Bad Guys Always Die (2015) [Film Review]

Bag Guys Always Die; or, Vacation Gone Wrong

     Why were you so cuddle with this little Korean chick?

Tired of working? Longing to unwind a bit and spend a good time with your childhood friends? No problem. Just invite them over and organize a trip. Oh wait! There’s a crashed car by the side of the road. No problem. Let’s take the injured girl to a hospital. Heck! She just shot a police officer…

Release Info

Directed by: Sun Hao Starring: Son Ye-jin, Chen Bolin, Shin Hyun-joon, Qiao Zhenyu

Language: Korean, Mandarin Original Title: 坏蛋必须死 Runtime: 103 min

 

Plot

Qiangzi (Chen Bolin) is a teacher who is currently working in Busan. After falling out with a student, he decides to spend some time off in the company of his brother Pa-pa (Yang Xuwen) and two other friends, Datou (Ding Wenbo) and San’er (Qiao Zhenyu). When the four set out for a tour of Jeju Island, they spot a car which hit a tree branch. They decide to take the unconscious survivor to the nearest hospital, but when Ji-yeon (played by the great Son Ye-jin) regains consciousness, all hell breaks loose. The four friends find themselves chased not only by the police but also a serial killer. Apart from this, Ji-yeon is searching for a mysterious password that will help her save a kidnapped relative.

Four friends, a dangerous woman, and one mean killer

To be honest, I was in the mood for an Asian flick and the trailer for this film seemed interesting. Mostly a comedy but with an undertone of mystery. Well, it was not just a comedy and not just a crime movie. Bad Guys Always Die falls somewhere in between of these two genres but it not distasteful with its content.

In worst-case scenario, you may find this movie bland. As for me, I was engaged throughout the majority of the picture. The light tone at the very beginning and the whole chunk of the story involving Son Ye-jin’s character combined with very well executed shots of locations at Jeju Island are the definite assets of this film. What falls short is the underdeveloped relationship between the main characters since we mainly see them driving or running around, thus constantly passing each other in the process, until Ji-yeon’s big mystery is revealed (spoilers). From this point on, all of the third act becomes predictable, nevertheless, it is entertaining.

The most troublesome seems the character of the killer (Shin Hyun-joon), because at first he seems to be there as a comic relief (great scene at the hotel!), but then he transforms into a merciless maniac (when torturing Ji-yeon), hence the movie shifts its tone from comedic to suspense and then to comedic again. Yet, the comic relief is indeed provided through the characters of San’er, Datou, and an absent-minded cop (Jang Wang) who is after them. Thankfully, the movie does not even attempt to verge on the territory of over-the-top toilet humour and mainly sticks to conversational jokes.

Of performances, Son Ye-jin deserves a praise. Whether it is a disaster flick (The Tower (2012)), a romantic comedy (Art of Seduction (2005)), or a historical drama (The Last Princess (2016)) she always does an excellent job. Chen Bolin as the male lead seems just enough believable, but then again, the character development in this film leaves much to be desired. Qiao Zhenyu and Ding Wenbo are great as the two friends on the run and I would really like to see a separate movie about these two travelling together.

Recommendations

In case if you have nothing better to do and nothing better to watch apart from TV trash, then Bad Guys Always Die is a good choice. It is not anything exceptional, but it is not terrible either. I do not regret giving it a go. All in all, a pleasantly spent 100 minutes. Makes me want to book a ticket to Jeju Island right now.

Overall score: 7/10

Madaari (2016) [Film Review]

Madaari; or, Justice for All

     The Hawk swooped on the prey and carried it away... Story sounds believable, but you don't like to hear it... The prey then attacked the hawk...sounds unbelievable, but is so pleasing to hear...

This week’s review will be about the latest film with Irrfan Khan in the leading role. Obviously, I’m referring to Madaari (The Puppeteer) which had its premiere in July, 2016 in India. Inspired by a real-life accident, the movie puts to question the integrity of Indian political system and stigmatises its most condemning aspect: corruption.

Release Info

Directed by: Nishikant Kamat Starring: Irrfan Khan, Vishesh Bansal, Jimmy Shergill, Tushar Dalvi

Language: Hindi Movie Industry: Bollywood Runtime: 134 min

 

Synopsis

Nirmal Kumar (Irrfan) was a happy single parent with a steady job. Unfortunately, his son Apu (Kedar Bagaria) died on his way to school due to a bridge collapse. Devastated father is not able to stop mourning after the death of his child. All of a sudden, Nirmal finds a new purpose in life: to track down and punish those responsible for the accident. As a result, he devises a sophisticated plan which centers on kidnapping the son of the Home Minister (Tushar Dalvi). By the act of kidnapping, he intends to force the Minister to find the culprits who built the faulty bridge. As Nirmal finds himself on the run across India with 8-year-old Rohan (Vishesh Bansal), mainstream media pick up the subject and hail Nirmal as a hero of the common people.

The Ultimate Puppeteer

First of all, it should be made clear that Madaari is the film that was inspired by true events (as stated in the original trailer) not based on them. The difference between the two words may be small, but as I have not paid close attention to the statement in the trailer, my suspension of disbelief had to go through the roof while watching the actual movie. In other words, Madaari takes a real event and positions it as a starting point for a fictional tale of seeking justice and criticising the government.

Despite its hardly plausible plot (a guy kidnapping the son of a politician and evading the police for a long period of time in spite of the media buzz) the film is entertaining and easy to watch primarily due to the reliance on "the individual vs. the system” theme. In addition, Madaari thrives as an engaging thriller because of exploring the dynamics between its vivid characters. Irrfan Khan gives a brilliant (even an Oscar-worthy I would say) performance as a man who has nothing to lose and wants to give the establishment a lesson. Vishesh Bansal does well as Rohan, a spoiled “prince” who gradually befriends Nirmal, but the chemistry between them is not the core of the picture.

Madaari’s true heart is the electrifying finale, which provides the viewers with a vengeful self-satisfaction as if straight from Law Abiding Citizen (2009) and Straw Dogs (1971). However, in contrast to these movies, Nirmal’s revenge is not a morbid one. Instead, the film slams the audience with a shocking message uttered by the Home Minister: “The truth is that the government exists solely for corruption”.

The film will not change the state of Indian (or even global) politics, but it may certainly contribute to spreading awareness about the possible abuses of power by the leaders. I can easily imagine Nirmal getting caught in reality by the CBI executive (Jimmy Shergill); nevertheless, the film invites us to consider a what-if scenario: What if the oppressed individual makes his point and does not die in the end? This aspect combined with Irrfan’s top-notch acting is what makes Madaari a worthwhile motion picture.

Recommendations

I highly recommend this film to anyone who likes Irrfan Khan. Whenever he appears on screen in the leading role, he single-handedly carries the weight of a film on his shoulders thanks to his charisma and outstanding acting. Madaari is an excellent example of that. It’s a well-made thriller, which also makes you think about authentic issues and political degradation. All things considered, Bollywood is known for having many famous Khans, but to me, Irrfan Khan is the real “Khan of Bollywood”.

Overall score: 8/10

Te3n (2016) [Film Review]

Te3n; or, Vengeance for a Granddaughter

     I couldn't do anything for my daughter. And after she was gone, I couldn't take care of our Angela also. I can't sleep at night. I have to find the man who took Angela away from us. And I promise you… I will find him.

Continuing my discussion of Montage, I’m now moving on to Te3n, an official Hindi remake of the South Korean thriller.

Release Info 

Directed by: Ribhu Dasgupta Starring: Amitabh Bachchan, Nawazuddin Siddiqui, Vidya Balan

Language: Hindi Movie Industry: Bollywood Runtime: 136 min

Synopsis

8 years since the kidnapping of his granddaughter Angela, John Biswas (played by the legendary Amitabh Bachchan) is relentlessly visiting the police station day by day. Inspector Sarita Sharma (Vidya Balan) politely tells Biswas that they have no clues about the kidnapper. Also, Martin Das (Nawazuddin Siddiqui), the officer who was handling Angela’s case, is frequently visited by John. Yet, personal shame pushed him to become a priest, thus he is reluctant to help Biswas. Nevertheless, undeterred grandfather begins his own investigation as one day he notices a girl wearing his granddaughter’s cap. In the meantime, another kidnapping occurs in exactly the same manner as the one 8 years earlier. Father Martin is convinced that the same kidnapper has returned.

Crime Streets of Kolkata

Firstly, I have to point out that I’ve seen Montage and Te3n back-to-back. Though watching Montage was an invigorating experience, I was pleasantly surprised by Te3n as well. I know it’s a remake and the script clearly does not shy away from its Korean progenitor since it tells the same story, but it’s not a lesser production altogether. Indian filmmakers took what was best in Montage, framed it in Indian cultural background (great setting of Kolkata), and added a few subtle changes. What were the results:

Slow-paced progression of the events. Especially at the beginning, it is very hard to get into the story. Both films begin with the same sequence of a child’s death, but whereas Montage jumped immediately at the whole before-it’s-too-late stuff because “statute of limitations,” Te3n scraps this whole segment and we have to sit through 20 minutes of talking and flashbacks in order to understand what is going on.

Yet, it’s not entirely a bad thing. Who said that thrillers have to be only fast-paced? This introduction at least allows us to get to know three main characters: another substantial change. In Montage, there was only the mother and the detective. Here, we have the grandfather, the priest (former detective), and the police inspector (who is a woman). Major change indeed, but it significantly improves the story.

In the original film, the mother seemed two-dimensional, hence the detective had to carry on his shoulders the emotional charge of the story. In Te3n, the three characters provide fresh perspective for the viewer. We’ve got John Biswas whose traits are the mixture of the mother and the detective (determination to catch the abductor, obsession, near insanity), Father Martin who used to be like detective Cheong Ho but his guilt destroyed him, and Inspector Sharma who... does not really give a damn about the old kidnapping case. In consequence, new characters not only remake but also reinvent Montage’s plotline, making it open to new interpretations.

Additionally, the way how John Biswas discovers the kidnapper’s identity is done differently. In Montage, it was not much of an investigation than a complete accident for the mother. She found an umbrella with a logo, made the list of suspects and it was the end. However, John goes full Sherlock as he finds new pieces of evidence (a cap, a pen, a company logo). Another positive alteration.

However, that’s basically it when it comes to plot changes. The makers of Te3n knew the value of Montage and did not even try to veer off its main course. Careful re-enactment of Montage’s most important moments (kidnapping, picture in the garbage truck, and dreadful railway station sequence) was a bit of a letdown to me. I know it’s a remake, but I hoped for some greater ingenuity. Yet, what I’ve seen was satisfactory enough.

In terms of performances, the three (as the Hindi title hints) leading actors are the main pillars of this picture. Amitabh Bachchan does a marvellous job as the grandfather seeking justice. You can feel the anguish, suffering, and emotional torment of the main character. Nawazuddin Siddiqui is convincing as a disillusioned cop-turned-priest seeking redemption. Surprisingly, Vidya Balan does well as a female police officer and I’m encouraged to check out some of her other films. Padmavathi Rao, though only in a supporting role, deserves an honourable mention as John’s wife.

Recommendations

Even though it’s a remake, I highly recommend this film to anyone interested in a good thriller. Although the main crime is repeated, the movie is well written, has an awesome cast, good music, and is set in West Bengal. Even if you have already seen Montage, check out Te3n to see what was done in a different way. In my opinion, Te3n stands equally with its South Korean source material on the level of quality. A solid production among Bollywood's 2016 releases.

Overall score: 8/10