First Half Report:

Plot- or presentation-wise until the pre-interval, there aren’t any exciting moments or action sequences that provide a high. Vijay is terrific in a couple of emotional scenes. The interval twist is interesting and raises the bar for the second half.

GOAT starts with an action sequence in Kenya and quickly shifts to Delhi, followed by a song featuring Vijay’s energetic dances alongside Prabhu Deva. Stay tuned for the first half report.

Vijay’s film, written and directed by Venkat Prabhu, who delivered the blockbuster Maanaadu and the disastrous Custody with Naga Chaitanya, is now ready with his big star film GOAT (The Greatest of All Time). This film comes at a crucial juncture for Vijay as he steps into politics, and it will be interesting to see how director Venkat Prabhu has made the best use of this significant opportunity.

Cast: Thalapathy Vijay, Prashanth, Prabhudeva, Mohan, Jayaram, Sneha, Laila, Ajmal Amir, Meenakshi Chaudhary, Parvati Nair, Vaibhav, Yogi Babu, Premgi Amaren, Yugendran Vasudevan and Akilan.

Written & Directed by Venkat Prabhu

Music : Yuvan Shankar Raja
Director of Photography : Siddhartha Nuni
Editor : Venkat Raajen
Banner : AGS Entertainment (P) Ltd
Producers : Kalpathi S Aghoram, Kalpathi S Ganesh, Kalpathi S Suresh

U.S. Distributor: Alerion (USA), Hamsini Entertainment Ltd

The GOAT (2024) Tamil Movie Review by M9

You May Like This

Advertisement

You May Like This

Defending the state’s handling of the “Rust” shooting case, New Mexico special prosecutor Kari T. Morrissey has asked the judge to take another look at the circumstances that prompted the dismissal of Alec Baldwin’s manslaughter charge.

In a court filing Friday, Morrissey asked New Mexico First Judicial Circuit Court Judge Mary Marlowe Sommer to reconsider her decision to throw out Baldwin’s manslaughter case.

Six weeks ago, Marlowe Sommer dramatically ended Baldwin’s criminal trial after potential new evidence came to light. A former police officer who lives in Arizona had months earlier delivered nearly two dozen .45-caliber rounds to the Santa Fe County Sheriff’s Department, saying they might have been related to the “Rust” shooting 2½ years earlier that killed cinematographer Halyna Hutchins.

The former officer, Troy Teske, is a friend of Thell Reed, a noted Hollywood armorer and father of “Rust” weapons handler Hannah Gutierrez, who was convicted of involuntary manslaughter in March in the shooting. Teske was scheduled to be a witness in her trial but Gutierrez’s defense attorney decided not to call Teske to testify.

After the Gutierrez trial and before leaving Santa Fe, Teske turned over the ammunition he had brought to New Mexico to local sheriff’s deputies. The casings of three of the rounds appeared to match the fatal bullet in the “Rust” movie set shooting, deputies later testified.

During Baldwin’s trial, the Santa Fe County sheriff’s crime scene technician testified that she took the rounds from Teske and placed them into evidence storage. However, the rounds were not included as part of the “Rust” shooting evidence, later testimony showed.

Instead the ammunition was filed under a different case number — a fact that Baldwin’s attorneys pounced on as evidence that the state was allegedly hiding material that might have been helpful to Baldwin’s defense.

The judge agreed and dismissed the criminal charge.

In her 52-page motion, Morrissey argued that defense attorneys knew more about the Teske rounds than she did. She wrote the situation surrounding the rounds did not rise to a level that warranted Marlowe Sommer’s dismissal of the case with prejudice, meaning it could not be refiled.

Morrissey asserted that the tardy disclosure of the Teske rounds did not hamper Baldwin’s defense because his attorneys apparently knew about the ammunition before the trial. Morrissey also argued the rounds were unrelated to the charges that Baldwin faced.

“It never occurred to the State that the Teske rounds were relevant to the case against Mr. Baldwin and they are not,” Morrissey wrote.

A Baldwin representative was not immediately available for comment.

Morrissey wrote that the state, which had just two attorneys on the Baldwin case, lacked the resources of the actor’s team, which included at least nine lawyers. She asked the judge to ask Baldwin’s lawyers to disclose when they learned of the Teske rounds — presumably to show that it was well before Baldwin’s trial that began with jury selection on July 9.

Morrissey also wrote in her motion that the crime scene technician, Marissa Poppell, was not trying to mislead the judge when she testified that the Teske rounds were dissimilar to the ones uncovered on the “Rust” movie set in October 2021.

“She provided mistaken and inaccurate testimony because people occasionally make mistakes,” Morrissey wrote.

In July, the judge grew visibly angry when she saw that three of the rounds did appear to match the live ammunition found on the “Rust” set.

Morrissey said the judge should have considered less severe remedies, such as declaring a mistrial to give Baldwin’s team the opportunity to inspect the rounds and have them tested by the FBI.

The judge has scheduled a hearing later this month to consider a separate motion filed by Gutierrez’s attorney to throw out her conviction or grant a new trial.

2073, writer-director Asif Kapadia’s sui generis feature, is nothing if not ambitious. It offers viewers a numbingly bleak vision of the future 51 years from now, illustrated by a fictional framing device starring Samantha Morton, then explains how things got/will get that bad through actual recent archival footage and original interviews with an assortment of thinkers, journalists and activists. By comparison, George Orwell’s classic dystopian novel 1984 looks as jolly as a Peppa Pig picture book.

You can’t help but admire Kapadia’s commitment to feel-bad cinema, his refusal to end on any false note of hope. It’s all part of a deliberate strategy, according to an interview in the film’s press notes, to motivate the audience to do something, anything, to stop all this happening. But given how sinister the forces sowing the seeds of our future destruction are — rising autocracy, unregulated technology and looming climate catastrophe — some might wonder if watching this might cause more people to feel even more helpless, freezing them like dodos startled in the glaring lamplight of invading hunters. Those who might be able to put aside despair and absorb this strictly as a work of persuasive rhetoric will be impressed with its intellectual scope, the economy of the storytelling in its fictional narrative, the bravura editing and visual panache as it builds a world full of dust, detritus and debased morals.

In the movie’s present, the year 2073, a woman known only as Ghost (Morton) lives deep in the subterranean levels of what was once a shopping mall in or near San Francisco but is now a squatter’s camp. Aboveground, the atmosphere is just about breathable in the arid climate, but surveillance cameras everywhere invigilate everyone’s every move. This is now a police state where people are suddenly “disappeared.” Traumatized by events from her childhood — particularly the disappearance of her own mother, and all the suffering since — Ghost is selectively mute. But her voiceover acts as a guide to recent history as she explores forbidden spots on the surface, like libraries or rooms full of taxidermy and redwood tree trunk slices that visually echo the natural history museum in Chris Marker’s La Jetée, a clear touchstone here.

When the film shifts into micro slivers of archival footage (montaged together by editors Chris King and Sylvie Landra) to explain how, for instance, the global rise in autocracies made this future possible, it makes for a somewhat awkward narrational adjustment. Interviewees like Nobel Prize-winning Filipino journalist Maria Ressa or Indian investigative reporter Rana Ayyub speak as if addressing someone just offscreen, Kapadia or a surrogate presumably, as in a more conventional doc. Some contributors are heard only in voiceover, such as pundits Anne Applebaum, George Monbiot and Ben Rhodes, pitching in with pithy observations that barely have a chance to reverberate before we’re on to the next thing.

Whereas many doom-docs of late tend to focus on just one bad thing happening in the world, like the climate crisis (An Inconvenient Truth), the unregulated rise of social media and dodgy but legal tech (The Social Dilemma, The Great Hack), or stupid evil billionaires and AI (acres of YouTube shorts), 2073 tries to pull them all together. It’s hard to argue that these issues aren’t indeed interrelated, but the film never slows down enough to draw out the connections clearly for the slower viewers in the back row. That makes the final triumph of a repressive state apparatus feel as inevitable as the predictable martyrdom of Ghost — a fate foretold in some of the clips spliced in from Morton’s earlier movies, including Minority Report, as if they were part of Ghost’s backstory.

In that latter movie, Morton played a “pre-cog” who could see crimes as yet uncommitted. But as with the prophetic Cassandra of ancient Troy, to see the future is a kind of curse if no one believes what you say. One can only wish that 2073 will at least help a few people reconsider how they vote, how they consume and where it’s all going, but our hopes are thin.