Dan Trachtenberg's 'Prey' is the fifth installment in the 'Prey' series. It is also a prequel and takes the story back to the early 18th century. I remember thinking pitting a more primitive Predator, alien trophy hunters for whom human individuals are ridiculously easy prey, against a Native American tribe was a fascinating idea, and could make for a great time at the movies if executed well. Thankfully, not only is 'Prey' a riveting action-thriller, but it also gives the long-languishing 'Predator' franchise a shot in the arm. It is a raw, primal return to the franchise's roots and in this scribe's opinion the best film in the series since the 1987 original.&nbsp;

It is 1719. Even as European colonialists compete amongst themselves to capture more and more territory in the New World or the Americas, the indigenous tribes are struggling to ward off invaders and survive. A young Comanche girl Naru (Amber Midthunder) was trained as a healer but yearns to be a hunter like her brother. She spots Predator's aircraft and assumes it is a Thunderbird, a mythological creature believed among certain&nbsp;North American tribes to be a symbol of strength. Naru takes it as a sign to prove herself. She accompanies a party hunting for a deadly mountain lion just to do that but proves incapable.

<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/wZ7LytagKlc" title="YouTube video player" width="560"></iframe>

Her brother Taabe (Dakota Beavers) is the one who hunts the cougar and is declared a War Chief. Soon, however, a cougar becomes a puny threat&nbsp;when the Predator (albeit&nbsp;armed with weapons less advanced than what we have seen in earlier films), begins to pick off the members of the tribe one by one. This is Naru's ultimate chance to prevail over an apex predator. But is Naru, a slip of a girl, really capable of taking down a freaking Predator all by herself?

'Prey' harkens back to movies of yore (well, the 70s and 80s) that had minimal plot and progression in favour of propulsive action. Trachtenberg, working from a spare script by&nbsp;&nbsp; &nbsp;Patrick Aison, sets up an unlikely clash that before the end feels inevitable. The movie has all the gore and bloody scenes one would expect from a 'Predator' movie. The alien warrior kills whoever he deems to be a threat in a variety of ways, each gut-churning bloody than the other.&nbsp;
<img alt="Amber Midthunder in prey" data-caption="Amber Midthunder as Naru in 'Prey'." data-entity-type="file" data-entity-uuid="7cdc73bb-37cb-4940-9147-ff6debb0ac3a" src="//cdn.wionews.com/sites/default/files/inline-images/prey-movie.jpeg" />
In fact, I would say, apart from the novel backdrop and protagonists, 'Prey' does not do anything terribly original. But it uses the time period and the wilds to make the human vs alien encounter feel almost primordial. Jeff Cutter's cinematography captures the natural setting of the film almost through the lens of a wildlife filmmaker. It is a jungle, after all, and a tale of a predator versus prey. The varied camera angles signal the simultaneously intimate and grand nature of the central conflict.&nbsp;

The economical script allows the film to build an experience that is almost sensory. The action happens rarely, but when it does, it is always downright spectacular. The CGI is a bit choppy, but splendid stunt work turns fights into gritty and muddy, but still gorgeous and often dance-like.

Watch 'Prey' on the biggest screen possible. It is a shame that 'Prey' did not get a big screen release. The movie is streaming on Disney+ Hotstar.

Dan Trachtenberg's 'Prey' is the fifth installment in the 'Prey' series. It is also a prequel and takes the story back to the early 18th century. I remember thinking pitting a more primitive Predator, alien trophy hunters for whom human individuals are ridiculously easy prey, against a Native American tribe was a fascinating idea, and could make for a great time at the movies if executed well.

Dan Trachtenberg's 'Prey' is the fifth installment in the 'Prey' series. It is also a prequel and takes the story back to the early 18th century. I remember thinking pitting a more primitive Predator, alien trophy hunters for whom human individuals are ridiculously easy prey, against a Native American tribe was a fascinating idea, and could make for a great time at the movies if executed well. Thankfully, not only is 'Prey' a riveting action-thriller, but it also gives the long-languishing 'Predator' franchise a shot in the arm. It is a raw, primal return to the franchise's roots and in this scribe's opinion the best film in the series since the 1987 original. It is 1719. Even as European colonialists compete amongst themselves to capture more and more territory in the New World or the Americas, the indigenous tribes are struggling to ward off invaders and survive. A young Comanche girl Naru (Amber Midthunder) was trained as a healer but yearns to be a hunter like her brother. She spots Predator's aircraft and assumes it is a Thunderbird, a mythological creature believed among certain North American tribes to be a symbol of strength. Naru takes it as a sign to prove herself. She accompanies a party hunting for a deadly mountain lion just to do that but proves incapable. Her brother Taabe (Dakota Beavers) is the one who hunts the cougar and is declared a War Chief. Soon, however, a cougar becomes a puny threat when the Predator (albeit armed with weapons less advanced than what we have seen in earlier films), begins to pick off the members of the tribe one by one. This is Naru's ultimate chance to prevail over an apex predator. But is Naru, a slip of a girl, really capable of taking down a freaking Predator all by herself? 'Prey' harkens back to movies of yore (well, the 70s and 80s) that had minimal plot and progression in favour of propulsive action. Trachtenberg, working from a spare script by Patrick Aison, sets up an unlikely clash that before the end feels inevitable. The movie has all the gore and bloody scenes one would expect from a 'Predator' movie. The alien warrior kills whoever he deems to be a threat in a variety of ways, each gut-churning bloody than the other. In fact, I would say, apart from the novel backdrop and protagonists, 'Prey' does not do anything terribly original. But it uses the time period and the wilds to make the human vs alien encounter feel almost primordial. Jeff Cutter's cinematography captures the natural setting of the film almost through the lens of a wildlife filmmaker. It is a jungle, after all, and a tale of a predator versus prey. The varied camera angles signal the simultaneously intimate and grand nature of the central conflict. The economical script allows the film to build an experience that is almost sensory. The action happens rarely, but when it does, it is always downright spectacular. The CGI is a bit choppy, but splendid stunt work turns fights into gritty and muddy, but still gorgeous and often dance-like. Watch 'Prey' on the biggest screen possible. It is a shame that 'Prey' did not get a big screen release. The movie is streaming on Disney+ Hotstar.

'Prey' movie review: A raw, gripping return to franchise's roots, this 'Predator' movie is a must watch

Amitabh Bachchan at 80: 10 quirky films starring Big B you should watch

'Werewolf by Night', a Halloween TV special now streaming on Disney+ Hotstar, is fresh territory for Marvel Studios and the first small screen product from the Marvel Cinematic Universe creator that perfectly fulfills its zany promise -- something 'WandaVision' wishes it did. It is a self-assured debut by composer Michael Giacchino (recent scores include 'The Batman' and 'Spider-Man: No Way Home'), who not surprisingly has written a score that goes nicely with the retro style of the special. Based on the character of the same name, 'Werewolf by Night' has a cult-like group of monster hunters assembling after the death of their leader, Ulysses Bloodstone, to play a deadly game: whosoever kills a monster in a maze-like arena will be the next leader and will wield the Bloodstone, a powerful object that can weaken the said monster of its powers.&nbsp;

<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/bLEFqhS5WmI" title="YouTube video player" width="560"></iframe>

Among the celebrated monster hunters is Jack Russell (Gael García Bernal), who is secretly a werewolf. But he is also a gentle soul and does not want to hurt the harmless monster, who he calls Ted. Also in the cast is Irish actress Laura Donnelly as Elsa Bloodstone, the estranged daughter of Ulysses who has no fondness for her father's cult. As the other monster hunters try to bring down the creature, the two team up to help it escape.&nbsp;

Almost the whole special is shot in black-and-white and echoes the monsters movies of the 1930s. Giacchino, working from a screenplay by Heather Quinn and Peter Cameron, takes to the brief but interesting tale with relish, nicely balancing the nostalgia factor and actual monster extravaganza. At no point, it appears he is an amateur when it comes to being a director. The visuals, editing, and even the basic visual effects echo the 1930s. The werewolf form of Jack is basically him clad in heavy fur and a scary mask. It sounds nonsense, but it works.

Also Read:&nbsp;<a href="https://www.wionews.com/entertainment/hollywood/news-prey-movie-review-a-raw-gripping-return-to-franchises-roots-this-predator-movie-is-a-must-watch-523241">'Prey' movie review: A raw, gripping return to franchise's roots, this 'Predator' movie is a must watch</a>

The monster design is also rather impressive, but again, is in keeping with the olde worlde style of the special. The bold stylistic choices will probably not work for everyone, as perhaps not all look at Old Hollywood with affection. But most will find a lot of fun in carefully doled-out thrills and Bernal and Donnelly's performances the special has to offer.&nbsp;

The 50-odd minutes of screentime pass in a jiffy. I would have appreciated the feature length even more. More weird, crazy comic-book adaptations like this, please.&nbsp;

'Werewolf by Night' is streaming on Disney+ Hotstar.

'Werewolf by Night', a Halloween TV special now streaming on Disney+ Hotstar, is fresh territory for Marvel Studios and the first small screen product from the Marvel Cinematic Universe creator that perfectly fulfills its zany promise -- something 'WandaVision' wishes it did.

'Werewolf by Night', a Halloween TV special now streaming on Disney+ Hotstar, is fresh territory for Marvel Studios and the first small screen product from the Marvel Cinematic Universe creator that perfectly fulfills its zany promise -- something 'WandaVision' wishes it did. It is a self-assured debut by composer Michael Giacchino (recent scores include 'The Batman' and 'Spider-Man: No Way Home'), who not surprisingly has written a score that goes nicely with the retro style of the special. Based on the character of the same name, 'Werewolf by Night' has a cult-like group of monster hunters assembling after the death of their leader, Ulysses Bloodstone, to play a deadly game: whosoever kills a monster in a maze-like arena will be the next leader and will wield the Bloodstone, a powerful object that can weaken the said monster of its powers. Among the celebrated monster hunters is Jack Russell (Gael García Bernal), who is secretly a werewolf. But he is also a gentle soul and does not want to hurt the harmless monster, who he calls Ted. Also in the cast is Irish actress Laura Donnelly as Elsa Bloodstone, the estranged daughter of Ulysses who has no fondness for her father's cult. As the other monster hunters try to bring down the creature, the two team up to help it escape. Almost the whole special is shot in black-and-white and echoes the monsters movies of the 1930s. Giacchino, working from a screenplay by Heather Quinn and Peter Cameron, takes to the brief but interesting tale with relish, nicely balancing the nostalgia factor and actual monster extravaganza. At no point, it appears he is an amateur when it comes to being a director. The visuals, editing, and even the basic visual effects echo the 1930s. The werewolf form of Jack is basically him clad in heavy fur and a scary mask. It sounds nonsense, but it works. Also Read: 'Prey' movie review: A raw, gripping return to franchise's roots, this 'Predator' movie is a must watch The monster design is also rather impressive, but again, is in keeping with the olde worlde style of the special. The bold stylistic choices will probably not work for everyone, as perhaps not all look at Old Hollywood with affection. But most will find a lot of fun in carefully doled-out thrills and Bernal and Donnelly's performances the special has to offer. The 50-odd minutes of screentime pass in a jiffy. I would have appreciated the feature length even more. More weird, crazy comic-book adaptations like this, please. 'Werewolf by Night' is streaming on Disney+ Hotstar.

'Werewolf by Night' review: MCU's Halloween special is a fun throwback to classic monster movies

The seventh episode of 'The Lord of the Rings: The Rings of Power' is ominously titled 'The Eye', which could refer to a couple of things, none of them good. In the last episode, 'Udûn', Adar revealed his plan. He and his orcs basically used the river water to force the magma to erupt from the Orodruin mountain, turning into the Mount Doom we know and the surrounding forest into a scorched wasteland of ash. In 'The Eye', the peoples of Middle-earth deal with the far-reaching ramifications of the eruption.

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<h2>The aftermath&nbsp;of Mount Doom eruption</h2>

The survivors of the battle, the Southlanders and the Númenóreans retreat back to a safer, more verdant region. The episode opens with a scene of utter destruction. Galadriel (Morfydd Clark) wakes up (of course she survived). She is caked in dusty ash. She finds Theo (Tyroe Muhafidin), the son of Bronwyn (Nazanin Boniadi) and they together walk to the Númenórean camp. There is no sign of Isildur (Maxim Baldry) and thus his father Elendil (Lloyd Owen) is grumpy.&nbsp;

The Queen Regent Miriel (Cynthia Addai-Robinson) has lost her eyesight. The whole situation is dire. The Númenóreans, or at least Miriel, promise to return to fight Adar (and Sauron, wherever he is).

Also Read:<a href="https://www.wionews.com/entertainment/hollywood/news-rings-of-power-episode-6-review-amazons-fantasy-series-delivers-thrilling-action-packed-television-521454">&nbsp;'Rings of Power' Episode 6 review: Amazon's fantasy series delivers thrilling, action-packed television</a>

<h2>Harfoots</h2>

Meanwhile, proto-Hobbits that are the Harfoots are weaving through a land that is starkly contrasted to the charred Southlands. However, even they encounter signs of evil when trees are found burnt. Perhaps a few pyroclasts landed there or perhaps signs of Sauron's rise are being seen everywhere on Middle-earth. Meanwhile, the probably-Gandalf, called The Stranger (Daniel Weyman), who fell out of the sky tries to revive a burnt tree, but due to his clumsy ways almost kills Nori (Markella Kavenagh). He is exiled.
<img alt="rings of power" data-caption="A still from&amp;nbsp;'Rings of Power' Episode 7." data-entity-type="file" data-entity-uuid="e3b7521e-ceb3-4301-b8be-573273eaf924" src="//cdn.wionews.com/sites/default/files/inline-images/rings-of-power-episode-7.jpg" />
Remember the sinister, pale-clothed trio? They are hunting for the Stranger for their own aims, and find the Harfoots. They burn their carts, essentially rendering them homeless. Even the quiet-loving harfoots cannot escape the evil for long.&nbsp;

Also Read:&nbsp;<a href="https://www.wionews.com/entertainment/hollywood/news-rings-of-power-season-2-will-be-bigger-and-better-teases-showrunner-522960">'Rings of Power' season 2 will be 'bigger and better', teases showrunner</a>

<h2>Of dwarves and elves</h2>

Despite appeals by Elrond (Robert Aramayo) and Prince Durin (Owain Arthur), the dwarven king of Moria refuses to grant elves Mithril that they need for survival. The two friends try to dig it up themselves and are surprised to find immense reserves of the substance. But they are caught by the king. Before Elrond and Durin are taken away, however, we see a certain Balrog, the fiery Maiar with immense power, who will be come to be called Durin's Bane during the events of 'The Lord of the Rings'.

<h2>What to expect in the finale</h2>

'Rings of Power' Episode 7 sets up a riveting finale, and we should see who and where Sauron really has been all this time. And also whether he is somebody we know already (Halbrand) or not. There will likely be a battle, though not the giant one we will see before the series ends when elves and men will reunite to take on Sauron's forces. The finale will be worth watching, but it will likely by quieter than the sixth episode.

'Rings of Power' streams on Amazon Prime Video. 
&nbsp;

The seventh episode of 'The Lord of the Rings: The Rings of Power' is ominously titled 'The Eye', which could refer to a couple of things, none of them good. In the last episode, 'Udûn', Adar revealed his plan.

The seventh episode of 'The Lord of the Rings: The Rings of Power' is ominously titled 'The Eye', which could refer to a couple of things, none of them good. In the last episode, 'Udûn', Adar revealed his plan. He and his orcs basically used the river water to force the magma to erupt from the Orodruin mountain, turning into the Mount Doom we know and the surrounding forest into a scorched wasteland of ash. In 'The Eye', the peoples of Middle-earth deal with the far-reaching ramifications of the eruption. The aftermath of Mount Doom eruption The survivors of the battle, the Southlanders and the Númenóreans retreat back to a safer, more verdant region. The episode opens with a scene of utter destruction. Galadriel (Morfydd Clark) wakes up (of course she survived). She is caked in dusty ash. She finds Theo (Tyroe Muhafidin), the son of Bronwyn (Nazanin Boniadi) and they together walk to the Númenórean camp. There is no sign of Isildur (Maxim Baldry) and thus his father Elendil (Lloyd Owen) is grumpy. The Queen Regent Miriel (Cynthia Addai-Robinson) has lost her eyesight. The whole situation is dire. The Númenóreans, or at least Miriel, promise to return to fight Adar (and Sauron, wherever he is). Also Read: 'Rings of Power' Episode 6 review: Amazon's fantasy series delivers thrilling, action-packed television Harfoots Meanwhile, proto-Hobbits that are the Harfoots are weaving through a land that is starkly contrasted to the charred Southlands. However, even they encounter signs of evil when trees are found burnt. Perhaps a few pyroclasts landed there or perhaps signs of Sauron's rise are being seen everywhere on Middle-earth. Meanwhile, the probably-Gandalf, called The Stranger (Daniel Weyman), who fell out of the sky tries to revive a burnt tree, but due to his clumsy ways almost kills Nori (Markella Kavenagh). He is exiled. Remember the sinister, pale-clothed trio? They are hunting for the Stranger for their own aims, and find the Harfoots. They burn their carts, essentially rendering them homeless. Even the quiet-loving harfoots cannot escape the evil for long. Also Read: 'Rings of Power' season 2 will be 'bigger and better', teases showrunner Of dwarves and elves Despite appeals by Elrond (Robert Aramayo) and Prince Durin (Owain Arthur), the dwarven king of Moria refuses to grant elves Mithril that they need for survival. The two friends try to dig it up themselves and are surprised to find immense reserves of the substance. But they are caught by the king. Before Elrond and Durin are taken away, however, we see a certain Balrog, the fiery Maiar with immense power, who will be come to be called Durin's Bane during the events of 'The Lord of the Rings'. What to expect in the finale 'Rings of Power' Episode 7 sets up a riveting finale, and we should see who and where Sauron really has been all this time. And also whether he is somebody we know already (Halbrand) or not. There will likely be a battle, though not the giant one we will see before the series ends when elves and men will reunite to take on Sauron's forces. The finale will be worth watching, but it will likely by quieter than the sixth episode. 'Rings of Power' streams on Amazon Prime Video.

'Rings of Power' Episode 7 review: The calm before the storm

Whatever way you look at it, 'She-Hulk' is a smashing success at what it claims to do. The sitcom format, light tone, and a runtime that hovers around half an hour allow it to differentiate itself from other Marvel Studios shows. In the latest episode, titled 'Ribbit and Rip it', the fans of Daredevil awaiting Charlie Cox's Matt Murdock's appearance finally get their payoff. He not only shows up, but also engages in a short duel with the She-Hulk and even... well, watch the episode to know more.&nbsp;

For those unfamiliar with 'She-Hulk', it follows Jennifer Walters (Tatiana Maslany), a talented lawyer and the cousin of Mark Ruffalo's Bruce Banner, also known as the Hulk. After Jennifer and Bruce met with an accident while on a road trip, Jennifer's blood gets contaminated with Bruce's and she also becomes a Hulk -- albeit a calmer, more put-together Hulk. Until now, we have followed Jennifers' journey as she navigates her lawyerly life and deals with her superpowers that come pretty handy in a scrap but also give her unwanted fame and attention -- including those who might want her harm.

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In 'Ribbit and Rip it', Jennifer is given a case involving a "superhero" (quotes deliberate) who uses footwear to fly and aims to fight crime. However, he is clumsy and an amateur and sues Luke Jacobson (Griffin Matthews), the tailor who designed his suit. As it turns out, Luke also has a lawyer -- and it is none other than Murdock, the Devil of Hell’s Kitchen. Daredevil easily goes on to win the case as it was the "superhero" who used his suit in a way it is not meant to be used.

Later, Daredevil and She-Hulk&nbsp;spar briefly over the same case, before teaming up against a bunch of goons/henchmen (you will get the joke).

Also Read:&nbsp;<a href="http://13.235.153.162/entertainment/hollywood/news-she-hulk-episode-6-review-mcu-series-gets-its-groove-back-518658">'She Hulk' Episode 6 review: MCU series gets its groove back</a>

'Ribbit and Rip it' is a thoroughly entertaining and exciting episode, and it is not just the big cameo. It is also the writing, humour, and action. For those who were worried, Murdock fits into the show like a dream. Yes, 'Daredevil' the TV show was fairly grim and the hero was quite broody, but here too he is not really a wisecracker. He is just more laidback, indicating a man who has learned not to take things too seriously. It is a seamless transition from the Netflix show to Marvel Studios show. And Cox is once again likable and charming.

My only issue is the CGI of 'She-Hulk', which continues. Maslany is a great actor with impressive comedic timing, and she shines whenever she is not Hulked-out. But whenever she turns into the superhero, it gets distracting and one cannot help but ignore whatever she is saying, to contemplate what made Marvel Studios greenlight this monstrosity of a design. Perhaps one will have to live with this uncanny valley forever.

The episode ends in a cliffhanger, setting up the big finale. 'She-Hulk streams on Disney+ Hotstar.

Whatever way you look at it, 'She-Hulk' is a smashing success at what it claims to do. The sitcom format, light tone, and a runtime that hovers around half an hour allow it to differentiate itself from other Marvel Studios shows.

Whatever way you look at it, 'She-Hulk' is a smashing success at what it claims to do. The sitcom format, light tone, and a runtime that hovers around half an hour allow it to differentiate itself from other Marvel Studios shows. In the latest episode, titled 'Ribbit and Rip it', the fans of Daredevil awaiting Charlie Cox's Matt Murdock's appearance finally get their payoff. He not only shows up, but also engages in a short duel with the She-Hulk and even... well, watch the episode to know more. For those unfamiliar with 'She-Hulk', it follows Jennifer Walters (Tatiana Maslany), a talented lawyer and the cousin of Mark Ruffalo's Bruce Banner, also known as the Hulk. After Jennifer and Bruce met with an accident while on a road trip, Jennifer's blood gets contaminated with Bruce's and she also becomes a Hulk -- albeit a calmer, more put-together Hulk. Until now, we have followed Jennifers' journey as she navigates her lawyerly life and deals with her superpowers that come pretty handy in a scrap but also give her unwanted fame and attention -- including those who might want her harm. In 'Ribbit and Rip it', Jennifer is given a case involving a "superhero" (quotes deliberate) who uses footwear to fly and aims to fight crime. However, he is clumsy and an amateur and sues Luke Jacobson (Griffin Matthews), the tailor who designed his suit. As it turns out, Luke also has a lawyer -- and it is none other than Murdock, the Devil of Hell’s Kitchen. Daredevil easily goes on to win the case as it was the "superhero" who used his suit in a way it is not meant to be used. Later, Daredevil and She-Hulk spar briefly over the same case, before teaming up against a bunch of goons/henchmen (you will get the joke). Also Read: 'She Hulk' Episode 6 review: MCU series gets its groove back 'Ribbit and Rip it' is a thoroughly entertaining and exciting episode, and it is not just the big cameo. It is also the writing, humour, and action. For those who were worried, Murdock fits into the show like a dream. Yes, 'Daredevil' the TV show was fairly grim and the hero was quite broody, but here too he is not really a wisecracker. He is just more laidback, indicating a man who has learned not to take things too seriously. It is a seamless transition from the Netflix show to Marvel Studios show. And Cox is once again likable and charming. My only issue is the CGI of 'She-Hulk', which continues. Maslany is a great actor with impressive comedic timing, and she shines whenever she is not Hulked-out. But whenever she turns into the superhero, it gets distracting and one cannot help but ignore whatever she is saying, to contemplate what made Marvel Studios greenlight this monstrosity of a design. Perhaps one will have to live with this uncanny valley forever. The episode ends in a cliffhanger, setting up the big finale. 'She-Hulk streams on Disney+ Hotstar.

'She-Hulk' Episode 8 review: It's Jennifer Walters vs Daredevil!

Russel Owens' 'Shepherd', a horror film set on a remote island in Scottish Highlands, uses its location to&nbsp;instill a sense of foreboding, but never gives a decent payoff for the setup. Despite its issues, fans of the genre would appreciate just how much dread and tension the film&nbsp;squeezes from the immense, breathtaking landscape. Tom Hughes plays a tormented, recently-widowed man called Eric Black, who is haunted by visions of his wife's demise. The film makes it clear that it is not simply grief that is bothering him. He has other demons that tumble out later in the film. After a sluggish first act in which Eric gets reacquainted with his estranged mother, we find him on the island. Where madness awaits him.

Kate Dickie plays Fisher, the person who drops Eric off at the island with a promise to return. The island is, I repeat, a thing of absolute beauty. But it is a beauty of the austere kind. Grey skies perpetually hover over the stretch of land like cruel gods, threatening rain at the first hint of sin. A promontory juts deep into the water. Apart from a rundown lighthouse and a cottage, there is hardly any hint of human presence.

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The effect is almost that of writings of HP Lovecraft at times and the cosmic horror genre he invented -- even if we never see Cthulhu or anything similar. It is how the film juxtaposes the setting against Eric. He is like one man stranded on a planet.

Cinematographer Richard Stoddard wastes no time in familiarising the viewer with the place, panning down the camera and showing how insignificant our hero is before the vastness of the island and the water surrounding it. The island feels like a compelling thing you would want to observe, but from a safe distance. There is a great sense of place here. The island, however barren, feels lived-in

The thrillingly immersive setting echoes Robert Eggers' genre-defining 'The Lighthouse', which was similarly brilliant in evoking the horror of loneliness in a region that was raw and primal, and untouched. In 'Shepherd', the effect is heightened because here Eric is by his lonesome. There is the dog, but canines do not make for good conversation companions. Nevertheless, he does find comfort in his dog's presence for a while. And then his ghosts -- and the island's ghosts -- come alive.&nbsp;

<img alt="shepherd" data-entity-type="file" data-entity-uuid="f1dcd7d1-7be6-4a23-9c43-041d6ee7a64b" src="//cdn.wionews.com/sites/default/files/inline-images/Shepherd-1200.jpg" />

Apart from the visuals, the script also does a good job in making the viewer feel Eric's desolation. I was irritated by the pacing every now and then but the long-ish runtime (for the plot, that is) actually helps us in getting into Eric's shoes. The scares are few but worthwhile. It is the location that does the heavy lifting.

I liked 'Shepherd' overall, but there are a few things that keep me from wholly recommending this film to horror lovers. First, Hughes falls way short of what the role requires. He is, to put it bluntly, just not a very good actor. While his lack of emoting works for the character in the first half when Eric is supposed to be an impassive, stiff-upper-lip man who keeps his emotions in check, later on, when he begins losing his sanity, his performance is average at best. A better actor would have served the character better.

Also, the pace might be slow for most horror fans. The film has artistic pretensions, but does not have a substantial depth to its story or themes to back it up. The ending is also disappointing as the film tries to insert a twist that feels last-minute and so-so. Still, 'Shepherd' is worth checking out, I think. Those, in particular, who are looking for a film that relies on atmosphere and ambience to up the scare quotient rather than CGI monsters will love it.&nbsp;

'Shepherd' is available to watch on BookMyShow Stream.

Russel Owens' 'Shepherd', a horror film set on a remote island in Scottish Highlands, uses its location to instill a sense of foreboding, but never gives a decent payoff for the setup.

Russel Owens' 'Shepherd', a horror film set on a remote island in Scottish Highlands, uses its location to instill a sense of foreboding, but never gives a decent payoff for the setup. Despite its issues, fans of the genre would appreciate just how much dread and tension the film squeezes from the immense, breathtaking landscape. Tom Hughes plays a tormented, recently-widowed man called Eric Black, who is haunted by visions of his wife's demise. The film makes it clear that it is not simply grief that is bothering him. He has other demons that tumble out later in the film. After a sluggish first act in which Eric gets reacquainted with his estranged mother, we find him on the island. Where madness awaits him. Kate Dickie plays Fisher, the person who drops Eric off at the island with a promise to return. The island is, I repeat, a thing of absolute beauty. But it is a beauty of the austere kind. Grey skies perpetually hover over the stretch of land like cruel gods, threatening rain at the first hint of sin. A promontory juts deep into the water. Apart from a rundown lighthouse and a cottage, there is hardly any hint of human presence. The effect is almost that of writings of HP Lovecraft at times and the cosmic horror genre he invented -- even if we never see Cthulhu or anything similar. It is how the film juxtaposes the setting against Eric. He is like one man stranded on a planet. Cinematographer Richard Stoddard wastes no time in familiarising the viewer with the place, panning down the camera and showing how insignificant our hero is before the vastness of the island and the water surrounding it. The island feels like a compelling thing you would want to observe, but from a safe distance. There is a great sense of place here. The island, however barren, feels lived-in The thrillingly immersive setting echoes Robert Eggers' genre-defining 'The Lighthouse', which was similarly brilliant in evoking the horror of loneliness in a region that was raw and primal, and untouched. In 'Shepherd', the effect is heightened because here Eric is by his lonesome. There is the dog, but canines do not make for good conversation companions. Nevertheless, he does find comfort in his dog's presence for a while. And then his ghosts -- and the island's ghosts -- come alive. Apart from the visuals, the script also does a good job in making the viewer feel Eric's desolation. I was irritated by the pacing every now and then but the long-ish runtime (for the plot, that is) actually helps us in getting into Eric's shoes. The scares are few but worthwhile. It is the location that does the heavy lifting. I liked 'Shepherd' overall, but there are a few things that keep me from wholly recommending this film to horror lovers. First, Hughes falls way short of what the role requires. He is, to put it bluntly, just not a very good actor. While his lack of emoting works for the character in the first half when Eric is supposed to be an impassive, stiff-upper-lip man who keeps his emotions in check, later on, when he begins losing his sanity, his performance is average at best. A better actor would have served the character better. Also, the pace might be slow for most horror fans. The film has artistic pretensions, but does not have a substantial depth to its story or themes to back it up. The ending is also disappointing as the film tries to insert a twist that feels last-minute and so-so. Still, 'Shepherd' is worth checking out, I think. Those, in particular, who are looking for a film that relies on atmosphere and ambience to up the scare quotient rather than CGI monsters will love it. 'Shepherd' is available to watch on BookMyShow Stream.

'Shepherd' movie review: This horror film uses its stunning, desolate setting to frightening degree

The sixth episode of Prime Video's fantasy series 'The Lord of the Rings: The Rings of Power' is arguably its best yet. After starting off sedately and setting up characters and the central conflict, 'Udûn' fires on all cylinders (more literally than you would expect) to deliver an hour so of television brimming with action, character, and wow moments. The villagers of the Southlands finally face the battle that Adar (Joseph Mawle) and his orcs threatened with aplomb but everything comes crashing down before the end -- again, quite literally.

The show, based on the world created by JRR Tolkien, has been teasing the impending reveal or arrival of Sauron for quite a while. And no, this episode does not put an end to that speculation. Speculate away. But 'Udûn' does make it clear that the future Dark Lord and former Morgoth lieutenant is pulling the strings.

<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/VizHUko_gVE" title="YouTube video player" width="560"></iframe>

The following paragraphs contain spoilers. Read at your own risk. Better still, watch the episode and then come back.

What happened in 'Udûn'?

A lot. As Arondir (Ismael Cruz Córdova), Bronwyn (Nazanin Boniadi), and other villagers managed to spring Adar and orcs into a trap. But a lot of them still survive, and attack the villagers, who have retreated back to the village. Adar makes it purpose clear: to acquire the broken blade that has cause much trouble until now. The Númenóreans, led by Galadriel (Morfydd Clark) and Cynthia Addai-Robinson (Míriel), save the day in time and Adar is captured before he can escape with the blade. However, the blade he has is a fake, and Waldreg escaped with the real blade. He blade is planted into that mechanism we saw earlier, which causes a lot of water from the dam to release. It rushes through the tunnels the orcs had dug, and the Mount Doom erupts. We see a stupefied Galadriel walking into the cloud of magma (of course, she will survive for thousands of years).

Also Read |&nbsp;<a href="https://www.wionews.com/entertainment/hollywood/news-rings-of-power-episode-5-review-partings-sets-the-stage-for-war-against-sauron-518942">'Rings of Power' Episode 5 review: 'Partings' sets the stage for war against Sauron</a>

Why is 'Udûn' so good?

'Udûn', more than any other episode before that, evokes Peter Jackson''s 'LotR' trilogy in terms of scale, grand visuals, and elves (even if just two) doing insane acrobatics to cut through ranks of orcs. I just cannot wait for the finale.

What's Adar's deal?

<img alt="adar" data-entity-type="file" data-entity-uuid="f8a45c5a-eea8-4cec-bfc0-2dfab4baacd7" src="//cdn.wionews.com/sites/default/files/inline-images/adar.jpeg" />

Oh, and Adar is an Uruk (also called Moriondor in the show). Remember the Uruk Hai, whose leader killed Boromir and almost killed Aragorn in 'The Fellowship of the Ring'? Adar is the same, but less orc-ish and more elvish. Adar has proven to be a more complicated villain. He spoke about finding a home for himself and his children (the orcs), to explain why he is waging war in the Southlands, that he and the orcs feel something like orphans in a world without Morgoth and Sauron (whom he claims to have killed) -- which is interesting. We will have to see what the show does with this themes.

The episode also throws up a couple of surprises, particularly related to Adar, who is way more a devious enemy than anybody -- including us the viewers -- expected. When asked about where is Sauron, he says he killed him. But nobody is fooled. Perhaps he wanted to dawdle before his plan could be discovered and stopped?

<img alt="galadriel" data-entity-type="file" data-entity-uuid="13d2fe34-fb9c-41d1-9a43-9804d5a57f46" src="//cdn.wionews.com/sites/default/files/inline-images/galadriel.jpg" />

Who and where is Sauron?

We know Sauron is somewhere. Perhaps he is somebody we have seen, but more likely he is somebody we are yet to see. Halbrand is not Sauron, the episode almost makes it clear. The Stranger is still a contender, but chances are, he is Gandalf or some other wizard. Celebrimbor (Charles Edwards) is present in the show, and we know from lore that Sauron fools him into forging the Rings of Power that leads to chaos and war on Middle-earth. But we have not seen any character that the elven smith is working with until now. Sauron may already be working with Celebrimbor in disguise.

I love this show.&nbsp; 
&nbsp;

The sixth episode of Prime Video's fantasy series 'The Lord of the Rings: The Rings of Power' is arguably its best yet. After starting off sedately and setting up characters and the central conflict, 'Udûn' fires on all cylinders (more literally than you would expect) to deliver an hour so of television brimming with action, character, and wow moments.

The sixth episode of Prime Video's fantasy series 'The Lord of the Rings: The Rings of Power' is arguably its best yet. After starting off sedately and setting up characters and the central conflict, 'Udûn' fires on all cylinders (more literally than you would expect) to deliver an hour so of television brimming with action, character, and wow moments. The villagers of the Southlands finally face the battle that Adar (Joseph Mawle) and his orcs threatened with aplomb but everything comes crashing down before the end -- again, quite literally. The show, based on the world created by JRR Tolkien, has been teasing the impending reveal or arrival of Sauron for quite a while. And no, this episode does not put an end to that speculation. Speculate away. But 'Udûn' does make it clear that the future Dark Lord and former Morgoth lieutenant is pulling the strings. The following paragraphs contain spoilers. Read at your own risk. Better still, watch the episode and then come back. What happened in 'Udûn'? A lot. As Arondir (Ismael Cruz Córdova), Bronwyn (Nazanin Boniadi), and other villagers managed to spring Adar and orcs into a trap. But a lot of them still survive, and attack the villagers, who have retreated back to the village. Adar makes it purpose clear: to acquire the broken blade that has cause much trouble until now. The Númenóreans, led by Galadriel (Morfydd Clark) and Cynthia Addai-Robinson (Míriel), save the day in time and Adar is captured before he can escape with the blade. However, the blade he has is a fake, and Waldreg escaped with the real blade. He blade is planted into that mechanism we saw earlier, which causes a lot of water from the dam to release. It rushes through the tunnels the orcs had dug, and the Mount Doom erupts. We see a stupefied Galadriel walking into the cloud of magma (of course, she will survive for thousands of years). Also Read | 'Rings of Power' Episode 5 review: 'Partings' sets the stage for war against Sauron Why is 'Udûn' so good? 'Udûn', more than any other episode before that, evokes Peter Jackson''s 'LotR' trilogy in terms of scale, grand visuals, and elves (even if just two) doing insane acrobatics to cut through ranks of orcs. I just cannot wait for the finale. What's Adar's deal? Oh, and Adar is an Uruk (also called Moriondor in the show). Remember the Uruk Hai, whose leader killed Boromir and almost killed Aragorn in 'The Fellowship of the Ring'? Adar is the same, but less orc-ish and more elvish. Adar has proven to be a more complicated villain. He spoke about finding a home for himself and his children (the orcs), to explain why he is waging war in the Southlands, that he and the orcs feel something like orphans in a world without Morgoth and Sauron (whom he claims to have killed) -- which is interesting. We will have to see what the show does with this themes. The episode also throws up a couple of surprises, particularly related to Adar, who is way more a devious enemy than anybody -- including us the viewers -- expected. When asked about where is Sauron, he says he killed him. But nobody is fooled. Perhaps he wanted to dawdle before his plan could be discovered and stopped? Who and where is Sauron? We know Sauron is somewhere. Perhaps he is somebody we have seen, but more likely he is somebody we are yet to see. Halbrand is not Sauron, the episode almost makes it clear. The Stranger is still a contender, but chances are, he is Gandalf or some other wizard. Celebrimbor (Charles Edwards) is present in the show, and we know from lore that Sauron fools him into forging the Rings of Power that leads to chaos and war on Middle-earth. But we have not seen any character that the elven smith is working with until now. Sauron may already be working with Celebrimbor in disguise. I love this show.

'Rings of Power' Episode 6 review: Amazon's fantasy series delivers thrilling, action-packed television

For a film that hogged headlines more for its off-screen drama than the actual plot, it&nbsp;is a perfectly fine film. It is, however, a tremendous downgrade for director-actor Olivia Wilde, whose 'Booksmart' was one of the best comedies of 2019 -- witty and original. Original is a word one would not use for 'Don't Worry Darling'. Florence Pugh and Harry Styles play Alice and Jack Chambers, a couple in 1950s America's sunny somewhere. They live in a small company town, where the wives clean and cook for their husbands, who go to work in the secretive Victory Project. Oh, and the women have to follow strict rules like not crossing certain geographical limits and not being too curious about their husbands' work. It's the '50s, all right.

<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/FgmnKsED-jU" title="YouTube video player" width="560"></iframe>

The film opens with a boozy party involving Alice and Jack and their few friends, all couples, who live in adjacent suburban dwellings at a cul-de-sac. The setup is meant to show how pleasant Alice's life is, how lovely in a storybook way. Her husband loves her, pays heed to her sexual needs (Wilde boasted that the film favours female sexual pleasure, and there is some truth to that), and surroundings are quiet and relaxing.&nbsp;

But there are cracks in her ideal, perfect world. She realises something is awry when her friend Margaret (KiKi Layne) begins to give her warnings that are too vague and appear rambling, which the town doctor calmly attributes to mental illness. Alice herself begins to embark on the same journey when, among other things, she spots an aircraft falling out of the sky, and is successfully convinced by the said doctor and her husband that it was all but a dream. Chris Pine's magnetic and mysterious Frank, who runs the whole show, watches Alice from the sidelines, as though daring to expose him.
<img alt="florence pugh and harry styles in dont worry darling" data-caption="Florence Pugh and Harry Styles in 'Don't Worry Darling'." data-entity-type="file" data-entity-uuid="ab341282-c41a-4295-b2d3-46aca764a2cd" src="//cdn.wionews.com/sites/default/files/inline-images/dont-worry-darling.jpeg" />
Like the Alice of that Lewis Carroll fairy tale, our Alice has to break free of her shackles and wake up as well.

As you have probably guessed, the town, called the Victory Town, in 'Don't Worry Darling' has an air of dystopia. The story is 'Stepford Wives' meshed with a lot of 'Get Out', a bit of 'The Truman Show', echoes of George Orwell's '1984', and a couple more inspirations that I refrain to mention for they would spoil the big reveal of the film.&nbsp;

But most of all, the script, written by Katie Silberman (she also co-wrote 'Booksmart'), is a nod to the MeToo movement. Characters in the film do not utter some of the related buzzwords like 'gaslighting', but they are all there, and 'Don't Worry Darling' is not subtle about them. It is, in fact, not subtle about anything. It wears its influences on its sleeve, in perhaps an attempt to avoid any criticism over unoriginality.

'Don't Worry Darling' introduces several interesting ideas but it is not able to truly flesh any of them. There are several scenes throughout the movie that seem to hint at something but are left undeveloped and unexplored. I bet a lot of the footage of this film was left on the cutting room floor. Margaret is the biggest loser here as a character. She is reduced to a subhuman, whose only task is to call our heroine's attention to the nature of her reality. She is not even a supporting character, she is barely a character.
<img alt="chris pine and olivia wilde in dont worry darling" data-caption="Chris Pine and Olivia Wilde in 'Don't Worry Darling'." data-entity-type="file" data-entity-uuid="8ccc3f21-3f88-4469-bca6-5018b0019ec8" src="//cdn.wionews.com/sites/default/files/inline-images/Dont-Worry-Darling.jpg" />
Also, the film does not have anything new or interesting to say about its throughline -- if there is one in this mess -- at all. It advances themes -- men prefer submissive women, want women to be housewives who clean and cook for them, and so on -- that have been done numerous times, in usually better films.

But 'Don't Worry Darling' is a pretty decent thriller. There is enough entertainment value to satisfy most casual moviegoers. The strikingly good-looking and talented cast lives up to the reputations. Pugh is fantastic, and utilises her expressions of incredulity that she mastered in Ari Aster's 'Midsommar' rather well. I jest. She really is good, even if she is saddled with a tame character. Pine, always reliable, is perfect in the role. He should play villains more often. Acting clearly is not Styles' strong suit, but he does fine here. The setting is richly realised with and is nicely detailed as well.&nbsp;

'Don't Worry Darling' is not the trailblazing piece of art that its marketing promised, but it is neither a disaster that many feared. It's, as I said earlier, just fine.

For a film that hogged headlines more for its off-screen drama than the actual plot, it is a perfectly fine film. It is, however, a tremendous downgrade for director-actor Olivia Wilde, whose 'Booksmart' was one of the best comedies of 2019 -- witty and original.

For a film that hogged headlines more for its off-screen drama than the actual plot, it is a perfectly fine film. It is, however, a tremendous downgrade for director-actor Olivia Wilde, whose 'Booksmart' was one of the best comedies of 2019 -- witty and original. Original is a word one would not use for 'Don't Worry Darling'. Florence Pugh and Harry Styles play Alice and Jack Chambers, a couple in 1950s America's sunny somewhere. They live in a small company town, where the wives clean and cook for their husbands, who go to work in the secretive Victory Project. Oh, and the women have to follow strict rules like not crossing certain geographical limits and not being too curious about their husbands' work. It's the '50s, all right. The film opens with a boozy party involving Alice and Jack and their few friends, all couples, who live in adjacent suburban dwellings at a cul-de-sac. The setup is meant to show how pleasant Alice's life is, how lovely in a storybook way. Her husband loves her, pays heed to her sexual needs (Wilde boasted that the film favours female sexual pleasure, and there is some truth to that), and surroundings are quiet and relaxing. But there are cracks in her ideal, perfect world. She realises something is awry when her friend Margaret (KiKi Layne) begins to give her warnings that are too vague and appear rambling, which the town doctor calmly attributes to mental illness. Alice herself begins to embark on the same journey when, among other things, she spots an aircraft falling out of the sky, and is successfully convinced by the said doctor and her husband that it was all but a dream. Chris Pine's magnetic and mysterious Frank, who runs the whole show, watches Alice from the sidelines, as though daring to expose him. Like the Alice of that Lewis Carroll fairy tale, our Alice has to break free of her shackles and wake up as well. As you have probably guessed, the town, called the Victory Town, in 'Don't Worry Darling' has an air of dystopia. The story is 'Stepford Wives' meshed with a lot of 'Get Out', a bit of 'The Truman Show', echoes of George Orwell's '1984', and a couple more inspirations that I refrain to mention for they would spoil the big reveal of the film. But most of all, the script, written by Katie Silberman (she also co-wrote 'Booksmart'), is a nod to the MeToo movement. Characters in the film do not utter some of the related buzzwords like 'gaslighting', but they are all there, and 'Don't Worry Darling' is not subtle about them. It is, in fact, not subtle about anything. It wears its influences on its sleeve, in perhaps an attempt to avoid any criticism over unoriginality. 'Don't Worry Darling' introduces several interesting ideas but it is not able to truly flesh any of them. There are several scenes throughout the movie that seem to hint at something but are left undeveloped and unexplored. I bet a lot of the footage of this film was left on the cutting room floor. Margaret is the biggest loser here as a character. She is reduced to a subhuman, whose only task is to call our heroine's attention to the nature of her reality. She is not even a supporting character, she is barely a character. Also, the film does not have anything new or interesting to say about its throughline -- if there is one in this mess -- at all. It advances themes -- men prefer submissive women, want women to be housewives who clean and cook for them, and so on -- that have been done numerous times, in usually better films. But 'Don't Worry Darling' is a pretty decent thriller. There is enough entertainment value to satisfy most casual moviegoers. The strikingly good-looking and talented cast lives up to the reputations. Pugh is fantastic, and utilises her expressions of incredulity that she mastered in Ari Aster's 'Midsommar' rather well. I jest. She really is good, even if she is saddled with a tame character. Pine, always reliable, is perfect in the role. He should play villains more often. Acting clearly is not Styles' strong suit, but he does fine here. The setting is richly realised with and is nicely detailed as well. 'Don't Worry Darling' is not the trailblazing piece of art that its marketing promised, but it is neither a disaster that many feared. It's, as I said earlier, just fine.

'Don't Worry Darling' movie review: Florence Pugh-starrer is an entertaining, flawed thriller

A spectre is haunting Bollywood -- the spectre of boycottism. Forgive me for paraphrasing Karl Marx, but there is indeed a crisis in the Hindi film industry. There has been a recent social media trend of boycotting pretty much each and every new movie, and it is negatively affecting the box office returns -- or so it appears. #BoycottBollywood and movie-specific hashtags like #BoycottLaalSinghChaddha and #BoycottRakshaBandhan do the rounds whenever there is a major Hindi film release. Days before the release of 'Brahmastra', #BoycottBrahmastra has come into effect.

<h2>What is #BoycottBollywood?</h2>

Last month, <a href="https://www.wionews.com/videos/critically-speaking-is-laal-singh-chaddha-worth-the-hype-506125">'Laal Singh Chaddha',</a> Aamir Khan-led expensive remake of the 1994 American classic 'Forrest Gump', was released. While this movie is hardly the only one to be given the 'boycott treatment' but let's consider it to delve into this phenomenon. The film's release was preceded by a concerted campaign on social media sites, especially Twitter, to boycott the movie, with the aforementioned hashtags and tweets, many of which were identical, doing the rounds. The movie, despite decent reviews, tanked so thoroughly that Aamir reportedly had to forego his fees to compensate co-producer Viacom18 Studios for the losses.&nbsp;

This was a project that had Kareena Kapoor, a huge star in her own right, as the female lead, and popular Telugu actor Naga Chaitanya in the cast. And yet, it was nowhere near enough.

Also Read:<a href="https://www.wionews.com/entertainment/bollywood/news-laal-singh-chaddha-movie-review-kareena-kapoor-and-the-story-outshine-aamir-khan-505855">&nbsp;'Laal Singh Chaddha' movie review: Kareena Kapoor and the story outshine Aamir Khan</a>

<h2>Why are Bollywood movies boycotted?</h2>

The prime reason for the boycott was said to be the futility of remaking a movie that is already popular and well-loved among Indian film buffs. A Bollywood treatment, it was argued, would ruin the story by turning it into a Karan Johar-style melodrama. There was also old anger against Aamir Khan.&nbsp;

Once a nearly universally beloved actor, Aamir earned the ire of those on the right side of the political spectrum first due to his movie 'PK'. Directed by Rajkumar Hirani, the film satirised superstitions and dogmatic religion by showing the perspective of a literal alien (played by Khan). Many accused Hirani and Khan of unfairly targetting certain practices among Hindus while not doing the same to Islam.

The reputation of Khan was exacerbated when at an event he spoke about how his wife (now divorced) Kiran Rao was fearing for their children amid the alleged rising intolerance in the country and was thinking of moving abroad. The comments were said against the backdrop of the assassination of intellectuals and the killing of Muslims. The comments created a lot of political furore as political parties played their usual blame game. In the meantime, Aamir delivered two huge hits -- 'Dangal' and 'Secret Superstar'. And then 'Thugs of Hindostan' was released and I think we can all agree no boycott was responsible for this flop. It was just terrible.

Also Read:<a href="https://www.wionews.com/entertainment/bollywood/news-twitter-demands-akshay-kumars-raksha-bandhan-to-be-banned-as-old-tweets-of-writer-kanika-dhillon-resurface-502925">&nbsp;#BoycottRakshaBandhanMovie trends on Twitter as old tweets of Akshay Kumar and writer Kanika Dhillon resurface</a>

<h2>Behind the boycott: Claims of Bollywood being a den of Islamism, nepotism, and debauchery</h2>

Apart from Aamir, other actors, particularly Khans like Shah Rukh Khan and Saif Ali Khan, have been demonised by many of those on social media that call Bollywood Urduwood or Khanwood. The film industry, they claim, is dominated by Muslims and is against Indians and Hindus.&nbsp;

This also leads to the nepotism debate, one side of which says that the industry is closed to outsiders, who, despite their talent, have to struggle to score even supporting roles. Star kids, on the other hand, get plum roles straight&nbsp;out of the cradle. Or something.&nbsp;

Both of these claims -- that Bollywood is Urduwood and nepotism is prevalent -- have been appropriated by actors like Kangana Ranaut, who say they are in this position because of their toil, not because of 'recommendations'.

Things got worse after Sushant Singh Rajput died by suicide. A talented young actor, his death was blamed on the alleged debauchery of Bollywood. That he was introduced to drugs by his ex-girlfriend Rhea Chakraborty. Sushant, it was said, was dissatisfied due to his position in the film industry despite his visible talent. What followed was months of forwarded private WhatsApp messages in which Rhea allegedly apprised Sushant of the delights of being high on marijuana and so on.

Also Read:<a href="https://www.wionews.com/entertainment/arjun-kapoor-reacts-to-boycott-bollywood-trend-people-took-advantage-of-our-decency-507716">&nbsp;Arjun Kapoor reacts to boycott Bollywood trend: People took advantage of our decency</a>

<h2>Is the fall of Bollywood because of Tamil, Telugu, Kannada, and Malayalam movies, and OTT?</h2>

Amid all this, more and more movies from the southern part of India, beginning with SS Rajamouli's 'Baahubali' franchise, have captured the attention of ex-Bollywood fans. The ready availability of dubbed versions of movies like 'K.G.F.', 'Pushpa: The Rise', and Rajamouli's latest 'RRR' have led many in the Hindi belt to move away from Bollywood movies. Movies in Tamil, Telugu, Kannada, and Malayalam are said to be more rooted in Hindu traditions -- as opposed to deracinated Bollywood movies that are said to be steeped in western culture -- and many of them (like 'Baahubali') are actually based on Hindu myths. Movies from down south have certainly played a part in giving erstwhile Hindi movie fans a credible alternative.

OTT content has also arrived as a viable alternative. Now one does not have to go visit cinemas and buy expensive tickets and food to watch movies. Even most Hindi movies get a streaming release after a month or so. An Indian film buff is now exposed to the best International movies and shows. The incentive to actually go out of the house to a nearby theatre and queue up to enter is at an all-time low.

Also Read:&nbsp;<a href="https://www.wionews.com/entertainment/bollywood/news-now-boycottbrahmastra-trends-as-trolls-target-ranbir-kapoor-alia-bhatt-and-amitabh-bachchan-511559">Now, #BoycottBrahmastra trends as trolls target Ranbir Kapoor, Alia Bhatt and Amitabh Bachchan</a>

<h2>What is behind Bollywood's failing? Boycotts? Not really</h2>

But the issues with Hindi movies go way beyond boycotts and the rise of Rajamouli et al. The thing is, apart from a few exceptions, Bollywood has been providing utter drivel in the form of popular cinema for years, even decades.&nbsp;

Salman Khan's second innings as a stolid, unstoppable hero who cracks bad jokes in movies like 'Wanted' and 'Dabangg' is only part of the problem -- a big part, though. The biggest Bollywood stars have failed to realise that they have to move away from the old ways. Now fewer and fewer moviegoers cheer and whoop at the 'entry' of the hero. Now, they want to see what happens next and after that and so on before they decide they are impressed.&nbsp;

It is not that the Indian movie fan has suddenly acquired a highbrow, rarefied taste. It's just that he or she is more demanding now -- due to the sheer prevalence of options. The star culture has not disappeared as yet, but it has certainly diminished. Good movies that are well-marketed will still find appreciation. They just have to jostle for space against a host of other, and usually better,&nbsp;options now.

A spectre is haunting Bollywood -- the spectre of boycottism. Forgive me for paraphrasing Karl Marx, but there is indeed a crisis in the Hindi film industry. There has been a recent social media trend of boycotting pretty much each and every new movie, and it is negatively affecting the box office returns -- or so it appears.

A spectre is haunting Bollywood -- the spectre of boycottism. Forgive me for paraphrasing Karl Marx, but there is indeed a crisis in the Hindi film industry. There has been a recent social media trend of boycotting pretty much each and every new movie, and it is negatively affecting the box office returns -- or so it appears. #BoycottBollywood and movie-specific hashtags like #BoycottLaalSinghChaddha and #BoycottRakshaBandhan do the rounds whenever there is a major Hindi film release. Days before the release of 'Brahmastra', #BoycottBrahmastra has come into effect. What is #BoycottBollywood? Last month, 'Laal Singh Chaddha', Aamir Khan-led expensive remake of the 1994 American classic 'Forrest Gump', was released. While this movie is hardly the only one to be given the 'boycott treatment' but let's consider it to delve into this phenomenon. The film's release was preceded by a concerted campaign on social media sites, especially Twitter, to boycott the movie, with the aforementioned hashtags and tweets, many of which were identical, doing the rounds. The movie, despite decent reviews, tanked so thoroughly that Aamir reportedly had to forego his fees to compensate co-producer Viacom18 Studios for the losses. This was a project that had Kareena Kapoor, a huge star in her own right, as the female lead, and popular Telugu actor Naga Chaitanya in the cast. And yet, it was nowhere near enough. Also Read: 'Laal Singh Chaddha' movie review: Kareena Kapoor and the story outshine Aamir Khan Why are Bollywood movies boycotted? The prime reason for the boycott was said to be the futility of remaking a movie that is already popular and well-loved among Indian film buffs. A Bollywood treatment, it was argued, would ruin the story by turning it into a Karan Johar-style melodrama. There was also old anger against Aamir Khan. Once a nearly universally beloved actor, Aamir earned the ire of those on the right side of the political spectrum first due to his movie 'PK'. Directed by Rajkumar Hirani, the film satirised superstitions and dogmatic religion by showing the perspective of a literal alien (played by Khan). Many accused Hirani and Khan of unfairly targetting certain practices among Hindus while not doing the same to Islam. The reputation of Khan was exacerbated when at an event he spoke about how his wife (now divorced) Kiran Rao was fearing for their children amid the alleged rising intolerance in the country and was thinking of moving abroad. The comments were said against the backdrop of the assassination of intellectuals and the killing of Muslims. The comments created a lot of political furore as political parties played their usual blame game. In the meantime, Aamir delivered two huge hits -- 'Dangal' and 'Secret Superstar'. And then 'Thugs of Hindostan' was released and I think we can all agree no boycott was responsible for this flop. It was just terrible. Also Read: #BoycottRakshaBandhanMovie trends on Twitter as old tweets of Akshay Kumar and writer Kanika Dhillon resurface Behind the boycott: Claims of Bollywood being a den of Islamism, nepotism, and debauchery Apart from Aamir, other actors, particularly Khans like Shah Rukh Khan and Saif Ali Khan, have been demonised by many of those on social media that call Bollywood Urduwood or Khanwood. The film industry, they claim, is dominated by Muslims and is against Indians and Hindus. This also leads to the nepotism debate, one side of which says that the industry is closed to outsiders, who, despite their talent, have to struggle to score even supporting roles. Star kids, on the other hand, get plum roles straight out of the cradle. Or something. Both of these claims -- that Bollywood is Urduwood and nepotism is prevalent -- have been appropriated by actors like Kangana Ranaut, who say they are in this position because of their toil, not because of 'recommendations'. Things got worse after Sushant Singh Rajput died by suicide. A talented young actor, his death was blamed on the alleged debauchery of Bollywood. That he was introduced to drugs by his ex-girlfriend Rhea Chakraborty. Sushant, it was said, was dissatisfied due to his position in the film industry despite his visible talent. What followed was months of forwarded private WhatsApp messages in which Rhea allegedly apprised Sushant of the delights of being high on marijuana and so on. Also Read: Arjun Kapoor reacts to boycott Bollywood trend: People took advantage of our decency Is the fall of Bollywood because of Tamil, Telugu, Kannada, and Malayalam movies, and OTT? Amid all this, more and more movies from the southern part of India, beginning with SS Rajamouli's 'Baahubali' franchise, have captured the attention of ex-Bollywood fans. The ready availability of dubbed versions of movies like 'K.G.F.', 'Pushpa: The Rise', and Rajamouli's latest 'RRR' have led many in the Hindi belt to move away from Bollywood movies. Movies in Tamil, Telugu, Kannada, and Malayalam are said to be more rooted in Hindu traditions -- as opposed to deracinated Bollywood movies that are said to be steeped in western culture -- and many of them (like 'Baahubali') are actually based on Hindu myths. Movies from down south have certainly played a part in giving erstwhile Hindi movie fans a credible alternative. OTT content has also arrived as a viable alternative. Now one does not have to go visit cinemas and buy expensive tickets and food to watch movies. Even most Hindi movies get a streaming release after a month or so. An Indian film buff is now exposed to the best International movies and shows. The incentive to actually go out of the house to a nearby theatre and queue up to enter is at an all-time low. Also Read: Now, #BoycottBrahmastra trends as trolls target Ranbir Kapoor, Alia Bhatt and Amitabh Bachchan What is behind Bollywood's failing? Boycotts? Not really But the issues with Hindi movies go way beyond boycotts and the rise of Rajamouli et al. The thing is, apart from a few exceptions, Bollywood has been providing utter drivel in the form of popular cinema for years, even decades. Salman Khan's second innings as a stolid, unstoppable hero who cracks bad jokes in movies like 'Wanted' and 'Dabangg' is only part of the problem -- a big part, though. The biggest Bollywood stars have failed to realise that they have to move away from the old ways. Now fewer and fewer moviegoers cheer and whoop at the 'entry' of the hero. Now, they want to see what happens next and after that and so on before they decide they are impressed. It is not that the Indian movie fan has suddenly acquired a highbrow, rarefied taste. It's just that he or she is more demanding now -- due to the sheer prevalence of options. The star culture has not disappeared as yet, but it has certainly diminished. Good movies that are well-marketed will still find appreciation. They just have to jostle for space against a host of other, and usually better, options now.

Bollywood's problem is not boycotts, it is the quality. Or lack of it

Andrew Dominik's 'Blonde' clocks at 166 minutes and feels almost twice as long. Some of the early reviews disparagingly called the movie 'misery porn' or some such, but I cannot wholly agree. Monroe is a figure that a film based on her life would feel lacking if her glorious and tragic life was not depicted in its unvarnished form. But 'Blonde', adapted by Dominik from Joyce Carol Oates' eponymous 2000 novel, does often go overboard. At times, despite the big names, the bells and whistles, and palpable prestige production quality, it ventures into the sleazy territory -- no different from the men who used and discarded Monroe like a plaything.

Born Norma Jean, Monroe is remembered as one of the most iconic female stars from the Golden Age of Hollywood, and a sex symbol. Due to accounts of her life, we know that beneath the glittering, smiling exterior, she was a mentally ill, lonely wreck of a woman. She had the misfortune to be work in Hollywood at a time when misogyny was rampant. Female actors were hired for their looks and sex appeal. The film's title evokes the blonde stereotypes of that era that have not died down even now. The thinking went that blonde women are dumb but more sexually attractive than brunettes or redheads.

<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/aIsFywuZPoQ" title="YouTube video player" width="560"></iframe>

The marketing of 'Blonde' has used terms like 'reimagining' for the story, and the script (and the novel, I presume) does fill in Monroe's life with invented material where there are blanks. In short, 'Blonde' is not a biopic, clinging to the alleged truthfulness of the events like many biopics inevitably do. But if one is indeed fictionalising much of Monroe's life, why not go all the way? Why not give her charge of her own story? It's a film, not a documentary, and films can be fairy tales... they can be happy.

If indeed the film was going the "realistic" way, it fails at that as well. There is no real insight here. Yes, Monroe was overly sexualised, raped, infantilised, used, abused by men, the media and even her fans. And yes, she suffered from mental illnesses and all this was a result of a difficult childhood. But all that has been known for decades. 'Blonde' offers nothing that we do not already know.&nbsp;

The NC-17 rating ensures that in the movie Dominik was allowed a fair bit of nudity, physical violence, and sexual assault scenes.&nbsp;

<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/VnI2MyS6fgo" title="YouTube video player" width="560"></iframe>

The camera focusses predominantly on Armas, and the film stands or tumbles on her performance. Luckily, the performance in question is absolutely amazing. It manages to capture at once her pain, her exhaustion, and her childlike delight, and her different moods. Armas is too good an actress to simply imitate Monroe. What she does is an interpretation, capturing the depth of the late starlet's psyche. It is a full-bodied, heartbreaking performance that makes the character more complicated than the script could ever dream to manage.

'Blonde' is also a good-looking movie. Chayse Irvin's camera crafts truly wonderfully evocative visuals, particularly while&nbsp;recreating the iconic images that have come to&nbsp;associate&nbsp;with Monroe. But even that feels exploitative after a while. &nbsp;

At the end, it is the punishing run time that truly kills 'Blonde'. Dominik's overindulgent and overwrought script, in perhaps an attempt to emulate auteurs, needlessly elongates several scenes.&nbsp; 
&nbsp; 
'Blonde' is not a bad film. It probably deserves a watch just for Armas and the visuals -- provided you will last those nearly three hours. But as far as films on public figures go, it has nothing substantial or compelling to say that would make it a film worthy of Monroe.

Andrew Dominik's 'Blonde' clocks at 166 minutes and feels almost twice as long. Some of the early reviews disparagingly called the movie 'misery porn' or some such, but I cannot wholly agree.

Andrew Dominik's 'Blonde' clocks at 166 minutes and feels almost twice as long. Some of the early reviews disparagingly called the movie 'misery porn' or some such, but I cannot wholly agree. Monroe is a figure that a film based on her life would feel lacking if her glorious and tragic life was not depicted in its unvarnished form. But 'Blonde', adapted by Dominik from Joyce Carol Oates' eponymous 2000 novel, does often go overboard. At times, despite the big names, the bells and whistles, and palpable prestige production quality, it ventures into the sleazy territory -- no different from the men who used and discarded Monroe like a plaything. Born Norma Jean, Monroe is remembered as one of the most iconic female stars from the Golden Age of Hollywood, and a sex symbol. Due to accounts of her life, we know that beneath the glittering, smiling exterior, she was a mentally ill, lonely wreck of a woman. She had the misfortune to be work in Hollywood at a time when misogyny was rampant. Female actors were hired for their looks and sex appeal. The film's title evokes the blonde stereotypes of that era that have not died down even now. The thinking went that blonde women are dumb but more sexually attractive than brunettes or redheads. The marketing of 'Blonde' has used terms like 'reimagining' for the story, and the script (and the novel, I presume) does fill in Monroe's life with invented material where there are blanks. In short, 'Blonde' is not a biopic, clinging to the alleged truthfulness of the events like many biopics inevitably do. But if one is indeed fictionalising much of Monroe's life, why not go all the way? Why not give her charge of her own story? It's a film, not a documentary, and films can be fairy tales... they can be happy. If indeed the film was going the "realistic" way, it fails at that as well. There is no real insight here. Yes, Monroe was overly sexualised, raped, infantilised, used, abused by men, the media and even her fans. And yes, she suffered from mental illnesses and all this was a result of a difficult childhood. But all that has been known for decades. 'Blonde' offers nothing that we do not already know. The NC-17 rating ensures that in the movie Dominik was allowed a fair bit of nudity, physical violence, and sexual assault scenes. The camera focusses predominantly on Armas, and the film stands or tumbles on her performance. Luckily, the performance in question is absolutely amazing. It manages to capture at once her pain, her exhaustion, and her childlike delight, and her different moods. Armas is too good an actress to simply imitate Monroe. What she does is an interpretation, capturing the depth of the late starlet's psyche. It is a full-bodied, heartbreaking performance that makes the character more complicated than the script could ever dream to manage. 'Blonde' is also a good-looking movie. Chayse Irvin's camera crafts truly wonderfully evocative visuals, particularly while recreating the iconic images that have come to associate with Monroe. But even that feels exploitative after a while. At the end, it is the punishing run time that truly kills 'Blonde'. Dominik's overindulgent and overwrought script, in perhaps an attempt to emulate auteurs, needlessly elongates several scenes. 'Blonde' is not a bad film. It probably deserves a watch just for Armas and the visuals -- provided you will last those nearly three hours. But as far as films on public figures go, it has nothing substantial or compelling to say that would make it a film worthy of Monroe.

'Blonde' movie review: A splendid Ana de Armas gives her career-best performance in this middling film

'Avatar' was recently re-released in theatres worldwide, and has bagged $30 million as per reports. The success has once again reignited an old debate that rears its ugly head every now and then: Is <a href="https://www.wionews.com/entertainment/hollywood/news-james-cameron-challenges-you-to-guess-avatar-the-way-of-water-plot-guarantee-you-won’t-be-able-to-predict-518680">James Cameron</a>&nbsp;magnum opus really a good movie? Or simply a well-marketed,&nbsp;average film with astounding&nbsp;visuals? Film critic Bilge Ebiri shared his Vulture article, titled 'Sorry, But Avatar Still Rules', on Twitter and there was utter pandemonium&nbsp;(well, even more unrestrained pandemonium than usual). There were, as one can expect, a wide variety of reactions, and a lot of heated arguments. There was no consensus, but then the words 'consensus' and 'Twitter' do not belong together anyway. If one were to say 'You know, I think water is wet', there will almost certainly be reactions along the lines of 'not everywhere!'&nbsp;Unless you have been everywhere? No? Didn't think so!'

<h2>When Twitter fought over whether 'Avatar' is just crap or a nugget of gold</h2>

<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/5PSNL1qE6VY" title="YouTube video player" width="560"></iframe>

Anyhoo, after Ebiri's tweet went viral, some on the 'Avatar' sucks! side of the debate argued that the film does not have any cultural footprint as compared to, say, Marvel movies. Those on the 'Avatar' rules! side of the debate responded by saying if the movie, as you say, really does not have any cultural footprint, how come haters like you chime up every week or so to say this very thing? If it were so forgettable, nobody would bring up the subject at all. Somebody simply taking the trouble to say the movie does not matter is the very proof that it, indeed, does.&nbsp;

<h2>What was 'Avatar' really about?</h2>

The movie reversed the alien-invasion genre. Instead of the aliens, it was us humans invading another planet (more accurately a moon) for material gain. On Pandora were reserves of Unobtanium and in the way stood the Na'vi, a tall, blue-hued, and lithe people with feline features who were connected to nature in a way humans had been once upon a time. But the US government, backed by its military with its war planes and its artillery, attacked the Na'vi after trying to infiltrate them by using hybrids called avatars.

The story explored themes of racism, imperialism, colonialism, and exploitation.&nbsp;

<h2>What really is the truth?</h2>

As always happens with online discussions, there was no middle-ground. 'Avatar' was either the worst movie ever, or the best. Opinions are subjective, of course, particularly when it comes to popular movies (deny it as much as you want, 'Avatar' is popular). But 'Avatar' was a good movie, and remains one. In theatres, with the 3D glasses, it became something transportive and transcendental. A never-before-seen experience that, for this scribe at least, dwarfs anything else. When one was in a cinema hall, glued to the screen, things like script and plot ceased to matter. What mattered was the experience, and that felt like one was actually rubbing shoulders with the Na'vi in their beautifully verdant world.

<h2>When does the sequel come out?</h2>

<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/a8Gx8wiNbs8" title="YouTube video player" width="560"></iframe>

The second movie in the franchise is titled 'Avatar: The Way of Water' and continues the story of the mythical alien race called the Na'Vi. While Sam Worthington, Zoe Saldaña, Stephen Lang, and Giovanni Ribisi return from the first film, Kate Winslet, Cliff Curtis, Edie Falco, Michelle Yeoh, Jemaine Clement, and Vin Diesel are the new joiners.

'Avatar: The Way of Water' releases on December 16, 2022. 
&nbsp;

'Avatar' was recently re-released in theatres worldwide, and has bagged $30 million as per reports. The success has once again reignited an old debate that rears its ugly head every now and then: Is James Cameron magnum opus really a good movie?

'Avatar' was recently re-released in theatres worldwide, and has bagged $30 million as per reports. The success has once again reignited an old debate that rears its ugly head every now and then: Is James Cameron magnum opus really a good movie? Or simply a well-marketed, average film with astounding visuals? Film critic Bilge Ebiri shared his Vulture article, titled 'Sorry, But Avatar Still Rules', on Twitter and there was utter pandemonium (well, even more unrestrained pandemonium than usual). There were, as one can expect, a wide variety of reactions, and a lot of heated arguments. There was no consensus, but then the words 'consensus' and 'Twitter' do not belong together anyway. If one were to say 'You know, I think water is wet', there will almost certainly be reactions along the lines of 'not everywhere!' Unless you have been everywhere? No? Didn't think so!' When Twitter fought over whether 'Avatar' is just crap or a nugget of gold Anyhoo, after Ebiri's tweet went viral, some on the 'Avatar' sucks! side of the debate argued that the film does not have any cultural footprint as compared to, say, Marvel movies. Those on the 'Avatar' rules! side of the debate responded by saying if the movie, as you say, really does not have any cultural footprint, how come haters like you chime up every week or so to say this very thing? If it were so forgettable, nobody would bring up the subject at all. Somebody simply taking the trouble to say the movie does not matter is the very proof that it, indeed, does. What was 'Avatar' really about? The movie reversed the alien-invasion genre. Instead of the aliens, it was us humans invading another planet (more accurately a moon) for material gain. On Pandora were reserves of Unobtanium and in the way stood the Na'vi, a tall, blue-hued, and lithe people with feline features who were connected to nature in a way humans had been once upon a time. But the US government, backed by its military with its war planes and its artillery, attacked the Na'vi after trying to infiltrate them by using hybrids called avatars. The story explored themes of racism, imperialism, colonialism, and exploitation. What really is the truth? As always happens with online discussions, there was no middle-ground. 'Avatar' was either the worst movie ever, or the best. Opinions are subjective, of course, particularly when it comes to popular movies (deny it as much as you want, 'Avatar' is popular). But 'Avatar' was a good movie, and remains one. In theatres, with the 3D glasses, it became something transportive and transcendental. A never-before-seen experience that, for this scribe at least, dwarfs anything else. When one was in a cinema hall, glued to the screen, things like script and plot ceased to matter. What mattered was the experience, and that felt like one was actually rubbing shoulders with the Na'vi in their beautifully verdant world. When does the sequel come out? The second movie in the franchise is titled 'Avatar: The Way of Water' and continues the story of the mythical alien race called the Na'Vi. While Sam Worthington, Zoe Saldaña, Stephen Lang, and Giovanni Ribisi return from the first film, Kate Winslet, Cliff Curtis, Edie Falco, Michelle Yeoh, Jemaine Clement, and Vin Diesel are the new joiners. 'Avatar: The Way of Water' releases on December 16, 2022.

'Avatar' rerelease success reignites debate: Was it really any good?

7 times cinema explored killer asteroids: 'Don't Look Up', 'Armageddon', 'Deep Impact', and more

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Kshitij Mohan Rawat

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