Technical Aspects: 3.5
The stylized thriller makes the most of its eight-chapter structure as it hurtles episodically through the nihilism and all-encompassing darkness of Mumbai’s criminal underbelly.
At two and half hours and with no respite from the relentless gloom, it is a tad too long.It is dark, very dark and deprived of even a shred of dignity. It makes you feel nauseated at the shocking spread of depravity served to you. But then again, it is unique storytelling.
It’s consistently engaging, but doesn’t get under your skin like some of Kashyap’s other films, particularly Black Friday,Gangs of Wasseypur, and the criminally overlooked Ugly.
It is the film’s background music (Ram Sampath), that, more than makes up for the film’s music. The film’s background music acts as a catalyst between the film’s script and the characters. The film’s cinematography (Jay Oza) is spot on and apt. Here, a special mention goes to the usage of guerrilla filmmaking techniques, which helps the film look more realistic.
It’s hard to imagine what Raman Raghav 2.0 could have been had it been made by a different director. It’s a film that utterly suits the style of Anurag Kashyap; yet he fails to a completely captivating experience. This ends up making Nawazuddin Siddiqui the saving grace in the end, and he handles this responsibility like a boss. Raman Raghav 2.0 is to be watched if you wish to dive into the convoluted mind of a serial killer. If you’re not interested in that, you can give this one a miss.
Cast: Akshay Kumar, Ileana D’Cruz, Arjan Bajwa and Esha Gupta
Director: Tinu Suresh Desai
One of those rare causality loop films where the characters relentlessly and unsuccessfully try to change things as the we the viewers try to catch up on the plot which for complete understanding requires multiple viewings.
Brilliant concept with seamless human drama this will make your brain lapse.
Perfomances/Voice Acting 4.5
Animation/VFX : 4.5
3D : 3
Technical Aspects: 4
A crime story at its centre, ‘Zootopia’ from the Disney stable is an altogether charming, fun-pressed activity film, stuffed with lessons for children. The lessons are so very much disguised in the portrayal that they don’t sound preachy. What’s more, since it originates from this enlivened universe, it can possibly achieve places where it may not generally be heard. But more than simply being uncontrollably stimulating, what will strike you as very reviving is the creativity in the characters.
More so, the voice acting is so spot-on that you can simply picture Bateman (dynamite here), Elba, Shakira thus on as mouthing their lines in a cutting edge film instead of in an energized excursion. The rendering of the characters independent from anyone else is charming without being cloyingly sweet.
This film handles burning issues in an animal friendly way. Racism, gender bias and other ills are trolled with a feminist zeal here. There’s a dark side that references LA Confidential and Godfather with a great deal of punch.
As simple as it could be for the film to over serve the conclusions of equity, mindfulness and acknowledgment at its middle, it figures out how to adjust its sincere truths with good cheer. The primary portion of the film plays like a great Disney take a gander at talking creatures splendidly embedded into human circumstances. A DMV utilized by moderate moving sloths is one of the film’s smartest scenes. A pursuit through a little city of mice where plastic hamster tubes are people in general transportation showcases the film’s sharp and delightful meticulousness.
The greatest quality of Zootopia is in the way it recognizes all to be capable of carrying prejudice and wielding judgement, yet the first step toward change is awareness. What’s more, now like never before, Disney is demonstrating how mindful it is.
Ideally Zootopia marks the start of another period of striking, socially-cognizant animated narration.