FRS: The Mummy

 

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So, we all know what FRS is right? Right?

Vacation’s over boys!

-101: Narration, even if it is in Russel Crowe’s voice also cheating-like. Because narration brings in a point of view but the rest of the film doesn’t even acknowledge that. What’s this da big holly.

-23: Tired Russel Crowe is extremely tired, maybe it is his character, maybe it is us. We are extremely troubled when our favourite actors land such roles. Taking this opportunity to welcome Kamal Haasan to Big Boss. Hi.

+25: Speaking of favourite actors: Tom Cruise

Tom Cruise

A word on Cruise, let’s give the critics the benefit of the doubt, he does play the same character in every film, which of course is ‘pop criticism’, but we have a feels that Cruise knows what he is doing because at 50+, he was able to bring out something as exciting as Rogue Nation.

There is no actual rule that a screenplay should not lend itself to its larger than life lead actor, in fact it requires some really smart writing.

Boys and Cruise is among the last of the old world Hollywood type movie stars da, like that only.

-50: Speaking of smart writing, Tom Cruise being chased by a 5000-year-old Mummy who thinks he is her chosen one, like really this is the Nagesh arc from Utharavu Indri Ulle Vaa

+22: These ancient Egyptians are very specific in their rituals, so elaborate

-100: Elaborate Egyptian rituals can be interrupted

-343: Movie rests entirely on the above point

-5: Bossugal of Egypt think that Mummifying is the worst of punishments not realising that it is the most favourable situation for Hollywood Bossugal

+6: Hero does not say the useless overused line “I hate mummies” in this franchise

-21: Hero thinks stealing and protecting artefacts are the same, although he is not Indiana Jones. Hero does not belong in a museum

+23: Bug-Calling: the pioneering tech to communicate in Antman seems like walkie-talkie because The Mummy can do all that without tech only.

+56: Over-powerful Mummy is over-powerful.

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It’s like unbeatable Mummy meets (Mission) Impossible Cruise

+5: We actually came up with the above line

FRS Rule of Thumb: Whenever main villain is captured and put on full display, you can bet your house in Adayar and that estate in Conoor that villain will surely escape.

-3: Conoor

-1: Adayar

-192: Hero sleeps with heroine as mark of love, this is mentioned multiple times in the film but never actually shown. Boss, why do you think we watch English films in the first place (dubbed also same). Please convey to concerned department.

-76: American hero saying “What the hell” when they don’t know what is happening

 

+50: Very good to decent (we give range, for specific data we are not one IBM) action sequences, I mean you don’t really care about Mummies getting hit left right and centre, but it is fun and funny, there is even a Raiders type fight in the lorry.

-10: American archaeologists immediately get into, “what we have here is a 2000-year-old artefact” kind of voice recording which works ok as exposition, but second and third time it is like over professional, boring even

+101: Hero’s friend: yeah yeah he is funny, but then also (no spoilers) LOL this is one of the films where they give a twist to the companion character and much welcome change this is.

 

+5 Tom Cruise running away from things

From a strategic career point of view, I hope he runs away from what this franchise will become, oh wait, there is more. Strike that out.

-35.9: This concept of power, like u were first Pharaoh of one region, suddenly you want to rule whole world. Why? All your IAS officers are doing so well?

Also if you are princess of Egypt, high chance you will not inherit throne, not unlike modern times. Someone said history repeats itself, someone was right.

So, if we keep repeating this statement (which is ‘history repeats itself’) then we will be proving that person right. Right?

+22: Double Pupils

-208.112: Actually, we had decided in one FRS board meeting that we should not cut points for lack of originality, or lack of ideas or something along these lines. Because we believe that very few can come up with something new, see like this FRS itself is one modified (read as copy) format, but this and all if we see…Nevermind.

But still when you have the wealth of content with you (some 300 Universal monsters) … Hollywood Bossugal must revisit this whole franchise funding.

tenor

Oh before we go, there is no Rachel Weisz in this thing, we have no idea how many points we should cut for that alone.

 

Yours Sincerely

THE FRS Team

A LhF Production

Subam

Vanakkam

La La Land

la-la-land-pic-2048x1152Having seen hundreds of films in which actors routinely break into song for no reason, the musical is a genre something I could slip right into, only that in La La Land there is always some reason for the music.

La La Land operates in multiple dualities, the real city and the virtual city, the earth and the stars, the famous and those without a face, the past and the present, and more importantly how dreams push reality and how ruthlessly dreams are pushed back by this reality.

Yes and all this is told through the lives of two.

Mia and Seb.

The film keeps religiously hinting at the co-existence of real and dream states, where even a phone ringtone brings you back to drab daily life and the sight of an old movie theatre could push the leads into the clouds.

Not falling into the trap of grandness, Damien Chazelle shows meditative concentration on his leads, shot in the ultimate film maker’s wet dream of a format: cinemascope, when the screen is filled with Emma Stone’s crystal green eyes or Ryan Gosling’s timely nod, even the best of nature’s landscape would concede defeat.

I wouldn’t want to limit La La Land as a love story of two struggling artists in a big city, but it does brilliantly work solely as a love story, beyond the romance, has there been any film that uses the yearning for the past and aspirations to come and yet stay contemporary? Questions are a plenty and these gently push the film along, without being conscious and feeling self important about handing these questions.

La La Land is a film that flushes out all emotions, moments to cry into crumpled hankies are interrupted with moments to beam with happiness at what La La Land throws at us, but not for a moment it looks constructed or organised.

La la land doesn’t want to be brilliant, but it cannot help itself from being so.

Great films aren’t necessarily great because they utilize the finest of techniques or technicians, it is great because of their ability to bring out emotions that other great films too invariably bring out, something like a Casablanca, something like a Sagara Sangamam.

Maybe it is a mixture of all that.

A complete film which takes all from Old Hollywood but yet comes out as its own, the flourishes of which will be enjoyed for years.

To all those quick to use the phrase “they dont make them like that any more”,

they just did.

 

PS : It is only providence that I got to see a film divided into parts namely winter, spring, summer , fall and winter again in a theatre called seasons.

Arrival

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Where to begin a story which has no beginnings, or an end?

An arrival is often followed with a marker for when, but here it is why. Under the hands of a director comfortable with blockbuster cinema, Arrival has the maximum potential; 12 alien ships arrive on earth, no one knows why; except of course America. Yes, this too is an ‘America-saves-humanity’ movie. Only that it was directed by Denis Villeneuve.

And it is bound to frustrate those seeking blockbuster entertainment, because of the very visible slowness, take for example the usual money shot of earth realizing that it has guests, showed here simply by Amy Adams(she is simply brilliant here!) walking away from a group of students crowding around the television. Absolutely no hurry, even when there enough opportunity to create tension, something like a Dr. Strangelove kind of situation; Villeneuve refrains.

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Why?

Arrival is adapted from a short story titled ‘Story of Your Life’, not Armageddon or Apocalypse, this is one of the most personal films I have seen and maybe the slowness is to make us understand there is no concept of time; where there is no such concept of time; slow and fast are deprived of their meanings. Even beginnings and endings are just empty words.

Arrival is about being alone and being together, about being human and alien, about the teacher and the taught and about the nature of knowledge itself, and how we are all going about in circles, literally. Denis covers all this and without hurry and completely removing drama, treating aliens and humans with respect, the movie is neither dark nor filled with popcorn aggression (again much scope for this is there when a world prepares for war), nor does it squeeze the aliens into blobs of horror or sentiment.

Arrival is perhaps the most tranquil of alien invasions.

Thank you.