"Things are easier when you don't care. Nobody gets hurt," moustache man Otis (Asa Butterfield) opines. Remember it. Cherish that line. For the rest of 'Sex Education 3' is laden with, well, sex scenes and nudity Moordale monsters embrace in the wackiest way imaginable. Just the opening sequence alone has about 15-odd couples indulging in hardcore sex: in cars, abandoned toilets (a recurring theme!) and even their parents' bedroom. To think the makers of this Netflix-nurtured show would tame it down over time would be foolish, no?

 
The conflict this season comes in an&nbsp;unexpected form, though. The (erotica) musical fiasco by Lily (Tanya Reynolds) in season 2 led to the exit of their stern headmaster Mr. Groff (Alistair Petrie), and now a new commander-in-chief takes over: a younger, and sharply dressed Hope (Jemima Kirke). Ironically, there's nothing hopeful about her entry into Moordale. As glimpses of it is already shown in the trailer itself, Hope advocates primitive values, and is blatantly traditionalist.&nbsp;

Also read:&nbsp;<a href="https://www.wionews.com/entertainment/hollywood/news-scenes-from-a-marriage-ep-1-review-jessica-chastain--oscar-isaac-infuse-modern-easy-into-this-old-saga-413109">Scenes From A Marriage EP 1 review: Jessica Chastain &amp; Oscar Isaac infuse 'modern easy' into this old saga</a>

Big changes happen in little moments, or so the creators reckon. In a commendable move, through a simple scene, Laurie Nunn shows subtle racism that's rampant almost everywhere in the world: two boys wait outside the headmistress' office--one underdog and another, overachiever. Hope mistakes the underdog for the Head Boy. The other student was Black.

Sex Education's secret weapon is, in fact, irony--of time, place and situation. And staying true to its tried-and-tested tropes, the show takes its outrageous yet likeable elements notches higher without being too garish or&nbsp;in-your-face about it. Flawed little humans? Check. Informative interactions around sex and sexuality? Check. Intense moments of grief and heartache? Check.&nbsp;

<img alt="The crazy bunch at Moordale High in 'Sex Education 3'" data-entity-type="file" data-entity-uuid="ec232c05-616e-4ae0-a9bf-9f482b862b87" src="//cdn.wionews.com/sites/default/files/inline-images/pjimage%20-%202021-09-17T140146.233.jpg" />

To add to that, Netflix and Nunn have pulled every trick from&nbsp;the coming-of-age/erotica book out for their audience to feel satiated and for them, to continue enjoying their uninterrupted success on the streaming site. They win big, figuratively. Timed at almost an hour per episode (and even more, in some cases), this eight-part extension of the original Moordale saga doesn't drain you out or get sluggish at any given point. The surprise elements at regular intervals, sizzling chemistry between personable characters, the cliffhangers...&nbsp;everything's been retained and kept intact by the creators.&nbsp;

If anything, 'Sex Education 3' paves the path for its millions of viewers to have an open-mind about bigger, more relevant topics: like honoring non-binary individuals, geriatric pregnancy, and, of course, the moral conundrums of Young Adult (YA) lives.&nbsp;

Also read:&nbsp;<a href="https://www.wionews.com/entertainment/hollywood/news-free-guy-review-ryan-reynolds-frustratingly-upbeat-but-we-are-sold%E2%80%A6-somewhat-412707">'Free Guy' review: Ryan Reynolds' frustratingly upbeat, but we are sold… somewhat</a>

Speaking of life and characters, Otis is what&nbsp;Otis does. And, after being habituated to this whack job of a character's nuanced depiction by Asa Butterfield, we don't know if the actor&nbsp;has performed better or poorly--Otis is second nature to him, anyway. <a href="https://www.wionews.com/photos/margot-robbie-sarah-paulson-javier-bardem-celebs-lookalike-colleagues-who-will-leave-you-confused-401563">Emma Mackey</a>, as Maeve, is still an unabashed nihilist, and 'sweet, sweet' Aimee (Aimee Lou Wood) never fails to amuse us with her naivety. Upbeat-y little man Eric Effiong (Ncuti Gatwa) yet again brings in the spunk and sparkle in 'Sex Education' season 3, and his relationship with Adam (Connor Swindells) undergoes an ocean of change. Pretty boy Jackson Marchetti (Kedar Williams-Stirling) is still discovering himself and not succumbing to external pressure (meaning, his moms) and his relationship with Viv (Chinenye Ezeudu) may or may not have soiled.&nbsp;

<img alt="Emma Mackey nails it as Maeve, yet again!" data-entity-type="file" data-entity-uuid="76bdc6b7-65a6-457e-983d-b269a00cf1b6" src="//cdn.wionews.com/sites/default/files/inline-images/pjimage%20-%202021-09-17T140026.604.jpg" />

All-in-all, frankly, 'Sex Education 3' has an 'American Pie' vibe to it, with gentle reminders of&nbsp;high-school/ teenage dramas we have seen over the years. But, the series sure knows how to capitalize&nbsp;on its relatable nature and not get too cocky about it. Some watch 'Sex Education' for that shocker of a title, and some for sex. We watch it for those who live and breathe the story--hurt, bruised, but marching on regardless. One sex lesson at a time.&nbsp;

"Things are easier when you don't care. Nobody gets hurt," moustache man Otis (Asa Butterfield) opines. Remember it. Cherish that line. For the rest of 'Sex Education 3' is laden with, well, sex scenes and nudity Moordale monsters embrace in the wackiest way imaginable.

"Things are easier when you don't care. Nobody gets hurt," moustache man Otis (Asa Butterfield) opines. Remember it. Cherish that line. For the rest of 'Sex Education 3' is laden with, well, sex scenes and nudity Moordale monsters embrace in the wackiest way imaginable. Just the opening sequence alone has about 15-odd couples indulging in hardcore sex: in cars, abandoned toilets (a recurring theme!) and even their parents' bedroom. To think the makers of this Netflix-nurtured show would tame it down over time would be foolish, no? The conflict this season comes in an unexpected form, though. The (erotica) musical fiasco by Lily (Tanya Reynolds) in season 2 led to the exit of their stern headmaster Mr. Groff (Alistair Petrie), and now a new commander-in-chief takes over: a younger, and sharply dressed Hope (Jemima Kirke). Ironically, there's nothing hopeful about her entry into Moordale. As glimpses of it is already shown in the trailer itself, Hope advocates primitive values, and is blatantly traditionalist. Also read: Scenes From A Marriage EP 1 review: Jessica Chastain & Oscar Isaac infuse 'modern easy' into this old saga Big changes happen in little moments, or so the creators reckon. In a commendable move, through a simple scene, Laurie Nunn shows subtle racism that's rampant almost everywhere in the world: two boys wait outside the headmistress' office--one underdog and another, overachiever. Hope mistakes the underdog for the Head Boy. The other student was Black. Sex Education's secret weapon is, in fact, irony--of time, place and situation. And staying true to its tried-and-tested tropes, the show takes its outrageous yet likeable elements notches higher without being too garish or in-your-face about it. Flawed little humans? Check. Informative interactions around sex and sexuality? Check. Intense moments of grief and heartache? Check. To add to that, Netflix and Nunn have pulled every trick from the coming-of-age/erotica book out for their audience to feel satiated and for them, to continue enjoying their uninterrupted success on the streaming site. They win big, figuratively. Timed at almost an hour per episode (and even more, in some cases), this eight-part extension of the original Moordale saga doesn't drain you out or get sluggish at any given point. The surprise elements at regular intervals, sizzling chemistry between personable characters, the cliffhangers... everything's been retained and kept intact by the creators. If anything, 'Sex Education 3' paves the path for its millions of viewers to have an open-mind about bigger, more relevant topics: like honoring non-binary individuals, geriatric pregnancy, and, of course, the moral conundrums of Young Adult (YA) lives. Also read: 'Free Guy' review: Ryan Reynolds' frustratingly upbeat, but we are sold… somewhat Speaking of life and characters, Otis is what Otis does. And, after being habituated to this whack job of a character's nuanced depiction by Asa Butterfield, we don't know if the actor has performed better or poorly--Otis is second nature to him, anyway. Emma Mackey, as Maeve, is still an unabashed nihilist, and 'sweet, sweet' Aimee (Aimee Lou Wood) never fails to amuse us with her naivety. Upbeat-y little man Eric Effiong (Ncuti Gatwa) yet again brings in the spunk and sparkle in 'Sex Education' season 3, and his relationship with Adam (Connor Swindells) undergoes an ocean of change. Pretty boy Jackson Marchetti (Kedar Williams-Stirling) is still discovering himself and not succumbing to external pressure (meaning, his moms) and his relationship with Viv (Chinenye Ezeudu) may or may not have soiled. All-in-all, frankly, 'Sex Education 3' has an 'American Pie' vibe to it, with gentle reminders of high-school/ teenage dramas we have seen over the years. But, the series sure knows how to capitalize on its relatable nature and not get too cocky about it. Some watch 'Sex Education' for that shocker of a title, and some for sex. We watch it for those who live and breathe the story--hurt, bruised, but marching on regardless. One sex lesson at a time.

Sex Education 3 review: Wilder sexual urges, bolder tropes this time round

Veins popping through those sculpted biceps, trembling lips and a little girl in tow that he is hell-bent on keeping all to himself, "I am trying to protect you," justifies the 'blind old man' aka Norman Nordstrom (Stephen Lang). It's been eight years since that&nbsp;fatal fire and Phoenix (Madelyn Grace) still&nbsp;doesn't get to venture out on her own. That the man's got his own demons to fight and subdue, is evident through his interactions with parallel actors.&nbsp;

 
What transpires (hint: an intrusion) between the former Navy Seal's insecurities and the little girl's quench for freedom is what constitutes the skeleton of 'Don't Breathe 2'--sequel to the iconic psychological thriller 'Don't Breathe' (2016).

<img alt="Lang as the 'blind old man' in 'Don't Breathe 2'" data-entity-type="file" data-entity-uuid="a72f690a-c4cd-4bc4-a8ed-76bf44407d1c" src="//cdn.wionews.com/sites/default/files/inline-images/pjimage%20-%202021-09-17T152145.473.jpg" />

First things first, this hellraising thriller franchise has had a shift of creative hands--the debut instalment was helmed by Fede Alvarez, while the current offering is by Rodo Sayagues (with writing credits split between the two)--and this piece of information is crucial to its review primarily because the intensity of ghast and gore vary in&nbsp;degree in 'Don't Breathe 2'. Unlike its predecessor, which was unapologetically brutal in its treatment of the script and more so of the characters, this one infuses drama in the narrative: an irreparable damage to the diegesis. In a character-driven thriller, we need the story to move at a lightening speed for it stay edgy, with able support from background-score department, cinematography and 'bloody' good actors (pun very much intended). Not a beginning-middle-end format based storyline, please!&nbsp;

Also read:&nbsp;<a href="https://www.wionews.com/entertainment/hollywood/news-sex-education-3-review-wilder-sexual-urges-bolder-tropes-this-time-round-413686">Sex Education 3 review: Wilder sexual urges, bolder tropes this time round</a>

Lang's older-than-'blind old man' avatar is reclusive, burdened with shame and guilt and a combat veteran who is quick with his reflexes: everything that had kept us on the edge of our seats back in 2016. At 69, Lang packs punches better than most kids half his age--actors or not. His deep-set voice--although sounds partially caricaturish--adds to the insanity that is 'Don't Breathe 2'. Madelyn Grace is the little ninja that the old man needed in his stand-alone act. As Phoenix--a metaphor to&nbsp;her back story--Grace is fast, feisty, curious and emotes through her eyes.&nbsp;

<img alt="Lang and Grace in a still from 'Don't Breathe 2'" data-entity-type="file" data-entity-uuid="b7862fde-0f9a-4deb-844b-021d2997eec1" src="//cdn.wionews.com/sites/default/files/inline-images/pjimage%20-%202021-09-17T152015.477.jpg" />

True, in a movie like 'Don't Breathe 2', there's only so much one can do, but that, in no way, means one gets to inculcate drama and disturb the flow of an already hit psychological-thriller franchise. If we were you, we would still watch it for Stephen Lang, the high-octane action sequences and Lang mouthing the blind old man's&nbsp;iconic dialogue--"Now you're gonna see what I see." 
&nbsp;

Also read:&nbsp;<a href="https://www.wionews.com/entertainment/hollywood/news-scenes-from-a-marriage-ep-1-review-jessica-chastain--oscar-isaac-infuse-modern-easy-into-this-old-saga-413109">Scenes From A Marriage EP 1 review: Jessica Chastain &amp; Oscar Isaac infuse 'modern easy' into this old saga</a>

Veins popping through those sculpted biceps, trembling lips and a little girl in tow that he is hell-bent on keeping all to himself, "I am trying to protect you," justifies the 'blind old man' aka Norman Nordstrom (Stephen Lang).

Veins popping through those sculpted biceps, trembling lips and a little girl in tow that he is hell-bent on keeping all to himself, "I am trying to protect you," justifies the 'blind old man' aka Norman Nordstrom (Stephen Lang). It's been eight years since that fatal fire and Phoenix (Madelyn Grace) still doesn't get to venture out on her own. That the man's got his own demons to fight and subdue, is evident through his interactions with parallel actors. What transpires (hint: an intrusion) between the former Navy Seal's insecurities and the little girl's quench for freedom is what constitutes the skeleton of 'Don't Breathe 2'--sequel to the iconic psychological thriller 'Don't Breathe' (2016). First things first, this hellraising thriller franchise has had a shift of creative hands--the debut instalment was helmed by Fede Alvarez, while the current offering is by Rodo Sayagues (with writing credits split between the two)--and this piece of information is crucial to its review primarily because the intensity of ghast and gore vary in degree in 'Don't Breathe 2'. Unlike its predecessor, which was unapologetically brutal in its treatment of the script and more so of the characters, this one infuses drama in the narrative: an irreparable damage to the diegesis. In a character-driven thriller, we need the story to move at a lightening speed for it stay edgy, with able support from background-score department, cinematography and 'bloody' good actors (pun very much intended). Not a beginning-middle-end format based storyline, please! Also read: Sex Education 3 review: Wilder sexual urges, bolder tropes this time round Lang's older-than-'blind old man' avatar is reclusive, burdened with shame and guilt and a combat veteran who is quick with his reflexes: everything that had kept us on the edge of our seats back in 2016. At 69, Lang packs punches better than most kids half his age--actors or not. His deep-set voice--although sounds partially caricaturish--adds to the insanity that is 'Don't Breathe 2'. Madelyn Grace is the little ninja that the old man needed in his stand-alone act. As Phoenix--a metaphor to her back story--Grace is fast, feisty, curious and emotes through her eyes. True, in a movie like 'Don't Breathe 2', there's only so much one can do, but that, in no way, means one gets to inculcate drama and disturb the flow of an already hit psychological-thriller franchise. If we were you, we would still watch it for Stephen Lang, the high-octane action sequences and Lang mouthing the blind old man's iconic dialogue--"Now you're gonna see what I see." Also read: Scenes From A Marriage EP 1 review: Jessica Chastain & Oscar Isaac infuse 'modern easy' into this old saga

Don't Breathe 2 review: Stephen Lang renders you breathless in this tired sequel

"Marriage is means, not an end," assures a collected Jonathan (Oscar Isaac), gradually deviating from the still sensitive topic of him being an orthodox Jew up until the moment he met his handsome-money-pocketing wife, Mira (Jessica Chastain). Clearly, Jonathan's one foot is in the times of ever-evolving ideations around marriage and the other, stuck in his previous understanding of it. "It's ingrained in me," he cries out.&nbsp;

 
The opening scene takes us to Jessica's--Chastain, the actress--van where she begins her visibly uncomfortable interview scene with a student on gender roles and polyamory in marriage. Mira's polite but well guarded, and while each of her answers are measured and with a mild protest dished out through her anxious body language, we learn early on--when her phone chimes--she's disturbed by external factors other than the 'intrusive' student sitting across from them.

Also read:&nbsp;<a href="https://www.wionews.com/entertainment/hollywood/news-idris-elba-to-reprise-his-iconic-john-luther-role-for-netflixs-new-film-413050">Idris Elba to reprise his iconic John Luther role for Netflix's new film</a>

Hagai Levi's hour-long episode 'Innocence And Panic' has a chaotic energy about it, with the predictably inevitable air of artistic liberties looming over its characters. Just like Ingmar Bergman's original setting--which serves as inspiration for this Disney + Hotstar miniseries' retelling--the couple is on the brink of collapse. They just don't know it yet.&nbsp;

 
To no one's surprise, Levi adds a dash of openness through the pair's married friends Peter (Corey Stoll) and Kate (Nicole Beharie). Over for a double date at home, the other couple bickers about Kate's heartbreak from a recent break-up--she was not meant to fall in love outside of marriage! Beharie's Kate is mouthy yet respectful; something Mira lacks in their relationship: she is condescending, close-minded and barely present. The struggles between the two, and in their respective lives, manifests into a kiss. Though the sexual tension was not blatantly obvious, the kiss doesn't seem forced. Another hint of sexual liberation not restricted to/by&nbsp;marital vows on fidelity.&nbsp;

<img alt="The 'modern easy' chemistry between Isaac and Chastain is infectious" data-entity-type="file" data-entity-uuid="b0964af3-1f9f-4e6f-aa3b-8dd804940d64" src="//cdn.wionews.com/sites/default/files/inline-images/pjimage%20-%202021-09-14T215147.205.jpg" />

Levi wipes the couple out from his narrative in the middle of an emotionally charged discussion around marriage and sexuality. Perhaps never to be seen again: pretty much retaining the contents of the source material on this track.&nbsp;

'Innocence And Panic' is actually the backstory to the <a href="https://www.wionews.com/entertainment/jessica-chastain-and-oscar-isaac-get-intimate-for-new-tv-miniseries-410806">red carpet camaraderie between Isaac and Chastain</a>--they embody the modern, easy couple on celluloid sans the need to communicate and be modestly upfront. In the abortion clinic (another Bergman element), Jonathan puts up the facade of embracing his self-assured wife's choice, only to grieve in private near a vending machine. Mira, too, trickles over and breaks down--the trembling of Chastain's lips over the character's pent up frustration has to be the highlight of episode one.

Also read:&nbsp;<a href="https://www.wionews.com/photos/the-weirdest-wildest-craziest-looks-from-the-2021-met-gala-413003">The weirdest, wildest &amp; craziest looks from the 2021 Met Gala</a>

Levi's got a great team working for him--crackling chemistry right there between the two actors, an already legendary script to offer newer interpretations to... But, what is, Levi, the director, trying to tell? The introduction gives away the fact that Levi's a bit torn between following the iconic source script to a T with occasional attempts of redemption at&nbsp;carving his own path out.&nbsp;The confusion is detectable to say the least, and not to the helmer's advantage.

Everything said and done, wherever the miniseries goes from here on, we will watch it for <a href="https://www.wionews.com/entertainment/jessica-chastain-reacts-to-the-viral-video-of-oscar-isaac-kissing-her-arm-on-the-red-carpet-411451">Isaac and Chastain</a>. &nbsp;

<img alt="Watch 'Scenes From A Marriage' for Jessica Chastain and Oscar Isaac" data-entity-type="file" data-entity-uuid="b83092c0-efc2-41a6-885a-394557fa26ef" src="//cdn.wionews.com/sites/default/files/inline-images/pjimage%20-%202021-09-14T215110.642.jpg" />

"Marriage is means, not an end," assures a collected Jonathan (Oscar Isaac), gradually deviating from the still sensitive topic of him being an orthodox Jew up until the moment he met his handsome-money-pocketing wife, Mira (Jessica Chastain).

"Marriage is means, not an end," assures a collected Jonathan (Oscar Isaac), gradually deviating from the still sensitive topic of him being an orthodox Jew up until the moment he met his handsome-money-pocketing wife, Mira (Jessica Chastain). Clearly, Jonathan's one foot is in the times of ever-evolving ideations around marriage and the other, stuck in his previous understanding of it. "It's ingrained in me," he cries out. The opening scene takes us to Jessica's--Chastain, the actress--van where she begins her visibly uncomfortable interview scene with a student on gender roles and polyamory in marriage. Mira's polite but well guarded, and while each of her answers are measured and with a mild protest dished out through her anxious body language, we learn early on--when her phone chimes--she's disturbed by external factors other than the 'intrusive' student sitting across from them. Also read: Idris Elba to reprise his iconic John Luther role for Netflix's new film Hagai Levi's hour-long episode 'Innocence And Panic' has a chaotic energy about it, with the predictably inevitable air of artistic liberties looming over its characters. Just like Ingmar Bergman's original setting--which serves as inspiration for this Disney + Hotstar miniseries' retelling--the couple is on the brink of collapse. They just don't know it yet. To no one's surprise, Levi adds a dash of openness through the pair's married friends Peter (Corey Stoll) and Kate (Nicole Beharie). Over for a double date at home, the other couple bickers about Kate's heartbreak from a recent break-up--she was not meant to fall in love outside of marriage! Beharie's Kate is mouthy yet respectful; something Mira lacks in their relationship: she is condescending, close-minded and barely present. The struggles between the two, and in their respective lives, manifests into a kiss. Though the sexual tension was not blatantly obvious, the kiss doesn't seem forced. Another hint of sexual liberation not restricted to/by marital vows on fidelity. Levi wipes the couple out from his narrative in the middle of an emotionally charged discussion around marriage and sexuality. Perhaps never to be seen again: pretty much retaining the contents of the source material on this track. 'Innocence And Panic' is actually the backstory to the red carpet camaraderie between Isaac and Chastain--they embody the modern, easy couple on celluloid sans the need to communicate and be modestly upfront. In the abortion clinic (another Bergman element), Jonathan puts up the facade of embracing his self-assured wife's choice, only to grieve in private near a vending machine. Mira, too, trickles over and breaks down--the trembling of Chastain's lips over the character's pent up frustration has to be the highlight of episode one. Also read: The weirdest, wildest & craziest looks from the 2021 Met Gala Levi's got a great team working for him--crackling chemistry right there between the two actors, an already legendary script to offer newer interpretations to... But, what is, Levi, the director, trying to tell? The introduction gives away the fact that Levi's a bit torn between following the iconic source script to a T with occasional attempts of redemption at carving his own path out. The confusion is detectable to say the least, and not to the helmer's advantage. Everything said and done, wherever the miniseries goes from here on, we will watch it for Isaac and Chastain.

Scenes From A Marriage EP 1 review: Jessica Chastain & Oscar Isaac infuse 'modern easy' into this old saga

To be living in a sports car-flying, high-octane-chase frequenting Free City (an actual city, mostly) and growing restless with its mundanity? What a shame! Perhaps not, Guy (Ryan Reynolds) wakes up with a plastic smile plastered on his face every morning, gets coffee on his way to the bank he works for, mouths the catch sentence “Don’t have a good day. Have a great day!” before heading to the beach for beers with buddy, Buddy (Lil Rel Howery). He may be oblivious to his greatness, but, in a parallel universe, everyone’s worshipping this Blue Shirt Guy—the human-coined moniker bestowed upon him—and just how incredibly nice he is in this otherwise venom-spewing world. Turns out—just like Utopia—he is a myth and his happiness, programmed.

<img alt="The ever-chirpy Ryan Reynolds in 'Free Guy'" data-entity-type="file" data-entity-uuid="1773670f-c0ac-404c-97f9-6cd274740b3b" src="//cdn.wionews.com/sites/default/files/inline-images/pjimage%20-%202021-09-13T120316.750.jpg" /> 
Depending on whose narrative you buy into, Guy is somewhere between the first every Artificial Intelligence (AI) in the gaming world to ‘live and feel’ and/or&nbsp;an algorithm ‘who thinks he is alive’. Either way, he is crucial to Keys (Joe Keery) and Millie’s (Jodie Comer) exposé circling gaming company Soonami’s head honcho, Antwan (Taika Waititi).&nbsp;

 
Not here to give a crash course on complex gaming mechanisms, director Shawn Levy not-so-smoothly ushers us into the chaotic world of Free Guy—a game at the centre of a lawsuit between Antwan and Millie. Levy’s gaming universe is built on two extremes—the gun-brandishing goons and the peace loving non-playing characters aka N.P.Cs aka sidekicks to main players—and he spears no time in explaining who’s what. The baddies look ghastly and brutal, and do ghastly and brutal. The sweethearts are preachy to the point that they are indigestible. However, it is the metaphors and underlying themes that stand a fair chance of resonating with <a href="https://www.wionews.com/entertainment/hollywood/news-ryan-reynolds-thanks-friends-hugh-jackman-dwayne-johnson-and-others-for-cameos-406611">Reynolds’</a> fan base: the blurring lines between the reel and real world, a man’s capability of pulling himself out of obscurity and be a ‘hero’, the lives of nerds who drown themselves in the characters they play ("Mom, don’t touch my socks!"&nbsp;says one, in the middle of an intense online battle).&nbsp;

<img alt="Millie and Keys fight the goog fight in 'Free Guy'" data-entity-type="file" data-entity-uuid="389477a3-9e1b-4198-b038-1e824bed305d" src="//cdn.wionews.com/sites/default/files/inline-images/pjimage%20-%202021-09-13T120359.541.jpg" /> 
In terms of CGI and special effects (Ethan Tobman, Steve Cooper and Beat Frutiger), the whole art department goes full throttle on putting their best foot forward—multi-hued unicorns, buildings perishing to dust only to resurrect seconds later… you name it!&nbsp;

 
Frankly, Ryan Reynolds’ ‘too handsome’ avatar devouring bubble gum ice-creams and imparting lessons on non-violence is too mushy even by his standards. But, boy… that man’s got charm. And, taking that charm to a whole new level is Jodie Comer’s dual personality—of earthly Millie and the other-worldly Molotov Girl. In today’s digital crazed setting, one scene, sadly, sticks out as&nbsp;oddly familiar—when the actress’ gamer&nbsp;version confesses that she can no longer tell the two worlds apart. If you know, you know.&nbsp;

<img alt="Free Guy is based on the classic tale: Man is born free, but is everywhere in chains" data-entity-type="file" data-entity-uuid="b0c7e0a7-973e-4c2a-be29-53a69255665f" src="//cdn.wionews.com/sites/default/files/inline-images/pjimage%20-%202021-09-13T120228.415.jpg" /> 
Frankly, <a href="https://www.wionews.com/entertainment/lifestyle/news-blake-lively-promotes-husband-ryan-reynolds%E2%80%99-%E2%80%98free-guy%E2%80%99-with-a-bikini-photo-405163">‘Free Guy’</a> is your everyday guy in this biggish basket of movies: no earth-shattering Hollywood trope you haven’t already seen in other sci-fi gaming comedies. But, combine Taika Waititi’s hilarious one-liners and overbearing persona, with Ryan Reynolds near-God existence and Jodie Comer’s limbo between the world she dwells in and the world she has created, and you (sort of) get what this fast-paced narrative is trying to sell. One blink, and you miss the fun!

To be living in a sports car-flying, high-octane-chase frequenting Free City (an actual city, mostly) and growing restless with its mundanity? What a shame! Perhaps not, Guy (Ryan Reynolds) wakes up with a plastic smile plastered on his face every morning, gets coffee on his way to the bank he works for, mouths the catch sentence “Don’t have a good day.

To be living in a sports car-flying, high-octane-chase frequenting Free City (an actual city, mostly) and growing restless with its mundanity? What a shame! Perhaps not, Guy (Ryan Reynolds) wakes up with a plastic smile plastered on his face every morning, gets coffee on his way to the bank he works for, mouths the catch sentence “Don’t have a good day. Have a great day!” before heading to the beach for beers with buddy, Buddy (Lil Rel Howery). He may be oblivious to his greatness, but, in a parallel universe, everyone’s worshipping this Blue Shirt Guy—the human-coined moniker bestowed upon him—and just how incredibly nice he is in this otherwise venom-spewing world. Turns out—just like Utopia—he is a myth and his happiness, programmed. Depending on whose narrative you buy into, Guy is somewhere between the first every Artificial Intelligence (AI) in the gaming world to ‘live and feel’ and/or an algorithm ‘who thinks he is alive’. Either way, he is crucial to Keys (Joe Keery) and Millie’s (Jodie Comer) exposé circling gaming company Soonami’s head honcho, Antwan (Taika Waititi). Not here to give a crash course on complex gaming mechanisms, director Shawn Levy not-so-smoothly ushers us into the chaotic world of Free Guy—a game at the centre of a lawsuit between Antwan and Millie. Levy’s gaming universe is built on two extremes—the gun-brandishing goons and the peace loving non-playing characters aka N.P.Cs aka sidekicks to main players—and he spears no time in explaining who’s what. The baddies look ghastly and brutal, and do ghastly and brutal. The sweethearts are preachy to the point that they are indigestible. However, it is the metaphors and underlying themes that stand a fair chance of resonating with Reynolds’ fan base: the blurring lines between the reel and real world, a man’s capability of pulling himself out of obscurity and be a ‘hero’, the lives of nerds who drown themselves in the characters they play ("Mom, don’t touch my socks!" says one, in the middle of an intense online battle). In terms of CGI and special effects (Ethan Tobman, Steve Cooper and Beat Frutiger), the whole art department goes full throttle on putting their best foot forward—multi-hued unicorns, buildings perishing to dust only to resurrect seconds later… you name it! Frankly, Ryan Reynolds’ ‘too handsome’ avatar devouring bubble gum ice-creams and imparting lessons on non-violence is too mushy even by his standards. But, boy… that man’s got charm. And, taking that charm to a whole new level is Jodie Comer’s dual personality—of earthly Millie and the other-worldly Molotov Girl. In today’s digital crazed setting, one scene, sadly, sticks out as oddly familiar—when the actress’ gamer version confesses that she can no longer tell the two worlds apart. If you know, you know. Frankly, ‘Free Guy’ is your everyday guy in this biggish basket of movies: no earth-shattering Hollywood trope you haven’t already seen in other sci-fi gaming comedies. But, combine Taika Waititi’s hilarious one-liners and overbearing persona, with Ryan Reynolds near-God existence and Jodie Comer’s limbo between the world she dwells in and the world she has created, and you (sort of) get what this fast-paced narrative is trying to sell. One blink, and you miss the fun!

'Free Guy' review: Ryan Reynolds' frustratingly upbeat, but we are sold… somewhat

If one's 'To-Do List' for the weekend features watching Pawan Kripalani's 'Bhoot Police', then we are going to be flat-out straight with you: take a detour! It's not the actors so much who fumble and falter here but the fiasco's committed by Kripalani himself: the director's clearly inspired by 'Stree', perhaps a bit too much for his viewers' liking.

 
Living the BoHo life in an RV, brothers Chiraunji (Arjun Kapoor) and Vibhooti (<a href="https://www.wionews.com/entertainment/bollywood/news-saif-ali-khan-starrer-bhoot-police-slammed-for-hurting-hindu-sentiments-396684">Saif Ali Khan</a>) are often at loggerheads over their extreme approaches towards their profession--Chiru wants to tread on his father's footsteps of being a tantric (ghostbuster), while Vibhu is a charming little b**tard (his words, not ours). Nonetheless, these ghostbusting brothers are tight. Yes, Vibhu's shrewd money-making tactics do not align with Chiru's but he caves, mostly. So when the tea estate owner from Dharamshala--an old client of their father's, Ullat Baba--Maya (<a href="https://www.wionews.com/photos/inside-yami-gautam-and-aditya-dhars-intimate-wedding-ceremony-389909">Yami Gautam Dhar</a>) seeks them out, their inclination was to 'help'. The adventure that ensues sets the tone and foundation of 'Bhoot Police'.

<img alt="'Bhoot Police' is funny, until it's not" data-entity-type="file" data-entity-uuid="4bf5f6ed-8153-4afb-84c0-9d0c2cb7bb62" src="//cdn.wionews.com/sites/default/files/inline-images/pjimage%20-%202021-09-10T132847.489.jpg" />

Also read:&nbsp;<a href="https://www.wionews.com/entertainment/bollywood/news-mumbai-diaries-26-11-review-the-horror-of-being-a-medic-in-terror-torn-mumbai-shown-tepidly-411876">'Mumbai Diaries 26/11' review: The horror of being a medic in terror-torn Mumbai, shown tepidly</a>

 
The first question that pops up right off the bat is what's with this script, really? Is it good versus evil? Clashing ideologies and the subsequent change of heart? Is it the age-old debate over the celestial universe and evil energies co-existing? Kripalani, and a few others behind the scribbling department, have cooked up a narrative that is a mish-mash of 'Stree', 'Roohi', with glimpses of Kripalani's own finer works from the past: like 'Darr @ The Mall' and 'Ragini MMS'.&nbsp;

<img alt="'Bhoot Police' is the story of two ghostbusting brothers" data-entity-type="file" data-entity-uuid="38ca849f-d842-4a91-bb30-2d0d17b2278f" src="//cdn.wionews.com/sites/default/files/inline-images/pjimage%20-%202021-09-10T131306.596.jpg" /> 
Artists Babu Tyagi, Sandeep Kamal, Ketan Kale and Gaurav Bhira have--by Indian horror movie standards--erected massive CGI and visual-effect&nbsp;work on display. After all, despite the feeble screenplay, the jumpscares and other horror-thriller elements don't drag the film further down. That's a win for the team!

 
Saif Ali Khan takes to boyish charm and flamboyance like fish takes to water ('Hum Tum', 'Go Goa Gone')--effortless and his strongest artistic suit discovered till date. As morally corrupt yet personable Vibhooti, Saif is, quite frankly, the USP of 'Bhoot Police'. He is the anchor that pulls <a href="https://www.wionews.com/entertainment/lifestyle/news-arjun-kapoor--khushi-anshula-arrive-at-rhea-kapoor--karan-boolani-wedding-405395">Arjun Kapoor</a>'s two&nbsp;goody shoes Chiru to the shore.&nbsp;

Also read:&nbsp;<a href="https://www.wionews.com/entertainment/hollywood/news-wion-exclusive--themxxnlight-wiz-khalifa-reached-out-to-us-the-rest-is-history-410723">WION exclusive | THEMXXNLIGHT: Wiz Khalifa reached out to us. The rest is history!</a>

Yami Gautam Dhar's choice to venture into horror is a bold move, especially with the notoriety that follows Indian horror movies, and she lands just fine. With her restrained performance as a debt-ridden trust-fund kid, Yami is impressive. <a href="https://www.wionews.com/entertainment/lifestyle/news-jacqueline-fernandez-trained-for-tightrope-walking-for-bachchan-pandey-371095">Jacqueline Fernandez</a>, on the other hand, bags the role of a bimbette drowning in her shopping and Instagram woes. Why would she say 'yes' to a character that neither contributes to the progression of the plot nor does it give her anything solid to work with? Well, that's a mystery for you all to solve.

<img alt="Saif Ali Khan, Arjun Kapoor and Jacqueline Fernandez in a still from the horror flick" data-entity-type="file" data-entity-uuid="fa4ce854-723b-4e78-a9b3-a9663115514c" src="//cdn.wionews.com/sites/default/files/inline-images/pjimage%20-%202021-09-10T132925.277.jpg" /> 
Sure, it is no crime to extract chunks from your repertoire out and refurbish them or even seek inspiration from the works of your contemporaries--some of the one-liners were actually chuck-able--but it is criminal when originality is compromised for the sake of relevance.&nbsp;

 
'Bhoot Police' could have given Indians their own Ed and Lorraine to obsess over. But, alas, that was not meant to be! 
&nbsp;

Also read:&nbsp;<a href="https://www.wionews.com/entertainment/hollywood/news-cinderella-review-camila-cabello--co-all-for-emancipation-of-women-410503">Cinderella review: Camila Cabello &amp; Co. all for emancipation of women</a>

'Bhoot Police' is now streaming on Disney + Hotstar.

If one's 'To-Do List' for the weekend features watching Pawan Kripalani's 'Bhoot Police', then we are going to be flat-out straight with you: take a detour! It's not the actors so much who fumble and falter here but the fiasco's committed by Kripalani himself: the director's clearly inspired by 'Stree', perhaps a bit too much for his viewers' liking.

If one's 'To-Do List' for the weekend features watching Pawan Kripalani's 'Bhoot Police', then we are going to be flat-out straight with you: take a detour! It's not the actors so much who fumble and falter here but the fiasco's committed by Kripalani himself: the director's clearly inspired by 'Stree', perhaps a bit too much for his viewers' liking. Living the BoHo life in an RV, brothers Chiraunji (Arjun Kapoor) and Vibhooti (Saif Ali Khan) are often at loggerheads over their extreme approaches towards their profession--Chiru wants to tread on his father's footsteps of being a tantric (ghostbuster), while Vibhu is a charming little b**tard (his words, not ours). Nonetheless, these ghostbusting brothers are tight. Yes, Vibhu's shrewd money-making tactics do not align with Chiru's but he caves, mostly. So when the tea estate owner from Dharamshala--an old client of their father's, Ullat Baba--Maya (Yami Gautam Dhar) seeks them out, their inclination was to 'help'. The adventure that ensues sets the tone and foundation of 'Bhoot Police'. Also read: 'Mumbai Diaries 26/11' review: The horror of being a medic in terror-torn Mumbai, shown tepidly The first question that pops up right off the bat is what's with this script, really? Is it good versus evil? Clashing ideologies and the subsequent change of heart? Is it the age-old debate over the celestial universe and evil energies co-existing? Kripalani, and a few others behind the scribbling department, have cooked up a narrative that is a mish-mash of 'Stree', 'Roohi', with glimpses of Kripalani's own finer works from the past: like 'Darr @ The Mall' and 'Ragini MMS'. Artists Babu Tyagi, Sandeep Kamal, Ketan Kale and Gaurav Bhira have--by Indian horror movie standards--erected massive CGI and visual-effect work on display. After all, despite the feeble screenplay, the jumpscares and other horror-thriller elements don't drag the film further down. That's a win for the team! Saif Ali Khan takes to boyish charm and flamboyance like fish takes to water ('Hum Tum', 'Go Goa Gone')--effortless and his strongest artistic suit discovered till date. As morally corrupt yet personable Vibhooti, Saif is, quite frankly, the USP of 'Bhoot Police'. He is the anchor that pulls Arjun Kapoor's two goody shoes Chiru to the shore. Also read: WION exclusive | THEMXXNLIGHT: Wiz Khalifa reached out to us. The rest is history! Yami Gautam Dhar's choice to venture into horror is a bold move, especially with the notoriety that follows Indian horror movies, and she lands just fine. With her restrained performance as a debt-ridden trust-fund kid, Yami is impressive. Jacqueline Fernandez, on the other hand, bags the role of a bimbette drowning in her shopping and Instagram woes. Why would she say 'yes' to a character that neither contributes to the progression of the plot nor does it give her anything solid to work with? Well, that's a mystery for you all to solve. Sure, it is no crime to extract chunks from your repertoire out and refurbish them or even seek inspiration from the works of your contemporaries--some of the one-liners were actually chuck-able--but it is criminal when originality is compromised for the sake of relevance. 'Bhoot Police' could have given Indians their own Ed and Lorraine to obsess over. But, alas, that was not meant to be! Also read: Cinderella review: Camila Cabello & Co. all for emancipation of women 'Bhoot Police' is now streaming on Disney + Hotstar.

Bhoot Police review: Saif Ali Khan, Yami Gautam Dhar wasted in this ho-hum ghostbusting adventure

It would be redundant to say that the human wheels on which the healthcare sector in India—and every nook and cranny of the world—survives, have it hard. The pandemic was a bare open to&nbsp;what the ruthless hours and extremely fragile working conditions could do to a medic. And, yet another time they had come under such duress was when a gang of terrorists ravaged through the streets of South Bombay, which later came to be known as ‘the <a href="https://www.wionews.com/india-news/2611-mumbai-terror-attack-setback-for-pakistan-as-us-retains-the-terrorist-designation-of-let-357104">26/11 Mumbai terror attacks</a>’.&nbsp;

 
The terror attack was so ghastly that it not only prompted Ram Gopal Varma (RGV) to make a movie out of it—embroiled in political and moral controversies back in the day—but also attracted foreign gaze as well: ‘Hotel Mumbai’ by Anthony Maras. Naturally, after such extensive postmortem-esque depiction of that horrible tragedy, we weren’t sure where <a href="https://www.wionews.com/entertainment/unpaused-review-finding-hope-friendship-and-happiness-in-the-middle-of-a-pandemic-350694">Nikhil Advani</a> (‘Kal Ho Naa Ho’) was going with his Amazon Prime Video-backed ‘Mumbai Diaries: 26/11’. Turns out, his tale is from the standpoint of the Bombay General Hospital (BGH) and its workers.&nbsp;

Also read:&nbsp;<a href="https://www.wionews.com/entertainment/bollywood/news-wion-exclusive--afghan-actor-warina-hussain-i-dont-blame-women-who-have-taken-up-arms-in-afghanistan-409865">WION exclusive | Afghan actor Warina Hussain: I don't blame women who have taken up arms in Afghanistan</a>

Advani’s army of scriptwriters—Yash Chhetija, Nikhil Gonsalves, Anushka Mehrotra, and Sanyuktha Chawla Shaikh—bounce between timelines, across attack points in Mumbai, all the while committing the humungous blunder of interlacing melodrama with thriller. The emotionally-charged scenes are swiftly replaced by deafening background scores (Ashutosh Phatak) and the air of solidarity and nostalgia is dampened by non-linear storytelling.&nbsp;

 
The horrific events that had unfolded in several ICUs and ERs on that fateful day, even if five per cent of it is true, conjured up tightness in our&nbsp;chests: the palpability of it could be sensed from the other side of the camera. We so wish Advani had left the theatrics out of this biographical series and invested more in the thriller aspect of it.&nbsp;

<img alt="Konana Sen Sharma is her usual versatile self in Nikhil Advani's 'Mumbai Diaries: 26/11 Attacks'" data-entity-type="file" data-entity-uuid="d0f06255-80d3-46ac-94fb-73ce041fe00d" src="//cdn.wionews.com/sites/default/files/inline-images/pjimage%20-%202021-09-09T174543.145.jpg" />

But, trust <a href="https://www.wionews.com/entertainment/aparna-sens-the-rapist-featuring-konkona-arjun-rampal-to-premiere-at-busan-international-film-festival-411165">Konkona Sen Sharma</a> to headline projects that otherwise lack sincerity, conviction and flip them around into a watchable, almost convincing visual piece. She’s a battered but not broken doctor, who serves as the Director of Social Welfare, Chitra. Despite a character with no real layers—her forte—Sen Sharma puts on a good show, like any fabulous actor would. <a href="https://www.wionews.com/entertainment/hope-more-people-from-jammu-kashmir-find-a-way-to-bollywood-mohit-raina-226434">Mohit Raina</a> does pretty boy well, but here, he’s set out to act. And you can tell. As a ball of restless energy, Dr. Kaushik Oberoi’s anxiety is contagious and his calm exterior, matter-of-factly demeanour makes him the right fit for this high-octane drama-thriller. We were sold.&nbsp;

Also read:&nbsp;<a href="https://www.wionews.com/entertainment/hollywood/news-exclusive-disneys-first-indo-american-protagonist-avantika-i-was-asked-to-go-back-to-my-country-called-a-pakistani-405558">Exclusive! Disney's first Indo-American protagonist Avantika: I was asked to go back to my country; called a Pakistani</a>

 
The biggest letdown from the baton of ‘Mumbai Diaries: 26/11’ was its parallel characters. From dated shock reactions to overtly stiff terror acts, this bunch was far from being perfect for an issue as sensitive as this.

 
Nikhil Advani had cherrypicked an interesting subtext to explore from the plethora of literature that is already available on 26/11 terror attacks of Mumbai. But, he and his writers, miserably failed to&nbsp;chalk out rounded characters, leave their Bollywood-ness out of the equation&nbsp;and the end result is a series that drags&nbsp;on for far too long, with little meat to fall back on.

 
‘Mumbai Diaries 26/11’ has our respect—for the subject, of course—but not brownie points. &nbsp;

<img alt="Mohit Raina is restless, angry as Dr. Oberoi in this eight-part series" data-entity-type="file" data-entity-uuid="d38cdeb6-7d9e-4f94-bcbb-8cc65fb29952" src="//cdn.wionews.com/sites/default/files/inline-images/pjimage%20-%202021-09-09T173658.045.jpg" />

'Mumbai Diaries: 26/11 Attacks' is now streaming on Amazon Prime Video.&nbsp;

It would be redundant to say that the human wheels on which the healthcare sector in India—and every nook and cranny of the world—survives, have it hard. The pandemic was a bare open to what the ruthless hours and extremely fragile working conditions could do to a medic.

It would be redundant to say that the human wheels on which the healthcare sector in India—and every nook and cranny of the world—survives, have it hard. The pandemic was a bare open to what the ruthless hours and extremely fragile working conditions could do to a medic. And, yet another time they had come under such duress was when a gang of terrorists ravaged through the streets of South Bombay, which later came to be known as ‘the 26/11 Mumbai terror attacks’. The terror attack was so ghastly that it not only prompted Ram Gopal Varma (RGV) to make a movie out of it—embroiled in political and moral controversies back in the day—but also attracted foreign gaze as well: ‘Hotel Mumbai’ by Anthony Maras. Naturally, after such extensive postmortem-esque depiction of that horrible tragedy, we weren’t sure where Nikhil Advani (‘Kal Ho Naa Ho’) was going with his Amazon Prime Video-backed ‘Mumbai Diaries: 26/11’. Turns out, his tale is from the standpoint of the Bombay General Hospital (BGH) and its workers. Also read: WION exclusive | Afghan actor Warina Hussain: I don't blame women who have taken up arms in Afghanistan Advani’s army of scriptwriters—Yash Chhetija, Nikhil Gonsalves, Anushka Mehrotra, and Sanyuktha Chawla Shaikh—bounce between timelines, across attack points in Mumbai, all the while committing the humungous blunder of interlacing melodrama with thriller. The emotionally-charged scenes are swiftly replaced by deafening background scores (Ashutosh Phatak) and the air of solidarity and nostalgia is dampened by non-linear storytelling. The horrific events that had unfolded in several ICUs and ERs on that fateful day, even if five per cent of it is true, conjured up tightness in our chests: the palpability of it could be sensed from the other side of the camera. We so wish Advani had left the theatrics out of this biographical series and invested more in the thriller aspect of it. But, trust Konkona Sen Sharma to headline projects that otherwise lack sincerity, conviction and flip them around into a watchable, almost convincing visual piece. She’s a battered but not broken doctor, who serves as the Director of Social Welfare, Chitra. Despite a character with no real layers—her forte—Sen Sharma puts on a good show, like any fabulous actor would. Mohit Raina does pretty boy well, but here, he’s set out to act. And you can tell. As a ball of restless energy, Dr. Kaushik Oberoi’s anxiety is contagious and his calm exterior, matter-of-factly demeanour makes him the right fit for this high-octane drama-thriller. We were sold. Also read: Exclusive! Disney's first Indo-American protagonist Avantika: I was asked to go back to my country; called a Pakistani The biggest letdown from the baton of ‘Mumbai Diaries: 26/11’ was its parallel characters. From dated shock reactions to overtly stiff terror acts, this bunch was far from being perfect for an issue as sensitive as this. Nikhil Advani had cherrypicked an interesting subtext to explore from the plethora of literature that is already available on 26/11 terror attacks of Mumbai. But, he and his writers, miserably failed to chalk out rounded characters, leave their Bollywood-ness out of the equation and the end result is a series that drags on for far too long, with little meat to fall back on. ‘Mumbai Diaries 26/11’ has our respect—for the subject, of course—but not brownie points. 'Mumbai Diaries: 26/11 Attacks' is now streaming on Amazon Prime Video.

'Mumbai Diaries 26/11' review: The horror of being a medic in terror-torn Mumbai, shown tepidly

Whether inclusion and modernization of legends and fairytales—an all-Black ‘Anne Boleyn’ was a bouncer that landed right—is fad, is moot. When the news of Billy Porter and <a href="https://www.wionews.com/entertainment/shawn-mendes-pens-appreciation-post-for-camila-cabello-for-her-work-in-cinderella-410367">Camila Cabello</a> (a Hispanic belle) starring in Kay Cannon’s (Pitch Perfect franchise) latest rendition of Cinderella broke (and there have been many, across genres), we knew we were in for a surprise. And surprise it is! Perhaps it is the fact that we are seeing this 21st century musical retelling of the tale through the eyes of a woman, or the current setting demanded one, that we get to witness the protagonist (and not a heroine) shedding light on patriarchal hangover. And smashing it hard against the wall: one empowering song, sequence at a time.

<img alt="Billy Porter as fabulous godparent (Fab G) in Cinderella" data-entity-type="file" data-entity-uuid="e41a9ec1-612c-46b9-a3e6-e841b883a3f8" src="//cdn.wionews.com/sites/default/files/inline-images/pjimage%20-%202021-09-03T173728.107.jpg" /> 
In the opening shot itself, we are ushered into the world of a mouthy, headstrong Cinderella working her nights away trying to be a dressmaker. Soon after, the whole charade—Cannon, quietly aptly, keeps the key components of the story intact—ensues, and even before the film clocks interval, we are introduced to a laid-back, adventure-seeking Prince Robert (Nicholas Galitzine).Taking a major deviation from the beat-up route, it is Princess Gwen (Tallulah Greive) now who is a fitting succession to King Rowan’s crown (played by the marvelous Pierce Brosnan). But, Lord forbid, a woman takes the Royal line ahead!

<img alt="Camila Cabello and Nicholas Galitzine as 'lovers' in Cinderella" data-entity-type="file" data-entity-uuid="39618530-63fa-4f51-9df8-995680be169b" src="//cdn.wionews.com/sites/default/files/inline-images/pjimage%20-%202021-09-03T173403.282.jpg" /> 
Tactfully, Cannon juxtaposes traditional values against liberal ways of the modern world without making her social commentary an overbearing watch for her viewers. Of course, Camila Cabello being a singer made of fine fabric elevates the musical aspect of ‘Cinderella’—our personal favourites; ‘Am I Wrong?’, ‘Million To One’—and the usage of urban lingo (‘dude!’, ‘poppin’’ and ‘cray’, among many others) serves as an undertone to the overall feel of the narrative: young, bold and ground-breaking in its own right.

<img alt="Camila Cabello is a revelation in Amazon Prime Video's 'Cinderella'" data-entity-type="file" data-entity-uuid="0457af7b-e7cd-4135-a1a6-7760f1259efc" src="//cdn.wionews.com/sites/default/files/inline-images/pjimage%20-%202021-09-03T173643.480.jpg" /> 
Speaking of acting chops, C<a href="https://www.wionews.com/entertainment/camila-cabello-receives-praises-from-cinderella-director-kay-cannon-410151">abello—the actress—is quite the revelation</a> in her debut film outing; a natural. &nbsp;And matching her charm &amp; charisma with equal confidence is the fun and flamboyant Galitzine. The biggest obstacle with actors portraying iconic characters on screen is that that image never leaves your head. Take for instance, a regal-looking <a href="https://www.wionews.com/entertainment/james-bond-is-the-gift-that-keeps-giving-pierce-brosnan-309983">Pierce Brosnan</a> flexing his vocal muscles to echo the dictatorial traits of a King, only to end up sounding more like Bond (“Am I doing the voice again?” he asks.) But, his sizzling chemistry with Minnie Driver (her second impactful performance in quick succession, first one being <a href="https://www.wionews.com/entertainment/hollywood/news-modern-love-2-review-to-humanity-with-hope-405708">‘Modern Love 2’</a>) is for keeps.&nbsp;

<img alt="Minnie Driver, Pierce Brosnan and others in Cinderella" data-entity-type="file" data-entity-uuid="af0edceb-c4e7-4747-9080-48be4052ec89" src="//cdn.wionews.com/sites/default/files/inline-images/pjimage%20-%202021-09-03T173552.020.jpg" /> 
‘Cinderella’ scoops up the dated mindset its medieval counterpart is notorious for, and throws it out the window. As for Camila Cabello, whenever there’s a listicle on crooners who can act, “You will remember her name!”&nbsp;

Whether inclusion and modernization of legends and fairytales—an all-Black ‘Anne Boleyn’ was a bouncer that landed right—is fad, is moot. When the news of Billy Porter and Camila Cabello (a Hispanic belle) starring in Kay Cannon’s (Pitch Perfect franchise) latest rendition of Cinderella broke (and there have been many, across genres), we knew we were in for a surprise.

Whether inclusion and modernization of legends and fairytales—an all-Black ‘Anne Boleyn’ was a bouncer that landed right—is fad, is moot. When the news of Billy Porter and Camila Cabello (a Hispanic belle) starring in Kay Cannon’s (Pitch Perfect franchise) latest rendition of Cinderella broke (and there have been many, across genres), we knew we were in for a surprise. And surprise it is! Perhaps it is the fact that we are seeing this 21st century musical retelling of the tale through the eyes of a woman, or the current setting demanded one, that we get to witness the protagonist (and not a heroine) shedding light on patriarchal hangover. And smashing it hard against the wall: one empowering song, sequence at a time. In the opening shot itself, we are ushered into the world of a mouthy, headstrong Cinderella working her nights away trying to be a dressmaker. Soon after, the whole charade—Cannon, quietly aptly, keeps the key components of the story intact—ensues, and even before the film clocks interval, we are introduced to a laid-back, adventure-seeking Prince Robert (Nicholas Galitzine).Taking a major deviation from the beat-up route, it is Princess Gwen (Tallulah Greive) now who is a fitting succession to King Rowan’s crown (played by the marvelous Pierce Brosnan). But, Lord forbid, a woman takes the Royal line ahead! Tactfully, Cannon juxtaposes traditional values against liberal ways of the modern world without making her social commentary an overbearing watch for her viewers. Of course, Camila Cabello being a singer made of fine fabric elevates the musical aspect of ‘Cinderella’—our personal favourites; ‘Am I Wrong?’, ‘Million To One’—and the usage of urban lingo (‘dude!’, ‘poppin’’ and ‘cray’, among many others) serves as an undertone to the overall feel of the narrative: young, bold and ground-breaking in its own right. Speaking of acting chops, Cabello—the actress—is quite the revelation in her debut film outing; a natural. And matching her charm & charisma with equal confidence is the fun and flamboyant Galitzine. The biggest obstacle with actors portraying iconic characters on screen is that that image never leaves your head. Take for instance, a regal-looking Pierce Brosnan flexing his vocal muscles to echo the dictatorial traits of a King, only to end up sounding more like Bond (“Am I doing the voice again?” he asks.) But, his sizzling chemistry with Minnie Driver (her second impactful performance in quick succession, first one being ‘Modern Love 2’) is for keeps. ‘Cinderella’ scoops up the dated mindset its medieval counterpart is notorious for, and throws it out the window. As for Camila Cabello, whenever there’s a listicle on crooners who can act, “You will remember her name!”

Cinderella review: Camila Cabello & Co. all for emancipation of women

Be it for the soul-shaking content or just the sheer brilliance of its actor(s), some movies have pierced through our hearts and have stayed etched in our memories. For instance, Morgan Freeman's husky, trance-like voiceover in 'The Shawshank Redemption' (1994), Leonardo DiCaprio's heartbreaking rendition of a sick teenager in 'What's Eating Gilbert Grape' (1993) and now--without an iota of doubt--<a href="https://www.wionews.com/entertainment/hollywood/news-anthony-hopkins-reacts-to-his-surprise-oscar-win-was-asleep-when-he-won-380515">Sir Anthony Hopkins for his Oscar-winning performance</a> in French novelist and playwright Florian Zeller's 'The Father'.&nbsp;

 
Now near-crippled by his rapidly declining Dementia, old yet charming Anthony (Sir Anthony Hopkins) was once an affable family man--father to two lovely middle-aged daughters, <a href="https://www.wionews.com/opinions-blogs/opinion-kate-winslet-salma-hayek-vidya-balan-sexy-is-the-new-middle-age-395980">Anne (Olivia Colman) </a>and Anne (Olivia Williams)--or is he?&nbsp;

<img alt="Anthony plays Anthony in 'The Father' " data-entity-type="file" data-entity-uuid="04fcf6fe-f509-4dd8-8df7-19db192873d1" src="//cdn.wionews.com/sites/default/files/inline-images/pjimage%20-%202021-09-02T191420.873.jpg" /> 
Without getting into the various mind-twisting timelines that Zeller bounces between in this weirdly uncomfortable, heartbreakingly beautiful tale of a familia broken by virtue of aging and health, let's just say that 'The Father' is a deep-dive into the troubled (read helpless) minds of those who cannot seem to remember, primarily because they are no longer designed to.

&nbsp; 
By outward appearances, <a href="https://www.wionews.com/entertainment/hollywood/news-oscar-nominated-movie-the-father-featuring-anthony-hopkins-slated-to-release-in-india-on-this-date-376281">'The Father' </a>seems like a tad more comprehensive version of Julianne Moore's 'Still Alice'--for which she has won an Oscar, too--but twenty minutes into it, and you know the film was made to take you on a tour to what a Dementia-dwelled mind cannot comprehend, yet it must endure.&nbsp;

<img alt="The film is tangled in a web of repetitive sequences between Colman, Hopkins and Williams " data-entity-type="file" data-entity-uuid="b3a33244-f35a-4d94-ad32-06a3039f0ea6" src="//cdn.wionews.com/sites/default/files/inline-images/pjimage%20-%202021-09-02T191651.307_0.jpg" />

The part-pliant, part-snobbish Sir Anthony Hopkins stirs up emotions within you that you haven't experienced in ages--if his ruthlessness towards Olivia Colman's Anne demands sympathy over her constant pining for a father long lost, his unabashed siding with his other daughter is a reminder of what a doting father ought to be. Hopkins takes one sequence (with one version of events) and turns it into a case study of the disease's irreparable grip over its victims. In most others, he puts on display just how good of an actor he really is. Marvelous!

 
Olivia Colman can never go wrong with twisted family dynamics--'Fleebag', for instance-- and with 'The Father' she ups her ante and how! One scene in particular resonates for its layered presentation, where a defiant Anthony tells her that his non-existent other daughter is his favourite child. The tears trickle through the British actress' eyes like water from a stream--deep, docile and oh-so-very hurt.&nbsp;

<img alt="Olivia Colman plays Anthony Hopkins' daughter Anne in 'The Father'" data-entity-type="file" data-entity-uuid="bfef4e63-8d07-4541-98ff-e927b7fba0bd" src="//cdn.wionews.com/sites/default/files/inline-images/pjimage%20-%202021-09-02T191324.736_0.jpg" />

Soon after the Oscars' Winners List was released this year, a debate had conjured up as to <a href="https://www.wionews.com/entertainment/hollywood/news-chadwick-bosemans-family-addresses-the-backlash-against-oscars-2021-for-snubbing-the-late-actor-381026">why the late Chadwick Boseman wasn't given the honour</a>. And for those of you who still need at least one reason to squash that argument, we will give you three--Sir Anthony Hopkins, Olivia Colman and a fair-and-square representation of that monster of a disease called Dementia.&nbsp;

'The Father' is now streaming on Lionsgate Play.&nbsp;

Be it for the soul-shaking content or just the sheer brilliance of its actor(s), some movies have pierced through our hearts and have stayed etched in our memories.

Be it for the soul-shaking content or just the sheer brilliance of its actor(s), some movies have pierced through our hearts and have stayed etched in our memories. For instance, Morgan Freeman's husky, trance-like voiceover in 'The Shawshank Redemption' (1994), Leonardo DiCaprio's heartbreaking rendition of a sick teenager in 'What's Eating Gilbert Grape' (1993) and now--without an iota of doubt--Sir Anthony Hopkins for his Oscar-winning performance in French novelist and playwright Florian Zeller's 'The Father'. Now near-crippled by his rapidly declining Dementia, old yet charming Anthony (Sir Anthony Hopkins) was once an affable family man--father to two lovely middle-aged daughters, Anne (Olivia Colman) and Anne (Olivia Williams)--or is he? Without getting into the various mind-twisting timelines that Zeller bounces between in this weirdly uncomfortable, heartbreakingly beautiful tale of a familia broken by virtue of aging and health, let's just say that 'The Father' is a deep-dive into the troubled (read helpless) minds of those who cannot seem to remember, primarily because they are no longer designed to. By outward appearances, 'The Father' seems like a tad more comprehensive version of Julianne Moore's 'Still Alice'--for which she has won an Oscar, too--but twenty minutes into it, and you know the film was made to take you on a tour to what a Dementia-dwelled mind cannot comprehend, yet it must endure. The part-pliant, part-snobbish Sir Anthony Hopkins stirs up emotions within you that you haven't experienced in ages--if his ruthlessness towards Olivia Colman's Anne demands sympathy over her constant pining for a father long lost, his unabashed siding with his other daughter is a reminder of what a doting father ought to be. Hopkins takes one sequence (with one version of events) and turns it into a case study of the disease's irreparable grip over its victims. In most others, he puts on display just how good of an actor he really is. Marvelous! Olivia Colman can never go wrong with twisted family dynamics--'Fleebag', for instance-- and with 'The Father' she ups her ante and how! One scene in particular resonates for its layered presentation, where a defiant Anthony tells her that his non-existent other daughter is his favourite child. The tears trickle through the British actress' eyes like water from a stream--deep, docile and oh-so-very hurt. Soon after the Oscars' Winners List was released this year, a debate had conjured up as to why the late Chadwick Boseman wasn't given the honour. And for those of you who still need at least one reason to squash that argument, we will give you three--Sir Anthony Hopkins, Olivia Colman and a fair-and-square representation of that monster of a disease called Dementia. 'The Father' is now streaming on Lionsgate Play.

The Father review: A testament to the cinematic genius that is Sir Anthony Hopkins

The creative liberties that David Lowery takes--in terms of historical revisionism--in his fantasy drama 'The Green Knight' is the kind of art that makes cinema a truly fascinating experience. Both as a visually exciting medium, and also in essence.&nbsp;

<img alt="A still from 'The Green Knight' starring Dev Patel" data-entity-type="file" data-entity-uuid="19363e2b-2b50-4882-8c60-ec94872e8f6b" src="//cdn.wionews.com/sites/default/files/inline-images/pjimage%20-%202021-08-22T092732.559_0.jpg" />

 
Sir Gawain (Dev Patel) is a whore-house-frequenting, liquor-chugging 'young' protagonist who's navigating life one reckless day at a time. “I am not ready yet!” he exclaims when asked to shoulder the responsibity of becoming a knight by King Arthur (Sean Harris).

 
In the opening shot a young Gawain is locked in embrace with a free-spirited Essel (Alicia Vikander), shattering the idea that the viewers are in for a long-drawn period drama. David Lowery is in it for the unseen, unheard version of how Sir Gawain has been perceived thus far. And yes, he succeeds.

<a href="https://www.wionews.com/entertainment/hollywood/news-exclusive-dev-patel-%E2%80%98the-green-knight%E2%80%99-embodies-my-own-journey-in-hollywood-407372">Also read: 'Exclusive! Dev Patel: ‘The Green Knight’ embodies my own journey in Hollywood'</a>

 
On Christmas Eve--they are calling this chapter 'The Christmas Game'--an imposing rider (Ralph Ineson) with a protruding face and echoing voice, shows up at the entrance to the hall where the merrymaking happens, wanting to play a bloody game of his own making wherein Gawain must slit his throat and come back for another brawl a year later. To his Green Castle, hence the title.

 
'The Green Knight' is a fantasy within a fantasy world, weaved by the fantastical David Lowery. The namelessness of the crucial players in the movie, including the poet who had originally written this riddle of a poem, as folklores often go, renders a sense of intrigue to the drama and we are hooked! Instead of plucking a leaf out of a particular reading out of Gawain’s journey, this piece of work serves as a meditation on the quest for meaning, direction and the lessons life has to impart. All the while leaving the audience scratching their heads over reality and illusion--both captivating, both hypnotizing.

<a href="https://www.wionews.com/entertainment/hollywood/news-exclusive-%E2%80%98the-green-knight%E2%80%99-%E2%80%98sex-and-the-city%E2%80%99-reboot-star-sarita-choudhury-the-film-world-and-%E2%80%98representation%E2%80%99-is-finally-catching-up-407583">Also read: 'Exclusive! ‘The Green Knight’, ‘Sex And The City’ reboot star Sarita Choudhury: The film world and ‘representation’ is finally catching up'</a>

 
The highlight of 'The Green Knight' is a sequence in which decades have gone by and an aging Gawain has now reduced himself into an unkind leader; oblivious to the charm of women. This bit reiterates the inevitability of life, age and death. In that order, through stunning videography and believable prosthetics.

<img alt="Sarita in an intense poster from her period drama 'The Green Knight'" data-entity-type="file" data-entity-uuid="14657f9a-82be-4e45-84da-65db77521c42" src="//cdn.wionews.com/sites/default/files/inline-images/pjimage%20-%202021-08-22T092207.872_0.jpg" />

 
Patel is a chameleon in this movie--swiftly juggling between youthful exuberance and stone-heartedness only a life lived far too long can teach a man. The butterfly in this cinematic beauty is, however, Oscar-winning British actor Alicia Vikander. "You will be my lady, and I will be your man," she declares, nonchalantly. Emancipation of women in medieval history? That's what the world needs more of! Sarita Choudhury, as the legend goes, is Gawain's 'witch' of a mother, Morgan le Fay. Her deep-set eyes, angular face and that deathly stare makes her the enchantress she sets out to be.&nbsp;

 
In 'The Green Knight', Dev Patel's Sir Gawain has a peculiar quality about him--that he wants to know how to live before living. Yes, it is but human to seek the un-seekable, desire the unachievable. Along the way, what do&nbsp;men gain&nbsp;and what have they&nbsp;lost? This film is an ode to that unquenchable thirst for internal fulfilment through external validation. After all, as King Arthur says, "Is it wrong to want greatness?"

&nbsp;

<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/pJmCTHlXVI8" title="YouTube video player" width="560"></iframe>

The creative liberties that David Lowery takes--in terms of historical revisionism--in his fantasy drama 'The Green Knight' is the kind of art that makes cinema a truly fascinating experience.

The creative liberties that David Lowery takes--in terms of historical revisionism--in his fantasy drama 'The Green Knight' is the kind of art that makes cinema a truly fascinating experience. Both as a visually exciting medium, and also in essence. Sir Gawain (Dev Patel) is a whore-house-frequenting, liquor-chugging 'young' protagonist who's navigating life one reckless day at a time. “I am not ready yet!” he exclaims when asked to shoulder the responsibity of becoming a knight by King Arthur (Sean Harris). In the opening shot a young Gawain is locked in embrace with a free-spirited Essel (Alicia Vikander), shattering the idea that the viewers are in for a long-drawn period drama. David Lowery is in it for the unseen, unheard version of how Sir Gawain has been perceived thus far. And yes, he succeeds. Also read: 'Exclusive! Dev Patel: ‘The Green Knight’ embodies my own journey in Hollywood' On Christmas Eve--they are calling this chapter 'The Christmas Game'--an imposing rider (Ralph Ineson) with a protruding face and echoing voice, shows up at the entrance to the hall where the merrymaking happens, wanting to play a bloody game of his own making wherein Gawain must slit his throat and come back for another brawl a year later. To his Green Castle, hence the title. 'The Green Knight' is a fantasy within a fantasy world, weaved by the fantastical David Lowery. The namelessness of the crucial players in the movie, including the poet who had originally written this riddle of a poem, as folklores often go, renders a sense of intrigue to the drama and we are hooked! Instead of plucking a leaf out of a particular reading out of Gawain’s journey, this piece of work serves as a meditation on the quest for meaning, direction and the lessons life has to impart. All the while leaving the audience scratching their heads over reality and illusion--both captivating, both hypnotizing. Also read: 'Exclusive! ‘The Green Knight’, ‘Sex And The City’ reboot star Sarita Choudhury: The film world and ‘representation’ is finally catching up' The highlight of 'The Green Knight' is a sequence in which decades have gone by and an aging Gawain has now reduced himself into an unkind leader; oblivious to the charm of women. This bit reiterates the inevitability of life, age and death. In that order, through stunning videography and believable prosthetics. Patel is a chameleon in this movie--swiftly juggling between youthful exuberance and stone-heartedness only a life lived far too long can teach a man. The butterfly in this cinematic beauty is, however, Oscar-winning British actor Alicia Vikander. "You will be my lady, and I will be your man," she declares, nonchalantly. Emancipation of women in medieval history? That's what the world needs more of! Sarita Choudhury, as the legend goes, is Gawain's 'witch' of a mother, Morgan le Fay. Her deep-set eyes, angular face and that deathly stare makes her the enchantress she sets out to be. In 'The Green Knight', Dev Patel's Sir Gawain has a peculiar quality about him--that he wants to know how to live before living. Yes, it is but human to seek the un-seekable, desire the unachievable. Along the way, what do men gain and what have they lost? This film is an ode to that unquenchable thirst for internal fulfilment through external validation. After all, as King Arthur says, "Is it wrong to want greatness?"

The Green Knight review: Dev Patel stirs up the hornet's nest, emerges victorious

Imagine a new tide of modernity—coupled with humane undertones—taking over the ever-consuming Internet, the end product you are most likely to get is the textbook definition of The New York Times-meets-Amazon’s dangerously successful ‘Modern Love’ franchise.

&nbsp; 
After an uproarious entry into the digital space with its predecessor—Anne Hathaway has made us all cry, Dev Patel turned some into hopeless romantics—the second season of this part-book-part-column adaption had heightened the excitement (and expectations) for the digital populace so much so that it was the second most-anticipated phenomenon to have come out this year. First being <a href="https://www.wionews.com/entertainment/lifestyle/news-kit-harington-sings-drops-of-jupiter-live-and-fans-are-loving-every-bit-of-it-405326">Kit Harington’s</a> clean-cut hairdo and Irish accent in it, of course.

<img alt="Kit Harington is suave in 'Modern Love 2'" data-entity-type="file" data-entity-uuid="6ccfc205-71e7-4d6d-a270-bbed34795c20" src="//cdn.wionews.com/sites/default/files/inline-images/pjimage%20-%202021-08-15T182234.760.jpg" /> 
Frankly, the route to ‘Modern Love 2’ is way more adventurous this time around. But, thankfully, certain intricacies stay intact. Say, for example, a strong commentary around the alarming topic of mental health and the need to normalize it. In episode six, ‘In the Waiting Room of Estranged Spouses’, a war veteran sees life as a battlefield and his spouse, a mission. Sure enough, both his family life and mental health take a major hit as he starts to conjure up ‘bad things’ in his mind. The track is aptly not so much about the love lane—although, heart wrenching—as it is about recognizing the problem in hand and addressing it. Garrett Hedlund internalizes the trauma-filled pride of a soldier, grappling with Post Traumatic Stress Disorder (PTSD) in this John Crowley directorial. Similarly, another lesser known yet widely experienced disorder that no one seems to be talking about, Delayed Sleep-Phase Syndrome, takes the centre stage in Zoe Chao’s episode two, ‘The Night Girl Finds A Day Boy’, love attack by Jesse Peretz. “In love with a vampire,” is a recurring comment that comes up frequently when a charmer-types falls in love with a man who is on nature’s clock, and she isn’t. To pass a judgment on these grave issues would be criminal, hence, the hard pass.&nbsp;

<img alt="Zoe Chao in episode two, ‘The Night Girl Finds A Day Boy’" data-entity-type="file" data-entity-uuid="c4992df8-d7b5-4581-b795-e967a31dbdfd" src="//cdn.wionews.com/sites/default/files/inline-images/pjimage%20-%202021-08-15T181833.708.jpg" />

 
If the title is ‘Modern Love’, can the different interpretations of it—in the times of Canva and Corona—stay far behind? Absolutely not! Two consecutive episodes, EP three and&nbsp;four, swing between the two extreme ends of love spectrum. One latches on to the ‘Before Sunset-y’ vibe, while the other is more along the lines on ‘Sex Education’: available on Amazon’s streaming rival, Netflix. Titled ‘Strangers On A (Dublin) Train’, two Irish poeple stumble upon one another on their way home for what is presumably a short, ‘stupid’ break. “The madness will be over soon (referring to the initial stages of lockdown,” says a suave Kit Harington, here seen as ad wiz Michael. The tomfoolery that we see in the face of adversity and unpredictability is almost cute. This third episode is the clichéd version of say-hello-to-medieval-romance and we have seen better, but, we will make do for two reasons: Kit Harington (there’s a ‘Game of Thrones’ joke in it, if you are looking) Irish-ness and the fact that we had all once tricked ourselves into believing that it will all be over soon. ‘A Life Plan For Two, Followed By One’ is, however, a different ballgame. There’s sex, jealousy, crass comedy and tongue waggling. The ‘Judas &amp; The Black Messiah’ star, Dominique Fisher, is a comedian feeding off rapper jokes. Fun, feisty, she just wants to be loved by her knight in shining armor. Her first love fails, like most first loves do. This Marta Cunningham production is quasi-modern. The comedy troupe works, love and friendship? Not so much!

<img alt="Dominique Fisher is a comedian who jokes about rappers in 'Modern Love 2'" data-entity-type="file" data-entity-uuid="57c0ac7c-3429-43cf-9541-626c9a3d11ec" src="//cdn.wionews.com/sites/default/files/inline-images/pjimage%20-%202021-08-15T182116.757.jpg" />

 
Episodes five and seven are deep dives into sexuality and identification of the ‘one’ who’s somewhere buried in layers of Instagram DMs and Tinder swipes. Andrew Rannells’ ‘How Do You Remember Me?’ has been plucked straight out of the media houses’ 2019-published book by the same name. Two people, one one-night stand, and tragedy befell. You see each other from across the road—years later—what are the odds of this happening in New York City? Still, it does. It’s the movies, duh! Marquis Rodriguez’s deep-set eyes, literally, moves the narrative forward. You know these secret lovers wouldn’t reunite or break into a long embrace after all that history, but you still want to wait it out, just in case. This one hits out of the park, at least for some. “Am I?... Maybe This Will Tell Me’ is about an outwardly confident-‘maybe’ bisexual kid whose go-to solution for real problems is the Holy Google. Tap, click, repeat. Celine Held &amp; Logan George’s story starts out well; full of promise, and then reduces into a short film that couldn’t cram in all its crucial plot points. That teenage rush, of wanting to learn to live more before living, withers away as flawed storytelling takes over.&nbsp;

<img alt="Of flings and one-night stands" data-entity-type="file" data-entity-uuid="7d1ffe7f-4aae-470f-bc79-579fcc21b184" src="//cdn.wionews.com/sites/default/files/inline-images/pjimage%20-%202021-08-15T181918.419.jpg" />

 
Trust ‘Modern love’ to treat you with a real sob fest, and it happens in the second installment, too—and this declaration comes from experience and sheer experience alone—with the modern-day Shakespearean-esque tragedies. The opening episode, ‘On a Serpentine Road, With the Top Down’, and the closing one pierce through your heart, as they were meant to. A disheveled Minnie Driver secretly pines for her dead first husband—she talks to him in his rundown car, and sniffs his sweater when no one’s watching—before, finally, bringing herself to sell his overbearing Stag. The agony of having loved and lost, and loved again, shines through Driver’s saggy skin and sad-looking eyes. This, and the finale episode, is inarguably the finest in ‘Modern Love 2’. Staying true to its essence, after all, ‘Modern Love’ is built on the foundation of faulty humans and troubled decisions, is ‘Second Embrace, With Hearts and Eyes Open’—the last one for this year. Sophie Okonedo’s amicably parted with her husband, while he is acing the ‘Best Daddy’ game, she seems to be ‘getting worse’. Despite the grin-able camaraderie, and a lot of hook-ups-between-exes, the climax leaves one with a sense of hopelessness—pretty much what we have been feeling all-year long, aren’t we?&nbsp;

<img alt="To love and lose, and love again: Minnie Driver in 'Modern Love 2'" data-entity-type="file" data-entity-uuid="b9380aa2-526b-43f9-82a7-8310e8cdd996" src="//cdn.wionews.com/sites/default/files/inline-images/pjimage%20-%202021-08-15T182317.846.jpg" />

 
The pulse of ‘Modern Love 2’ is a metaphor for amusement-park rides—this moment you are bawling over sappy love songs and romantic anecdotes, and the next is overridden by cringe. But, after a long-hard day, you need someone to sprinkle some hope &amp; confidence all over you. And if ‘Modern Love 2’ does that, so be it. After all, as uptight Spence comes to relealise in episode six, “Life never goes as per plan.”&nbsp;

<img alt="Please give love a second chance: The finale's a tearjerker" data-entity-type="file" data-entity-uuid="b964dfb7-638b-4591-8f6e-1c602e357151" src="//cdn.wionews.com/sites/default/files/inline-images/pjimage%20-%202021-08-15T182426.559.jpg" />

Imagine a new tide of modernity—coupled with humane undertones—taking over the ever-consuming Internet, the end product you are most likely to get is the textbook definition of The New York Times-meets-Amazon’s dangerously successful ‘Modern Love’ franchise.

Imagine a new tide of modernity—coupled with humane undertones—taking over the ever-consuming Internet, the end product you are most likely to get is the textbook definition of The New York Times-meets-Amazon’s dangerously successful ‘Modern Love’ franchise. After an uproarious entry into the digital space with its predecessor—Anne Hathaway has made us all cry, Dev Patel turned some into hopeless romantics—the second season of this part-book-part-column adaption had heightened the excitement (and expectations) for the digital populace so much so that it was the second most-anticipated phenomenon to have come out this year. First being Kit Harington’s clean-cut hairdo and Irish accent in it, of course. Frankly, the route to ‘Modern Love 2’ is way more adventurous this time around. But, thankfully, certain intricacies stay intact. Say, for example, a strong commentary around the alarming topic of mental health and the need to normalize it. In episode six, ‘In the Waiting Room of Estranged Spouses’, a war veteran sees life as a battlefield and his spouse, a mission. Sure enough, both his family life and mental health take a major hit as he starts to conjure up ‘bad things’ in his mind. The track is aptly not so much about the love lane—although, heart wrenching—as it is about recognizing the problem in hand and addressing it. Garrett Hedlund internalizes the trauma-filled pride of a soldier, grappling with Post Traumatic Stress Disorder (PTSD) in this John Crowley directorial. Similarly, another lesser known yet widely experienced disorder that no one seems to be talking about, Delayed Sleep-Phase Syndrome, takes the centre stage in Zoe Chao’s episode two, ‘The Night Girl Finds A Day Boy’, love attack by Jesse Peretz. “In love with a vampire,” is a recurring comment that comes up frequently when a charmer-types falls in love with a man who is on nature’s clock, and she isn’t. To pass a judgment on these grave issues would be criminal, hence, the hard pass. If the title is ‘Modern Love’, can the different interpretations of it—in the times of Canva and Corona—stay far behind? Absolutely not! Two consecutive episodes, EP three and four, swing between the two extreme ends of love spectrum. One latches on to the ‘Before Sunset-y’ vibe, while the other is more along the lines on ‘Sex Education’: available on Amazon’s streaming rival, Netflix. Titled ‘Strangers On A (Dublin) Train’, two Irish poeple stumble upon one another on their way home for what is presumably a short, ‘stupid’ break. “The madness will be over soon (referring to the initial stages of lockdown,” says a suave Kit Harington, here seen as ad wiz Michael. The tomfoolery that we see in the face of adversity and unpredictability is almost cute. This third episode is the clichéd version of say-hello-to-medieval-romance and we have seen better, but, we will make do for two reasons: Kit Harington (there’s a ‘Game of Thrones’ joke in it, if you are looking) Irish-ness and the fact that we had all once tricked ourselves into believing that it will all be over soon. ‘A Life Plan For Two, Followed By One’ is, however, a different ballgame. There’s sex, jealousy, crass comedy and tongue waggling. The ‘Judas & The Black Messiah’ star, Dominique Fisher, is a comedian feeding off rapper jokes. Fun, feisty, she just wants to be loved by her knight in shining armor. Her first love fails, like most first loves do. This Marta Cunningham production is quasi-modern. The comedy troupe works, love and friendship? Not so much! Episodes five and seven are deep dives into sexuality and identification of the ‘one’ who’s somewhere buried in layers of Instagram DMs and Tinder swipes. Andrew Rannells’ ‘How Do You Remember Me?’ has been plucked straight out of the media houses’ 2019-published book by the same name. Two people, one one-night stand, and tragedy befell. You see each other from across the road—years later—what are the odds of this happening in New York City? Still, it does. It’s the movies, duh! Marquis Rodriguez’s deep-set eyes, literally, moves the narrative forward. You know these secret lovers wouldn’t reunite or break into a long embrace after all that history, but you still want to wait it out, just in case. This one hits out of the park, at least for some. “Am I?... Maybe This Will Tell Me’ is about an outwardly confident-‘maybe’ bisexual kid whose go-to solution for real problems is the Holy Google. Tap, click, repeat. Celine Held & Logan George’s story starts out well; full of promise, and then reduces into a short film that couldn’t cram in all its crucial plot points. That teenage rush, of wanting to learn to live more before living, withers away as flawed storytelling takes over. Trust ‘Modern love’ to treat you with a real sob fest, and it happens in the second installment, too—and this declaration comes from experience and sheer experience alone—with the modern-day Shakespearean-esque tragedies. The opening episode, ‘On a Serpentine Road, With the Top Down’, and the closing one pierce through your heart, as they were meant to. A disheveled Minnie Driver secretly pines for her dead first husband—she talks to him in his rundown car, and sniffs his sweater when no one’s watching—before, finally, bringing herself to sell his overbearing Stag. The agony of having loved and lost, and loved again, shines through Driver’s saggy skin and sad-looking eyes. This, and the finale episode, is inarguably the finest in ‘Modern Love 2’. Staying true to its essence, after all, ‘Modern Love’ is built on the foundation of faulty humans and troubled decisions, is ‘Second Embrace, With Hearts and Eyes Open’—the last one for this year. Sophie Okonedo’s amicably parted with her husband, while he is acing the ‘Best Daddy’ game, she seems to be ‘getting worse’. Despite the grin-able camaraderie, and a lot of hook-ups-between-exes, the climax leaves one with a sense of hopelessness—pretty much what we have been feeling all-year long, aren’t we? The pulse of ‘Modern Love 2’ is a metaphor for amusement-park rides—this moment you are bawling over sappy love songs and romantic anecdotes, and the next is overridden by cringe. But, after a long-hard day, you need someone to sprinkle some hope & confidence all over you. And if ‘Modern Love 2’ does that, so be it. After all, as uptight Spence comes to relealise in episode six, “Life never goes as per plan.”

Modern Love 2 review: To humanity, with hope

Here’s the thing about teen bromance, coming-of-age tales that—despite the recycle-redeliver format that makers have been religiously following, and succeeding at—never loses its sheen: the sheer cuteness of it. Smooches &amp; crushes or not, ‘The Kissing Booth’ crushes at rendering that same (deep) sense of connectivity to its viewers. And maybe that’s why Netflix has renewed it for three films straight. Or, maybe that’s not it.&nbsp;

 
In a minute-long opening sequence, a chirpy Joey King (as Elle Evans) quickly dives back into the lives of the central characters—Jacob Elordi as Noah, Joel Courtney as Lee and of course, the life of the franchise, Joey King herself as Elle—and brings the loyalists up to speed. Call it dependence on the relatability factor that this munchkin of a film has been riding on for so long, but much hasn’t really changed in director Vince Marcello’s universe—Noah is just as chiseled and chummy, Lee’s forever drunk-on-love persona lingers on and Elle is still a people’s person. And, yes, the very handsome Marco (Taylor Zakhar Perez) is very much hankering after his unrequited love interest.&nbsp;

<img alt="vfhk,hjkmgfbds" data-entity-type="file" data-entity-uuid="a76031f0-622f-420a-a64c-572df10f4668" src="//cdn.wionews.com/sites/default/files/inline-images/pjimage%20-%202021-08-12T195618.210.jpg" />

 
So, what makes this latest installment a raging success, you may ask. The answer is, in fact, a counter question: why does the extension of a piece of visual literature have to be different from its predecessor in order to warm the cockles of your heart?&nbsp;

 
Staying true to the game, Vince Marcello doles out one Gen Z problem after another—which college is Elle going to choose? Will long distance work out for Rachel and Lee? And, what happens when Elle’s dad decides to find love? The helmer, tactfully, divides the movie into two parts—before interval, chaos and commotion, climax, full-circle solutions laced with nostalgia. While the first segment of this book adaptation may seem tepid and a tad bit all over the place, the second one more than makes up for the unevenness of how ‘The Kissing Booth 3’ kicks off.

<img alt="vfnfdvdscsax" data-entity-type="file" data-entity-uuid="ce2e2b69-a6a6-4cd9-89fc-b6b71eea49af" src="//cdn.wionews.com/sites/default/files/inline-images/pjimage%20-%202021-08-12T195739.941.jpg" />

 
Speaking of memories and nostalgia, two scenes are sure to resonate the most: first being an emotional Lee stroking the walls of his family beach home—up for sale, again, nostalgia—with paint and wells up while applying paint over the childhood height chart (that he had shared with Elle), and the other being when Elle pines for Noah to turn around for that stamp of confirmation: all is not lost between them, after all.&nbsp;

 
Some youth-centric films produce prodigies, others just faulty humans. This one is that.&nbsp;

<img alt="svgfv" data-entity-type="file" data-entity-uuid="d7d14943-f11d-496a-ba29-cfcfcab79da1" src="//cdn.wionews.com/sites/default/files/inline-images/pjimage%20-%202021-08-12T195820.808.jpg" />

 
What Lana Condor is to ‘To All The Boys’—again, a Netflix brainchild—Joey King is to ‘The Kissing Booth’ franchise: these names will stay synonymous with&nbsp;the genre, no matter who&nbsp;replaces them in the years to come. Likewise, Jacob Elordi’s restrained machismo and Joel Courtney’s boyish charm are meant to stick. It is unfair that Mrs. Flynn (Molly Ringwald), Elle’s Dad (Stephen Jennings) did not get a sizeable amount of screen space for their developing character tracks, but we, the viewers, will make do. Also, Maisie Richardson-Sellers as gorgeous arm candy Chloe loses the limelight between fights, insecurity-laden subtexts and stronger, more rounded characters.&nbsp;

<img alt="svfgngfbfd" data-entity-type="file" data-entity-uuid="371d2dec-b9c8-480c-b497-200a47dde740" src="//cdn.wionews.com/sites/default/files/inline-images/pjimage%20-%202021-08-12T195901.212.jpg" /> 
‘The Kissing Booth 3’ thrives on the mushiness of the people that it brings into your lives, and dilemmas they&nbsp;dodge along the way. Most certainly, it is one of those popular franchises that don’t need a substantial growth in terms of plotline for its viewers to like what it has to offer. One eye blink, one flick of hair—“Goodbye Summer” song in the background—and we are sold.&nbsp;

 
You are not sad that the makers are pulling the curtains on this one, you are sad that you won’t get to witness them grow old together.&nbsp;

<img alt="asvfdnhghnfdvxz" data-entity-type="file" data-entity-uuid="0b508db1-b4ed-4dd3-8553-0afb5a330526" src="//cdn.wionews.com/sites/default/files/inline-images/pjimage%20-%202021-08-12T195938.673.jpg" />

Here’s the thing about teen bromance, coming-of-age tales that—despite the recycle-redeliver format that makers have been religiously following, and succeeding at—never loses its sheen: the sheer cuteness of it.

Here’s the thing about teen bromance, coming-of-age tales that—despite the recycle-redeliver format that makers have been religiously following, and succeeding at—never loses its sheen: the sheer cuteness of it. Smooches & crushes or not, ‘The Kissing Booth’ crushes at rendering that same (deep) sense of connectivity to its viewers. And maybe that’s why Netflix has renewed it for three films straight. Or, maybe that’s not it. In a minute-long opening sequence, a chirpy Joey King (as Elle Evans) quickly dives back into the lives of the central characters—Jacob Elordi as Noah, Joel Courtney as Lee and of course, the life of the franchise, Joey King herself as Elle—and brings the loyalists up to speed. Call it dependence on the relatability factor that this munchkin of a film has been riding on for so long, but much hasn’t really changed in director Vince Marcello’s universe—Noah is just as chiseled and chummy, Lee’s forever drunk-on-love persona lingers on and Elle is still a people’s person. And, yes, the very handsome Marco (Taylor Zakhar Perez) is very much hankering after his unrequited love interest. So, what makes this latest installment a raging success, you may ask. The answer is, in fact, a counter question: why does the extension of a piece of visual literature have to be different from its predecessor in order to warm the cockles of your heart? Staying true to the game, Vince Marcello doles out one Gen Z problem after another—which college is Elle going to choose? Will long distance work out for Rachel and Lee? And, what happens when Elle’s dad decides to find love? The helmer, tactfully, divides the movie into two parts—before interval, chaos and commotion, climax, full-circle solutions laced with nostalgia. While the first segment of this book adaptation may seem tepid and a tad bit all over the place, the second one more than makes up for the unevenness of how ‘The Kissing Booth 3’ kicks off. Speaking of memories and nostalgia, two scenes are sure to resonate the most: first being an emotional Lee stroking the walls of his family beach home—up for sale, again, nostalgia—with paint and wells up while applying paint over the childhood height chart (that he had shared with Elle), and the other being when Elle pines for Noah to turn around for that stamp of confirmation: all is not lost between them, after all. Some youth-centric films produce prodigies, others just faulty humans. This one is that. What Lana Condor is to ‘To All The Boys’—again, a Netflix brainchild—Joey King is to ‘The Kissing Booth’ franchise: these names will stay synonymous with the genre, no matter who replaces them in the years to come. Likewise, Jacob Elordi’s restrained machismo and Joel Courtney’s boyish charm are meant to stick. It is unfair that Mrs. Flynn (Molly Ringwald), Elle’s Dad (Stephen Jennings) did not get a sizeable amount of screen space for their developing character tracks, but we, the viewers, will make do. Also, Maisie Richardson-Sellers as gorgeous arm candy Chloe loses the limelight between fights, insecurity-laden subtexts and stronger, more rounded characters. ‘The Kissing Booth 3’ thrives on the mushiness of the people that it brings into your lives, and dilemmas they dodge along the way. Most certainly, it is one of those popular franchises that don’t need a substantial growth in terms of plotline for its viewers to like what it has to offer. One eye blink, one flick of hair—“Goodbye Summer” song in the background—and we are sold. You are not sad that the makers are pulling the curtains on this one, you are sad that you won’t get to witness them grow old together.

The Kissing Booth 3 review: If hearts could somersault, this would be it

The MIFT team at Monsters Inc. has to break up with the vending machine—fondly called Vendy—as Mike (voice by Ben Feldman) has mistakenly broken it and now it wouldn’t dispose the much-needed energy drinks. Angry, agitated, his boss threatens to fire him if he doesn’t fix that one piece of item with the highest sentimental value in their office. How do they navigate this issue and get to the other side of things forms the crux of episode six of the ‘Monsters At Work’ story.

 
The most common trope in an animation film/ series—across various sub-genres—largely circles around the conflict-resolution format. And ‘Monsters At Work’ is headed in that direction. In terms of narrative, the episode six of this 10-part series is a replica of what has already been shown in the previous part, in essence, only with a different obstacle to overcome.

<img alt="FDHGFBXZCZXCXZ" data-entity-type="file" data-entity-uuid="3b8558ab-93c7-448f-9a3a-916706f3ff42" src="//cdn.wionews.com/sites/default/files/inline-images/pjimage%20%2811%29.jpg" /> 
Considering the freshness and element of nostalgia has started to lose its steam—this TV series is a sequel to a 20-year-old movie—we wonder what director Kaitlyn Ritter and supervising director Stephen J. Anderson have to offer going forward.

 
Also, the more interesting aspects of this visually enriched animation series have been mercilessly dropped, or so it seems—what happened to the school for training monsters to be jokesters? And, why is an ambitious Tyler still working a job he not-so-while-ago utterly despised? These underlying themes, introduced early on in the series, have been shoved in the backseat as the story progresses.&nbsp;

 
This episode, titled ‘The Vending Machine’, is a ho-hum version of feel-good animation work by an otherwise marvellous Pixar Animation Studios.&nbsp;

The MIFT team at Monsters Inc. has to break up with the vending machine—fondly called Vendy—as Mike (voice by Ben Feldman) has mistakenly broken it and now it wouldn’t dispose the much-needed energy drinks.

The MIFT team at Monsters Inc. has to break up with the vending machine—fondly called Vendy—as Mike (voice by Ben Feldman) has mistakenly broken it and now it wouldn’t dispose the much-needed energy drinks. Angry, agitated, his boss threatens to fire him if he doesn’t fix that one piece of item with the highest sentimental value in their office. How do they navigate this issue and get to the other side of things forms the crux of episode six of the ‘Monsters At Work’ story. The most common trope in an animation film/ series—across various sub-genres—largely circles around the conflict-resolution format. And ‘Monsters At Work’ is headed in that direction. In terms of narrative, the episode six of this 10-part series is a replica of what has already been shown in the previous part, in essence, only with a different obstacle to overcome. Considering the freshness and element of nostalgia has started to lose its steam—this TV series is a sequel to a 20-year-old movie—we wonder what director Kaitlyn Ritter and supervising director Stephen J. Anderson have to offer going forward. Also, the more interesting aspects of this visually enriched animation series have been mercilessly dropped, or so it seems—what happened to the school for training monsters to be jokesters? And, why is an ambitious Tyler still working a job he not-so-while-ago utterly despised? These underlying themes, introduced early on in the series, have been shoved in the backseat as the story progresses. This episode, titled ‘The Vending Machine’, is a ho-hum version of feel-good animation work by an otherwise marvellous Pixar Animation Studios.

‘Monsters At Work’ S1, EP 6 review: Same trope, stuck in a loop!

Fossil Gen 5E: Rs 18,495&nbsp;

<table aria-rowcount="2" border="1" data-tablelook="1696" data-tablestyle="MsoTableGrid">
	<tbody>
		<tr aria-rowindex="1" role="row">
			<td data-celllook="0" role="rowheader">
			&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;Pros&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
			</td>
			<td data-celllook="0" role="columnheader">
			&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Cons&nbsp;
			</td>
		</tr>
		<tr aria-rowindex="2" role="row">
			<td data-celllook="0" role="rowheader">
			<ul role="list">
				<li aria-setsize="-1" data-aria-level="1" data-aria-posinset="1" data-font="Symbol" data-leveltext="" data-listid="1" role="listitem">
				Great buy under Rs 20,000&nbsp;
				</li>
				<li aria-setsize="-1" data-aria-level="1" data-aria-posinset="2" data-font="Symbol" data-leveltext="" data-listid="1" role="listitem">
				Looks premium&nbsp;
				</li>
				<li aria-setsize="-1" data-aria-level="1" data-aria-posinset="3" data-font="Symbol" data-leveltext="" data-listid="1" role="listitem">
				Great user interface&nbsp;
				</li>
				<li aria-setsize="-1" data-aria-level="1" data-aria-posinset="4" data-font="Symbol" data-leveltext="" data-listid="1" role="listitem">
				Smaller size (42mm) available&nbsp;
				</li>
			</ul>
			</td>
			<td data-celllook="0">
			<ul role="list">
				<li aria-setsize="-1" data-aria-level="1" data-aria-posinset="1" data-font="Symbol" data-leveltext="" data-listid="1" role="listitem">
				No SPO2 sensor&nbsp;
				</li>
			</ul>
			</td>
		</tr>
	</tbody>
</table>

&nbsp;

Have you noticed people's wrists lately? Expensive wristwatches and jewellery have been replaced by trendy, functional smartwatches and fitness bands. Gone are the days when a high-end timepiece or sparkling diamonds were highly coveted. Now, the sparkle has been replaced by the little 'foot' as I call it. Everyone is tracking steps!&nbsp;

In a market brimming with options for all wallets, Fossil offers its Gen 5E smartwatch, the newest addition to its Gen 5 smartwatches. The company says it's more "affordable" at Rs 18,495. While this is more expensive than what plenty of other brands are offering under Rs 10,000, let’s see if this new watch is a bang for your buck.&nbsp;

How does it look?&nbsp;

No one is going to buy a watch that promises the world but looks clunky on the wrist. The Fossil Gen 5E comes in two sizes, 44mm and 42mm. I strapped on the 42mm with the delicate pink strap. The bling encircling the crown will add a nice touch only if you're into bling, else stop reading this review because if you're not a bling-lover, you won't be interested in this watch.&nbsp;

The 1.19-inch AMOLED touchscreen offers plenty of real estate to view notifications and the display leaves no room for complaints, even in bright daylight. What I did miss was the rotating crown found in more expensive Fossil smartwatches. &nbsp;

What I do love are the slim bezels, which give it the looks of a premium watch. It's light and easy to strap on and won't weigh your wrist down.&nbsp;

Pro tip: if you're going to use it during workout, ditch the fancy metal straps and opt for silicone straps which you will have to buy separately. Perhaps, the brand should've thrown in a pair in the box?&nbsp;

How does it perform?&nbsp;

Before I get into a nauseating list of features and specifications, let’s be frank, you'll be using this to track fitness and health metrics along with some notifications because that's what most smartwatch users do. The processor here is a slightly older one from Snapdragon possibly to save costs and that doesn't always have to be a bad thing. The watch is responsive and quick in performing most tasks without any lag. The user interface is easy to get accustomed to ONLY AND ONLY IF you're a Google WearOS user.&nbsp;

As someone, who is hooked to her Apple Watch perpetually, I did face some issues in shifting to Google WearOS but given the huge price difference between iOS and WearOS gadgets, one can't complain.&nbsp;

What I found lacking surprisingly in the age of COVID-19, was the lack of an SPO2 or blood-oxygen sensor. At nearly Rs 19,000, Fossil should have added this feature to its bag of offerings.&nbsp;

Can you track your fitness goals?&nbsp;

Well, if you're particular about hitting that 10K step count, daily activity can be tracked easily. But remember this, no matter which smartwatch you strap on, always underestimate the step count! You will need to sync the watch with the Google Fit app for a curated health analysis featuring sleep metrics, heart rate, cardio health, and step count.&nbsp;

Is the watch independent of the smartphone? Yes and no. You can receive calls on the watch but the sound quality isn't great.&nbsp;

Here's some good news -- this watch is splash-proof so, feel free to go for a run in the rain with it.&nbsp;

How long will it last?&nbsp;

Fossil doesn't say much about the watch's battery life except that it comes with smart battery modes to extend the watch's use. So, like all smartwatches, it will depend on your use. I wear my smartwatch from the moment I wake up to the time I hit the snooze button. So, for me, the watch lasted for around 10 hours, which is in line with expectations at this price point. Of course, it could have been better.&nbsp;

Is the Fossil Gen 5E for you?&nbsp;

If you're a Google WearOS user and are looking for a good-looking smartwatch under Rs 20,000, then the Fossil Gen 5E offers plenty of features without putting an extra burden on your wallet. However, at this price point, the SPO2 sensor is a must and the watch misses out on that. But if that's not something you need, then this watch looks premium and is a great addition on your wrist.&nbsp;

Fossil Gen 5E Specifications&nbsp;

<ul>
	<li>Qualcomm Snapdragon 3100 processor&nbsp;</li>
	<li>Powered by Google Wearos&nbsp;</li>
	<li>4 GB storage&nbsp;</li>
	<li>1 GB RAM&nbsp;</li>
	<li>300 mAh battery&nbsp;</li>
	<li>Water-resistant up to 3ATM&nbsp;</li>
</ul>

Fossil Gen 5E: Rs 18,495 Pros Cons Great buy under Rs 20,000 Looks premium Great user interface Smaller size (42mm) available No SPO2 sensor Have you noticed people's wrists lately?

Fossil Gen 5E: Rs 18,495 Pros Cons Great buy under Rs 20,000 Looks premium Great user interface Smaller size (42mm) available No SPO2 sensor Have you noticed people's wrists lately? Expensive wristwatches and jewellery have been replaced by trendy, functional smartwatches and fitness bands. Gone are the days when a high-end timepiece or sparkling diamonds were highly coveted. Now, the sparkle has been replaced by the little 'foot' as I call it. Everyone is tracking steps! In a market brimming with options for all wallets, Fossil offers its Gen 5E smartwatch, the newest addition to its Gen 5 smartwatches. The company says it's more "affordable" at Rs 18,495. While this is more expensive than what plenty of other brands are offering under Rs 10,000, let’s see if this new watch is a bang for your buck. How does it look? No one is going to buy a watch that promises the world but looks clunky on the wrist. The Fossil Gen 5E comes in two sizes, 44mm and 42mm. I strapped on the 42mm with the delicate pink strap. The bling encircling the crown will add a nice touch only if you're into bling, else stop reading this review because if you're not a bling-lover, you won't be interested in this watch. The 1.19-inch AMOLED touchscreen offers plenty of real estate to view notifications and the display leaves no room for complaints, even in bright daylight. What I did miss was the rotating crown found in more expensive Fossil smartwatches. What I do love are the slim bezels, which give it the looks of a premium watch. It's light and easy to strap on and won't weigh your wrist down. Pro tip: if you're going to use it during workout, ditch the fancy metal straps and opt for silicone straps which you will have to buy separately. Perhaps, the brand should've thrown in a pair in the box? How does it perform? Before I get into a nauseating list of features and specifications, let’s be frank, you'll be using this to track fitness and health metrics along with some notifications because that's what most smartwatch users do. The processor here is a slightly older one from Snapdragon possibly to save costs and that doesn't always have to be a bad thing. The watch is responsive and quick in performing most tasks without any lag. The user interface is easy to get accustomed to ONLY AND ONLY IF you're a Google WearOS user. As someone, who is hooked to her Apple Watch perpetually, I did face some issues in shifting to Google WearOS but given the huge price difference between iOS and WearOS gadgets, one can't complain. What I found lacking surprisingly in the age of COVID-19, was the lack of an SPO2 or blood-oxygen sensor. At nearly Rs 19,000, Fossil should have added this feature to its bag of offerings. Can you track your fitness goals? Well, if you're particular about hitting that 10K step count, daily activity can be tracked easily. But remember this, no matter which smartwatch you strap on, always underestimate the step count! You will need to sync the watch with the Google Fit app for a curated health analysis featuring sleep metrics, heart rate, cardio health, and step count. Is the watch independent of the smartphone? Yes and no. You can receive calls on the watch but the sound quality isn't great. Here's some good news -- this watch is splash-proof so, feel free to go for a run in the rain with it. How long will it last? Fossil doesn't say much about the watch's battery life except that it comes with smart battery modes to extend the watch's use. So, like all smartwatches, it will depend on your use. I wear my smartwatch from the moment I wake up to the time I hit the snooze button. So, for me, the watch lasted for around 10 hours, which is in line with expectations at this price point. Of course, it could have been better. Is the Fossil Gen 5E for you? If you're a Google WearOS user and are looking for a good-looking smartwatch under Rs 20,000, then the Fossil Gen 5E offers plenty of features without putting an extra burden on your wallet. However, at this price point, the SPO2 sensor is a must and the watch misses out on that. But if that's not something you need, then this watch looks premium and is a great addition on your wrist. Fossil Gen 5E Specifications Qualcomm Snapdragon 3100 processor Powered by Google Wearos 4 GB storage 1 GB RAM 300 mAh battery Water-resistant up to 3ATM

Fossil's new smartwatch review: Bang for your buck?

What do ‘Leap Year’, ‘P.S. I Love You’, the ‘Before’ trilogy and ever other Western travelogue-meet cute have as that one constant, primary element which&nbsp;is of Himalayan importance to the narrative? A gorgeous pair with a socket-plug dynamic! More on that as we move along.

 
Sadly, romcom queen Christina Milian—who knocked us off with her daring ‘American Pie’ way back in 1999, and warmed the cockles of our hearts with the more recent ‘Falling Inn Love’—cherrypicks this Alicia Keys-produced Netflix release with the hopes of regaining her superstardom in the mush-machine aka romance genre. But, her character—Erika Wilson, a struggling musician with a broken heart to nurse—only knows the language of wallowing&nbsp;in self-pity: over lost love, and a career that never really takes off. Erika’s dilemma over life choices and an insatiable need to please people is insufferable.&nbsp;

<img alt="CDFNJGBZXV" data-entity-type="file" data-entity-uuid="c4f5d553-816f-496a-8d4e-48714648e123" src="//cdn.wionews.com/sites/default/files/inline-images/pjimage%20%2844%29.jpg" />

 
Perhaps, Milian and the rest of the team already had an inkling as to what a tepid, troublesome ride they had hopped on for, and maybe that is exactly why the costumes’ department tried overcompensating for the former: like a lot! It also helps that the central character moves to the tropical island of Mauritius for a shot at live singing via an expensive resort. As fate would have it, Erika stumbles upon her former fiancée, Jason (Jay Pharoah)—the cause of her heartache, the reason this flick is titled ‘Resort To Love’, get it? The concoction of it all serves this as the end product: attractive bikini-clad women, chiselled &amp; bare-chested gorgeous men, tall trees and wild bushes, mojitos &amp; margaritas, layered necklaces and sky-high heels... what’s not to love, no? Wrong!

 
Given, writers Tabi McCartney and Dana Schmalenberg are well-meaning champions of social and artistic change. And, they are rightly advocating an egalitarian representation in an otherwise whitewashed Hollywood—all the characters, including the secondary cast and junior artists, are people of colour—but the film’s shoddy execution was director Steven K. Tsuchida’s brainchild. In that sense, this one’s on him.&nbsp;

<img alt="ADDHNCXC" data-entity-type="file" data-entity-uuid="c8d257d0-0b2c-4e82-b08e-a235219f93bf" src="//cdn.wionews.com/sites/default/files/inline-images/pjimage%20%2843%29.jpg" />

 
From the classic clichés like grand gestures of love at the beach to establishing a believable—if not legendary—rapport between the primary cast, this helmer has crashed in an epic fashion, on so many levels, in the utopian land of love.

 
‘Resort To Love’ not only reeks of un-roundedness, but is also guilty of borrowing the major romance tropes from here and there. Yet, it is neither fully romantic, nor a proper comedy.

 
We hate to break it to Jay Pharoah, but he blew the role of Jason and the insecurities he was entrusted with (for dramatic effect?) to portray on screen, look steely; misfired. Milian tries to stay agile and chirpy and help this sinking ship sail with her charm and candour, but that was just not enough. Not this time. T.J. Power was massively underutilised and his track, largely forgotten. For someone who plays an Australian ex-pat settling in Mauritius for a local girl and taking up odd jobs to buy a home someday... his character arch could have been (and should have been) explored beyond just a scratch-on-the-surface nod.&nbsp;

 
Like we have already mentioned, cinematographer Greg Gardiner has rendered a splendid, posh and aesthetically rich vibe to the plotline with his wide-angles and close-ups. So has costume designer Danielle Hollowell; the tropical dressing you get to see in this flick is every fashionista’s paradise.&nbsp;

<img alt="vfjghsddsfhgfsa" data-entity-type="file" data-entity-uuid="b2e5834c-79c1-41be-81b4-67fa24df7630" src="//cdn.wionews.com/sites/default/files/inline-images/pjimage%20%2841%29_0.jpg" /> 
Yes, music constitutes about 2/3rd of ‘Resort To Love’—the ‘Unbreak My Heart’ and ‘Irreplaceable’ suggestions for a wedding; both break-up songs, were&nbsp;hilarious—but this film should not trick you into believing Christiana Milian’s Hilary Swank from ‘P.S. I Love You’: her character is not even the unfriendly Sloane from ‘Holidate’, another Netflix debacle.&nbsp;

 
‘Resort to Love’ most certainly had the locales and star cast to up the ante and take a progressive step towards AfroRomance that could have set a precedent for others to follow. But, no, it had to be the “Sex &nbsp;and the City’ of romcoms sans the chemistry, or a doable script. Christina Milian, you deserve better!

<img alt="vfhghgffdbvdv" data-entity-type="file" data-entity-uuid="68ed3cb5-dd9a-43ad-9373-99ed2d1588ee" src="//cdn.wionews.com/sites/default/files/inline-images/pjimage%20%2845%29_0.jpg" />

What do ‘Leap Year’, ‘P.S. I Love You’, the ‘Before’ trilogy and ever other Western travelogue-meet cute have as that one constant, primary element which is of Himalayan importance to the narrative?

What do ‘Leap Year’, ‘P.S. I Love You’, the ‘Before’ trilogy and ever other Western travelogue-meet cute have as that one constant, primary element which is of Himalayan importance to the narrative? A gorgeous pair with a socket-plug dynamic! More on that as we move along. Sadly, romcom queen Christina Milian—who knocked us off with her daring ‘American Pie’ way back in 1999, and warmed the cockles of our hearts with the more recent ‘Falling Inn Love’—cherrypicks this Alicia Keys-produced Netflix release with the hopes of regaining her superstardom in the mush-machine aka romance genre. But, her character—Erika Wilson, a struggling musician with a broken heart to nurse—only knows the language of wallowing in self-pity: over lost love, and a career that never really takes off. Erika’s dilemma over life choices and an insatiable need to please people is insufferable. Perhaps, Milian and the rest of the team already had an inkling as to what a tepid, troublesome ride they had hopped on for, and maybe that is exactly why the costumes’ department tried overcompensating for the former: like a lot! It also helps that the central character moves to the tropical island of Mauritius for a shot at live singing via an expensive resort. As fate would have it, Erika stumbles upon her former fiancée, Jason (Jay Pharoah)—the cause of her heartache, the reason this flick is titled ‘Resort To Love’, get it? The concoction of it all serves this as the end product: attractive bikini-clad women, chiselled & bare-chested gorgeous men, tall trees and wild bushes, mojitos & margaritas, layered necklaces and sky-high heels... what’s not to love, no? Wrong! Given, writers Tabi McCartney and Dana Schmalenberg are well-meaning champions of social and artistic change. And, they are rightly advocating an egalitarian representation in an otherwise whitewashed Hollywood—all the characters, including the secondary cast and junior artists, are people of colour—but the film’s shoddy execution was director Steven K. Tsuchida’s brainchild. In that sense, this one’s on him. From the classic clichés like grand gestures of love at the beach to establishing a believable—if not legendary—rapport between the primary cast, this helmer has crashed in an epic fashion, on so many levels, in the utopian land of love. ‘Resort To Love’ not only reeks of un-roundedness, but is also guilty of borrowing the major romance tropes from here and there. Yet, it is neither fully romantic, nor a proper comedy. We hate to break it to Jay Pharoah, but he blew the role of Jason and the insecurities he was entrusted with (for dramatic effect?) to portray on screen, look steely; misfired. Milian tries to stay agile and chirpy and help this sinking ship sail with her charm and candour, but that was just not enough. Not this time. T.J. Power was massively underutilised and his track, largely forgotten. For someone who plays an Australian ex-pat settling in Mauritius for a local girl and taking up odd jobs to buy a home someday... his character arch could have been (and should have been) explored beyond just a scratch-on-the-surface nod. Like we have already mentioned, cinematographer Greg Gardiner has rendered a splendid, posh and aesthetically rich vibe to the plotline with his wide-angles and close-ups. So has costume designer Danielle Hollowell; the tropical dressing you get to see in this flick is every fashionista’s paradise. Yes, music constitutes about 2/3rd of ‘Resort To Love’—the ‘Unbreak My Heart’ and ‘Irreplaceable’ suggestions for a wedding; both break-up songs, were hilarious—but this film should not trick you into believing Christiana Milian’s Hilary Swank from ‘P.S. I Love You’: her character is not even the unfriendly Sloane from ‘Holidate’, another Netflix debacle. ‘Resort to Love’ most certainly had the locales and star cast to up the ante and take a progressive step towards AfroRomance that could have set a precedent for others to follow. But, no, it had to be the “Sex and the City’ of romcoms sans the chemistry, or a doable script. Christina Milian, you deserve better!

‘Resort To Love’ review: Survives only on sass and scenes

Personal commitment means the chirpy supervisor—Fritz (voice by Henry Winkler)—in the MIFT department of Monsters Inc. must spend the next two weeks under the strict, and at times conniving, watch of his temp replacement, Duncan (voice by Lucas Neff).&nbsp;

 
The team falters under his guidance and there’s a blackout, prompting MERF—a regulatory body—employee Mr. Blinks has come for a thorough inspection: shut down or management change? What will his report say?&nbsp;

 
Called ‘The Cover Up’, the tone of this fifth episode is more along series (corporate-y) lines and all the fun and games one gets to experience in the first four parts, suddenly vanishes. Val (voice by Mindy Kaling), Tyler (voice by Ben Feldman) and even Duncan mean business and do everything in their capacity to keep the inspector from calling their mistakes out.&nbsp;

 
Frankly, the episode is a complete U Turn from its feel-good predecessors and provides very minimal visual relief as far as lightening the mood goes—the whole episode is based out of a dingy office floor.

 
However, Pixar’s done one lesson right through ‘The Cover Up’—teach kids the value of team spirit and how not to be a snitch. Just come to work, mingle and ‘cha-cha the night away!’&nbsp;

'Monsters At Work' episode 5 is streaming on Disney + Hotstar.

Personal commitment means the chirpy supervisor—Fritz (voice by Henry Winkler)—in the MIFT department of Monsters Inc. must spend the next two weeks under the strict, and at times conniving, watch of his temp replacement, Duncan (voice by Lucas Neff).

Personal commitment means the chirpy supervisor—Fritz (voice by Henry Winkler)—in the MIFT department of Monsters Inc. must spend the next two weeks under the strict, and at times conniving, watch of his temp replacement, Duncan (voice by Lucas Neff). The team falters under his guidance and there’s a blackout, prompting MERF—a regulatory body—employee Mr. Blinks has come for a thorough inspection: shut down or management change? What will his report say? Called ‘The Cover Up’, the tone of this fifth episode is more along series (corporate-y) lines and all the fun and games one gets to experience in the first four parts, suddenly vanishes. Val (voice by Mindy Kaling), Tyler (voice by Ben Feldman) and even Duncan mean business and do everything in their capacity to keep the inspector from calling their mistakes out. Frankly, the episode is a complete U Turn from its feel-good predecessors and provides very minimal visual relief as far as lightening the mood goes—the whole episode is based out of a dingy office floor. However, Pixar’s done one lesson right through ‘The Cover Up’—teach kids the value of team spirit and how not to be a snitch. Just come to work, mingle and ‘cha-cha the night away!’ 'Monsters At Work' episode 5 is streaming on Disney + Hotstar.

‘Monsters At Work’ S1, EP5 review: Who stay close when trouble ensues?

What can one say—correction; what ‘new’ can one say—about love that hasn’t already been said before in cinema? Director Augustine Frizzell’s visual adaptation of Jojo Moyes’ book by the same name goes on to defy the various logic-of-love ideologies sticking to the ever-elusive concept of love—one “rich in emotions” letter at a time.&nbsp;

<img alt="A love saga that's filled with passion" data-entity-type="file" data-entity-uuid="8b2291c3-8ac3-4186-b6e8-990b211c8708" src="//cdn.wionews.com/sites/default/files/inline-images/pjimage%20%28100%29.jpg" />

‘La Piscine’, ‘Juene &amp; Julie’, beloved Woody Allen’s ‘magic In The Moonlight’ and many&nbsp;iconic films have their origins engrained in the Mediterranean coastline of France—The French Riviera. Naturally, Frizzell’s love saga has stiff competition standing on its path and a story, all too common. Two young but dejected-in-love Englishmen meet on a sunny morning—a cocky yet admirable financial journalist, Anthony O’Hare (Callum Turner), is besotted by Mrs. Jenny Stirlings’ (Shailene Woodley) undaunted frankness about her life and knowledge of the worldly ways, and Jenny, taken aback by his shameless belittlement of her high-brow British life and a successful but petty&nbsp;husband, Larry (Joe Alwyn). “My wife considers anything not in the pages of Vogue unworthy of her time and attention,” he patronizes the wife.&nbsp;

 
Nonetheless, the ‘illicit' romantics'&nbsp;burning chemistry and suppressed desires could fill up a room in smoke &amp; fires. But, in 1965, ‘adulteress’ women are disowned by their near and dear ones—regardless of the circumstances under which one might&nbsp;have ‘sinned’.

<img alt="A love saga dripped in passion" data-entity-type="file" data-entity-uuid="f8a8c4a1-9629-464a-9900-28e44a55336d" src="//cdn.wionews.com/sites/default/files/inline-images/pjimage%20-%202021-07-25T200442.913.jpg" />

 
Bygone decades may have perished what could very well pass as youthful exuberance but an eager journalist with The London Tribune, Ellie Haworth (Felicity Jones), in 2017, stumbles over the exchanged love letters by fluke. Curious, almost obsessed, Ellie vows to trace the two, their story, their post office boxes, and possibly, help them reunite. If they haven’t already.&nbsp;

 
Some films are helmed by perfectionists and hence, each frame we see on the big canvas is staged and rehearsed, while others go with the flow. This one is inclined towards&nbsp;the latter. The setting is split into two halves, two timelines—one parked in wartime and mayhem with elitism at its heart, and the other, in the contemporary ‘WhatsApp’ and ‘ghosting’ world. ‘The Last Letter From Your Lover’ bounces back and forth between these two timelines, only to converge in the end. Frizzell may lose the initial charm rendered by the butterflies-in-your-stomach, maple-leaves-in-my-hair type of art direction, but he resurrects the script with his leads'&nbsp;aid. “Marylebone station, Friday, at 7:15 pm. I will wait for you,”—the maker’s flirting with the element of intrigue convinces us—the viewers—to stay hooked till the sun goes down on this one.&nbsp;

<img alt="The film is based on a best-selling book by the same name" data-entity-type="file" data-entity-uuid="31395f09-b63c-420a-8f15-59a1fe6895a6" src="//cdn.wionews.com/sites/default/files/inline-images/pjimage%20-%202021-07-25T200603.000.jpg" />

Call it habituality, but Shailene Woodley naturally beefs our expectations up, especially when she is headlining a woman-hopelessly-in-love saga on screen. Has ‘The Fault In Our Stars’ rendition spoilt us a bit too much? Maybe. In her expensive-looking fedoras, satin-smooth dresses, through her winged eyeliner and kohl-rimmed eyes, Shailene Woodley speaks a thousand emotions a mile. It also helps that her camaraderie with the suave and sexy Callum Turner translates on screen in a fashion prerequisite for a love story, substantially&nbsp;of the primitive kind. In the world of romance, they are Yin and Yang.&nbsp;

 
Felicity Jones is earnest in being an emotionally bankrupt workaholic sprinkling specks of modernity all over the script, for authenticity’s sake, perhaps. However, she seems out of it—more so in the second half. Her partner-in-crime Rory (Nabhaan Rizwan) is amicable as the needy, nerdy archivist. If they are the catalyst for the big reveal, then they have done their job right.

<img alt="Felicity Jones and Nabhaan Rizwan share a moment" data-entity-type="file" data-entity-uuid="645e811f-d991-4a11-9c3a-4e6ec7b94b5e" src="//cdn.wionews.com/sites/default/files/inline-images/pjimage%20-%202021-07-25T200522.734.jpg" />

Other than the clothes and bouffant hair, ‘The Last Letter From Your Lover’ deserves a shoutout for capturing the essence of that long-lost&nbsp;era through music. From Nancy Sinatra’s ‘Summer Wine’ to ‘Johnny Boy’ by Melanie, the heart and soul of the late 60s is locked up in these timeless pieces; all retrieved—in their crude form—for this retelling of old-school love.

 
‘The Last Letter From Your Lover’ may get whiplashed for lack of originality, and even schooled for not having brought in newer forms of expression in this done-to-death genre. But, hey, some movies are all heart and this one’s that. Like Anthony "Boot"&nbsp;O’Hare says, “… you have my heart in your hands.” So, come… fall in love!&nbsp; 
&nbsp;

'The Last Letter From Your Lover' is streaming on Netflix.&nbsp;

What can one say—correction; what ‘new’ can one say—about love that hasn’t already been said before in cinema? Director Augustine Frizzell’s visual adaptation of Jojo Moyes’ book by the same name goes on to defy the various logic-of-love ideologies sticking to the ever-elusive concept of love—one “rich in emotions” letter at a time.

What can one say—correction; what ‘new’ can one say—about love that hasn’t already been said before in cinema? Director Augustine Frizzell’s visual adaptation of Jojo Moyes’ book by the same name goes on to defy the various logic-of-love ideologies sticking to the ever-elusive concept of love—one “rich in emotions” letter at a time. ‘La Piscine’, ‘Juene & Julie’, beloved Woody Allen’s ‘magic In The Moonlight’ and many iconic films have their origins engrained in the Mediterranean coastline of France—The French Riviera. Naturally, Frizzell’s love saga has stiff competition standing on its path and a story, all too common. Two young but dejected-in-love Englishmen meet on a sunny morning—a cocky yet admirable financial journalist, Anthony O’Hare (Callum Turner), is besotted by Mrs. Jenny Stirlings’ (Shailene Woodley) undaunted frankness about her life and knowledge of the worldly ways, and Jenny, taken aback by his shameless belittlement of her high-brow British life and a successful but petty husband, Larry (Joe Alwyn). “My wife considers anything not in the pages of Vogue unworthy of her time and attention,” he patronizes the wife. Nonetheless, the ‘illicit' romantics' burning chemistry and suppressed desires could fill up a room in smoke & fires. But, in 1965, ‘adulteress’ women are disowned by their near and dear ones—regardless of the circumstances under which one might have ‘sinned’. Bygone decades may have perished what could very well pass as youthful exuberance but an eager journalist with The London Tribune, Ellie Haworth (Felicity Jones), in 2017, stumbles over the exchanged love letters by fluke. Curious, almost obsessed, Ellie vows to trace the two, their story, their post office boxes, and possibly, help them reunite. If they haven’t already. Some films are helmed by perfectionists and hence, each frame we see on the big canvas is staged and rehearsed, while others go with the flow. This one is inclined towards the latter. The setting is split into two halves, two timelines—one parked in wartime and mayhem with elitism at its heart, and the other, in the contemporary ‘WhatsApp’ and ‘ghosting’ world. ‘The Last Letter From Your Lover’ bounces back and forth between these two timelines, only to converge in the end. Frizzell may lose the initial charm rendered by the butterflies-in-your-stomach, maple-leaves-in-my-hair type of art direction, but he resurrects the script with his leads' aid. “Marylebone station, Friday, at 7:15 pm. I will wait for you,”—the maker’s flirting with the element of intrigue convinces us—the viewers—to stay hooked till the sun goes down on this one. Call it habituality, but Shailene Woodley naturally beefs our expectations up, especially when she is headlining a woman-hopelessly-in-love saga on screen. Has ‘The Fault In Our Stars’ rendition spoilt us a bit too much? Maybe. In her expensive-looking fedoras, satin-smooth dresses, through her winged eyeliner and kohl-rimmed eyes, Shailene Woodley speaks a thousand emotions a mile. It also helps that her camaraderie with the suave and sexy Callum Turner translates on screen in a fashion prerequisite for a love story, substantially of the primitive kind. In the world of romance, they are Yin and Yang. Felicity Jones is earnest in being an emotionally bankrupt workaholic sprinkling specks of modernity all over the script, for authenticity’s sake, perhaps. However, she seems out of it—more so in the second half. Her partner-in-crime Rory (Nabhaan Rizwan) is amicable as the needy, nerdy archivist. If they are the catalyst for the big reveal, then they have done their job right. Other than the clothes and bouffant hair, ‘The Last Letter From Your Lover’ deserves a shoutout for capturing the essence of that long-lost era through music. From Nancy Sinatra’s ‘Summer Wine’ to ‘Johnny Boy’ by Melanie, the heart and soul of the late 60s is locked up in these timeless pieces; all retrieved—in their crude form—for this retelling of old-school love. ‘The Last Letter From Your Lover’ may get whiplashed for lack of originality, and even schooled for not having brought in newer forms of expression in this done-to-death genre. But, hey, some movies are all heart and this one’s that. Like Anthony "Boot" O’Hare says, “… you have my heart in your hands.” So, come… fall in love! 'The Last Letter From Your Lover' is streaming on Netflix.

‘The Last Letter From Your Lover’ review: That elusive thing called love

Big boss Mike Wazowski (voice by Bily Crystal) makes a small mistake and is now huffing and puffing at the office floor. Irate with all the paperwork that’s pushed down his throat, in a moment of weakness, Mike challenges his arch nemesis Gary (voice by Gabriel Iglesias) to a bowling face-off at the upcoming Bowl-off-a-thon at Monsters Inc. Only hindrance? He neither knows how to throw a ball nor does he know anyone who does.

 
Meanwhile, Tyler Tuskman (voice by Ben Feldman) is desperate to move away from the <a href="https://www.wionews.com/entertainment/hollywood/news-monsters-at-work-s1-ep-1--2-review-tussle-between-the-monster-and-jokester-within-396666">MIFT team</a> and ‘get in good’ with his boss, Mike, with the hope that the latter would finally promote him to the role of a jokester. Mike’s in a limbo, Tyler finds the perfect pitch to impress. What happens next—leading up to the Bowl-off-a-thon tournament—constitutes the rest of this 22-minute long episode, titled ‘The Big Wazowskis’

<img alt="Tyler and Val: a couple in the making?" data-entity-type="file" data-entity-uuid="86fc7e43-a7f5-485f-8426-9201a8621dd5" src="//cdn.wionews.com/sites/default/files/inline-images/pjimage%20%2839%29_1.jpg" />

Kaitlyn Ritter’s approach towards this episode is of heightening the drama: she focuses more on the preparation revolving around the face-off than the main event itself. Through blink-and-you-miss-it jokes and the power of animation, Ritter makes you one and all roll on the floor… literally!&nbsp;

‘The Big Wazowskis’ also serves as a behavioral insight into office politics, the innate quality of betrayal humans posses—brought to light through the eyes of cutesy creatures like ‘No Gutter Cutter’ and ‘No Splitz Fritz’—all the while staying true to its central theme: of love and laughter.&nbsp;

Unlike <a href="https://www.wionews.com/entertainment/hollywood/news-monsters-at-work-s1-ep-3-review-of-love-and-human-connections-398229">episode three</a>, the Monsters Inc. team deviates from high-octane emotions. Instead, the off-beat gang exhibits team spirit with panache as they vow to win the competition for their boss by ‘stinking their way to victory’.&nbsp;

<img alt="From being monsters to jokesters" data-entity-type="file" data-entity-uuid="b1222978-a2bd-4232-ba54-9d37bf468528" src="//cdn.wionews.com/sites/default/files/inline-images/Monsters%20at%20work%20cover.jpg" /> 
&nbsp;

Big boss Mike Wazowski (voice by Bily Crystal) makes a small mistake and is now huffing and puffing at the office floor. Irate with all the paperwork that’s pushed down his throat, in a moment of weakness, Mike challenges his arch nemesis Gary (voice by Gabriel Iglesias) to a bowling face-off at the upcoming Bowl-off-a-thon at Monsters Inc.

Big boss Mike Wazowski (voice by Bily Crystal) makes a small mistake and is now huffing and puffing at the office floor. Irate with all the paperwork that’s pushed down his throat, in a moment of weakness, Mike challenges his arch nemesis Gary (voice by Gabriel Iglesias) to a bowling face-off at the upcoming Bowl-off-a-thon at Monsters Inc. Only hindrance? He neither knows how to throw a ball nor does he know anyone who does. Meanwhile, Tyler Tuskman (voice by Ben Feldman) is desperate to move away from the MIFT team and ‘get in good’ with his boss, Mike, with the hope that the latter would finally promote him to the role of a jokester. Mike’s in a limbo, Tyler finds the perfect pitch to impress. What happens next—leading up to the Bowl-off-a-thon tournament—constitutes the rest of this 22-minute long episode, titled ‘The Big Wazowskis’ Kaitlyn Ritter’s approach towards this episode is of heightening the drama: she focuses more on the preparation revolving around the face-off than the main event itself. Through blink-and-you-miss-it jokes and the power of animation, Ritter makes you one and all roll on the floor… literally! ‘The Big Wazowskis’ also serves as a behavioral insight into office politics, the innate quality of betrayal humans posses—brought to light through the eyes of cutesy creatures like ‘No Gutter Cutter’ and ‘No Splitz Fritz’—all the while staying true to its central theme: of love and laughter. Unlike episode three, the Monsters Inc. team deviates from high-octane emotions. Instead, the off-beat gang exhibits team spirit with panache as they vow to win the competition for their boss by ‘stinking their way to victory’.

Monsters At Work S1, EP4 review: A meld of promise and politics

There could never be a better time for a film like ‘Oslo’ that premiered on Disney+ Hotstar in India on May 29 and looks at Israel-Palestine decades-old conflict through the prism of peace accords that were signed between the countries in 1993 with the help of a Norweigian couple backed by their government.&nbsp;

Adapted from American playwright JT Rogers’ play of the same name, ‘Oslo’ director Bartlett Sher brings us a dramatised version of events that led to the signing of Oslo peace accords between arch enemies Israel and Palestine. While history remembers the famous handshake between the-then PLO (Palestine Liberation Organisation) leader Yasser Arafat and Israeli Prime Minister Yitzhak Rabin as the US President Bill Clinton stood beside them -- the world looked on with disbelief as the two vowed to step back from violence and bring a new world order in 1993, ‘Oslo’ puts to light the very eventful nights and days that made it possible. That too a backchannel, unofficial round of discussions between 1992 and 1993.

The HBO film, as it deals with the complexities of the geo-political issue, carefully treads with its characterisation of the PLO leaders, Israeli diplomats who were a part of the under-the table discussions, so as to step away from making them caricaturish while it balances its weighs on how much the world truly understands their fight for land, their exertion of need of legitimacy of the cause and intricacies that follow with any matter of occupation of any land and its people.&nbsp;

<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="360" src="https://www.youtube.com/embed/QsRlXQcHd8c" title="YouTube video player" width="640"></iframe>

‘Oslo’ in its entirety makes no claim to know it all and does not look like a textbook explanation of the conflict. It is not a documentary and it does not claim to be. The film, however does bring the White view on the Middle Eastern crisis but that can be given a passing considering it’s from the view of two Norwegians who facilitate a peace deal between the two warring parties without offering a solution or edging towards one party more. Andrew Scott as Terje Rød-Larsen, director of think tank Fafo Foundation and wife Ruth Wilson, a Norwegian diplomat Mona Juul are brilliant in their scope. They never offer an opinion, never meddle, never sit with them on the table as the negotiations go on until the very last brokerage -- helping the film stray away from criticism of being partial to any side. Other actors, Salim Daw, Jeff Wilbusch, Yair Hirschfeld, and Igal Naor are convincing in their roles.&nbsp;

The film runs linear mostly with a very simple style of storytelling, inviting the viewer to explore the history on their own to get an in-depth understanding outside of the movie's scope. It’s a film that is high on human emotions and drama rather than being a history lesson.

There could never be a better time for a film like ‘Oslo’ that premiered on Disney+ Hotstar in India on May 29 and looks at Israel-Palestine decades-old conflict through the prism of peace accords that were signed between the countries in 1993 with the help of a Norweigian couple backed by their government.

There could never be a better time for a film like ‘Oslo’ that premiered on Disney+ Hotstar in India on May 29 and looks at Israel-Palestine decades-old conflict through the prism of peace accords that were signed between the countries in 1993 with the help of a Norweigian couple backed by their government. Adapted from American playwright JT Rogers’ play of the same name, ‘Oslo’ director Bartlett Sher brings us a dramatised version of events that led to the signing of Oslo peace accords between arch enemies Israel and Palestine. While history remembers the famous handshake between the-then PLO (Palestine Liberation Organisation) leader Yasser Arafat and Israeli Prime Minister Yitzhak Rabin as the US President Bill Clinton stood beside them -- the world looked on with disbelief as the two vowed to step back from violence and bring a new world order in 1993, ‘Oslo’ puts to light the very eventful nights and days that made it possible. That too a backchannel, unofficial round of discussions between 1992 and 1993. The HBO film, as it deals with the complexities of the geo-political issue, carefully treads with its characterisation of the PLO leaders, Israeli diplomats who were a part of the under-the table discussions, so as to step away from making them caricaturish while it balances its weighs on how much the world truly understands their fight for land, their exertion of need of legitimacy of the cause and intricacies that follow with any matter of occupation of any land and its people. ‘Oslo’ in its entirety makes no claim to know it all and does not look like a textbook explanation of the conflict. It is not a documentary and it does not claim to be. The film, however does bring the White view on the Middle Eastern crisis but that can be given a passing considering it’s from the view of two Norwegians who facilitate a peace deal between the two warring parties without offering a solution or edging towards one party more. Andrew Scott as Terje Rød-Larsen, director of think tank Fafo Foundation and wife Ruth Wilson, a Norwegian diplomat Mona Juul are brilliant in their scope. They never offer an opinion, never meddle, never sit with them on the table as the negotiations go on until the very last brokerage -- helping the film stray away from criticism of being partial to any side. Other actors, Salim Daw, Jeff Wilbusch, Yair Hirschfeld, and Igal Naor are convincing in their roles. The film runs linear mostly with a very simple style of storytelling, inviting the viewer to explore the history on their own to get an in-depth understanding outside of the movie's scope. It’s a film that is high on human emotions and drama rather than being a history lesson.

'Oslo' movie review: Not a better time for this HBO drama on 1993 Israel-Palestine peace talks

**The post contains spoilers** 
 
The much-anticipated finale of Marvel and Disney+’s ‘The Falcon and The Winter Soldier’ is here and delivers on all that was promised and more in the bubble wrap of patent Captain America morality. The shadow of stripe and stars loom over the finale in the best way possible, culminating in the storylines of Sam Wilson and James Barnes, letting them live their chosen destiny.&nbsp;

The final episode sees the face-off between The Falgsmashers, the Power-broker, John Walker along with ‘The Black Captain America’ and ‘The Winter Soldier’. While the finale might not be as power-packed as the fans expectations (considering Sam was donning the Wkandian design of Captain’s suit and the shield), it was packed in all the emotions Steve Rogers’ would have approved of.&nbsp; 
 
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Owning up to his identity as Steve’s protege, Sam is ready to accept the shield without shedding off his wings and Branes is ready to own up to his identity of Winter Soldier without the baggage it brings from the past. Owning up to the identity had been the underlying theme of the entire six-episode series and looking at the finale, it all fits in seamlessly. By the looks of it, the endplate of the series showing ‘Captain America and The Winter Soldier’ clarifies the doubt that going forward, Marvel has a name for both these characters in the Universe, be it the movies of another season.&nbsp;

Talking about the future, a lot is teased in the finale. From the setting up of ‘The Dark Avengers’ with Zemo in the super-prison Raft, and John Walker accepting his new identity as US Agent, the stage is set for Valentina Allegra de la Fontaine and her team of twisted ‘Avengers’. As for Sharon Carter aka Power Broker aka Agent Carter, looks like the series has found another grey character. While the build-up to her being the Power Broker from Madripur, didn’t come across as a surprise, her new role in the MCU is surely going to betray the trust of Sam and James.&nbsp;

A lot was said and done in the 45 minutes episode. All moral messaging to remind each of their purpose. ‘The Falcon and The Winter Soldier’ garnered all the praise for being relevant in the current fight if racial discrimination and judgement in the United States, Sam Wilson’s taking up the shield, established the intention. ‘No super-serum, no blonde hair, no blue eyes’, just a heart to do what’s right. The show asks some really hard-hitting questions, plays on some established Marvel cliches, but more importantly gives a sense of completion while keeping the door to something unimaginable open.&nbsp;

Bucky and Sam are a great team and their adventures have just gotten started. With the realm of magic being tested with the upcoming movies and series of Marvel, ‘The Falcon and The Winter Soldier’ stay true to the human aspect of the bigger fights - the purpose of it all and claiming the identity through work and not just by chance. After the magical chaos of&nbsp;'WandaVision'&nbsp;and before the magical mischief of&nbsp;'Loki', that is exactly what the MCU fans needed as a reminder - the humans are grey and its the present actions that define the future, not the legacy of the past.

 
&nbsp;

**The post contains spoilers** The much-anticipated finale of Marvel and Disney+’s ‘The Falcon and The Winter Soldier’ is here and delivers on all that was promised and more in the bubble wrap of patent Captain America morality.

**The post contains spoilers** The much-anticipated finale of Marvel and Disney+’s ‘The Falcon and The Winter Soldier’ is here and delivers on all that was promised and more in the bubble wrap of patent Captain America morality. The shadow of stripe and stars loom over the finale in the best way possible, culminating in the storylines of Sam Wilson and James Barnes, letting them live their chosen destiny. The final episode sees the face-off between The Falgsmashers, the Power-broker, John Walker along with ‘The Black Captain America’ and ‘The Winter Soldier’. While the finale might not be as power-packed as the fans expectations (considering Sam was donning the Wkandian design of Captain’s suit and the shield), it was packed in all the emotions Steve Rogers’ would have approved of. Owning up to his identity as Steve’s protege, Sam is ready to accept the shield without shedding off his wings and Branes is ready to own up to his identity of Winter Soldier without the baggage it brings from the past. Owning up to the identity had been the underlying theme of the entire six-episode series and looking at the finale, it all fits in seamlessly. By the looks of it, the endplate of the series showing ‘Captain America and The Winter Soldier’ clarifies the doubt that going forward, Marvel has a name for both these characters in the Universe, be it the movies of another season. Talking about the future, a lot is teased in the finale. From the setting up of ‘The Dark Avengers’ with Zemo in the super-prison Raft, and John Walker accepting his new identity as US Agent, the stage is set for Valentina Allegra de la Fontaine and her team of twisted ‘Avengers’. As for Sharon Carter aka Power Broker aka Agent Carter, looks like the series has found another grey character. While the build-up to her being the Power Broker from Madripur, didn’t come across as a surprise, her new role in the MCU is surely going to betray the trust of Sam and James. A lot was said and done in the 45 minutes episode. All moral messaging to remind each of their purpose. ‘The Falcon and The Winter Soldier’ garnered all the praise for being relevant in the current fight if racial discrimination and judgement in the United States, Sam Wilson’s taking up the shield, established the intention. ‘No super-serum, no blonde hair, no blue eyes’, just a heart to do what’s right. The show asks some really hard-hitting questions, plays on some established Marvel cliches, but more importantly gives a sense of completion while keeping the door to something unimaginable open. Bucky and Sam are a great team and their adventures have just gotten started. With the realm of magic being tested with the upcoming movies and series of Marvel, ‘The Falcon and The Winter Soldier’ stay true to the human aspect of the bigger fights - the purpose of it all and claiming the identity through work and not just by chance. After the magical chaos of 'WandaVision' and before the magical mischief of 'Loki', that is exactly what the MCU fans needed as a reminder - the humans are grey and its the present actions that define the future, not the legacy of the past.

'The Falcon and The Winter Soldier' finale review: A moral battle of identity, purpose and legacy 

It’s always a big task to let go of the shadow of something huge while doing something similar. Abhishek Bachchan starrer ‘The Big Bull’ deals with not one but two such big shadows. Loosely based on the life of now popular ‘scamster’ of the early 90s, Harshad Mehta, the film has been greatly compared to Hansal Mehta’s critically acclaimed series ‘Scam 1992’ as soon as it was announced. Competing with a show loved and admired by all with a breakthrough performance by Pratik Gandhi, The Big Bull does a terrible job. 
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The second shadow the show is under is Abhishek Bachchan’s Guru. The actor who won the hearts of many playing the cunning, rising, ambitious Gurubhai in Mani Ratnam’s film, struggles hard to play a somewhat similar role of an underdog rising to success. Now you want to root for Abhishek, but the story, pace and lazy homework of the film pull you back.

Kookie Gulati's The Big Bull oscillates between finding a ground between being inspirational and between the grey area of success and greed. In turn, it only achieves confusion. At the core of the drama is Abhishek Bachchan, who steps in the shoes of Hemant Shah, a stockbroker, who gets the taste of the stock market after finding himself in a tight spot and later, takes it upon himself to ‘rebuild a country on the brink of bankruptcy. The makers try hard to present Hemant as the middle-class rebellious soul who wants to revolutionise the country by finding loopholes in the working of the banking sector.

 
Often called the messiah of the common man, Hemant referred to himself as the 'Big Bull' or like he said, "He was, is and will always be the Big Bull." As suggested by the title, the film is his story, told by the journalist who nearly ruins his life.

The film paints Hemant Shah as a dreamer who stopped at nothing to realise his dreams. He only knows how to run or fly, just doesn’t know how to stop (Hello, Bunny from Yeh Jawani Hai Deewani, are you listening?

As Hemant, Abhishek is buried by the weight of his ‘Guru’ persona, even the mannerism and postures remind you of the film. Nikita Dutta’s presence in the film is as confusing as the script, barely-there without evoking any emotions. As his brother and right-hand, Sohum Shah is passable and Ileana D'Cruz, who plays news reporter Meera Rao, will make you question your own dedication as a journalist. It's difficult, for once, to figure out if she’s a print journalist or a broadcast journalist. (or maybe it’s just the journalism fraternity finding flaws)

As for Ram Kapoor, Saurabh Shukla, Supriya Pathak and Samir Soni, they are as effortless as they come in their parts. Wish the makers could've used more of them, but then there’s only so much you can do in a lazy script and equally lazy execution.&nbsp;

Had better editing and shorter duration made it a better watch? Maybe. A one-minute montage on Carry Minati’s song would have sufficed the film. This film is a huge bore on every front possible. The only request to the filmmakers now is to use the brilliance of Abhishek Bachchan. It’s high time we put him out of the Guru persona, there’s so much about him to like, it always falls an inch short mostly because of the execution.

So give this one a skip and save your time, and if you really want to watch it, don’t.&nbsp;

It’s always a big task to let go of the shadow of something huge while doing something similar. Abhishek Bachchan starrer ‘The Big Bull’ deals with not one but two such big shadows.

It’s always a big task to let go of the shadow of something huge while doing something similar. Abhishek Bachchan starrer ‘The Big Bull’ deals with not one but two such big shadows. Loosely based on the life of now popular ‘scamster’ of the early 90s, Harshad Mehta, the film has been greatly compared to Hansal Mehta’s critically acclaimed series ‘Scam 1992’ as soon as it was announced. Competing with a show loved and admired by all with a breakthrough performance by Pratik Gandhi, The Big Bull does a terrible job. The second shadow the show is under is Abhishek Bachchan’s Guru. The actor who won the hearts of many playing the cunning, rising, ambitious Gurubhai in Mani Ratnam’s film, struggles hard to play a somewhat similar role of an underdog rising to success. Now you want to root for Abhishek, but the story, pace and lazy homework of the film pull you back. Kookie Gulati's The Big Bull oscillates between finding a ground between being inspirational and between the grey area of success and greed. In turn, it only achieves confusion. At the core of the drama is Abhishek Bachchan, who steps in the shoes of Hemant Shah, a stockbroker, who gets the taste of the stock market after finding himself in a tight spot and later, takes it upon himself to ‘rebuild a country on the brink of bankruptcy. The makers try hard to present Hemant as the middle-class rebellious soul who wants to revolutionise the country by finding loopholes in the working of the banking sector. Often called the messiah of the common man, Hemant referred to himself as the 'Big Bull' or like he said, "He was, is and will always be the Big Bull." As suggested by the title, the film is his story, told by the journalist who nearly ruins his life. The film paints Hemant Shah as a dreamer who stopped at nothing to realise his dreams. He only knows how to run or fly, just doesn’t know how to stop (Hello, Bunny from Yeh Jawani Hai Deewani, are you listening? As Hemant, Abhishek is buried by the weight of his ‘Guru’ persona, even the mannerism and postures remind you of the film. Nikita Dutta’s presence in the film is as confusing as the script, barely-there without evoking any emotions. As his brother and right-hand, Sohum Shah is passable and Ileana D'Cruz, who plays news reporter Meera Rao, will make you question your own dedication as a journalist. It's difficult, for once, to figure out if she’s a print journalist or a broadcast journalist. (or maybe it’s just the journalism fraternity finding flaws) As for Ram Kapoor, Saurabh Shukla, Supriya Pathak and Samir Soni, they are as effortless as they come in their parts. Wish the makers could've used more of them, but then there’s only so much you can do in a lazy script and equally lazy execution. Had better editing and shorter duration made it a better watch? Maybe. A one-minute montage on Carry Minati’s song would have sufficed the film. This film is a huge bore on every front possible. The only request to the filmmakers now is to use the brilliance of Abhishek Bachchan. It’s high time we put him out of the Guru persona, there’s so much about him to like, it always falls an inch short mostly because of the execution. So give this one a skip and save your time, and if you really want to watch it, don’t.

'The Big Bull' review: Abhishek Bachchan casts an inconsistent shadow of an underdog that fails to connect

*Post contains mild spoilers* The wait is over! Marvel is back on its toes with 'The Falcon and The Winter Soldier', and unlike 'WandaVision', this series gets you the old Marvel Cinematic Universe’s flavour, right from the start.

*Post contains mild spoilers* The wait is over! Marvel is back on its toes with 'The Falcon and The Winter Soldier', and unlike 'WandaVision', this series gets you the old Marvel Cinematic Universe’s flavour, right from the start. While fans anticipated a major Captain America’-kind hangover from the series (considering both Falcon and The Winter Soldier have been Steve’s long-standing allies from their start in the MCU- the series goes beyond it. The shadow of Steve Rogers stands tall as both Sam (Falcon) and James Barnes (The Winter Soldier) are trying to readjust to their lives post the blip that took away USA’s beloved superhero. With Captain America gone, Falcon is struggling to keep the shield bestowed upon him from the man himself, and Barnes is trying to amend his life after the atrocities he caused as the pawn of the HYDRA, taking out family time and visiting a therapist respectively. The show that’s going to have six episodes has been created by Malcolm Spellman and brings Sebastian Stan and Anthony Mackie to reprise their roles from Phase 3 of Marvel Cinematic Universe. Also early on in the episodes, fans are given a treat in the form of War Machine aka Don Cheadle, as an ally to Falcon. The first episode majorly deals with the lead characters going through a hard time and trying to come to terms with the events that altered their and the world’s lives post Infinity War (cue, high profile US Military missions right from the first frame and some major emotional turmoil). The first episode starts the string of events in Marvel’s patent way of embodying thrill and trauma with a lot of baggage, keeping the viewers hooked and asking for more. There’s action, drama, a bit of cheeky humour, and a cliffhanger to keep the fans asking for more. Also, expected, are a lot of old cameos and the introduction of new key characters who are going to take the camaraderie between the two leading men, to another level. Also read: 'WandaVision' season finale review: A goodbye that promises powerful beginnings The episode ends with John. F Walker manning the shield as the new Captain America, much to the dismay of Falcon, who is of the belief that no one can ever fill Steve Rogers’ shoes. The world is now broken and the world needs soldiers, but that doesn’t mean MCU fans have to completely let go of the old Marvel ways. After a renovated and refurbished started to Phase 4 with a quirky and magical Wanda Vision, Falcon and The Winter Soldier’s premiere episode brings Marvel back to its known roots, only to take a jump higher in the upcoming episodes (expect a lot of SHIELD cameos incoming and the introduction of the villain man who caused the rift between our two favourites - Iron-Man and Captain America) Also read: 'Loki' new poster: Tom Hiddleston is the God of Mischief with an upgrade There’s a lot of unpacking to be done, but the box has been opened cleanly and engagingly by the series makers. The only thing to keep in mind here is, this series will play out the values of Captain America, by two of the most impulsive Avengers. If anything, that promises a lot of friction and in-turn fun in the most ‘Marvelous’ fashion. The series is streaming on Disney+ Hotstar, with new episodes dropping every Friday.

'The Falcon and The Winter Soldier' review: The first episode is all about redemptions, re-adjustments, and replacements

Remember when as kids we used to throw a tantrum to eat that particular chocolate given to us in portions, and sometimes&nbsp;adults snapped and actually gave in to our demand, only for us to realise that portion control&nbsp;was better? Well, something similar happens with Snyder cut, only with every bite, the taste intensifies.&nbsp;

Zack Snyder, along with Warner Bros and DC, obliged to the fans’ immense request to release his version of the 2017 debacle 'Justice League', and now we have it - an excruciatingly long four-hour saga of a story known from start till the end to all DC fanatics. So was the call required? Sitting through the film, as a fan, the answer is an obvious yes.

<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/ZrdQSAX2kyw" width="560"></iframe>

Snyder’s version brings back the grey tone of the DC Universe (The director himself was keen on releasing the saga on IMAX in black and white). It’s much deeper, painstakingly executed to build and develop each and every character and is more like an ode (or an apology) to all that was rushed in Joss Whedon’s 2017 version. A lot of thought, time and service has been given by Zack Snyder, and it all shows.

The film begins with Cyborg adjusting to his new form, to Bruce Wayne, trotting through Iceland to find Aquaman, It’s interesting to note that the story is not known, and you somehow know what’s going to occur, yet the excitement to see the events unfold, stays. Guess, that says more about the legacy built by the DC comics than anything else. Not much has changed since the 2017 version-&nbsp; it has&nbsp;only added and made DC appropriate. The humour is less, the intensity of the problem is more, and that interaction between Barry and Clarke never occurs. Snyder takes his sweet time to show the broken world, and that gives you enough time to get your supplies from the kitchen to prepare for an exhilarating climax sequence, something Whedon’s version completely destroyed. The big and only comic relief in the intense saga is The Flash and his interactions with fellow Justice League members.

There’s an epilogue at the end, where new characters are introduced, jumps to futures are made and some old-familiar characters make an appearance- *coughs* Joker *coughs*. Like the narration going in the background, in the end, the epilogue is there to give fans hope. Honestly, knowing where DC is headed right now, it did feel outstretched from a viewer’s perspective, but looks like Snyder actually, and truly wanted to honour the OG fans, without leaving any stone unturned.

Barry Allen, aka, Flash is again the biggest takeaway from the film and knowing that the standalone film is in full motion, it only gets interesting. Ezra Miller is a star, and that kid deserves a fan base of his own, real soon.

'Zack Snyder’s Justice League' is a fine example of what happens when a vision as big as 'Justice League' falls in the right hands. In the climax, Clake thanks Bruce for what he has done, and Bruce replies “I just undid a mistake”, the line Snyder must’ve wanted to say to the fans of the Universe. The saga, divided into six parts, might be a long watch, but it’s still shorter than the wait the fans did to get this onscreen.

You can pick all the faults in terms of movie-making, but it never claimed to be one. It proclaimed itself to be a fan-service, an undoing of a mistake, and it does that beautifully. So if you are a DC fan, strap on and take this splendid ride. For others, watch it in parts to experience Snyder’s dedication and a story that collects and combines the fear of DC’s mightiest form of a poem. It’s slow, but it’s worth savouring.&nbsp;&nbsp;

Remember when as kids we used to throw a tantrum to eat that particular chocolate given to us in portions, and sometimes adults snapped and actually gave in to our demand, only for us to realise that portion control was better?

Remember when as kids we used to throw a tantrum to eat that particular chocolate given to us in portions, and sometimes adults snapped and actually gave in to our demand, only for us to realise that portion control was better? Well, something similar happens with Snyder cut, only with every bite, the taste intensifies. Zack Snyder, along with Warner Bros and DC, obliged to the fans’ immense request to release his version of the 2017 debacle 'Justice League', and now we have it - an excruciatingly long four-hour saga of a story known from start till the end to all DC fanatics. So was the call required? Sitting through the film, as a fan, the answer is an obvious yes. Snyder’s version brings back the grey tone of the DC Universe (The director himself was keen on releasing the saga on IMAX in black and white). It’s much deeper, painstakingly executed to build and develop each and every character and is more like an ode (or an apology) to all that was rushed in Joss Whedon’s 2017 version. A lot of thought, time and service has been given by Zack Snyder, and it all shows. The film begins with Cyborg adjusting to his new form, to Bruce Wayne, trotting through Iceland to find Aquaman, It’s interesting to note that the story is not known, and you somehow know what’s going to occur, yet the excitement to see the events unfold, stays. Guess, that says more about the legacy built by the DC comics than anything else. Not much has changed since the 2017 version- it has only added and made DC appropriate. The humour is less, the intensity of the problem is more, and that interaction between Barry and Clarke never occurs. Snyder takes his sweet time to show the broken world, and that gives you enough time to get your supplies from the kitchen to prepare for an exhilarating climax sequence, something Whedon’s version completely destroyed. The big and only comic relief in the intense saga is The Flash and his interactions with fellow Justice League members. There’s an epilogue at the end, where new characters are introduced, jumps to futures are made and some old-familiar characters make an appearance- *coughs* Joker *coughs*. Like the narration going in the background, in the end, the epilogue is there to give fans hope. Honestly, knowing where DC is headed right now, it did feel outstretched from a viewer’s perspective, but looks like Snyder actually, and truly wanted to honour the OG fans, without leaving any stone unturned. Barry Allen, aka, Flash is again the biggest takeaway from the film and knowing that the standalone film is in full motion, it only gets interesting. Ezra Miller is a star, and that kid deserves a fan base of his own, real soon. 'Zack Snyder’s Justice League' is a fine example of what happens when a vision as big as 'Justice League' falls in the right hands. In the climax, Clake thanks Bruce for what he has done, and Bruce replies “I just undid a mistake”, the line Snyder must’ve wanted to say to the fans of the Universe. The saga, divided into six parts, might be a long watch, but it’s still shorter than the wait the fans did to get this onscreen. You can pick all the faults in terms of movie-making, but it never claimed to be one. It proclaimed itself to be a fan-service, an undoing of a mistake, and it does that beautifully. So if you are a DC fan, strap on and take this splendid ride. For others, watch it in parts to experience Snyder’s dedication and a story that collects and combines the fear of DC’s mightiest form of a poem. It’s slow, but it’s worth savouring.

'Zack Snyder’s Justice League' review: Exhausting yet engaging fan service disguised as a saga

**Post contains spoilers** 
 
After an extended mid-season break, Grey's Anatomy is finally back. The situation is still very grim at the Grey Sloan Memorial Hospital, with Meredith's health decorating, COVID still wreaking havoc and Amelia and Link missing from the hospital to keep the children safe. If you were hoping for the show to return with any positive news, you're in for some major disappointment. After 16 seasons of the longest-running medical drama, one thing which its viewers have learned is that the makers always have a surprise up their sleeves.&nbsp;

The exit of a cast member is not something new for the show. Staring with Derek, Lexie, Mark, George, Izzie, the list goes on. But, it had been a while since we said goodbye to any of the characters. Well, Grey's Anatomy is back to its basics, with the departure of the beloved Andrew DeLuca. A character who had really started to develop in the last few seasons. After going through a rough patch with mental health issues, Deluca was getting back on his feet. Watching him exit the show at this point will definitely dishearten a lot of viewers.

"I don't regret it," says DeLuca while talking to Meredith at the beach (a magical afterlife place). After being stabbed while trying to bust a trafficking racket, DeLuca lands up in the hospital in a very critical state. Even though Owen and Teddy perform an operation, keeping aside all their differences, they fail to keep him alive. This could be termed as one of the most sudden deaths in the show.

While DeLuca wasn't able to bid farewell to his sister Carina or any other doctor in the hospital, he manages to get closure with Meredith, who herself is battling life after being diagnosed COVID positive. While having a conversation with each other at the beach, DeLuca tries to build a sandcastle before a rising tide comes and washes it away. This is used as a metaphor in the show, to explain that it was just a matter of seconds before Deluca's heart stops beating.

<img alt="&quot;I don't regret it,&quot; says DeLuca while talking to Meredith" data-entity-type="file" data-entity-uuid="552d71b0-e665-4af6-8a2f-fc386e86107f" src="//cdn.wionews.com/sites/default/files/inline-images/Grey%27s%20Anatomy.jpg" />

While the writers were successful in making his exit from the show heart-breaking and emotional, a lot of the times they went on to the parallel plotlines of other characters, which quite frankly seemed unnecessary. Owen and Teddy having arguments or Maggie taking time off with her new boyfriend could have waited for some other episodes, and the focus should have just been on Andrew DeLuca. A character's death who no one had predicted and hurt just as much as Derick's death in Season 11.

With DeLuca's death, a lot is left to be seen in the coming episodes. How will Carina deal with the grief of losing her brother? Owen and Teddy's combined efforts failed to keep Deluca alive, will they be able to get over their failure? While Grey's Anatomy lost one of its most favourite characters, Bailey had been sleeping in her mother's room in the hospital. Having lost her mother just a couple of hours ago, how will she take the news of another doctor passing away? If Meredith ever regains consciousness, how will she react to not being able to save DeLuca's life?

Just in one episode, the makers reminded us that nothing stays constant in Grey's Anatomy. Andrew DeLuca and his never-giving-up attitude will be missed. Whether it was saving Richard's life by his extraordinary diagnosis or saving a girl from human trafficking, he never gave up.

**Post contains spoilers** After an extended mid-season break, Grey's Anatomy is finally back. The situation is still very grim at the Grey Sloan Memorial Hospital, with Meredith's health decorating, COVID still wreaking havoc and Amelia and Link missing from the hospital to keep the children safe.

**Post contains spoilers** After an extended mid-season break, Grey's Anatomy is finally back. The situation is still very grim at the Grey Sloan Memorial Hospital, with Meredith's health decorating, COVID still wreaking havoc and Amelia and Link missing from the hospital to keep the children safe. If you were hoping for the show to return with any positive news, you're in for some major disappointment. After 16 seasons of the longest-running medical drama, one thing which its viewers have learned is that the makers always have a surprise up their sleeves. The exit of a cast member is not something new for the show. Staring with Derek, Lexie, Mark, George, Izzie, the list goes on. But, it had been a while since we said goodbye to any of the characters. Well, Grey's Anatomy is back to its basics, with the departure of the beloved Andrew DeLuca. A character who had really started to develop in the last few seasons. After going through a rough patch with mental health issues, Deluca was getting back on his feet. Watching him exit the show at this point will definitely dishearten a lot of viewers. "I don't regret it," says DeLuca while talking to Meredith at the beach (a magical afterlife place). After being stabbed while trying to bust a trafficking racket, DeLuca lands up in the hospital in a very critical state. Even though Owen and Teddy perform an operation, keeping aside all their differences, they fail to keep him alive. This could be termed as one of the most sudden deaths in the show. While DeLuca wasn't able to bid farewell to his sister Carina or any other doctor in the hospital, he manages to get closure with Meredith, who herself is battling life after being diagnosed COVID positive. While having a conversation with each other at the beach, DeLuca tries to build a sandcastle before a rising tide comes and washes it away. This is used as a metaphor in the show, to explain that it was just a matter of seconds before Deluca's heart stops beating. While the writers were successful in making his exit from the show heart-breaking and emotional, a lot of the times they went on to the parallel plotlines of other characters, which quite frankly seemed unnecessary. Owen and Teddy having arguments or Maggie taking time off with her new boyfriend could have waited for some other episodes, and the focus should have just been on Andrew DeLuca. A character's death who no one had predicted and hurt just as much as Derick's death in Season 11. With DeLuca's death, a lot is left to be seen in the coming episodes. How will Carina deal with the grief of losing her brother? Owen and Teddy's combined efforts failed to keep Deluca alive, will they be able to get over their failure? While Grey's Anatomy lost one of its most favourite characters, Bailey had been sleeping in her mother's room in the hospital. Having lost her mother just a couple of hours ago, how will she take the news of another doctor passing away? If Meredith ever regains consciousness, how will she react to not being able to save DeLuca's life? Just in one episode, the makers reminded us that nothing stays constant in Grey's Anatomy. Andrew DeLuca and his never-giving-up attitude will be missed. Whether it was saving Richard's life by his extraordinary diagnosis or saving a girl from human trafficking, he never gave up.

Grey's Anatomy S17 Ep 7 review: A chapter of another beloved character closes

The wait is almost over.&nbsp;'Zack Snyder’s Justice League' is all set to release worldwide, this week.

Commonly referred to as the 'Snyder Cut,'&nbsp;this version completely overhauls the 2017 original into a four-hour-long opus, just as the director had envisioned it. The first 'Justice League,'&nbsp;for which Snyder is still the credited director, was completed by Joss Whedon after Snyder left the production due to a family tragedy.

The film was critically panned and did not do well at the box-office either,&nbsp;as per the expectations. To avenge what was lost, fans of the DC Universe, started demanding a re-release of Snyder's version of the film until Warner Bros. and HBO Max relented. 
 
<a href="https://www.wionews.com/entertainment/zack-snyders-justice-league-final-trailer-sees-superman-and-darkseid-take-the-center-stage-370618" hreflang="en">'Zack Snyder's Justice League' final trailer sees Superman and Darkseid take the center-stage</a>

Many of the set pieces and the general plot will be familiar to those who saw the original theatrical version. “Zack Snyder’s Justice League” once again sees Batman (Ben Affleck) trying to round up a team of superheroes along with Wonder Woman (Gal Gadot) after the death of Superman (Henry Cavill). 
 
<a href="https://www.wionews.com/entertainment/hollywood/news-zack-snyder-reveals-his-version-of-justice-league-is-not-a-series-357404">Zack Snyder reveals his version of 'Justice League' is not a series.</a>

Among the new recruits are the Flash (Ezra Miller), Cyborg (Ray Fisher), and Aquaman (Jason Momoa), and the heroes must band together to stop Steppenwolf (Ciarán Hinds) from bringing about the beginning of the end of the world. Snyder’s new cut maintains the darker tone set by his superhero movies, 'Man of Steel' (2013) and 'Batman v. Superman: Dawn of Justice&nbsp;(2016), and is packed with CGI-heavy, slow-motion-laden action sequences. 
 
<a href="https://www.wionews.com/entertainment/hollywood/news-justice-league-new-photos-released-by-zack-snyder-will-leave-you-intrigued-354310">'Justice League' new photos released by Zack Snyder will leave you intrigued</a>

Many international outlets have already reviewed the opus and the critics stand divided.&nbsp; 
 
Times film critic Justin Chang finds “fleeting pleasures and unlikely sources of fascination” in Snyder’s “maximalist” cut, but adds that the added material “often feels less than vital.”

“Having sat through this new ‘Justice League’ in its 242-minute entirety, I can note that the two films represent utterly antithetical approaches to a project that might have benefited from a third, middle-ground option,” writes Chang. “Forced to choose between the two, the Snyder cut is probably the one I respect more, which doesn’t mean it’s the one I prefer: The two-hour 'Justice League' was, for all its baggage, a watchable exercise in damage control, with welcome moments of levity that cut through the murky torpor of Snyder’s storytelling.”

New York Times'&nbsp;Maya Phillips notes that “the [film’s] supersized run time allows the narrative room to stretch, for better or for worse.”

“For better: There’s an ambitious mythology at work, revealing the epic that Snyder had envisioned, a bildungsroman of not one hero but a team of heroes who achieve even greater feats together,” writes Phillips. “For worse: Snyder also plods through seemingly endless, pointless exposition, adding enough back story for each Justice League hero to strong-arm us into investing in these characters so we care when they finally put on the team jerseys and step out onto the court.”

Entertainment Weekly’s Darren Franich also agrees with the same sentiment&nbsp;but accepts that this is just Snyder being “utmost” Snyder.

“Everything takes forever to go nowhere,” writes Franich. “This cut is no worse than the theatrical edition, but it sure is longer.”

For John DeFore of the Hollywood Reporter, this 'Justice League'&nbsp;“remains unimproved” compared to the original.

“This expanded version may be exactly the product desired by the legion of Snyder fans who cried to the heavens for its release,” writes DeFore. “But nonmembers of that cult will find it just as unenjoyable as the original.”

Mashable’s Angie Han concludes that “Snyder's belated tinkering results in a movie that represents, on just about every level, a vast improvement over the previous edit” and that its “four hours feel far better spent than the two it took for the theatrical cut.”

“Those open to Snyder's take on the DC universe … will find much more to like here than they did four years ago,” writes Han. With the new release, she adds, "it finally becomes possible to see ‘Justice League’ for the grand epic it was meant to be.”

Variety’s Owen Gleiberman ranks “Zack Snyder’s Justice League” alongside titles such as “The Dark Knight,” “Spider-Man 2” and “Black Panther”: “superhero movies that have achieved a genuine sweeping transcendence.”

“The new movie — and make no mistake, it really is a new movie — is more than a vindication of Snyder’s original vision,” writes Gleiberman. “It’s a grand, nimble, and immersive entertainment, a team-of-heroes origin story that, at heart, is classically conventional, yet it’s now told with such an intoxicating childlike sincerity and ominous fairy-tale wonder that it takes you back to what comic books, at their best, have always sought to do: make you feel like you’re seeing gods at play on Earth.”

Zack Snyder's Justice League is releasing on March 18 on HBO Max. Indian fans will be able to watch the film on the BookMyShow stream along with Google Play and Apple TV, at a certain price.&nbsp;

The wait is almost over. 'Zack Snyder’s Justice League' is all set to release worldwide, this week. Commonly referred to as the 'Snyder Cut,' this version completely overhauls the 2017 original into a four-hour-long opus, just as the director had envisioned it.

The wait is almost over. 'Zack Snyder’s Justice League' is all set to release worldwide, this week. Commonly referred to as the 'Snyder Cut,' this version completely overhauls the 2017 original into a four-hour-long opus, just as the director had envisioned it. The first 'Justice League,' for which Snyder is still the credited director, was completed by Joss Whedon after Snyder left the production due to a family tragedy. The film was critically panned and did not do well at the box-office either, as per the expectations. To avenge what was lost, fans of the DC Universe, started demanding a re-release of Snyder's version of the film until Warner Bros. and HBO Max relented. 'Zack Snyder's Justice League' final trailer sees Superman and Darkseid take the center-stage Many of the set pieces and the general plot will be familiar to those who saw the original theatrical version. “Zack Snyder’s Justice League” once again sees Batman (Ben Affleck) trying to round up a team of superheroes along with Wonder Woman (Gal Gadot) after the death of Superman (Henry Cavill). Zack Snyder reveals his version of 'Justice League' is not a series. Among the new recruits are the Flash (Ezra Miller), Cyborg (Ray Fisher), and Aquaman (Jason Momoa), and the heroes must band together to stop Steppenwolf (Ciarán Hinds) from bringing about the beginning of the end of the world. Snyder’s new cut maintains the darker tone set by his superhero movies, 'Man of Steel' (2013) and 'Batman v. Superman: Dawn of Justice (2016), and is packed with CGI-heavy, slow-motion-laden action sequences. 'Justice League' new photos released by Zack Snyder will leave you intrigued Many international outlets have already reviewed the opus and the critics stand divided. Times film critic Justin Chang finds “fleeting pleasures and unlikely sources of fascination” in Snyder’s “maximalist” cut, but adds that the added material “often feels less than vital.” “Having sat through this new ‘Justice League’ in its 242-minute entirety, I can note that the two films represent utterly antithetical approaches to a project that might have benefited from a third, middle-ground option,” writes Chang. “Forced to choose between the two, the Snyder cut is probably the one I respect more, which doesn’t mean it’s the one I prefer: The two-hour 'Justice League' was, for all its baggage, a watchable exercise in damage control, with welcome moments of levity that cut through the murky torpor of Snyder’s storytelling.” New York Times' Maya Phillips notes that “the [film’s] supersized run time allows the narrative room to stretch, for better or for worse.” “For better: There’s an ambitious mythology at work, revealing the epic that Snyder had envisioned, a bildungsroman of not one hero but a team of heroes who achieve even greater feats together,” writes Phillips. “For worse: Snyder also plods through seemingly endless, pointless exposition, adding enough back story for each Justice League hero to strong-arm us into investing in these characters so we care when they finally put on the team jerseys and step out onto the court.” Entertainment Weekly’s Darren Franich also agrees with the same sentiment but accepts that this is just Snyder being “utmost” Snyder. “Everything takes forever to go nowhere,” writes Franich. “This cut is no worse than the theatrical edition, but it sure is longer.” For John DeFore of the Hollywood Reporter, this 'Justice League' “remains unimproved” compared to the original. “This expanded version may be exactly the product desired by the legion of Snyder fans who cried to the heavens for its release,” writes DeFore. “But nonmembers of that cult will find it just as unenjoyable as the original.” Mashable’s Angie Han concludes that “Snyder's belated tinkering results in a movie that represents, on just about every level, a vast improvement over the previous edit” and that its “four hours feel far better spent than the two it took for the theatrical cut.” “Those open to Snyder's take on the DC universe … will find much more to like here than they did four years ago,” writes Han. With the new release, she adds, "it finally becomes possible to see ‘Justice League’ for the grand epic it was meant to be.” Variety’s Owen Gleiberman ranks “Zack Snyder’s Justice League” alongside titles such as “The Dark Knight,” “Spider-Man 2” and “Black Panther”: “superhero movies that have achieved a genuine sweeping transcendence.” “The new movie — and make no mistake, it really is a new movie — is more than a vindication of Snyder’s original vision,” writes Gleiberman. “It’s a grand, nimble, and immersive entertainment, a team-of-heroes origin story that, at heart, is classically conventional, yet it’s now told with such an intoxicating childlike sincerity and ominous fairy-tale wonder that it takes you back to what comic books, at their best, have always sought to do: make you feel like you’re seeing gods at play on Earth.” Zack Snyder's Justice League is releasing on March 18 on HBO Max. Indian fans will be able to watch the film on the BookMyShow stream along with Google Play and Apple TV, at a certain price.

Here's what international critics are saying about Zack Snyder's Justice League

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