All right, I am holding my hands up and I admit I was a homophobe back in the day. Like any typical Pakistani youngster, a lot of my cussing and swearing involved slurs against the gay community. Even the word ‘gay’ itself turns pejorative since it’s used with a derisive attitude in our society and considered as a general term of disparagement amongst Pakistani youth and ashamedly, I was no different. https://www.youtube.com/watch?v=JezwsQKpXuU But for me personally, my days as a typical homophobic youngster changed for good when I happened to stumble upon Brokeback Mountain (2005). I am not a big fan of movies belonging to the genre of romance but director Ang Lee’s love-drama centred around a secretive relationship between two cowboys just radically shook my beliefs regarding an individual’s sexual orientation. Brokeback Mountain was numbing, but not like when you watch a typical Bollywood eyesore. Au contraire, it was thought-provoking to such an extent that it haunted me into researching extensively about this whole phenomenon that is homosexuality. Jake Gyllenhaal and Heath Ledger combining together in a taboo relation was one of the most fascinating emotional rides I had while absorbing a film and I experienced a cinematic déjà-vu recently, while watching another pair in a movie based on homosexuality. Which brings me to Aligarh, in which Manoj Bajpayee, playing the real life Dr Shrinivas Ramachandra Siras, a reluctant poster boy for India’s LGBT rights movement who was hounded out from the titular university for being a homosexual, shares a similar rapport with Rajkummar Rao who plays a young, fire-in-the-belly journalist, Deepu Sebastian. The couple, although not involved in the same sort of relationship dynamics as Gyllenhaal and Ledger, managed to evoke a similar visceral reaction out of me as the Brokeback Mountain duo; that of mind provocation, if you were not following. [caption id="" align="alignnone" width="600"] Rajkummar Rao and Manoj Bajpayee.
Photo: Screenshot[/caption] 2016 has been a year of biopics for the Indian cinema so far, with Airlift, Neerja and now Aligarh hitting the theatres with aplomb. The film revolves around Bajpayee who, with method acting at its peak, is a mild-mannered professor of linguistics at the Aligarh University and a homosexual sexagenarian. Spending his solitude listening to old melodies of Lata Mangeshkar and sipping whiskey, Dr Siras’s life is turned upside down when his privacy is invaded in a sting operation where he is filmed in bed with a rickshaw driver. [caption id="" align="alignnone" width="600"] Photo: Screenshot[/caption] What follows is a hideously concerted campaign by the university authorities to oust the professor and break his spirit for his sexual preference. Enter Deepu, the idealistic rookie journalist who helps Siras fight the battle to have his job, home and dignity restored. Long story short, Aligarh is Siras’s and Deepu’s poignant journey. Forget Sardar Khan from Gangs of Wasseypur (2012) and Bhikhu Mhtare Satya (1998), Siras is by far Bajpayee’s best work. An enthralling performance with a compendium of raw emotions mainly love, warmth and agony showcased so profoundly that  it is hard to look away from him. [caption id="" align="alignnone" width="600"] Manoj Bajpayee.
Photo: Screenshot[/caption] He is crown jewel of the melancholic splendour that is Aligarh. What Bajpayee does in this film is so reluctantly courageous, so honest and so transcendental that his Siras is on way to becoming a point of reference not just for us but for generations to come. [caption id="" align="alignnone" width="600"] Manoj Bajpayee.
Photo: Screenshot[/caption] In Bollywood, where homosexuality is an object of mockery or contemptuous gags and caricature, Manoj Bajpayee champions LGBT community’s cause without resorting to melodrama and in the process along with the movie itself, manages to reinforce the fact that everyone is entitled to their own sexual preference. Aligarh is not just a powerful character study; it is also a razor-sharp social commentary, sensitively making use of a real life tragedy. Also the self-appointed generals of the moral brigade need not worry, since the film does not ‘promote’ homosexuality per se. If anything Aligarh is about human rights, right to privacy and equality for all. Goes without saying, that includes gays as well. [caption id="" align="alignnone" width="600"] Rajkummar Rao and Manoj Bajpayee.
Photo: Screenshot[/caption] One wishes that it has the same kind of influence on the public of the sub-continent as Brokeback Mountain and Philadelphia (1993) had with the western world with regards to understanding homosexuals’ plight. Aligarh might never achieve worldwide recognition as the aforementioned two but it surely is one of the most profound films ever to grace cinemas in our part of the world. [caption id="" align="alignnone" width="600"] Manoj Bajpayee.
Photo: Screenshot[/caption] Manoj’s Siras remarks,

“Kavita shabdo ke beech ki khamoshi mein hoti hai, har koi umr aur paristhiti ke hisaab se uska matlab nikalta hai.” (The poetry is in the silences between words; its connotation depends on the age and circumstances one is in.)

Are we on the brink of total lack of creativity in the art of film-making? The year 2015 proved to be otherwise. One just needs to broaden their horizons in their perception of cinema and what it could accomplish. Last year, the world of cinema saw many films that broke preconceived notions of Hollywood and filmmaking in general. A sequel/ reboot that defies critics and audiences expectations, a period piece proving that melodrama can narrate strong storytelling and a stop motion animated film that proved to be more ‘real’ and touching than most live action films out there. After reviewing countless films from all over the world, here are my top 10 films of 2015: 10. Sicario https://www.youtube.com/watch?v=sR0SDT2GeFg 9. Aferim https://www.youtube.com/watch?v=mmTYOY_jQWc 8. Hard to be a God https://www.youtube.com/watch?v=11sMDQIgggA 7. Carol https://www.youtube.com/watch?v=EH3zcuRQXNo 6. The Tribe https://www.youtube.com/watch?v=JEKlhmLICAs 5. The Revenant https://www.youtube.com/watch?v=LoebZZ8K5N0 4. Mommy https://www.youtube.com/watch?v=d7rtSqI0ZeA 3. Mad Max: Fury Road https://www.youtube.com/watch?v=hEJnMQG9ev8 2. Anomalisa https://www.youtube.com/watch?v=Xg8MtJv2Oec 1. Best of Enemies https://www.youtube.com/watch?v=j6qW-ZKxZss Watch the video to find out why these movies made the cut.

Ever since bursting onto the scene in 1996 with the excellent action-thriller The Rock (1996) starring Nicolas Cage and Sean Connery, director Michael Bay has steadily become one of the most commercially successful and critically reviled directors in Hollywood. His films never shy away from shameless levels of jingoistic patriotism, product placement, racist undertones and stereotypes, objectification of any and all female characters and a stunning amount of disdain for the CIA. His disregard for character, plot or any visual coherence for that matter is at times alarming. Oh, and he loves blowing shit up. So hearing that Michael Bay directed a film about the tragic real life events of the September 11, 2012 attack on two US compounds in Benghazi, Libya surprised me at first, because firstly it’s very rare to see a Michael Bay movie that isn’t just for teenage boys and secondly because handling such a story requires a great deal of nuance and subtlety, something Bay is not known for. Adapted for the screen from Mitchell Zuckoff’s book by writer Chuck Hogan, 13 Hours: The Secret Soldiers of Benghazi finds Bay trying to show and tell how it all went down on September 11, 2012, in Benghazi, Libya when militants attacked the US diplomatic compound and a nearby CIA stronghold on which four Americans were killed, including Ambassador J Christopher Stevens. https://www.youtube.com/watch?v=4CJBuUwd0Os Back in 2012, these events became what can best be described as ‘political football’ in the Presidential race for the White House with then American Secretary of State Hillary Clinton getting most of the blame by the Republicans. But 13 Hours smartly strays away from the political mire and instead focuses on six buffed and bearded private military contractors who have been directed to protect CIA operatives gathering intelligence. [caption id="" align="alignnone" width="600"] James Badge Dale and Saif Braik.
Photo: Screenshot[/caption] The amount of restraint Bay is able to pull off with 13 Hours is surprising considering it’s a Michael Bay film and the mayhem is certainly tame for Bay’s standards, but that is no compliment because 13 Hours quickly escalates into an incoherent and visually annoying shoot-em-up and a jingoistic, against-all-odds story of American bravery where Americans must do anything and everything to protect themselves from whom they constantly refer to as the ‘bad guys’. [caption id="" align="alignnone" width="600"] David Denman, John Krasinski, Pablo Schreiber and Dominic Fumusa.
Photo: Screenshot[/caption] The script from Chuck Hogan does little to give any real characterisation to the six interchangeable mercenaries played by John Krasinski, James Badge Dale, Pablo Schreiber, Max Martini, David Denham and Dominic Fumusa, but to the actors’ credit they manage to come across as more human than you’d expect from a Bay movie. An empathetic John Krasinski and a grizzled James Badge Dale particularly stand out. But apart from that it’s all quite revolting. [caption id="" align="alignnone" width="600"] James Badge Dale, David Denman, Max Martini, Adam Lieberman, John Krasinski, Pablo Schreiber, Dominic Fumusa and Saif Braik.
Photo: Screenshot[/caption] The Libyans are basically anonymous thugs and blood bags who blow up when shot at. The dialogues are atrocious and full of lines that do little more than demonstrate how ‘macho’ these characters are, and show one, of the film’s few, female characters what ‘real-men’ are capable of. [caption id="" align="alignnone" width="600"] Andrei Claude.
Photo: Screenshot[/caption] The storytelling is clunky, the runtime which clocks at a testing two hours and 24 minutes is bloated and the scattershot editing is so incoherent that it blurs the characters and turns a simple set of locations into a twisting maze. [caption id="" align="alignnone" width="600"] John Krasinski and Dominic Fumusa.
Photo: Screenshot[/caption] Surprisingly, the action-set pieces are actually one of the film’s very few positives because for once, there are actual stakes and there’s a little more to it than giant robots fighting giant robots but the murky and shaky visual aesthetic that’s full of handheld shots gets so annoying at times that it takes a lot away from enjoying these set-pieces. [caption id="" align="alignnone" width="600"] David Denman and Pablo Schreiber.
Photo: IMDb[/caption] 13 Hours works on a surface level. It has some nice action and some cool explosions and if you’re a 15-year-old teenager who loves first person shooter games, you might not have a particularly bad time with this. But as a war movie, 13 Hours falls flat because it doesn’t really have any concrete perspective and everything from proper characterisation to coherent editing is thrown out the window, nor is the film engaging on anything more than a gut level. It’s commentary on Middle-Eastern politics can best be summed up by the scene in which Pablo Schreiber’s character tells a local,

“Your country’s gotta figure this shit out”.

No matter what mood you are in, a good horror movie can make you forget all your troubles… and also give you other things to worry about. Through the years, the horror genre has been a sure-shot hit field for drama and movie producers, locally and internationally. Be it desi shows like Aahat and Woh, which used to air on Zee TV in the 90s, or the ever-horrifying doll-from-hell Chuckie of Child’s Play, horror-based entertainment has been a part of every 90s child’s life – and most of them recall it with fond nostalgia. Therefore, being a 90s-kid, I have high expectations from the upcoming, CGI-induced scary movies and shows. In recent past, we have had hits like The Conjuring (2013), the Insidious series, The Blair Witch Project (1999) and Crimson Peak (2015), which have upped the ante for good productions and keep challenging their successors to strive for more. However, there have been misses too, like Poltergeist (1982), Annabelle (2014), Unfriended (2015) and even the ill-famed Paranormal Activity. Most of these productions run the risk of becoming too predictable, following the same or virtually no plotlines and having substandard actors play demanding roles. Because of this, one cannot help but feel sceptical whenever a new horror movie is introduced. But that, however, is not the case with Lights Out. Gripping its audience from the very first scene, the recently released trailer of Lights Out has gotten people excited – especially horror-film aficionados. Aside from the near-perfect ambiance throughout the movie, the reason why this film seems better than its predecessors is that the plotline is much more effective (playing on people’s fear of the dark) and scenes where it seems that the lead protagonist is working with the paranormal entity, gives it a definitive edge. Plus, it would be fun to watch the Coyote Ugly (2000) famed Maria Bello back in action. Set to be released on July 22, if this movie remains fast-paced, maintains a good level of suspense and avoids becoming clichéd, it will definitely be one of the top movies of 2016. I, for one, cannot wait to watch this film when it comes out.

The geopolitical tension between India and Pakistan has resulted in numerous cinematic potboilers that have all the ingredients of tragedy, jingoism, xenophobia and grief. Sarbjit is no different. The movie is based on the real-life account of the ill-fated Sarabjit Singh who was arrested by Pakistani police on the Wagah Border in 1990. This unfortunate Indian or dumb scout (as some conspiracy theorists allege him to be) was accused of being an Indian spy who had orchestrated terrorist activities in Lahore and Faisalabad. He was eventually thrown into prison. In between the capricious rapport shared by these two countries along with cross-border political stiffness, Sarbjit is an extremely dramatic tragedy. Charged with heated radical debates and peace lectures, the movie depicts the struggle of a sister trying to save her brother. https://www.youtube.com/watch?v=q1kYpWU7apI [caption id="" align="alignnone" width="600"] Randeep Hooda
Photo: IMDb[/caption] Sarbjit (Randeep Hooda) is a happy-go-lucky man and a family-oriented farmer. He is very attached to his sister, Dalbir (Aishwarya Rai) and his wife Sukhpreit (Richa Chadha). One day Sarbjit crosses the India-Pakistan border in a drunken state and gets arrested by the Pakistani forces. They end up putting him behind bars, charging him on account of five planned bomb blasts in Pakistan. The real drama kicks off when his sister Dalbir starts a relentless campaign to free her innocent brother from Pakistani prison. Consumed by love for her brother, she tirelessly campaigns for him, along with jarring the corridors of power and preaching peace to people. [caption id="" align="alignnone" width="600"] Randeep Hooda with Omung Kumar
Photo: IMDb[/caption] A helpless family foiled by decades-old heinous animosity between two countries, moves the viewers to tears. This movie is all about a woman being challenged and rising against destiny to fight for her family. The plot does have its fair share of anti-Pakistan sentiment but showing that people help Sarabjit on our side of the border provides a buffer against the bitterness. [caption id="" align="alignnone" width="600"] Aishwarya Rai
Photo: Screenshot[/caption] As Sarbjit, Randeep Hooda was phenomenal. He actually transformed his entire look, stature and accent for Sarbjit. This was his most prominent role by far. Sarbjit offered pitch perfect performances by Hooda. As Dalbir, Aishwarya was commendable. She was brilliant from the word go. Sarbjit, performance wise, is a career-defining film for Aishwarya. She breathed life and fire into the character of Dalbir and impressed in almost every scene. The accent, however, sounded a bit out of place, and thus gave her away in places. [caption id="" align="alignnone" width="600"] Randeep Hoods and Aishwarya Rai
Photo: Twitter[/caption] Richa Chadha was more occupied passing out at any opportune moment. She had very few dialogues in the movie, but it was her silence that made her presence felt. This is very rare quality and Chadha is definitely gifted with it. Darshan Kumar (as Owais Sheikh) was laudable. His acting came as a surprise and was different from what he showcased in Mary Kom (2014) and NH10 (2015).  He is an optimistic, full-of-hope individual, despite unavoidable misfortunes. [caption id="" align="alignnone" width="600"] Richa Chadha
Photo: IMDb[/caption] [caption id="" align="alignnone" width="600"] Richa Chadha
Photo: IMDb[/caption] Sarbjit is Omung Kumar’s second movie and he proved yet again that his film-making style is based on reality checks. Whether it’s Mary Kom or Sarbjit, he manages to display minute elements of distress and joy with utmost ease and impact. There are numerous scenes where viewers become extremely emotional because of the way scenes are filmed. They are highly emotive and touching. [caption id="" align="alignnone" width="600"] Aishwarya Rai
Photo: Screenshot[/caption] [caption id="" align="alignnone" width="600"] Photo: Screenshot[/caption] The dialogues of Sarbjit are written smartly; are simple and easy to understand, which makes it an impressive watch. Screenplay and dialogues are worth a standing ovation. [caption id="" align="alignnone" width="600"] Randeep Hooda
Photo: Screenshot[/caption] [caption id="" align="alignnone" width="600"] Aishwarya Rai
Photo: Screenshot[/caption] On the basis of engaging content, intense performances, amazing music and top-notch direction, Sarbjit can easily be ranked amongst the top movies of the year. [poll id="569"]

The video game has 12 million subscribers and not a single one of them could have asked for another director for this movie adaptation. But guess what, contrary to the expectations, Duncan Jones birthed a disaster. https://www.youtube.com/watch?v=RhFMIRuHAL4 Based on the video game franchise, Warcraft is set in Azeroth and tells the story of humans (including dwarves, imps and various other mythical creatures in the fringes) in conflict with beasts; orcs to be precise. The former party is exposed to the threat of colonisation and the latter fears extinction. The orcs are able to enter the human world via a dark portal and that is when sh** hits the fan. But hey, worry not, we have Garona (Paula Patton) to save the day... or at least she tries. Garona is half orc and half human – I have no idea why! [caption id="" align="alignnone" width="600"] Paula Patton as Garona.
Photo: IMDb[/caption] [caption id="" align="alignnone" width="600"] Travis Fimmel as Anduin Lothar and Paula Patton as Garona.
Photo: IMDb[/caption] Garona is the mediator and she tries to avert the foreseeable war between humans and orcs by bringing their respective chieftains together for negotiation: the human King Llane and the orc leader Durotan. But things don’t go as planned. There’s a warlock, insane extent of 3D action, magic missiles, axes, griffins etcetera etcetera and the end! Regardless, it was nice of her to make an effort to settle down the immigration anxiety. [caption id="" align="alignnone" width="600"] Travis Fimmel
Photo: IMDb[/caption] The movie critics are having a field day by bashing Warcraft and honestly I don’t blame them. Keeping in mind my enduring love for the video game and not sounding vicious – the only good thing about Warcraft is that it’s not boring. It kept me hooked as all the while I was trying to make sense of all those senseless twists, weird fantasy names and CGI monsters. The concept of the movie was all over the place and to what extent the characters and the setting were adapted from the game was unclear. In other words, the conversion of this virtual world to the cinema screen was one epic failure. [caption id="" align="alignnone" width="600"] Robert Kazinsky.
Photo: IMDb[/caption] [caption id="" align="alignnone" width="600"] Robert Kazinsky
Photo: IMDb[/caption] [caption id="" align="alignnone" width="600"] Travis Fimmel
Photo: IMDb[/caption] Whisking computer graphics with ponderous costumes was perhaps a foul recipe for Warcraft. The director, Duncan Jones, wasn’t on the right track while planning the movie. What was shown in the movie and what players experience in the game were poles apart. The movie does not translate the story through its characters. But I honestly enjoyed the orcs’ peculiar sense of style, their aesthetics and appearance. They’re shown more like intelligent ogres, with tiny heads, tusk-like teeth and giant hands with fingers the size of human limbs. These beasts are adorned with quirky accessories including dreadlocks, piercings, hides, furs and not just bones but entire animal skins and skeletons. One beast has skulls of a rhinoceros as shoulder pads, another has piercings through his tusks. [caption id="" align="alignnone" width="600"] Robert Kazinsky
Photo: IMDb[/caption] [caption id="" align="alignnone" width="600"] Toby Kebbell
Photo: IMDb[/caption] [caption id="" align="alignnone" width="600"] Toby Kebbell and Robert Kazinsky
Photo: IMDb[/caption] [caption id="" align="alignnone" width="600"] Photo: IMDb[/caption] Aficionados of the Warcraft game franchise will have a hard time recognising the characters mainly because there are just too many of them! Numerous characters and subplots are bound to confuse viewers, especially those who don’t know much about Warcraft. Moreover, the dialogues are timeworn and as if it wasn’t bad enough, the delivery and action scenes are way below average.  Turning a video game into a movie is a skill that requires meticulous implementation. Every inch of every detail needs to be carefully kept in mind. As much as I enjoyed how the orcs looked, I felt they lacked something. And that was the biggest disappointment for me. The orcs in the movie were way different than the video game; to the point of being unrecognisable. The beasts were not as bada** in the cinematic version. They did not remotely exhibit the savage, cold-blooded brute barbarianism that I was expecting to see. [caption id="" align="alignnone" width="600"] Toby Kebbell
Photo: IMDb[/caption] Furthermore, the movie was haphazard. Jumbled up subplots slowing down the momentum of the story made me honestly wonder if video games should be converted to movies at all! Viewers who have played Warcraft may still be able to extract some sense out of the mayhem happening in the story however, I feel sorrier for the non-Warcraft players. There is quite a possibility, they would turn suicidal after 120 minutes of torture by Duncan Jones. But I would say that Travis Fimmel and Ben Schnetzer gave a passable performance. Nothing to write home about though. [caption id="" align="alignnone" width="600"] Photo: IMDb[/caption] [caption id="" align="alignnone" width="600"] Photo: IMDb[/caption] Warcraft: The Beginning was godawful but I won't be surprised if more sequels will follow, for there are a dozen levels of the World of Warcraft (WoW) game. But I hope, wish and pray that next time they are made by a different director. It is such a tragedy that after Moon (2005) and time-travel masterpiece Source Code (2011), Duncan Jones would create such a catastrophe that would potentially drag his directorial career in a downward spiral. All in all, those who have experienced the multiplayer online role-playing game will strongly disapprove of Warcraft: The Beginning.

There is certain redemption in resurgence. A feeling of hope and of renewal, of things starting anew, of setting the old wrongs right. Pakistani cinema has come up by leaps and bounds in the last few years. From a struggling franchise engulfed in out-dated ideas desperately clinging on in order to survive and become a booming industry reminiscent of the golden days and a slight peek into the wondrous possibilities that lie ahead. Pakistani cinema has finally arrived and as a keen devotee of this resurrection it is apparent that the film industry is here to stay. Although the current situation resembles a bed of roses, not long ago it was a reflection of a barren lifeless orchard that had been left to dwindle and wither away. During 2003 and 2013, only a handful of cinematic productions took place. Low quality in terms of production, acting and direction reduced the industry to ruins. The diminishing number of production houses led to low receipts that significantly contributed to this downturn, eventually perpetuating a vicious cycle that threatened to deluge the industry into oblivion. However, in 2014 and the years that have followed, the industry reinvented itself. Crowd pleasers like Jawani Phir Nahi Ani (2015) and Na Maloom Afrad (2014) appealed to the masses accumulating record collections in cinema houses all over the country. https://www.youtube.com/watch?v=rBW7oZYgWRg https://www.youtube.com/watch?v=xnCQHQ_yHms For many detractors though, this upturn in fortune had been achieved at an astounding cost. The industry had sold its soul to the devil and had become a sell-out, but then came Manto (2015) and Moor (2015). The duo introduced new standards of acting and direction that had never been seen before in the industry, so brilliant in their execution that everyone was taken back. The controversially nuance poet was brought to life with his plays, a tearful yet eye opening journey was revealed for all to see – something that had not been divulged before but had been done so beautifully that no one could argue that it was not worth the wait. https://www.youtube.com/watch?v=Tnfx42fxCZU https://www.youtube.com/watch?v=Lla1lNt0wLI However, success thrives on continuity rather than on resting on one’s laurels. It was imperative for the industry to further extend this run that had people flocking to cinema houses once again; a welcome sight for sore eyes and a vision that for most part of the last decade seemed implausible. What followed were stories of friendship and of romance, of estranged love and of war that had people clambering for tickets. More so the success of the industry is a reflection of all those that are a part of it. With Pakistani films doing exceedingly well on local and international platforms, technicians and actors have been in high demand ever since. Numerous singers and actors have made the inauspicious journey across the border. Fawad Khan, with his heart throbbing looks and renowned acting skills has entranced Indian audience, while actresses such as the gorgeous Mahira Khan has left everyone drooling at her natural charisma and beauty – a reflection of the abundance of talent that resides behind these troubled borders. However, as any keen critic would postulate, it is paramount that we look through this veil and analyse as to what is happening at the grass roots. While talking to a keen cinema enthusiast, who has been associated with the industry for most of his life, he said the real emergence lies in schools and universities that are the true building blocks of this revolution. He cited how universities used to be breeding grounds for cinematic brilliance. How writers, directors and actors grew and evolved in an environment that was hospitable to their creative desires. However, ever since the 80s and even today, state restrictions and narrative coupled with increasing religious fanaticism in educational institutions has emasculated this approach and the consequences of which still haunt us as a nation. What resulted was a severe dearth of quality writers, artists and film makers that gave rise to the capitulation of the industry itself. More so among the numerous problems that the industry faced and still does is the lack of funding available to adventure into new avenues. What ensued was the use of obsolete technologies and indigent payoffs to writers, technicians and artists, thus consequentially leading to a crippling of the whole network upon which the film industry functions. Perhaps the most profound effect is the fact that despite the upturn in recent years, our film industry is still light years behind Bollywood or Hollywood. New and evolving methodologies, ingenious scripts (more so in the case of Hollywood) and most importantly professionalism have sent quality and revenues through the roof. Access to worldwide audiences and considerable star appeal significantly contributes to their upturn and is an aspect that our local industry severely lacks. As an inquisitive observer of what has been cooked up by the industry, I sincerely believe that despite the recent upturns, the industry and its constituents have a long way to go. It is vital for the industry to not trade stimulating and challenging scripts and projects for idiotic and vulgar sell-outs that, at best, leave a bitter taste in the viewer’s mouth. Maintaining a sense of uniqueness while being open to outside influence is in my opinion, the cardinal factor that will determine the future for our industry. However, more so it is perhaps how the industry handles this upsurge in fortune that will eventually decide if it will bear fruit. As a nation, we have often been accused of taking a back-step when what was required was to take control and move to the next level. Continuous improvements are essential in terms of quality, writing and acting. The small screen has already mirrored the success that our entertainment industry can accumulate. Learning from their blueprint and improving upon their mistakes, all the while encouraging young talent, can be the foundation upon which the industry can prosper. A welcome change in this regard is the approach adopted by the Lahore University of Management Sciences (LUMS). LUMS as the only established liberal arts institute in Pakistan has been a heretic and a safe haven for creative enthusiasts since its inception. Leading this thought process is the LUMS Media and Arts society or LMA. Evolving and getting bigger every year, the society spearheads numerous projects throughout the year. Ranging from dramatics to film making, the society takes a keen interest in what it assumes to be its responsibility in aiding the development of future artists by providing avenues to showcase their work. Perhaps their most riveting projects include the Filums (LUMS International Film Festival) and the documentary on the majestic hills of northern Pakistan that is to be released soon. Filums – hosted annually by the LUMS Media Arts Society (LMA), is one of the largest student-organised film festivals in South Asia. It serves as an important platform for the youth, upcoming filmmakers and enthusiasts to showcase their talent and come together to celebrate their passion. Filum brings together both amateur and aspiring filmmakers and experts of the field resulting in a nourishing and fulfilling experience for those involved. Although small in comparison to what the society envisions, for it to grow over the coming years, programs such as this, amongst others, mean LUMS has taken the first step towards a long, albeit rewarding journey ahead.

Akshay Kumar is the definition of a multifaceted Bollywood star; not because he gives repeated box office hits, but because he never hesitates to pair up with new directors and their teams. This requires aptitude and confidence – traits that very few superstars possess. This is Akshay Kumar’s third release in 2016 (after Airlift and Housefull 3) and it’s completely disparate from his previous endeavours. Will he be able to pull a hat trick this year? Rustom is Dharmendra Suresh Desai’s second film (the first was 1920 London, which was released a few months back). Was Akshay able to pull off the show under Desai’s direction? Let’s explore what Rustom has to show to its audience. [caption id="" align="alignnone" width="600"] Akshay Kumar
Photo: filmside.net[/caption] https://www.youtube.com/watch?v=L83qMnbJ198 Rustom is based on a real life event that occurred in 1959, which ended the jury system in the state. Rustom Pavri, played by Akshay Kumar, is an honoured naval officer who returns home unexpectedly from his mission. He decides not to tell his beloved wife, Cynthia Pavri (Ileana D’Cruz) in order to surprise her. He gets the shock of his life when he finds out about Cynthia having an affair with Vikram Makhija (Arjan Bajwa). In a fit of rage, Rustom kills Vikram and then surrenders himself to the police. When Preety Makhija (Esha Gupta) finds out about her brother’s murder, she hires the best lawyer she knows of, Lakshman Khangani, (Sachin Khedekar) to fight the case against Rustom. What happens next, in and out of the courtrooms, is what Rustom is all about. [caption id="" align="alignnone" width="400"] Akshay Kumar And Ileana D'cruz
Photo: Rustom Movie Facebook Page[/caption] Rustom is one of Akshay Kumar’s more mature performances. His acting is precise, to the point, and very calculated. He carries the entire movie on his able shoulders. It’s great seeing Sachin Khedekar playing pivotal roles again – what’s more is that he nails his performance in every frame. Pawan Malhotra’s role as a dutiful police officer is another ace performance in Rustom. He is an underrated actor, but extremely dependable. The same goes for Kumud Mishra. [caption id="" align="alignnone" width="600"] Akshay Kumar And Arjun Bajwa
Photo: filmside.net[/caption] Coming towards acting, Esha Gupta and Ileana D’Cruz both need to work on their performances. I felt they did not do justice to their respective roles. Arjan Bajwa’s acting is mediocre, whereas the child hawker, Naman Jain, deserves special mention for a solid performance. This child actor keeps getting better and better with every movie. There are some great scenes in Rustom. One of my favourties was when Pawan Malhotra plays chess with Akshay in prison. It was brilliantly executed with a whimsical touch. The courtroom scenes are very well written, the director managed to add a realistic touch to them, making sure they were not over the top. Where music is concerned, Rustom’s soundtrack is decent and not packed with unnecessary/dramatic numbers, as most of the movie comprises of background music. https://www.youtube.com/watch?v=5gwy0gcjIkI [caption id="" align="alignnone" width="600"] Akshay And Panwan Playing Chess
Photo: www.ideapopcornstreet.com[/caption] However, even with such an experienced cast, there is still something missing in the movie. At best, Rustom is a decent watch, albeit not the best one.  

In Bollywood, women-centric movies are always considered extremely powerful, even prior to their release. From Insaaf Ka Tarazu (1980) to Bandit Queen (1994), from Mother India (1957) to Mary Kom (2014); female oriented movies have made headlines everywhere. Akira, featuring Sonakshi Sinha, is also a movie based on a journey of a woman, but in different circumstances. https://www.youtube.com/watch?v=QsCkty3mpg0 Sonakshi Sinha, as a performer, has always lived up to the expectations of the masses. Having directed movies like Ghajini (2008) and Holiday (2014), A R Murugadoss has brilliantly proved his mettle in direction. With a star studded cast such as Konkona Sen Sharma and Anurag Kashyap, Akira looked quite promising. [caption id="" align="alignnone" width="600"] Sonakshi Sinha
Photo: Screenshot[/caption] The story line revolves around a girl named Akira (Sonakshi) who always takes a stand against wrong doings in the society, owing to the values her father (Atul Kulkarni) taught her over the years. Due to a childhood mishap, Akira was sent to juvenile prison for three years, which changed quite a few things in her life. [caption id="" align="alignnone" width="600"] Sonakshi Sinha
Photo: Screenshot[/caption] Years later, Akira’s brother requests her and her mother to move to Mumbai and live with his family. Soon after moving to Mumbai, Akira enrols in a college to further her education. There, Akira comes face-to-face with ACP Rane (Anurag Kashyap) a corrupt police officer, and his accomplices. Things take a turn when Rane, along with his three fellow officers, find themselves in a dangerous situation when he starts receiving phone calls from a blackmailer. [caption id="" align="alignnone" width="600"] Sonakshi Sinha
Photo: Screenshot[/caption] Performance wise, Akira is more of Anurag Kashyap’s and Konkona Sen Sharma’s movie, rather than Sonakshi’s. In the movie, Sonakshi has the right avatar for her character, portrays it with sincerity but something was still missing; either it was the way her character was built, her dialogue delivery, or the way the story progresses. [caption id="" align="alignnone" width="600"] Konkona Sen Sharma
Photo: Screenshot[/caption] [caption id="" align="alignnone" width="600"] Sonakshi Sinha
Photo: Screenshot[/caption] Akira is evidence of Sonakshi’s earnestness towards acting, but yet, her performance comes across as somewhat half-cooked. Anurag Kashyap as a villain is amazing – he is confident, radiates defiance with eyes, and has the right attitude and expression. He should seriously do more movies as an actor. Konkona Sen Sharma appears in an extended cameo. She performs the character of Rabia, the virtuous cop, remarkably. [caption id="" align="alignnone" width="600"] Anurag Kashyap
Photo: Screenshot[/caption] Atul Kulkarni, in his short appearance, is extremely emotive through his eyes and expressions. Amith Sadh also looks promising and has a strong screen presence. A special mention for the actor playing Raajeshwar, one of Kashyap’s accomplices, is absolutely necessary. He was tremendous and has strongly reminded the audience of Ashish Vidyarthi in the late 90s. [caption id="" align="alignnone" width="600"] Sonakshi Sinha
Photo: Screenshot[/caption] Music wise, there’s not much to look forward to, but Kehkashan Tu Meri is a good track. Direction wise Akira is average, but unfortunately not better than Ghajini. The story has some loopholes which make it come across as farfetched and hard to believe. https://www.youtube.com/watch?v=nDN0kTMOZN4 Akira could have been a great story on paper, but on screen it has its fair share of weaknesses.

Imagine the stuff nightmares are made of, put it on reel, and you’ll have a film that’s packed with fright and sheer shock value. Don’t Breathe is exactly that! It is an American horror film directed by Fede Alvarez. The story line is built around a home invasion that goes haphazard. https://www.youtube.com/watch?v=76yBTNDB6vU Fede Alvarez brings forth the right balance of old school horrors and thrillers for fans of both genres, making it a gratifying experience overall. It’s this fresh take, blend of trepidation, and unpredictability that makes this movie a ‘breath’ of fresh air (pun intended). [caption id="" align="alignnone" width="600"] Jane Levy, Daniel Zovatto and Dylan Minnette
Photo: IMDb[/caption] The premise of the movie revolves around a trio of Detroit crooks named Rocky (Jane Levy), Money (Daniel Zovatto) and Alex (Dylan Minnette) – delinquents who earn their living by looting and breaking into houses. During the course of the movie they decide to break into the house of a blind man who happens to be a war veteran, Norman Nordstrom (Stephen Lang). [caption id="" align="alignnone" width="600"] Stephen Lang and Dylan Minnette
Photo: IMDb[/caption] Assuming that the owner’s visual impairment would work in their favour, the trio enters his house not knowing that they are in for an encounter that they won’t come out of unscathed. The three of them are unaware that the blind man (who lost his vision in combat) has honed his other senses and knows his house like the back of his hand. [caption id="" align="alignnone" width="600"] Jane Levy
Photo: IMDb[/caption] The audience will flinch and gasp over how relentless and merciless Norman is when he unleashes his wrath upon these three intruders. The concept is fresh, jaw-dropping and outright scary. [caption id="" align="alignnone" width="600"] Stephen Lang
Photo: IMDb[/caption] Don’t Breathe treads on a new path when it comes to your garden-variety horror-thriller movie. Just when you think you have the plot figured out, the director Fede Alvarez turns and twists it, which leaves the audience baffled. [caption id="" align="alignnone" width="600"] Stephen Lang and Daniel Zovatto
Photo: IMDb[/caption] Within 88 minutes of the movie, the director manages to provide the audience with a visceral experience which is rich with gruesome instances as well. The scenes shot in low light serve as an apt representation of what it would actually be like to find oneself in such a strange situation. I felt the best performance was by Stephen Lang. At first, the audiences’ sympathy lies with him, since the assailants barge into Lang’s house to loot him. But as the movie progresses, the audience will find their sympathies edging towards the burglars for meeting such an ill-fate at the hands of the barbaric house-owner. [caption id="" align="alignnone" width="600"] Stephen Lang and Dylan Minnette
Photo: IMDb[/caption] Don’t breathe finds its place naturally amongst other movies within the same genre. Imagine spliced movies like Panic Room (2002) and Psycho (1960) and multiply the tension, the panic and the brutality several times over. The final product you’ll get is the narrative of Don’t Breathe. [caption id="" align="alignnone" width="600"] Stephen Lang and Daniel Zovatto
Photo: IMDb[/caption] Alvarez hasn’t necessarily reinvented the genre, but he does succeed in keeping the audience heavily engrossed in the movie’s protagonist (more like the antagonist). [caption id="" align="alignnone" width="600"] Stephen Lang
Photo: IMDb[/caption] Don’t Breathe is a hair-raising ride. Anyone who watches it and brands it as another run-of-the-mill flick devoid of any genuine scares will be committing a sin according to me.

When I saw the trailer on YouTube a month ago, I pitied Nicholas Cage; this man has not done a good movie in a long time and nowadays we only get to see him in memes and comics on 9GAG. So, thinking of good old movies (like Face/Off, Con Air and Leaving Las Vegas) has helped retain his credibility in my mind while watching any more of his stupid movies. Nonetheless, I watched it because I had nothing better to do at the time yesterday. So let’s come straight to the movie. https://www.youtube.com/watch?v=RYsPEl-xOv0 The movie is more emotional and humorous than political. It covers the life of an American citizen named Gary Faulkner (played by Nicholas Cage) who receives a vision from God, mainly because of hallucinations caused by delay in his weekly dialysis. God (played by a very profane Russell Brand) commands him to go to Pakistan and capture Osama Bin Laden (OBL). Pumped up by American patriotism, Gary resolves to do so and even lies to his doctor to give him money to buy a boat. What happens next is a tale full of laughter and sudden emotional backdrops. [caption id="" align="alignnone" width="578"] Amer Chadha-Patel in Army of One (2016)
Photo: IMDb[/caption] Nicholas Cage has done a marvellous job at portraying a lone handyman who needs to be taken care of and always crashes at his friends’ houses to spend the night. He is emotionally starved, thus he shows so much love and affection when he meets his childhood crush, Marci Mitchell (Wendi McLendon-Covey), now a single mother of a physically challenged daughter, Lizzie. Her acting is fair throughout the movie, while she persuades Gary to live with them and become a fatherly figure for Lizzie. [caption id="" align="alignnone" width="600"] Wendi McLendon-Covey in Army of One (2016)
Photo: IMDb[/caption] Will Sasso (Curly from The Three Stooges) and Paul Scheer also have short roles as Gary’s friends – and they are just right for it; not very sober, not overly attached. We have Denis O’Hare and Rainn Wilson that play CIA operatives based in Pakistan who are trying their best to keep Gary off OBL’s hideout (yes! They are apparently aware of the location). Our fellow countrymen are mainly disgusted by the manner in which Pakistan is portrayed in the movie; Gary is seen riding a donkey in the streets, all houses are either shabby or made of red bricks, all men are wearing turbans and sporting a beard and all women are in a burqa (even while taking dancing classes). All the aforementioned stupid visuals are meant for humouristic purposes to keep the audience amused. I am not trying to be apologetic but that’s what Larry Charles does. He made Borat and exhibited Kazakhstan in a hilarious manner that is far from reality. He made The Dictator and portrayed US’s very own CIA as a bunch of conspirators controlling democracies all over the world. It’s just what he does. [caption id="" align="alignnone" width="600"] Nicolas Cage in Army of One (2016)
Photo: IMDb[/caption] So keep your patriotism in check while watching this film and, I assure you, the ridiculousness of the content will make the time spent with your buddies even better.

What do you get when you take small, cute creatures with weird hairstyles, in adorable clothing living in a peaceful, natural habitat in their little homes? You get Trolls. Although trolls – adopted from the dolls production since 1959 – has been made into a movie, chances are that it will soon become a memory instead of a classic. The reason being simple – it’s characters and story have a stark resemblance to the Smurfs. The only thing that’s different is the theme song. https://www.youtube.com/watch?v=xyjm5VQ11TQ DreamWorks Animation has come up with blockbuster hits such as Antz, Shrek, Kung Fu Panda, Madagascar and Turbo – with that comparison in mind, Trolls has proven to be a disappointment. The movie consists of too much colour and way too many songs. It also didn’t do much to connect with the adult audience. [caption id="" align="alignnone" width="600"] Justin Timberlake and Anna Kendrick in Trolls (2016).
Photo: IMDB[/caption] The story revolves around trolls – creatures that live in a perpetual state of happiness; always singing and dancing. However, they’re soon discovered by the Bergens – large, hideous creatures that remain forever unhappy unless they eat a troll – experiencing a moment of glee that is short-lived. This is where the actual story begins. [caption id="" align="alignnone" width="600"] Jeffrey Tambor, Christine Baranski, Anna Kendrick, and Ron Funches in Trolls (2016).
Photo: IMDB[/caption] The Bergens manage to capture the trolls by caging them. Luckily, King Peppy (Jeffrey Tambor), the leader of the trolls, manages to escape, along with a many others. The way they escape is probably the best part of the movie so I won’t disclose those details! But I will say this: the escape brews up a confrontation between King Peppy and the King Gristle Sr (John Cleese), the leader of the Bergens. Days turn into years and King Peppy’s daughter, Princess Poppy (Anna Kendrick), rules over the trolls, and she is as happy as any troll can be! She is fond of colours and parties and declares that she wants to throw one. But, Branch (Justin Timberlake), a troll who survived the onslaught of the Bergens, fears that the loud music will attract their nemesis to the area. But, despite Branch’s concerns, Princess Poppy decides to throw a party anyway and invites all the trolls. Did the Bergens crash the party? Did they capture the trolls? You will have to watch the movie to find out! But one thing is for sure; whatever happens, it sends Princess Poppy and Branch on a peculiar journey. [caption id="" align="alignnone" width="600"] Justin Timberlake, Walt Dohrn, and Anna Kendrick in Trolls (2016).
Photo: IMDB[/caption] Despite the positives in the movie, there’s one thing that irritated me – Princess Poppy’s over-the-top happy attitude. I know it has been established that trolls are forever happy and energetic, but her habitual singing and blissful ignorance towards any danger, even when it’s just a yard away, is bound to get on your nerves too. Branch’s cautious attitude comes across much more believable and realistic, thus making him a relatable character. [caption id="" align="alignnone" width="600"] Zooey Deschanel and Christopher Mintz-Plasse in Trolls (2016).
Photo: IMDB[/caption] Keep your eyes on Bridget (Zooey Deschanel), a Bergen that appears to be genuine and caring, but works for the Chief of the Bergens (Christine Baranski). Will she be of any help to the trolls in their fight against her own kind? [caption id="" align="alignnone" width="600"] John Cleese, Gwen Stefani, James Corden, Walt Dohrn, Kunal Nayyar, Ron Funches, Aino Jawo, and Caroline Hjelt in Trolls (2016).
Photo: IMDB[/caption] The cast of the movie comprises of a multitude of renowned artists. One is Russel Brand, who voices Creek; a troll who is always optimistic. Another is James Corden as Biggie, a large sized troll. Gwen Stefani voices DJ Suki and last, but not the least, is Ron Funches as Cooper, a giraffe-like troll. [caption id="" align="alignnone" width="600"] Russell Brand in Trolls (2016).
Photo: IMDB[/caption] There’s no doubt regarding the fact that the animators have given attention to detail when rendering the trolls; from their movement to the environment they live in, executed to perfection – making them come to life on screen. Nevertheless, even when the animation is impeccable – the story and the characters’ appearance seem a bit of a cliché to the viewers. Some comical scenes will make you wonder, “Hmmm…where have I seen this before?” or the characters may compel you to think, “who does this character resemble?” In other words, it will feel somewhat familiar. It is interesting to see how DreamWorks Animation has yet again taken an ugly monster, a troll, and turned it into an adorable creature – they had done the same thing in Shrek. That being said, only time will tell if Trolls leaves the same impact on its viewers. [caption id="" align="alignnone" width="600"] Justin Timberlake and Anna Kendrick in Trolls (2016).
Photo: IMDB[/caption] There are a number of songs in the movie including, Hair Up, Can’t Stop the Feeling, Move Your Feet, Get Back up Again, The Sound of Silence, I’m Coming Out, and September; which takes me back to what I had previously said – too much singing and way too many songs! https://www.youtube.com/watch?v=0cwm873F-GY https://www.youtube.com/watch?v=tBRYFEb4xrY But that’s not all there is to Trolls; you will also find entertainment, happiness, and traces of romance, only to be interrupted by the Bergen and Princess Poppy’s hugging and singing (again, the singing!). The movie will thoroughly entertain children, however, adults may lose interest after the first 30 minutes. That being said, the movie is not even close to being an all-rounder. [caption id="" align="alignnone" width="600"] Walt Dohrn and Anna Kendrick in Trolls (2016).
Photo: IMDB[/caption] So – would I recommend this movie? Yes – to children because they would thoroughly enjoy themselves. But for adults, it’s a waste of time.

Almost everyone plays video games these days. If you look around, you’ll notice how millions of people immerse themselves into the world of virtual reality every day. These games are critically acclaimed universally, and witness millions in sales, sometimes, on the first day of their release alone. Many film studios have tried to adapt video games into big screen movies, unfortunately, only a handful have been able to hit the jackpot and almost none have pleased critics. Movies like Mario Brothers, Mortal Kombat, Street Fighter, Hitman, Alone in the Dark, Max Payne, Warcraft, Prince of Persia, and Doom along with the Resident Evil series and the Tomb Raider series are considered disappointments on a whole. Neither the critics’ nor the audience were pleased. The Resident Evil series is the only one that has turned a real profit for its producers. This curse on video-game-based movies has been innate in Hollywood for a long time – here’s hoping the curse will be lifted with the upcoming release of Assassin’s Creed this December. This widely popular action-adventure video game series has received worldwide critical acclaim and has sold over 93 million copies. The game revolves around the centuries old rivalry between the Assassins, the Templars, and Desmond Miles, a descendant of the Assassins, who gets to experience the memories of his ancestors through a device called Animus. The movie will have a similar premise, but will differ in storyline and characters. Hopefully this will help attract even those who haven’t played the game. The movie stars the extremely talented Michael Fassbender (X-Men series, Steve Jobs, Prometheus), Marion Cotillard (Inception, The Dark Knight Rises) and Jeremy Irons (Die Hard with a Vengeance, Batman v Superman). I think it’s safe to say that since this movie has such an exceptional cast, it won’t disappoint and hopefully this will be the movie to finally break the curse. The first and second trailer revealed some interesting aspects of the film. It features some breath-taking stunts, visual effects, as well as the Spanish Inquisition. I don’t think any video-game movie trailer has gotten as much attention as the Assassin’s Creed trailer has. Everyone who has played the video game is aware of the fact that the present day storyline of the series has always been a weak point. The movie aims to solve this through character development and an interesting plot. Moreover, the film features a more detailed version of the Animus that has never been seen before. One of the biggest advantages that this film has over other video-game based movies is the involvement of Ubisoft itself. Ubisoft is the company that has developed the games and played a key role in the production of the movie to ensure that they include all the positive aspects of the game and improve the instances where it is lacking. I’m a firm believer in the notion that the Assassin’s Creed movie will do the unthinkable and win over its audience and critics. There are high chances that this film can lay the foundation for more character driven and content rich video-game-based movies. [poll id="713"]

It seems like the year 2016 just started a while back, but here we are, just a few days shy from welcoming 2017. A lot happened last year which took us by surprise and shocked us. But even amidst such unpredictability, we were not prepared to see some of the deaths that came our way. Some were lost to old age, some to disease and some to murder. But regardless, they were all taken too soon. Here are some of those names, in no particular order. Peter Vaughan [caption id="" align="alignnone" width="533"] Photo: IMDb[/caption] Even though he had a career spanning 75 years, fans of Game of Thrones (GoT) will relate to his death the most. Maester Aemon Targaryen (his name in GoT) passed away at the age of 93 on December 6^th. The blind Maester had lots of memorable quotes, however one of his most favoured one is,

“What is honour compared to a woman's love? What is duty against the feel of a newborn son in your arms... or the memory of a brother’s smile? Wind and words. Wind and words. We are only human, and the Gods have fashioned us for love. That is our great glory, and our great tragedy.”

“There is a crack in everything, that's how the light gets in.”

“If you're not gonna tell the truth, then why start talking?”

“Well, you better learn how to fight before you start challenging people that you’re gonna whup.”

“His mission of love has tragically been cut short by those who spread hate in the world, and is a great loss for all the divided people of our country.”

“Allahu Akbar. Do not forget Aleppo! Do not forget Syria! We die in Aleppo, you die here!”

“The fear of death follows from the fear of life. A man who lives fully is prepared to die at any time.” (Mark Twain)

Once upon a time, there was a young talented filmmaker who created a cinematic masterpiece despite merely being in his 20s. This particular piece of his can rightly claim to have one of the most shocking twist endings ever in the history of cinema. https://www.youtube.com/watch?v=84TouqfIsiI A couple of movies later, he was still churning out decent thrillers but the decline in his craft was starting to show. But now it has gotten to a point that whenever his name and filmmaking are mentioned in the same sentence, rather than gasping in unison with anticipation, the audience just simply walks away from the conversation with a deep and long- drawn sigh. Ladies and gentleman, I present you with the enigma that is M Night Shyamalan. So was he rightly lauded as a filmmaking genius when he provided us with The Sixth Sense, a thriller beyond par, or was he simply a ‘one hit wonder’ who just luckily stumbled upon a cinema classic? Unbreakable and Signs somewhat add credence to the aforementioned former, but Lady in the Water, The Happening, and The Last Airbender amongst others prove otherwise. So yeah, personally any time Shyamalan comes up with a new film, there is this bizarre sense of excitement that maybe, just maybe The Sixth Sense was not a one-off and this dude has it in him to give us another timeless classic. Split is Shyamalan’s latest venture and it goes without saying that yours truly was once again willing to give him a shot. [caption id="" align="alignnone" width="399"] James McAvoy and Anya Taylor-Joy in Split (2016).
Photo: IMDb[/caption] The movie kicks off with an abduction of three high-school girls from a birthday party. Two of the victims are kind of popular with the third, Casey – our chief protagonist– being a loner. Sounds like your average C-Grade thriller, right? Au Contraire, this is where the film gets the signature Shyamalan twist with our kidnapper Dennis (James McAvoy) having a psyche fractured into 24 distinct personalities, right from a seductive woman making sandwiches in the kitchen down to an impish nine–year–old kid who lisps. Some of these personas are likeably decent while the others are anything but. More importantly – plot wise – the question surrounds which of these alter- egos these girls can exploit to escape captivity. [caption id="" align="alignnone" width="600"] Jessica Sula, Haley Lu Richardson, and Anya Taylor-Joy in Split (2016).
Photo: IMDb[/caption] [caption id="" align="alignnone" width="600"] James McAvoy in Split (2016).
Photo: IMDb[/caption] In order to beef up the overly simplistic narrative, we have got a few complicated subplots involving Dennis’s psychiatrist, Dr Karen and Casey’s traumatic childhood. Oh and yes, like every Shyamalan movie Split too has a climax twist. Like bro, seriously! Not every single one of your movie needs these. [caption id="" align="alignnone" width="600"] James McAvoy in Split (2016).
Photo: IMDb[/caption] Based on multiple personality disorder, ironically the movie itself lacked any kind of personality. It is just repetitive shots of girls screaming and darting in and out of a dark basement hallway or peeking into keyholes while James McAvoy switches accents and facial expressions. My primary gripe with Split is how it had the potential to be a fantastic watch.  It is not as bad some of Shyamalan’s previous works, mind you, but it’s not nearly as effective as it should be considering it had a great premise and some awesome McAvoy’s acts. The girls are mostly non-entities with the exception of Anya Taylor-Joy’s Casey Cook but it is James McAvoy’s turn as a dissociative identity disorder affectee, which turns Split above its predictable level. [caption id="" align="alignnone" width="600"] Anya Taylor-Joy in Split (2016).
Photo: IMDb[/caption] Split is easily Shyamalan’s best film since Signs but the albatross around his neck in form of The Sixth Sense is still there and the wait for that other special one of a similar ilk still goes on. [poll id="729"]

Ram Gopal Varma is the same genius who gave the world stellar films such as Drohi, Rangeela, Satya, Company and Rann. However, over a period of time, his movies seem to be losing their grip and the audience has little or no interest left in his upcoming ventures. https://www.youtube.com/watch?v=B27zvZRfeSo The Sarkar series has a niche audience and we are yet to determine what the third installment has to offer to its viewers.

Background

Sarkar 3 has some really great performers in the cast, namely Amitabh Bachchan, Jackie Shroff, Manoj Bajpayee, Ronit Roy, Yami Gautam along with Amit Sadh, Bajrangbali Singh and Rohini Hattangdi.

Sarkar 3 begins 10-15 years after the previous installment. Shankar’s (Abhishek Bachchan) son Shivaji aka Cheeku (Sadh) returns to Subhash Nagre’s (Sarkar’s) empire.

Michael Vallya (Shroff) sends Gandhi (Singh) to Sarkar for a business proposal but Sarkar ends up rejecting it. Out of vengeance, Gandhi starts supporting a political figure by the name of Govind Deshpande (Bajpayee) in order to stand up against Sarkar and find a way to get his work done.

When you think of language, you think in a language. For me, it’s English. It always has been. Sometimes, I wonder if my thoughts were in another language, would I be different? Would my life have turned out differently? Perhaps. You never know, that’s the thing. Hindi Medium made me realise that language has the power to change. I see it every day around me. I see it at work when I try to communicate in Urdu but my vocabulary falls short. I used to see it in school, when people mocked that one kid for speaking in Urdu because God forbid, his English was not up to par with our colonised culture of a school. But that’s the thing, it shouldn’t have to matter. The way you communicate, regardless of language, should be the point. But we live in a country that has been consumed by this colonial garb, and I don’t think we are even trying to break free of it. Hindi Medium proved what we already know – we are so far behind from understanding and relating to a culture that is our own that we are deteriorating. Irrfan Khan’s monologue at the end, in his half-broken English was so powerful. It portrayed the notion that language does not matter as much as we all make it out to be. He was doing perfectly well without being fluent in the language of the coloniser. He had self-worth, which is something not a lot of people can say they have. He was proud and self-made, and when he tells people he owns a shop, he says it proudly because he doesn’t need anyone’s approval. But Saba Qamar did, and maybe that was her pitfall – that moment when she’s at the park with her daughter and her friends don’t want to play with her – it broke my heart because that’s how our society functions. The minute we hear someone speak in Urdu, we label them as the ‘other’, but maybe we are the ones who are the ‘other’ at the end of the day. This is the land of our people; it no longer belongs to the British, so why do we try so hard to hold on to a legacy we never asked for? Back when I was in school, I remember seeing parents line up for hours just to get a form to apply. They’d be standing there, looking at us with this nervous expression. I remember thinking how long the line was, all for this school that wanted all its kids to be the same – all for a place that thrived upon conformity – I didn’t get it and I don’t think I ever will. But that’s what Hindi Medium highlighted so well; the rat race for these private intuitions. Sometimes it isn’t even about the school or the children; it’s about telling everyone around you that yes, this is my life, this is who I am when in reality you are so far away from everything you stood for. The fact that Khan realised this is what broke barriers in the movie industry. No one says it out loud. No one confronts it. But it’s there, lingering beneath the shadows at the fancy committees as you tell your friend, my son got into XYZ school, or my daughter got an interview there. The day the list came out – I can still picture it in my head. It was usually during break time. Back when I was in around 10^th grade, the list came out on paper. They’d put it up on this bulletin board. Parents would come rushing in. They’d be pushing and shoving, and hoping and I’d stand there, watching. Most of the time, you’d have to have a parent or a sibling connection to get into XYZ school because somehow, that made you better – that made you worth it. Anyone who arrived after A’levels was instantly labelled as “other”, because they didn’t have what we did. Now that I think about it, all we had was a connection to this place that was imprisoning my individuality, a place that was telling me that it was not okay to be different or bold, and that the more I tried to be like my peers, the more I’d be valued. We believe that it is our right to get the best education, the best job, the best way of life. But what about our help? We don’t really think of their rights; they have desires too, they want the best for their children as well, but we live in a country where few things are based on merit as opposed to your father’s name. Everything is based on connections, who can we call and what can they do to make our lives easier? Sometimes we seem to forget that our worth has to be earned; we walk around life assuming everything should be handed to us. But Khan’s character knew that it didn’t. He made his life from a tailor’s assistant to a business man, and he understood that. When the movie shifts into the part when Khan and Qamar feign poverty, everything comes into perspective. The way the poor neighbours were so willing to help a hand was heartening, yet Qamar and Khan’s friends were extremely quick to judge them for being “Hindi medium”. When Qamar says,

“Why shouldn’t they speak Hindi? It is our language,”

“What if Snow White was a little healthier and the dwarves were less perverted?” is perhaps what the poster for the new Snow White film should have said. Instead it said,

“What if Snow White was no longer beautiful and the seven dwarfs not so short?”

When the first Conjuring movie came out in 2013, horror genre aficionados were ecstatic. Cutting through myriads of uninspiring horror flicks, The Conjuring was a breath of fresh air which brought forward original storylines and gut-wrenching horror scenes that kept you at the edge of your seat throughout its duration. However, the movies that have come after it simply repeat the story in a less powerful way. The computer-generated imageries (CGI) have become bland and there is no element of surprise left. Even The Conjuring 2 failed to impress and Annabelle (2014) was equally disappointing. Perhaps it is because of these misses and dupes that the franchise has decided to go all out with Annabelle: Creation. The trailer for this movie was released around three months ago and it garnered great frenzy amongst viewers and franchise-lovers alike. It has just the right amount of horror and suspense which would send jitters down your spine. Being the fourth film in The Conjuring film series, Annabelle 2 is a prequel to its predecessor from 2014, which showed the story of a demonic doll wreaking havoc on its search for a human vessel that it could occupy and become invincible. The premise for this movie seems slightly different, as the trailer shows how the doll, Annabelle, came to be and what made it such a dastardly figure. The trailer portrays a doll-maker’s family who lived 12 years prior to the incidents of the movie. The family lost their daughter in an accident and struck by grief, they decide to pray in order to see their daughter one more time. As a result, they get in touch with a supernatural entity which begins to visit them regularly. However, they soon realise that this entity is not their daughter but a demon from hell. The doll-maker decides to make a doll and lure the demon to possess it. The plan is successful and they eventually lock the doll in their house. Years later, the house gets sold to an investor who turns it into an orphanage for young girls. One of the girls accidentally ends up freeing Annabelle, and thus calamity ensues. The trailer gives the viewers a good understanding of what the storyline will be for this movie and the snippets of horror scenes further prove that this will be a good film to watch. The director of the movie is David Sandberg, who also directed Lights Out (another good recent horror movie) and the lead cast includes Stephanie Sigman, Talitha Bateman, Anthony LaPaglia, and Miranda Otto. Annabelle: Creation will release in the US on August 11^th and I can’t wait for it to come to Pakistan. All photos: Screenshots.

Aamir Khan has been a stalwart performer in Bollywood who graces the big screen with memorable performances every time he pursues a lead role. His performances in Dangal, PK, Dhoom 3 and 3 Idiots have established him as an actor who can blend in any role and create magic. His next outing as Shakti Kumar in the upcoming movie, Secret Superstar, puts him alongside a newcomer, Zaira Wasim, who plays the role of Insiya. Both were last seen together in Dangal (2016), which became the highest-grossing movie in Bollywood. Insiya is an aspiring singer who aims at shaking the industry with her vocals, however, her father dislikes her passion and one day damages the strings of her guitar. On the other hand, Insiya’s mother supports her dream of becoming the best singer in the world. The question then is, will Insiya ever be able to change her father’s heart? The movie will reveal this answer and much more. Being a rookie in the world of singing, Insiya creates ways of sending her songs to the world through the Internet.  During her journey to stardom, she meets Kumar (Khan) a music director who spots Insiya’s talents. During one conversation, Kumar tells an interesting thing to Insiya,

“Beta! Tum jaisay talented bacchay hotay hain na, soda main in bubbles ki tarah hotay hain. Woh aisay hi uppar atay hain, apnay aap. Unhen koi nahin roksakta!” (My child, talented kids like you are like bubbles in this soda. They rise up on their own. No one can stop them!)