Trouble With The Curve (2012) Review by Shivom Oza – No Troubles With The Film Though!

3/5 Stars

An ageing baseball scout, Gus Lobel (Clint Eastwood), is struggling to retain his position in his organization. His daughter Mickey (Amy Adams), who holds a grudge against her father for bailing on her during childhood, joins him on a trip to North Carolina where Gus is scouting for new talent.

It’s a ‘slice-of-life’ film. The father-daughter relationship, the budding romance between Amy Adams and Justin Timberlake and the self-discovery phase that all the three principal characters go through, makes ‘Trouble With The Curve’ a compelling watch.

Gus Lobel (Clint Eastwood) is an ageing baseball scout, who is losing his vision, struggling to keep his place in his organization. His superior Pete Klein (John Goodman), who does not want Gus to go away, asks Gus’ daughter Mickey (Amy Adams) to accompany him on a trip of North Carolina to make sure that he is fine. Mickey doesn’t get along with her father, as the latter had left her post his separation with her mother. However, despite the false start, Mickey and Gus reconnect with each other and start sharing their life’s problems. Mickey has her own grievances at her workplace where she has been recently appointed as a partner. Here, the father-daughter duo meets Johnny Flanagan (Justin Timberlake), a rival team’s scout who was once scouted by Gus when he was a player. The story revolves around these three self-respecting, imperfect and gifted individuals.

The film has a ‘slice-of-life’ story. The actors, Eastwood, Adams and Timberlake, deliver fine performances. Their characters were very real, very human, and thus, so full of infirmities. Gus’ drive to prove his worth despite losing his vision, Mickey holding on to her father despite losing a golden professional opportunity and Johnny trying his very best to look for someone who wouldn’t waste his talent like he himself did when he was a player, makes the film very endearing.

Quite a few ‘little moments’ stand out in the 2-hour-film. Gus’ final call of reckoning, Mickey’s coming-of-age when she manages to hunt down a world-class pitcher, Johnny’s rage when he is discouraged by Gus from picking a much-talked-about player, Baseball conversations between Mickey and Johnny, the romantic equation between the two and many more. The understated performances and subtle dialogues make this film very relatable to audiences across the globe. The screenplay is a bit long than one would have liked, but the film does end on high!

Writer Randy Brown has written a fine, albeit simplistic, story that really strikes a chord with the viewer. There is not much of ‘sports’ per se in the film. Luckily, there’s not much baseball ‘jargon’ in the film. So, even those who do not follow the game will not feel lost while watching the film. 

‘Trouble With The Curve’ is based on relationships and ambition. A finely made film that leaves you a bit overwhelmed.

Shivom Oza

Cloud Atlas (2012) Review by Shivom Oza – Beautiful, Poignant 3-Hour Saga

3.5/5 Stars

You may not find the relatively complex story overwhelming, but the sheer scale and magnificence of this 3-hour feature will certainly blow your mind away. An adaptation of the 2004 novel of the same name by David Mitchell, ‘Cloud Atlas’, the film has six interwoven stories from different eras.

The film covers six stories set in different time periods – 19th century, early 20th century, late 20th century, early 21st century, dystopian 22nd century and 170 years after the ‘The Fall’. The story of a particular era is discovered by the main character of the story in the succeeding era. The principal character in all the stories has a distinct scar on some part of his/her body, which, kind of, goes on epitomize ‘afterlife and related theories’. The concept, albeit a novel adaptation, was quite formulaic, but the screenplay, by word, was magical.

The official synopsis of the film reads, “An exploration of how the actions of individual lives impact one another in the past, present and future, as one soul is shaped from a killer into a hero, and an act of kindness ripples across centuries to inspire a revolution.”

The main character of every story has an accomplice who plays an instrumental role in protecting him/her from evil forces (depending on the era that the story has been set in). You have an American notary rebelling against the ill-treatment of a the Moriori tribe, a young English musician going up against his ageing mentor, a young female journalist challenging the establishment, an on-the-run press publisher trying to escape out of a nursing home and a tribesman, living in the post-apocalyptic distant future, fighting an evil tribe. All the stories, characters and thoughts do not necessarily connect in the film, but by-and-large, the underlying theme in each of the stories strikes a chord with the viewer. The 20-minute finale is so gripping and poignant that it will force you to ponder over the film long after it’s over.

The cast of the film is as grand as the word ‘ensemble’ is.

Tom Hanks, Halle Berry, Jim Broadbent, Hugo Weaving, Jim Sturgess, Bae Doona, David Gyasi, Susan Sarandon, Hugh Grant among others , give stellar performances and most importantly, look their parts.

The premise of the film is quite unique, so to speak, and the most difficult thing is to get your actors to be able to deliver convincing performances. Such films are never shot in the same order as the screenplay is written. So, huge credit for the work of genius that we see on the big screen should go to the editor, Alexander Berner. Cinematography for such a lavish film had to be gorgeous. The film could have been cut short by around 30 minutes. It could have left a stronger impact on the viewer. The run-time, close to 3 hours, of the film, is one of the few deterrents. The underlying message is wonderful. ‘Cloud Atlas’ just numbs you with its stories, thoughts, visuals and the enchanting music. Avoid judging the film mid-way. If you do go for it, sit back, watch it patiently, and make your assessment. It’s a sum of its parts. Magnificently visualized film, written and directed by Tom Tykwer, Lana Wachowski and Andy Wachowski, ‘Cloud Atlas’ impresses at many levels.

Its complex storyline and the 3-hour-runtime are the two deterrents. However, it’s a beautiful film with a poignant message.

Shivom Oza

Liv & Ingmar (2012) Review by Shivom Oza – Cinematic Love Story!

3.5/5 Stars

Liv & Ingmar is a documentary on the 42-year-old relationship between legendary actress Liv Ullman and the master filmmaker Ingmar Bergman. It was screened at the 14th Mumbai Film Festival as a part of The Real Reel section.

It's an immensely touching documentary on the romance, separation and subsequent friendship between the two cinematic legends. The archive footage has been tailored in beautifully as have the scenes from the several films in which they worked together.

Liv and Ingmar met in 1964, lived together for five years, had a child and worked in 12 films. Five decades on, following Ingmar's death, the love has still not died down. The documentary is predominantly interspersed with interviews of Liv Ullman. She speaks about her relationship with Ingmar over 4-5 major aspects. They are Love, Pain, Anger, and Friendship and so on. She speaks about the time that she spent with him at his famous house on an island in Sweden.

She speaks about the good times and the bad times leading to their eventual separation. She also talks about coping up with the separation and pursuing a career in Hollywood subsequently. She goes on to talk about how she bumps into Ingmar again and a friendship ensues!

The concept of the film is quite brilliant. With a balanced screenplay by Dheeraj Akolkar and fine editing by Tushar Ghogale, you don't realize how the 83 minutes breeze past. The music by Stefan Nilsson is touching in parts and when required, escalates the tension in the film as well. It's extremely courageous of Liv to come out and talk about a few uncomfortable aspects about her relationship. You could see that she was overwhelmed while talking about the physical violence and the indifference shown to her by Ingmar during the latter phase of their 5-year-old romantic liaison. It's really gutsy of her to come out and present truth the way it was.

It's a sensitive, touching portrayal about a true love story. Relish it and take something back.

Shivom Oza

Blancanieves (2012) Review by Shivom Oza - Not A Patch On 'The Artist'

3/5 Stars

A black-and-white, silent film, from Spain, ‘Blancanieves’ is based on the Snow White and Seven Dwarfs fairy tale. The film was screened at the 14th Mumbai Film Festival as the closing film.

Although the screenplay and the performances move you, the film in totality is not a patch on 2011's ‘The Artist’. No character in the film has been properly established. The story hurries on a bit too much. However, by-and-large, it's a nice film. Just not a 'memorable' one!

Celebrated matador Antonio Villalta (Daniel Gimenez Cacho) gets injured during one of the bull fights, an accident which leaves him paralyzed. His pregnant wife Carmen (Macarena Garcia) goes into premature labour and dies after giving birth. Antonio, who receives a double blow of the handicap and the loss of his wife, becomes bitter towards his new-born daughter and rejects her. He ends up getting married to the nurse who looked after him (she is after his money in reality). However, things take a bitter turn for everyone concerned except the nurse. The daughter, who is christened Carmencita, lives with her grandmother, in deprivation of the love of her father. The father, meanwhile, has been living in a disparate condition at the hands of the 'then compassionate, now conniving' nurse Encarna (Maribel Verdú). Things worsen once Carmencita's grandmother dies and the little girl is forced to live by Encarna's rules. Carmencita, however, eventually ends up meeting her father, who is confined to his wheelchair, and makes up for all the fun that she missed during the childhood days. She also picks up a few matador tricks from her father. A few years pass by and Encarna decides that it is time to do away with Antonio. After her father dies, a murder attempt takes place on Carmencita as well. Although she survives, her memory does not. And then, she meets the SEVEN BULLFIGHTING DWARFS!

The performances are first-rate. The characters could have been better established though. The screenplay is fine for most parts of the film, but at times it does seem hurried. There is no prominent 'threat' as such in the film. Encarna is the major antagonist but even she gets side-lined during the latter half of the film. The film does lose some of its purpose towards the end. There is no clear justification given as to how Carmencita becomes such a fine matador. There is also no clear reasoning given as to why, post her success as a bullfighter, does she not take revenge over Encarna. There are a lot of unanswered questions in the film. 

While a film like this does not need to be logically flawless, these discrepancies do take some sheen off it. However, the Snow White fairy tale has been adapted in a fine manner. The 'black-and-white and silent' aspect has been handled wonderfully. There is no blatant 'me-too-The Artist attempt here. Director Pablo Berger has made a fine film.

Not a memorable film, but not a deplorable one either. It's a fine attempt. Not a must-watch.

Shivom Oza

Electrick Children (2012) Review by Shivom Oza – Electrifying!

4/5 Stars

The film Electrick Children, directed by Rebecca Thomas, is about Rachel, a 15-year-old girl who gets pregnant through ‘immaculate conception with music’!

The film boasts of a wonderful concept, beautifully executed by the cast and the director. You cannot classify the film in one particular genre. 96 minutes of joyful cinema on offer - lap it up! Electrick Children was screened at the 14th Mumbai Film Festival as a part of the 'International Competition' section.

Rachel (Julia Garner) is a Mormon girl who has been cut-off from any form of modern technology by her overtly conservative family. However, on her birthday, Rachel chances upon a rock 'n' roll tape. She listens to a track called 'Telephone' on the tape and soon, she gets pregnant! Now, she believes that it was an immaculate conception by music. Her fundamentally religious parents reprimand her for being irresponsible and are about to force her into an arranged marriage. Rachel has no choice but to run away from home. She drives down to what she calls 'Electrick' Las Vegas. Her brother Mr. Will (Liam Aiken), who was also suspected of impregnating her and was asked to leave the house, had been sleeping in the same vehicle that she drove away. So, you had these two, who dress unconventionally, talk in a certain manner, are ignorant about any form of modern technology and do not swear, smoke and drink, in the middle of a city that's renowned for all the above. Rachel starts looking for musicians believing that she will eventually find the father or her unborn child, the singer of 'Telephone'. Will and Rachel start hanging out with this guy called Clyde (Rory Culkin) and his friends. It's amusing to watch the two 'pure souls' let their hair down in the city.

While Rachel is relatively more subdued, Mr. Will goes berserk (even landing up in a jail at one point of time). Rachel, who keeps looking for that musician, marries Clyde in what was the shortest ceremony of all time. Clyde, who is perpetually high, takes it seriously too. The film has a mix of everything, comedy, drama, religion, love, drugs, music! And at the same time, no particular genre takes over the entire film. In essence, the film does have an unbelievable premise but the execution is so wonderful, that you are most certain to overlook the 'plot-holes'.

 The three young actors do a splendid job. Aiken, who plays Mr. Will, had a tough role to perform. On one side, he was the conservative, non-swearing, timid person back home, but a visit to the city changes him completely. That transformation was absolutely delightful to watch. Julia Garner steals the show completely. Her unassuming charm, her impish smile, the innocence on her face and the almost-flawless body language, escalate the film to a completely different level. Rory, who plays the the dope head Clyde, gives a 'buzzing' performance too. Natural performers, these three!

Apart from the wonderful concept of the film, the screenplay and dialogues too worked wonders. Although, the cinematography Mattias Troelstrup is breathtakingly beautiful, at no point does it get indulgent. The story moves along briskly and credit for that should be given to the writer-director Rebecca Thomas and the editor Jennifer Lilly. The dialogues are bound to crack you up. The best part about the film is that no matter however grim the situation is, the comic relief is always there. And, yet you can gauge the seriousness of it all. There are biblical connotations towards the end, but still the film does not lose its 'fun' flavour.

Is this ‘meaningful’ cinema? No. If you need to, can you take a meaning out of it? Yes. In either of the cases, you'll leave the cinema hall with a smile on your face.

Shivom Oza

Amour (2012) Review by Shivom Oza - A Compelling Film On Unconditional Love

3/5 Stars

The lives of Georges and Anne, both of them retired music teachers, change when one of them gets a paralytic stroke. The film is about unconditional love.

'Amour' plays out the emotional card wonderfully. The two leads deliver outstanding performances. However, in its entirety, 'Amour' leaves a lot to be desired. The winner of Palme d'Or at the Cannes Film Festival this year, the Austrian film was screened at the 14^th Mumbai Film Festival as a part of the 'World Cinema' section.

   

Georges (Jean-Louis Trintignant) and Anne (Emmanuelle Riva) are retired music teachers leading a comfortable life in their plush apartment in Paris. Their daughter Eva, who is also a musician, lives abroad with her estranged husband.

All goes fine for the couple, until one day when Anne suffers an attack which paralyses her arm. Her condition worsens post a surgery where she bears the brunt of the 5 per cent failure rate. It is at this point, where Anne is confined to the wheelchair and her bed throughout the day, when the love between the couple is really tested. Georges and Anne still try to lead their lives as normally as they possibly can, given the circumstances.

However, with Anne's growing problems and Georges' own old-age concerns, there are pitfalls one too many. The story is pretty simple. The film is more about 'individual moments'. Georges' inner struggle, the love for his wife, his defiance in ignoring the 'expert' advice of his daughter and his neighbours and battling his own old-age problems, are captured wonderfully. Eva, in spite of being devastated owing to her mother's condition, is shown to be a more practical person rather than an emotional one. Although she does pay the odd visits to her ailing mother, that emotional connect isn't quite there. The atmosphere of a family, wherein you have someone as ill as Anne, is portrayed realistically. There are no emotional outbursts, just helpless, melancholic sighs. Silence plays an important part in the film. Although it wonderfully captures the mood, it does slow the film down considerably.

The rapport between the husband and the wife is wonderfully shown. Immense control in needed to play such characters, and both Jean-Louis and Emmanuelle come out shining. The film, albeit not a heart-wrenching love story, is a sensitive take on old-age. At many points, you will relate to the story notwithstanding your age. On the outset, it is about old-age love but the subject does have a universal appeal. Is love only about finding convenience or is it about adjusting and fending for the other person? If it is the latter, then how far can you go? 'Amour' answers this question. Michael Haneke delivers a fine film. This is as real as cinema can get. Tedious it may be, but it still remains 'real'.

Just because it has won the Palme d'Or at the Cannes Film Festival, does not make it a must-watch. Those who are not fond of 'meditative' films will not like this one. For the rest, love is not as rosy as some books and movies portray.

Shivom Oza

Beyond The Hills (2012) Review by Shivom Oza - A Brave Film On Orthodoxy In Religion

3.5/5 Stars

‘Beyond The Hills’ is a Romanian drama based on the lasting friendship of two girls who grew up in the same orphanage. The film has bagged the 'Best Actress' and the 'Best Screenplay' award at the Cannes Film Festival, 2012. It was screened at the 14th Mumbai Film Festival as a part of the 'World Cinema' section.

With such brave storytelling by writer-director Cristian Mungiu, ‘Beyond The Hills’ raises important issues about religious fundamentalism and the orthodoxy of the leaders. It is certainly a compelling watch and does make you reflect about the state of the times we live in.

Alina (Cristina Flutur) and Voichita (Cosmina Stratan) grew up in the same orphanage and have been friends for the longest time. While Voichita moves on to become a nun at an orthodox convent, Alina stays with her foster parents and eventually moves to Germany to work as a waitress in a bar. It is when Alina visits Voichita at her monastery that problems start brewing. The Father and the Mother at the church are initially weary of having a non-believer and a sinner stay at their holy abode. However, they give in assuming that it won't be for long. Alina, meanwhile, longs for Voichita to come and stay with her in Germany. Voichita, who has given up the worldly ways, does not wish to change her path. Alina has nowhere else to stay. Her foster parents won't take her back neither will the orphanage. She is counting on Voichita to accompany her to Germany and start living with her. Her loneliness gets her to start doing strange things, such as get fits, harm herself etc. She is also frustrated owing to the fact that she is been made to give confessions and prove her 'sanctity' in order to stay in the monastery. Although she does believe in a higher power, it is the ways of the Father that annoy her to no end.

Her extreme behaviour gives rise to a lot of chaos within the place. The Father, who has never been too fond of Alina, takes it upon himself to extract the evil spirit out of her body. So as they start with the painstaking exorcism rituals, doubts start appearing in Voichita's head. The film raises so many important issues. Be it friendship, greed, love, belonging, religion, conservationism, humanity etc., the film strikes a chord on all the aforementioned counts.

The performances of the two girls are absolutely fantastic. There is so much control in their acts. At no point, does their extreme behaviour in the film starts looking theatrical. Even the Father, played by Valeriu Andriuta, is not the quintessential antagonist. Yes, his actions are in no way compassionate, but his character isn't a murderer. It's his ideology that really puts him on the firing line. The film is full of such contradicting characters. It does make you ponder over your own religious beliefs. There's a scene at the end of the film where a police car's windshield has dirty puddle water splashed all over it owing to a passing truck. Watch that scene carefully at the end. You will find a deeper meaning in the film.

Albeit ‘Beyond The Hills’ is a very good film, it may not be everyone's cup of tea. A bit long at 2 and half hours, the film takes its time to grow on you. However, it is brave attempt by the filmmaker and that should be lauded.

Shivom Oza