Search Results for: coming of age

The Blackout [1997]: The cost of fantasy revealed in this ‘90s masterpiece

The Blackout [1997]: The cost of fantasy revealed in this ‘90s masterpiece

ByDavid Morgan Brown

The ending of The 400 Blows shows Antoine facing the utter hopelessness of his upcoming situation, represented by the vast unattainable terrains of the ocean, followed by a zoom-in on Antoine‘s face as he looks into the camera and freeze frame (presumably right before he shrugs). The Blackout takes this premise further – our main man Matty starts off in the film standing before the ocean like Antoine, but this time at night and this time he’s a full grown man. Matty doesn’t look into the camera, but out towards the dark view of the ocean.

United 93 [2006]: “Real World Situation !”

United 93 [2006]: “Real World Situation !”

ByAmritt Rukhaiyaar

United 93 1
Every time I watch a 9/11 movie, the first thing I do is dig about the film’s authenticity. How much of it was true to the original happenings and how much of it was fictionalised to create drama and if I am comfortable with the added drama. The thing with 9/11 is that it leaves a lot of room for dramatisation and unnecessary heroism and when handled by a not so mature filmmaker, it easily ends up becoming a propaganda film, an ‘american’ film. Fortunately, nothing like that happens in Paul Greengrass’ United 93.

Rustom (2016) Movie Review: A Mildly Entertaining, Wasted Opportunity

Rustom (2016) Movie Review: A Mildly Entertaining, Wasted Opportunity

ByRohitavra Majumdar

I enjoyed Rustom. Despite what the title of this article suggests or whatever idea you get in the end of it, I am making it clear that I liked watching it and not at all regretted the two and half hour long experience (totally unrelated, but I do regret the Mohenjo Daro experience, which I braved before Rustom by the way). But Rustom is not a good film. It is overly long, has a flawed script and seems either over-smart or terribly stupid every now and then.

Fire At Sea [2016]: An Elegiac Reflection on the Unimaginable Agony

Fire At Sea [2016]: An Elegiac Reflection on the Unimaginable Agony

ByArun Kumar

In “Fire At Sea” aka “Fuoco Ammare”, Gianfranco Rosi uses the language of cinema to reinforce a tranquil as well as a turbulent reality. His images are a lament for the sufferings of fellow humans, concealed from our collective conscience. This documentary/docu-drama contemplates a desensitized tragedy through an unforgettable, humanistic perspective.

Close-Up [1990] : A Lie to achieve the greater Truth
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Close-Up [1990] : A Lie to achieve the greater Truth

ByAmritt Rukhaiyaar

“When spite comes along, Art dons a veil” This quote by Hossein Sabzian, the protagonist of the film, perfectly defines the subject the film deals with, about an art lover hiding under a veil because he fears he may offend its audience, and how it also defines the everyday suppression of creative freedom in Iranian Cinema. Cinema doesn’t guarantee comforting lies all the time, in fact most great films are about harsh truths but to pass it off under the most critical of eyes, it needs to wear the veil of deception. In Abbas Kiarostami’s own words, he explains that cinema is a series of lies, said to put in front of us the greater truth.

The BFG [2016]: Spielberg’s Territory but not Spielberg Enough

The BFG [2016]: Spielberg’s Territory but not Spielberg Enough

ByJacob Cornblatt

There’s no doubt that Steven Spielberg can make wonderful movies. He conquered the history genre with Schindler’s List, frightened a generation with Jaws, and exposed prejudice with The Color Purple; however, I have always found his biggest accomplishment to be his more fantastical films. Take E.T. (my favorite of his filmography): the same man who’s made adults screech in terror was able to make families weep with joy. For that reason, I have been shaking with excitement for The BFG. I usually like to start with the positives, but this time I’m going to switch things up, as almost every problem The BFG has stems from one vital aspect: CGI.