Friday, July 2, 2021

Fear Street: All you need to know about Netflix's decade-hopping horror trilogy based on RL Stine's novels

Netflix has released the horror film trilogy Fear Street today on 2 July. Here is all you need to know about the three-part series:

What is Fear Street based on?

All three parts of the movie are based on the bestselling book series of the same name by novelist RL Stine. He is the same iconic author who brought us the horror-comedy film Goosebumps, that released in 2015. 

Will all the three parts release at the same time?

No. Only the first part, Fear Street Part One: 1994, releases today on 2 July. The other two parts, 1978 and 1966, will release every subsequent Friday on 9 and 16 July respectively.

Will all three parts tell different stories?

Yes. Every part will focus on a group of teenagers from a town called Shadyside. People of this town have been facing evil and horror in a gruesome fight for survival. The first part begins with a 1994 set up where a group of teenagers finds themselves at the centre of a centuries-old mystery. With their little discoveries, they get to know that the town has been haunted for generations, and they are soon to be targeted next.

The second part, which is set in the year 1978 at Camp Nightwing, has counsellors coming to solve a terrifying mystery that is somehow linked to Shadyside. Finally, the third part, set in 1666, will focus on a witch-hunt that will end up having bad consequences for centuries to come.

What is the common thread that runs through the three parts?

Despite taking place in three different years, the movie will have some cast members who will appear in all three movies, including Kiana Madeira as Deena, Olivia Scott Welch as Sam, Benjamin Flores Jr as Josh, and Ashley Zukerman as Sheriff Nick Goode. Stranger Things actors Maya Hawke and Sadie Sink are also part of the trilogy.

A report suggests that Hawke will appear in the first part as the character Heather while Sink will feature in the second and third part as Ziggy Berman.



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'Good lessons for prosecutors and hard lessons for survivors': Outcomes of revoking Bill Cosby's sexual assault conviction

The seven justices who reversed Bill Cosby’s conviction this week spent months debating whether he had a secret agreement with a prosecutor that tainted his 2018 criminal sexual assault conviction.

In the end, Pennsylvania’s highest court ruled that a district attorney had induced Cosby to give incriminating testimony in 2005 for a lawsuit, with the promise that no criminal charges would be filed. Then, a decade later, another prosecutor used it against him — a fundamental violation of his Fifth Amendment rights. “America’s Dad” walked out of prison Wednesday, and will not face any further trials in the case.

(Also read — Explained: Why Bill Cosby's sexual assault conviction was revoked by US court three years after he was found guilty)

The public outcry over Cosby’s sudden release three years into a potential 10-year sentence was swift, with #MeToo activists worried it would have a chilling effect on survivors. And lawyers for another high-profile man convicted of sexual assault, Harvey Weinstein, praised the decision.

But criminal law experts believe the court acted reasonably in finding that a prosecutor’s word should be honoured, even by a successor. One called the ruling a wakeup call for prosecutors who might try to quietly resolve a case without a paper trail, or make a deal over a handshake.

“It probably would have been much better lawyering to get it all in writing,” Loyola Law School professor Laurie Levenson, a former prosecutor, said of the hidden deal in the Cosby case. “It’s a teachable moment, I think, for prosecutors across the nation. It’s a big lesson.”

Levenson, too, fears the quick takeaway is that “another celebrity gets away with a crime.” More deeply, she said, the case illustrates the need for legal agreements that are “open, fair, and transparent.”

“For survivors of sexual assault, it’s got to be another incredibly upsetting, frustrating moment,” she said. “So (there are) good lessons for prosecutors and hard lessons for survivors.”

The court heard arguments in December. On Wednesday, a majority of the justices, 6-1, found Cosby’s case should be overturned. But the justices split 4-2 on whether he should go free or face a third trial. The two dissenting justices questioned if Cosby had ever really been promised immunity — or whether an abuse of power led to former Montgomery County prosecutor Bruce Castor’s “odd and ever-shifting explanations” of his promise to Cosby.

They urged their colleagues to condemn the tactics, lest others follow suit and make promises that later entrap defendants who agree to talk. “We should reject Castor’s misguided notion outright and declare that district attorneys do not possess this effective pardon power,” Justice Kevin Dougherty wrote in a partial dissent.

Castor, testifying for the defense soon after Cosby’s arrest in late 2015, said he had promised Cosby’s lawyer in 2005 that the actor would never be charged over his encounter with Andrea Constand, in part so that he could help her wage a lawsuit against Cosby.

No legal documents were drafted. No immunity agreements went before a judge. Even Castor’s top assistant, who had led the initial investigation, said she knew nothing about it. Neither did Constand’s lawyer, according to testimony at the sometimes surreal preliminary hearing in February 2016.

Castor said he discussed the agreement with a Cosby lawyer who had since died. And he said he issued a signed press release to announce the end of the investigation. Several courts have since parsed the wording of that press release, which opines that both parties in the case could be seen “in a less than flattering light,” and cautions that Castor would “reconsider this decision should the need arise.” Constand, in the wake of that decision, sued Cosby in federal court.

In the depositions that followed, the trailblazing actor made lurid admissions about his sexual encounters with a string of young women. He acknowledged giving them drugs or alcohol beforehand, while he stayed sober and in control. The list included Constand, who said she took what she thought were herbal products at Cosby’s direction, only to find herself semiconscious on his couch.

Cosby, in the deposition, famously said he ventured “into the area that is somewhere between permission and rejection” as Constand lay still.

Neither he nor his lawyers ever asserted his Fifth Amendment right not to incriminate himself during four days of sworn testimony.

“Cosby would’ve had to have been nuts to say those things if there was any chance he could’ve been prosecuted,” Castor testified at the 2016 hearing. He said his goal in steering the case to civil court was to find Constand an alternate form of justice.

“I was hopeful that I had made Ms Constand a millionaire,” said Castor, who later represented former President Donald Trump in his second impeachment trial, where he was acquitted of inciting the violent mob that stormed the US Capitol on 6 January.

In 2015, a federal judge unsealed some of Cosby’s testimony upon a request from The Associated Press, and Castor’s successor reopened the case. Judge Steven O’Neill allowed some of the statements to be used at trial.

It was that unusual sequence of events that troubled the Pennsylvania high court — even though O’Neill and a lower appeals courts had found Castor’s talk of a non-prosecution agreement not credible.

Whatever their view of such blanket promises, the Supreme Court justices found that Cosby and his lawyers relied on it in giving the deposition.

Therefore, “the principle of fundamental fairness that undergirds due process of law in our criminal justice system demands that the promise be enforced,” Justice David N Wecht wrote for the four-person majority, which included all three of the high court’s female judges.

The panel avoided ruling on the thorny issue of how many witnesses should be allowed to testify about a defendant’s prior bad acts in a criminal case — an issue many lawyers hoped they would clarify.

O’Neill had allowed just one other accuser to testify at Cosby’s first trial in 2017, but upped the number to five at the retrial the following year, when Cosby was convicted. “Everyone was watching this case for the ‘other evidence’ ruling. This (ruling) came out of the blue,” said Jules Epstein, a Temple University law professor.

At least one justice, Thomas Saylor, would have sent the case back for a new trial over the “other accuser” issue, according to his solo opinion. But it become moot when the majority agreed to bar any future prosecutions in the case.

Washington lawyer Joseph Cammarata represented several accusers in defamation suits filed against Cosby, which his insurer settled after the 2018 conviction. He regrets that some people see the ruling as a vindication of the actor. “They haven’t rejected the allegations of the 60-plus people who asserted that Cosby assaulted them. They haven’t rejected the five people that testified. Nor have they rejected the jury’s verdict that Cosby was guilty of sexual assault-related charges,” Cammarata said.



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Haseen Dillruba movie review: Illogical crime saga wrapped in a clichéd ode to violent, frenzied love

Language: Hindi 

Haseen Dillruba (Beautiful Lover) begins with a crime and travels back in time through the testimony of the prime suspect – the wife of the alleged victim – who gives an account of her rocky marriage in excruciating detail to the police and further cements suspicion on herself.

Taapsee Pannu stars as that wife, Rani Kashyap. Vikrant Massey plays Rishabh aka Rishu Saxena, the spouse she allegedly murdered. And Aditya Srivastava is Inspector Kishore Rawat, the policeman tasked with cracking the case. The investigating officer learns from Rani about Rishu’s sexy cousin, Neel Tripathi (Harshvardhan Rane). 

As Rani narrates the story of her first encounter with Rishu, her early dissatisfaction with her choice of partner in an arranged marriage, his awkward attempts to win her over and the searing tension that later sets in between them, she appears not to mince words about her own role in the decline of their relationship. 

What unfolds on screen in the first half is mildly entertaining even if it revisits the notion that lack of social graces, rudeness, and even meanness are a mark of feminine coolth as defined by Bollywood in the past decade. There is no reason to believe that Rani is lying about how she behaved Kanwhen Rishu and his family visited her house for the first time to vet the potential bride. She does not sit among them wearing a towel as a woman did in the Tanu Weds Manu sagas, but she is certainly annoyingly presumptuous, which is strange since she actually wants Rishu to like her. 

He does, of course, because her odd manners are what too many Hindi filmmakers these days seem to view as alluring smartness and attractive confidence in a woman. 

It is impossible to understand why Rani married Rishu if she meant to be disgruntled from Day 1. If her choice is supposed to be a statement on the compulsoriness of marriage in Indian women’s lives, then it is offered with no depth or nuance.  

Soon, Rani’s harmless clashes with her mother-in-law give way to a terrifying account of violent and a murderous frenzy in ‘love’. It might be argued that Rani could have been exaggerating Rishu’s behaviour in her narration to the police, but even after the nuts and bolts of the pivotal crime are revealed, the film remains firm in its messaging: “If love does not push you to the brink of insanity, it is not true love.” 

Haseen Dillruba mirrors Tere Naam’s interpretation of passionate, intense feelings for a woman as being synonymous with obsession, violence, and mania. 

Its disturbing politics apart, Haseen Dillruba never quite lifts off the screen. Despite a striking opening aerial shot, Jwalapur, the town by the Ganga in which it is set, does not at any point come alive with sights, sounds or the hustle and bustle of normal daily life. In fact, the film seems uninvolved and distant from itself throughout. 

Even the big reveal in the end, although it does contain a surprise, is illogical, hugely improbable, unscientific, and ridden with loopholes,. It is also not as original as the tone suggests. Without giving away anything, let me just say that as far back as in my teens, I remember reading a crime saga about a pregnant woman who murders her husband with precisely the same clever weapon used in this film.

Director Vinil Mathew debuted in 2014 with Hasee Toh Phasee, starring Parineeti Chopra and Sidharth Malhotra. That film created a lead couple with empathy and electricity running between them, a pair worth rooting for. Haseen Dillruba is not a fraction as engaging as Hasee Toh Phasee, and I didn’t find myself loving, hating, liking or disliking a single one of its characters. 

Haseen Dillruba does, however, match the filmmaking sensibilities of its producers Aanand L Rai and Himanshu Sharma, who have so far successfully collaborated as director and writer respectively on the Tanu Weds Manu films and Raanjhanaa.

The conceptualisation of Rani in this film emerges from the same inane idea of womanhood seen to an extreme in Tanu Weds Manu 1&2, and the romanticisation of physical aggression in Haseen Dillruba is not far removed from the mindset that legitimised stalking as a form of courtship in Raanjhanaa

It is deeply troubling that Messrs Rai and Sharma refuse to let go of these regressive attitudes, but what is far more worrisome is that Haseen Dillruba is written by a woman. An examination of Kanika Dhillon’s filmography throws up more than one heroine who is kookie and/or clichéd (Manmarziyaan, Judgementall Hai Kya), but she did also co-write the warm, convincing relationship between the leads in Kedarnath, in which the female protagonist was rebellious and impertinent in the way real-life women might be. It is disappointing to think that the same person wrote Haseen Dillruba and Kedarnath

The pallid writing perhaps explains Pannu’s deadpan performance here. It is nice to see a woman actor listed first in a film’s credits, going against the Bollywood norm of giving a man pride of place in cast lists, but I do wish this particular woman had not picked this particular film, especially considering that a sequence featuring a loving wife running after her husband with his purse every morning as he leaves for office in Haseen Dillruba almost seems designed as a spoof of an insightful motif in her earlier film Thappad, that was designed as a commentary on man-woman equations in traditional, patriarchal Indian homes. 

Taapsee Pannu in Haseen Dilruba

Massey, who has been consistently superb in his work so far (Lootera, A Death in the Gunj, Chhapaak), is only marginally interesting in Haseen Dillruba. His expression in his very last scene does, however, give us a glimpse of the actor he is capable of being. 

Harshvardhan Rane, who was so good just last year in Bejoy Nambiar’s Taish, plays the only attention-grabbing character in Haseen Dillruba, and delivers the film’s only memorable performance. 

The one thought-provoking aspect of Haseen Dillruba’s screenplay is its portrayal of the fallout of an extra-marital affair in a conservative small town where a ‘wayward’ woman has no  chance of disappearing into the madding crowd as she might in a large city. This apart, the film is shorn of any social insights. I recall feeling unnerved and enraged for months after watching Tere Naam and Raanjhanaa. Haseen Dillruba is too thin and flat to sustain even anger. 

Haseen Dillruba is streaming on Netflix India.

Rating: *



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Is Harry Potter now on HBO Max or Amazon Prime? Tracing why a film or show keeps switching streaming platforms

Content is king — if you can find it.

As streaming services proliferate, it is becoming more of a challenge to track down your favorite TV shows and blockbuster movies when streaming services can change up their offerings every month. That is complicating life for those who know what they want to watch, but just do not know where to locate it.

Some hits are practically itinerants. Batman Begins and The Dark Knight, for instance, bounced around four different services between March 2020 and March 2021 — Netflix, Hulu, HBO Max, and Peacock. Some of these services hosted the movies twice in that time according to Reelgood, a service that tracks videos across streaming services. (You can currently find the movies on Hulu and HBO Max.)

Why do some film and show titles keep switching platforms?

Want to watch a Harry Potter movie? Films in the series started on HBO Max in May 2020 before heading to Peacock in August. They then jumped back to HBO Max in June 2021 — but only for a single month. At the moment, the first three films are available for free on Peacock, but you will need a premium subscription for the last five.

Not long after its March launch, Paramount+ reclaimed some of its movies, like Mission Impossible: Ghost Protocol and the Paul Rudd comedy I Love You Man from other services.

Origins of platform switching

This merry-go-round arguably started in 2019 when NBC said it would no longer license The Office to Netflix, although Netflix kept the rights through 2020 — a move intended to bolster NBC’s Peacock streaming service. The Office was the most viewed show on Netflix in 2018, streamed for over 52 billion minutes, according to Nielsen. HBO Max made a similar move when it yanked back Friends from Netflix.

The Hollywood producers of these shows and films likely appreciate the extra cash they have earned from licensing shows to Netflix, Amazon Prime Video, and similar services. But those partners have steadily morphed into competitors as studios like NBCUniversal, Disney, and WarnerMedia created their own streaming options to get in on the gold rush. In the meantime, Netflix, Amazon, and Hulu have focused more on creating their own original content.

“Exclusive content has always been an important factor in the battle for streaming dominance,” said Reelgood CEO David Sanderson. Production companies that want a bigger piece of the pie, he said, have realised that their best chance of success involves their own properties.

Cause of confusion among consumers

Consumers, meanwhile, are left to frantically scan for the shows they want. Chris Kaufman, a 35-year-old in Logan, Utah, once put movies like the Ocean’s 11 trilogy in his Netflix queue to watch later. But when he got around to them, they were gone. (They left Netflix in December 2020, and are now on HBO Max). “I don’t have a whole lot of time in the day to watch, and now I have to go and search it out,” he said.

Search engines can help. Alan Keane, a 35-year-old Brooklyn resident, says he uses Google when not searching through individual services. Other choices include apps such as Reelgood and JustWatch, which let you search a customizable list of services for particular titles. Digital media players like Roku and Apple TV also let you search across all the streaming apps you subscribe to.

But constantly having to search out those shows and movies can be frustrating. Since there are no penalties for consumers who drop a streaming service, it can also lead to customer “churn,” an industry term for the pace at which people sign up for and drop services, said Jeff Wlodarczak, an analyst at Pivotal Research. “If your streaming service runs out of interesting content, I would simply drop the service and come back at a later date,” he said.

Kaufman said he and his family, including his wife and toddler, are considering dropping Netflix since they are using HBO Max more now. “We have been in discussion as a household. We might be dropping a service on a monthly basis, and reacquiring it a couple months later when it is fresh and new for us,” he said.

Platform switching is here to stay

Kevin Westcott, who heads consulting firm Deloitte’s US technology, media, and telecom business, said his firm’s research finds that this content merry-go-round is the leading frustration subscribers report with streaming services. It is also the No 2 reason people say they may cancel a service, coming in just after price increases.

But he does not see things changing any time soon. In fact, Westcott figures that a version of “windowing” — the process of releasing a movie first in a theater, then on cable channels and streaming services — will stick around because it is a major source of revenue for the studios. “We’re always going to be in a situation where content will move,” he said.

Netflix, Amazon, NBCUniversal, Disney, and WarnerMedia did not immediately respond to a request for comment.



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Thursday, July 1, 2021

Is Harry Potter now on HBO Max or Amazon Prime? Explained: Why a film or show keeps switching streaming platforms

Content is king — if you can find it.

As streaming services proliferate, it is becoming more of a challenge to track down your favorite TV shows and blockbuster movies when streaming services can change up their offerings every month. That is complicating life for those who know what they want to watch, but just do not know where to locate it.

Some hits are practically itinerants. Batman Begins and The Dark Knight, for instance, bounced around four different services between March 2020 and March 2021 — Netflix, Hulu, HBO Max, and Peacock. Some of these services hosted the movies twice in that time according to Reelgood, a service that tracks videos across streaming services. (You can currently find the movies on Hulu and HBO Max.)

Why do some film and show titles keep switching platforms?

Want to watch a Harry Potter movie? Films in the series started on HBO Max in May 2020 before heading to Peacock in August. They then jumped back to HBO Max in June 2021 — but only for a single month. At the moment, the first three films are available for free on Peacock, but you will need a premium subscription for the last five.

Not long after its March launch, Paramount+ reclaimed some of its movies, like Mission Impossible: Ghost Protocol and the Paul Rudd comedy I Love You Man from other services.

Origins of platform switching

This merry-go-round arguably started in 2019 when NBC said it would no longer license The Office to Netflix, although Netflix kept the rights through 2020 — a move intended to bolster NBC’s Peacock streaming service. The Office was the most viewed show on Netflix in 2018, streamed for over 52 billion minutes, according to Nielsen. HBO Max made a similar move when it yanked back Friends from Netflix.

The Hollywood producers of these shows and films likely appreciate the extra cash they have earned from licensing shows to Netflix, Amazon Prime Video, and similar services. But those partners have steadily morphed into competitors as studios like NBCUniversal, Disney, and WarnerMedia created their own streaming options to get in on the gold rush. In the meantime, Netflix, Amazon, and Hulu have focused more on creating their own original content.

“Exclusive content has always been an important factor in the battle for streaming dominance,” said Reelgood CEO David Sanderson. Production companies that want a bigger piece of the pie, he said, have realised that their best chance of success involves their own properties.

Cause of confusion among consumers

Consumers, meanwhile, are left to frantically scan for the shows they want. Chris Kaufman, a 35-year-old in Logan, Utah, once put movies like the Ocean’s 11 trilogy in his Netflix queue to watch later. But when he got around to them, they were gone. (They left Netflix in December 2020, and are now on HBO Max). “I don’t have a whole lot of time in the day to watch, and now I have to go and search it out,” he said.

Search engines can help. Alan Keane, a 35-year-old Brooklyn resident, says he uses Google when not searching through individual services. Other choices include apps such as Reelgood and JustWatch, which let you search a customizable list of services for particular titles. Digital media players like Roku and Apple TV also let you search across all the streaming apps you subscribe to.

But constantly having to search out those shows and movies can be frustrating. Since there are no penalties for consumers who drop a streaming service, it can also lead to customer “churn,” an industry term for the pace at which people sign up for and drop services, said Jeff Wlodarczak, an analyst at Pivotal Research. “If your streaming service runs out of interesting content, I would simply drop the service and come back at a later date,” he said.

Kaufman said he and his family, including his wife and toddler, are considering dropping Netflix since they are using HBO Max more now. “We have been in discussion as a household. We might be dropping a service on a monthly basis, and reacquiring it a couple months later when it is fresh and new for us,” he said.

Platform switching is here to stay

Kevin Westcott, who heads consulting firm Deloitte’s US technology, media, and telecom business, said his firm’s research finds that this content merry-go-round is the leading frustration subscribers report with streaming services. It is also the No 2 reason people say they may cancel a service, coming in just after price increases.

But he does not see things changing any time soon. In fact, Westcott figures that a version of “windowing” — the process of releasing a movie first in a theater, then on cable channels and streaming services — will stick around because it is a major source of revenue for the studios. “We’re always going to be in a situation where content will move,” he said.

Netflix, Amazon, NBCUniversal, Disney, and WarnerMedia did not immediately respond to a request for comment.



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Explained: Why film industry is rallying against proposed amendments to Cinematograph Act

"The government's proposal to amend the Cinematograph Act is another blow to the film fraternity, and will potentially endanger freedom of expression and democratic dissent," says a letter signed by industry insiders such as Vishal Bhardwaj, Mira Nair, and Pa Ranjith.

The letter, with more than 3,000 signatories, will be sent to the Information and Broadcasting Ministry on Friday. The ministry has asked asked the general public to send their comments on the draft bill by 2 July.

What is Cinematograph (Amendment) Bill, 2021?

On 18 June, the Centre had sought public comments on the draft Cinematograph (Amendment) Bill 2021, which proposes to penalise film piracy with a jail term and fine, introduce age-based certification, and empower the Central government to order recertification of an already certified film following receipt of complaints.

(Also read — Explained: Proposed amendments to Cinematograph Act which will allow re-certification of films, penalisation of piracy)

Why is film industry objecting to the proposed amendment?

The letter says the proposed amendments would render filmmakers "powerless at the hands of the state as more vulnerable to threats, vandalism, and intimidation of mob censors."

"As another blow to the film fraternity, the Ministry of Information and Broadcasting has proposed new amendments to the Cinematograph Act under which the Central Government would have the power to revoke or recall certification of films which have already been cleared by the Censor Board,” the letter reads.

"Undermining the sovereignty of the Censor Board and the Supreme Court, this provision will effectively give the Central Government supreme power over cinema exhibition in the country, potentially endangering freedom of expression and democratic dissent," it adds.

Who are objecting to the proposed amendment?

The signatories to the letter include filmmakers, actors, cinematographers, and writers from across the country, such as Anurag Kashyap, Vetri Maaran, Farhan Akhtar, Shabana Azmi, Hansal Mehta, Rakeysh Omprakash Mehra, and Rohini Hattangadi as well as prominent names from Malayalam, Tamil, Kannada, Assamese, and Bengali cinema. These include Rajeev Ravi, Venu, Lijo Jose PellisKamal Haasan

FCAT

FCAT abolition

ery, Balaji Tharaneetharan, Thiagarajan Kumararaja, Fowzia Fathima, Jayathirtha B V, Supriyo Sen, Suman Mukhopadyay, and Bhaskar Hazarika. Film collectives such as the Ektara Collective and Women in Cinema Collective (WCC) have also signed the letter.

Filmmaker Prateek Vats, one of those who drafted the statement, told Press Trust of India that the proposal to give the revisionary power to the union government would be a "bad step," and the letter was an attempt from the film industry to register their participation. "You're decreasing the confidence in the institutional body which the CBFC is. It is important for the film fraternity to raise their concerns, and put down their suggestions," Vats said.

On Monday, actor filmmaker Kamal Haasan said on Twitter that people should raise their voice for "freedom and liberty."

Another blow to film certification after abolition of FCAT

In April this year, the government decided to do away with the Film Certification Appellate Tribunal (FCAT), a statutory body constituted to hear appeals of filmmakers aggrieved by cuts suggested by the CBFC.

(Also read — Overburdened High Courts, delayed film releases: An explainer on what abolition of FCAT may lead to)

The tribunal was helpful for directors seeking a time-bound solution if they were not happy with the CBFC's decision.

"The proposal to amend the Cinematograph Act comes two months after the Centre dissolved the Film Certification Appellate Tribunal (FCAT) in April 2021. Now, filmmakers unhappy with the decision of the Censor Board are left with no option but to appeal in the High Courts, bearing legal cost of representation and financial loss due potential delays in film releases until the overburdened judicial system takes up the matter," the letter reads.

Limiting authority of CBFC

The letter also lists suggestions for the I&B ministry. It says the Cinematograph (Amendment) Bill 2021 must clearly define the role of the CBFC as a body which certifies film content for public exhibition, and not as a censoring body.

"We recommend that the amendments giving powers to the Central government to revoke a film certificate must be dropped. We agree with the spirit of the Supreme Court decision which held that this would violate the separation of powers in our democracy," the letter states.

Demand for systemic solutions to combat piracy

While film piracy poses real challenges to filmmakers, the proposed amendments do not address this concern effectively merely by introducing a penal provisions, the document states. "Systemic solutions to genuinely counter piracy must be introduced," the letter suggested.

According to the letter, the filmmakers also recommend that the FCAT be reinstated, as it enables "affordable and accessible remedies to filmmakers."

With inputs from Press Trust of India.



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Shirley movie review: Elisabeth Moss enthrals in probing anti-biopic of a tortured genius

Language: English

Shirley Jackson is having a moment, and it's a long-awaited, well-deserved one. Once overlooked by the literary establishment, her stories of small-town stonings and haunted hill houses are now getting feature and series-length adaptations. Betty Friedan, who spoke of modern women having “suffered a schizophrenic split” in The Feminine Mystique, too was critical of Shirley. She accused, unjustly, the horror writer of purveying the myth of the happy housewife, while ignoring the reality of the unhappy careerist. The reality was: trying to sync the seemingly incompatible identities of wife and writer had been an enduring struggle for Shirley. That struggle is the subject of Josephine Decker's anti-biopic Shirley.

Elisabeth Moss slips into the skin of the famed horror writer, whose co-dependent relationship with a young woman becomes key to unlocking the next novel from her imagination. The young woman, Rose (Odessa Young), arrives in Vermont with her husband Fred (Logan Lerman), who is to be the new teaching assistant to Shirley's husband Stanley Hyman (Michael Stuhlbarg). When the newlyweds move into their home, Rose finds herself reduced to the role of a maid. A fan of Shirley's writing, she weathers the writer’s initial coldness before turning muse for her story, Hangsaman

Elisabeth Moss and Odessa Young in Shirley

The two women realise they're more alike than different when Rose becomes pregnant, and Shirley becomes stuck in her own agonising gestation period of the new novel. Although supportive of Shirley's career, Stanley's open infidelities and control over every aspect of her life further add to her misery. In Shirley and Rose's shared discontent, the film grounds an exploration of female desire and emancipation, but through the prism of the artistic process.

Decker proposes desire and emancipation are correlated. In the opening scene, having just finished Shirley's short story The Lottery (which ends in ritual sacrifice) on the train journey to Vermont, Rose’s very next instinct is to escort her husband into the toilet for sex. Eroticism and mortality become intermingled in Freud-appropriate fashion. Rose and Fred are of course fictional, the plot wholly invented. Decker takes the novel by Susan Scarf Merrell, and turns it into a curious interplay between reality and fantasy. The lines separating the two, made deliberately fuzzy and porous, help better explore an enigmatic character like Shirley. All writers, more so the enigmatic ones, already live as characters in the fantasies of their readers, if not in their stories. Through this metanarrative, Decker suggests creating art and living it are often one and the same.

Michael Stuhlbarg and Elisabeth Moss in Shirley

The more time Rose spends with Shirley, the more her life bleeds into the writer's work. Decker's images mirror this feeling of osmosis happening in both directions. The handheld camera wobbles, defocuses and refocuses as the hallucinatory gaze transfigures narrative into a manic experience of emotions. What stirs Shirley's imagination is linked to her drives and curiosities. And with a troubled character in a dysfunctional setting, it's like entering a house of distorting mirrors where character and identity, foreground and background are constantly changing. The window lighting too creates a psychological sense of space. There's a beauty beyond lucidity in an incoherent narrative thread punctuated by dreamy interludes.

Spellbound in the hazy limbo of Shirley's psychodrama, it becomes near impossible not only to separate the art from the artist, but take it out of its prevailing social context. For Rose, Shirley personifies liberation from her confines as a young wife and soon-to-be mother. With her husband spending most of his time at work, Rose finds the value of being truly seen in Shirley's company. For Shirley, Rose becomes a temporary cure-all for all her despair. The young tenant even percolates into the novel Shirley is writing, as her imagination overlaps with her obsession over the unsolved disappearance of a local girl. 

Shirley and Rose

Natalie Waite in Hangsaman is stifled by her domineering father, and comes unhinged much like Shirley. Elizabeth Richmond in The Bird’s Nest is kept on a tight rein by her aunt, and suffers from insomnia and migraine, symptoms Shirley herself experienced while writing it. Moss probes Shirley's fragile mental state to convey the acute misery that besieges women (and women artists) subject to oppressive scrutiny. In Moss's presence, Young too comes alive with more purpose shining in Rose's eyes. Together, they perform a duet of haunting opacity. 

No doubt Shirley lived “a rather haunted life”, as Ruth Franklin suggested in her 2016 biography. Besides depression and alcohol abuse, she suffered through several bouts of agoraphobia before her premature death at the age of 48. It's why a lot of her stories were set in houses which became prisons of their characters’ anxieties. Eleanor Vance speaks of being consumed by the house in The Haunting of Hill House, until the two become one and the same. The Sundial's Fanny Halloran tries to wait out the apocalypse by shutting herself inside her manor house. In We Have Always Lived in the Castle, Merricat Blackwood barricades herself in her home, and never steps beyond the front door. Paradoxically, in their desire for autonomy, they all retreat into themselves, into prisons of their own making. Decker adds to Shirley’s own sense of isolation by entirely omitting her four children as characters in the movie. 

Decker’s inspired choice to employ a psychological horror framework lends the events an air of ambiguity that helps build the tension to nerve-jangling highs. Like she did with Madeline's Madeline, she displays a mastery of the cinematic medium in a story that defies easy and precise articulation. In fact, Decker's portrait of the creative process as an atmospheric thriller is subversively spooky in a way Shirley herself would approve.

Shirley is streaming on MUBI.

Rating: ****



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Radioactive movie review: Rosamund Pike as Marie Curie struggles to rise above mediocre filmmaking, choppy storytelling

Language: English

“Oh, you are impossibly dramatic,” Bronisława Dłuska says to her sister following a frantic argument in the opening minutes of Radioactive, director Marjane Satrapi’s biopic of Marie Curie. She might as well have been talking about this film.

Premiering at Toronto International Film Festival in 2019, the film was subsequently postponed from a wider release due to the pandemic. About a year ago, it saw the light of the day in the US and the UK via digital releases; and now in mid-2021, it finally makes its way to our fine country.

Starring Rosamund Pike in the lead role of the celebrated scientist, the film itself is based on the graphic novel Radioactive: Marie & Pierre Curie: A Tale of Love and Fallout by Lauren Redniss.

With such an abundance of source material to draw from, it is baffling how poorly it goes about telling the remarkable life-story of the first person and the only woman to win the Nobel Prize twice (also the only one to win it in two scientific fields).

Satrapi, perhaps best known for her autobiographical graphic novel Persepolis, but no stranger to film direction – this being her fifth feature-length project – chooses to tell a more cut-for-Hollywood version of the tale. While certain liberties to fill in the gaps and fictionalisation of known events are generally expected (and accepted) from such a production, the choices here – be it the textbook rom-com-esque meeting of Marie and Pierre or the former’s absence from the Nobel ceremony – seem out of place at best, and on-the-nose dramatics at worst. It also does a disservice to a figure whose real life story was as fascinating as any, and hardly in need or any by-the-numbers touch-ups.

A still from the film Radioactive.

While Pike has her moments where she rises above the general mediocrity and choppy storytelling, all the while working with a small set of rigid character traits, the rest of the cast is hardly more than forgettable faces – doing a reasonable job with what is at hand, but not nearly enough to stand out. That fact that most of the film looks like a '90s telefilm or one of those dramatic reenactments for the Discovery Channel (including the CGI segments to explain the science), and that the dialogues and their delivery more often than not resemble that of a poor stage show, does little to help.

Then there are the many ‘cuts to the future’ segments, showcasing how the discoveries made by the Curies panned out in the future (not very well in the eyes of the film), that add almost nothing, except befuddlement. One can almost imagine a version where this would have worked for the better; alas, another trick missed here by the director, and the writer Jack Thorne.

A couple of things that do almost work for the film are a few of the set designs, and the pace. Almost. While the film moves at a dizzying pace at times, jumping through time and notable events, keeping things moving; it only makes the places it lingers more noticeable. And these choices often feel either checking off some checklist or somewhat whimsical. The result – for a film that runs 110 minutes, at times it seems to find its rhythm, but also leaves one with a sense that a good chunk of it could have been left on the editing table without losing much of value.

By the time Radioactive reaches the obligatory part, just before the credits roll, where a montage of images superimposed with text leaves you with some more information that the previous almost-two hours (even with all the time-hopping) could not touch upon, one cannot help but rue over an opportunity lost. Surely, one of the greatest minds, as well as the discoveries, of our time deserve much better than this tedious affair.

Radioactive is available in India on BookMyShow Stream.

Rating: *1/2



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The Tomorrow War movie review: Mushy moments aside, Chris Pratt's alien invasion thriller is a worthy watch

Language: English

Chris Pratt's The Tomorrow War seems to be director Chris McKay's hat-tip to its thematic predecessor, the 1996 seminal feature Independence Day. In the opening shots of The Tomorrow War, Dan Forester (Pratt) is about to enter his house where they are hosting a Halloween party. As he walks across the porch, a blowup Halloween doll comes in centre-frame. The inanimate object flutters in the wind, and its head slowly tilts towards the camera, as if it were alive. Those few seconds are enough to establish a foreground for the narrative.

A sudden human intervention reveals to the present world (of 2022) that mankind will come under major threat in the next couple of decades, following an alien invasion. In the raging tussle between man and beast, humans are fast disintegrating to a point of extinction. The future humans ask for public help, and through a process of "drafting," calls upon eligible candidates to time travel till 2051 and fight the aliens.

Dan joins the force, trying to alter a deadly future just so that he can insure his family in the present.

Still from The Tomorrow War

The Tomorrow War utilises screenplay smartly to amp up the sense of crisis that jolts our species into a possible death. McKay imbues a keen reading of gender through a simple tale of good vs evil. The world of aliens is relentless, savage, and most importantly, hungry. Humans fall prey (literally) to their ever-growing numbers. Yet, there is an entire sequence that elaborates how protective the men are of their female counterparts, and how they would sacrifice themselves to keep them safe. That is not to say the females are in any way timid, in fact, as the film shows, the breeding female is the fiercest of the entire lot.

This sequence is juxtaposed with Dan and his future daughter, who complains that her father abandoned the family and never found the time to accommodate them anymore. But as much as he would like to imagine the scenario, Dan fails to understand how he could ever do that.

Still from The Tomorrow War

McKay places aliens as the external unified force to highlight the fragmented state of the human species. Although wild, the aliens' struggle to survive is never shown in a questionable light. Even though audiences may predict a happy ending, the route taken by the creators is compelling; almost like witnessing an inter-species race to the end.

Breanna Adams and Jennifer Alavez (visual effects) create a worthy villain. Grotesque and unforgiving creatures are meant to evoke revulsion, above and over that Adams and team succeed in activating a tingling sense of empathy with the beast in an alien-eat-man world.

Still from The Tomorrow War

Through the ongoing battle, The Tomorrow War also tells the story of privilege. In a world where humans rule the roost, the aliens suddenly take centre stage, and then begins the see-saw between the haves and have-nots.

Pratt's wide-eyed smoulder may become repetitive after a while, but his intentions are well-rounded. As Dan, he puts up an earnest front of a man desperately trying to hold on to everything he believes in, his family, and his need to "be greater than a high school Biology teacher."

Chris Pratt in a still from The Tomorrow War

But the film also highlights the importance of a passionate high school teacher in shaping young minds and building the blocks for a future resistant to such complete annihilation.

The film not only questions man's superiority as a race but also makes space for a happy resolution to ensure goodwill and sense of hope. The Tomorrow War is a worthy watch, just so long as we can avoid its mushy moments which may pass off as corny at times.

The Tomorrow War is streaming on Amazon Prime Video.

Rating: ***1/2



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अमरिंदर सिद्धू विवाद पर कांग्रेस प्रवक्ता करने लगे चूहे और दानों की बात, देखिए पूरा मामला

पंजाब कांग्रेस के प्रवक्ता प्रीतपाल सिंह ने कहा, "पंजाब देश का एक बड़ा राज्य है। वहां कांग्रेस पार्टी की सरकार है। इस बार फिर वहां कांग्रेस पार्टी की सरकार बनने जा रही है। विरोध करने वाले विरोध करते रहेंगे।"

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रतन टाटा ने जिस कंपनी से की थी करियर की शुरूआत, एक साल में तीन गुना से ज्‍यादा करा चुकी है कमाई

रतन टाटा ने गुरुवार को टाटा स्‍टील की वर्चुअल मीटिंग में आकर सभी को चौंका दिया। देश की सबसे पुरानी स्‍टील कंपनियों में से एक टाटा स्‍टील से ही रतन टाटा के करियर की शुरूआत हुई थी। इस एजीएम में रतन टाटा के आने का कोई प्रोग्राम नहीं था।

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पेट्रोल डीजल के दाम कांग्रेस की देन, हम तो गलतियों को सुधारने की कोशिश कर रहे-बोले बीजेपी सांसद शर्मा

सांसद महेश शर्मा ने कहा, "हमारी सरकार विचार कर रही है कि क्या पेट्रोल और डीजल को भी जीएसटी के अंदर लाया जाए। ये विषय अभी सरकार के संज्ञान में है। जब भी प्रदेश की सरकारें इस पर कहेंगी, इसका निराकरण होगा।"

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सिद्धू से मिलने को तैयार नहीं थे राहुल, प्रियंका ने घर जाकर मनाया तो हुई मुलाकात

प्रियंका गांधी के हस्तक्षेप के बाद राहुल गांधी और सिद्धू के बीच मुलाकात हो सकी।

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क‍िसके फेवर से आगे बढ़े हैं? रामदेव से पूछा तो बोले थे- छोड़ दो ये सवाल…

योग गुरु ने कहा कि योग और आयुर्वेद में सबका इलाज है। दुनिया की कोई भी बीमारी हो उसका हम इलाज करते हैं। जो चीज कहीं नहीं है, वह हमारे पास है। योग से एंटीबायोटिक बना दिया हूं। इम्युनिटी बढ़ा दी है।

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7th Pay Commission: इन कर्मचारियों के लिए बड़ी खुशखबरी! जानें क्या पड़ रहा असर

7th Pay Commission Latest News, Odisha Government Employees: सचिवों, विभागों के अध्यक्षों, आरडीसी और कलेक्टरों को जारी परिपत्र में कहा गया है कि संबंधित अधिकारियों को यह सलाह दी जाए कि वे अंतिम दिन की प्रतीक्षा न करें और समय सीमा से पहले अपनी संपत्ति का ब्योरा जमा करें।

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Monkeypox In India: केरल में मिला मंकीपॉक्स का दूसरा केस, दुबई से पिछले हफ्ते लौटा था शख्स

monkeypox second case confirmed in kerala केरल में मंकीपॉक्स का दूसरा मामला सामने आया है। सूबे के स्वास्थ्य मंत्रालय का कहना है कि दुबई से प...