Sneha Jaiswal's Blog, page 226

Hecate’s Will #3 – Comic Book Review

In Issue #3 of ‘Hecate’s Will’, writer/artist Iolanda Zanfardino gives viewers a deeper glimpse into the psyche of Rebecca, the protagonist, also known as Hecate. The comic starts off with conflict, revealing the kind of policing black citizens face, but thankfully, due to the timely intervention of friends and bystanders, things don’t escalate.

Iolanda smoothly switches the mood, and we are transported to a music concert, where Naomi sings like a rock star and Rebecca is completely smitten. So the focus is largely on the duo’s thawing relationship, Naomi isn’t just a crush anymore, but levels up to becoming a muse. Hecate’s next artwork is inspired by her mesmerizing performance.

Quick recap – Hecate is a street artist who plans on giving up art, but not before doing a final ambitiously cryptic graffiti series. She is also working on making costumes for her best-friend Matteo’s play, so the comics sheds light on her equations with those taking part in it.

Also Read: Hecate’s Will #1 Review – Intriguing Tale of Art Vs Artist

Readers by now must have adjusted to the peachy tones of the comic panels, and unlike issue #2 where there was some variation due to snow-filled scenes, issue #3 is largely in warm shades of peach-pink-purple-violet.

While romance is the dominant theme this time around, the writer continues to explore the issue of body dysphoria through the character Adam. He is a young singer who’s not very confident in his own skin and Iolanda does a brilliant job of capturing his trauma through her art. Adam may not be ready to show his scars to the world, but music helps him heal. And that’s another theme the writer explores well – art’s power to be therapeutic.

Rebecca’s interactions with Adam brings out her empathetic side and help readers understand her personality a little more. I was hoping to see a little more of her family-flashbacks, but there aren’t any in this issue. Instead, Rebecca and Naomi have an interesting heart-to-heart conversation and the issue ends with a sweet cliffhanger. Looking forward to issue #4!

It’s a 4/5 from me.

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Ep 68: Should You Read The ‘Bartimaeus’ Trilogy? Listen In!

Cobalt Blue Review – All Color, Until Love Fades Out

Attaching emotions to colors is a familiar practice, red’s for rage, green represents envy, grey evokes gloom, and blue… well blue stirs up all sorts of things… like love and loss in Netflix film ‘Cobalt Blue’.

Directed by Sachin Kundalkar, the story is based on a novel written by him about two siblings falling for the same man in the 90s. Tanay (Neelay Mehendale) is a ruminative literature student who aspires to be a writer, while his sister Anuja (Anjali Sivaraman) is an athlete who loves playing hockey. When their grandparents tragically die on the same day, the two are quick to call dibs on the soon to be empty floor, but their father decides to rent it out, bringing into their life a handsome artsy tenant (Prateik Babbar).

The maker’s decision to keep Prateik Babbar’s character nameless was an interesting decision, however, it’s not very convincing to see him as some sort of a bisexual Lothario, who smoothly seduces both brother and sister under the same roof. Neelay Mehendale as doe-eyed Tanay is endearing as a young gay student, yet to be tainted by the stifling social codes of the world he lives in. Although, in some parts, his lines feel rehearsed, like a kid reading out a play in class… complete with a mild sing-song tone. Anjali Sivaraman delivers some lines the same way, but the casting team did a fantastic job picking her – Neelay and her look like they could be actual siblings.

Neelay Mehendale and Anjali Sivaraman plays siblings (Source: Netflix)

While the family at the center of the film is Marathi, they live in Kerala, so we get a vibrant glimpse of the land and its political atmosphere. The art direction does justice to the film’s title, some frames look like they could make great still paintings. The color palette however is never the same, it keeps changing with the mood of the moment and scenes with stark contrasting shades stand out best. Shades of blue appear a lot more than usual and seem to be the unnamed tenant’s favorite color, becoming symbolic of him towards the end. The movie is rated ‘A’ for sexual content, and the intimate scenes between Tanay and the tenant are sensual without being sleazy.

Actors Geetanjali Kulkarni and Shishir Sharma play parents to the duo, and while their characters are unaware of Tanay’s burgeoning sexuality, their parenting style might be relatable to some viewers. They aren’t very strict until all hell breaks loose and they just want what every Indian parents wants for their child – to marry and settle down. Neil Bhoopalan in his cameo as a closeted Professor poignantly expresses the despair, loneliness and longing men endure in a country where homosexuality is illegal (Section 377 was still in place in 1990s). “Women take away every man you love,” he warns in a memorable dialogue.

There’s no usual song-dance numbers in the film, but music has its own subtle role in the background. The original score composed by Clinton Cerejo sprinkled across the film sounds like they are per-conceived classics and not fresh tracks, especially the one titled ‘Secret Garden’ – sung by Marianne D’Cruz – it evokes a smooth Jazz era mood.

I liked how the primary characters speak in Malayalam with the locals, while they speak a mix of Hindi and English at home. There’s also a sweet symbolization of communal harmony – Anuja’s closest confidantes are a Christian nun and a Muslim lady who rides bikes. Tanay is almost friendless, except for a tortoise he talks to, pretentiously named Pablo Neruda. The clashing characters of the siblings make for an interesting study in beating conventional gender norms – athletic Anuja might wear her hair short like a boy, but she is as interested in men as her brother.

‘Cobalt Blue’ is lazily paced for most of it’s runtime, but things suddenly escalate and an abrupt climactic twist leaves the viewer with a lot of questions. Anuja’s side of the story is barely presented and a lot of things don’t make sense. I do like the fact that the siblings find their way in the world, after losing their first love.

It’s a 7/10 from me.

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Ep 63 – Author Balaji Vittal on Pure Evil – A Guide To Bollywood Villainy

Enchante Review – About A Brat Being A Spoiled Baby

‘Enchante’ the series start off with a rich boy living in Paris with his grandmother, while his parents are back in Thailand. The makers want us to believe he pretty much never visits them in 9 long years, because wealthy kids obviously cannot afford to go back every year to their hometowns for summer vacations, right?

Directed by Film Pawis Sowsrion, the series has so many screenwriters, it’s hard to believe it took such a big team to write this shallow show. The primary premise is interesting – recently returned from France, Theo goes on a mission to find out who ‘Enchante’ is, an anonymous person who promises to be his friend. Theo (Kasidet Plookphol) teams up with his childhood friend Akk (Jiratchapong Srisang) to find ‘Enchante’, but things get complicated when four dashing students claim to be the same. Theo and Akk try to pin down the real Enchante and throughout the process Theo is largely a sulky bratty over-dramatic man-child. The amount of time, effort, energy the boy puts into the thing is ridiculous. The ending explains Theo’s actions, and makes him seem even more like a self-centered attention seeker. Although a lot of viewers are probably going to put his actions in the ‘cute’ category, because, well… he is cute.

Right in the first two episodes it so evident that something is brewing between Theo and Akk, that the whole ‘who is Enchante’ mystery becomes pointless and boring quickly. There are too many childhood flashbacks of the best-friends that are repetitive and mundane. Kasidet Plookphol is picture-perfect as the rich handsome Theo, but doesn’t have the charm to carry off a lead role. Jiratchapong Srisang as Akk on the other hand feels a lot more sincere as BFF; his character is the kind of reliable friend one would love to lean on. The two look great together, there’s some sweet chemistry going on in parts, but their romance is tepid, dragged out and annoying.

(Pusit Dittapisit and Aun Napat in a scene from Enchante)

The show is 10 episodes long, the ‘Enchante’ mystery finally comes to an end at episode 8, but instead of ending it there, things are dragged for two more episodes, where the focus shifts to a different theme that does not fit with the rest of the series. All the conflicts, including those involving the secondary characters seemed either forced or silly. Too bad, because actors Fluke Gawin Caskey and Fluke Pusit Dittapisit who plays singer Saifa and painter Natee respectively, ooze a lot of charm. They should probably give Pusit Dittapisit and Aun Napat a show of their own, the pair seem to have more ‘lead’ potential than Theo and Akk.

This is the story of a wealthy super-privileged kid trying to find love and being whiny along the way. And for a Literature undergrad who is a big bibliophile, Theo acts like a 10-year-old. Overall, ‘Enchante’ is probably not a bad one-time watch for those looking for a romantic series with lots of good-looking actors. The story needed a lot of work. It’s a 5/10 from me.

You can stream the series on GMMTV’s YouTube channel.

Subscribe to our podcast on YouTube by the same name – AbstractAF

Ep 66 – 5 Things That Make #AllofUsAreDead Entertaining

Apollo 10½ Review – A 60s America Time Capsule

By Sneha Jaiswal (Twitter | Instagram)

What if Neil Armstrong and Buzz Aldrin were not the first humans to walk on the moon? What if it was a school-boy from Houston, sent on a secret-mission by NASA a little before Apollo 11 made world history in the summer of 1969? The 2022 animated movie ‘Apollo 10½ – A Space Age Childhood’ explores this alternate fictional scenario.

Directed and written by Richard Linklater, the film is inspired by his own growing up years in Houston and it becomes evident soon enough. Like the trailer hinted, the movie is a nostalgic trip to 1960s, where the protagonist Stan recalls his life as a pre-teen boy who was hand-picked by NASA to go to the moon, because they accidentally made a lunar module too small to fit an adult. “Why don’t you send a chimpanzee?” the spunky Stan asks. Because he can speak more human words than a chimp, he is swiftly informed. Fair enough.

The animation is done through rotoscoping, a unique time-consuming technique where animators draw over motions of real people. The actors aren’t just voice-over artists for their animated counter-parts, but also have to shoot scenes against a green-screen to be rotoscoped. Linklator used the same method for his earlier animated films, and the approach adds an eerie realistic touch to his creations. Child actor Milo Coy plays the younger Stan, while Jack Black is the older narrator taking viewers through the past. Below is a picture of the actor versus how he appears on film.

The movie will be best enjoyed by those who lived through the 60s, it’s a walk down memory lane for the boomer generation. Leisurely paced, the story is less about Stan’s tryst with NASA, and more about what life was like for those in Houston in such exciting times (when man was aiming for the moon), especially for folks living close to the space center. The story is filled with constant commentary about the shows, movies, music, games and pastimes of the time. It was the era where families would gather around a television at dinner-time and struggle with the antenna if a channel didn’t show up right. The era when programming would stop after 12 am and the bright loud buzz of 24*7 news channels were years away.

In parts, Apollo 10½ feels like a documentary, with Jack Black repeatedly informing viewers of all the popular things and moments pervading Stan’s life in 1969. It also delves into the politics surrounding the Apollo program – on one hand, most Americans were excited to beat Russians in the space-race, while another significant section was up in arms against the staggering budget allotted to NASA to achieve the feat. Some felt the moon-landing was a government effort to shift focus from its failures and the Vietnam war. Linklater brilliantly captures the popular sentiments and public fascination surrounding the moon-landing. “It’s the largest non-military undertaking in world history. There were 20-something thousand businesses contracted by NASA. Then 600 million people watched the moon landing on TV,” the director told IndieWire in an interview.

Had Linklater cut down on the endless narration and given us more dialogues, the movie could’ve been more exciting and less documentary-like. Because Stan’s family is a fun Brady bunch, two sweet parents and six siblings (the pill hadn’t hit markets yet), and the dad keeps indulging in funny penny-pinching measures. Their exchanges are amusing but limited, cutting down on the interactive dimension of the feature.

Non-American viewers might find their interest wavering, since its heavily laden with American pop-culture references and nostalgia factor. Although anybody born in the 20th century will be able to identify with some or the other element of the film. Like when teachers were allowed to hit kids if they ticked them off. Reminded me of school, my friends and I had taken a good beating or two as students (okay, way more than two).

If you are a nostalgia junkie, you’ll love Linklater’s love-letter to the 60s. It’s a 7.5/10 from me.

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Ep 59 – 9 Must-Watch Animated Films From IMDB Top 100

Deep Water Review – Slow & Pointless Like The Snails In It

The R-rated 2022 film ‘Deep Water’ starring Ben Affleck is so ridiculously bad, I binge-watched an entirely different new romantic series to cleanse my disappointment right after. Directed by Adrian Lyne, this ‘erotic-thriller’ is based on a novel by Patricia Highsmith. Don’t know about the book, but some porno flicks might have better plot progression than this adaptation.

Ben Affleck plays Vic, a filthy rich programmer who has already retired on the money made off a chip he developed, that’s being used by the U.S military in their drones. He has a beautiful, much younger wife Melinda (played by Ana De Armas) and an absolutely adorable little daughter Trixie. Vic’s perfect life has one problem – his wife is promiscuous and he pretends to be okay with it. But when some of his wife’s love-interests die, he becomes the primary suspect.

Except for the cute child actor Grace Jenkins, pretty much everybody plays an asshole in this film. So as an average viewer, it’s hard to care about rich privileged jerks doing pretentious shit and throwing fancy boring parties. All the ‘erotic’ scenes were mundane, fast-forwarded most of them. In-fact, the entire film was a snooze-fest, the pace is so slow, most viewers will run out of patience soon. If it weren’t for the programming bit and one ‘couple’s therapy’ joke, the story is right out of the 1980s – stale AF. There’s nothing ‘deep’ about it, instead you wonder why some of the supposedly intelligent characters behave like dumb-idiots. It’s not even like they are poor helpless individuals who cannot do better. Sigh.

Vic is the cliched ‘rich, handsome, intelligent but boring’ guy. The only thing he cares about is his daughter and snails. He has an entire greenhouse kind of room dedicated to raising snails, so he is a snail-dad. When a guest asks them if they are for eventual consumption, he says “The snails aren’t for eating. They’re not for anything.” Sure, it’s not like the snails are completely pointless, it’s just a novel hobby, to add to Vic’s ‘weird’ personality. A label he takes pride in. Whatever. Nobody cares.

The suspense is thread-bare and the climax was just as disappointing as the rest of the film. It’s like they don’t even try. Skip this okay, just watch some actual erotica if you want. It’s a 3/10 from me. Feels generous. (You can stream it on Disney+)

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Ep 63 – Author Balaji Vittal on Pure Evil – A Guide To Bollywood Villainy

Hey Sinamika Review – Hello Confused Creatives

By Sneha Jaiswal (Twitter | Instagram)

Imagine sitting in a nice restaurant by the beach, when a beautiful person walks into your view, their hair elegantly flying with the seaside breeze, their eyes catching you gazing at them, their lips breaking into a little smile. Just the right setting for ‘love at first sight’. Then an angry storm rages around and you find yourself taking shelter under the same table. First contact established. It marks the beginning of a new romantic chapter.

On paper, the beginning of the 2022 film ‘Hey Sinamika’ is dreamy, but onscreen, a fake as hell CGI storm ruins the mood in the first few minutes. Directed by Brinda Master, it stars Aditi Rao Hydari as Mouna, who wants to divorce her boyfriend-turned-husband Yaazhan (Dulquer Salmaan) because he talks too much. Yes. That’s his hamartia, his only fatal flaw – he can go on and on, to the point of driving his listener nuts. So when Mouna blackmails psychologist Malarvizhi into seducing Yaazhan, to use it as an excuse to leave him, she isn’t prepared for the repercussions. Apparently that’s what psychologists do in their free-time, chase men to cause a rift with their wives.

The first half of the film kind of works as an exaggerated comedy, but things get dramatic and serious in the latter part, making it a jarring experience. What could’ve been an engaging romantic comedy turns into a confusing pot of chaos. Aditi Rao Hydari and Dulquer Salmaan make a hilariously adorable onscreen couple, but the creative team fails them. The script is so tardy, it’s like the writers couldn’t decide the theme for this plot.

Oh and the songs are hilariously misplaced, they pop out of nowhere, ruining the already sluggish pace and aren’t even foot-tapping. For example, there’s the song called “Siragai”, which looks out of a period-film, it’s beautifully shot with pretty mood-lighting, and Aditi Rao Hydari is stunning in her costume… but she looks like a dancer at a King’s court and not a last minute guest attending a wedding. Half the film makes no sense.

It’s a 4/10 from me. You can stream the film on Netflix though.

Subscribe to our podcast on YouTube by the same name – AbstractAF

Ep 63 – Author Balaji Vittal on Pure Evil – A Guide To Bollywood Villainy

Better Nate Than Never Review – A Middling Musical

After all the boys who just want to win some sporting tournament in different films, we finally have one about a 13-year-old who aspires to become a Broadway star. Directed and written by Tim Federle, the 2022 film ‘Better Nate Than Never’ follows Nate, who sneaks off to New York with his best-friend to audition for a musical.

While the plot is interesting, the execution isn’t great. Within eleven minutes of streaming it, my movie partner tapped out. “Do theatre actors deliberately over-act like that?” he wondered.

And that’s a major problem with this Disney offing – most of the cast ‘over-acts’, something older viewers might not find amusing. But with Nate and his friend spewing pop-culture references from a different era, it’s not like kids will understand much of what’s happening either. Reuby Wood who plays Nate is definitely talented, but his energy feels far too exaggerated, like a mini Eddie Redmayne on Red Bull(s). However, when he breaks into song-dance sequences, he is quite phenomenal.

Lisa Kudrow plays Nate’s aunt Heidi and it’s like you have a Phoebe throwback slapped on your face, she has the same goofy body language as her famous character from ‘Friends’. Kind-of makes you realize Kudrow’s acting chops are limited. She is pretty much Phoebe in this movie, just older and worn-out. Aria Brook as Libby is the best of the lot, confident and sassy as Nate’s best-friend.

For a musical, the soundtrack didn’t really stand out, except for one number which was a cover for a classic – ‘On Broadway by George Benson’. The song fits perfectly with the theme of the film and the makers even have George Benson is a clever blink-and-miss cameo.

It’s great that Disney is making movies with queer protagonists, and they subtly confirm Nate’s non-existent interest in girls. But except for that bit, ‘Better Nate Than Never’ suffers from mediocre direction, old tropes and weakly done sub-plots, like the one about Nate’s mom and aunt being estranged sisters. The cinematography is colorful, pretty and good to look at, but the writing is weak. I had higher expectations from this one, and despite some fun moments, it was a let-down.

It’s a 5/10 from me. You can stream the film on Disney+

Subscribe to our podcast on YouTube by the same name – Abstract AF

Episode 65 – 15 Random But Great Book Recommendations

Hit Monkey Review – An Action-Comedy Bullseye

Did anybody ask for a snow-monkey slicing and dicing bad guys through the streets of Tokyo to avenge his fallen tribe?

Yes! Thank you Marvel. For the blood, gore, ghosts and jokes.

Based on comics created for Marvel by writer Daniel Way, the 2021 animated series has been made by Josh Gordon and Will Speck. It follows the bloody-adventures of a monkey, whose entire tribe was brutally murdered along with American assassin Bryce, who had taken shelter with the monkey pack in the mountains after killing a man who could’ve been Japan’s next Prime Minister. Bryce however turns into a ghost after his death and guides the monkey to Tokyo, to take down those behind the mountain massacre.

Jason Sudeikis has lent his voice to Bryce, a very Wade Wilson/Deadpool like character, who is annoyingly talkative and full of himself. He is probably jabbering for a good 75% of the series, which obviously gets on your nerves at points, but also serves as adequate comic-relief, versus the quiet monkey hero who has close to zero dialogues. The animation wasn’t the best, and looked very early 2000s, but works well for those who are suckers for nostalgia (like me). The artwork might remind viewers of Marvel’s animated TV series X-Men Evolution (2000-2003), even though ‘Hit Monkey’ aesthetics is definitely better, but looks like an immediate upgrade, not something from 20 years later.

The first two episodes do a great job of setting the pace and direction of the series, where Bryce and monkey are still trying to find their rhythm as a team. The third one titled ‘Legend of the Drunken Monkey’ was hilarious as hell, the duo goes gambling in a casino and locks horns with some deadly baddies. Monkey’s personal vendetta mission soon starts making headlines in Japan and every hired assassin is out to get his butt, including the best – a dangerously temperamental woman who can slay folks with her hair-pins.

Composer Daniel Rojas and music supervisor James Cartwright have peppered the show with some fantastic tracks from Japan. Foot-tapping groovy electronic and psychedelic tunes behind the action sequences make the viewing experience more exciting.

Episode 8 titled ‘Home Sweet Home’ shows a flashback to Bryce’s introduction to the world of crime and while it seemed like the episode could potentially slow down the series, it was surprisingly interesting and does a good job of explaining his past. The show has so much going on, ensuring the pace never slackens. You have the Yakuza, corrupt politicians, a complicit police-force, rigged polls, legendary ghosts, spiritual monks who talk in circles and then obviously – our cool killer monkey. A sub-plot about two cops trying to crack the string of gruesome murders poses a moral debate – is the ‘Hit Monkey’ a hero or a villain? He is wiping out bad guys the system is too scared to take on, but is unhinged violence the answer to solving the dirty Yakuza-Politician-Police nexus?

The last two episodes end with a bang (Episode 9 & 10), monkey and Bryce are close to achieving their vengeance, and are aided by some expected supporting heroes. The climactic twist doesn’t come as a surprise, but the makers cleverly keep throwing red-herrings at the viewer until the end, so while you don’t exactly expect the final villain, you may think ‘I knew this asshole was responsible!’ to yourself, but in a satisfying way. There’s ample scope for a season two… so ‘wohooo’ to that.

I loved watching this series and am going to go with a 8.5/10. You can stream in on Hulu or Disney Hotstar.

Subscribe to our podcast on YouTube by the same name – Abstract AF

Ep 59 – 9 Must-Watch Animated Films From IMDB Top 100

Sharmaji Namkeen Review – Like Sugar Sprinkled Saltines

By Sneha Jaiswal (Twitter | Instagram)

When Amazon Prime first dropped the trailer for the 2022 film ‘Sharmaji Namkeen’, Rishi Kapoor fans were excited to see their beloved actor one last time – as a 60-year-old trying to adjust to retired life. Director Hitesh Bhatia and team decided to keep the parts with Kapoor and had Paresh Rawal fill in the rest as the titular protagonist. Honestly, I was quite skeptical about watching two different famous actors play the same role…

As expected, it was a little unsettling to watch both Rishi Kapoor and Paresh Rawal being switched in the same role. However, the confusing experience lasts for just the first fifteen minutes of the film. The story soon seamlessly moves forward, and despite their distinct personalities/acting styles, Rawal-Kapoor’s Sharmaji incredibly become one. You cannot pick one over the other. It’s a gamble that has paid off!

Sharmaji is a widower who isn’t happy about retiring, while his sons aren’t amused by his varied attempts to keep busy. While we are used to seeing generational divides onscreen, it’s usually the parents looking down on unconventional choices of their kids; in ‘Sharmaji Namkeen’ it’s ironically the younger sons who are averse to their dad trying out new things. They heartlessly shoot-down his plan to open a ‘chaat shop’. So instead of putting his foot down or fighting it out with his sons, Sharmaji simply starts off a secret side-hustle as a ‘home chef’ for a gang of well-off ladies. What’s going to happen when the boys find our their father is cooking for kitty parties? The conflict might not be dramatic, but makes for a joyous comedy to watch with the family.

From his thumkas to the ‘Baby Doll’ song, sad pouts over things when they don’t work out, to sheer childish delight over food, Rishi Kapoor is charmingly adorable as the lead. Paresh Rawal is just as endearing, almost magically making viewers forget he is a completely different man! Juhi Chawla plays independent businesswoman Mrs Manchanda, who strikes a warm empathetic friendship with Sharmaji; her camaraderie with both actors was a delight to watch. Same goes for Satish Kaushik, who keeps giving zany ideas to his friend and is always there to share a drink when Sharmaji is down.

Suhail Nayyar, who plays Sharmaji’s elder son Rinku, holds his own against seasoned actors and pulls off his mildly grey character with ease. A parallel sub-plot about Rinku trying to start a new life with his partner compliments the primary story quite well, even though his character is a confusing contradiction of sorts. Also, how underrated is Sheeba Chaddha in brief cameos in all sorts of films? In-fact, a lot of other familiar faces make short and sweet appearances as different Dilli-wallahs, adding to the colorful shades of Delhi we get to experience.

I love how Bollywood makers have finally been getting realistic with depicting middle-class homes. Sharmaji lives in a chaotic house, with a lot of things that scream 90s, and his reluctance to let go off the place or consider a revamp, will be all too relatable to any Indian who has been trying to (with no success) convince their parents to modernize stuff around their place. His humble flat is juxtaposed well with fancy houses equipped with modular open kitchens owned by those he works for.

The plot is paced well, with lively background music and a lot of comedic moments. There are no jarring twists, no emotional exploitation to make the viewer break into tears. On the contrary, the climax is low-key hilarious, with an absurdly funny coming-together of all main characters at one place (this could’ve been called ‘Jalsa’ actually). And even though things get a little predictable, the ending scene was open-ended and light.

Like its title, ‘Sharmaji Namkeen’ is a crisply made film, exploring life after retirement. It’s a demographic that is often ignored, so the theme of a retiree finding his feet in a world that at first seems to have no need of him, makes for a breezy watch. The makers cleverly weave in how social media isn’t just a Gen Y/Gen Z obsession, but pervades the lives of much older folks too. And amid everything the story tries to tell, one message stands out best – that one can make lifelong friends even after 60.

It’s a 8/10 from me.

Subscribe to our podcast on YouTube by the same name – AbstractAF

Ep 63 – Author Balaji Vittal on Pure Evil – A Guide To Bollywood Villainy

Rescued By Ruby Review – Save It For Fam-Jam Time

The 2022 Netflix movie ‘Rescued By Ruby’ is a feel-good family film about a state-trooper adopting a shelter pup called Ruby and training her to be an elite K-9 dog. Directed by Katt Shea, the movie is based on a real life story, making it twice as endearing.

Grant Gustin plays Daniel O’Neal, a homey but hyperactive trooper, who dreams of joining the American K-9 unit with a canine partner. Ruby is also a bundle of energy, but has a hard time finding a permanent home. She is just hours away from being euthanized when officer Daniel decides to make her part of his family and dreams. How these two underdogs try to make it work as team forms the primary plot of the film.

The cinematography is simple and clean, some scenes are shot from Ruby’s point-of-view and look like those GoPro ‘Dog POV’ videos on the internet. The story sheds interesting insights into how dogs are schooled for search and rescue operations. The best bit about ‘Rescued By Ruby’ is the fact that every character is supportive. There are no villains trying to bring down Daniel and his pup, instead they face their own hurdles along the way. There is no hard-hitting conflict in the plot, which sort of mitigates emotional quotient of the film and won’t exactly have viewers crying buckets of tears by the climax. But Katt Shea and team manage to prove stories don’t need nasty villains, mean bullies or heartbreaking tragedies to touch the viewer.

You obviously have predictable plot-points in the film and a lot of dialogues feel like they are from an inspirational book. The script could’ve been more casually conversational, especially the interactions between Daniel and his wife. However, Grant Dustin is charming as family man Daniel, convincingly portraying a young cop battling dyslexia. Kaylah Zander who plays his onscreen wife Melissa is also sweet as a tired but empathetic spouse. Bear is the star of the show, a rescued pup in real life too, who will win over the audience as the adorable Ruby.

Anybody who loves dogs ought to watch this cute film along with the entire family. It’s a 7.5/10 from me.

Subscribe to our podcast on YouTube by the same name – AbstractAF

Ep 59 – 9 Must-Watch Animated Films From IMDB Top 100