Member Reviews

THE WILD ROBOT is about an all-purpose robot that turns sentient in the wilderness. After washing up on a forest island, Rozzum “Rozz” 7134 learns to feel and discern once it mothers an orphaned goose and befriends a red fox. I’d say it becomes human, but in the context of where we are today, “it grows a heart” is more accurate.

Amal Neerad’s Bougainvillea features an impressive cast, including Kunchacko Boban, Jyothirmay, and Fahadh Faasil; however, the film ultimately flatters to deceive. Faasil is relegated to a tertiary role, likely either to help out his friends or for a fat paycheck – probably the former. Pitched as a psychological thriller, the film becomes exasperating due to its screenplay and overall execution.

The Wild Robot, inspired by Peter Brown’s 2016 novel of the same name, is a film that skillfully balances its emotional elements, resulting in a gratifying experience for both children and adults. While the notion of a robot experiencing emotions is not entirely original, it is the narrative and its execution that truly set this film apart. Achieving the right emotional resonance, whether from a human or a robot, is crucial, and Chris Sanders has struck gold with this film.

Sir is one of those formulaic Tamil movies with a strong cause or message it wants to put across and doesn’t mind doing so at the cost of being a didactic and dated. The style, writing, brevity, and everything that makes up for a superior form take a backseat in Sir as Bose Venkat prefers coming across as an activist to a fine filmmaker. While Sir has a noble cause at its core, the execution makes it a yarnfest, and instead of getting the catharsis such social commentary aims to provide, the film invokes a sense of guilt for feeling so.

Former United States president and presidential candidate Donald Trump went on a rant recently on filmmaker Ali Abbasi’s latest film The Apprentice, which narrates the Republican’s initial years as a real estate giant in New York and his relationship with attorney Roy Cohn. Perhaps, Trump’s reaction stems from information that is fed to him because had he watched the film, he may have only objected to certain aspects of Abbasi’s provocative film and not ranted about it in its entirety.

Paris Has Fallen is the first in the franchise that won’t feature Gerard Butler’s Secret Service agent Mike Banning. The actor will continue on with the character in the films; however, this spinoff series forges its own identity with new protagonists and a deadly plot in this European adventure. With only the first two episodes premiering so far, Paris Has Fallen has set up an interesting scenario in which the villain has had the upper hand; it remains to be seen how and when the ‘fall’ will come.

Created by Bill Lawrence, star Jason Segel and Brett Goldstein, Shrinking focuses on a grieving therapist who decides to change his approach with his patients. Becoming more proactive, he becomes more involved in the lives of those around, both to his detriment and betterment. The second season of Shrinking charms with its loveable, goofball characters and some unexpected new faces.

Amal Neerad and his co-writer Lajo Jose (whose story this film is based on) know how far to push the unreliable narrator trope. Not only is their protagonist Reethu (Jyothirmayi in her return) suffering from both retrograde and anterograde amnesia, but we’re seeing the film through her perspective for the most part. What makes this film even more complex is how quickly we get the feeling that we cannot rely on the people Reethu relies on to make sense of her chilling universe.

Among all the flaws a writer can imagine for their protagonist, an unreliable memory throws up quite a few fascinating possibilities. In Bougainvillea, Reethu (Jyothirmayi) is almost always unsure of anything that happens right in front of her eyes. For a fairly good period, we are also caught in a similar dilemma — as to whether what we are seeing through her eyes is for real; whether she has painted a Sunflower or yet another Bougainvillea.