SYNCCINEMA

W hat is Filmmaking According to you? Cinema’s beauty lies in its Rhetoric Nature, where, the cosmos gets equally filled with, ideas and executions, art and technique, also something abstract and real. It can be said that here, something as Vague as a dream is captured to be made figurative for its beauty of possibility. That is, in a very blithe stroke, Filmmaking for us.   This Craft gets propelled by such ideas, which, due to the thinking, lifestyle and the world, finds a new colour every day, along with Perspectives finding a new shade.   Cinema reinvents itself  ever so often  into a more creative and expressive medium  as an art or as a culmination of art forms. The new notions we sprout out in this "Millenial Age", such as “Coming of Age” or “Ahead of its Time”, only when you think of it, rather than being futuristic or Unforeseen, the movies tagged as above have actually redefined or deservingly defined Cinema, perfectly-staying true to the time. For the comin

RED – The safe gamble of filmic natters and terrific thrills Let’s understand the word  honest remake , which has 2 ways in the adoption of a story – Cloning the Original and Re-mastering the original. While Cloning is the safest, it tends to borrow a non-innovative version catered to a different audience ( Eg.  Rakshasudu  ). Re-mastering demands skill and proper understanding of the subject to re-create the magic of the original, which if done, will stand out better than the Original ( Eg.  Kuruthipunal  ). Red, directed by Kishore Tirumala falls short of an  honest remake  by a mile.  Red is parts Cloning and parts Re-mastering, and the best mostly lies in Cloning. As said, re-master demands a proper  understanding  of the subject and  Kishore Tirumala’s  melodramatic and overly drawn dialogue treatment never rises above the horizon of impressing us. The Director’s previous works also had a dialogue-heavy, exhausting conversation which at least touched the right base in the space

 Master -  The Catch -22 in the Star-Young Director duo is masterfully triumphed. There is a delight in witnessing an aspiring filmmaker who has a distinguished vision and modern influences direct a slowly sludged star for whom “Crowd goes Crazy for”. The refreshing and innovative creativity in the  rebirth  of our star with a mix of signatures carried from the Star’s Mannerism and Director’s artistry works wonders on screen, but with a price (the very price which bombed  Darbar   last Pongal and averaged  Petta  the Pongal before). Lokesh Kanagaraj relay’s his Structure from his past films  Maa Nagaram  and  Kaithi , where the canvas of the story is first set in the initial 10-15 mins and then titles roll. Both of his earlier films were grim and dense in subjects, in contrast,  Master  has the grim slightly cut down (after all it’s for the commercial audience) whereas the density is intact.  As a result, we get  Sethupathy  before  Thalapathy  as a juvenile, molested and grown t

K rack – Krack is a unique concoction of rehash as well as re-invention of a dying genre. Krack, in its very first minute,  seems  not to be wasting time with the focus on a so-called Highly wanted criminal’s BBC interview ( the interview theme is later forgotten anyway ). He interestingly states that a trivial 50rupee note has led to his arrest. Now, the idea of a trivial Note, mango and a nail had an influence on 3 big shots getting arrested and no-nonsense Cop as the manifesto, is meaty enough. In Contrast, the overall field of view from the Writer isn’t automatically no-nonsense. Krack, being a chanced return-to-form flick of a desperate  Ravi Teja  is also a unique concoction of rehash as well as the reinvention of a dying genre. It’s a flip coin which only has 2 outcomes, one full of  inspirations  and  clichés  and the other filled with refreshing takes made with acknowledgement to  current  tastes - ( this is the part where the Massy Cop Drama is spiced up with the  millenni

T enet – Nolan’s Complex Enough Time Twist is both Eye-popping and Over-Stuffed even if you watch it in reverse   The famous line in the movie – “ Your Duty Transcends National Interests” is similar to Nolan’s style of storytelling, one can say – “ His Cinema Transcends Quintessential Conceits”. Nolan’s ideas have always come from the grass-root level of a spinoff on Common Genres or highly used trope. His work is rendition and re-imagination of Exhaustive Treatment of a particular story -   Interstellar  (Inter Galactic Adventure),  Dark Knight Trilogy   (Everyday Superhero),  Dunkirk  (Classic War Drama),  Inception  (Heist Thriller). Tenet also has an easy match to the Common Genre of Spy Thriller, with Nolan looking to add his patented flavours to  Mission Impossible  and especially  Bond  series. Tenet kicks off like any other Nolan film with a Grand Sequence of,  happenings  ( no better word for his out of the world sequences ) – as the Bank Ro