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Aaghaaz (2000)
Sunil Shetty - good acting and covered in chili powder
2 August 2010
Warning: Spoilers
There is not a lot new in the plot of "Aaghaaz". It's a pretty standard fusion of revenge drama + love story. What makes it worth watching is Suniel Shetty flexing his acting muscles - finally. Well, that and the chili powder scene referred to in the title of this review.

Suniel has done a lot of these "protector of the people" roles but few allow him to act because few provide him a character with any depth. The character of Govind comes across as somewhat naive and simplistic in his uncompromising morality in the first half of the film. It is only after the intermission that Govind shows some layers. Suniel gives a solid performance in the 2nd half as a man betrayed by the unwillingness of neighbors he once aided to help him when he's in trouble. The scene when neighbors come to confront his legal tactics at his home is a demonstration of acting ability. Govind says nothing but the viewer can see what he's thinking, feel what he's feeling and understand his unspoken rage. It is a case of the writing, direction and performance being in sync. The very fact that he says nothing but commands the scene is marvelous.

There is a somewhat anemic love story attempted. It is not compelling, partially because there's no preamble. The first time we meet the characters, they're already in love. The reunion at the end is not really satisfying.

The songs are good but unremarkable. Production quality is reasonably good - lighting, framing and costumes\set decoration all meet expectations.

The scene with the chili powder is a fave of mine - Govind is wounded and takes refuge in a shop were red chilies are ground into powder. He takes a handful of the powder and smears it into his fresh lacerations and emits a scream of defiance and "*$@#!% that hurt"! His enemies realize how tough he must be and take off running only to be chased by chili-powdered, butt-kicking Govind. Classic!

The only downside to this film is the somewhat graphic depiction of rape in full view of the public. It's a bit unsettling.

But otherwise, watch it if you're a fan of Suniel or a lover of the wounded hero subgenre of Indian films. It's a satisfying ride.
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Kaante (2002)
The fine line between "inspired by" and "ripoff"
29 July 2010
I am a fan of Quentin Tarantino and love Indian movies so I was ready for the mishmash of cultures and influences when I popped this in the DVD player.

"Dream cast" is a description bandied about with the film and I only wish it were so. The cast splits evenly into the three better-known Indian actors and the lesser-known ones who do not impress.

Best things in this film:

  • Motivations for each character to be involved in the heist emerge clearly and connect the characters to their later actions and reactions. This internal consistency is essential for a heist film to work and whether the result of the Tarantino script or the Indian rehash, it works. The reasons each character is involved are clear and convincing.


  • Sanjay Dutt has never impressed me but somewhere in the middle of the scene where he's interrogated by the police, I began to see how he was made for this role. The cadence he keeps is brilliant. The deadpan, droopy-eyed stare he's trademarked just works. Tarantino should use him in an English language production.


  • Sunil Shetty's subplot is unoriginal. Still, he's magnetic because the romance subplot gives an opportunity for displaying an essential characteristic - despair mixed with menace that explodes when provoked. His character doesn't rise to the bait often but when he does, it's clear how much bad he can bring. When the character finally curses in English, I cheered.


Least good things about this film:

  • The cinematography was so highly stylized that it distracted. LA is hot in summer but it sure as heck is not that yellow.


  • The Americans in the film might as well be cardboard cutouts. I understand that the average Indian moviegoer may not see this but it's very noticeable to American viewers. The actors are very stiff. The plot point about the American detective wanting to get "those Indians" is wooden to the point of being laughable.


  • No matter what you think of the American penchant for firearms and violence, you _will not_ find people target practicing in downtown LA on top of a hotel without SWAT being called. It's so ridiculous that it suspends belief in the story. And while you're at it, why do all of the actors look like they're afraid of guns? Even Sanjay "I carry firearms all the time" Dutt looks like he'd afraid of guns in the scenes where they are firing.


As a crime caper film, this version does deliver on the simple premise of watching the crime unfold. It satisfies and gives a new life to the story Tarantino unfolded. I liked it enough to want to watch it again.
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No subtitles makes this hard to watch
20 July 2010
There are no subtitles available on this film's DVD. I want to see it with English subtitles because without them, I can only guess where the jokes are supposed to be.

I like Sunil Shetty. I really liked the British original of this story "Death at a Funeral". I so wanted to like this version too. But, can't tell what's being said except when they lapse into Hinglish or full on English.

Please, someone, subtitle this one for the rest of us. Producers of the DVD, c'mon, include the rest of us in the fun, please. There is an increasing market for Indian films outside of India. Kindly let the rest of us understand. When you add the English subtitles, I will buy a copy of the DVD.
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The Outsider (2002 TV Movie)
Better than average conversion from a romance novel
25 January 2005
Nope, it ain't a Clint Eastwood western. No deeply wrought moral tales or stoic heroes herein.

But it is a better than average take on the dime-a-dozen romance novel genre. First of all, gone are the distracting subplots that dot the novel written by Penelope Williamson. Second, this version is long on visual poetry. A lot can be conveyed by simply letting the camera stay on the principle characters as they convey the emotional content of the story. Third, the director takes advantage of a much better than expected cast. Naomi Watts has emerged as a powerhouse of an actress in the last few years and she does not disappoint in this role. Tim Daly is restrained and manages to convey more than a touch of humor to what could be a well-worn stereotype of the world weary gunfighter.

If you're in the mood for a simple story, well acted and pretty to look at, this one will serve you well.
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3rd story "Lover's Vow" is truly creepy
26 August 2001
While the first two strories in this 3 story anthology are good, it is the third that has haunted me since I watched the movie years ago.

Warning - plot details revealed below:

A struggling artist, Preston, witnesses a gargoyle come to life and gruesomely kill a man. He is sworn to secrecy by the creature and set free only to spend years drawing and sculpting the creature in secret. When he finally reveals his experience, the consequences are horrible.

What still makes me shiver about this story is the paranoia that keeps Preston silent but which eventually erodes over time. It is so human to know that one must keep a terrible secret and yet want to share it with someone else. The chemistry between leads James Remar and Rae Dawn Chong is compelling and it makes the conclusion of the story even more chilling.
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One Good Turn (1996)
Good performance by Remar in a cliched role
20 August 2001
The script of "One Good Turn" gives the actors little to work with. It features standard characters, plot holes the size of craters and pacing inconsistent enough to make it tough to buy the sense of peril.

Despite this, James Remar manages to make his role multi-layered and worthy of bit of sympathy. In the moments where his character is doing something evil, he has a concentrated focus that is neither evil nor sane. Instead, he slowly draws his madness and revenge towards the conclusion that is inevitable but somehow unexpected. The script lets him down by relying on a hackneyed flashback technique. But his final moment is infused with a resignation and sensitivity that this type of film usually can't achieve.

Wath One Good Turn for Remar and ignore the script.
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The Surgeon (1995)
Another bad hospital horror flick
20 August 2001
This movie can't decide what it wants to be.

It starts out medical mystery. Standard "Coma" plot here - maverick woman doctor fights with colleagues and discovers something fishy going on.

Next is a detour through subplot melodrama - maverick doctor gets in trouble and starts hanging out with a photojournalist turned med student. Nice work by James Remar here.

Then it lurches over to horror flick but doesn't quite make it. The heart of a good horror flick is a compelling villian. This script practically forgets about its villian until a good way into the film. What we get then is a laughably bad, unchilling parody of a sort of bad guy. He's got no menace, no personality. What good is a forgettable bad guy?

Skip this one unless you must see every bad hospital horror flick ever made.
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An 80's movie not aging well
20 August 2001
Title this one "Miami Vice for the teen crowd".

Basic plot - juvenile bad boys from south Florida are taken into the Everglades for training by a Vietnam-era mystic soldier-warrior. Standard struggles ensue - kids resent the soldier, kids don't like each other, conditions are tough. Naturally, they bond and become the titular "Band". Once the kids and the soldier are back in Miami, the film loses direction as they fight gangs, pimps and a nasty drug dealer.

The most interesting thing about this film now is the chance to see a very green Larry Fishburne and Lauren Holly.

The rest of the film is incredibly dated and just doesn't hold up today.
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48 Hrs. (1982)
Great cop flick and one of Eddie Murphy's best
20 August 2001
If only Eddie Murphy could find scripts like this today...

A great script and terrific performances from Nolte and Murphy elevate this far above the classic "find the bad guys" flick. Murphy is excellent as wise-mouthed smooth operator Reggie Hammond. Nolte is equally good as a world-weary cop who takes him out of jail to help track down a pair of escaped cons. The give and take between these two is classic guy stuff that is still fun for women to watch.

The two villains, played by James Remar and Sonny Landham, are superbly cast to play viciousness incarnate. I still rate movie villains by how they stack up against these two. Both give me chills down my spine to this day.
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