswal (Twitter | Instagram)

You need to keep your wits about you while watching Joe Badon’s film ‘The Blood of The Dinosaurs’. Co-written by Jason Kruppa, the film traces humanity’s descent into madness, right from before their existence – when dinosaurs walked about the earth.

The film starts off with a home-video like intro, and just as the viewer adjusts to the rather homely setting of two people interacting on a couch, things shift to outer space where a stop-motion asteroid leisurely heads towards earth. The frames rapidly change at a dizzying speed for the first three minutes and Badon’s eclectic style of filming make it hard to look away from the pop of colors on the screen.

The film is driven by an unsettling protagonist – Uncle Bobbo (Vincent Stalba), who records a video to educate kids about where oil comes from. Stalba’s Bobbo is like a nerdy Ted Bundy, he has a creepy serial killer vibe going, as if he is seconds away from hacking a kid to death. If it weren’t for the bright pastel shades surrounding him, Uncle Bobbo’s disturbing demeanor would’ve fit right into a Sam Raimi horror film. In fact, Badon’s work is a strange mash of Tim Burton’s dark oeuvre and Wes Anderson’s unique visual style. In the director’s words, it’s an ‘adult Swim style surrealist Kids’ Show for deranged adults’.

From corporate greed to pop culture icons, Badon and team satirize a lot of things for an 18-minute-short, so it might get hard to keep track. And while the art-style is quite riveting, ‘Blood of The Dinosaurs’ doesn’t pack much plot-wise. It’s a moody, trippy production that really feeds on the viewer’s perception of things. To some it might seem like a lesson on the origins of oil baked in eccentricity, to others it might seem like a chaotic mess that makes no sense, for those with a philosophical bent of mind the apparent meaningless could be perceived as a nihilistic attempt at summing up life and its pointlessness.

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Doughnuts & Doom – Graphic Novel Review

Margot is a witch with a potions business she is trying to keep afloat, and Elena is a struggling musician who works at a doughnut shop. When the two meet, it’s annoyance and angst at first sight, but as they get to know each other better, the negativity between the two dissipates and love fills the air. Quite literally (Margot has a flying broom after all). ‘Doughnuts & Doom’ by Balazs Lorinczi is a quick breezy sapphic romantic tale, with some sugar and sass on the sides.

The artwork is the best bit about the book, both the characters of Margot and Elena are very expressive and the creator doesn’t shy away from making them look unattractive when their negative emotions run high. An angry Margot may not be a pretty sight, but the strokes on her face are entertaining to watch/read. The two different worlds of magic and music collide in a fun manner, although there’s a very random villain in the tale, whose grouse against Margot is never explained.

Baazs Lorinczi definitely doesn’t dwell much into the motivations of its protagonists or the antagonist and serves a fast-paced ‘friends to enemies’ progression. The art panels keep readers engrossed until the last page, but too much happens too quickly and you are left wanting more. The climax felt straight out of a fluffy teen romantic movie, might be overtly cheesy for some readers, but just perfectly romantic for others.

It’s a 3.5/5 from me.

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Royalteen Review – Generic Teen Trash

One can smell the big climactic twist of the 2022 Netflix film ‘Royalteen’ within the first few minutes, and I would’ve been happier if my prediction had been proven wrong. Despite some dark themes, the Norwegian flick directed by Per-Olav Sorensen and Emilie Beck is largely a summery romantic tale and it didn’t need to swirl in the direction it does, because the conclusion becomes exceedingly unrealistic.

‘Royalteen’ is about Kalle, the crown Prince of Norway (Mathias Storhøi) falling for new girl Lena (Ines Høysæter Asserson), who has just moved to his school to run away from a regrettable past. Call me a bitter bitch if you must, but I don’t understand why a character like Lena (who has done very questionable things in the past) gets to have a fairy-tale like ending? Except for some vile teen drunken behavior and an attitude problem, we literally know nothing about her. Same goes for Prince Kalle, viewers are simply expected to take his word about him not being a spoiled brat, and the only indication for that is apparently the fact that he doesn’t have a personal harem at 17. Basically, the movie wants us to care about two flat characters with nothing likable about them. At least Lena is pretty, Kalle is just a random looking dude with an exceptionally heavy voice, who happens to be royalty.

The plot is based on a novel of the same name by Anne Gunn Halvorsen, so while I am not sure if the character development was better in the book, the protagonists come off as shallow and one dimensional onscreen. To be fair, the cast follows their brief and deliver decent performances. The cinematography on the other hand is quite nice, the makers capture some very scenic locales through the story and while Prince Kalle doesn’t live an exuberantly lavish lifestyle, viewers do get brief glimpse of a castle and a tiny slice of royal life.

If there’s one thing ‘Royalteen’ does right, it’s portraying how social media is enmeshed too deeply into the lives on teenagers today and gives them the power to bully their peers in ways it wasn’t possible before. At the same time, the plot unwittingly makes excuses for terrible online behavior, expecting people to believe that a ‘sorry’ is enough to redeem assholes.

It’s a 4/10 from me.

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Listen To – Quick Review Of 2022 Netflix Fantasy Series ‘The Sandman’

Look Both Ways Review – Banal Either Way

By Sneha Jaiswal (Twitter | Instagram)

The 2022 Netflix film ‘Look Both Ways’ starring Lili Reinhart is about how a young woman’s life turns out in two different scenarios, one where she gets pregnant while finishing college, the other where she doesn’t and goes on to live out her career plans in Los Angeles. Both the director (Wanuri Kahiu) and writer (April Prosser) of this film are women, and yet they don’t give their protagonist a concrete choice. For wouldn’t it have been more thought provoking to have her pregnant in both scenarios and then choose to have a baby in one but get an abortion in the other? Guess they didn’t want to stir up a debate.

Reinhart plays art graduate Natalie, who dreams of becoming an animator in the big city and has been working hard towards her goals. She has a five year plan for everything, with little space for family or romance. Regardless, in the pregnant scenario, she moves back with her folks, gets a job as a barista and tries to raise the baby with her close friend Gabe (Danny Ramirez). Luke Wilson and Andrea Savage play Natalie’s parents, who aren’t enthused about their daughter throwing away her career plans, yet support her with the child. Guess that sums up parenting – you might be unhappy with your children’s choices, but you support them anyway.

‘Look Both Ways’ plays too safe, is generic and neither gets you laughing much as a comedy, nor teary eyed with its bland drama. Since two possible stories unfold simultaneously, Lili Reinhart gets to romance two different men and her chemistry with both is lukewarm. It’s nice that her character is career-driven, and there’s a small ‘Devil Wears Prada’ sub-plot going on with her first boss in scenario B, but nothing exciting or witty enough.

The first half makes you assume the makers are going to probably tilt in the favor of one situation over the other, however, in either case, Natalie has different sets of challenges and things end with a ‘either way, it isn’t too bad’. It was a surprisingly balanced ‘feel-good’ climax and both Natalies walk away happy.

It’s a 5/10 from me.

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Nikamma Review – Pretty Pointless

South-Indian movies have been giving Bollywood flicks a run for their money, and obviously some are not taking the leaf from the old adage “If you can’t beat them, join them”. Within five minutes of the 2022 film ‘Nikamma’, viewers can see the makers are trying hard to copy Tollywood and Kollywood giants, for a second some might even wonder if it’s actually a south movie and not Hindi. In fact, it is a remake of the 2017 Telugu movie ‘Middle Class Abbayi’ starring Nani. But the Hindi version doesn’t have the most crucial ingredient that makes a Telugu movie click – an established superstar in the lead.

Directed by Sabir Khan, “Nikamma” is about an unemployed young man Adi (Abhimanyu Dasani) who likes to sleep until late, play cricket and hate on his sister-in-law Avni (Shilpa Shetty). However, Adi’s elder brother makes him accompany Avni to small town Dhamli, where she is suddenly transferred to a post in the RTO (Regional Transport Office). In her new post, Avni ruffles the feathers of goon/politician Vikramjeet Bisht (Abhimanyu Singh) and Adi finds himself on his sister-in-law’s side against the bad guys.

Abhimanyu Dasani does a decent job at being a cocky good-for-nothing guy who can beat up goons, but there’s only so much one can do in a sloppily scripted movie. Shilpa Shetty on the other hand does a much more convincing act of playing the upright honest government officer Avni who cannot stand corruption in any form. The film has few entertaining moments and is brought down by terrible dialogues, an ambitiously long pace and an annoying romantic sub-plot. Shirley Setia makes her debut opposite Abhimanyu Dasani in a completely pointless role that could’ve just been chopped off the story.

It’s a 4/10 from me. The film is available to stream on Netflix.

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13: The Musical Review: Kids Own This

Based on the Broadway musical of the same name, 2022 Netflix movie ’13: The Musical’ might have a mediocre plot, but it’s packed with a charming cast of kids who sing, dance like pros and keep you captivated until the credits roll in.

Directed by Tamra Davis, the musical stars Eli Golden as lead hero Evan, a 12-year-old whose plans to throw a grand Bar Mitzvah party in Manhattan is disrupted because his parents are getting divorced and he has to move to Indiana, a small town whose entire Jewish population resides in his home. Undeterred, Evan befriends geeky neighbor Patrice (Gabriella Uhl) to help throw the best party in town, but as school starts, their friendship is tested when Evan warms up to cool kids Brett (JD McCrary) and Kendra (Lindsey Blackwell).

This film shines when it comes to its core elements – music and lyrics , both composed by Jason Robert Brown. As unjust as it is to compare titles, ’13: The Musical’ definitely had more zing than some of the last few Disney musicals we saw in the same genre, i.e. ‘Sneakerella’ and ‘Better Nate Than Never’. All the actors actually look like they are in their early teens, even though their problems are blindingly similar to many a teen drama and romances. The only thing that sets apart this production is the wildly talented bunch of young actors who take center-stage in this bright, summery story about first kisses and friendships.

Eli Golden is amusing as the self-centered social butterfly Evan, Lindsey Blackwell is exceedingly adorable as straight A student Kendra who has a giant crush on the tall Brett. In a hilarious sub-plot, the entire class plots where and how Kendra and Brett should have their first kiss, a wish they vocalize in a super-cute upbeat track titled ‘I’ve Been Waiting’. Jonathan Lengel plays the cheery Archie who is bound to a wheelchair but dreams big and crushes on Kendra. Frankie McNellis plays the feisty and slightly villain-ish Lucy, who grabs the chance to dazzle in a solo track titled ‘Opportunity’. There is very little bullying in the plot; all the kids might not be friends, but they aren’t evil to each other either.

The climax is pretty straight-forward and obviously ends in a celebratory song-dance party. Overall, ’13: The Musical Review’ almost feels like ‘Grease’, but for kids.

It’s a 7/10 from me. Watch it for the talented cast, especially if you like breezy musicals.

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Listen To – Quick Review Of 2022 Netflix Fantasy Series ‘The Sandman’

Day Shift Review – Campy Vampy Drift

Listen, I came for some light vampire action comedy and got just that from the 2022 Netflix film ‘Day Shift’. Directed by J.J. Perry, the film stars Jamie Foxx as Bud Jablonski, a ‘vampire hunter’ in need for some quick cash to pay his daughter’s school fee and stop his ex-wife from moving them away. The easiest way to make the moolah? Slay a lot of blood-suckers, rip their fangs off and exchange them for a lot of cash. His plan gets complicated when he unwittingly decapitates somebody close to a powerful Vampire boss.

Set in San Fernando Valley, ‘Day Shift’ has the unrealistic fun swagger of a Rajinikanth movie, with plenty of bendy action straight out of the Matrix. Bud is forced to team up with amateur Seth (Dave Franco) while ‘hunting’, to ensure he doesn’t break too many rules while killing vamps. The Jamie Foxx, Dave Franco combination is so odd… it somehow manages to be hilarious. Foxx as the lone wolf stuck with white boy Seth who pees his pants every time things get out of hand, you might dig it or hate it.

Of all the recent vampire themed stuff Netflix has dropped, ‘Day Shift’ is a lot more old school and entertaining, definitely better than ‘First Kill’ and ‘Night Teeth’. Vampire fans with a love for action are going to be the most enthused, because the film is all ‘kill kill kill, a few jokes, kill kill kill’ and repeat. There’s a thin vengeance theme in the barely there plot, but the makers keep the pace running, something or the other is constantly happening to keep you amused till the end. A ridiculous car chase sequence was made fun with a mirroring technique – Bud is on the run with his daughter, to keep busy the kid plays a car game on her phone which cleverly plays out like the real-life chase her father is experiencing.

Foxx brings a lot of heft to this flick and Snoop Dogg has a cameo which was totally just a stylistic flex but hilarious if you take it in the right stride. Like the rest of the movie, the climax has some goofy fight scenes and things end on a fun note. It’s a 7/10 from me for the horror comedy flick.

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Senpai, Danjite Koidewa! – Quick Review

Naito Shuichiro, the lead actor of the 2022 Japanese series “Senpai, Danjite Koidewa”, has one of the most honestly charming smiles in the industry, but even that couldn’t keep me invested in the flaky show until the end. Sigh.

Adapted from a manga of the same name, ‘Senpai, Danjite Koidewa’ AKA ‘Senpai, This Can’t Be Love’ follows Kaneda Yuki (Seto Toshiki), a new employee at a 3D Designing firm, where his role model Yanase Jun (Naito Shuichiro) works. Sparks fly, awkward things happen, cringe-worthy situations arise, misunderstandings evolve, eventually the leads talk it out and everything is resolved in a cliched ending.

The series is only eight episodes long, but the poor writing made me lose interest after the first four. While I haven’t read the manga, it feels like the writers didn’t put in any effort into tweaking the script for the live-action adaptation. And even though such unrealistic series can exist in their own bubble and be ridiculously entertaining, ‘Senpai, Danjite Koidewa’ fails to impress.

Both the leads are grown working adults, but behave like lost school boys, which doesn’t really fit well with Kaneda’s character – who is an international 3D designer and is hinted to be someone who is quite adept at navigating through his personal life. If the creators wanted to give viewers a sweet/silly/soft high-school romance, might as well serve one upfront. The settings, characterization and story-telling needed a lot of work.

It’s a 4/10 from me.

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The Sandman – Gaiman’s Gods Keep You Intrigued

By Sneha Jaiswal (Twitter | Instagram)

It’s eerie how very Edward Cullen-like Tom Sturridge looks like in the 2022 Netflix series ‘The Sandman’, which is quite distracting in the beginning, because he keeps reminding you of Robert Pattinson instead of his titular character Morpheus – the God of dreams aka Sandman. However, to be fair, Morpheus’ depiction is quite vampire like in the original Neil Gaiman comics, and to Sturridge’s credit, he does sound God-like in the series.

Created by Neil Gaiman, David S. Goyer and Allan Heinberg, Netflix for the first time has a massive fantasy franchise on its hand. Spread over ten chapters, episode one does a brilliant job of setting up the premise for ‘The Sandman’, especially for those who haven’t read the comic series. The story begins with a cult accidentally capturing Morpheus and keeping him in captivity for over a century. They steal three of his precious items that give the captors a long and prosperous life. When he is finally free, Morpheus seeks both vengeance and his belongings. He also has the additional task of re-building his realm ‘The Dreaming’, which falls apart in his absence, with almost all his creations abandoning it, except for the perceptive librarian Lucienne, portrayed brilliantly by Vivienne Acheampong.

‘The Sandman’ retains its dark gothic tone from the comics in the Netflix adaptation, is just as grand in scale and complex in its themes – only Gaiman can make even Gods have an existential crisis. There is some stunning CGI work in the season which will have fantasy fans absolutely thrilled. It’s admirable how depending on the scene, the tone and mood of this series might change from a tragic Shakespearean play to a more modern horror-fantasy one might expect from a Guillermo del Toro. Although, after a very gripping first three episodes, the plot begins to slip a little and was at its lowest point at episode 5. Titled ’24/7′, episode 5 focuses heavily on a character called John (David Thewlis who played Professor Lupin in the HP movies) who is in possession of the Dream Lord’s ruby and he uses it to make a group of humans unravel their true selves at a diner, leading to some devastating consequences. The episode felt too long drawn, it over-explains the powers of the Ruby and tires out the viewer.

Thankfully, Episode 6 drives the plot to an interesting point again; titled ‘The Sound of her Wings’, it introduces Morpheus’ most powerful sibling – Death. It’s a leisurely paced episode, exploring how Death (played by a rather charming Kirby Howell-Baptiste) goes about her business – claiming lives – while casually chatting with her brother. It was a simple and poignant look at different sorts of people in their last moments and how ‘The Endless’ (Morpheus and his siblings) are there to serve humans and not vice-versa. The episode is also intertwined with a very amusing tale of a human, who is perhaps the only mortal friend of our protagonist.

Some other characters who stood out in this ensemble cast are Mason Alexander Park, who is pure perfection as the gender-fluid ‘Desire’, their cameo is vividly brief, leaving you wanting more; Boyd Holbrook is evil personified as nightmare turned serial killer ‘The Corinthian’ and gets enough screen space to leave a lasting impression on the viewer. Gwendoline Christie makes for an imposing Lucifer… we are so used to men playing the ruler of Hell, it takes a few seconds to get accustomed to Christie’s stylized version of the fallen angel. Tom Sturridge definitely grows on the viewer with each scene, and finally shakes off the vampire image and settles in your mind as the brooding God of Dreams with one too many issues of his own.

Overall, ‘The Sandman’ faces a few continuity issues, but more than makes it up for it through it’s fantastic cast and settings. The second-half of the season deals with a completely new sub-plot – about a ‘vortex’ that’s born once in a few thousand years as a mortal with the potential to destroy universes. While the ‘vortex’ is tied to the beginning of the tale, the story wasn’t as exciting as it could’ve been. Regardless, the last episode left me in a very satisfied mood. The season ends in a way where you know there is a lot left to explore in more seasons, yet you don’t feel like the creators left you hanging.

It’s a 7.5/10 from me.

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Everything Under Review – Flew Over My Head

It’s not like I did not understand the fiction novel ‘Everything Under’ by Daisy Johnson, which holds the honor of having been shortlisted for the Man Booker Prize; but a lot of it was depressingly slow to be enjoyable.

Set in some gloomy part of England, ‘Everything Under’ is about a lexicographer called Gretel, who looks for her estranged mother and recalls growing up on a houseboat isolated from the rest of the world. A major sub-plot involving a supporting character Marcus/Margot is a re-imagining of a Greek myth, which might be turn out to be intriguing or exciting for some readers, but I found it quite forced. It evoked no emotion in me, unless you want to count ‘sleepy’ as one.

For the first few pages, Gretel’s fraught relationship with her mother made for interesting material, but becomes tiring pretty soon. For a book that seeks to go deeper into the fears and insecurities of its protagonists, it felt like ‘Everything Under’ lacked depth. Marcus is a boy who briefly lived with the duo, yet leaves a lasting impression on the principal protagonists. He used to be Margot, and his flashback story is a lot more compelling until the author entangles it with an unnecessary tragic twist.

Daisy Johnson writes beautifully and her prose make you turn to the next page, but the plot progression is slow and unwieldy. The descriptions meander too much, and very little action takes place between ruminative paragraphs that are just long literary versions of “this place is very scary”. Johnson drowns things in cryptic metaphors and by the end of the story it feels like you know very little about Gretel and her mother Sarah. Gretel is obsessed with her mother, and Sarah is some sort of hippie with commitment issues – this is the only takeaway from the two major characters. Or maybe I am the shallow reader here.

It’s a 2/5 from me.

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Listen to Episode 80 – 10 Book Reviews Under 10 Minutes #15thEdition