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Cue high jinks! That sounds rife with potential for distasteful missteps, but Reen errs on the side of caution by playing the scenes of Hamza’s violence with utter seriousness, to the point that she goes a little too far in the other direction and occasionally wallows in Badru’s misery. In an Indian chawl like any other, beleaguered wife Badru (Alia Bhatt) suffers under the cruel hand of her abusive husband Hamza (Vijay Varma), until the day he goes too far and she resolves to get revenge. Reen points for audacity alone not everyone would take on a black comedy about domestic abuse with overtones of Looney Tunes, but she grabs a dangerous premise with both hands and nearly wrestles it into submission. You’ve got to give director and co-writer Jasmeet K. With nitroglycerine pumping through its veins, the film sets a new standard for sheer propulsive force. Nifty metatext aside, Jung has forged a combustible fight-scene showcase with a surprising political edge, imagining a not-so-distant future in which North and South Korea have unified against a common zombie-virus enemy. But he’s also grown more playful in his writing, the first half of the film hinging on directions delivered to the unstoppable Carter (Joo Won, a beast) via earpiece as an analog for a player controlling a character. His previous film The Villainess experimented with first-person POV cinematography, and he hasn’t abandoned the borderline sickeningly kinetic camera techniques that seem to pan and swoop at the speed of a bullet. South Korean action maverick Jung Byung-gil continues to develop his fascination with video-game mechanics in this excellent, ultraviolent shoot-’em-up about an amnesiac secret agent. Even when bristling against it, the story still adheres to the clichéd terms in which cinema can imagine Indian identity.
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The snag comes in the film’s effort to assert cultural specificity, which ultimately limits the depiction of today’s Indian young people by confining them in the parameters of arranged marriage. Obviously they fall for one another, an inevitability that’s not so bothersome when we can enjoy the company of two likable performers. Economist Asha (Pallavi Sharda) and wannabe musician Ravi (Suraj Sharma) are both modern, independent-minded types bristling at the constant comments about marriage, so they agree to pose as significant others to make it through the summer’s battery of receptions.
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If not for a fumbling conclusion that resorts to cheap narrative-gaming to find closure, this would be among Netflix’s best original releases this year.Įveryone just wants their parents to stop harassing them about finding someone to settle down with - it’s the one thing that connects us all, as suggested by the new rom-com that grafts the premise of the recent Plus One and Netflix’s own Holidate onto an Indian American couple. Behind every smile of reassurance she doles out to her brood of ingrates, we can see shards of sadness, and behind that, a deeper regret. As compassionate toward mature womanhood as Douglas Sirk, rendered not in his dreamy gauze but with startling clarity, this finely shaded portrait gives a powerhouse performer a role that puts her through her paces. She’s grown weary from years of tending to her out-to-lunch husband and adult children, but can’t deny her compulsion to people-please, a tendency that threatens to crush her once she starts seeking out a larger home. Wang’s drama on her back just as her character carries her family. Hee Ching “Nina” Paw - a longtime treasure of Hong Kong cinema with unduly minimal name recognition in the States - shines here as a mother in crisis, carrying C.J. Enjoy those last idle hours of summer with one of the following Netflix Original films new to the service this month: And that still leaves a much-touted Jamie Foxx–Dave Franco vampire flick as well as a musical from the brilliant mind behind The Last Five Years. From Hong Kong, a moving drama (in two senses, you’ll see) about a mother finding the courage to advocate for herself from South Korea, a crazed action/sci-fi mêlée cutting a swath of gunfire through a viral apocalypse from India, an inspired black comedy that improbably mashes the hot button of domestic abuse. The studios all seem to be taking a beat before coming out with awards-season guns blazing in September, leaving Netflix to pick up the slack with a lineup boasting a couple sleeper gems. Those of you sharing in my compulsion to constantly check the movie-release calendar already know this, but we’re currently in one of the sparsest cinematic Augusts in recent memory.
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