A still from ‘Carry-On’ 
| Photo Credit: Netflix

If you are one of those die-hard cinephiles who believe Die Hard is a Christmas film (along with the first two Home Alone flicks), then Netflix’s latest offering may very well make it to that coveted list of yours. Jaume Collet-Serra, the mastermind behind some simple yet efficient nail-biting action thrillers is back and while he’s not teaming up with Liam Neeson this time, he’s got an efficient Taron Egerton and a cast-against-the-grain Jason Bateman facing it off in Carry-On.

Exactly a decade after Non-Stop, Collet-Serra is back with another aviation thriller. In Carry-On, a young Transportation Security Administration (TSA) officer named Ethan Kopek (Taron Egerton) with enough emotional baggage of his own, tries to work up his ranks at the Los Angeles International Airport where his pregnant girlfriend, Nora (Sofia Carson) also works. When he finally gets approval from his supervisor, Phil Sarkowski (Dean Norris) to manage a baggage-scanning lane, hell is served on a conveyor belt to Ethan. A mysterious traveller, with an accomplice to execute his kill order, blackmails Ethan to allow a specific carry-on luggage pass through the scanner. Without knowing what the package is and the level of destruction it could bring, Ethan has to circumvent constant surveillance and stop the parcel from affecting anyone in this cat-and-mouse game.

The film’s title itself is a wordplay — apart from meaning the piece of luggage one gets to personally take inside a flight and it also doubles as what Ethan is expected to do with his job despite the major turn of events. This simple yet effective ploy is what Collet-Serra utilises and what keeps the wafer-thin one-liner not just afloat, but flying high, is a testemant to the deft screenplay. The film wastes no time introducing its lead characters and throws us bang in the middle of the action. With some clever exposition, we learn more about them as the story progresses and the characters get to squeeze more details out of each other.

Egerton pulls off a convincing performance as a man whose life goes for a toss after answering a single phone call. Unlike the indestructible force that is Bruce Willis’ John McClane, Egerton’s Ethan is no superhero who uses his brawn to take challenges head-on. Instead, the character starts by employing simpler tricks to attract the attention of his peers — such as using his smartwatch to communicate once he loses possession of his phone — and when the odds stack up against him, he takes it upon himself to save the day.

A still from ‘Carry-On’ 
| Photo Credit:
Netflix

Concurrently, there’s also Elena Cole, an LAPD detective, who connects a double homicide to Ethan’s aborted 911 call. But apart from being in a high-speed car sequence featuring the most factitious-looking CG work, the parallel track adds very little except to tie a few loose ends. It’s Bateman’s nameless mercenary character that comes as a surprise package (pun intended) and the actor pulls off the antagonist with so much suave, leaving us only wishing to see more of him in such off-beat roles.

The film has its fair share of loopholes and the creative liberties taken by the makers feel evident, but Carry-On is not a film you watch for factual accuracies. In fact, the film is packaged well enough to make us ponder its issues only after the pertaining scene is long gone and that by itself is a commendable feat. After getting sidetracked by helming films like Jungle Cruise and Black Adam, Collet-Serra is back in his zone and boy, he thrives in it. Carry-On is sure to remind its audience of the mindless actioners from the ‘90s which worked purely thanks to their value for popcorn entertainment and while it might not make you go ‘Yippee-Ki-Yay’, it’ll surely leave you on cloud nine.

Carry-On is currently streaming on Netflix

“The Crossroads” is the sort of movie you get when you park two attractive but bland young actors on a modestly scenic piece of real estate and take romance pretty much off the table.

A stunningly dull chat-a-thon of silences, evasive question-and-answer conversations, abrupt, contrived arguments, literary name dropping and cliched third act “diagnoses” explaining much of what’s come before, it’s as good an argument as any against “keeping things simple,” tuning out the outside world and such.

You’d die of boredom.

Emily Coupe arrives at the titular filling station/convenience store/diner on the border between Arizona and New Mexico, jumps out of a car with her backpack, guitar, torn tight jeans and pink hair extensions, only to be “rescued” by “a cowboy” played by Nick Ballard.

“Star” is her name. She wants to be a singer-songwriter. But she’s fled LA, heading for “Dubuque.” Not that she gives this away any time soon.

Logan isn’t especially friendly, but he offers her a lift in his ancient Ford pickup, talks about “weather comin’” (We can see the skies. Nope.) and takes her to his remote farmhouse.

Don’t get your hopes up. This isn’t a horror movie.

Star is closed-off, working out some things. Logan is shut-down, dealing with his own issues. The script has them spend 95 minutes doling out even the tiniest hint of information about their names, their backgrounds, the time setting we’re dealing with and the problems they’re struggling to overcome.

Director Douglas A. Raine and screenwriter Ginia Desmond break that fundamental convenant they’re honor bound to take with the audience. Tell us what your movie is about, tell us who the characters are and don’t bore us to death waiting around for something — ANYthing — to happen.

Only somebody who thinks leaving LA for Dubuque is a fun idea could conjure up a leading lady dense enough to say “A clothesline? I’ve never used one.” Even if you haven’t, honey, there’s no danged sense admitting it.

Only a “cowboy” who hides his rodeo trophies in haystacks, who actually farms “hemp” now (not that we see “work” of any sort) when he isn’t reading “The Invisible Man” (H.G. Wells, 1897), with the Quran and select works of Carl Jung on his DIY bookshelves, could offer up this as a comeback.

“You’ll have to figure it out.”

Rating: profanity, adult subject matter

Cast: Nick Ballard, Emily Coupe

Credits: Directed by Douglas A. Raine, scripted by Ginia Desmond. A Desktop Entertainment release on FreeVee, Amazon Prime, etc.

Running time: 1:35

Mura is a Malayalam action thriller directed by Muhammad Musthafa and produced by Rhea Shibu under the HR Pictures banner. Featuring Hridu Haroon, Anujith, Yedu Krishna, and Jobin Das in lead roles, the film released in theaters on November 8, garnering a positive response. It became available for streaming on Amazon Prime from December 25, 2024. Let’s dive into the plot and analysis of this gripping thriller.

Plot Summary:
The story revolves around four close friends – Anand (Hridu Haroon), Shaji (Jobin Das), Manu (Yedu Krishna), and Manav (Anujith). Anand comes from a middle-class family, while the rest hail from lower-middle-class backgrounds. Struggling with studies and responsibilities, the group often resorts to reckless escapades. To meet their financial needs, they ally with local gangsters.

Their association leads them to Ane (Suraj Venjaramoodu), a trusted henchman of gangster Ramadevi (Mala Parvathi). Impressed by their fearlessness, Ane assigns them a high-stakes mission to retrieve hidden black money from Madurai. What happens during this mission and how it changes their lives forms the crux of the story.

Analysis:
Mura captures the essence of youthful recklessness and camaraderie. Suresh Babu’s story brings to life the struggles of four young men navigating life’s challenges with misplaced priorities. The screenplay keeps the narrative tight, seamlessly blending action and emotion without overdramatizing.

The first half establishes the boys’ bonding and their initial forays into the gangster world, while the second half delves into their confrontation with larger forces. The transitions feel organic, and the film maintains a naturalistic tone throughout, drawing audiences into the emotional journey of its protagonists.

Performances:
The four lead actors excel in portraying their characters, embodying the mannerisms and attitudes of rebellious youth with authenticity. Their performances feel spontaneous and genuine, enhancing the film’s realism.

Suraj Venjaramoodu and Mala Parvathi deliver solid performances, effortlessly adding gravitas to their roles as seasoned criminals.

Technical Aspects:
Cinematography: Fazil Nazar’s visuals stand out, particularly in action and chase sequences, elevating the overall tension.
Music and Background Score: Christy Joby’s background score is a significant strength, with the theme music being a notable highlight.
Editing: Chaman Chacko’s crisp editing ensures there’s no room for unnecessary scenes, maintaining a steady pace throughout.

Final Verdict:
Mura is an engaging action thriller that combines raw emotion with edge-of-the-seat moments. It successfully delivers a message about the importance of making the right choices in life and the consequences of veering off the moral path. Despite minor flaws, the film’s grounded approach and impactful storytelling make it a worthwhile watch.