Jennifer Lopez also serves as one of Atlas’ producers.

With filmmakers making sci-fi movies more frequently than ever before, it has become relatively rare to find a good sci-fi movie that offers something the audience doesn’t already know, and Jennifer Lopez’s latest Netflix original, “Atlas,” is living proof of that. Filmmakers these days seem so caught up in replicating the success of blockbuster franchises in the genre like Star Wars that they seem to have forgotten what makes a good movie: a good movie must resonate with the audience, not just be a collection of high-tech scenes and worn-out lines. Lopez’s “Atlas” shares similar flaws, including an unimaginative concept, a high level of predictability, and a superficial portrayal of worn-out themes.

Atlas Review: Another article on AI

The film introduces Harlan (Simu Liu), the world’s first artificial intelligence (AI) terrorist, who corrupts the world’s AI bots and drives them to destroy humanity. As the Dance of Death continues for days and humanity retaliates, Harlan leaves Earth, promising to return one day to finish what he started.

25 years later, a special organization called the International Coalition of Nations (ICN) was born to fight against AI terrorists. When Harlan’s best friend Casca (Abraham Popoola), who escaped with him, was captured, the ICN decided to ask for help from Lopez’s data analyst, Atlas Shepard. Shepard shared his childhood with the two technology monsters and became the last hope to save humanity.

But Shepard is no ordinary analyst. She’s moody, vocal, stubborn, sarcastic, antisocial, emotionally scared, lives in a quad americano, and doesn’t trust AI one bit (even though her house is filled with AI technology). Shepard has spent her life making a few guesses about Harlan, but when the opportunity arises, she’s in no mood to sit back. Despite repeated protests from the ICN (because she doesn’t have the physical training necessary to face the challenges the universe may throw at her), she insists on being sent with a task force to the planet where Harlan is hiding.

Atlas starts off strong but quickly loses steam due to a shallow script and Lopez’s over-the-top performance. Lopez’s character comes across as an angry teenager constantly throwing tantrums, rather than the high-IQ analyst she is. The film does little to establish her as an enigmatic figure with emotional baggage. Lopez is unconvincing in the role, lacking the sincerity required for such a character.

The film argues that she has endured significant psychological pain for decades, but its portrayal is mediocre, barely touching on the complex layers of Lopez’s character’s emotional instability and surviving on the surface. Given that the entire film is focused on Lopez and her inner conflict, with no consideration given to anything that happens outside of this premise, the film feels criminally underdeveloped.

But despite the disjointed and childish portrayal, I enjoyed the occasional lull that came in the form of a special AI bot suit character voiced by Gregory James Cohan, who is the polar opposite of Shepard. This super-adaptive suit is calm, gentle, and patient. He believes that all AI bots , including himself, are alive, and that everything with consciousness has a soul. He balances the instability that Shepard brings, making for a perfect combination. The simplicity with which he deals with Shepard’s problems will make you crave a suit like this.

Unfortunately, Cohan’s characters aren’t enough to carry the weight of the film, and Atlas is a big no-no for die-hard sci-fi fans or anyone looking for a highly CGI-driven film.

For a more serious look into the complicated relationship we share with AI, Joaquin Phoenix’s Her remains at the top of the charts 10 years after its release.

The post Atlas Review: Feels like a sci-fi movie you’ve already seen appeared first on Review Products.

The animated spin-off series is a prequel to the Baahubali film starring Prabhas and Rana Daggubati.

It’s been nearly nine years since Rajamouli’s epic period series Baahubali, set in the fictional kingdom of Mahishmati, hit Indian screens but it still feels fresh amongst its fans. Magnificent sets, a gripping storyline, impressive VFX, subtle performances and addictive songs make Rajamouli’s epic unforgettable.

So when Hotstar announced the animated spin-off, fans of the franchise like me couldn’t help but get excited, especially when the storyline promised an unexpected twist from what we’ve come to expect from the familiar characters. Kattappa, a loyal guard of the Mahishmati kingdom who has vowed to serve royalty all his life, chooses to fight against the kingdom and faces off on the battlefield against two princes whom he himself trained.

The actors from the film reprise their roles, making an equal impact with their distinctive voices. For the Hindi version, the makers chose Sharad Kelkar as Baahubali, Samay Thakkar as Kattappa, Mausam as Sivagami and Manoj Pandey as Bhallaladeva. For the Telugu version, Prabhas and Rana Daggubati provide the voices.

Though the creators had the advantage of betting on an already established blockbuster, the animated series is a toned-down, watered-down version of the franchise that seems tailored for a younger audience.

The series is set in a time long before a successor to the throne was chosen, when Prince Bhalla Deva was jealous of the affection Prince Baahubali received from the people of Mahishmati and feared he might usurp the throne. But when a new threat to the kingdom emerges in the form of a masked villain, and of course, Kattappa, the two stepbrothers are forced to join forces for the sake of Mahishmati.

The original Baahubali film featured similar storylines like the Kalakeya raid, which were epic and gripping to the audience. However, the series feels like an oversimplified version of those stories, Amar Chitra Katha, with the morally nuanced characterisation and emotional complexity of the film nowhere to be found. It seems the makers were hesitant to add depth to the storyline lest the series become too complicated for the target audience. Similarly, despite the entire premise of the series being based on suspense, the thrill and excitement of what will happen next is delivered only sporadically. Despite having beloved characters and a familiar storyline, the show is inconsistent and somehow fails to hold the audience in stitches.

The series is a prequel to the Baahubali Film

What irritated me the most was how the dignity of Baahubali’s character, which forms the backbone of the franchise, has been compromised. In one scene, he is depicted as a helpless Panchatantra character, chasing people trying to tell him what is right and what is wrong, and getting reprimanded by everyone. For that matter, even his mother Sivagami seems to be leaning towards the villain, moving away from Ramya Krishnan’s iconic portrayal. In one scene, she is seen convincing her son to ignore his promise to the slave and focus on his royal duties. Hmm, what? Or maybe Rajamouli was trying to hint that there was always a hidden villain side to Sivagami and the way she treated Baahubali’s wife Devasena in the film was not just an isolated incident.

However, the show does a great job of capturing the shrewdness of Bijjaladeva’s character. He remains the loathsome scoundrel he was portrayed to be in the film – poisoning his son’s thinking and being cruel, heartless and selfish at heart. In fact, one of the major premises of the show revolves around Bijjaladeva’s corrupt nature, which brings misfortune to the entire clan.

On the technical side, the animation is pretty good, with all the characters looking strikingly similar to the original star cast, and the animators have even experimented with giving each character clear boundaries and even having a sunlight or moonlight glow in some scenes.

I wish the same could be said for the cartoon-style backgrounds. Apart from a few impressive scenes in the royal palace, the screen is filled with boring backgrounds. In some scenes set in the royal courtyard, the emptiness gives off an eerie feel rather than a royal aesthetic. With more detailed animation beyond the characters, this show could have easily received a higher score.

From “Baahubali: Blood and Blood” to “Bridgerton” Season 3

Given that the number of quality Indian animated shows is already pretty slim, I had high hopes for Rajamouli’s latest effort. He has previously collaborated with the creator of Hotstar’s Hanuman, a popular series about a Hindu god, but Baahubali pales in comparison to the creator’s previous work in some ways. If the intention was to introduce Indian superheroes to kids, Rajamouli should have done more research on how to outdo their Western counterparts. But that may be too high a bar to clear. Baahubali 2: Blood and Blood may not live up to the standards of Rajamouli’s best works, but it can add variety to kids’ viewing lists.

The post Baahubali 3 Review: Blood of the Dead – Animated Spinoff Falls Short appeared first on Review Products.

Season 1 of TVF’s hit social comedy was released in 2020.

TVF seems to have the secret magic formula up their sleeve for making shows that feel like a warm hug. The third season of TVF’s social comedy series Panchayat, which launched in 2020, has that same feel-good feeling in it. The new season features beautiful writing, sensitive acting and, surprisingly, a more realistic portrayal of rural India, surpassing the already high bar that Panchayat set in its previous two seasons. It will make you smile, cry, laugh, think and probably Google the government’s Pradhan Mantri Awas Yojana!

What makes this season stand out is that the rose-tinted glasses have been removed this time. Though the protagonists still share a warm friendship, we discover their eventful personal stories, emotional baggage and crises, making room for a paradigm shift. Political conflicts intensify and their consequences become more threatening. To put it bluntly, the third season of Panchayat bursts some of the glossy bubbles of utopian illusions and hits home with some harsh reality.

Sanvikar’s story arc is getting more screen time compared to the previous seasons.

It sees Prahalad Chacha (Faisal Malik) turning to alcohol to cope with his grief, Vikas (Chandan Roy) silently enduring the horror of financial strain, Abhishek (Jitendra Kumar) trying to shake off his obvious love for Pullera and Brij Bhushan Dubey (Raghubir Yadav) humiliated by all his opponents on the political front and embroiled in domestic strife.

At various points in the season, you will sympathize with them all, but especially with Prahalad, who is devastated by the loss of his son. Something has changed inside him forever, and Malik’s brilliant performance embodies that loss. There is a scene in the third episode where he shows someone the horrible state of his house, full of mud, empty bottles and scattered dreams, to make them understand the importance of having a family, and the two of them shed tears in silence. The scene is delicately written and guaranteed to bring you to tears. In an equally exhilarating sequence, he provides a large amount of funding for the construction of a road in Pulera so that Pradhan can win the election and simply because “what would a man without purpose do with so much money?”

As the episode progressed, I was feeling nostalgic for the foursome’s “Baithak” sessions, when life seemed simpler over a few drinks. The emotional beats of the story make those few light-hearted yet substantial scenes more impactful than in the previous seasons. Through the characters’ relationships, the show made me think about friends I had unwillingly lost touch with.

This season sees more of the slowly brewing romance between Rinki (Sanvikar) and Abhishek. There’s plenty of eye talk, shy smiles, wordplay and awkwardness. Thankfully, both Jitendra and Sanvikar deliver stellar performances without relying on typical Bollywood melodrama, cheesy dialogue, violins and fluttering chiffon saris.

Apart from the expected great performances from the main cast, what really caught my attention was Abba Sharma as Jagmohan’s grandmother. Her performance is so tasteful and she feels fresh every time she appears on screen. From the spot-on accent to her playful facial expressions to her silly body language, Sharma nails her role and captures the essence of a quintessential Uttar Pradesh ‘Dadi’.

Over the course of the eight episodes, we meet a host of colorful characters, including a few familiar faces, such as the groom and his rambunctious friend from season one. Despite the many storylines, the series never feels overstuffed, with each episode unfolding in the show’s signature leisurely style.

The filmmakers did a fantastic job with the set design, props and costumes.

What I particularly liked was the production design of the setting. It is relatively rare for rural landscapes to be portrayed authentically in Indian films and television. The usual portrayals are often marred by a romanticized image of villages and are full of counterfactual content in the name of creative freedom. But Panchayat not only manages to do just that, it also surpasses the previous two seasons in its context. The showrunners have managed to narrow the huge gap between commercial and arthouse cinema. From real homes and everyday items to real local brands and festive snacks, Phulera’s portrayal is beyond impressive. It is clear that rigorous work has gone into faithfully portraying India’s hinterland.

If you watch the show carefully, you will also notice plenty of visual metaphors and gags – like when Pradhan loses control of his usually affable buffalo when he is accused, or Abhishek always spills the tea when things are about to get out of hand, or Vidhayak, who is accused of killing and eating a dog (yes, I know, gross!), casually keeps pictures and decorations of camels in his living room.

The best scene is when two enraged groups face off against each other, ready to take on the other with batons, guns and whatever else they can get their hands on. Officials try to calm the excited crowd. Just when things are about to explode, a phone ringing loudly with “Sarah Jahan Se Acha” interrupts the proceedings.

Bhushan is trying to capitalise on the animosity between Pradhan ji and Vidhayak this season.

I otherwise loved the show, but am a little worried by the slight change in tone of the series this time around, with a spotlight on boring political issues. We meet other elected members of the panchayat, there’s lots of election banter, official meetings, etc. Even Uttar Pradesh’s notorious gun culture is touched upon.

The change is not very dramatic and does not cloud the storyline, but as the cliffhanger of the final episode suggests, more political drama may come to the fore in future seasons. Hopefully, even if the show does take on a political overtone, it will not compromise on its raw emotional appeal and sincere portrayal of nuanced human relationships (what Panchayat has done best since its inception).

All eight episodes of Panchayat are currently streaming on Prime Video.

The post Panchayat Season 3 Review: Still entertaining but now more politically charged appeared first on Review Products.

The show is set in Mumbai in 2013, a time when Article 377 of the Constitution was still in force and homosexuality was a criminal offence.

Based on Jerry Pinto’s novel of the same name, GeoCinema’s new original series, Murder at Maahim, is a crime thriller that revolves around the brutal murder of a gay prostitute in a public toilet at Mumbai’s Maahim station. Starring popular characters Vijay Raaz and Ashutosh Rana, the series blends a traditional crime thriller narrative with social commentary, placing their performances at the heart of the unfolding investigation.

Over the course of eight episodes, a police inspector played by Raaz and a former journalist (now estranged friend) played by Rana each try to solve this gruesome case in their own way. Their investigation takes us to gay clubs, queer parties, gatherings and, by night, the forbidden back alleys of Mumbai, where the bleak and terrifying world of gay prostitution unfolds. The series delves deep into the lives of sex workers, portraying their plight and tenacity in stark detail.

While “Murder in Mahim” may seem a bit forced and predictable at the outset, with its mundane plot, familiar loopholes and heavy-handed social commentary, it soon develops into a must-see piece of art with strong performances. If you are patient enough with the series, at least until the third episode, you will enjoy the pleasure of a film that tackles complex themes with ease.

Shivaji Satam in a still from ‘Murder in Mahim’

The show exposes the many layers of homophobia and abuse, from nasty name-calling and bigoted cruelty to honey-trap crimes where threatened queer people have nowhere to turn for help, including the police. Murder in Mahim explores the impact of homophobia across social classes. From penniless queers being forced into prostitution to people in positions of power fearing people from coming out, the series takes a broad look at the concerns of the LGBTQ community. The portrayal of queer life is also done in a natural tone and doesn’t feel forced, overly dramatic or pompous.

In one scene, two lesbian lovers in a room panic when their parents, who are not yet aware of their sexual orientation, arrive unexpectedly. The reactions of all the characters are thankfully understated and innocent, normalizing queer life.

But Murder in Mahim does try to play it safe in a few scenes, especially when Peter Fernandes (played by Rana) and his wife are worried that their son might be gay. With no idea what the “cure” for this “symptom” is, the couple at some points give the impression of being textbooks of what’s wrong with parents of a queer child, only to later grow up thinking this is what an ideal parent should be like.

But the show is not just about homosexuality. Murder in Mahim also deftly tackles the conflicts and complexities of father-son relationships. What a beautiful portrayal. It is very rare for the Indian film and television industry to take up this theme and do it justice. Be it the estranged relationship between Siva, played by Vijay Raaz, and his difficult father, played by Sivaji Satam (best known for playing ACP Pradyuman in the CID), or the gradually estranged relationship between Siva and his teenage son , the show handles relationships with tenderness. Many scenes in the latter half of the show brought a smile to my face, some of which reminded me of the hilarious relationship between the dour father played by Amitabh Bachchan and his headstrong daughter played by Deepika Padukone in Piku.

One scene that will probably stay with me for a long time is when a young police officer finds pornographic magazines in his teenage son. One would expect a reprimand to follow, but the comical character wisely handles the situation without sending his son into the depths of guilt and shame. It is a simple yet powerful scene that depicts an unspeakable tenderness between father and son.

Vijay Raaz and Shivani Raghuvanshi in stills from ‘Murder in Mahim’

“Murder in Mahim” also takes a satirical stance against the sensationalist media and indifferent police authorities, who conveniently distort facts, chew over “great news stories” and “official statements” without reliable sources, and add fuel to the already burning flames of homophobia. In one scene, the media accuses an old man of being a pedophile and homophobic monster on weak evidence. As the media interrogations pile up, the characters helplessly stare at angry protesters outside their house. This fictional scene is not far from the truth and highlights several similar real-life cases where reporters conveniently ignored ethics for the sake of clicks and views.

Though Murder in Mahim has many tense scenes capturing the nuances of human psychology and emotions, the makers have struck a perfect balance by frequently including comedy elements to ease the tension. This is often necessary for films and shows with tough social messages to appeal to a mass audience who would otherwise not be willing or even able to watch select critically acclaimed films. The makers have made a decent attempt at conveying a complex and important issue in an easy to understand and accessible manner without sacrificing the complexity of the subject at hand.

“Murder in Mahim” starts off a bit dull in the first few episodes, but slowly but surely the series shines thanks to a compelling storyline, strong acting and stunning cinematography.

The post Murder in Mahim Review: JioCinema Original Explores Homophobia Through Crime Drama appeared first on Review Products.

When Nathan W. Pyle started posting his Strange Planet web comic series on his Instagram profile in early 2019, he probably didn’t expect to see it adapted into a web series in a few years. The comics, following a species of blue beings on a different planet very similar to Earth, has the beings describe their very human-like experiences in literal terms, to humorous effect. The Strange Planet web series is fabulously true to the source material, in both aesthetic and dialogue.

The series, co-created by Pyle with Dan Harmon (known for his work on Community and Rick and Morty), is available to stream now on Apple TV+. Three episodes are available to watch now, with new episodes dropping every Wednesday (in India) till the 10-episode run for the first season is completed. Each episode is under 30 minutes long, and is packed with its own unique stories and situations; read on for my spoiler-free review.

Just like the comics, the dialogue in Strange Planet is the key to the show, with the blue beings describing everything in technically accurate and literal wording. That’s not to say that the dialogue is emotionless or too straightforward – in fact it’s the opposite. Fans of the Instagram comics might have read out the words in a fairly robotic manner, but the characters are more human-like than you might have expected.

The Strange Planet series is based on the web comics by Nathan W. Pyle

This over-the-top literal dialogue makes for plenty of laugh out loud moments, such as referring to confetti as ‘tiny trash’ and alcoholic drinks as ‘mild poison’. The characters are also incredibly blunt about their emotions and feelings, and the lack of pretence and sarcasm is an excellent way to demonstrate to the viewers how complicated our interactions have become, and how sometimes reading into things isn’t as easy as it seems.

Whenever a literary source is adapted – either in the form of animation or live action – the artists get to take some creative liberties in how the aesthetic is defined. With Strange Planet being a comic, the aesthetic has already been set in stone, and fortunately the web series sticks to the now iconic looks and expressions of the world. This includes not just the blue beings themselves, but also the creatures, with subtle touches such as three-eyed pigeons and dogs.

For obvious reasons, the comics weren’t as detailed in showing the world around – comic panels tend to focus on the characters. Strange Planet has rightly taken some liberty here, and if you’ve watched Rick and Morty you’ll find the artwork quite familiar. It blends rather well with the established art from the comics; this collaboration between Pyle and Harmon is clearly well thought out and executed.

Each episode of Strange Planet features its own unique stories and scenarios exploring very ‘human-like’ topics of emotion, such as fear, sadness, loneliness, and anxiety. Friendships and romantic relationships exist, as do the pressures of employment and enjoyment. Just like the comics, nothing gets too complicated – the focus is firmly on the dialogue, and the emotion that can be portrayed with being excessively literal and giving figurative expressions a skip.

With short episodes, this is the perfect series to watch quickly or during short breaks or phases where you need something funny to lighten the mood. If you’re a fan of the comics like I am, you don’t want to miss this. Even if you haven’t stumbled upon this Internet sensation previously, Strange Planet is easy enough to enjoy for everyone.

The post Strange Planet Web Series Review: Cute, and True to the Source Material appeared first on Review Products.