Adam (Asante Blackk) and Chloe (Kylie Rogers) lookup at a Vuvv metropolis. Photograph courtesy of Sundance Institute
Jan. 25 (UPI) — Panorama with Invisible Hand, which premiered Monday on the Sundance Movie Competition, is a poignant science fiction movie about revenue inequality. It renders the metaphor entertaining as efficiently as traditional sci-fi like Robocop and District 9.
In 2036, it has been 5 years since first contact with the Vuvv aliens. The Vuvv gave Earth its know-how and invited people to work for them.
Those that took the provide reside in cities floating above the Earth, though visually they seem smaller than the alien ships from Independence Day. However, the Campbells nonetheless reside on Earth, the place people battle to get by.
Beth Campbell (Tiffany Haddish) was a lawyer again when such professions had been related, however she nonetheless owns the house wherein her kids, Adam (Asante Blackk) and Natalie (Brooklynn MacKinzie), reside together with her.
At college, the place the Vuvv now management the curriculum, Adam meets Chloe Marsh (Kylie Rogers). Her household is homeless as a result of her father misplaced his job to the Vuvv.
So Beth reluctantly permits Adam to ask Chloe to reside of their basement, alongside together with her father (Josh Hamilton) and brother, Hunter (Michael Gandolfini).
The world constructing in Panorama with Invisible Hand makes the post-Vuvv future palpable, even when it isn’t as instantly hanging as Blade Runner. Particulars just like the Vuvv controlling meals manufacturing — unappetizing however completely nourishing meals cubes — counsel what life is like in 2036.
Natalie crops a backyard to take pleasure in pure meals, however Adam does not assume it tastes pretty much as good. That is sufficient element to immerse the viewers, but in addition permits the movie to maneuver on shortly to the plot.
So, too, the movie reveals how cities above discard their rubbish, a few of which is beneficial to scavengers on the bottom. However, the plot organically weaves on this dynamic, too.
Chloe proposes that she and Adam promote their courtship broadcast rights to the Vuvv. The Vuvv pays good cash to watch human mating rituals, and this revenue permits the Marshes to pay lease to the Campbells.
So now, you’ve got a teen courting comedy in a sci-fi film that is also an announcement about actuality TV. Surveillance states are also a well-known theme to science-fiction, however to the Vuvv’s credit score, they’re attempting to study, not oppress.
Inevitably, Chloe and Adam disagree about how to deal with the Vuvv. Chloe is recreation to broadcast their intimate moments for revenue, however that proves to be one step too far for Adam. Apart from, he wish to have a real relationship with Chloe.
Sadly, Adam and Chloe shortly uncover a catch to the Vuvv’s proposal. They discover themselves in breach of contract (a dense alien contract whose English language translation is as dense as Apple’s phrases and circumstances), so the Vuvv continues to be in complete management, in any case.
The Vuvv proposes an much more outlandish association that this evaluation will not spoil. Panorama relies on the ebook by M.T. Anderson, so his readers in all probability already know.
The Marsh household represents the opposite fascinating facet of the revenue inequality parable. Hunter and Mr. Marsh lash out at Beth, when it is actually the Vuvv who put them in that state of affairs.
The basement and floor ground change into a microcosm of the Earth and Vuvv cities above. Somebody at all times has it higher, and somebody at all times resents it. The Marshes nonetheless act entitled when Beth is doing them a favor.
So the Vuvv are in a position to tear humanity aside from the within moderately than by violent invasion. Based mostly on present occasions, it seems humanity does not even want the Vuvv to do that to ourselves.
The Vuvv look really alien. These should not humanoid creatures, neither actors in costumes nor bipedal visible results.
Their language is so overseas, human followers couldn’t study it like they study Klingon. The Vuvv rub their tentacles collectively to make phrases, however they’ve translation know-how.
Panorama with Invisible Hand makes a compelling entry into the science fiction canon. The Vuvv are an fascinating extrapolation of the 1%, and so they drive characters to make dramatic selections, which retains the film unpredictable.
Fred Topel, who attended movie college at Ithaca School, is a UPI leisure author primarily based in Los Angeles. He has been an expert movie critic since 1999, a Rotten Tomatoes critic since 2001 and a member of the Tv Critics Affiliation since 2012. Learn extra of his work in Leisure.
The Bouncer, 2024.
Directed by Massimiliano Cerchi.
Starring John Ozuna, Costas Mandylor, Rosmary Yaneva, Vincent Rivera, Nick Turturro, Gerald Okamura and Tayah Kansik.
SYNOPSIS:
In Romania, fugitive Frank Sharp takes a job as a bouncer. Saving a woman from abuse, he discovers she’s trafficked. They escape together but are relentlessly hunted.
Opening with Frank Sharp (John Ozuna) starting his new role as a nightclub doorman in Romania, The Bouncer wastes no time in setting its story into motion. Sharp has barely started his job before we get a sense of his moral fibre as he struggles to standby when the crime boss, Kane is using his hands to discipline his girlfriend, Silvia (Rosmary Yaneva). Despite his cohort’s warnings to turn a blind eye, Sharp inevitably can’t and when he does intervene he and Silvia (who has been trafficked) go on the run with a criminal organisation on their tail. Fight scenes and car chases ensue.
If it all sounds familiar, it’s because The Bouncer takes a tried and tested formula that feels like the kind of film that was almost limitlessly turning up on the shelves of your local Blockbuster or Ma and Pa video store back in the 90s. Where we get a little variation is that Ozuna, whilst playing a character haunted by a troubled past, isn’t a dark, brooding and flawed hero. He has a strong moral code, drawn to help the good folk overcome their evil oppressors. That’s not to say he takes the softly softly approach, because Sharp (with help from Ozuna’s martial arts background) delivers no shortage of double dick punch beatdowns.
Ozuna has enough sincerity and humility to make Sharp likeable and he’s backed by a solid cast. Mandylor always relishes playing the villain and is suitably gruff and menacing as Kane, whilst Turturro (as always) brings his A game in a small role as a Doctor. Then there’s the always-welcome presence of the inimitable Gerald Okamura whose inclusion definitely makes this feel like a lost video action special from the 90s (which is obviously a good thing). Prolific producer/actor, Simon Phillips also pops up as Ozuna’s fellow bouncer who helps him along the way. Phillips has also just unleashed one of the barrage of Mickey Mouse-themed public domain horror riffs racing to get to audiences first. The Mouse Trap managed to get over the line first.
Massimiliano Cerchi has been there, done it and got the T-shirt (and the gold chain, which he dons in an enjoyable director’s cameo). The budget leaves it rough around the edges in places but Cerchi manages to bring it on home and unlike all too many action films these days, keeps things lithe with a runtime that comes in at comfortably under 1 hour 20 minutes. As said, there are some refreshing touches laced throughout thanks to Adrian Milnes’s script that doesn’t retread that tired miserable (anti-)hero trope (as seen with Jean-Claude Van Damme’s jaded and broken anti-hero in Darkness of Man) that every film of this ‘Taken style’ ilk seems to follow.
One other pleasing aspect here is the use of Romania as a location. 20 years ago it was a staple of the DTV action realm with the likes of Van Damme, Seagal and Lundgren virtually residents they made so many films in the country. Of late, Romania doesn’t seem to be as frequently used. Here we get a nice mix of cold modern streets, grimy back streets and remote buildings as Sharp and Silvia try to stay ahead of their enemies. Those action scenes set within the Romanian locales are nicely put together but have a ceiling due to budgetary restrictions. The car chases are short and to the point but perhaps leave you longing for a car flip or explosion here or there. You can’t have it all, I guess and having worked in low-budget cinema I know all too well how difficult it is to eek out every cent to deliver bang for the buck.
Overall this is a simple but enjoyable action film that delivers what audiences expect and yet still manages to lace in some fresh touches. It doesn’t resort to being relentlessly dour, or overly wise-cracking, striking a good middle ground that not many sit within nowadays. It doesn’t reinvent the wheel, but this motor definitely has a smooth ride.
Flickering Myth Rating – Film: ★ ★ / Movie: ★ ★ ★
Tom Jolliffe
https://www.youtube.com/watch?v=embed/playlist
BOTTOM LINE
A Cleverly Written Thrill
RATING
3/5
CENSOR
U/A, 2h 22m
What Is the Film About?
Ammachi (granny) goes missing from Basil Joseph’s home, and his neighbor Nazriya Nazim starts suspecting him for several reasons. Basil Joseph claims that Ammachi’s disappearance is due to her Alzheimer’s disease, but Nazriya remains unconvinced. Is there more to her suspicion? What serious turn does the story take, and what is the real reason behind Ammachi’s mysterious disappearance? These questions form the core plot of Sookshmadarshini.
Performances
Basil Joseph and Nazriya Nazim compete with each other in running the show with their seamless performances, delivering exactly what a thriller drama needs.
Both carry the film on their shoulders through the cat-and-mouse, tit-for-tat narrative. Though Sookshmadarshini is a thriller, it stands out in their filmography due to the superb balance and finesse they bring to their performances.
The styling and performances perfectly complement the story, as expected from a quality Malayalam film.
Analysis
Sookshmadarshini is directed by MC Jithin, who previously directed Nonsense, a film that also grabbed the attention of Telugu OTT viewers.
In Sookshmadarshini, director MC handles a simple plot with a suspenseful hook but needs to tightly guard the secret and maintain the viewer’s attention until the very last scene.
While the first half feels simple and slow, and the director seems to be trying too hard not to reveal even the slightest hint, the mix of humor and suspense keeps the narrative engaging.
By the time we reach the interval, the story pulls us in, yet the success lies in the fact that nothing is really revealed.
At the same time, it feels like the buildup in the first half raises high expectations for the second half, which must deliver big; otherwise, it risks becoming frustrating.
The second half introduces more intrigue through a sister character, and the suspense around the ‘secret’ driving all the drama becomes even tighter.
Although most of the story takes place in a neighborhood between two houses, the quality technical work -be it the camera or the background score -elevates the suspense as the director pushes the story forward.
It might not a perfect thriller but offers enough to keep you hooked, especially in the second half.
Some exaggeration or logical misses in Nazriya’s character might be noticeable, but they don’t affect the viewer’s engagement, which is the best part.
Also, the director successfully breaks away from the regular beats of a typical comedic thriller, adding a sense of freshness.
Overall, Sookshmadarshini is a cleverly written, smart mix of comedy and suspense, with the director maintaining the secret until the climax through an engaging narrative. The film also offers superb, fresh BGM and visuals that perfectly match the theme, making it a satisfying watch.
Performances by Others Actors
Sookshmadarshini is a film that relies on its supporting cast as well, and their selection is flawless.
Actors like Manohari Joy who plays Ammachi (granny), Kottayam Ramesh, Deepak Parambol, and Sidharth Bharathan, along with the female cast -Akhila Bhargavan, Pooja Mohanraj, and Merin Philip -may not be familiar to Telugu audiences, but their performances clearly demonstrate how perfectly they fit their roles. Each one proves to be an asset to the film.
Music and Other Departments?
First and foremost, the background score by Christo Xavier is terrific, we must say. It is one of the best BGMs of the year. It’s neither too loud nor too soft; instead, it sounds fresh and, most importantly, perfectly matches the situations, elevating them to a whole new level. He has justified every single penny of his remuneration.
Camera work by Sharan Velayudhan is perfect. The film moves between two houses for the most part, but the camera angles and visual quality never feel boring or low-budget. He has done full justice to what the film requires.
Editing by Chaman Chakko could have been sharper. Though Sookshmadarshini is an engaging watch, it does feel like it could have been sharper.
Though the small VFX work handled by Black Maria Studio is slick, especially showing WhatsApp conversations as text on screen, it came out trendy and of good quality.
Production values by Happy Hours Entertainment and Ava Productions are quite adequate and immersive for the simple setup it requires, pulling it off with quality.
Highlights?
Superb BGM that enhances most scenes
Sustaining suspense until the end
Engaging writing and narrative
Performances by Nazriya and Basil Joseph
Drawbacks?
Logical flaws or occasional exaggeration
Feels forced at times to keep secrets until the end
A bit of a slow first half
Did I Enjoy It?
Yes, it’s an engaging mix of humor and thriller.
Will You Recommend It?
Yes, without hesitation.
Sookshma Darshini Movie Review by M9
MP: Well, I don’t think we truly gelled for about five years because I was so nervous, and it took me time to be able to relax in front of camera.
Fitz: So you became an iconic duo, just like Roy and HG. In their case, they never socialised much off-camera so as to keep their on-air stuff fresh. Did you spend much time with David Stratton when the cameras weren’t rolling?
MP: We did, but never excessively, apart from when we went to things like the Cannes and Venice film festivals, when we would certainly see a great deal of one another. Back in Australia, we saw a bit of each other until he moved up to the Blue Mountains, which I was really shitty about, actually …
Fitz: And how do you judge the current state of the movie business globally and in Australia?
MP: Well, I think the Australian film industry is really healthy. It’s almost like it’s got the confidence in itself. Globally, on the one hand, I’m sick of those Marvel Comics being translated to the screen, but on the other hand, you can get really good ones, like the one that Taika Waititi directed, Thor: Ragnarok. That was terrific. So you can’t be narrow-minded about such films. Some are extremely good.
Jeff Bridges in Peter Weir’s brilliant Fearless.Credit: Warner Bros
Fitz: And where are your professional energies going right now?
MP: Nowhere! I am trying to get out of stuff, not into stuff.
Fitz: Two more quick questions, then we can rip in. I read a blurry report that you might have had a cameo role in Priscilla, Queen of the Desert. Is that correct?
MP: Yes, but blink and you’ll miss me, right? I had known the director, Stephan Elliott, for some time, and he said, would I play a part in his film? And I said, “All right, as long as I’m not playing anybody’s mother”. Not long afterwards, I was in Venice at the film festival, and a fax arrived for me, saying he wanted me in Priscilla, indeed playing someone’s mother, but … “You’re playing Guy Pearce’s mother”. So I said, “Oh, all right!”
Fitz: Meantime, I loved your review on Charlie Pickering’s The Weekly on ABC of Married at First Sight where you said, “It’s a groundbreaking social experiment in which mentally fragile halfwits marry toxic fame tarts”. Is there anything you’d like to add to that? Or is that about it?
MP: [Laughs.] No, that’s about it.
Fitz: OK, let’s get to the nub of it. Can you please gimme the 10 films few of us have seen yet, but bloody well should?
Dannielle Hall and Damian Pitt in Beneath Clouds.Credit: © Bunya Productions
MP: Well, my first one is the Australian film Beneath Clouds (2002). That was Ivan Sen’s debut feature about two Indigenous kids, played by Damian Pitt and Dannielle Hall, who accidentally join up as they head for various reasons to Sydney from country NSW. Sen had made a series of really fantastic shorts when he was at the film school, and once he was out he made this. It looks fabulous. It’s heartrendingly great, but very little seen. I’m always moved by the final image in a film, and in this one, it’s just heartbreakingly good. Have you seen it?
Fitz: No, never heard of it, but I will see it soon! Next?
MP: OK, going down the list, I loved Locke (2013) by Stephen Knight. Tom Hardy gives an outstanding performance in this film in which he is the only presence on screen. He plays a man driving to a construction site who takes 38 phone calls from various people as his life falls apart.
Fitz: Hang on, just one actor? So when the screen credits roll for actors, there’s one person?
MP: Yes, apart from voice actors.
Fitz: That sounds like that famous first film by Steven Spielberg, Duel, with the menacing truck being the key presence monstering the poor bloke in front. Go on, next?
MP: Number three is Fearless (1993), by Peter Weir, starring Jeff Bridges and Rosie Perez as survivors of a plane crash who each experience the impact of the aftermath. Have you seen that?
The 1997 film Gattaca imagines a future class divide between the enhanced (as played by Uma Thurman) and the unenhanced.Credit: Getty Images
Fitz: No! Look, if it’s not Shawshank Redemption or the like, you may presume I haven’t seen it, but want to. I want you to educate me and mine on the finer things in films so we can say to our friends, “I can’t believe you haven’t seen those wonderful films, Beneath Clouds, Locke and Fearless! What kind of bogan ignoramus are you?”
MP: [Small groan.] Number four is District 9 (2009). This totally original, low-budget science fiction film from South African writer/director Neill Blomkamp has it all – a wild imagination, drama, pathos, compassion, with a few laughs thrown in, as a man organising the relocation of a camp of segregated aliens becomes one of them.
Fitz: You see, Margaret? Don’t despair, I’ve heard of it!
MP: So is that all right?
Fitz: Yes, please go on.
MP: I’ve chosen Nashville (1975). A gigantic tapestry of music, betrayal and politics set in the country music capital of the world and is the work of director Robert Altman. It has a multi-character cast and was the film that excited me most when I first saw it. It is still my favourite film of all time. I fell in love with Robert Altman when I saw it in Sydney, even though it was on screens for just a week, and it was gone. I dragged people to it, and then it disappeared.
Fitz: If you say it is your favourite of all time, that is some recommendation. Next, please?
MP: Gattaca (1997). This debut science fiction film from New Zealand born writer/director Andrew Niccol explores the ethics of genetic engineering. Niccol wrote The Truman Show, but when he went to Hollywood, they wouldn’t let him direct it and gave him Gattaca to direct instead. It stars Ethan Hawke and Uma Thurman and is riveting.
Lust, Caution, directed by Ang Lee, is set in China during the Japanese occupation. Credit:
Fitz: Not that you care, but I broadly hate sci-fi. Still, I will give it a go.
MP: The Hill (1965) is a gruelling portrayal of men struggling to survive a military prison camp in North Africa during World War II, and it stars Sean Connery in one of his best performances. I don’t like prison movies much, but this one has stayed with me.
Fitz: I like Shawsha … actually, never mind. Does The Hill have a happy ending? You’ll despair to hear, Marge, my tastes are so plebeian: I genuinely like films where the hero and the heroine go through lots of struggles and get to kiss in the final frame – with the exception of Brokeback Mountain, where it was the two heroes.
MP: [Small pause.] I absolutely adored Brokeback Mountain. I saw that in Venice, and when everybody else was rushing off to the next screening, I just stayed sitting there alone, still absorbing it, it was so wonderful. But, moving on. I love tough films. And the one that I love most is The Lives of Others (2006), the debut film from German writer/director Florian Henckel von Donnersmarck about the impact that Stasi agents, East Germany’s secret police, have on a group of artists and intellectuals. A really powerful cinema experience.
Fitz: Next?
MP: Lust, Caution (2007). Ang Lee’s beautiful, emotionally powerful film is set in China during the Japanese occupation. It’s about a young student’s relationship with a high-ranking collaborator despite the fact that she’s part of a group that aims to assassinate him. And the next one after that is a soft one for you, Peter. I’ve chosen Chef (2014), written, directed by and starring Jon Favreau. It’s the story of a celebrity chef in an upmarket restaurant who loses his temper as he’s not prepared to conform. So he starts up a food truck with the help of his son and estranged wife. And you’ll be thrilled to hear, Peter, this one has a happy ending.
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Fitz: Excellent! And that’s our 10. So the last thing is this. We’ve talked about films that you know are great, that should be more widely celebrated. What about films where everybody loves them except you? I hate to say it, but the best example for me is the one you’re in: Priscilla, Queen of the Desert. Yes, all the actors are great, and Hugo’s a personal friend. But I just never understood the level of acclaim it received.
MP: [Laughing.] Of course it was the one I was in! But, yes, I don’t always like what everybody else likes. I don’t necessarily like what David Stratton likes. I actually talked to him this morning about the list I just gave you, and I think he approves of just about all the ones on my list, but not all. Generally, I think that within seconds of a film opening, you know whether you’re in good hands with a director or not, and it’s really weird that some films just scream: “I am no good!” from the very beginning.
Fitz: And the blockbuster that you detest?
MP: A really popular film that everyone else loved was the remake of The Texas Chainsaw Massacre. It’s only one of the two films I’ve ever walked out of.
Fitz: And what is the other, please?
MP: I will tell you, but it’s not for publication. [We go into the Cone of Silence.]
Fitz: Oh! Oh, I see … Thank you, indeed. I, and my readers, shall report back before Chrissie on what we think of your list. In the meantime, we are in your debt. At least we hope so.
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