Member Reviews

A gleefully grotesque satire of success, director Coralie Fargeat’s English-language debut, The Substance, lives up to its title. But it has plenty of style to spare as well. Demi Moore stars as Elizabeth Sparkle, a fading actress who, in a moment of great weakness, decides to sample an underground drug that purportedly reverses the ageing process. But she quickly discovers that she has bitten off more than she can chew. The Substance is to Moore’s career what Birdman was to Michael Keaton’s, or The Wrestler was to Mickey Rourke’s, a movie that sheds its superficial obsession with superficiality and transforms into a whole new beast towards the end. It’s the kind of film that requires courage from everybody involved, including the caterers who were presumably tasked with preparing a menu that wouldn’t end up on the shooting floor everyday. It would be remarkable if nobody threw up while making this movie, because every moment of its incredible final act positively challenges you to keep your lunch in your stomach. But before Fargeat unleashes her final flourish, she sets up an increasingly absurd universe for Elizabeth to navigate.

Benjamin Ree’s The Remarkable Life of Ibelin starts off as a documentary about death. We see the tombstone of Mats Steen, a Norwegian boy whose body and soul were at war. A mix of VHS footage and family interviews then reveals that Mats had duchenne muscular dystrophy (DMD), a degenerative disease that reduced his 25 years to a hellish survival story. His mind yearned for the momentum his muscles never had. Subsequent clips show his body shrinking on landmarks and vacations, the end inching closer.

Films with a military background, most times, evoke strong feelings in one’s heart. Not just that, it’s a constant reminder that the army men are toiling in difficult terrain just to keep everyone safe. And when Amaran, a biopic on the life of Major Mukund Varadarajan, was announced, it piqued everyone’s interest. The expectations rose sky-high when Sivakarthikeyan, who has so far done boy-next-door roles, was roped in to headline the film. For the unversed, Amaran is an adaptation of the book series, India’s Most Fearless: True Stories of Modern Military Heroes by Shiv Aroor and Rahul Singh. Mukund Varadarajan (Sivakarthikeyan) has his goals set right from fifth standard. A field trip to the Officers Training Academy (OTA) in Chennai sowed the seeds of joining the military in him. Years later, while pursuing his graduation at Madras Christian College, he meets his ladylove Indhu Rebecca Varghese (Sai Pallavi). They fall head over heels in love with each other. For Indhu, she has to love Mukund and his passion as well.

Fortune favours the brave – this is a slogan that aptly encapsulates what Lucky Baskhar is. Director Venky Atluri’s latest outing, far different from his previous offerings, is this year’s Diwali gift to the audience. Lucky Baskhar is a film about how a middle-class man, who aims for the sky, gets derailed due to greed, but is clever enough to pull him out of the mess. Sounds interesting, doesn’t it? Baskhar (Dulquer Salmaan) is a cashier in Magadha Bank. He is the sole breadwinner of his family, which consists of his wife Sumathi (Meenakshi Chaudhary), son Karthik (Rithvik), his ailing dad, brother and sister. They’re on the edge of poverty and debts strangle him. At that time, Anthony (Ramki), a man who wants a loan from Baskhar’s bank, comes up with an offer that he can’t refuse due to his familial circumstances.

Do Patti begins with scattered shots of paragliding gone wrong and a stakeout on a bridge, followed by a woman in a police station telling the cops her husband tried to kill her. Phir Aayi Hasseen Dillruba, released in August, also has a stakeout on a bridge, and its first scene is a woman in a police station telling the cops her husband is going to kill her. Both films are written by Kanika Dhillon, both are Netflix releases. Did no one think it was a problem that the films start the exact same way?

Dressed in the exact same attire as her newly wedded sister at her reception, the lookalike twin poses right next to the bride and groom as if fulfilling Bollywood’s bawdy fantasy of saali aadhi gharwali in a tasteless, thunder-stealing move.

For a long time, one believed that a compelling cinematic narrative shows more than it tells, and expresses more than it explains. However, the recent content spurt on OTT platforms seems bent on cerebrating the opposite. Do Patti is yet another addition to the long list of films that skip theatres for a streaming service. It reduces the art of storytelling to a mere artifice for meaningful cinema. These films end up delivering the message but little else.

Anu heads to Varanasi to immerse her mother’s ashes in Ganga. During the trip, she meets a sage, who hands over an ancient relic to her and dies under mysterious circumstances. Though Anu is instructed to give it to a temple priest in a village, she is reluctant to take the initiative. What connects her to the relic, an ancient temple and the fifth veda?

Julio, the son of a single parent Susan Miranda, requests his mother to adopt an infant who’s left stranded on the streets. Braving past several financial challenges, Susain raises Julio and Regalo, who are extremely fond of one another. As adults, they hope to make a career in football. However, when a personal setback tests their equation, Regalo has a tough choice to make.

With Indrajith no longer around and Ravan drowning in sadness, Ahiravan wreaks havoc on the Lankan dynasty. Hanuman is surprised to realise he has a son – Makardhwaja, who opposes him initially but makes amends later. He also finds unexpected support from Ravan’s former aide Harshasringa in his quest to free Ram and Laxman from Ahiravan. Who has the last laugh?