Outrage

When the bosses of the rival Yakuza syndicates are sworn blood brothers, it leaves the uber-boss a little squeamish especially when the rival is dealing drugs. The task of shaking things up falls upon Otomo (Takeshi Kitano), a lower level head honcho with a flair for violence. As this setup unfolds, you are almost lead to believe that Kitano is back to what he does best… blood soaked Yakuza films with a linear plot. Alas, the myriad of twists and turns, back stabbings and the insane number of characters only leave your head spinning and reaching for a glass of scotch…

Rating: * *

Walking Too Fast

The backdrop of the film is Cold War Czechoslovakia with furtive watchers spying on their citizens for dissent. Antonín (Ondrej Malý) nicknamed Tonga is one such agent. His target is Tomás(Martin Finger) a left wing author with a beautiful wife and even hotter mistress. It is the mistress Klára (Kristína Farkasová) who proves to be Tonga’s undoing. He slowly starts to obsess over Tomás’s lifestyle and lust for his woman throws him over the edge. The film chronicles the unraveling of the agent bored of the monotony of his job and life in general. The film will definitely remind you of The Lives of Others but it lacks the tautness and pathos of it. However, the film will keep you in your seat in spite of that and the length of its play.

Rating: * * +

Le Quattro Volte

An ailing shepherd is the focal point of the movie. Or maybe it is goats that he herds. Or the fact that he believes the dust of a church to be a magic elixir. The reality is that director Michelangelo Frammartino took his artistic license and turned it in to a license to kill by stepping over the fine line between stillness and boredom. Then there is also the possibility that he is the best friend of Abbas Kiarostami.

Rating: *

The Adjustment Bureau

The night David Norris (Matt Damon) loses a US Senate seat, he finds his true love in a restroom only to lose her soon after. However, he runs in to her randomly on a bus only to find mysterious forces keeping from the woman of his dreams. Soon you are faced with the question whether every life has a destiny or is there a “man” with a plan nudging things behind the scenes. Unlike Inception, which has a cool concept but uses recursion for a plot, this film has a storyline to back it up.

Rating: * * *

Opal

Opal Whiteley was a naturalist who rose to fame as a child prodigy but down the years infamy came her way due her dubious handling of the publishing of her diary with vague details of a royal past. The film tries to capture her rise and struggle to get work recognized whilst touching on the questions of her past. Given that it was a completely independent effort with very little funding, the film comes across as an excellent package. Except that once you get over the packaging, the contents i.e. the acting lets you down and leaves you with a “what if” taste in your mouth.

Rating: * +

Léon: The Professional

Léon (Jean Reno) is a profession hit man for the mafia with a simple life. He drinks milk, tends to a plant and kills people. All that changes when when his teenage neighbor Mathilda’s (Natalie Portman) family is killed by a group gun totting assassins led by snarly Gary Oldman. Mathilda becomes his responsibility and against his better judgment he starts to train her so that she can take revenge.

It is hard to feel fear with Oldman’s villainous incarnation after seeing the likes of Javier Bardem and  Heath Ledger. However, Natalie Portman has arguably played her best role to date. Unfortunately the role was her first. A cult classic that has not aged well in some parts but timeless in others.

Rating: * * +

The Extraordinary Adventures of Adèle Blanc-Sec

Based on a graphic novel from the 60s, the film follows the adventures of an “investigative” journalist, Adele Blanc-Sec (Louise Bourgoin), during the early 20th century. While she is away excavating tombs of mummies in Egypt with the hope resuscitating them to help cure her sister, Paris is under attack from a pterodactyl. Soon it is up to beautiful journalist to bring order back without any help from the bumbling police. If a slightly classier version of Tombraider with French humor appeals to you, then this film will be hugely satisfying.

Rating: * *

Dance Town

The movie opens with a slice of life in North Korea. A husband and wife furtively watch porn with some fear and exaltation. It might have been cool to dwell a while longer in that mysterious country but director Kyu-hwan Jeon, races across the border to the south as the wife, Jung-nim Rhee (),  escapes on Chinese fishing boat soon after her husband is arrested. Rhee soon is soon faced with a land with “freedom” abound. But being “free” does not equate to contentment and happiness. She is soon confronted with demons called loneliness and despondence. Like it was said in Into the Wild, happiness is only real when shared.

Rating: * * *

Almost Perfect

Vanessa (Kelly Hu) is supposedly an overworked and badly dressed NGO professional with an insanely demanding family. Her life is so busy that she has no time for a relationship. All that changes when Mr. Right shows up in the guise of her kid brother’s best friend. Soon a tiresome romance ensues with myriad of forced problems that leaves you wanting to tear your hair out. The only hope is to focus on the stunning Ms. Hu who fails miserably in trying to look plain. Even more painful was the after film question and answer session with the director Bertha Pan, who obviously needs a crash course in South East Asia cinema. It is a wonder that this film was short listed for the San Francisco International Asian American Film Festival 2011.

Rating: *

I Wish I Knew

Jia Zhang Ke’s documentary loosely follows the pulse of Shanghai from the 1850s to present day. He feels the pulse by interviewing a spectrum of Shanghainese . Some recognizable like Hsiao-hsien Hou, Rebecca Pan others obscure to a western audience. Their stories bring forth different emotions but none really test your emotional threshold. Plus the lack of interviews with the common man left a gaping hole in the film. Somehow it was the quiet presence of Zhang Ke’s muse, Tao Zhao, that left an impression. Her silent presence evokes the trademark stillness of Zhang Ke and showing that he might be better of sticking to fiction.

Rating: * *

Moon

A distant future and the moon has become the next frontier for energy. Sam Bell toils away in solitude at the moon station, ensuring all harvesting is in ship shape waiting for his three year contract to complete. Strangely, conversations with Earth are not in real time and everything is recorded and “mailed” over. The only day to day contact he has is with GERTY, the robot voiced eerily by Kevin Spacey. And slowly things start to go bump in the Moon and the expected unraveling occurs. A film with a solid premise but the plot is a little too transparent.

Rating: * *

The Milk of Sorrow

Fausta (Magaly Solier) is weighed down by a disease passed to her from her mother. The Milk of Sorrow seeped in to her while being breast fed by her mother during the fearful days in Peru of the reign of terror caused by the conflict between Sendero Luminosa and parliamentary troops . Now her mother’s sudden death has left Fausta like a boat with out a sail in the high seas. The situation forces her to fight the “disease” in her own unique way. A film and an actress that seem straight out of a Gabriel Garcia Marquez novel.

 

Update: Why to root against The Milk of Sorrow’s Oscar nomination.

 

Rating: * * +

Naan Kadavul

Abandoned by his father in Varanasi when in his teens on the sayings of astrologers, Rudra now roams the Earth as an Aghori. Fueled by guilt, the father brings his reticent and brutal son back to his town in Tamil Nadu. The same town has a “thriving” beggar community that haunt the foothills of a temple. Their suffering is shown in excruciating detail that leaves very little to the imagination. The film is sandwiched between the lives of beggars and the way of the Aghoras. The spread between the two is blood that gushes with brute force. Bala has played his usual hand, questioning God, justice, life and death. However the manner of posing the question does leave you worn out in spite of the “uplifting” ending.

Rating: * *

Passenger

What happens when a common man is presented with a complex situation. One fraught with peril, danger and of no personal gain. Most men would walk away without feeling a tiny prick to their conscience. Then there are those who like to sleep undisturbed at night. The situation here is a tad improbable but then again in today's world it is definitely a possibility.

Sathyanathan (Srinivasan) is one of those regular train travelers you would have seen if you have ever taken a train to Ernakulam. Riding the train every working day between the "suburbs" of Cochin to the city for work. His trips are usually filled with card games, gossip and gentle abuse. However, one fateful night he finds himself embroiled in a situation that involves the media, politics and the plight of the common people. A refreshing throwback to the days when mainstream Malayalam cinema ruled the roost.

Ranjith Sankar has definitely burst on to the scene with this venture. No doubt having Srinivasan and Dilip at the helm and Nedumudi Venu as support helped but the script and direction is what carried the film through.

Rating: * * *

Naalu Pennungal

Four shorts centered on women from the lower castes in rural Kerala that highlight their sorry plight. Each character fills a “traditional” role forced upon woman like that of house wife, prostitute and spinster. Sadly, little has changed today with what has been portrayed in film. Kerala is still rife with hypocrisy and double standards in all strata of society. But as a package the film does not meet the usual high standards of Adoor Gopalakrishna.

Rating: * *

Zombieland

The backdrop for the film is an oft repeated post zombie outbreak apocalyptic world. Two men are riding across this bleak landscape in search of the land untouched by the cannibals. They are soon joined by a hot girl and her younger sister. Funny at times especially the cameo by a certain comedian but for some reason there is not a single line or incident that takes you back to your humor place.

Rating: * +

The Night Buffalo

A tightly written thriller by the highly acclaimed Guillermo Arriaga who also gave us Amores Perros, Babel,  The Three Burials of Melquiades Estrada, centers around the aftermath of a suicide by a recovered schizophrenic, Gregorio. His main links to the outside world are his girl friend, Tania and best friend Manuel who unbeknown to him (or maybe not) have been carrying out an affair. Soon he starts speaking to Manuel from the grave through hand written notes and forgotten pictures. Some casual erotica and a hint of magic realism only continue to round the movie out. However, as we careen towards the climax you are left unsatisfied with many unanswered questions. But little can be blamed on the acting or directing which have been superb. Maybe Arriaga's novel will contain the answers...

Rating: * +

Dhobi Ghat

The film opens with a handy cam's jerky motions welcoming the viewer and Yasmin, a newlywed lass to the world of Mumbai. In retrospect it seems like an apt intro to the lives of four disparate individuals intertwined in the bustling city. There is Arun, a lonely painter who seeks more introspectiveness and shies from contact. Except that Shai the annoying ABCD investment banker on a sabbatical in India to "discover" herself, follows him around. Munna the dhobi and wannabe actor flits between them both.

You would think this is just another multiple plot line converging type films that have become uber popular in the past decade. For one there is a unique depth and stillness to it with a storyline that has no clear beginning end or middle. Just a chunk of time from a few people's life. Kiran Rao seems more like a conjurer than a director, smoothly transitioning the characters between ebb and flow of scenes that pull in the viewer in to the movie like a whirlpool. There are moments where you hope and pray that she does not allow her actors to tread the beaten path and she always brings them tantalizing close only to pull them away at the last instance. 

The acting is steady all around with not a hint of overacting which is the norm in many Hindi films. Aamir Khan is an almost silent brooding presence through the film but his mark is felt everywhere especially on the budding Prateik. Monica Dogra was about to be abused in this review but then again that is the kind of reaction her character was meant to evoke. Kirti Malhotra is some ways has the toughest role as she only interacts with the viewer and boy does she hold your attention. 

To sum it up, this is the answer to abomination that was Slumdog Millionaire!

Rating: * * * *

The Mechanic

Consider the following sequence of events:

• The Transporter series started getting stale.
• Simon West chanced to stay awake for 30 minutes of The American
• West saw the original Charles Bronson' Mechanic in its entirety. 

The result is Jason Statham being cast as  Arthur Bishop in the remake of the Bronson flick with the solitary nature of the lead character from The American thrown in. The film actually feels like the Transporter with its usual action sequences and Rajini like moves. Except that the Transporter is now an Assassin who has a protege. Need anything more needs be said about this film?

Rating: * +

Munyurangabo

Sangwa and Ngabo are on a journey to kill the man that made Ngabo an orphan during the Rawanda genocide. A stop over at Sangwa's home village derails things a bit. Sangwa finds family ties pulling him down and Ngabo's roots from another tribe makes the tensions rise. A realistic film about real events but as dry as some of the deserts in Africa.

Rating: * +