Member Reviews

Think up a character. Name him Sikandar. He may or may not master of his destiny. Pit the clean-cut guy against a dogged lawman determined to control the man’s muqaddar. Lo and behold, you have a handy title that harks back to a 1978 Amitabh Bachchan megahit with which this Netflix film has nothing to do.

The intimation of death signals the beginning of a new life in the here and now for Arjun Sen, the voluble and showy adman-protagonist of Shoojit Sircar’s I Want to Talk. It inevitably causes confusion and agony but strengthens his resolve to fight while altering his perspective on existence and mortality. Written by Ritesh Shah and based on a real-life Indian-American professional, Arjun produces adverts to encourage people to buy products they might or might not need. His joys rest on the sterling success he has in pulling off his acts of persuasion.

A brisk opening that holds some promise, a meandering middle that scuttles much of the early potential, and an overly rushed climax make Greedy People a mixed bag – an action comedy that never kicks into top gear despite all the scampering that it does in search of a sweep spot. Greedy People, premiering in India exclusively on Lionsgate Play and available in English and Hindi, is frequently enlivened by dashes of deadpan humour. With Joseph Gordon-Levitt imparting immense charm and chutzpah to his flamboyant cop and punchlines flying thick and fast between him and his partner in ‘crime’, the film has its share of passably bright moments.

In an industry overwhelmingly dominated by men, Nayanthara is a rarity. A “lady superstar” who earned her spurs the hard way and went on to upend many an established showbiz norm, she has over the years fronted numerous big South Indian films that have ridden on her crowd-pulling prowess. This self-produced Netflix documentary seeks to capture the rise and rise of Nayanthara in the face of several reverses. It isn’t an objective account but, notwithstanding the limitations of its format, Nayanthara: Beyond The Fairy Tale is entertaining and insightful.

Its ambition is sky-high. Kanguva seeks to derive power from the elements (wind, water and fire), the ambitious merger of two timelines separated by a millennium, and the immense magnetism of lead actor Suriya. Nothing wrong with that of course, but the building blocks would have come together far more effectively had the writing and treatment been more organised and coherent.

Lijin Jose’s film Her is an anthology, but it is not strictly one. No clear demarcations exist between the five films in the collection, with one segment segueing smoothly into the next, although the characters and narratives are different. However, only two of the films are directly connected, while the rest have characters from other films popping in at some point to connect it all.

For prying eyes, the most innocuous action might seem suspicious. Priyadarshini (Nazriya Nazim) is the one with a bit of nosy behaviour in the neighbourhood in which Sookshmadarshini is set. At times, she almost behaves like the kind of neighbour that no one would ever wish to have. We get an interesting character detail that she is a microbiology graduate, for whom a Sookshmadarshini (microscope) is a part of her trade. Just that her lens is trained more on her neighbour, rather than microbes.

Heist dramas can be a lot of fun as National Award-winning director Neeraj Pandey proved with his ‘Special 26’. Based on a real life crime of 1987, it remains one of cinephiles’ favourite films on the subject. Only, as Pandey once again wields the directorial baton for a heist film, as promised by him, ‘Sikandar Ka…’ isn’t anything like ‘Special 26’. We can’t say for sure whether that is a good thing or bad, only we don’t expect a director of Pandey’s calibre to repeat himself.

Being a child star is not a thing to envy. Judy, a musical drama, is both a warm and loving tribute to the actor and singer Judy Garland as well as a cautionary tale about the pressures and impact of celebrity. Born Frances Ethel Gumm, Garland worked as an actor, dancer and singer for 45 of the 47 years she lived. The film opens with a 14-year-old Judy (Darci Shaw) being cast to play what would become the iconic part of Dorothy in The Wizard of Oz. The pressure of early stardom and humiliation fuelled insecurities as a harsh studio executive listed out her physical flaws. He described her as above average but exceptional because of her singing voice. A studio minder offered her pills to suppress her appetite and pills to help her sleep at night.