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The Light Between Oceans Review (2016) | Tears you Apart | Profound

The Light Between Oceans left me speechless. I hadn’t broken down to a good drama in days. The Light Between Oceans had me in tears and excruciating chokes. The movie saunters on the theme of love, culpability, repentance, sacrifice and forgiveness, and it aces all of it owing to its ravishing direction and extraordinary performances. And that is just the plot of it. The flick’s stunning cinematography and Alexandre Desplat’s heart-melting music are constantly yet peacefully uplifting its standards of beauty, playing second fiddle.


Derek Cianfrance has become one of my favourite directors. His 2010 movie Blue Valentine had me instantly arrested. Not for the fact that it capered around the concept of love, rather how he was bold enough to show both sides of the coin, that too in a rare engrossing rhythm. Also, he gave us ample time to reflect. When we consider the latter aspect, The Light Between Oceans stays no different.

still of Alicia Vikander and Michael Fassbender as Isabel and Tom

Cianfrance focuses on the most phenomenal aspects whilst directing. You can feel the warmth in his frames as he successfully depicts love, zooms in on minuscule ingredient of despair, repentance by focusing in on faces of the protagonists to read their thoughts and gravity via the arduous vibes in the air. He allows characters to speak their feelings out with their acting alone and doesn’t resort to theatrics. It retains the patience of time in it, which compels you to read them carefully.


To say that the cast was good would be an understatement. They were outrageously fantastic! There is nothing Michael Fassbender can’t do. A war veteran who has returned from death seeks solitude to reflect on what remains of him. His Tom Sherbourne has a musing countenance, a man of few words, and he brims it up with credence. With the arrival of Isabel Graysmark played convincingly well by Alicia Vikander, life finds a new meaning for him. Together they make love very touching. Also, their chemistry has a rare blend of the extraordinaire. I can’t even begin to marvel at their acting prowess. Their faces feel like they are literally living the story. I mean just look at the movie’s poster; it talks!

Rachel Weisz’s Hannah Roennfeldt is equally mesmerizing. She plays a very authentic grieving woman that will have you concentrate on her every syllable.

still of florence clery and michael fassbender in the light between oceans movie

Florence Clery was a perfect fit for Lucy-Grace. If she wouldn’t have been that adorable, then the audience would have failed to see what the fight was for. She is downright enchanting!


In those solitary runs to the Lighthouse, the terrific composer Alexandre Desplat underlines and hands us over a perfect backdrop imploring our reflective moods. That’s one rare corner I find myself going lucky inadvertently. I have had the good hap of watching plenty of movies with Desplat in the background, and he never fails to create a magical whirlwind of toneful melody. If you close your eyes, you will feel it literally begging for ovation.

Just when you thought, “Can it go any better than that?” Well, there arrives its magnificent plot.


Amidst the harmonious notes, and alluring images of the sea, that calls for enough love, comes a situational conundrum that hangs on its thin wire of decisions. Isabel makes the wrong one, forcing a whirlpool of guilt to swallow Tom up.

A baby arrives in a dinghy which the unfortunate arid Isabel is keen on keeping. She goes so blind in love, she overlooks the fact that a dead man arrived in it too. She coaxes Tom into keeping it and burying the man without informing anybody about it. Along with the cadaver of the man they bury their secret too and the world doesn’t know. Nobody knows that underneath the blinding light of the beacon slept a corrigible mistake patiently waiting for their guilt to nibble them up.

Then one day, it happens. He finds Hannah the original mother grieving for her child and husband. The constant gut-wrenching wrongdoing eats him alive.

still of michael fassbender in tears in The Light between Oceans movie

You could see in those rare frames of Cianfrance, tears of Michael Fassbender lingering in his unsure eyes. What follows, reeks of unrivalled gravitas that will definitely rip you apart. I was shattered beyond limit; Cianfrance made sure of that.

You can purchase the movie DVD from Amazon here:


There are so many good things that I take away from The Light Between Oceans. Its powerful screenplay makes me want to revisit it to concentrate enough to remember – Exact words that were spoken. Exact amount of tears that were spent when the poor little child, who had no clue why was she being taken away from her mother cries for her mom. Hannah’s endless scrimmage to get back Lucy even when she did.

still of rachel weisz as Hannah in the light between oceans movie

The fierce abomination that lurked in Isabel’s eyes for Tom, who became a murderer of dreams almost instantly. The zen in her orbs to see Lucy again. Tom’s selfless colossal sacrifice. When Isabel finally reads that letter that changes her heart.

Then when finally Lucy-Grace returns in the epilogue to meet a shriveled Tom. When she understands, comprehends every bit, and thanks him for taking care of her. When she reads Isabel’s letter. And then when she eventually hugs her. That look of contentment in his eyes, that little smile that had somehow gone lost in time returns.

I cannot thank M. L. Stedman enough to have thought something so unusual and exhilarating. Bravo!

Those who wish to read the book, which I am told is even better, can get it from here on Amazon:

Check out the trailer of The Light Between Oceans here:

Frank Review (2014)


Frank is so much more than a stark psychotic drama. It is a heightened dig into the heads of brilliant characters you might have trouble getting a proper read on. It is loosely inspired on the life of Frank Sidebottom (Chris Sievey) and has been curdled fictitiously into a gorgeous account.


To see everything through the sane eyes of the protagonist Jon Burroughs played superbly by Domhnall Gleeson was a delight per se. His character would shoehorn you into his shoes to help you get a better insight into the story. You soon get an endearing perspective on a peculiar persona who prefers to stay behind a mask, come what may.

Clara played by Maggie Gyllenhaal and Scoot McNairy’s Don are uncanny characters as well, aced by both the actors to perfection. Visual landscapes captured in the movie are magnificent, so is understanding the madness in every little thing. Lenny Abrahamson‘s direction is simply mind-boggling that ices the work of Jon Ronson and Peter Straughan beautifully.


Michael Fassbender, the guy behind the papier mache cover, is the very definition of queer but he is simply fascinating when you get to know him better. He is the hidden force that keeps everyone together. You can get an idea about the gravity in his character with his lyrics primarily because for the most part you can’t really see the expressions he hides underneath the veil.

Things don’t stop tumbling towards the bizarre vale yet, as you get to know all the band members gradually, with the aid of Jon’s interaction with them. The movie is laced out with their insanity and their extreme love for music. Frank is the crux of the tale as the world Jon writes down is brimming up with love for him in every way. He is a very interesting character but unfortunately like most members of his band is suffering from a mental illness that Jon ploughs out slowly.

What was sad to find out was the world didn’t really share Jon’s enthusiasm, rather liked the hilarity of the group. He realizes eventually that he was trying to mould something irreparable, and then tries to make amends.


What works for this movie is its light humour and its surreal oddity, a misplaced feel of melodrama that weaves it into a majestic outcome. An intelligently built movie that ends with Jon setting things right again, the way things were in the first place, bizarre yet tied down by a single tinge of togetherness.

Check out another review of his another great feature film Room that hit the theatres in 2015 here: Room Review

X-Men: Apocalypse Review (2016)

X-Men: Apocalypse will have you brimming with mixed feelings about the movie. It wouldn’t be wrong to say that it is Bryan Singer’s most mediocre Marvel attempt ever. Kind of a mixed baggage actually, has so many flaws and yet so many thrilling scenes to keep you riveted.


En Sabah Nur is here. But no one takes him seriously. Is it the attire? Is it the other-worldliness? Or is it the fact that he gets scorned at so many times that people laugh at him? Or it could probably be the panache Oscar Isaac was missing? In the comical world Apocalypse is a complete badass, who makes death his servant. Even the animated series is trickling down with his inhumane acts. Here, not so much.


The good thing about the movie is that it is really dark. Death is a quickie affair and Singer doesn’t stop singing with it throughout the flick. What he tries gorgeously this time to bring in the front-line is the spotlight Summers deserves and Tye Sheridan aces Scott to perfection. He gets a proper screen time unlike prequels with a really powerful laser shot that will give you happy feels for him.

The high point of X-Men Apocalypse is Peter Maximoff hands down. He brings in a few laughs as he coolly sways around in bullet time to set things right. Watch out for that awesome bit!

Michael Fassbender is still the pillar holding this X-Men timeline together. With his extraordinary acting prowess he makes Magneto one of the most revered characters ever. You can’t help but feel sorry for the fate he ends up with every single time when he tries to do good. James McAvoy still does a great Charles. We finally get to see Alex Summers in action, but sadly it was ephemeral.


I didn’t like the fact that Singer decided to go with a theatrical resounding voice for Apocalypse whenever he would try to jackhammer a point. Also, Apocalypse isn’t really psychotic, not at all terrifying to look at, and it would seem hanging out with him wouldn’t be a problem. His regalia quite odd and the flair we expected in him badly missing.

That Wolverine bit in the X-Men: Apocalypse will definitely give you the jitters, but Jean trying to pacify the animal seemed so forced that you wonder where the subtlety is. We could have lived without it Bryan! At times the movie flings into uncalled corners where you can pinpoint the incongruity and the missing gravity. Characters don’t spend time grieving or even wonder-struck at what’s happening. We can blame editing for that.


We see Jubilee here and finally some Sentinels that will fill you up with the animated series’ nostalgic vibes. Blob cameo was a pleasant wink. Eventually we get a glimpse at what’s coming in Wolverine 3 which makes MCU imminence a delectable treat. Wink at Mister Sinister!

But you still overlook it all since it is a comic after all. Things are supposed to hole that way. All in all it was really entertaining.

There is no better way to put it as Jean, who says,

“At least we can all agree the third one is always the worst”.

I am not going to debate on that. She just proves the point, as if Bryan knew midway that X-Men: Apocalypse was going to end up in shambles, and tries to justify the movie with that sneer.

All in all, X-Men: Apocalypse is nothing but a one time forgetful watch.

X-Men: Days of Future Past Review (2014)

X-Men: Days of Future Past is stark brilliant!

Boo you ‪‎Ratner‬! We don’t want you messing with it again! So I knew the flick was going to make me jump on my seat since ‪Time Travel‬ was entailed and boy it did!


To begin with we have the punishing and ravaging ‪Sentinels‬, there designs hi-tech and adaptive unlike the sloth ones from the animated series! And boy can they fight? We see ‪‎Blink‬ and her portals equally ravishing, those fight seqs are pretty dope! We don’t see much of ‪Warpath‬ yet he has been subtly put just like ‪Sunspot‬ and ‪Bishop‬. Was having a gala time spotting my favorite mutants like ‪Toad‬, ‪Havok‬ a.k.a ‪Alex‬ \m/ and watching the fastest Marvel character ‪and Magneto’s yet to be officially proclaimed son, Quick Silver‬ fool around in bullet time!

‪Stryker‬ resurrects himself with his dots to connect, whilst ‪Wolverine‬ is charming as ever! But who really picked it up? Well it’s Lawrence‬ and friend-cum-foe duo ‪Fassbender‬ and ‪McAvoy‬! Acting knows no bound when Fassbender’s around. He paints a movie with his style and sheer pizazz! ‪‎Dinklage‬ does justice to ‪Trask‬ and breathes the character alive with his conviction! One of the most beautiful parts of the movie when ‪‎Charles‬ talks to himself through time  and convinces himself of himself, the end and the eventuality, making him rebound with hope.

The contrasting glimpse of future and past was a delight to watch and ‪‎Singer‬ sings like a nightingale wrapping up an epic Marvel universe drama with action, brilliant story-line, portals, mutant-thirsty charismatic Sentinels, series of heart-wrecking deaths, flying Magneto, manipulative X, and of course time travel! Nothing gave me more pleasure than watching Scott‬ come breathing alive on the screen.

All those final moments my crossed fingers talked “Please Scott be alive…Please Scott be alive!” Now I can die in peace 🙂