New Delhi: After the massive clash for Gandhi Jayanti at the box office last week, it’s a relatively dull Friday at the movies.
Director Shonali Bose’s biographical film The Sky Is Pink starring Priyanka Chopra, Farhan Akhtar, Zaira Wasim, and Rohit Suresh Saraf is sincere, but to have been effective, it needed stronger actors and less clutter and over-plotting, says Scroll. There are no treacly speeches and barely any tear-jerking moments. That should be a relief. But the jauntiness is tonally confusing, the frequent comedic moments misplaced and the attempt to be insouciant about death produces no emotional pay-offs. The non-linear structure, with flashbacks that stretch back to the protagonists’ courtship, produce many scenes of romance and friction, but little insight into a marriage severely tested by the death of a child.
Film Companion calls it a sincere yet sanitized look at extreme anguish. Until now, Bose’s storytelling had naturalistic textures, which served her tough subjects well. The Sky is Pink opts for a glossy aesthetic. There are speedboats, swanky homes, sweeping top shots of London and the Andamans. And no matter what the characters are grappling with, they are impeccably styled. This varnish undermines the authenticity of the emotions. The background music by Mikey McCleary is purposefully jaunty and counterintuitive to some of the situations on screen but this strategy works in only fits and starts.
For the Hollywood fans, American action thriller Gemini Man directed by Ang Lee starring Will Smith, Mary Elizabeth Winstead, Clive Owen, and Benedict Wong comes to India this week. The New York Post calls the film uninspired and not all that smart. The idea of facing off against your younger self is an intriguing one, but the movie never does anything particularly interesting with it. It shows occasional flashes of the eye-catching action that made Lee’s 2000 film Crouching Tiger, Hidden Dragon a hit. Unfortunately, the rest of the film is closer to Lee’s Hulk, an often-draggy, muddled misfire.
The Wrap calls it a ridiculous cloning thriller. Ang Lee blends an erratic script, listless performances and high frame-rate cinematography, and the results are terrible. The film has long been in development but it has such risible dialogue, such perfunctory characterization, and such rudimentary international-espionage plotting that viewers will soon stop asking why it took so long to go into production, and start asking why it went into production at all.
British documentary Diego Maradona on the Argentine footballer directed by Asif Kapadia doesn’t just chronicle a personality — it does an immersive meditation on it, says Variety magazine. Kapadia plunges into the raw stuff of journalism: news footage, home video, and other “objective" media. It’s not that he doesn’t shape the material; Kapadia’s films are richly, brilliantly edited. But by eschewing many of the standard tools of documentary filmmaking, Kapadia creates an unusually direct communion between the audience and the subject, taking existential deep dives into the lives of people.
Tamil comedy horror film Aruvam directed by Sai Sekhar starring Siddharth, Catherine Tresa, Sathish and Kaali Venkat is a dull affair, says The Times Of India. What seems like a high-concept romance suddenly becomes a revenge movie involving a ghost. But this earnestness and the predictable plot developments keep weighing the film down. The writing is all over the place.
Several releases this week haven’t inspired any reviews yet. These include Tamil films Puppy and Petromax, Telugu horror thriller Vadaladu, Telugu romantic drama RDX Love, Kannada movies Devaru Bekagiddare, Lungi , Chaati, Gnanam, Vrithra, Inject 0.7, Elleidde illi Tanaka and Siddhi Seere, Marathi comedy drama Appa Ani Bappa, Marathi romantic drama Man Udhaan Vara and Gujarati comedy drama Bijjo Divas.