Movie Reviews
Film Review: Extremely Unique Dynamic
Does not live up to its ambitious title, but it can be fun at times
Two buddies, Ivan Leung (an actor with several bit roles mostly on TV under his belt) and Harrison Xu (a prolific voice actor specialised in English-language dubbing of Asian series) and their actress-filmmaker friend Katherine Dudas decided to make a movie. About two aspiring actors friends making a movie. About two friends making a movie. How meta is that? Double or triple? Anyhow, that is how a little no-budget indie comedy “Extremely Unique Dynamic” was born, and we got the chance to see it at Caam Fest…
Extremely Unique Dynamic is screening at CAAMFest
The plot is actually a simple one. Daniel (Leung) and Ryan (Xu) are life-long besties that have been trying to become famous for all their lives. As kids, they used to play filming their shenanigans with a camcorder, and as adults they are aspiring actors and roommates in Los Angeles that spend most of their time auditioning endlessly and posting the stuff they make together online. However, Ryan is about to move out to Canada with his girlfriend Harper and the two buddies have only one last weekend to say goodbye to each other and to their dynamics.
Choosing between the usual stuff like getting stoned and visiting the places of their shared past for one last time, they decide to make their own movie. One of the troubles is that their tastes and their knowledge of the different “lores” differ greatly, which is the reason why the more proactive of the duo, Ryan, insists on a meta-approach, which Daniel accepts in order to raise some of the issues in their own relationship while hiding behind the character and using it as a mask of sorts. What started as a (potentially stoner) buddy-buddy comedy quickly turns into an indie drama where two people talk about feelings…
As filmmakers, Leung and Xu try to hit a number of topics and issues regarding the film industry nowadays, the Asian-American experience and its representation in show business and the gay-straight buddy dynamics in very brief format of just above 70 minutes. As a person with one feature film under her belt already, Katherine Dudas presumably serves as a coordinator in order for the story not to get derailed. The trouble is that all topics the trio aims for are touched only superficially and with a lot of redundancy, while there is also (at least) one meta-level too many in the very structure of the film, and it serves pretty much as an additional burden. Also, their directing style is very plain, usually relying on a series of reverse shots for dialogue scenes, which might signal either the lack of imagination or the lack of funds. Luckily, some of the jokes written in the script hit the mark spot on, while the fact that they also take jabs at the pillars of the Asian-American experience is also quite commendable.
Acting-wise, the actors in the duo might not be strong enough to pull the weight of a whole feature movie that would serve better as a short. On the other hand, they are trained enough to nuance the shades of (bad) acting on different meta-levels, which is also one of the better executed jokes. Also, the appearance of Hudson Yang (of “Fresh of the Boat” fame) in an extended cameo that eventually takes turn to the territory of Kevin Smith’s Silent Bob character works both as an elaborate film industry joke and as something that elevates the acting dynamic in some scenes.
The technical aspect of the film remains on a pretty basic level, with some questionable production values, but it is somewhat expected for a non-budget movie. It might also be a deliberate choice, given that the cinematographer Steven Shulgach and the editor Michael Scotti Jr show that they are capable of doing their jobs properly at moments they are allowed to. The whole thing could actually serve as a study how (not) to stretch something that could be a podcast episode laced with some videos to a feature film, especially when the highlights such as two music video for a couple of dumb catchy tunes and one animated sequence happen during or after the closing credits sequence.
In the end, “Extremely Unique Dynamic” does not live up to its ambitious title, but it can be fun. Sporadically and in a “slacker-ish” kind of way.
Movie Reviews
Game Changer Movie Review: Ram Charan and Shankar deliver a grand political drama
Game Changer Review: The highly anticipated film Game Changer, directed by Shankar and featuring Ram Charan, Kiara Advani, and Anjali alongside SJ Suryah and Srikanth in pivotal roles, is a political action drama that delves into the murky waters of corruption within the Indian political system. Shankar, renowned for his grand storytelling, makes his Telugu directorial debut with Game Changer. His signature style is evident in the film’s lavish production and narrative structure. The story, penned by Karthik Subbaraj, weaves together action, drama, and social commentary, though it occasionally leans heavily on familiar tropes.
Ram Charan delivers a compelling performance in dual roles, seamlessly transitioning between the principled Ram Nandan and the rustic Appanna. As the central figure of the story, he carries the narrative with remarkable ease. While his portrayal of Ram Nandan is high on style and swag, it is his heartfelt performance as Appanna that truly resonates with the audience.
Kiara Advani, as Deepika, plays Ram Nandan’s love interest. Her character moderates Ram’s anger and inspires him to take up the IAS. While Ram and Kiara light up the screen, their love track feels somewhat clichéd. Anjali, as Parvathy, gets a meaty role as Appanna’s wife, championing his principles and cause. The emotional depth she brings to the story bolsters the film’s core.
Srikanth, as Bobbili Satyamurthy, surprises with his antagonist role. His dynamic interactions with Appanna add layers to the narrative. SJ Suryah, known for his distinct style and mannerisms, delivers yet another solid performance as Bobbili Mopidevi.
The film opens with Ram transitioning from an IPS officer to an IAS officer, featuring a stylish action sequence where he settles old scores. The first half chronicles his journey from a fiery college student to a committed civil servant. Although it employs some usual tropes and forced humour, the first half ends with an interval twist, setting the stage for an engaging second half. The latter part of the film takes a different trajectory, transitioning into a politically driven narrative rooted in the soil. The screenplay, treatment, and even the colour palette shift to complement this transformation.
Thaman’s musical score elevates the film, with a soundtrack that complements its themes. Tirru’s cinematography captures both the grandeur and grit of the story, employing dynamic visuals that enhance the viewing experience. Editing by Shameer Muhammed and Ruben ensures a cohesive narrative flow. The production values reflect Shankar’s commitment to high-quality filmmaking, with grandiose visuals in the song sequences. “Jaragandi” stands out as the highlight track, while the popular “Naanaa Hyraanaa” is yet to make its way into the final cut. The team has announced its inclusion starting January 14.
While Game Changer impresses with its grand visuals and socially relevant themes, it falters in areas that detract from its overall impact. The narrative occasionally veers into predictability, relying on familiar tropes of love, political corruption, and systemic injustice. The screenplay’s didactic tone, though impactful at times, can feel heavy-handed, leaving little room for subtlety.
Overall, Game Changer is a well-executed commercial film. Shankar’s grand scale and Ram Charan’s brilliant performance, combined with strong supporting roles and technical excellence, make it a compelling watch for enthusiasts of the genre.
Movie Reviews
‘Better Man’ movie review: Robbie Williams is a chimp. (Just go with it.)
Robbie Williams talks Golden Globe-nominated film ‘Better Man’
Robbie Williams and wife Ayda Field tell USA TODAY’s Ralphie Aversa what it feels like to be at the Golden Globes.
Music biopics are too often predictable, formulaic and, let’s face it, dull. One way to liven them up, however, is to venture way outside the box and make the central subject an anthropomorphic animal. And while an alligator Freddie Mercury in “Bohemian Rhapsody” or a sloth Bob Dylan in “A Complete Unknown” might have been bridges too far, a chimpanzee Robbie Williams defies logic and somehow works in “Better Man.”
Director Michael Gracey’s admirably eccentric biopic/jukebox musical (★★★ out of four; rated R; in select theaters now, nationwide Friday) still boasts the signature tropes of its ilk and the career-tanking vices of many a “Behind the Music” episode. Yet the fact that the ultra-cheeky Williams is inexplicably presented as a bawdy CG ape man (given cool moves and voice via performance capture by Jonno Davies) matches the fantastical nature of the British pop star’s bananas rise-and-fall-and-rise-again tale.
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The movie also has a lot in common with Gracey’s most famous effort, “The Greatest Showman,” featuring well-crafted, effervescent musical numbers doing what they can to make up for oversentimentality and an unfocused narrative.
Narrated by Williams himself, “Better Man” chronicles his life starting as a little simian dude playing soccer in the streets with his mates – and failing to impress his peers. Like his father Peter (Steve Pemberton), Robbie wants to be somebody and slowly he begins to embrace a charismatic, wild-child personality that wins him a spot in the boy band Take That. His brazen and outrageous personality wins over some like pop-star girlfriend Nicole Appleton (Raechelle Banno) – and his many fans – but irks many others, from his bandmates and manager (Damon Herriman) to members of Oasis.
The middle of the movie is where “Better Man” finds its groove. Robbie sings “Rock DJ” and his group pogo-sticks through London’s busy Regent Street in the film’s most spectacular sequence. And as the insecure Robbie goes down a bad path, he’s forced to literally fight the conflicting parts of his pop-star persona. Drugs and being a selfish jerk threaten everything, of course, and seeing a chimp go through the out-of-control partying instead of a normal dude is a bit different. The family drama peppered through the film leans too earnest, leading to an ending that pours on the schmaltz way too hard. Brash simian Robbie is a lot more fun to watch than soppy simian Robbie.
No one’s ever going to play a primate like the brilliant Andy Serkis in his “Planet of the Apes” films. Davies does a good job at moving in such a way that’s human but also a little bit wild, which adds to the hyperrealism of a proudly oddball movie. It doesn’t completely explain why exactly Williams is a chimp in the biopic – he’s said he feels “less evolved” than others, and Nicole calls Robbie an “animal” during a fight – but it makes that bizarre choice a little less head-scratching.
Interestingly, the best part of “Better Man” is Williams. He sings the songs throughout the movie – including nifty new tune “Forbidden Road” – and his fabulous narration hilariously slings jabs and adds an emotional gravitas to his screen counterpart’s struggles. When the film goes most over the top, Williams’ commentary keeps it grounded.
“Better Man” isn’t perfect – as a straightforward effort, it doesn’t hold a candle to, say, “A Complete Unknown.” But it’s never boring, either. And the film is easily the most idiosyncratic of its kind, at least until that inevitable Barry Manilow biopic featuring a yeti.
Movie Reviews
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