The Bourne Legacy:

The Bourne trilogy has always had a separate place in the movie world. James Bond may come close, but Bourne's brand of hard as nails action at breakneck speed simply stands alone. And so when the Bourne Legacy was announced, us action buffs were chuffed to bits. However, with Paul Greengrass opting out and Matt Damon not reprising his role, we wondered if it would still be the same.

Essentially, the rogue actions of Jason Bourne, namely his attack on Operation Blackbriar, cause the CIA, headed by Retired Col. Eric Byer (Edward Norton), to shut down black ops programs including Treadstone – leading to the execution of countless field agents and support staffers. After narrowly avoiding an attempt on his own life, Cross is forced into a kill or be killed chase as he flees the covert purge. Unfortunately, Cross is low on his “green and blues” – drugs supplied by the CIA through “Operation Outcome” (a Treadstone offshoot) that give agents an intellectual and physical edge in the field. Cross seeks out another CIA target, Outcome physician Dr. Marta Shearing (Rachel Weisz), in an effort to find more of the necessary medication. Without the drugs, Cross and Shearing don’t stand a chance against Byer’s ruthless (and blood-drenched) attempt at containing Blackbriar fallout.

Cross does the usual Bourne routine: car chases, parkour and running all the time. Directed by Tony Gilroy, the man who wrote the first three movies of the trilogy it is an adrenaline fueled ride. But it does miss the direction of Paul Greengrass as it tends to meander with excessive plot details and explanations, that add excess runtime and even make you wonder about the length of the action sequences which start to feel drawn out as a result.

Jeremy Renner does a great job even if the script isn't exactly very conducive to him displaying his acting abilities. The film does miss Matt Damon and the intrigue he brought with his search for his origins. The standard CIA and government and agents are starting to feel a bit old after three movies of toeing the same line.

Edward Norton and Rachel Weisz do well, but their characters simply lack depth. Weisz comes off across as a popcorn heroine, rather than the gritty and intense characterisations we have come to expect from this franchise. Ditto for Norton, whose only job is to react to what his agents and operatives tell him.

There is also an interesting sub theme at play here, Cross's battle is more of an attempt to get his pills so that he can keep at his high physical and mental levels that he has become accustomed to (Think "Limitless").

The music is taut and the action brilliant, the tension and intensity seem to hang in the air like a giant mushroom cloud. A case could be argued for an over complicated plot which wasn't really a feature of the Matt Damon trilogy. Also, certain terms from the earlier three films are used and it is assumed that the viewer does know certain things. But, it is still an enjoyable film on its own and can be viewed without any previous experience of Bourne's derring do.

While the film lacks the Bourne experience and misses Matt Damon's silent emotion, it is still eminently watchable. The action is as good as it gets and is good enough for the movie to be solely watched for it. For all action buffs, who've had their fill of superheroes tearing cities apart and want some gritty, hard nosed action, this is the film you've been waiting for.

Despite all this, it really dosen't feel like a Bourne film. Mr Damon, if somehow this gets to you: this isn't the kind of 'legacy' we were hoping for. All we'd want is for you to be the intelligent man's badass one last time.

GoodFellas

"As far back as I can remember, I always wanted to be a gangster. To me, being a gangster was better than being President of the United States."

Ray Liotta's words, spoken as Henry Hill, sum it all up. This is what this movie is about. About a young kid who saw gangsters and mafiosi do whatever they wanted and wanted to be like them. A story of simple childish desire turning him into a violent gangster, forced to make tough decisions every single step.

With Ray Liotta as Henry Hill, Robert De Niro as Jimmy Conway, Joe Pesci as Tommy DeVito, the casting was done admirably. Based on Nick Pileggi's book 'Wiseguy', it follows the rise and fall of the Lucchese crime family associates Henry Hill and his friends over the course of thirty years. The considerable issue in adapting a book for the screen is the extent of the director's input. However, this is where Scorsese delivers a masterclass leaving his own imprint on a film that barely deviates from the source material.

The central themes are many and all of them are rooted in violence and guilt. Whether it be Tommy's temper that flares up like napalm, or Henry's pistol whipping of a neighbour for trying to hit on Karen (Lorraine Bracco ) or countless other scenes. However, amidst all this, there are other things to think about. Why does Karen love a man, who gave her a gun to hide ? Is it his power she loves or the man himself ?

Scorsese's Catholic roots are visible in their entirety. The guilt of the characters is palpable because of how they never thought that this was what they signed up for. After Henry's Mafia career is nipped in the bud, he starts selling drugs and is unable to give it all up, because violence and crime are all that he has now. The guilt that dogs him is not one of being a criminal but of betraying the one he considered comrades.

A special mention would be in order for Karen who does a brilliant job as the wife of Henry Hill. Her emotions are told from her view and she is not the silent spectator that most Mafia films mistake women to be. Her morals turn scrupulous and shady because of her husband and maybe more importantly due to her access to the power that he wields.

The plot is almost a sidenote to the characters who reveal themselves in due time,enthralling us with their naivete and brutality in equal measure. Scenes such as where Henry's father beats him up for 'not going to school' of all reasons are littered throughout the film provoking thought and seeing things in the larger context. If i had to choose a single scene that would sum it all up, it would be one closer to the end where Henry attempts a cocaine deal, cooks a meal for his family, assures his mistress, all the while wondering if he's being followed.

There have been gangster films before and after, but none of them may have reached a greater height. 'The Godfather' remains arguably the most stirring Mafia testament ever but 'GoodFellas' provides it fair competition with it's sinful portrayal  of violence interwoven with guilt.

Pulp Fiction

There have been cult films before and after, but there is hardly one that personifies the 'cult film' tag as Pulp Fiction does. An achievement of epicly irrelevant proportions. Quentin Tarantino's defining opus, it stands as a frighteningly awe inspiring example of the gangster/crime genre. From it's wicked dialogue to ironical excesses, it is indeed a groundbreaking movie.

Quentin Tarantino stands as a peerless figure in the world of direction. His brand of violence may have been invented by Scorsese, but there is hardly any director apart from Guy Ritchie who has managed to make it seem so utterly palatable,delicious to be precise.

In Pulp Fiction, he gives us ample evidence to his class and a gift to know what his audience wants. This could be marked as a milestone for Non Linear storytelling with it's different plotlines interwining in one heady cocktail. The various characters ranging from Butch the boxer (Bruce Willis), Jules and Vincent (John Travolta and Samuel L Jackson), Mia Wallace (Uma Thurman) were all very aptly cast and did justice to their characters. However, this is one film where the stars take a backseat to their characters, the story and the dialogues.

This is certainly best exemplified by Jules (Samuel L Jackson) whose dialogues range from "The path of the righteous man is beset on all sides by the inequities of the selfish and the tyranny of evil men" to the far more earthly and pop culture reverential "Well I’m a mushroom cloud layin’ motherfucker, motherfucker. Every time my fingers touch brain, I’m "Superfly TNT". I’m "The Guns of the Navarone". In fact, what the fuck am I doing in the back? "

There are so many fantastic scenes that it doesn't let the whole film sag for even a bit. The dancing scene at Jack Rabbit's, the accidental killing of a guy in Jules and Vincent's car, when Butch finally meets Marcellus Wallace, the Honey Bunny section, there are quite a lot. Indeed, memorable moments abound throughout the film.

The violence is there in all it's gory glory but it is again a testament to Tarantino's brilliance that we are laughing when two guys are cleaning a car covered in blood. With his use of irony and twists of fate, lined with eclectic character lines, the violence is often just a spectator to the action unlike most similar movies where violence is glorified.

While this film followed the excellent "Reservoir Dogs" you can still see the impact of Kubrick's "The Killing". That does say it all, maybe Kubrick's successor is Tarantino. But, Tarantino is his own man and his decided American character filters through in his movies. The man has a legacy based on a single movie and it's impact on pop culture.

The incredible thing about this movie is it's attention grabbing. Most movies today cannot feature this much dialogue as is evidenced by the constant violence and special effects that today's movies are so highly reliant on. When Butch's girlfriend Fabienne tells him she wants a pot belly but later remarks `It's unfortunate what we find pleasing to the touch and pleasing to the eye are seldom the same.'', a dialogue that would find people turning up their noses in any other movie but here we care, we reflect and realise the stark, irony clad truth and it is where this film wins.

Forrest gump

Pure, Unadulterated Magnificence! Tom Hanks and Robert Zemeckis weave magic on your heart and you can feel the ovation pouring down through your eyes at the end of this epic movie. Robert Zemeckis, the director has succeeded in creating a delightful charmer of a movie.

Based on the eponymous novel "Forrest Gump" written by Winston Groom, it has been admirably adapted for the silver screen by Eric Roth. This screenplay by Eric Roth has the complexity of modern fiction, not the formulaic character of modern movies .This particular movie cannot be framed as just another romantic drama movie because unlike others, Forrest Gump is not just a "Boy-girl story" but a collection of emotionally overflowing heart-touching moments, breathtaking scenes accompanied by aroma of purity and simplicity with aptly framed heartwarming dialogues that describe to you the basic essence of simple living and true love with the addition of dry humour. Shot at a budget of $55million, this entertainer was produced by Paramount Picture which earned it an amount of near about $677 million and is still considered as one of the highest grossers of all time.

This classic takes you through the life of a below-average IQ yet athletically prodigious native of Alabama named Forrest Gump (Tom Hanks) which culminates into a being who is much more to life than any other person having an IQ greater than that of Forrest. He, in his initial years, is shown to have an improper posture which leads to him wearing braces . 

He  lives with his possessive, over -protective but pure hearted mother, an Alabama boarding house owner, who tells him that "stupid is as stupid does" (this quote is repeated many times in this movie and is shown as a constant motivating factor for Forrest). At school, Forrest meets Jenny (Robin Wright), with whom he immediately falls in love and never falls out of love with, and they become best friends. Forrest, while running away from a bunch of bullies, discovers that he can run very fast which, despite his below average intelligence, earns him a scholarship to the University of Alabama after being spotted by Bear Bryant.

After graduating, he enlists in the army and is sent to Vietnam where he meets Benjamin Buford "Bubba" Blue (Mykelti Williamson), with whom he decides to start a shrimping business, once the war gets over, where he meets  Lt. Dan (Gary Sinise), his superior who loses his legs in an ambush. After this a series of events occur that turns the fast runner to the medal of honour winner in wartime and also a Ping-Pong champion who then becomes a millionaire stockholder (he gets shares in a new "fruit company" named Apple Computer), and the man who runs across America and then retraces his steps. Jenny on the other hand goes on a parallel tour of the counterculture. She goes to California university and drops out and is shown working as a stripper club. She's into psychedelics and flower power, antiwar rallies and love-ins, drugs and needles and is shown to be living the hippy culture more popular in the 1960s and 1970s America. Forrest's character is shown to know all that is important and knows whatever he needs to. He also understands the meaning of love but when he confesses his love for Jenny on the Bridge, outside the club, to which she replies,"Forrest, you don't know what love is." Is indeed a fitting irony considering the climax of the movie.

There is nobody who could have played the role of Forrest Gump to such perfection as done by Tom Hanks. Everything, right from his accent to his way of living to his clothing style and expressions of love love, caring, respect and, matches him to be the only candidate to be able to bring justice to this role. His relationship with his mother and his friendship with Bubba and Lt.Dan is something to learn from. Robin Wright has done a splendid job playing Forrest's lady-love. She dwells perfectly in the role of a suburban girl from Alabama who is drawn into the miss-happenings of the society. Her beautiful smile charms the screen and will make you happy or at the same instant may make you want to weep with her. Bob Zemeckis, with his experience of special effects with the "Back to the future Trilogy" and "Who framed Rogger Rabbit" has amazingly recreated many historical moments with many hilarious moments as when LBJ examines the wound in what Forrest describes it as "my butt-ox". And the biggest laugh in the movie comes after JFK greets Forrest,“Congratulations, How do you feel ? ”, to which he replies,“I got to p**”. Forrest, as a kid, is also shown to be teaching Elvis Presley a hip-swinging dance. This movie was surrounded by many controversies but inspite of those controversies this movie has grown to be an all time entertainer.

I always think to myself about what this movie would have been if there was no Tom Hanks or Robert Zemeckis or even Robin Wright in it and the only answer I get is that it would have gained some popularity and a decent fan base but it wouldn’t have been such a big landmark of modern cinema neither it could have touched the hearts and souls this movie has touched for over two decades now. So watch it on a Sunday mornin' with anyone you like and find yourself blown away by Tom Hank's honest and heartwarming performance and the admirable direction by Robert Zemeckis, an oft underrated auteur .

The Dictator

The Dictator is a Sacha Baron Cohen film directed by Larry Charles, the man behind movies such as Bruno and Borat. That makes it pretty evident that is intended to be a comedy film. And for fans of comedy, this movie does not disappoint. One of the funnier movies of the year, it certainly acheives what it set out to do.

The story revolves around Admiral General (must have done a tour in the Army before the Navy) Aladeen (Cohen) who is a dictator of the republic of Wadiya, a country in North Africa. He is portrayed as having nearly every antisocial trait that dictators supposedly have. However, his antics are forced to a head when he refuses to sell Wadiyan oil and is secretly developing nuclear weapons. The UN wakes up and resolves to intervene millitarily and our Dictator is forced to explain himself to the Security Council. However on his visit to New York, he is kidnapped, courtesy his uncle Tamir (Ben Kingsley) and replaced by a decoy. Our dictator obviously redeems himself, going through life changing events such as being taught how to play with himself and other rib tickling incidents with Zoey (Anna Faris) and Nuclear Nadal (Jason Mantzoukas ).

The film picks off from one of the basic premises of comedy, putting a character into an environment he is not familiar with. He discovers things that we take to be obvious and in the process, generates laughter as we simply do not believe how anybody could not know the most trivial of things, leading to rib-tickling moments. The film picks the formula, sticks to it and does so very well.

The movie is certainly a bit uneven in terms of comic relief, with certain scenes inducing manic laughter, while others failing to raise even a chuckle. The soundtrack is peppy and certainly works well enough. While it isn't exactly the funniest movie of recent times, it has quite a few redeeming features.

The film has an actual storyline which is paid the requisite attention which is something that even most big banner movies these days have slaked off a bit on. The performances are brilliant, with Cohen being surprisingly funny and Ben Kingsley and Anna Faris being as delightfully understated as could be possible.

On the whole, the movie succeeds in what it set out to do. And while it isn't exactly a laugh-a-thon it is certainly a funny ride that will undoubtedly cheer you up.

The Dark Knight Rises

This is it. The most expected movie ever. Continuing a trilogy that has set a benchmark on the scale of epicness, 'The Dark Knight Rises' is what we were all waiting for. Helmed by the amazingly capable Chris Nolan, 'The Dark Knight Rises' delivers and delivers well on what we've come to expect from him.

A bare bones story, propped up by relentless action that never lets up for a second and characters that make you empathise with them. The super villian this time around is Bane (Tom Hardy) who comes across as a psycopath trained by the same Ras 'al Ghul as the Batman himself. He joined the League Of Shadows which considered him too insane for its tastes. Bane is shown to have been 'raised by wolves' and is shown as a glorified version of a sewer spawned hard man who survived prison and is the archetypal alpha male. Bane is stronger than the Batman and breaks his back and sends him off to the same prison where he was. The Batman discovers that only a single person has ever escaped the prison whose identity is mistakenly assumed to be Bane.

The usual regulars, Michael Caine, Morgan Freeman and Gary Oldman are present and in fine form. Bane, however fails to measure up to the Heath Ledger's act as the Joker and this plays upon the viewer's mind who goes with the memories of 'The Dark Knight', expecting to find another brutal villain. Bane is brutal all right, but horribly predictable and formulaic.

This is where Nolan misses a trick. While I would be the first to admit that I have simply no idea how this could have been averted but I did think Nolan might find a way out.

This film plays on the usual fear and darkness motifs that have been the hall mark of the trilogy. While certainly engaging and a brilliant film, this falls a little way short from what could have been a true masterpiece. The film does provide a satisfying conclusion and also completes the Bat-verse by introducing a few more characters integral to it.

Anne Hathaway is thrilling as Selina Kyle, the cat burglar in black who aids the Batman in his quest. She is assured and holds her own against Bruce Wayne and even Bane. She is certainly one of the highlights of the film and her acting is understatedly brilliant.

The technical side of things has little to stop raving about with details such as screenplay, cinematography and music taken care of with considerable aplomb. The action is gripping and intense as we have come to expect and rarely lets down for even a second.

Bane's intensity is praiseworthy and Tom Hardy has certainly done justice to the character he plays. His swagger, laced with a tinny English accent is undeniably impressive. However, the one dimensionality of his character is a bit of a let down, especially when compared to the one dimension that the Joker had. It was indeed a creative cul-de-sac that Nolan found himself in.

The end result is certainly admirable, but maybe not as fulfilling as could have been. However, it would be wrong to accord any blame to Nolan and his creative band of merry men, when their only fault was making 'The Dark Knight' before 'The Dark Knight Rises'.

The Dark Knight

The Dark Knight is a landmark film. For so many reasons that are lost in translation, for it's brilliant depiction of what the naive would call a comic book movie, for everything from its cast to direction that make watching it a spine chilling yet enthralling experience. Again the masterful hands of Nolan make their presence felt and with this film, it could be argued that he has made the leap from a superb independent film maker to a master auteur who has an audience that is appreciative of his immense capability.

The film starts predictably enough with everyone calling for the Batman's head, blaming him for the deaths of policemen and some others. But the Batman's got more than public fury on his plate with a new menace in town. This menace, or rather, The Joker played to perfection by the late Heath Ledger is more than just an imagining born from a comic book. He is a maniac, who specialises in playing with people. Everything about him, from his Glasgow Smile to his grotesque make up and terrifying mannerisms, is designed to play on the fear us mortals feel when confronted by the truly insane. The script revolves as much around as him as around Bruce Wayne who along with Commissioner Gordon (Gary Oldman) and District Attorney Harvey Dent (Aaron Eckhart) have to make some hard choices and deal with ethical dilemmas posed by the Joker. The Joker's ultimate goal however is to show the Batman to be just a poor, helpless person like the rest.

The film is a thrill a minute ride and does not make one feel like it's two and a half hour run time. The action is superb with the chases, explosions et al being painstaking close to perfection. Batman's friends, the scientific wizard Lucius Fox  (Morgan Freeman) and his ever dependable butler Alfred  (Michael Caine) are ever present and help him deal with the frightening sceptre of the Joker.

The Joker, a role for which Heath Ledger received a posthumous Oscar for best supporting actor, a rarity in comic book cinema, is truly a memorable character. From his appearance to his devilish ethical dilemmas, he is as scary as they come. As an example, in a scheme near the end of the film, he invites two ferry-loads of passengers to blow up the other before they are blown up themselves. And, unwittingly, you find yourself lowering your defences and entering the choppy environs of the movie. The screenplay and cinematography are tastefully done and accompanied by music from the legendary Hans Zimmer make for a ethereal experience that draws you into its sheer depth and leaves you wanting for more. The film is almost pure noir and puts a different yet engaging spin on things, with Nolan's interpretation showing his creative quality and comfort in dealing with subject matter and challenges that would faze even the most seasoned of directors.

The film was a runaway success, breaking the $1 billion barrier at the box office with ease. Critical reception was highly favourable with most critics genuinely taken aback by how Nolan managed to turn a mere comic book into a human interest affair that won over even the most obstinate of movie goers.

Comic book movies will continue to be made, but 'The Dark Knight' stands a milestone against which all the others will be measured. It shall forever endure as a testament of what happens when a creative genius meets a character born of noir.

Batman Begins

Batman Begins is one of those rare movies that transcend the line between superhero movies and real cinema. Superhero movies have been generally scoffed at by critics who dismiss them as designed to thrill and lacking in substance. But, Nolan's Batman trilogy bucks the trend in the most refreshing of manners possible. It gives us a look at a man who goes through travails like ours before becoming our saviour.

After 1997's abject failure of 'Batman and Robin' , a movie i would strongly advise to stay away from, Christopher Nolan was chosen by Warner Bros to helm the reboot of the series. As Nolan's previous movies such as 'Memento' and 'Insomnia' had shown, he was far more comfortable working on a darker project. Batman Begins succeeds because of the inherent substance present.

The film starts from a prison camp in some godforsaken place, showing Bruce Wayne (Christian Bale) taking some serious torture simply to understand Evil for what it is. He is saved by Henri Ducard (Liam Neeson), who turns out to be a shadow warrior of some sort and teaches Bale everything from sword fighting to the powers of the mind. As he becomes a physical force, he is invited to join the 'League Of Shadows' an all powerful ancient group that destroys cities that it believes are beyond repair. However, when he is asked to kill someone to gain membership, he cannot as he remembers how his parents were brutally killed while he watched on a little child.

He somehow returns to Gotham and becomes a caped crime fighter with the help of Lucius Fox (Morgan Freeman) who provides him with some very high tech crime fighting equipment. His childhood experience of being abandoned in a well and facing hordes of bats, makes him adopt the bat as an inspiration. To hide his identity, he begins to act in sync with his millionaire playboy persona on the advice of his butler Alfred (Michael Caine). All he achieves is managing to irritate his childhood companion, Rachel Dawes (Katie Holmes) who along with Lt. Gordon (Gary Oldman) are trying to rid the city of crime and corruption.

Enter the psychiatrist, Dr John Crane (Cillian Murphy) who is terrifying as Scarecrow with his devious schemes and brilliantly engineered effects. As the Batman confronts the Scarecrow and also his earlier nemesis, there is plenty of action with Computer Generated Imagery kept to a minimum.

Nolan's triumph lies in how his characters are bound by forces just like us. Also, the sheer sophistication and stress on how cool the Batman is that was common to earlier movies has been neatly sidestepped thus creating a movie that we actually care about. The locales were brilliant and very much in sync with the tone of the movie and it's themes. There is hardly a better composer in Hollywood than Hans Zimmer and he simply does not disappoint us with a soundtrack that does resounding justice to a film rolling onward at breakneck speed

The cast is mindboggling with British stalwarts like Michael Caine, Gary Oldman and Christian Bale ably supported by their American counterparts in Morgan Freeman and Katie Holmes and the Irishmen in Cillian Murphy and Liam Neeson. However, it is the darkness and sheer charisma of Nolan's direction which steals the show. Interestingly, this was around the period where the Bond Franchise was rebooted as well, with a more human titular character who is painfully aware of the consequences of his actions, much like the Batman. Universally acclaimed, this was a movie that resurrected the Batman on a scale closer to the Spider man movies of Sam Raimi. It was hard to pin down what caused me to regard it favourably but as I write this, I realise it was the human element. With motifs like constant fear and dark and scary nights, Nolan left his mark, much like the Batman on his crusades across Gotham.

Inception

"The most resilient parasite is an idea", a famous quote from one of the greatest Thriller/ Adventure/ Action (Sorry but i couldn't decide the genre in which i could group this classic as this movie can itself be treated as a GENRE!!) of all time directed by one of the most intellectually artistic directors , Christopher Nolan. This movie can be treated as a bench mark for  scriptwriters for its original  script by Jonathan Nolan and such a complicated yet engrossing movie has hardly ever been made before.

The movie has every ingredient in it and in the requisite proportion, all combining to make it an ALL- time classic. In simple words you can say that inception can be equated to the product of "James bond " with "Matrix", adding Ridley Scott's "Blade Runner" to it and the result you get is a complete mind-boggling Inception. Shot in six different continents, nine different countries and over a budget of more than $160 million. The movie's origins lay in Nolan 80-page "Dream Stealers" project which he presented to Warner Bros in 1999, a decade before it was actually purchased by the House. The delay was mainly due to his inexperience with large-scale film production due to which he halted this project and began working on "Batman  Begins" and  "The Dark knight" but in my view it was a much needed delay as this movie required the audience to grow intellectually and open their mind to such cinema.

This Science Fiction film starts of with Dom Cobb (Leanardo Di Caprio) lying unconscious by the beach and is taken by a mob to meet a sick, old man. Just when you start realising the context of the first few scenes then all of a sudden the frame is shifted to an ongoing settlement between a leading Japanese businessman Mr.Saito (Ken Watanabe) and Dom Cobb, in the same room where he was initially taken by the mob, accompanied by his colleague cum friend Arthur (Joseph Gordon-Levitt) about some information they wanted to extract from Saito. When things  start to fall apart, it causes Dom to take a major step only to be interrupted by his ex-wife Mal (Marion Cotillard) who shoots Arthur but in spite of all this, Dom still manages to get the info but as he does so the building starts collapsing, only to be brought to life again in a totally different region and it is then that you realise that ALL THIS WAS A TWO-TIERED  DREAM.

Even though they succeed in retrieving the information, Saito eventually finds out that he had been robbed of his secrets by a former Dream Architect (Dom) using an experimental military-developed machine to infiltrate his subconscious. After knowing this, he catches Dom and Arthur in their effort to sail away discreetly from Japan and instead of killing them, he offers to set them free and that if Dom would succeed in helping Saito then he will be made free from his alleged murder charge so that he could return home to his children whom he haven't seen for quite a long time.

Saito plans involves breaking up the energy conglomerate of his ailing competitor Maurice Fischer, by planting this idea in his son and inheritor Robert Fischer (Cillian Murphy) to disintegrate his fathers company. Seeing this as his last chance to meet his kids, he takes this as his last job. For need of a creative Dream Landscaper he goes on to meet Ariadne (Ellen page) and also includes Eames (Tom hardy), a specialist forger to his team along with Yusuf (Dileep Rao),  a chemist to create such a compound that would allow them to have a stable dream. Here comes the kicker, this job also stirs up dangerous memories in Dom of Mal (his wife), who sabotages his plans by entering his dreams at every point. From this point on, the movie metamorphoses into a total entertainer with twists and turns galore and the eventual shaping of the climax (which i assure that  will be praised by you to the highest height!!). Ethereal concepts are presented such as the use of totems, a personalised small object whose behaviour is only predictable to its owner, carried by each extractor, that serves the purpose of identifying dream-state or reality and that getting killed in a dream is the best way to wake up and yes, in reality it is. You all might have had this experience.

Leonardo Di Caprio did a momentous job dwelling in the role of an emotionally challenged widower Dom Cobb. His psychological issues borne out of his  love for his wife and his desire to reunite with his children was clearly evident through his facial expressions in the entire movie and have been shown as one of the main sabotaging factors of their plan. To his support were some great actors such as Joseph-Gordon Lewitt, who has done a splendid job playing a mission researcher and a good friend to Dom.


Ellen Page has done a splendid  job playing the role of a college girl and her expressions of amazement after learning about inception from Dom is one thing you should all carefully watch. "Whose subconscious are we in now, exactly?" she asks at one point. You may feel her pain and at the same time you may enjoy her despair. Marion Cotillard also does a decent job as the mystery women. You should watch this movie for all its twists and tangles and mind-teasing plot written by the Nolan brothers, adding to it the sophisticated direction of Christopher Nolan supported with laudable cinematography by Wally Pfister. All the actors and actresses have delivered a power-packed complex mind blowing performance culminating in a movie that is as entertaining as it is significant.

Putting it briefly, Nolan through this movie takes you through an epic, cinematically unforgettable journey where the destination is complete entertainment and I consider myself fortunate enough to have been through that journey. Whoever INCEPTED this idea in Chris Nolan's mind has succeeded in his mission as Nolan then plants these ideas skillfully in our heads disturbing and dazzling us to the core. The result is a complete quietus. Not watching this epic will be a sin if you are a fan of intellectual cinema.
                                                                                                                                                                                                 

A Clockwork Orange

Stanley Kubrick was a rarity amongst his contemporaries. An Englishman who'd worked in photography, his vision was grandly disconcerting. Indeed, no other director may have repulsed his viewers in the way that Kubrick did, but they still came back for more. His movies divide opinion amongst most critics, some think of him as the greatest director that ever lived, while the others think he is grossly overrated. From 'Eyes Wide Shut' to 'A Clockwork Orange' and '2001:A Space Odyssey' , there is absolutely no doubt that he was one of a kind.

'A Clockwork Orange' was based on an Anthony Burgess novel, one of those excellent sci fi writers that dotted the 60's and 70's. Dealing with issues such as mind control and government policies, this was as dystopian as they come. The story dealt with Alex, a young and revolting Englishman whose disgusting tendencies would not be out of character for a sadistic rapist. However, Kubrick in some wickedly manner, tries to endear him to us. And while, it simply does not work, it does create a fresh perspective allowing you to put your revulsion aside and try to make sense of it.

Alex's issues are taken care of by the government which uses a form of mind control causing him to writhe in discomfort whenever his sick ideas strike him. However, it is here that the film drops off a bit, meandering into politics and more things you begin to care less about. However, there is no denying that the film is as influential as it is divisive.

Like most Kubrick movies, this one has tasteful classical music dotting the backgrounds of scenes that are so out of sync, it is almost a pity. Alex is one of the most memorable characters ever due to his grotesque manner. However, in true Kubrick style, it is hard to describe what he was trying to achieve here. Was it an insight into a psychopathic mind, or just a plain government opposing affair ?

While the film does teeter about a bit in the second half, it is still a tour de force. Critical reception has not been very kind with most major critics going about how Kubrick makes us or tries, to get us to empathise with naughty little Alex when it is apparent that he is far more evil than your everyday imp. I, on the other hand, think differently. I do find the whole thing repulsive, but in a thrilling sort of way. I would not question the director's motives, but rather examine it objectively and work with what I felt on watching it. In the grand scheme of things, this movie is no doubt a love it or hate it movie. Indeed, people who hate it will spend just as much time glossing on over why they hate it as the ones who loved it. It is one of those rarest films, that causes you to think and semi consciously form an opinion.

As society encourages us to think new, so does it define the boundaries of new. Themes dealt with are prevalent everywhere but an opinion apart from 'disgustiing' is very hard to find. Maybe this is Kubrick's departure from the societal brainwash. I hated this film for what it showed, and yet I had the temerity to accept it for what it was, an imagining whose execution won me over.

Raging Bull

Raging Bull is a film which boasts of a legacy and pedigree that few others can even close to. Directed by a certain Martin Scorsese, it is probably the greatest sports film ever,made by arguably the greatest director ever. It is a powerful testament of Scorsese's 'one man's descent into insanity' theme that has served him well over almost four decades of filmmaking.

The film is based on Jake La Motta, a middleweight world champion and his journey from a prizefighter to a man in shambles, unable to fight his own demons. A brutal and violent story ensues, from fights to expletive filled quarrels, fits of jealousy and even wife beating and ultimately his fall from grace.

This was the next instalment of Scorsese's highly successful collaboration with Robert De Niro after the pathbreaking 'Taxi Driver'. Suffering from a drug addiction, he decided to kick it and devote all his energy to making a modern masterpiece that lives on in cinematic annals as one of it's finest. The film itself is a journey where the development and unraveling of the characters which has been handled with aplomb, takes precedence over the story. Indeed, it is a joy to see the different layers that are exposed every now and then like when De Niro's wife calls somebody 'good-looking' and he smashes the somebody's face in a fit of pure jealousy.

With fights choreographed to flashing lightbulbs, sequences rich in detail and masterful performances from a stellar cast, this is one film where it all came together. De Niro is brilliant and so are Joe Pesci (another Scorsese regular) and Cathy Moriarty as his brother and wife respectively, who are forced to bear the brunt of his giant abused ego. As La Motta loses it outside, he loses it in the ring as well, losing his title to Sugar Ray Leonard, disillusioned, he moves to Miami and runs a night club. However, this momentary idyll is shattered when he is jailed for introducing underage girls to grown men. In his jail cell, he is a wreck, distraught and helpless. He pounds the walls and even cries out loud, making his transformation from alpha male to a pitiable figure complete.

When released, he becomes a stand up comic. The final scene is certainly amongst the most iconic in movie history. Robert De Niro's monologue from 'On The Waterfront' is almost as good as good as the original and once he gets up for his show, he shadowboxes and tells himself "I'm the boss" you cannot help but feel something not easily discernible. The screen fades out with a Biblical quote dedicated to Scorsese's film professor who he said taught him 'how to see'.

The film's legacy is surely assured, with almost every single critic failing to criticise what can only be termed as a tour de force. Indeed, it is a tragicomic experience to go through, with the prizefighter owning the ring and yet losing to himself. While 'Goodfellas' may stake a claim for the better film, there has hardly been a film which has come so close to tangible perfection.

Introduction

I am Anuraag Naidu,a happy-go lucky nerdy guy .I am an engineering student with  LOT of hobbies.I like to watch movies,listen to music and above everything that i like most is to discuss all i listen and see with my friends

Anuraag Naidu

Therefore i thought of writng some articles in this blog.I also share an equal amount of interest in Sports,mainly cricket and football.My favourite Directors are Christopher nolan(i literally worship this guy!!),Guy ritchie,Darren Aronfsky,Steven Speilberg and the legend himself Martin Scorsese.In articles to come i would mostly concentrate on the stories of great classics,some interesting trivia related to them and how the idea came to the Director in the first place.
Secondly, i will also focus more on Directors view of the story or more specifically his picturisation of the basic RAW story.Finally,in order to make my articles a little different from the usual mundane road, i would also discuss or share my feelings with you all and along with them the best scenes in that film that made it special for me.I am not a professional critical analyst as will be apparent..however,my passion for movies is what defines my writing.
So kindly excuse me if i write something wrong or something that may be objectionable to you.Before beginning,i would like to ask you something ,which is to think of me as a normal guy who watches a lot of movies and as one who is just sharing his opinions on remarkable cinema.
So accompany me  as i take you across the globe and introduce  you to the greatest tales that have been told and cherished for over a century now.  
Fare Thee Well mes amis..  

Apocalypse Now

Arguably one of the greatest movies of all time, Apocalypse now is also the most polarising. From people loving it's darkness and stellar performances to the critics harping on about how it all didn't add up.

The movie, made in 1979, has remained relevant ever since. So much so, that when a redux version featuring some 40 minutes of extra footage was released, it caused a mad scramble to own it.

The director was Francis Ford Cuppola, a path breaking filmmaker and one of the movie brats of the 70's alongside Lucas and Spielberg. On the back of the successes of 'The Godfather' and 'The Conversation', he came up with his own version of a war epic. The difference was, this wasn't about our heroes coming back with the flag wrapped around them.

The basic storyline was drafted in from the 'Heart Of Darkness' by Josephy Conrad, a story about one man's journey up the Congo. However, this being the 70's, the Congo became the Mekong snaking through the battlefields of Vietnam. With a cast comprising of Martin Sheen and Marlon Brando, Coppola had the pieces in place. The production had it's share of bad luck and then some more. With budget problems and a Martin Sheen heart attack, mixed with Marlon Brando's overweight appearance, the production was fraught with setbacks.

The basic premise of the movie was the travails of Captain Jess Willard (Sheen) and his journey up the Mekong river with a boat crew that included a very young Lawrence Fishburne. Tasked by his superiors to assassinate Col Walter E Kurtz (Brando), a model officer gone astray and commanding his own Vietnamese troops who revere him as a God. The journey up the river has episodes ranging from beach battles to playboy playmates and some very tough choices.

The end has been the most widely debated part and even Coppola has admitted there were separate ones filmed because he couldn't decide which one to keep. Whether Marlon Brando would live or die was the question and it was answered emphatically enough as the screen faded to black. The movie provides enough remarkable moments that have become a part of movie folklore. As an example, the helicopters flying into battle to the tune of Richard Wagner's 'Ride Of The Valkyries' is oft voted the greatest scene in all movie history. Brilliant dialogue, terse yet saying reams about the characters and their struggles. From 'The Horror' to "We train young men to drop fire on people. But their commanders won't allow them to write "fuck" on their air planes because it's obscene!". The movie is a veritable treasure of memorable quotes.

The director's finesse is apparent and a case could be argued that Coppola never touched greater heights. His sheer skill of letting the characters explore themselves is almost like reading a book where the canvas is far wider. His vision dwarfs most war films and this can best be seen in the final sequence when shots of a water buffalo being sacrificed and Willard doing what he had to do are juxtaposed with the psychedelic ending of  'The End' by The Doors. This film is easily one of the greater war films ever made and it dwarfs much of the competition. The inherent darkness and gloom make it into a true masterpiece sitting alongside greats such as Oliver Stone's 'The Platoon' and Terence Mallick's 'The Thin Red Line' it is indeed a true masterpieces.

Indeed, the greatest irony is that amidst a film which feeds on morbidity and darkness, lies one of the highest points of cinema.

An Introduction

My name is Archit Kashyap and I'm all of 21 years old.I'm an engineering student with interests ranging from sports to movies and everything in between.Movies in particular,have been a great source of inspiration and entertainment for me since as far back as i can remember.

Archit 'Cain' Kashyap

This blog has been set up with a view to indulge my inner auteur and put forth my thoughts on movies that i find remarkable in any which way.I would not call myself a critic,as i simply do not have the nous or level of artistic ability to point fingers at people who have made movies.However,in due time,i hope to reach this level of analytical finesse that would enable me to see through movies much in the same way that Roger Ebert does.
As Martin Scorsese,arguably the greates director Hollywood has ever seen put it,"
"Movies touch our hearts, and awaken our vision, and change the way we see things. They take us to other places. They open doors and minds. Movies are the memories of our lifetime. We need to keep them alive."
I couldnt agree more
Cheerio

Lorem Ipsum

Hola amigos