Movies Reviews
The White Tiger Movie Review
The White Tiger is a movie based on the same-named 2008 book by Aravind Adiga. The caste politics and the rich-poor gap in India are both topics covered in the movie. It provides a reflection on what’s wrong with our nation, where the powerful continue dominate those with less money despite having a long history of democracy. The only path up for the poor, according to the somewhat skewed perspective of the movie, is through crime and politics. The movie was created by Ramin Bahrani with Western audiences in mind. So all we see is extreme poverty on the one hand and high society living on the other. It seems as though the enormous Indian middle class, whose purchasing power propels the global economy ahead, doesn’t actually exist.
Balram Halwai (Adash Gourav), who has some education and can speak Hindi, is on one end of the spectrum and wants to be Ashok’s (Rajkummar Rao), the younger son of the village zamindar (Mahesh Manjrekar). Ashok, an Indian man who studied there, is married to Pinky (Priyanka Chopra), an American-born Indian woman. The only people who treat Balram like a human being are America-returned Ashok and Pinky, whilst the zamindar and his older son (Vijay Maurya) treat him like he is only a step above being an animal. The only true humanitarian in the movie is Pinky. She constantly prods him to resist and refuse to accept things as they are.
Pinky also admitted to running down a youngster while intoxicated. Balram is made to take responsibility for a crime. Does it resemble a well-known hit-and-run incident from Mumbai? His inability to say no drives him to rebel against the invisible restraints that surround him, which results in a night of crime and rebellion but ultimately results in his redemption.
The script contains many inconsistencies. We don’t sure why Ashok is portrayed conducting too many transactions in Delhi, much against his will. A picture of his father and sibling on a train in the sleeping car. Once more, this reeks of stupidity because no wealthy person would do that.
The fact that the common guy, the drivers, and Balram’s relatives are seen conversing in English among themselves may be the most annoying aspect. Now, a driver may communicate in English with his bosses, but he will not do so with his coworkers. Additionally, when did the Pajero surpass all other luxury vehicles among the wealthy in Delhi?
The class, caste, and religion divisions are only hinted to in the movie, as was previously said. Barking but not biting, it. Maybe the director doesn’t know much about India; after all, Adiga’s book is only a point of reference. Or maybe he was told not to look too deeply. Whatever the cause, it leaves you feeling unfulfilled.
The excellent acting helps to make up for the lack of depth. As Pinky, who openly rebels against her in-laws’ patriarchal norms since she isn’t used to them, Priyanka Chopra gives a fantastic performance. She accurately captured their casual misbehaviour with the maids in her reaction photos. Her chemistry with Rajkummar Rao is also electrifying. They resemble a yuppie couple who don’t quite fit in and should return to the United States. Although it’s not Pinky’s narrative, we wish there had been more of Priyanka in the movie. In his part as the younger son who has forgotten that his family is essentially a band of thugs, Rajkummar Rao also comes off as very natural. He is torn between two opposing poles and is unsure of his place in either.
Rao brilliantly conveys the hopelessness of his character. However, Adarsh Gourav is solely responsible for the movie. He personifies Balram. He performs so naturally that it’s easy to forget you’re seeing an actor. It seems like someone is being followed around by a candid camera that somehow has access to their innermost thoughts.
We’ll stress that The White Tiger was created with a Western audience in mind and that it contributes to the myth that India is a destitute, third-world nation. Thankfully, the human drama it presents transcends clichés.
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Hollywood
Movie Review: ‘Am I OK?’ is a charming comedy about friendship that features Dakota Johnson’s endearing genuineness.
Naturally, we begin with a veggie burger.
The 30-year-old best friends Lucy and Jane can easily recite Lucy’s usual order at the diner—a veggie burger and sweet potato fries—when they meet again.
Therefore, Jane’s expression shows a hint of hurt when Lucy goes rogue and requests a tomato and spinach omelette late in “Am I Ok?” Even though it was simply a veggie burger, it seems absurd, but to Jane, it represents a comforting, known object that is no longer in her life.
This is Tig Notaro and Stephanie Allynne’s directorial debut, and it’s filled with such lovely, subtle touches that work much better than the sporadic attempts at broad humour that come across as forced or, at the very least, as something else entirely.
Of course, Johnson is the main subject of the lingering camera the entire time, and with good reason—her unwavering genuineness consistently comes through in her roles, even when the material surrounding her occasionally falters.
This is a heartfelt, straightforward story. This is a story about a coming-out, but unlike most coming-out stories we encounter, the protagonist is 32 years old.
The writer of the movie, Lauren Pomerantz, came out when she was 34. This particular narrative is hers. A few strikingly moving scenes reveal how intimately involved she is in the proceedings; one such instance is when Lucy experiences anguish while a straight woman plays with her feelings. It’s among the movie’s most poignant scenes.
We start at the aforementioned diner after an opening montage that sets up the female friendship at the centre of the film. Jane tells Lucy that she really should meet up with a certain cute male friend who clearly likes her: “Just do it,” she urges. Lucy is unable to give a reason for her refusal.
Jane, the more experienced of the two in terms of her career, is about to undergo a significant upheaval in her life. Her manager gives her the opportunity to go to London and open an office in Los Angeles. Her extremely nice partner is also starting to come around. However, Lucy is devastated by this news, as evidenced by the insincere manner she continues responding, “Wonderful!” when Jane breaks the news to her one evening over drinks.
The two friends end up crying together after drinking a lot of tequila, just like close friends do when they urinate in the bathroom and then later during a sleepover. Lucy admits to Jane that she likes girls there.
Jane is an unwavering source of support. Ever the aspirant, she actually tells Lucy that she will become “the star of the lesbian community.” And she decides to assist her in finding a woman, going so far as to take her out to a gay bar. On the dance floor, though, it’s Jane who ends up kissing a woman. Lucy, ashamed, runs away.
However, Lucy works as a receptionist at a spa where there’s this sensual massage. Lucy is finally brave enough to respond to Brittany’s intense flirtation. She helps Lucy come out of her shell, but the outcome is ultimately depressing. Moreover, Lucy is no longer seeing Jane, who was typically the first person she would call in a heartbreak.
Though this film centres on two friends, you will find yourself most invested in Lucy’s life as you watch the incredibly likeable Johnson manage grief and uncertainty. A last-minute setback to Jane’s carefully thought-out plans for her trip to London seems a little improbable, or perhaps it just feels forced in as if to imply that, well, both ladies have problems.
Whatever the case, this month has been fantastic for female buddy comedy. While Pamela Adlon’s comedy “Babies” focused heavily on the chaos that comes with childbirth, “Am I OK?” aims for a more tender, poignant tone. It’s satisfying to be back where we started, discussing issues at that restaurant table. The moral of the story is straightforward but reassuring: friendships can endure and grow despite change.
even if an omelette triumphs against a vegetarian burger.
The Motion Picture Association has rated Warner Bros.’ “Am I OK?” R “for language, sexual references, and some drug use.” 86 minutes of running time. An overall rating of 2.5 stars out of 4.
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