Blade Runner 2049 Review

With a movie so much about memories at hand, I would deem it the most inappropriate to not let you, dear reader, to not partake in one of mine while we are talking about it. While I was six of age, I was standing in a line to get my book checked by my English teacher. In front of me was a girl, and by God, she was the most beautiful thing I had laid eyes on till then. Quite unacquainted in these quandaries (as I should have been at six, and unfortunately, as I still am), I took the approach which had been tried and tested and had the indelible approval of Bollywood on it – I dropped my books. And guess what ? Cliches exist for a reason. She did bend down and help me pick up those worthless books ! I thanked her and smiled, and the motion was duly reciprocated. I introduced myself and so did she, and that was all that took for me to fall in love with her. And then ? Nothing. I never could muster the courage nor an approach to use it for, and as it always does, life happened. A decade later, she has shifted to far away, has a boyfriend and as far as I know, is quite happy with him, and I, well, I am talking movies to y’all. Over the years, I have revisited this above memory now and then, or to put it more correctly, this memory has revisited me now and then. For all the disappointment it holds, I still treasure it for the singular perfection is seemed to hold and the promise of much more. But more than that, it is that feeling of it which transcends words, so rare as if in the likeness of one of those misty halos that sometimes are made visible by spectral illumination of moonshine. This memory is what K (Ryan Gosling) would have died for, for in all its messiness, it is still as profound as the sound of bells in a Christian county. All that pain is all there is to be human.

With a pace reminiscent of a river eroding a rock, 2049 is beauty in the midst of all imperfections. It is a hybrid of science fiction, film noir, detective thriller, bounty hunter, western and a love story, that is to say it hasn’t strayed a bit from its origins. I could never write a proper review for the predecessor, instead resorting to hide my inadequacy in a mishmash study of its groundbreaking world with that of Cuaron’s Children of Men. So it comes off as no surprise that I can’t write a proper one for the sequel as well, yet for wholly different reasons. In the original Blade Runner, it was the imperfections that drew me in. I have rarely revisited it for its heartbreaking climax or for the ambiguity on whether Deckard is a replicant or not. No, more often than not, I find myself switching off my sound system when I watch Blade Runner and just let that eclectic visual style wash over me.

The towering skyscrapers of  2049 strain upward, gasping for air through the polluted skies. Sinister alleys and dark, cavelike crannies conceal unspeakable crimes against humanity. Nature has gone berserk, deluging the teeming city with an almost constant downpour. Smoke, steam and fog add to the fumigated congestion. It is a city of dreadful night, punctuated by neon signs in day-glo colors, cheap Orientalized billboards and a profusion of advertising come-ons with hunks of long-discarded machinery littering the landscape. The music by Zimmer provides no relief from the oppressive gloom, throbbing with eerie sounds, echoes, pounding pistons and the noises of flying vehicles shuttling through the poisonous atmosphere. Yet, through the eyes of the great Roger Deakins, the settings can be sinister and terrifying, or strikingly beautiful like an enchanted landscape depending upon the character focused on.

Denis Villeneuve, who has ascended to the ranks of Hollywood elite in a sparse amount of years, has incited criticisms for a number of reasons but character development has never been one of them. The love story, unlike its predecessor, stays with you, deeply involving us in the struggle of these lovers to feel love. When the Deckard angle enters, it does not feel like a forced attempt to cash in on the nostalgia of the original but rather to relieve it, and even better, comprehend it a bit more.

But the question here, and I am sure you are rather impatient about it by now, is whether it is as good as the original or not ? Objectively, no. Subjectively, yes. And this is because ignoring all the faults I singled out, which are too technical and boring to jot down here, I find a reflection of me in these characters longing to love yet finding no one to. I am not too sure to advertise my opinion since it is too fickle, but it is what it is and that is all I can manage to get onto a paper as well. Well, I guess I am only human.

But regardless of whether my judgement is a fallacy or not, go to the biggest screen you can find and experience 2049. Whether you like to admit it or not, the return of the world of Philip Dick to the screen is not just another movie, it is a cinematic event. So recline in your seat, forgetting the overblown air conditioning, that annoying couple getting to second base behind and the ever meddling Censor Board. Recline a bit more and let the lights, the sound and the emotions wash over you, and find yourself in the midst of the city choking on its own technology.

Personally speaking, as I always am, 2049 is everything I have wanted science fiction to be :- universal in its scope and personal in appeal.

THANKS FOR READING. IF YOU HAVE LIKED/HAVE DIFFERENT VIEWS / HAVE ANY  DOUBTS, PLEASE SHARE. I WILL RESPOND TO IT AS SOON AS I CAN. AND PLEASE SUBSCRIBE FOR MORE. YOU CAN FOLLOW ME ON MY FACEBOOK PAGE TOO https://www.facebook.com/profile.php?id=100011549616628YOU CAN ALSO E-MAIL ME ON castlebang786@gmail.com OR favebook2011@rediffmail.com

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Copyright : All written content on this site, unless otherwise noted, has been created by the website owner. As such, the content is the property of the website owner. This content is protected by Indian and international copyright laws. If you wish to reproduce, re-post, or display any of our content on your own site please only do so if you also provide a link back to the source page on this website and properly attribute authorship. Our preference is that you seek our permission before doing so. If you see anything on this website that has not been properly attributed to its originator please contact me. In response, I will attempt to correct the attribution of the offending material or remove and/or replace it. All material on this website is posted in accordance with the limitations set forward by the Information Technology Act, 2000. If a documented copyright owner so requests, their material will be removed from published display, although the author reserves the right to provide linkage to that material or to a source for that material. As a website devoted to discussing and reviewing movies and television I will at times, for illustrative purposes, present copyrighted material, the use of which might not always be specifically authorized by the copyright owner. Such material is made available  for purposes such as criticism, comment, and research. The website owner believes that this constitutes a “fair use” of any such copyrighted material because the articles published on this website are distributed for entertainment purposes

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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The Manchurian Candidate Review

In the 60’s, most of the grand American movies had two types of villains – either the aliens or the Russians. The Manchurian Candidate is thankfully about the latter. It deals with a plot which oddly seemed genius and vacuous at the same time, that one part of you wants to fully immerse yourself in this thrilling tale while the other parts of you yearns to find holes in this script and finds them, only to disregard them later, for this is too much off a fun movie.

It deals with the concept of brainwashing (or dry cleaning of the mind, as it is referred to in the movie) where a trigger makes a man subject to the will of his operator. On the surface this idea does look doltish, but so does a man falling in love with his operating system. But, what makes these movies classics is the fact that everyone seems convinced of this idea. That enough evidence is put forth so as to make it believable.

The Manchurian Candidate has the structure of a Hitchcockian movie, thronged with twists and beautiful women, and to no surprise considering how obtrusive the novel from which it was adapted was, in terms of sensuality. To be honest, it seems like the only fallacy in this movie, and a very major one considering how large an influence it has on the movie, that none of the romances here are chalked up, particularly the one concerning Janet Leigh.

Yet, if we look beyond that, this is a really intelligent movie, in its own way, a kind of a science-fiction. There is a cracker of a concept here, and the makers do construct a plot which does make the viewer be on the edge of his seat. Considering the age in which the movie was made, there is exceptional professionalism maintained in preventing this movie from going over-the-top.

In this era, I do not think the concept and treatment of The Manchurian Candidate holds up much, but that clearly did not deter Hollywood from coming up with a needless remake, however, by considering the time when it hit the screens, it affirms that it was an explosive movie which clearly took sides, instead of the movies nowadays which are like pups wanting to be petted by everyone. The Manchurian Candidate is hell of a fun movie. Thrilling, yes, but not a great one. However, I wouldn’t mind recommending it to anyone who cares.

RATING : 7.8 / 10

THANKS FOR READING. IF YOU HAVE LIKED/HAVE DIFFERENT VIEWS / HAVE ANY  DOUBTS, PLEASE SHARE. I WILL RESPOND TO IT AS SOON AS I CAN. AND PLEASE SUBSCRIBE FOR MORE. YOU CAN FOLLOW ME ON MY FACEBOOK PAGE TOO https://www.facebook.com/profile.php?id=100011549616628 YOU CAN ALSO E-MAIL ME ON castlebang786@gmail.com OR favebook2011@rediffmail.com

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Copyright : All written content on this site, unless otherwise noted, has been created by the website owner. As such, the content is the property of the website owner. This content is protected by Indian and international copyright laws. If you wish to reproduce, re-post, or display any of our content on your own site please only do so if you also provide a link back to the source page on this website and properly attribute authorship. Our preference is that you seek our permission before doing so. If you see anything on this website that has not been properly attributed to its originator please contact me. In response, I will attempt to correct the attribution of the offending material or remove and/or replace it. All material on this website is posted in accordance with the limitations set forward by the Information Technology Act, 2000. If a documented copyright owner so requests, their material will be removed from published display, although the author reserves the right to provide linkage to that material or to a source for that material. As a website devoted to discussing and reviewing movies and television I will at times, for illustrative purposes, present copyrighted material, the use of which might not always be specifically authorized by the copyright owner. Such material is made available  for purposes such as criticism, comment, and research. The website owner believes that this constitutes a “fair use” of any such copyrighted material because the articles published on this website are distributed for entertainment purposes.

Drive Review

Nicolas Refn doesn’t spare a minute to get you in the midst of all action. Drive begins with one of the greatest opening scenes I have ever seen. It make crystal clear the nature of Driver and his job. The Driver’s name is never mentioned throughout the movie, and as we come to know as the movie progresses, with due reason. He is an enigma cloaked in a mystery.

First of all, I am going to talk about this movie as more of an anatomy of it rather than a review, therefore apologies if it seems plodding. So, the movie begins with a brilliant opening scene as I said before. And the reason why I call it brilliant is because of the atmosphere it generates. If you have been around for a long time here, you might know that I am not a big fan of action movies (Drive isn’t one by the way, it is a crime movie to its core). And the primary reason for that is the monotonous nature of how the scenes materialize in most of the action movies. See, no one, and I repeat no one, gets excited just because a car is driving at illegal speeds. It is the motive behind the character’s actions for the act that make action scenes intriguing. Refn doesn’t mindlessly make his protagonist drive around. There is an eerie atmosphere created where there is an actual sense of urgency brought about by great writing, and the cinematography and editing enhance this tension. This is how real action is shot, unlike the amalgamation seen of visual effects and phony body doubles.

As the movie progresses, it uses various classic cinematic techniques to create a noir atmosphere. The dialogue is sparse, which would bother me in any other movie, but here it adds to our need for the addressal of mystery surrounding the Driver. A beautiful romance engenders from a marriage of lights and music.

Then, violence ensues. Gritty, bloody violence. Before you walk into this movie, just remember that this is clear style over substance, and I mean that in a good way. The atmosphere is meticulously created for these action scenes, a perfect build-up till all hell breaks loose.

As I said, every aspect of this movie is stylized in order for the viewer to comprehend the meaning of various symbolizations which appear throughout the music as well as costume design as well facial expressions and everything else. For eg. take the scorpion on the back of the jacket worn by the Driver in reference to the story of the frog and the Scorpion. One of the things that almost every great movie offers is an opportunity to form one’s own interpretations about characters. Here, the Driver can be viewed as a frog because he carries the weight of the criminal world on his shoulders which he knows will sting him, and he also can be thought about as the scorpion because he is meant to sting and hurt everyone around him, for that is his nature.

A lot of people were disappointed by this movie, evident from its Cinema Score ratings. Well my advice would be to watch it as a crime movie rather than an action movie, because the crime is the main plot-turner here, the action is just the consequence of it all.

The only problem I had with Drive is that it creates a certain wall between the viewer and its characters. We do relate to the character movements, but the emotions do not penetrate our heart which I felt was necessary in this movie because most of it is about character development. However, I oppose myself in this statement, because the movie is a mirror to the Driver, and that is his nature, a wall which is impermeable to emotions.

Drive is a stylized movie which offers intelligent entertainment, and I guess in this world where people come out of cinema halls proclaiming that Fast and Furious is the most thrilling movie ever made, I guess Drive acts as cocaine for those who pay the price of admission for meaningful cinema.

RATING : 8.6 / 10

THANKS FOR READING. IF YOU HAVE LIKED/HAVE DIFFERENT VIEWS / HAVE ANY  DOUBTS, PLEASE SHARE. I WILL RESPOND TO IT AS SOON AS I CAN. AND PLEASE SUBSCRIBE FOR MORE. YOU CAN FOLLOW ME ON MY FACEBOOK PAGE TOO https://www.facebook.com/profile.php?id=100011549616628 YOU CAN ALSO E-MAIL ME ON castlebang786@gmail.com OR favebook2011@rediffmail.com

Photo Rights : Google Images, Wikipedia

Copyright : All written content on this site, unless otherwise noted, has been created by the website owner. As such, the content is the property of the website owner. This content is protected by Indian and international copyright laws. If you wish to reproduce, re-post, or display any of our content on your own site please only do so if you also provide a link back to the source page on this website and properly attribute authorship. Our preference is that you seek our permission before doing so. If you see anything on this website that has not been properly attributed to its originator please contact me. In response, I will attempt to correct the attribution of the offending material or remove and/or replace it. All material on this website is posted in accordance with the limitations set forward by the Information Technology Act, 2000. If a documented copyright owner so requests, their material will be removed from published display, although the author reserves the right to provide linkage to that material or to a source for that material. As a website devoted to discussing and reviewing movies and television I will at times, for illustrative purposes, present copyrighted material, the use of which might not always be specifically authorized by the copyright owner. Such material is made available  for purposes such as criticism, comment, and research. The website owner believes that this constitutes a “fair use” of any such copyrighted material because the articles published on this website are distributed for entertainment purposes.