Straight From a Movie

Pensive Thoughts on Paper | Movie Reviews and Quotes Website

Tag: indian cinema

Kapoor and Sons Review (2016)

Kapoor and Sons changes the jaded frontage of dramedy!

It is good to see we are gradually rolling in an era where dramedy is no longer constrained to standing stiff characters, simulated backdrops and shoddy repetitive emphasizing music that we see on Television every day. The change is here, and we have stepped into it in an endearing mannerism.


Shakun Batra’s latest Kapoor and Sons walks in with a certain unprocessed aura that is suggestive of a relatable context as you skim through its plot. When you show trivial things, like where the key to the house is placed, it propagates a natural comportment at things that exist the way they do in real life. It is realistically close to how we live. That factor is well milked by Shakun in her direction.


Comedy is squeezed in galore as there isn’t a moment you stop smiling till things begin to go south for the family. A little instigation and the whole framework uproots into chaos flinging people into the depths of psychosis they aren’t aware of but are living amidst. We have on the platter a dysfunctional family that has a lot of things already screwed-up, as we take a peek into their lives with the arrival of two sons on account of a certain heart-attack mockery that goes awry.


Rajat Kapoor, is at his usual best, as he plays a crunched dad who is terribly close to a failing marriage with Ratna Pathak, the typical Indian mom who has her hands full with chores, and a brain full of complaints. She is a brilliant actress who aces everything she does to perfection. So she manages on with her worrying Mom acts with her ‘perfect’ son Rahul in the vantage played extraordinarily by Fawad Khan. Fawad was the perfect cast, an exceptional choice that we have, who fills in the shoes of Rahul Kapoor in Kapoor and Sons. He brings home the right warmth of brotherly love for his sibling Arjun, and projects a perfection that is rare to find, also in a way reflective of good people in our society. He accepts a challenging role and sees it to fruition without leaving his charismatic zone for a second. He is fluent, candid and understanding. A spectacular blend!


To have a glimpse into the tawdry side of the flick we have many elements that unfortunately take it downhill too. Sadly the awkward makeup lingering on Rishi Kapoor’s face can’t be ignored. What was terribly sorry to watch was the inexperience Sidharth Malhotra and Alia Bhatt manifest as they end up decimating drama with their unemotional acts. Sidharth’s incapability to react aptly to a sad story playing in front of his eyes, fill you up with indifference. Same goes true for Alia who was a charmer when it came to delivering brilliant comic lines, but time came to show her real acting prowess, where it all mattered, she went down the dodgy lane. Her cuteness obscures the veracity that was the need of the hour.


Also, we cannot completely ignore the script of Kapoor and Sons. We could have lived without including too many hotchpotch side stories to it. The one with the plagiarism of the novel and the revelation was the worst story to have been included as things seemed to be terribly out of place. The latter being the part where we see acting go on dwindling lanes. The Anu aunty plot was well put and executed magnificently. Two brothers single girl seemed straight from “Dan in Real Life” (That guitar scene couldn’t help but remind me of that flick). The reefer bit complacency came straight from the movie “This is Where I Leave You” and would make you question the originality of it. Also, humour hits a rock-bottom there!

Amidst all the confusion and vexation, grandpa with a dying wish to frame a perfect family picture gets lost as a side-plot conundrum. The poetry in it hasn’t been well milked.

The drama of Kapoor and Sons eventually goes from sentient to cheesy as we make a time leap, something which breaks the gloomy flow which I was averse against. Unfortunately the LGBT issue is still frowned upon in Indian mindsets as I heard laughter around me in the theater when serious notes concluded which was kind of sad.


Overall Kapoor and Sons was really great to come out from a soapy cocoon, and discover Fawad the true gem he is, see comedy for the way it should be, and explore natural instinctive acting style that Indian Cinema has been lacking hitherto in a dramedy. An enjoyable hoot made even better with characters like Boobly, Kishore and Wasim who made humour all the way better!

Totally worth your time!

Airlift Review (2016)

A historical achievement enfeebled by poor film-making! Airlift is mediocre. Period.

Yes, we had a great plot in our baggage. A true story intended to pan out a biopic that could have turned heads, made some noise about the plight of 170000 stuck Indians in a warzone. An immaculate rescue operation that was so colossal that it lodged its name in the Guinness Book of World Records for being one of the largest evacuations of all times.

But what does Menon do with it? He changes facts, people, creates sheer fiction, rules out details, comes with a hand-woven shoddy script to replace the truth, places his own fake characters to enrich melodrama, throws in some songs in there to deliberately connect with the Indian audience, enforces unrealistic patriotism for emphasis, and squeezes in pointless unwanted tantrums to say the least.


The movie begins by depicting the lavish life of the protagonist whilst noisily pointing out how little Katyal, a big fish in the Kuwait business suburbs, thought of his homeland. He had turned, as suggested by a brayed intentional laugh of his friends, more Kuwaitian than a Kuwaitian himself. These bits again seemed forced rather than appear natural so as to benefit the script.

Chaos depicted by some pathetic CGI bombing, tanks and helicopters raids manifest how little we have progressed in movie making. Third grade young actors chosen here try to scare you with guns and a foreign accent. They fail terribly at it. Their acts were excruciatingly unpromising as they try to kick someone lethargically on the butt, shoot people to nail in absent fear, make advances at young girls, or occasionally stop people for intimidating enquiry. Amidst all the mayhem Akshay Kumar cries which somehow doesn’t blend in with the unconvincing setup. Also, when he runs home to not discover his wife and child, whilst looking unperturbed by the snot lazily hanging from his nose (which seemed a very forceful shot by Menon BTW), really squeezed out acting from him, which pretty soon disappeared in its next impending frames. Menon tries to shoehorn drama in there which seemed more enacted to have ever reached a gut-wrenching point.

What was however quite endearing to watch was how the movie unfurls into better horizons from there as the protagonist starts taking effective measures to get the job done. The way the story oscillates with the ‘how’ is the crux of the flick. It however also tries to milk a character called George, played by Prakash Belawadi, depictive of a head that doesn’t work well with the mass. What it failed to cash on was its moniker. The fact that Air India flew over 488 air planes in a war-hit zone was humongous, but it was vaguely mentioned in a daft line by Akshay. True heroics get overshadowed right there.

After watching this you will miss Neeraj Pandey big time, or even hope the likes of Anurag Kashyap, Dibakar Banerjee or even the newcomer Neeraj Ghaywan to have picked this up. Airlift failed to engage and rivet us. The music couldn’t captivate us and there was hardly an adrenaline moment to keep our jaws wide open for long. To say that it even came close to the likes of Argo would be downright foolish.

Alas! the damage has been done. What you have is mediocre served on your platter! What could have turned into something phenomenal ends up being an average Indian mainstream movie. It is quite unfortunate that the Indian mass loves this kind of stuff. I would call it nothing but an average crowd entertainer.

Go with lesser expectations and you might enjoy it.