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Fair Play Movie Review: The ‘Foul Play’ Of Office Romance

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Fair Play Movie Review: The ‘Foul Play’ Of Office Romance

About Fair Play

The difference between the opening and ending sequences of Netflix’s Fair Play is so jarring. The racy thriller by Chloe Domont opens with the joy of an engagement, while Fair Play’s ending just leaves you unsettled at the resolution. The tense drama is led by the fantastic Phoebe Dynevor and Alden Ehrenreich who grab viewers into their worlds and make you feel for their characters.

Fair Play: Narrative

Emily (Phoebe Dynevor) and Luke (Alden Ehrenreich) work together in a high-profile Wall Street finance firm. Secretly, they have been in a relationship for two years, which is prohibited at work. But the couple are madly in love with one another, or so we assume.

All it takes is a promotion to come between them. The shift happens quite suddenly as Emily is now in a position of power at work, upsetting the balance between them. Luke is shown to be more suspicious, and Emily grows more anxious and guilty. This uneasy dynamic builds up and up until it explodes.

Fair Play: Direction

Chloe Domont’s feature directorial debut grabs you in immediately. The filmmaker also shapes Fair Play, almost like a horror film in the second half, as tensions run high between Emily and Luke. Chloe uses an edgy score that lifts the atmosphere between them. The conversations between the couple are increasingly strained and they grow to an eventual boiling point.

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Fair Play: Acting

Bridgerton’s Phoebe Dynevor is magnificent as the unapologetic Emily. That last scene alone should get her nominated for some awards next year. Meanwhile, Alden Ehrenreich has the more unlikeable part, and he lets Luke’s wounds fester over time, always believing himself to be the aggrieved party. After a while, Fair Play is more about the games Emily and Luke play with one another, trying to elicit a reaction. The self-destruction between them becomes hard to watch, but like a car accident, you look on.

The power struggle is also reflected in their sex life as Luke withdraws affection from Emily. Both actors convey these very difficult emotions in a nuanced manner. Eddie Marsan is also commanding as the firm’s top boss who shows favourites early on.

Fair Play: Critique

Fair Play, which premiered at the Sundance Film Festival in January, plays out the glorious dissolution of a relationship. The manner in which it falls apart is quite disconcerting. The scenes in the office that illustrate Emily’s loneliness as the only woman in the all-boys club also leave a mark. The difference when Emily is with them to when Luke is amongst them is telling as well.

Chloe Domont’s handling of the misogyny Emily has to face both at work and with Luke is so striking. And Phoebe Dynevor displays so many conflicting emotions on her face as she processes each situation.

Fair Play has an ending that will leave people talking and it’s a scene that can be used for analysis over and over in gender studies. It’s not just the perceptions men and women have in relationship; it’s also about respect and assertion of where they see each other in today’s modern world. Fair Play is a must watch, don’t miss it!

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Movie Reviews

Music Shop Murthy Review: Sincere But Overdone

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Music Shop Murthy Review: Sincere But Overdone

BOTTOM LINE
Sincere But Overdone

RATING
2.25/5

CENSOR
U/A, 2h 7m


ajay-gosh-music-shop-murthy-movie-reviewWhat Is the Film About?

Murthy (Ajay Ghosh) is a music shop owner in Vinukonda with a wife and two grown-up kids. The shop is a burden on the family as it yields no financial gains. However, Murthy is passionate about music and doesn’t let it go despite daily taunts from wife.

Murthy meets a young girl, Anjana and they immediately form a bond over their mutual liking for music. She inspired Murthy to become a DJ by following his passion. The movie’s story is about whether Murthy achieved the goal or not.

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Performances

Music Shop Murthy is Ajay Ghosh’s one-man show. His journey is the movie and he does a neat job with it. The fact that the character is closer to the actor’s age helps to a large degree.

Ajay Ghosh goes about the proceedings in his usual way. However, at times he feels overdoing the goody-good act a bit. It makes the narrative needlessly syrupy, at times, as a result. He delivers in the emotional scenes and manages to pass off as being an old-age DJ without entirely looking ridiculous. Needless to say, as an actor, it is a memorable role for him as he gets a full-fledged lead part.

Chandini Chowdary plays a youngster who lives on her terms. The accent and body language feel too urban for the backdrop (Vinukonda), leaving that aside she is confident and plays a key role in delivering the message.

For Amani, this is a walk in the park. She has done similar roles in the past and does it again with the same conviction and emotion without losing a beat. Despite nothing unusual, she still stands out for the same reason.

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director-siva-paladuguAnalysis

Siva Paladugu writes and directs Music Shop Murthy. It is a feel-good underdog story where the protagonist rises and shines against all the odds. The difference here from other such genre films is the lead who is an aged guy.

Right from the opening we know where Music Shop Murthy is headed. The world establishment makes it clear and so does the narrative as it unfolds. And still, we don’t mind it or lose interest, and that’s because of the earnestness with which the proceedings happen.

There is sincerity in Murthy, and although overdone, it works eventually. Similarly, the scenarios and the drama he is entangled in feel relatable. But, more than anything it is the age factor added to the story that makes one root for the character.

Age should not make one lose interest in what they are passionate about – this theme and the situations centred on the DJ aspect help Music Shop Murthy escape being completely outdated.

The moments between Murthy and Anjana (played by Chandini Chowdhary) bring a little bit of freshness to the proceedings. The escalation of drama in the pre-interval and interval as a consequence makes it a decent half overall.

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The problem for Music Shop Murthy lies in the second half. Even within a predictable tale, the fresh element seen in the first half is missing here as the narrative ticks all the genre-related clichés.

The feel-good factor turns into a fantasy of sorts, the way things happen to our good-at-heart guy. The struggle doesn’t register and neither does the victory. Things just go through the motions as they must conclude.

It is again at the pre-climax and climax portions when the final drama occurs, there is some emotional connection. The sentiments, however predictable and cliché, and contrived at places, still work and leave us with a sense of fulfilment. The end goal is achieved.

Overall, Music Shop Murthy is a routine, but passable underdog story – the kind which is a harmless watch. The neat message and relatability are an additional bonus. Watch it if you like feel-good dramas even if they follow an utterly clichéd path.


chandini-chowdary-music-shop-murthy-movie-reviewPerformances by Others Actors

Music Shop Murthy has a limited but decent casting of recognisable faces. Unfortunately, none barring Dayanandh Reddy have any worthwhile part. Dayanandh, for a change, gets a positive part which comes as a mild surprise as he is used to playing the opposite in such setups. Senior actor Bhanu Chander feels wasted playing an utterly one-dimensional part. The same is the case with Amit Sharma.

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music-director-pavanMusic and Other Departments?

Pavan’s music is lacklustre for a film that is supposed to have music at its heart. The DJ bits are fine, but the regular songs are not up to the mark. The cinematography is below par if one looks at it from the big screen perspective. The editing is alright and so is the writing that works despite the utter routine content it dwells in.


Highlights?

Ajay Ghosh
Message
Few Dialogues (Even Though Predictable)

Drawbacks?

Routineness
Feels Rushed
Contrived Emotions At Places
Lack Of Memorable Music

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Did I Enjoy It?

Yes, Few Parts

Will You Recommend It?

Yes, But With Reservations and to those who like underdog winning stories.

Music Shop Murthy Movie Review by M9

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Movie Reviews

Review: Mother and daughter confront death in compassionate ‘Tuesday’

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Review: Mother and daughter confront death in compassionate ‘Tuesday’

Movie review

Before a word of dialogue is spoken in “Tuesday,” a series of magical images introduce Death in the form of a greasy-looking bird as it visits the dying. The beast’s head clamors with their suffering, their terror and bargaining, the sick and the simply worn-out. Young and old, human and animal, they call to him before breathing their last beneath the shadow of his gently raised wing.

In this fantastical first feature from Croatian filmmaker Daina Oniunas-Pusić, striking special effects and a richly textured sound design lend a cosmic chill to a simple story of maternal grief. The mother in question is Zora (a very fine Julia Louis-Dreyfus), so deep in denial about her daughter Tuesday’s terminal illness that she can’t handle being alone with her. Creeping out of the house each morning, pretending to go to work, Zora wanders from coffee shop to park bench, ignoring Tuesday’s calls.

Yet Tuesday (beautifully played by Lola Petticrew) understands. Unable to walk and struggling to breathe, she’s a bright teenager who seems ready when Death appears. Out of sight of her pragmatic nurse (Leah Harvey), Tuesday bonds with Death, requesting time to prepare her mother, and these scenes have a lightness that prevents the film from becoming an extended moan of unrelieved sadness. Like many of us, Death, it turns out, enjoys a joke and the music of Ice Cube. It seems fitting that his taste is vintage.

As voiced, quite wonderfully, by Arinzé Kene, the bird — not the expected raven, but a macaw — is a digital star that the human actors must constantly negotiate with for visual and narrative space. Swelling and shrinking in size, he switches in an instant from cute to monstrous, amusing to terrifying, the voices in his head briefly silenced as he confesses that he hasn’t spoken in 200 years.

“I am filthy,” he growls, coughing up words like hairballs and flapping his blackened wings, as if the darkness of his mission has stained his once-bright feathers with the dirt of the grave. Yet while Tuesday seems perfectly at ease with her grim visitor, Zora responds with an increasingly hysterical campaign to — literally — swallow her greatest fear.

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Without much to distract from the three central characters, “Tuesday” can feel overlong and a little claustrophobic. Yet this compassionate fairy tale works because the actors are so in sync and the imagery — as in one shot of the bird curled like an apostrophe in a dead woman’s tear duct — is often magical. Alexis Zabé’s cinematography is both intimate and expansive, reaching beyond the characters’ emotional struggles to show the apocalyptic consequences if Death should be vanquished. The sum is a highly imaginative picture that, while considering one family’s pain, also asks us to ponder the possibility that a life without end means nothing less than a world without a future.

“Tuesday”

With Julia Louis-Dreyfus, Lola Petticrew, Arinzé Kene. Written and directed by Daina Oniunas-Pusić. 111 minutes. Rated R for language. Opens June 13 at multiple theaters.

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Movie Reviews

Movie Review| Bad Boys: Ride or Die (2024)

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Movie Review| Bad Boys: Ride or Die (2024)
Marcus and Mike played by Martin Lawrence and Will Smith respectively, seem to be the duo that can’t be kept down. After running away with the most successful film of 2020, perhaps everyone could have predicted the bad boys would ride again. The…
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