Fire in the Blood is a very informative film which keeps one riveted for much of its 87 minutes. If there is criticism to be made, it is that it looks and sounds like a motivational film with an agenda favoring Indian drug companies, which are now being vociferously fought by US giants often in ways that are not fair. Morally, we cannot but be on the side of the film – and its strongly humanist appeal that lives are more important than the profits of drug companies.
To my mind, the film would have worked if their kinds of loneliness had been accurately delineated. This means that there need to be events designed to illuminate their states of mind to show that their relationship is deep and not just ‘time-pass’. For the relationship to be worthy of a film, it must go beyond a trite Facebook-level acquaintanceship, which is all the intensity that the director is able to muster in The Lunchbox.
Lucia is actually engaged in improving the level of the popular film audience – by making it follow an intricate narrative and demanding intelligent engagement instead of simply identifying with the hero or heroine and following their emotional trajectories.
The least admirable aspect of Ship of Theseus is evidently its philosophizing. Its intellectual debates are full of logical weaknesses and even its title makes little sense.
Members of the liberal class in Pakistan are in danger if they do not pay lip service to the supremacy of religious dogma, and unhesitatingly ‘support’ those who are threatening their power.
Paul Thomas Anderson is not an easy American filmmaker to characterize but his work is perhaps best understood as an American response to European art cinema of the post-war years.
People who have seen Lincoln often describe it as “history taking place before us” which should hardly be the response that great cinema elicits from its audience.
Algorithms provides evidence of an intelligence at work, and intelligence – more than sensibility – is evidently the quality that aids documentary cinema.
MK Raghavendra argues why Amour might not be the best film of the year:
For the first time we don’t see the others as bit players dancing around an infallible protagonist but as people in their own right, professionals confronting each other but nonetheless tragic elements within a single diminished structure.