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DESPACITO – Slowly
Rating – 5/5
The moments spent in anticipation immediately before a new Christopher Nolan movie are often just as nerve-wracking as those spent watching the film.
An irresistible energy buzzes through your body as you collapse into your grimy seat – a hypnotic mix of nervousness, fear, paranoia, and careful optimism.
This is a pilgrimage, after all. To some, Nolan is a god, and his temple’s walls, dark and foreboding, seem to push in as the lights go down. Your senses, usually dulled by a mundane existence, are heightened. You’ve never experienced anything like it.
The crowd’s hushed tones hit you in waves, and even the most distant whisper is deafening – but it reassures as much as it startles. There are others like you. And like you, they’ve waited years for this moment. You are not alone. And the electricity you’ve created – together – in the cavernous place of worship, could power a small town.
I have experienced this sensation on four occasions, before four Christopher Nolan films, and each of those experiences were, and remain to this day, some of the most special I’ve had inside a movie theatre.
And yesterday, it happened again.
Dunkirk, a film about men, created by men, is a force of nature – an elemental beast of a movie about finding the meaning of life surrounded by the meaninglessness of war. It is an existential masterpiece set across three parallel plots destined to collide, which in turn are set on three planes of existence – earth, air, and water. To us, these elements symbolise life, but in Dunkirk, they might as well be harbingers of death, having suspended our characters in their purgatory as they await judgment.
On the land, in the seaside French town of Dunkirk, 400,000 soldiers have been pushed by ‘the enemy’ – curiously, not once are the Nazis mentioned – towards the sea. They wait, bombarded from behind, and up above, for deliverance. Before them lies a seemingly endless expanse of blue – and home, England, is practically within sight, across the choppy waters of the Channel. They go from boat to boat – some even conning their way onto the rickety barges – desperate to get off the cursed beach, as torpedoes attack them from below, and missiles rain like hellfire from the sky.
They’re in need of a miracle.
But help is on its way. Tom Hardy protects them from above, acting, like he did in The Dark Knight Rises, through a mask, and only with his eyes. And his eyes are all he needs to convey the (sometimes scarily suicidal) determination to save his countrymen, as he picks off one Luftwaffe fighter after another – even as his wingmen perish, and his fuel gauge begs him to stop.
Below him, on the water, a civilian Mark Rylance has commandeered a boat, one of the many deployed by the Navy in an effort to aid the evacuation process. With his teenage son, and his son’s eager friend in tow – but without a firm plan – he sails into war.
And with the precision of a watchmaker – time is an oft-repeated motif in the film – Nolan, a master working at the peak of his powers, puts the pieces of this jigsaw together with some of his most effortless editing since Inception. And like Inception, as layer after layer of Dunkirk’s nesting doll structure is uncovered, and when the three stories finally converge after almost two hours of merciless tension, the emotional release is pure ecstasy.
Often, in order to build this tension, the experimental work of genius that it is, Dunkirk spends long stretches in silence. DP Hoyte van Hoytema’s IMAX camera, taking a break from soaring across the skies, wrestling for space among thousands of men, and gazing placidly at the sheer beauty of it all, brings the actors’ faces inches from its own. And these fine performers – mostly young stars (Harry Styles included) – convey wordlessly the torment raging in their characters’ minds.
But because of these periods of silence, and because of Nolan’s refusal to rely on words (or, for that matter, a traditional structure) to tell his story, Hans Zimmer’s terrific score becomes crucial, and slowly, emerges as a character in its own right. Like the film, it is unrelentingly intense, stretched to breaking point as it conjures tension seemingly from nothing.
And such is Nolan’s power at commanding the attention of his audience, that you find yourself overlooking basic flaws. There isn’t a single character in this film that is properly fleshed out, and it fails miserably at the Bechdel Test. But never have these glaring missteps mattered less.
Do you remember what Bruce Wayne said at the end of The Dark Knight Rises? Moments before flying into certain death, he looked at Commissioner Gordon, and growled, “A hero can be anyone.”
And this is the sentiment that Nolan has carried into Dunkirk. These characters aren’t meant to have elaborate backstories or complicated motivations. They’re meant to represent an ideal. They’re meant to embody our bravery and our empathy and our kindness.
A hero can be anyone, from a middle-aged sailor who just wants to teach his son to do the right thing, to a decorated commander who refuses to leave until every last man who serves under him – or even if he doesn’t – has been saved.
Dunkirk is one of the greatest war movies ever made – it’s certainly the tightest, most unwaveringly propulsive film of Christopher Nolan’s career. But it’s also as meditative as The Thin Red Line, as brutal as Saving Private Ryan, and sometimes, even as surreal as Apocalypse Now.
It deserves to be seen big and loud.
Courtesy : Hindustan Times
Game of Thrones- Shooting spot location in Real World
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#Spider-Man: #Homecoming -#Movie #Review, finally a Super hero movie with good Logic.
With more than a decade since Spider-Man last had a great solo film, it almost felt like those halcyon years of Sam Raimi’s first two installment might have been unicorns. But now it seems that director Jon Watts has led another one out of the forest and the drought is finally over with Spider-Man: Homecoming. Yes, the film is good, really good. Is it the best Superhero film ever? No, nowhere close. Is it the best Spider-Man film ever? No, Alfred Molina’s Otto Octavius from 2004’s Spider-Man 2 edges out Homecoming’s Adrian Toomes aka The Vulture (played by Michael Keaton) – but it’s really close. It might be said, however, that this Spider-Man is closest to the flavor of the classic comic character that we’ve seen thus far.
Peter is freshly returned from his adventures in Captain America: Civil War and trying to to adjust to the tedium of being a sophomore in high school. He might have stolen Cap’s shield, but he’s still just 15 and new to the superhero game. Tony Stark is playing the absentee father figure for Peter by keeping him at arm’s length. He’s not an Avenger, Tony points out, and he should just keep things low-key. Be, you know, “your friendly neighborhood Spider-Man.”
Try as he might, he keeps stumbling on some construction workers turned arms dealers by salvaging some of the various alien tech that’s laying around New York from the Avenger’s prior battles. The arms dealers are being led and protected by a villain with a highly advanced wing system (this would be the Vulture). Unfortunately getting caught in the crosshairs of arms dealers with advanced weaponry winds up being anything but low-key, and Tony effectively grounds Peter by confiscating his Stark Industries-built suit.
The action with the bad guys is largely solid, though Spidey’s traipsing around on his webs is probably some of the less effective portions of the effects shots. I can’t really put my finger on it, the effects are fine, but it just feels that the cinematography isn’t as strong if he’s not in the midst of a fight at the moment.
Parker’s trials and tribulations around school make up the heart of the film, and surprisingly it doesn’t fall flat. It’s a reasonably diverse set of kids that he hangs out with, and there’s some reasonable depth to most of their archetype characters. Sure, The Breakfast Club they’re not, but neither is it tedious to watch. Both the superhero side as well as the angsty-teen side of the film hold up remarkably well together rather than twiddling your thumbs waiting for the other storyline to kick back in.
As with Ant-Man, this film is far smaller in scope than what we get with the rest of the Avengers. It’s not Thor running around the multiverse, or Iron-Man beating up governments, it’s a local-hero story. He clocks most of his hero-hours capturing bicycle thieves and purse snatchers.
Indeed, the film’s flavor can probably be compared to a mash-up of Ant-Man and Ferris Bueller’s Day Off – and not in a bad way. It’s a coming of age film wrapped in a superhero’s spandex suit. Go check it out, it’s worth catching while the crowds are still seeing it for the first time.
And for the record, there are two in-credits scenes for this one.
Courtesy : Bleeding Cool
Anbanavan Asaradhavan Adangadhavan(AAA) SIMBU Movie Review
The movie will hit the screens in India on Friday, June 23. The early morning shows have been cancelled over the last-minute financial issues between the distributors and the producer. However, the movie had premieres in some overseas centres. Below, find what the international audience are saying about the Simbu’s film:
Praveen: #AAA1D #AAA — 2.5/5 Starts like Kabali & ends like Padayappa. Meanwhile I have no clue what the story is about. Waiting for the conclusion.
#AAA #AAA1D — The #MaduraiMichael portion suffers largely due to repetitive scenes that lacks depth & romance half baked. Interval saves.
#AAA1D #AAA — The film is all abt heroism & STR’s punches along with his own references. He rocked as #AshwinThatha, enjoyable some extent.
#AAA #AAA1D — Lacklustre songs from #Yuvan but makes up with sensational trademark themes and bgms, the saviour. Fun moments, occasionally.
Sridevi sreedhar: #AAA1D Superb Rocking introduction scene for @iam_str Entire theatre in frenzy #RathamEnRatham song is awesome
#AnbanavanAsaradhavanAdangadhavan A film for boys! @Adhikravi has packaged #AAA1D strictly for @iam_str fans and they seem to b enjoying
Abishek S: @iam_str ‘energy is one to cherish! @thisisysr ‘s BGM anchors the film @Adhikravi has surprisingly handled a bigger canvass quite well!
After #SivaKumar ayya, @shriya1109 is the healthiest actor on screen! Be it her looks or the performance, nothing has changed!
#AAA1D – First 10 mins had the spike but then slowly resorted to regular glorification of the protagonist! Interval once agin had a high!
Sudhar Shan: Madura micheal entry at Kasi theatre for watching #AAA❤ #Sirapu
First half done MaduraMicheal சிறப்புwith Yuvan’s mersal BGM ❤ ** Total Verithanam… http://fb.me/ExNRWx5x
Sandharpavathi: #AAA1D Interval Now : Average 1st Half, #MaduraMichael Episode Over, Now #AshwinThatha Episode To Begin
#AAA1D (3/5) #Simbu Puts His Heart, Soul, Dedication, Everything For This Film, Suspense Factor Is #ThikkuShankar’s Makeover Hats Off #STR
Worst 1st half of 2017 according to me.
Only saving grace Yuvan s bgm
VTV ganesh testing our patience.
Suganya: @iam_str @thisisysr after a long wait, first half over … Sema mass .. waiting for second half with Ashwin thatha #AAA1D
Mersal Navin: #AAA1D Intermission.. Gangster cliche…. Intro mass… BGM verithanam… Waiting for #AswinThatha entry… @iam_str
Hariharan Gajendran: Many who have watched #AAA1D are speaking about the intriguing climax portion. That’s the positivity that @iam_str & @Adhikravi have given.
Бацтнам’аи: #AAA1D premier in uk.First Half Over! @thisisysr & @iam_str back with a bang! So far it is a good entertainer.! @Adhikravi @MahatOfficial
COMMENT YOUR REVIEW GUYS.
*****- 5 star