Reviews

Netflix | The White Tiger – Review

Published

3 years ago

January 24, 2021

“Spectacular” is a word rarely used when describing Netflix original movies, since so many get released at the same time. Once in a blue moon, a “spectacular” Netflix film comes out that blows us all away, but becomes buried within the next week when more “content” gets released. We’re more used to say “admirable” or “terrible” when describing Netflix movies. Ramin Bahrani made a “spectacular” film in 2015, 99 Homes, which contained career-defining performances from Andrew Garfield and Michael Shannon, yet his follow-up, an adaptation of Ray Bradbury’s Fahrenheit 451, was more than “terrible.”

His latest film, which adapts Arvind Adiga’s The White Tiger, is a mere “admirable” effort, as it tells a typical “rags-to-riches” story of Balram Halwai (Adarsh Gourav), who becomes a driver to Ashok (Rajkummar Rao) and his wife Pinky (Priyanka Chopra-Jonas), in the hopes of getting out of what he refers to as “the rooster coop” (which reinterprets Robert Kioysaki’s “rat race” theory from Rich Dad, Poor Dad) that most lower-class Indians are stuck in. However, when an unfortunate incident happens, it puts Balram’s future in jeopardy as he is framed for murder.

The White Tiger' review: Dir. Ramin Bahrani (2021)

The White Tiger‘s reinterpretation of the “rat race” theory is, bar none, the film’s most engaging aspect. The audience becomes a witness in Balram’s descent into madness, as the people he drives with will constantly abuse and frame him to protect their own self-interests and “public image.” Because of this, once Balram “snaps” in front of Ashok and “The Stork” (Mahesh Manjrekar), you know exactly where he’s coming from. Throughout all of his life, he has been given opportunities to flourish as an individual and create lasting change in the world (one teacher compares him to a white tiger; someone who comes only once in a generation), but bad decisions from his family prevented him from escaping the “rooster coop.” Its lead performance from Adarsh Gourav is excellent, as he is able to convey different emotional states during the film’s three acts and seeing his transformation from “innocent-driver” to “cold-blooded criminal” who’ll do anything to get out of the “rooster coop” is incredibly gripping.

It’s a shame that the movie is told in the third-person, through flashbacks. Balram writes to China’s Prime Minister, Wen Jiabao, and gives the audience “hints” as to what happened with Ashok & Pinky, instead of a typical, linear storyline. By watching the film’s opening sequence when Balram prints out his “wanted” poster, the audience can clearly predict what will happen at the end of the movie by connecting a few dots, once Balram starts working for Ashok. This reduces the emotional build-up and supense of the film, because the audience has clearly made themselves an idea of what’s [most likely] going to happen.

Most of the supporting cast can’t also match Gourav’s star-making performance. Rao’s line delivery, as Ashok, is quite flat and Priyanka Chopra’s Pinky is incredibly underused. The only performance that truly carries the movie is Gourav; all of the other actors surrounding him badly deliver their lines and melodramatically perform. There’s no legitimate access to The Stork, Ashok, or Pinky’s psyche, who bribe politicians into not paying taxes. A “bit” of access is given when Pinky feels terrible when The Stork and Ashok’s brother, The Mongoose (Vijay Maurya) frame Balram for murder, but it doesn’t last enough for the audience to care about the supporting cast. Their main focus is on Balram’s journey, but part of that journey’s unpredictability is reduced by knowing exactly how it ends.

Because of this, The White Tiger half-succeeds at telling a standard “rags-to-riches” story inspired by one of the best economic theories of our time. At times, the film is incredibly engaging and gripping; due to Adarsh Gourav’s immaculate portrayal of Balram and its wonderfully stylized cinematography, at times it delves into melodrama and complete unintentional hilarity from its cheesy supporting cast delivering subpar performances and a non-linear plot whose ending “shock-moment” is revealed within the film’s first five minutes. It’s an “admirable” effort, yes, but not a particularly memorable one.

FILM RATING

Up Next

Kitty Mammas | Review

Don't Miss

Godzilla vs Kong | Official Trailer – Warner Bros.

Maxance Vincent

Click to comment

0 Comments

Inline Feedbacks

View all comments

Reviews

Sung Kang’s ‘Shaky Shivers’ is a Campy Horror-Comedy With Superb Performances

Published

1 day ago

September 21, 2023

Aayush Sharma

Brooke Markham and VyVy Nguyen in 'Shaky Shivers' (Cineverse)

If you thought that Sung Kang can only thrill you with amazing car stunts, then you are wrong. The acclaimed star is set to take you on an entertaining ride with his directorial debut titled ‘Shaky Shivers’.

The latest horror-comedy film marks the feature directorial debut of Sung Kang, renowned for his roles in the ‘Fast & Furious’ franchise and several other big projects. The movie stars Brooke Markham and VyVy Nguyen, with an ensemble cast including Jimmy Bellinger, Erin Daniels, and Herschel Sparber.

A still from ‘Shaky Shivers’ (Cineverse)

From the very beginning, ‘Shaky Shivers’ grabs hold of your attention with the comedic chemistry between lead actresses Brooke Markham (Lucy) and VyVy Nguyen (Karen). Their hilarious banter and dynamic friendship draw you into their world of magic, mayhem, and monstrous encounters. While a few other characters make appearances, the heart of the film rests on the shoulders of Karen and Lucy, whose relatable and believable friendship makes the story even more bewitching.

One of the best aspects of the film is how Sung Kang skillfully directs the title despite limited cast and limited settings. It still manages to keep audiences engaged and entertained. Kang also pays homage to classic horror films like ‘American Werewolf in London’ and injects fresh energy into the scenes while showcasing his comedic flair.

A still from ‘Shaky Shivers’ (Cineverse)

If you are one of those who enjoy unapologetically goofy and fun movies, ‘Shaky Shivers’ is undoubtedly a fun watch. Embracing its campiness, the film doesn’t try to be anything other than an enjoyable ride filled with supernatural elements. The characters have a helpful book of spells that they use to solve problems, which adds a clever and funny element to the story that will make you laugh..

While categorized as a horror-comedy, ‘Shaky Shivers’ leans more towards comedy than horror. However, don’t worry, as the supernatural beings like werewolves, zombies, and witches make their presence known throughout. The practical effects and impressive monster makeup, reminiscent of old-school horror flicks from the 70s and 80s, immerse you in a world of creatures and enchantment.

A still from ‘Shaky Shivers’ (Cineverse)

The plot of ‘Shaky Shivers’ escalates in an exciting and compelling manner, filled with unpredictable twists and goofy surprises. While it may not leave you terrified, the perfect blend of supernatural ambiance and comedic moments guarantees plenty of laughter and enjoyment.

In conclusion, ‘Shaky Shivers’ is a must-watch horror-comedy that delivers on laughs, friendship, and supernatural encounters. With its engaging storyline, talented cast, and Sung Kang’s impressive directorial debut, the film is a delightful addition to the genre. So grab a large tub of popcorn and take your family for this fun-filled ride.

FILM RATING

Reviews

Sex Education Season 4 is a Spectacular (and Overstuffed) Conclusion to One of Netflix’s Extraordinary Series

Published

1 day ago

September 21, 2023

Aayush Sharma

Official posted of 'Sex Education' Season 4 (Netflix)

When the first season of Sex Education came out on Netflix in 2019, it felt pretty daring and exciting for everyone. While there were many shows about teenagers and sex, ‘Sex Education’ stood out because it talked about these topics openly and covered them in a pretty detailed manner. Without any guesses, the show became really popular and is now considered a classic on Netflix. For 3 long seasons, viewers have seen students of Moordale, and everyone around them, dealing with a lot of complications, but now, it’s time to say goodbye to some of our character as the Netflix series has returned for its fourth and final edition.

At the end of Season 3, Moordale Secondary School closed down. This means that Otis, Eric, Aimee, Jackson, Vivienne, Cal, and Ruby have to go to a new school, Cavendish Sixth Form College. Some of them fit in well, while others struggle. And while Otis tries to focus on his therapy work, he finds out that there are other young people who are experts on relationships and sex in town.

Gillian Anderson as Jean Milburn in ‘Sex Education’ Season 4 (Netflix)

One of the strengths of Sex Education is its diverse and inclusive representation. The show shines a light on various sexual orientations, gender identities, and cultural backgrounds, providing a platform for underrepresented voices. Season 4 continues to explore these themes, introducing new characters who add depth and complexity to the narrative. On ghe other hand, the only problem with Season 4 is that there are too many things going on at once. There are so many sub-plots that might distract you at times and make you feel that this story might have looked good if there was another season in pipeline.

Even then, the writing remains sharp and witty, creating relatable and genuine teenage characters who grapple with their own insecurities and desires.

Ncuti Gatwa as Eric Effiong in Sex Education Season 4 (Netflix)

The performances in ‘Sex Education’ Season 4 are consistently strong. Asa Butterfield brings vulnerability and charm to his role as Otis, portraying the character’s growth and maturity. Ncuti Gatwa shines as Eric, capturing both his strength and vulnerability as he navigates new relationships and personal challenges. Emma Mackey delivers a nuanced performance as Maeve, showcasing her character’s intelligence and emotional depth. Mimi Keene is stupendous as well and bring another layer to her character which was so nice to see. Meanwhile, Gillian Anderson does what she is best at: deliver another extraordinary performance.

Emma Mackey as Maeve in Sex Education Season 4. (Netflix)

On the other hand, Aimee Lou Wood continues to mesmerise us with her charm and simplicity. Directors should definitely look at her and give her a leading role soon because she deserves it. Another actor that is surely a star in the making is Anthony Lexa, who portrays Abbi in Season 4. Her performance adds an additional charm to the series and gives a hope to Trans actors that they can too achieve their dreams.

A still from ‘Sex Education’ Season 4 (Netflix)

The final edition tackles difficult topics with sensitivity and care, highlighting the importance of consent, communication, and understanding in relationships. The show’s ability to tackle these issues head-on without becoming preachy is a testament to its thoughtful storytelling.

While the final season of ‘Sex Education’ does have some pacing and narrative issues, the strength of the performances, the thoughtful exploration of important issues, and the show’s commitment to inclusivity make it a satisfying and engaging watch. It’s bittersweet to say goodbye to these beloved characters, but the legacy of Sex Education will undoubtedly leave a lasting impact on the television landscape.

Sex Education Season 4. (L to R) Mimi Keene as Ruby, Asa Butterfield as Otis in Sex Education Season 4 (Netflix)

In conclusion, ‘Sex Education’ Season 4 continues to deliver a standout and boundary-pushing narrative that explores sexuality, identity, and personal growth with humor and sensitivity. Despite some minor flaws, the show remains a shining example of inclusive storytelling and offers a heartfelt farewell to its beloved characters.

Some goodbyes are hard and this is certainly one of them.

FILM RATING

Reviews

Flora and Son is a Heartfelt Exploration of Family and Music

Published

3 days ago

September 19, 2023

Aayush Sharma

Eve Hewson and Oren Kinlan in a still from 'Flora and Son' (Apple TV+)

Flora and Son, directed by John Carney, tells the compelling story of Flora, a single mother struggling to navigate the challenges of parenthood and find her own identity. Starring Eve Hewson as Flora, the film dives into the complexities of motherhood, relationships, and the power of music in bringing people together. There have been a lot of musicals in recent times that take a very complex route in telling a story, but Flora and Son is a bit different than all of them. The story is really simple and that’s what makes the film such a treat to watch.

The movie opens with Flora enjoying a night out at a club in Dublin, only to end up in a disappointing hook-up. Flora’s life is far from perfect, as she grapples with her troubled teenage son Max (Orén Kinlan) and a less-than-supportive ex-husband, Ian (Jack Reynor). Flora’s interactions with Max are often tense, filled with sarcastic banter and strained attempts to connect with him. As a single mother, Flora faces numerous hardships and setbacks, leading her to doubt her own potential. Her attempts to do right by her son are often met with indifference or resistance. However, a pivotal moment occurs when Flora acquires a guitar for Max, unaware that it will have a profound impact on her own journey. Flora’s decision to learn to play the guitar leads her to Jeff (Joseph Gordon-Levitt), a songwriter and teacher based in California. Despite the distance between them, their connection is palpable, and through music, they bridge the gap. Jeff encourages Flora to embrace her creativity and express herself authentically, unlocking a passion she didn’t know she possessed.

Eve Hewson in a still from ‘Flora and Son’ (Apple TV+)

The performances in Flora and Son are exceptional, particularly Eve Hewson’s portrayal of Flora. She effortlessly portrays a range of emotions, from humor and charm to vulnerability and raw emotion. Hewson’s nuanced performance brings depth and authenticity to the character, making her relatable and captivating. It will be a travesty if she is not spotted by a big filmmaker and gives her a chance to lead another extraordinary movie. On the other hand, Joseph Gordon-Levitt is soulful and gives a performance that is really enchanting. The chemistry between Hewson and Gordon-Levitt, even through virtual interactions, adds an extra layer of depth to their characters’ connection.

Carney’s direction creates an intimate yet heartfelt atmosphere in the film. The use of music as a driving force in the narrative is a testament to Carney’s storytelling prowess, showcasing the transformative power of melodies and lyrics. One of the film’s strengths is its refusal to tie everything up neatly in a predictable manner. Instead, Flora and Son choose a more realistic approach, leaving some loose ends and logistics unresolved. This choice allows the characters to continue their journey of self-discovery, leaving viewers with a sense of hope and possibility.

Eve Hewson and Joseph Gordon-Levitt in a still from ‘Flora and Son’ (Apple TV+)

In conclusion, Flora and Son is a touching exploration of a single mother’s journey to find her voice, both as a musician and as a parent. With exceptional performances and a thoughtful narrative, the film resonates with authenticity and emotional depth. Carney’s direction and the film’s emphasis on the transformative power of music make Flora and Son a standout family drama. The simplicity and innocence is what makes it such a heart-warming watch. This film will make your heart sing.

FILM RATING