1917 (2019)

The unfathomable level of carnage & calamity that unfolded during the First World War often gets downplayed when compared to the destruction & devastation that followed in the Second World War. With more advanced weaponry & deadlier war tactics employed in the combat, World War II is surely the single greatest catastrophic event in mankind’s history that forever altered the political & social structures around the world. But it does not mean that World War I was a relatively quieter conflict in any way or shape or form, for the loss of life & psychological trauma of it all was still unlike anything the world had ever known.

Both the World Wars were significant turning points in the political, cultural, economic & social climate of the world. And their contribution to the fields of art, literature & cinema is absolutely unparalleled. However, the finely documented & better preserved events of the last Great War tends to overshadow the ones that occurred during the first Great War and so we haven’t had as many unforgettable stories from World War I brought to life on the film canvas despite it being a more primal & close-ranged fought battle, all due to the trenches & barbwire infested lands where every inch of advancement was made possible by hundreds who met their demise.

Sam Mendes’ 1917 captures the horror of First World War unlike anything before. Taking inspiration from an account told to him by his paternal grandfather who served in it, and to whom this film is dedicated to, Mendes creates a simple & straightforward narrative of two British soldiers who are tasked with the mission to journey through no man’s land to deliver an urgent message to an isolated regiment that’s walking into a trap set up by the Germans. And he makes it all the more ambitious by elevating the technical challenges to new heights, for the story unfolds in real time and is shot & edited in a manner that gives it an impression of being filmed in a continuous long take.

Co-written & directed by Sam Mendes (American Beauty, Road to Perdition & Skyfall), the film wastes no time in setting up the premise and is on the move within the first few minutes, silently acquainting the viewers with what’s at stake & the perils that lie ahead. And from the very moment our protagonists step into no man’s land, we are immersed & invested in their dangerous journey. Add to that, the masterly manoeuvred camera helps bring us right into the battlefield filled with mud, guts, barbwires, craters & corpses, thus giving us a brutal taste of trench warfare, the palpable fear of being in such nightmarish scenario, and the unrelenting menace that could unleash at any given moment.

Also contributing to the script is Krysty Wilson-Cairns, providing the dramatic portions a human touch, and letting the characters’ actions define them than their interactions with one another. However, it is the wizardry that’s evident in the film’s technical department that impresses the most. The era-appropriate set pieces, meticulously detailed trenches & wisely chosen shooting locations help create a convincing warfare setting, which is then ingeniously photographed by the legendary Roger Deakins, whose arresting use of lights & shadows arguably has no equals. The seamless tracking, steady movements & surgical precision with which the camera captures the unfolding drama conjures sequences that are simply unforgettable.

Deakins’ spellbinding cinematography also works in harmony with Lee Smith’s excellent editing that cleverly stitches together several snippets into a uniform, unbroken take that gives this story the appearance of unravelling in real time. And for a war feature, it’s one staggering achievement. Also noteworthy is the emphasis on realism, none more evident than the scene in which a soldier’s face gets paler n paler as he bleeds to death, a medical reality that so many films overlook. And last but not the least we have Thomas Newman’s immaculate score that further heightens the tension & intensifies the viewing experience with its evocative & reverberating tracks. Having collaborated with Mendes on almost all his films, this just might be Newman’s finest composition so far.

Coming to the performances, 1917 features a committed cast in George MacKay & Dean-Charles Chapman with brief cameos from Colin Firth, Andrew Scott, Mark Strong, Claire Duburcq, Richard Madden & Benedict Cumberbatch. Both MacKay & Chapman make the most of the given opportunity and play their roles with emotional sincerity. The camera follows them like a silent observer from the first frame to the last yet there isn’t a single slip from either of them at any given time, plus the camaraderie between the two brims with genuine touch. The supporting actors contribute with responsible performances in their limited screen time but it’s the young actors who carry this film on their shoulders and past the finish line, and their renditions only get better as plot progresses.

On an overall scale, 1917 is one of the most visceral, intense & thrilling films of its genre, and is no less than an astounding achievement of warfare filmmaking that captures the perpetual sense of danger on the front lines with startling immediacy. Endlessly riveting & downright effective, its real-time execution is more than a gimmick, and the cinematic magic it conjures on screen with Sam Mendes’ stellar direction, Roger Deakins’ masterful cinematography & Thomas Newman’s stimulating score catapults it into the league of its genre’s most impressive & memorable offerings. From the narrow spaces in the trenches to the vast landscapes destroyed by relentless shelling, the film manages to keep the nail-biting tension & suspense alive, and is a fascinating example of taut storytelling blended with first-rate technical craftsmanship. In short, 1917 sets a new bar for First World War epics, and easily ranks amongst the best films of 2019. Strongly recommended.

A Beautiful Day in the Neighborhood (2019)

Unfolding like a warm, soothing & comforting embrace that gradually manages to take away all your anger, frustration & resentment with its powerful grasp & sense of assurance, A Beautiful Day in the Neighborhood is a life-affirming & soul-stirring drama that provides a fascinating glimpse into the life & guiding philosophy of the legendary TV personality whose resourceful & relentless kindness made him America’s most beloved neighbor.

The story follows a cynical journalist who is assigned to interview Fred Rogers, the popular host of a children’s show, by his editor for an article about heroes. Well-known for his scathing portrait of people he writes about, he believes Rogers’ nice persona to be an act that needs to be exposed and attempts to discern him but the more he learns about the man, the more he finds his kind-hearted nature inspiring a positive change in every facet of his troubled life.

Directed by Marielle Heller (known for The Diary of a Teenage Girl & Can You Ever Forgive Me?), A Beautiful Day in the Neighborhood is a story of empathy, forgiveness & reconciliation that’s crafted with genuine care, composure & compassion, and comes equipped with all the wonderful qualities of the cultural icon inhabiting it. Heller’s direction is as sincere as it is restrained, and the patience & calmness with which she executes & narrates the plot makes it an engaging sit.

The screenplay doesn’t opt for a biographical approach and instead takes the outside-in route that introduces us to Fred Rogers’ life principles through the eyes of a cynic, thus mirroring the jaded journalist’s skepticism with that of our own, and then slowly tries to shift that perspective over the course of its 109 minutes runtime. The plot doesn’t delve deeper into Rogers’ personality so it may disappoint some but its powerful message of empathy, kindness & decency will resonate with most.

Structured like an episode of Mister Rogers’ Neighborhood to an extent, with the famous host bookending the plot with his usual routine, the film also employs puppetry & scaled down models of depicted locations in its narration. The camera utilises bright colours whenever Rogers in present to reflect his warmth, positivity & infectious charm, and though the plot unfolds at an unhurried pace, the steady editing makes sure the journey remains interesting & worthwhile despite a few hiccups.

The segments depicting the journalist’s own life story don’t pack the same emotional punch as scenes featuring Fred Rogers, for much of it feels derivative but it contributes enough to drive the picture home. Matthew Rhys plays him as intended, but he is easily overshadowed by Tom Hanks whose warm, graceful & assured performance in the role of Fred Rogers is as rich & affirming as it is honest & believable. The rest of the cast do well with what they are given but Hanks’ input towers above all with effortless ease.

Overall, A Beautiful Day in the Neighborhood is gentle, earnest filmmaking at its best that’s brought to life with heartfelt warmth & elegance, and is amongst the most evocative films of the year. A gracefully directed, tenderly scripted & wonderfully acted cinema with an apt understanding of Fred Rogers’ teachings, Marielle Heller’s latest might play safe and isn’t as immersive or reverberating as last year’s documentary on Fred Rogers but it nonetheless manage to strike all the right chords and speaks directly to the heart to deliver a pleasant viewing experience that’s as timely as it is emotionally satisfying. Don’t miss it.

Toy Story 4 (2019)

Pixar’s Toy Story 3 ended the animation studios’ signature franchise on such a pitch-perfect note that adding another chapter to the saga made no sense whatsoever. The 2010 sequel remains one of Pixar’s greatest accomplishments, and made for an ideal farewell that wrapped the story of Andy’s toys in a wholly satisfying manner. And so when Pixar announced they are working on a follow-up story, it wasn’t well-received since Toy Story Trilogy had been a flawless series until then. And we all wished Pixar would return to making original stories instead of milking their franchises of all their worth.

Nobody asked for this sequel. Nobody wanted it. And nobody was looking forward to it. Add to that, there was a growing fear & apprehension that it might dent the franchise’s unblemished legacy. However, if there’s one thing Pixar has done time n again over the years and more consistently than any other studio on the planet, it is to defy the odds, exceed every expectations, and set new industry benchmarks in the process. And with their latest feature, Pixar delivers yet again, for Toy Story 4 is another masterwork of first-rate craftsmanship from the studio that validates its existence with gusto and is a final goodbye we never thought we needed.

The story concerns Woody & his gang, now under the care of the Bonnie, who are more than grateful to have a new child. Woody, however, still struggles in adapting to the new environment as he isn’t Bonnie’s favourite, and often spends his time in the closet. When Bonnie goes to her kindergarten orientation, Woody sneaks into her backpack and helps her assemble a new toy which she names “Forky”. But when Forky comes to life & starts experiencing an existential crisis, Woody takes it upon himself to do whatever it takes to make sure the new toy is around when Bonnie needs him. As they all embark on a road trip with the family, Woody stumbles upon a long-lost friend.

Directed by Josh Cooley in what’s his feature directorial debut, Toy Story 4 begins with a prologue that paves the foundation for what this new adventure is going to be, and then seamlessly works its way towards the main premise. Of the four films, this is undeniably the bleakest yet as full of charm & compassion as its predecessors. The story explores the next stage in Woody’s life, one where he doesn’t feel that relevant anymore & is clinging to the smallest things that would allow him to keep Bonnie happy, in this case, not letting Forky return to the trash where he thinks he belongs. Other characters have roles to play too but this is Woody’s story front & centre, about him finding his true place in life.

Forky may have been created by assembling together several pieces of garbage from the trash can but he has a personality that’s going to resonate with a lot of viewers. Bonnie’s affection for him is genuine, his struggles real, and his own personal journey & eventual transformation is as hilarious as it is compelling. Not everything is perfect though. Buzz Lightyear is funny but also slightly dumbed down in this chapter. Also, Jesse & the rest of toys aren’t given much to do. Nevertheless, the new characters are written with care and ably fill up the spaces. And the film as a whole remains a light-hearted, entertaining ride from start to finish. Bo Peep’s absence in the previous chapter is taken care of, and she is more relevant here than ever before.

As is the case with almost every Pixar film, the focus is always on telling an emotionally gripping story first rather than dazzle the audience with its breathtaking animation. It’s the magic in the screenwriting department that the animators translate on canvas with finesse, and the result is another winner of top-notch storytelling & first-rate animation. The photorealistic rendering is more lifelike than ever before, and each detail & texture pops out vibrantly. The new characters are seamlessly integrated into the family and all attempts at humour hit the mark. The narrative flow is smooth, pacing is streamlined & everything adds up in the end. Randy Newman’s score once again takes care of viewers’ emotions, and a couple new songs are wonderful.

Just like the previous entries, Toy Story 4 is a product of passionate filmmaking, and no matter how unnecessary it seems, the film does well to validate its existence in the end. The film derives its central conflict from the relationship between Woody & Bo Peep as their reunion not only rekindles their romance but also advances & challenges Woody’s perception of being a lost toy, leading to a finale that’s a perfect coda. Tom Hanks & Tim Allen return as the voices of the duo, Woody & Buzz respectively and their chemistry is spot-on as if they never left. Annie Potts also returns as Bo Peep and expertly plays her part. In the new additions we have Keegan-Michael Key & Jordan Peele playing a couple of plush toys and Keanu Reeves as a stuntman toy, all leaving an instant impression.

On an overall scale, Toy Story 4 presents Pixar Animation Studios proving us wrong and putting our fears to rest by delivering an impeccable blend of high-quality storytelling & jaw-dropping animation that further enriches the franchise’s legacy by soaring it to new heights. Embracing everything that made its predecessors great, the film might not have the emotional wallop of its predecessors but it surely is a roller-coaster ride of emotions that has its soul at the right place and knows how to strike a chord that tugs our hearts. One of the best all-round films of the year, certainly amongst Pixar’s finest, and a worthy addition to a saga that has no equals, Toy Story 4 is another masterpiece in Pixar’s bag that’s immaculately crafted, beautifully told, exquisitely animated, and also addresses its themes with care & sincerity, in addition to brimming with a genuine sense of warmth, tenderness & finality. Strongly recommended.

Klaus (2019)

Exhibiting all the hallmarks of a Christmas classic which it is destined to become in the years to come, Klaus is amongst the most wonderful surprises to surface this festive season. A whimsical, wistful & wondrous delight that’s affectionately told & gorgeously animated, Netflix’s first animated feature is undeniably one of the finest films of 2019.

The story follows a rich, spoiled brat who’s stationed as a postman on an island just above the Arctic Circle by his father with a task he must accomplish if he is to inherit the family’s wealth. Stuck on the island with feuding locals who don’t even exchange words, he forms an unlikely alliance with a reclusive toymaker that sparks a change in the cold, dark town.

Written & directed by Sergio Pablos in what’s his directorial debut, Klaus marks the arrival of a new animation studio in the arena, and is by all means a promising start to its filmmaking endeavours. Going old-school when it comes to animation, the film employs traditional hand-drawn technique and the wizardry it conjures on the canvas is what gives its frames their unique look.

What’s even more commendable about it is that despite the groundbreaking animation on display, it’s the story & characters that take precedence. It is an exquisitely imagined & masterly narrated fable that makes excellent use of its heartwarming premise & full-fledged characters, and is cleverly witted from start to finish. In a place filled with hate, it shows what an act of kindness can inspire.

Everything about the film works. The frozen, faraway island provides the right setting for the myth to originate from. And the way its cold palette slowly transition to warmer tones as hatred thaws & kindness blooms is mesmerising to watch. All the legend about the famous guy is in the picture yet it is presented with an interesting spin that fits. And further richness is provided by top-notch vocal performances.

The film is all jolly & joyful on surface but the themes it addresses has a lot to say about the world we live in today, about how hatred is passed down generations in the name of tradition. Children are born with the capacity to love, share & interact. Hatred & prejudice, on the other hand, is taught. The film also remarks that there will always be few who would rather continue this cycle of violence than live together in harmony.

Going back to the traditional animation, the images surely have a nostalgic, handcrafted feel but they also exhibit polished textures & sophisticated lighting techniques that one encounters in computer animation. The backdrop is as alive & vivid here as characters in forefront, and the sharp, skilful camerawork adds more vibrancy to the final print. All scenes are accounted for, pacing is precise, and its touching music effortlessly stirs our soul.

On an overall scale, Klaus is no less than a Christmas miracle, for its simple, sincere storytelling is as impressive & accomplished as its first-rate animation. A beautifully evocative & emotionally resonant tale of goodwill & compassion that’s sprinkled with healthy dose of heart & humour and enveloped with magical flair, SPA Studios’ first foray into feature filmmaking is a hilarious, heartfelt & joyous celebration of everything that brings us together. Arguably the best animated film of the year, Klaus comes merrily recommended.

Knives Out (2019)

After dazzling all with his sci-fi actioner Looper, directing the greatest hour of television with Ozymandias (Breaking Bad) & helming the penultimate episode of Star Wars saga with The Last Jedi, Rian Johnson returns with an intelligently plotted & ingeniously directed murder mystery that attempts to revive the whodunnit genre by both embracing & subverting it in equal measure. With a star-studded ensemble who all chip in with fab inputs, Knives Out makes for one of this year’s finest films, and is certainly amongst the most entertaining.

The story of Knives Out is set into motion when the patriarch of the wealthy Thrombey family is found dead the next morning after his 85th birthday. Initially ruled as suicide, the case is revisited after a renowned detective is enlisted by an anonymous source to further investigate into the matter & see if any foul play was involved. As he questions each family member & staff who were present during the last gathering to connect the dots, he learns more n more about the dysfunctional family & must filter out their self-serving lies in order to uncover the truth.

Written, produced & directed by Rian Johnson, the story is gripping from the get go, and remains that way until the end. The premise set up is quick, character introductions are swift, and the juxtaposition of lies & truth provided to the audience offers them a better glimpse into each character’s persona. By taking the whodunnit template and turning it on itself, Johnson goes further than just merely following the tropes as his film becomes a completely different puzzle as plot progresses & more details pour in, all without ever sacrificing the genre’s pleasures or affecting the narrative flow.

Johnson’s assured direction makes this film an endlessly enjoyable & wildly entertaining ride but his script is just as impressive, expertly balancing all subplots in a manner that only adds to the suspense while painting the bigger picture at the same time. Add to that, the rich, well-defined & interesting set of characters inhabiting this tale infuse additional flavours to what’s already a delicious cuisine. The twists & turns are aplenty, as expected, but what makes it riveting down to the last frame is how the film never for once loses its momentum and keeps us invested in its mechanics with effortless ease.

The majority of the plot unfolds in a mansion, and the production design team does well to fill the place up and decorate the setting with appropriate props & artefacts that aptly reflect the family’s wealth & fortune. The fluid camerawork, smart manoeuvring, sharp focus, detailed imagery & precise lighting helps capture each moment in a clear, concise fashion while Editing skilfully juggles & intertwines multiple storylines into one tightly-knitted structure that allows the audience to play the game while at the same time stays one step ahead of them. And the pacing is so breezy & perfect that time simply flies by.

Coming to the performances, Knives Out features a stellar ensemble in Daniel Craig, Ana de Armas, Chris Evans, Jamie Lee Curtis, Michael Shannon, Don Johnson, Toni Collette & Christopher Plummer. Craig plays the inquisitive & debonair detective called in to solve the case, and delivers a fascinating input that only gets better with time. Evans is totally relaxed here, and plays his role with carefree demeanour. The rest contribute with top-notch efforts as well, getting along well with one another while holding their own. But the real show-stealer, apart from those sweaters, is de Armas whose character is at the heart of this story, and her modest & beautifully nuanced performance provides the film its very soul.

On an overall scale, Knives Out is one of the sharpest, smartest & slickest examples of its genre that presents Rian Johnson at the top of his game, for he is aware that the viewers like playing detective when it comes to whodunnit stories, and so he devises his modern take in ways that finds new means to pull the rug off our feet, defy our expectations and surprise us every now n then. Also, where many similar examples tend to shock viewers with a final revelation, Johnson’s latest opts for an outcome that’s reasonable enough to wrap the film on a wholly satisfying note. A masterwork of suave direction & sly writing that’s further boosted by a stellar ensemble that delivers on all fronts, Knives Out is Rian Johnson’s best film to date. Strongly recommended.

Rambo: Last Blood (2019)

An unnecessary new addition to the saga that came full circle in the previous instalment, Rambo: Last Blood is the fifth & possibly final outing for Sylvester Stallone in one of his signature roles that catapulted him to the top of the 80s action hero scene, made his war-veteran character a cultural icon, and cultivated a strong fan following around the globe. Echoing Unforgiven & Logan on the surface yet completely hollow from within, it is also the first sequel in the series that never for once feels like a Rambo film.

Set a decade after the events that transpired in the last film, Last Blood finds John Rambo living a quiet, peaceful life at his deceased father’s horse ranch which he manages with a housekeeper & her granddaughter, whom he looks upon as his adopted daughter. Things take a devastating turn when she is abducted by enforcers of a Mexican drug cartel, thus prompting Rambo to cross the border in order to bring her home. But when he faces the full might of the ruthless gang, it takes the lid off the vengeful warrior within him.

Co-written by Stallone himself and directed by Adrian Grunberg, my main gripe with this latest entry is that it neither adds anything of value or significance to the Rambo lore nor fits in with other instalments to be truly considered as a part of the franchise. In addition to that, the story the script packs in is extremely generic, barely functioning & absolutely unbecoming of what John Rambo is all about. One can replace Rambo with someone else and it won’t make one bit of a difference in the overall experience, and that is a problem.

Now I’m well aware that people don’t dive into a Rambo film for storytelling mastery but explosive, entertaining action yet Last Blood doesn’t unleash the unapologetically vicious & violent carnage until the third act. The final stand that eventually surfaces still fails to live up to the hype, and is marred by haphazard camerawork & poor lighting. Where the previous chapter bathed in unflinchingly brutal, graphic & harrowing display of viscera, vengeance & violence that was glorious to watch, this one has barbaric but brief snippets that do not reach the same heights.

There is an attempt to dig into the character’s mellow side to examine his tormented soul but the lazy writing & substandard direction prevent the film from capturing it with the psychological lens. We care about Rambo in this sequel due to our past affection for him. The other characters don’t even matter. The dialogues are terrible for the most part. And the gritty approach adds zero weight to the whole journey. Sylvester Stallone manages to hold his ground but it is evident that he’s getting too old & weary for the role, and should have retired the character in the previous instalment, which did conclude his journey on a definitive note.

On an overall scale, Rambo: Last Blood neither has the emotional intensity of First Blood nor the magnificent bloodbath of the last chapter, and is the weakest film in the series so far. It follows the same path as Taken and incorporates the Home Alone finale dialled to hard R-rated extremity that still isn’t for the easily distressed. Fans of the franchise won’t mind the narrative shortcomings since the plot is always on the move and the film gives them exactly what they came looking for in the final showdown. But there is no denying that it is an inferior, ineffectual & ill-advised sequel that the saga was better without. An underwhelming coda, Last Blood fails to finish Rambo’s final stand on a memorable note.

Ford v Ferrari (2019)

From the director of Logan comes a full-throttled, high-octane & adrenaline-fuelled sports drama that recounts the rivalry between Ford & Ferrari for the dominance at Le Mans endurance race in 1966. Ford v Ferrari (also known as Le Mans ’66) is no doubt stylishly filmed & furiously paced but it also travels a rather safe route for the most part and isn’t as memorable as its genre’s finest offerings.

The story concerns American car designer Carroll Shelby who is enlisted by Ford Motor Company to build a revolutionary race car that could challenge & defeat the dominant Ferrari racing team at the 24 Hours of Le Mans endurance race. Shelby teams up with racing veteran Ken Miles to make the impossible possible but faces corporate interference & several other obstacles in his quest to realise his mission.

Directed by James Mangold, the film centres its plot on Shelby & Miles while rivalry between two corporations plays second fiddle to their stories. The racing segments are plentiful and majority of them are shot with kinetic flair. But the attempt to make the drama all macho & cool does not always deliver the best results as it dilutes the seriousness the story was aiming for, and seems as if it’s trying too hard to grab the viewers’ attention.

Nevertheless, the relation between man & machine is captured with purity, and that romance remains intact throughout its runtime. Instead of two companies battling it all out for the championship crown, the story derives its conflict from the disputes & disagreements that arises within Ford’s racing crew & corporate executives. It does keep the interest alive but the dramatic portions do not pack the same grip & punch that the racing scenes do.

Production design team does well to recreate the 1960s setting by filling the frames with era-appropriate set pieces & automobiles. The energetic camerawork captures the racing sequences with thrilling intensity, and makes sure its momentum is never lost. Editing unfolds the drama at a breezy pace yet there are several scenes in the final print that the story could’ve done without. As for the background score, it is not very effective and fails to enrich or uplift the viewing experience.

What does help the film immensely are the sincere performances from Matt Damon & Christian Bale who are brilliant both individually as well as when they are sharing the screen. Damon is downright focused & serious in his rendition of Carroll Shelby while Bale embodies Miles in ways only he can, and it is another fantastic performance from the method actor. Jon Bernthal, Tracy Letts & Josh Lucas also deliver good inputs in supporting roles, especially the latter who manages to be despicable without even trying.

On an overall scale, Ford v Ferrari is a competently crafted & technically polished biopic that narrates the real-life events with gusto despite going a bit overboard at times, and is a downright thrilling, incessantly fun & wildly entertaining fare that will satisfy both racing enthusiasts & casual filmgoers. What unfortunately prevents this film from cementing its spot amongst the finest examples of its kind is the limitation it imposes upon itself by not taking the high risk, high reward approach. Steered by solid performances from Damon & Bale, Ford v Ferrari is nonetheless worth a shot.

Doctor Sleep (2019)

It is an extremely bold & audacious move to follow into the footsteps of one of the most acclaimed & accomplished films of all time. And it appears all the more foolhardy when the original was helmed by Stanley Kubrick, hands down the greatest filmmaker to have ever lived. Today, The Shining is not only a staple of pop culture but is also hailed by many as arguably the most aesthetic, artistic & technically adept of all horror films. Its methodically structured & meticulously layered narrative complexity has spawned several interpretations over the years and it remains a topic of discussion amongst cinema buffs even today. To build a new story upon a film with such legendary repute is by all means no mere task.

And yet, against all expectations, Mike Flanagan’s Doctor Sleep manages to defy the odds and lives up to the hype. The film doesn’t touch the creative heights of its predecessor but it is a follow-up story that, instead of trying to measure up to Kubrick’s masterpiece, chooses to be its own thing while paying homage to the original & retaining its essence in every way at the same time. An adaptation of Stephen King’s novel of the same name, which in itself is a sequel to his earlier book that Kubrick adapted into a film with severe modifications that the author disapproved, Doctor Sleep is an attempt by Flanagan to reconcile the differences and streamline the narratives of all three sources into one, and the result is a film that works both as a worthy sequel & an impressive adaptation.

The story follows Danny Torrence, the young kid with psychic powers who is still reeling from his traumatic experience at the Overlook Hotel and continues to find himself being haunted by ghosts from the dreaded place until he learns to box them all inside his mind. Now an adult, he drinks heavily to suppress his shining abilities and suffers from anger issues just like his father but eventually finds some stability in life after moving to a small town, joining a self-help group & taking a job at a hospice where he utilises his shine to comfort dying patients, thus earning the titular nickname. In the meantime, he comes into contact with a young girl who possesses a similar trait & maintains telepathic interactions with her. But when her life is under threat, Danny is forced to confront his demons to save her.

Written, directed & edited by Mike Flanagan, Doctor Sleep is possibly the finest film of his directorial career, and undoubtedly his most ambitious. His rise has been steady over the years & his consistent delivery of quality works of horror made him the perfect candidate to helm this project. There was simply no way in hell that this film could’ve avoided its comparison to the mighty predecessor that is now widely regarded as one of the greatest horror films of all time, and Flanagan’s decision to focus on his strengths and provide his own touch to the material is the reason why this story feels like a true successor and is still more than capable of standing on its own. It has a separate identity yet it is similar to The Shining in more ways than one. And though the craftsmanship isn’t precise like it was in Kubrick’s fable, it doesn’t dent the original’s legacy at all.

Flanagan’s direction exudes both composure & confidence while also exhibiting restraint as he allows the premise to set up at a relaxed pace, and acquaints the audience with the fundamentals of this sequel in a gradual fashion, for there are many elements in here that were present in King’s novel but missing in the 1980 film adaptation. Where The Shining kept the viewers guessing with its clever mix of supernatural & psychological elements, the sequel inclines more towards the former and is more explicit in depicting those. Also commendable is the decision to recast reprising characters rather than going digital, for their sole purpose was to remind us of those iconic figures. The film also employs the set piece of The Overlook Hotel, rebuilt from scratch instead of opting for CGI but the latter is applied to provide a dilapidated touch to the setup.

The rest of the technical aspects share more similarity with Flanagan’s previous works and their execution also fall under the director’s trademark, whether it is smooth camerawork, warm colour palette, proper lighting or smart use of genre elements. Also missing are the jump scares that many horror films of today rely on to deliver the chills, as the director lets the viewers immerse themselves into its patiently unfolding world and then allows the foreboding vibe to take over. As for the violence in store, the film doesn’t hold back on that aspect at all, and is downright savage when it’s meant to be. Editing unfolds the plot at its desired pace, and steers its 2½ hours runtime in such fashion that the interest is never lost. Also worthy of mention is the The Newton Brothers’ menacing soundtrack, for those pulsating tracks have a palpable feel that keeps us alert at all times.

Coming to the acting department, Doctor Sleep features an interesting ensemble in Ewan McGregor, Rebecca Ferguson, Cliff Curtis & Kyliegh Curran. McGregor is convincing in the role of Danny Torrence and delivers a balanced input that captures his character’s inner ordeal with precision. Curtis also chips in with a brilliant supporting work as the good samaritan who helps Dan recover from his alcoholism & find some sense of purpose in life. Curran skilfully plays her part in her feature film debut, plus her chemistry with McGregor has a natural flow to it. However, the real show-stealer of this horror is none other than Ferguson who infuses elixir into her already compelling character, plays her with finesse & is thoroughly captivating in the cult leader role, thus adding another splendid performance to her résumé. Jacob Tremblay also makes a cameo appearance in what’s possibly the most horrifying scene in the whole picture.

On an overall scale, Doctor Sleep is a highly impressive follow-up to The Shining, and is far better than what I anticipated. It succeeds as a successor to Kubrick’s classic. It works as a successful film adaptation of Stephen King’s novel. And it also qualifies as a fitting sequel to both the 1980 film & its 1977 source. Flanagan has done it again, and it just might be the biggest accomplishment of his career so far, for stepping into the greatest auteur’s footsteps is an intimidating venture in itself, and the fact that he triumphed at his attempt further establishes him as one of the masters of contemporary horror storytelling. The film isn’t without its shortcomings, for everything after the antagonist’s final fate is not on par with all that came before. But it is still an intelligently crafted & ingeniously narrated sequel that analyses the works of King & Kubrick with clarity, and is a welcome addition to both sagas. Expertly illustrating how childhood trauma can seep into adulthood to create new horrors, Doctor Sleep is a shining example of its genre that marks a major step-up for Mike Flanagan’s filmmaking endeavours, and is one of the best films of the year. Highly recommended.

Terminator: Dark Fate (2019)

35 years ago, a new filmmaker in town gave the world a glimpse of his vision, creativity & passion for storytelling when he created a sci-fi horror that would not only launch his career but would go on to become one of the greatest & most influential films of its kind. James Cameron’s The Terminator remains one of the still-standing benchmarks of sci-fi storytelling, and its uncompromisingly bleak vision of the future still remains in a league of its own. Cameron would eventually return to this post-apocalyptic world with a bigger & better sequel, one that decimated the original on all fronts, and the standards it set for sequels & action filmmaking remain unsurpassed to this very day.

Terminator 2: Judgment Day was the final instalment that told the complete story that Cameron wanted to tell, and it wrapped things up beautifully & perfectly. The franchise should have been left at that but that’s not how things work in Hollywood. Terminator 3 was put into production without Cameron’s involvement, and the result was an inferior product that never grasped what made its predecessors work. It was an absolute failure. Another attempt was made to resurrect the franchise with Terminator: Salvation and it failed as well. One would think the studio executives would learn from their mistakes, but they cashed in on making another one, this time a reboot, only for it to go down the same road.

It ultimately took James Cameron to come back to the franchise that he started to redeem the unnecessarily extended saga to an extent, and the first thing he did is retcon it to free this latest entry from the awful stench of everything that came out after T2. Terminator: Dark Fate is the sixth & hopefully the final entry in this long-running saga that should’ve been terminated years ago, and serves as the direct sequel to Judgment Day, disregarding all the events that took place from Rise of the Machines to Genisys. Cameron’s return & involvement in some capacity results in a sequel that’s actually better than anything that surfaced without his participation. The plot storyline has a solid footing this time around, but it is still no match to the first two films.

Set 25 years after the events of Judgment Day, the story follows a battle-hardened Sarah Connor who after averting the annihilation of the human race by rewriting its fate now comes to the rescue of a young woman who finds herself being hunted by an advanced cyborg from the future. As before, the human resistance sends a saviour to protect her, this time an augmented soldier with superhuman capabilities. But they are completely outmatched by the relentless machine that’s packing more surprises than one under its sleeve, ruthlessly destroys everything & everyone in its path, and would stop at nothing until its mission is complete, thus compelling the trio to seek someone from Sarah’s past who might as well be their last best hope for survival.

Directed by Tim Miller (best known for Deadpool), Dark Fate gets a few things right that the inferior chapters didn’t, best of all being the realisation that the real MVP of this saga has always been Linda Hamilton’s Sarah Connor and not Arnold Schwarzenegger’s T-800. The premise has a valid storyline, at least to some extent, but the plot is still derivative of Cameron’s works. Miller’s direction provides its moments of action an extravagant factor that will keep the audience entertained, but neither the plot structure nor the characters are strong enough to make things even half as captivating as the first two films. It piques the interest for a while and was going well too until it decides to travel the same tiresome road that forgettable blockbusters appear to have an affinity for.

Regarding the screenplay, the plot outline does make some sense but the characterisation is poorly handled. The new characters aren’t compelling at all, and the girl who becomes the mission of both the terminator & protector is scripted even worse. As before, the film is dependent on our nostalgic attachment to returning characters but it just isn’t enough to make us look past all the shortcomings. Unlike the formidable build of T-800 or hawk-like demeanour of T-1000, there is nothing about the new terminator that makes it stand out, which in turn never allows us to assess the danger it poses. The film does have a lot of chases & gunfights & one-on-one combat but it’s all soaked in excess CGI and is lacking the dramatic heft required to elevate the action to higher levels.

The opening segment is impressive, properly carried out, and creates a sense of intrigue. Even majority of the first half is passable despite few issues. But after that, it starts going downhill and there’s no stopping it. That airplane sequence has no basis whatsoever and exists only to showcase an unnecessary CGI spectacle that adds nothing of significance to the plot. Camerawork goes into fast-forward mode when capturing the action, the muted palette has no effect, and the futuristic world doesn’t leave any lasting impression either. Editing is a mixed bag, inconsistently pacing the narrative, and it only gets worse during the second half. The direction regarding Schwarzenegger’s character arc isn’t convincing enough. And Tom Holkenborg’s score manages to work only in bits n pieces.

Coming to the performances, Dark Fate marks the return of Linda Hamilton to the series since Judgment Day, and she makes her relevance felt instantly. Also returning to the fold is Arnold Schwarzenegger in his signature role that undergoes a massive modification in persona. New additions include Mackenzie Davis, Natalia Reyes & Gabriel Luna, but only Davis is the one who manages to make her mark. Reyes is cringeworthy here while Luna feels like a miscast. Hamilton is the only one who plays her part expertly, and delivers an absolutely badass input that overshadows the rest. In fact, it’s suffice to say that she’s the one who carries this sequel past the finish line, for even Schwarzenegger was lacking the screen charisma in the role he’s played in almost every Terminator film over the years.

On an overall scale, Terminator: Dark Fate is a definite improvement over all the sequels that surfaced after Judgment Day but it’s no cause for celebration since the bar was set so low by those terrible instalments. Nevertheless, James Cameron’s return to the cinematic project that provided him his big break in the industry, and later catapulted him into the league of Hollywood’s foremost visionaries, does have some positive effects as Dark Fate at least gets a few basics right, offers sufficiently satisfying entertainment, and definitely redeems the franchise by a slight margin. A little more polished script & character work might have added more enhancements and made the cinematic experience more richer. All in all, Dark Fate better be the final nail on the coffin than a revival of the Terminator saga, for the franchise fatigue is evident and there is nothing more left to add. Just let it rest.

V for Vendetta (2005)

Remember, remember, the fifth of November, the gunpowder treason & plot. I know of no reason why the gunpowder treason should ever be forgot. Remember indeed, for we are already veering towards the venomous world this film visualised over a decade ago. Presenting an uncompromising vision of a future that’s beginning to mirror our present, V for Vendetta is a vehemently crafted, voraciously told & vigorously acted cinematic vessel with a valuable & vivified voice that’s as vital & valorous as it is violent & vicious.

Set in the futuristic United Kingdom governed by a neo-fascist totalitarian regime which subjugates its people by violating its volition, the story concerns the voyage of a vigilante who veneers his visage with a veil while vanquishing the venal, virulent vermin through vengeful acts of violence, and finally becomes the vox populi after he attempts to incite a revolution by urging the fellow citizens to stand up against their oppressors. The plot is narrated from the viewpoint of a young woman who plays a valuable role in his venture.

Written by the Wachowskis & directed by James McTeigue in what’s his directorial debut, V for Vendetta is gripping from its opening moments and only gets better as plot progresses. McTeigue’s direction makes sure the vicariously written screenplay reaches its vertex on the film canvas, plus his valiant effort & vivid execution at times exhibits the variegation of a veteran at work. The script is the real deal though, aptly balancing action & drama in a way that makes its political allegories & entertainment factor work viably from the first frame to the last.

The film also takes inspirations from historical images, both factual & fictional, to deliver an authentic sketch of a fascist police state, and the production design team manifests its futuristic version convincingly with referential set pieces. Cinematography encapsulates the streets of London with a bleak tone & dismal aura to illustrate life under a tyrannical rule, while the kinetic camerawork, clever angles & precise lighting add more richness to the frames. Editing bestows the narrative with a closely packed structure that’s engaging from the get-go and unfolds at brisk velocity.

Coming to the acting department, V for Vendetta packs an impressive ensemble in Hugo Weaving, Natalie Portman & John Hurt among others, with the trio delivering fabulous inputs in their respective roles. All Weaving utilises is his voice to infuse life & soul into his masked vigilante persona and yet, it proves enough to make his character one of the most charismatic & vindictive icons to grace the silver screen. Portman’s performance is just as compelling, plus her character’s arc is riveting throughout. Hurt takes the role of the chancellor, plays him with volcanic aggression & holds nothing back in his rendition.

On an overall scale, V for Vendetta is one of the finest offerings of its genre that has only gotten more relevant with time, and will continue to do so for a foreseeable future. It’s a cautionary tale that serves us a warning of what can happen when society fails to keep its government in check, and is one thumping reminder that people’s collective voice is still more than capable of dismantling any oppressive system, all it takes is just one person to rise & rebel. A politically charged & viscerally intense viewing experience that’s visually captivating & thought-provoking in equal measure, V for Vendetta has aged like any fine wine and remains one of the best films of its year. Verily worth your time & money, this dystopian political thriller comes very highly recommended.