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This is perhaps the best James Bond movie yet. No, not in terms of the universal appeal of a Sean
Connery movie that defines parameters by which Bond movies are perceived. This is the most sophisticated James Bond movie to be conceived in that its conception is not entwined with the brand image of James Bond, but in that it is more ambitious and tries to break the mold and inch towards greatness in its genre .The convergence of the historical, the nostalgic and a post postmodern focal cooks up a tapestry of James Bond adventures without wavering too much outside of the comforts of the expectations of a James Bond movie.Yet the layering is so supremely sophisticated that while the Aston Martin that Connery drove in Dr. No evinces dizzied and gleeful applause from the audience, the reason it appears is for an ineffectively aged M to be saved by a physically frail Bond from a villainy that is both post post-internet in nature, yet seeking revenge that is as aged as civilization itself.
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I liked the movie in a general sense and wanted to love it. It is that kind of a movie.
from two superlative performances from Phoenix and Hoffman and a plot that could have been taken right out of a literary masterpiece, the overall sensation that "The Master" leaves in the audience is that of a can of cola with missing fizz. It appears to have multiple dimensions and it lacks irony, it doesn't invite you to dissect it, analyze it or it is so slightly off that thin rope of sexy unintelligibility that you don't think you would anyway get anything out of it. And that is enough to make the movie two dimensional.
Hoffman and Phoenix have done their best in trying to make the movie deeper in parts than the sum of it all and yet, by the last half hour, even their fare appears to have lost it.
In addition to the two performances, a promising opening and mesmerizing scene composition are all people might remember of this movie.
The movie is what you expect it to be. And fantastically so - yet, you come out thinking, there
should have been a more sinister, blacker, darker, undertone to it all. A 40 year case involving a Nazi father, a Nazi brother, and girl raped by them absconding giving rise to a legend in a frozen northern Swedish town that is cracked by a conscientious journalist and a freakish pre-traumatized girl with sharp senses. There had to be something more, something sinister, something that would make you jump out of your seat; But all that fades into a postmortemized narrative in the last few minutes that uncorks the whole pent up energy of the movie.
It is superbly made - especially the editing; The casting is spot on and the acting fits the narration to the T. Superb movie overall - yet if you are expecting a sub-narrative, an undertone and an after-taste days after watching the movie, this movie falls a wee bit short.
Although the treatment is not as subtle and the finesse is missing, Don 2 doesn't disappoint
overall - especially SRK has come out winning without breaking any paths. Don 1 had the advantage of relying on a solid plot that was already handed over to the director from his esteemed father - while Don 2 is slightly on the more simpler side is made with taut script play.
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