Ruwimal Pathiraja

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"All good things must come to an end" declares Patton to his subordinates on the eve of the end of the war. As eccentric as the character it portrays, this film is a true biopic, with all of the real general's strengths, weaknesses and idiosyncrasies wrapped up in one delightful package. Although the dialogue lacks the routine swearing so often seen in other wartime movies (perhaps to make the movie appropriate for a wider audience), this slight blow dealt to the realism of "Patton" is well compensated for by the gripping story it relates. The remarkably bold opening speech prefaces the events of the film and serves as a vivid introduction to the most unusual trait of the general: his lust for war ("I love it, God help me, I do love it. I love it more than my life"). Most of the entertainment the movie provides stems from the qualities of Patton himself and the effect they have on his peers, subordinates and often superiors (an omnipresent Ike lurks invisibly in the background), which is both a strength and a weakness of the film. Its single-minded focus on the adventures of the general himself prevent it from depicting a more complex, layered narrative, while this same quality makes it an enviable biography of the man, the simple, linear tone of the film echoing the military mentality of the general. The battle scenes are rather unconvincing, with all the combat, gore and butchery swapped for an abstract, objective portrayal which in a sense places the viewer in the shoes of the egotistical Patton who sees the battle as more of a showdown between himself and the Desert Fox. The acting on the other hand, is wonderful and both Scott and Malden succeed admirably in bringing their characters to life. Patton is truly all about Patton, and Patton is all about himself. Anyone who sees themselves in Patton (at least to a certain extent), will enjoy this movie.

Watching the movie more than 40 years after its release,arms the viewer with the ability to experience the story without attaching much significance to the cultural conceptions of the Vietnam War that marred the movie back in the day. This is, I believe, how this movie deserves to be viewed ; not as a polemical, historically accurate account of the war itself, but as a film with the greater ambition of delivering a heartrending human drama. In this regard, the tale is astoundingly successful, and the long, but unceasingly moving journey through the lives of several young people from the steel mills of Pennsylvania to the killing grounds of Vietnam and back again, brings to mind similar epics such as the immensely lauded Once Upon a Time In America. Eerily realistic performances by the cast of early career Hollywood stars (Walken's hospital scene in particular), punctuated by the achingly beautiful score by Stanley Meyers make The Deer Hunter a timeless classic, a must-see on any movie lover's list.

Many movies that bask in the light of critical acclaim are centered around themes of progress and positivity; movies that either entirely avoid moral commentary or embrace it wholeheartedly to deliver messages that would generally be deemed morally acceptable. It very rare, therefore, to find a film that tells a tale woven around a concept as serious as child abuse. This is precisely what we see in this masterpiece; a story told in a candid tone with a touch of empathy, not flinching away in the slightest from the dark consequences of the theme it sets itself. The plot is simple but profound. This suits the story well since it leaves us to be entertained entirely by the drama of the events that unfold. Mads Mikkelsen does not disappoint in this regard, pulling off a performance that rivals his chilling debut as Casino Royale's Bond villain.However one is led to wonder how the story was explained to the child actors of the movie, who nonetheless are very convincing. It would be a great disservice to the script for me to not include a word on its ending. Since I wish to keep this review spoiler-free, I shall be content by saying that the final shots of the movie come as a surprise, one that stays true to the realism the movie is determined to stick by. Hunt down this movie ASAP.

Stands out among other Nolan movies for its simplicity and directness.Instead of incorporating the usual Nolan trick of messing with the viewer's head with a complex plot and a skewed timeline (say Inception or Memento), Insomnia delivers its tale in a plain storytelling fashion.The classic neo-noir theme of ambiguous morality gives the movie a philosophical tang and along with a brilliant performance by Al Pacino, Insomnia turns out to be a cop thriller as admirable (though perhaps not as flashy) as L.A.Confidential.

Just three movies in Hollywood history(to date) can boast of the honor of winning the "Big Five" Oscars; Best Picture, Best Director, Best Actor, Best Actress and Best Screenplay. It Happened One Night became the first of these iconic movies as it swept the Academy Awards of 1935. Clark Gable and Claudette Colbert as Peter Warne and Ellen Andrews take us on a breathtaking journey across the United States with so many cheeky escapades and good-natured wisecracks that the 2 hour runtime simply flies by. Screwball comedy is the name of the game, personified by the lively, charming Peter with a few punchlines from his flirtatious partner in crime as they outrun (or rather outsmart) a nationwide manhunt. Romance, lurking subtly in the background for most of the movie, takes centre-stage as the story draws to its delightful conclusion. The acting awards were well deserved, with both leads bringing their characters to life with refreshing authenticity and although the prim dialogue seems a little off to the modern viewer, it lends a true old-timer feel to the story. The plot is pretty straightforward, which is appropriate for a comedy and the cinematography offers everything you could expect from a movie produced almost 90 years ago. Rumoured to be the inspiration behind the now legendary Bugs Bunny, IHON is the adored great grandpa of rom-coms, the sublime origin of most cliches we see in the genre today.

Joe Buck is a strapping young fella heading off to "the east" to make his fortune hustling. Little does he know of the vices of the Big Apple, and a shady Dustin Hoffman as the aptly named "Ratso" (Rizzo) is only too delighted to show young Joe the ropes. Their parasitic relationship morphs gently into a wary companionship as the duo evolve into partners in crime, fending off the cold and the cruel cynicism of the city. The beautifully constructed narrative is mostly linear, with a few intriguing flashbacks interspersed with the occasional day dream; a refreshing combination that keeps the viewer interested. The opening sequence of the movie is wickedly misleading, as the initially upbeat tone of the story takes on increasingly darker hues before concluding with a truly moving ending. The three Oscar wins come as no surprise; Schlesinger's direction is indeed masterful, although it is peculiar that neither Jon Voight nor Hoffman won Oscars for their amazingly soulful acting. The cinematography of the film deserves much credit; the surreal events of the party and the flashbacks into Joe's past have a distorted yet vivid feel to them. This movie is a slice of the 60's and 70's; like a long forgotten tome it rests among shelves of classic cinema, echoing in the minds of anyone lucky enough to chance upon it. RIP Rizzo

Pirates of the Caribbean: At World's End

Take the intricate ingenuity of Inception, the unflinching boldness of Game of Thrones,the optimism of the Shawshank Redemption and put it all in a chest with the beating heart of Saving Private Ryan.........and behold me mateys, the splendor of the 3rd installment of this fascinating series. While other adventure movies of this fashion tend to settle slowly into well trodden tracks and increasingly predictable plots,Pirates of the Caribbean is a contrarian and proud of it. At World's End brings with it a plethora of new delights and surprises wrapped in the warm,familiar comic relief and idiosyncrasies of the preceding movies, reminding its ever growing audience that ol' witty Jack and his crew always deliver on their promises,pirate code or not.Although eyebrows were raised at the unusual runtime of the movie, the viewer shall find that every second of the journey (for it is truly a wonderful journey) is worth it. I say no more for it would be treachery to spoil so perfect an experience but I promise you ladies and gentlemen, that you will always remember the day you watch this as the day you almost wished you were the Dutchman's captain yourself,for more reasons than one.

The 90's was a decade in film history where a new generation of soon-to-be-famous directors (notably Tarantino and Bryan Singer) stepped into the limelight alongside pros like Scorsese, Copolla and Spielberg. The Usual Suspects is a gem of this era, borrowing traits of the classic noir film and coupling them with a wonderfully convoluted plot to produce a movie for the ages. Having watched it twice, I find it remarkable that most of what impressed me on the first viewing retained the same quality the second time around. Although the effect of the twist ending was admittedly dulled having seen it once, this is clearly more a property of twists in general than a fault of the one in the film, which, is one that will truly blow you away. Despite being rather a one-trick pony of a plot, the beginning and middle of the narrative are vivid enough to keep the viewer engrossed, with a few refreshing moments of comic relief thrown in. Kevin Spacey's masterpiece in acting cannot go unmentioned. In a deservedly Oscar-winning performance as Verbal Kint, Spacey demonstrates his unique skill of portraying a very layered character. Looks may indeed be deceiving. John Ottman's score, at times chillingly suspenseful and at times eerily suggestive, is a perfect musical companion to the events that unfold. Inspiring numerous ripoffs including one sadly distasteful Bollywood remake, The Usual Suspects is as entertaining today as it must have been 25 years ago, a film that is a cult classic for a reason.

The aptly named Parasite is a movie with a message, one that permeates through every frame and colors the interactions between characters. The class struggle between the upper and lower echelons of society (in this case the rich and their servants), is a common concept in most Asian societies and placing this dilemma at the heart of the plot is, in my opinion, its undoing. Although the idea itself is worth exploring through a work of art, it lacks the striking, bizarre and mystifying elements that make other thriller flicks appealing. Perhaps my misgivings about the movie are mainly a consequence of my expectation that the plot would contain some major twist and supply a mind-blowing climax in the tradition of the classic thriller. Although the tale does end on a violent note, it is far from being unpredictable and even a fairly attentive viewer could foresee a similar denouement halfway through the film. More of a satirical drama than a wild ride, Parasite moves at a rather sedate pace, and the clever con tricks that prompt a chuckle in the first act turn predictable and even lose credibility, with most supporting details seeming artificial and contrived. The characters, though well portrayed by a talented cast, suffer the ubiquitous flaw of being agonizingly one dimensional, merely tools in the hands of the director, designed specifically to bring about certain sequences of events. Barring a single incident in the climax of the film, the characters seem to lack a will of their own, the overarching concept of class inequality embodied so perfectly in each person that they appear more like an ensemble of caricatures. Yet praise should be doled out where it is due, and no element of the film deserves more praise than its cinematography. Despite the shortcomings of the plot, the wonderfully filmed scenes make up for them to a certain extent, the symbolic staircases, architectural secrets (wink wink) , floods and lavish garden parties yielding a veritable visual extravaganza. The score ebbs and flows beautifully with the pace of the film and complements each scene powerfully. In summary, despite deserving some credit as a timely black satire, if a good old crime thriller is what you're looking for, Parasite is certainly not up your alley.