And a pussycat shall lead them! Flow, the animated film that’s Latvia’s submission for the Best International Feature Oscar, kicks off with a beautiful moment of tranquility: A small, black feline, staring wide-eyed at itself in a rippling puddle. It’s somewhere in a forest, surrounded by foliage, and the ambient sounds of nature fill the soundtrack. A rabbit runs by, momentarily startling the cat. It’s soon followed by a pack of dogs, chasing the bunny and barely registering the meowing bystander’s existence. The creature will eventually amble up to a house with a cracked attic window, slipping inside for an early afternoon nap.

It’s all very soothing, giving you the sense that you’re watching the animation equivalent of ASMR. Then, after some business involving a stolen fish, our furry little friend finds itself in the same patch of green earth as before. Once again, the dogs sprint past it. This time, however, they’re followed by a thundering herd of deer. The animals appear to be running away from something. In the background, the trees begin to violently sway back and forth. And then, a huge wave rushes through and washes away everything in its path, including the cat. It eventually gets back to dry land, but then the water keeps rising. And rising. And rising….

A survivalist thriller that’s designed to appeal equally to animal lovers, avant-garde-cartoon aficionados and environmental doomsayers, Flow will spend the next 80 minutes following this feline and his fellow interspecific travelers as they try to navigate the end of the world as we know it. Eventually, the Golden Retriever who’d been part of that roving gang of doggy miscreants will join the freaked-out kitty on a boat they happen to spy passing by. So will a capybara, a lemur and a secretarybird. When the cat falls overboard and can’t paw its way back to the surface, it’s rescued from drowning by the opportune passing of a mammoth humpback, who catches the animal on its nose and breaches just in time. Saved by the whale! One life down, eight to go — although given the obstacles it will continually face, you worry that this resourceful lil’ buddy will eventually run through all of them before the day is over.

Director Gints Zilbalodis may be gathering an admittedly adorable posse of all creatures bright and beautiful, each of them rendered in a gorgeous, sometimes crude style of animation that would be best characterized as Early PlayStation Cut-Scene Chic. But in terms of storytelling, he’s going a specifically anti-Disney route here, and this road less traveled makes all of the difference. There’s no dialogue, at least none decipherable to human ears — everything is a symphony of meows, woofs, squawks, grunts, squeaks, squeals and simian cries. With the possible exception of one act of heroism late in the film, none of the animals are anthropomorphized. They more or less act in accordance with their IRL counterparts. There is no identification regarding where this is taking place — some of the stunningly detailed backgrounds suggest Angkor Wat, others bear a striking resemblance to Venice — though the predominance of both medium-sized and massive cat statues suggest it’s some sort of SPCA-sponsored sanctuary city. No explanation is given as to where the humans have gone. No explanation is given as to why a biblical flood is threatening to destroy it all, though for anyone who’s cared to keep their eyes open and their heads out of the sand, no explanation is necessary.

There’s little to no hand-holding — and/or paw-, talon-, or hoof-holding — in Flow. There’s simply making sure you keep your nose above water. There’s another enigmatic sequence that occurs as Zilbalodis ushers us into the third act, in which some sort of cosmic force grants one of these critters what appears to be a last-minute reprieve from terra firma. But the real takeaway is that we have to rely on each other for salvation. And it’s here where this experiential experiment in empathy, eco-activism and elation over the creative possibilities of a medium too often hijacked to sell toys truly hits its marks. Most of these animals either show up with or encounter a group of their fellow species (monkeys, dogs, birds). Most of them are abandoned or rejected by their peer groups, thanks to tribalism or simple self-preservation. The one moment in which these four-legged beasts resemble their furless, featherless two-legged neighbors is when several of them abandon a rescue mission midway through because of a passing distraction. Ain’t that just like a Homo sapien?

Yet this disparate band somehow manages to endure, and though you can’t accuse Flow of having a happily-ever-after ending, it somehow does go out on a optimistic note — a water-logged Planet Earth half empty, rather than half-fully ruined. There is a reprise of that lovely opening shot, basking in a calm before the inevitable storm to come. The movie ends as it begins, with no easy solution in sight. Only now we see a makeshift community staring back at themselves, no one alone, everyone companions in the apocalypse. It’s a timeless moral. And yet, at this particular moment, for many of us staring down the next four years, the idea that a community can come together to take on the rising tides couldn’t be more welcome or needed.

Martin, starring Kannada star Dhruva Sarja in a dual role, hit the screens on October 11, 2024, under the direction of A.P. Arjun. Featuring Vaibhavi Shandilya as the female lead, with music by Mani Sharma and Ravi Basrur, the film offers a mix of intense action and emotional drama. However, despite its grand production values and high-energy sequences, the film struggles to deliver a cohesive and engaging narrative.

Now available for streaming on Amazon Prime Video from November 15, Martin is an ambitious attempt at blending action and thrills but leaves the audience with mixed feelings due to its underwhelming storytelling.

Plot Overview
The story begins in Pakistan, where Arjun (Dhruva Sarja), injured during a gangster conflict, finds himself hospitalized. Under mysterious orders from an unidentified figure in New York, he is injected with a drug that erases his memory. As he realizes he’s in danger, Arjun escapes and slowly uncovers fragments of his past.

Through a series of encounters, Arjun learns that his real name is Arjun and he hails from India. He sets out to meet Regina, a young woman whose address he obtains. However, upon reaching her home, he discovers she has been murdered. Regina’s cryptic clues lead Arjun to learn about his nemesis, Martin (also played by Dhruva Sarja). When Arjun contacts a mysterious number, he understands that his mission to capture Martin has brought him to Pakistan.

As the story unfolds, Arjun returns to India with plans to save his friends Parashuram and Vivek, as well as his fiancée Preethi (Vaibhavi Shandilya). But his path is fraught with dangers from Martin and a villain named Mustaq. How Arjun confronts Martin, uncovers Mustaq’s motives, and navigates the chaotic circumstances forms the crux of the narrative.

Analysis
Martin marks Dhruva Sarja’s foray into dual roles, with the first half focusing on one character and the second half introducing the other. While the premise of a gangster-versus-navy officer conflict involving illicit arms worth ₹12,000 crores has potential, the execution falls short.

Strengths
High Production Values: The film boasts grand visuals, including tanks, helicopters, and large-scale action set pieces, which are visually impressive.
Dhruva Sarja’s Presence: Known for his mass appeal, Dhruva Sarja brings a commanding screen presence, but the lack of depth in his characters hinders emotional engagement.

Weaknesses
Complex Narrative: The film’s non-linear storytelling, filled with flashbacks, leaves the audience confused and disconnected.
One-Dimensional Characters: Both the hero and the villain lack emotional depth, making their confrontations feel hollow.
Overloaded Action: Excessive fight scenes, chases, and explosions dilute the narrative, causing fatigue rather than excitement.
Inadequate Supporting Roles: The absence of strong supporting characters diminishes the impact of the story.
Underwhelming Music: Despite big names like Mani Sharma and Ravi Basrur, the music and background score fail to leave a lasting impression.
The film’s pacing suffers due to prolonged action sequences and insufficient focus on building a strong narrative backbone.

Performances
Dhruva Sarja: While his dual roles showcase his versatility, the lack of compelling character arcs limits his performance.
Vaibhavi Shandilya: Has minimal scope to shine, as the film sidelines romance and emotional subplots in favor of action.
Supporting Cast: Achyuth Kumar and Anveshi Jain are underutilized, with no memorable moments to contribute to the story.

Technical Aspects
Cinematography: Sathya Hegde captures the action sequences effectively, but the lack of strong narrative visuals diminishes its impact.
Editing: The film’s runtime could have been trimmed significantly, particularly the overlong action scenes.
Direction: A.P. Arjun’s attempt to create a high-stakes thriller is commendable, but the lack of clarity in storytelling undermines the film’s potential.

Verdict
Martin aims to be a thrilling action spectacle but is marred by a convoluted plot, excessive action, and underwhelming emotional depth. While fans of Dhruva Sarja may enjoy his powerful screen presence, the film fails to connect with a broader audience due to its lack of cohesion.

The last time we saw anything Wizard of Oz related on the cinematic stage was more than a decade ago, with Sam Raimi’s often overlooked prequel effort, ‘Oz the Great and Powerful’. What folks have managed to remember about that one, they usually recall between groans and mumble through palmed faces.

That was a film that was, and still is, criticized for lackluster special effects, a suspect cast, and an adhesion to a corny tone that bled into the film’s visuals, as well as impacted the screenplay. Raimi, in accordance with his cinematic character, preferred kinetic camera movements and sharp colors and lighting over other such worries about tonal cohesion and character, at least in that instance.

What’s become odd in retrospect, factoring in the release of the topic at hand, ‘Wicked’, is that the new film struggles with the same issue in a slightly different way. Sure, Wicked’s computer generated elements are cleaner, and much glossier, than anything the world of Oz had to offer in 2013.

But the new film doesn’t just utilize those effects — it relies on them. Wicked has become yet another unintentional bastion for slapping CGI on every single scene, and every little thing. Impressive practical sets here are washed out with brown and grey digital overlays; the sunshine has lost the colorful aura which defines it, and the moon emits only a flat blue hue.

Where is the true middle ground for bringing Oz to life on the visual front, then? That still isn’t clear, but in the case of the newer film, we’ve taken a step in the right direction with many new merits.