Reviews

A relationship that thrives on humour and respect is always enjoyable to see, and the fact that the piece isn't one to just make Nayanthara seem like a superstar, which she is by all means, is a good call. When you've had 20 years of a career making it big in several industries, and so many of your co-workers saying nice things about you, it must feel heart-warming for Nayan, personally and professionally. I've loved her presence in films for a long time, including the ones where she had little to do as a performer. Even in those films, she'd have left a mark of sorts.

The Dhanush fiasco aside (which I don't know for whatever reason), I like how this is less of a typical "kalyana cassette" and more of a journey of how Nayan & Wikki got to where they did. Nelson's occasional interventions prove to be comedic gold. It almost made me want to see Nayan in a Nelson movie again, soon. Gautham Menon's voice is heard, but he doesn't appear on screen. Well, this stuff is right down his alley (even though it says directed by "Amith Krishnan"?). Not a fan of poshness in private (..well not so private now, is it?) weddings and the excessive showoff, but the rest of the piece struck an emotional chord with me.

Kavin winning with his interesting script choices is lovely to see. This is a film that the OTT audiences will most likely lap up, given its minimalist premise utilized to decent effect. I won't say all the moving parts work, but how writer-director Sivabalan Muthukumar executes the dark+absurd humor elements warrants praise. Jen Martin's score is also wonderful, adding to the emotional side of the film (in an unexpected turn of events).

The survival thriller bits are fun, but the commentary on poverty, social strata, and abuse within the family, is explored to a deeper extent than expected. Redin Kingsley, whom I absolutely wanted to "DELETE" in Kanguva, frequently scores with his one-liners here. I suppose it's a matter of the filmmaker he finds himself working with. The other supporting performances are a mixed bag-some enjoyable, some not so much. "You're Next" and "Ready or Not" are obvious inspirations.

Not everything (technically) adds up in this taut 90-minute infidelity thriller, but I'm really liking the dramatic roles that Daisy Ridley has been taking up recently. This is written by her spouse Tom Bateman, and plays out much like any married-relationship-turned-bitter thriller even though its setup looks fairly unique. But I have questions (burning ones, in fact). Asking them would resort to giving away spoilers, so I'll refrain. Sam Yates gives it the neo-noir treatment, simultaneously taking advantage of Ridley's strong points.

The final twist looks satisfying on paper (and momentarily on screen too), though the feasibility of it is somewhat questionable. The male lead also comes across as a permanently rude and uncaring "human", let alone a partner or a parent. Since the film wants to get to the point quickly, there's a definite lack of texture to everyone except for Ridley's character-the actor once again aces her role. Nonetheless, Magpie is one of those films that offers instant gratification, even if you may forget it soonafter.

I usually don't get to say this about Malavika Mohanan, but she's one of the few redeeming factors of the film. It's nice to see her get a meaty character (although naive as hell), and not just be eye candy. The writing otherwise is as generic as it can get-what saves the ship from sinking instantly are the stylized action blocks, especially one involving bikes in Portugal. Shridhar Raghavan is pretty much a hack writer and that is reflected in almost every screenplay of his.

Interestingly enough, they try doing something with Siddhant Chaturvedi as opposed to the Khans or Bachchans, and he's half-decent-more like a Shahid Kapoor Lite at this point. The character texturing is lost once the core plot kicks in, and after that, it's just a mission-driven, point-A-to-point-B film with set pieces looking straight out of GTA. Raghav Juyal is always a fun addition. The writing also packs predictable twists, which is kind of a bummer.

The soul of the film, for me, is the relationship drama between Mukund and Indhu. That's where both Sivakarthikeyan and Sai Pallavi score bigtime, because the writing is sensitive and properly fleshed out. GV Prakash Kumar's songs and score also add immensely to these portions, making us care for these people and their families. The war-action bits, on the other hand, need to be seen through a different lens. Yes, I appreciate the staging and the execution overall, but it offers a very binary outlook at the situation which has been the case with most Indian war films. It barely humanizes people in the state of Kashmir, and most of them serve as plot-forwarding devices. Ultimately, I don't think the film will be remembered for its action; it stands for 3 things: a) As a tribute to the real Major Mukund, b) Sivakarthikeyan's ascent to the big leagues, c) Sai Pallavi's candid, moving performance.

Well, we've seen almost every kind of Michael Keaton there, right? We saw Batman Keaton, we saw Birdman Keaton, we saw The Founder Keaton, and so on. This is him treading comfortable yet dramatic waters, as a father of a 36-year-old and twin 9-year-olds. The film discusses the theme of modern parenting, especially from the perspective of a workaholic, somewhat absentee father.

But since we're talking about an "endearing" Michael Keaton here, can he ever be the quintessential bad guy? Nope. And the film never makes that to be the case. There's the occasionally witty quip, but Goodrich doesn't really aim for comedic highs. It's a drama by all means, with Keaton and Mila Kunis doing most of the work. The finale can be seen coming a mile away, yet it lands on steady ground, thanks to its lightweight treatment and good performances overall.

Saoirse Ronan once again proves why she's one of the finest performers of the current generation. Rona, the recovering-alcoholic-protagonist, is safe and memorable in her hands.

Loved the edit pattern of the film - intercutting the present with her alcohol-induced episodes, sometimes annoying the hell out of me, as a viewer (I was almost screaming inside my head, begging her to stop doing what she did!). When she means she cannot stay happy sober, a straight-edged individual or a teetotaller may never understand why. This is also where the editing style comes into play, telling us why Rona may never be able to find the truest version of "her happiness" without drinking..until until until that final act. Fragments of her broken childhood are also shown to us, to make us understand the hows, the whys. She also finally understands her mother's perspective, in an extremely gratifying scene towards the end of the film.

I would have also loved living alone in a beachside cottage in Orkney, maybe. With the raging winds and seas for company. However, I probably may have been first to jump into the sea at first given "good weather" opportunity. My gosh, the seals. They're such cuties!

The sound design too is impressive - whether Rona is going through one of her "episodes" or she's on a lonesome island. Oftentimes, the music from Rona's headphones transitions to the roughness of the surrounding ocean. It's a marvel, if you're consuming the film on a good set of earpieces. Scotland is also stunningly captured.

This is a film that grew on me, with each passing scene. I didn't like the explanatory voiceovers at the start, yet by the time the film was drawing to a close, I felt they were an absolute necessity. A good film started to show signs of a great film, and it stays a great film when it concludes. For Nora Fingscheidt, this is a very confident third directorial effort.

Though I've mentioned this countless times before, the best films are the kind that stay with you long after you've watched them-I won't say Vaazhai is one of those, but as a filmmaker his films fall under the kind that make you feel terribly sad and sorry while simultaneously appreciative of your own lives. He (like Pa Ranjith and a few others) is out to tell stories less told-of the poor, the underprivileged, the ones that struggle to make ends meet. Though their lives are laborious by nature, he often scripts them to be a bunch that tries to find joy in the smallest of things-a handkerchief, a ripped shirt, a bowl of henna leaves, a Communist emblem, and what not.

Vaazhai is partly biographical in nature, making the proceedings slightly more hard-hitting. Again, this is a filmmaker out to tug at your heartstrings, so when you see a series of happy moments, you're forewarned that conflicts and tragedies are on their way. This is a more sincere writing effort than Maamannan by Mari, though it occasionally wanders into random hills and fields with no rhyme or reason, just like its protagonists. Maybe, it's meant to showcase life and its happenings as they are, with the camera merely capturing it all in third-person. Santhosh Narayanan delivers a superb soundtrack-I cannot shower enough praise on this man. He never gets the hat tips that an Anirudh gets, even when he consistently produces solid work (that isn't necessarily the internet-viral kind). The songs from the film will remain on my playlist for a long time.

The child actors Ponvel M and Raghul R are fantastic, bringing the innocence of the early teens in such a sweet, adorable way. Nikhila Vimal, who has been fairly underutilized in Malayalam this year, puts on a wonderful show as the "cute teacher" at school. Kalaiyarasan also gets a good role, in such a stark contrast to what we witness in a film like Devara. The (impactful) monochrome shots are now a Mari Selvaraj signature, yeah? If only part of his films didn't come across as misery porn, I think they'd have been cinematic masterpieces (Karnan is still his CINEMATIC best by far, for me). This is still a really good bounceback for him after Maamannan.

Megan Park, now two directorial entries old, is slowly becoming a fantastic filmmaker in the drama and coming-of-age genres. My Old Ass is yet another feather in her cap, a sweet drama about a queer woman navigating her post-high-school, pre-university days at her farm. The locales (the woods, the lake, the house) play a pretty big role in conveying the sense of belonging. Aubrey Plaza's occasional presence is an uplifter, but the film rests on the capable shoulders of Maisy Stella, a promising young talent.

The supporting cast is also really adorable and their characters are easy to connect with. This makes the film a breezy watch, but the final act has a few (beautifully) emotional exchanges-at least there's sincerity in the writing, even when the destination is predictable. I'm not a big fan of Gen Z music, so the Justin Bieber music-trip didn't do anything for me. Also, I would've had more Aubrey Plaza interventions if it were up to me, but I'm not complaining. This is Maisy's film, and proudly so!

Red Rooms is one of those films that leaves you with plenty to think about-could it be? What if..? Seriously? Whatever the case may be, Juliette Gariépy delivers a powerhouse performance, one that needs to be studied in greater detail. We've seen how serial killer cases have had groupie interventions in the past, but Red Rooms treats it with a kind of sadistic seriousness I have never witnessed before. Kelly-Anne (Gariépy) is dangerously obsessed with a specific set of murder cases (and their subsequent combined trial), almost to the point where it constitutes her entire life (well, at least by the time we get to know her; there's no backstory provided).

Pascal Plante grabs us by the collar and never lets go, right from the film's opening shots. Themes such as true crime fixation, dark web exploration, snuff films, and hacking are tackled in a film that primarily discusses human fascination with its dark, unruly side. What is it about the ghastly details of crimes that piques our brains? What about the nature of the killers' psyche particularly intrigues us? Why is true-crime one of the most watched sections on modern streaming platforms? Would we stoop to hideous levels of purchasing and viewing content just because they offer a momentary high? All these questions are asked, but without blatantly asking. If you haven't heard the word "hybristophilia" before, you should probably Google it.

Plante often places the camera within the courtroom, slowly panning and focusing on the protagonist's gaze, sometimes on the lawyers' stance, sometimes on the (supposed) killer's gait-depending on the scene in question. Some layers are also added for further intrigue-Lady of Shalott, Guinevere, and such. The cinematography (Vincent Biron), musical score (Dominique Plante), and editing (Jonah Malak) are top-notch.

This Spanish zombie thriller offers a few surprises while treading the same paths that most of its classic predecessors did. The setup is as old as the genre itself, and while the proceedings get tense very quickly (owing to fast, nasty zombies), there's not much that hasn't been seen or tried in similar films. Even the protagonist's arc is fairly straightforward, and it's more of the adventurous journey he's forced to undertake that keeps viewers on edge.

There are some plot contrivances, though they only serve to keep the ball rolling for the thrills to unfurl. A large portion of said thrills are generic, yet there's enough juice in the execution to entertain zombie fanatics. Some scenes (like the baby zombie) could've been edited out, and I think it's that annoying cliffhanger-ish ending that most viewers would find themselves scratching their heads over. I read that the film stays pretty loyal to its source material, however. I'd watch the sequel for sure.

First thought: The Substance, without even trying, makes modern-day food blogging look like an incredibly disgusting career, if you understand what I mean. The close-up shots offer a uniquely harrowing perspective, sometimes. The abundance of butt shots is a Coralie Fargeat signature, I believe?

Further thoughts: This is a deeply disconcerting film. It has body-horror frames that make you want to look away, and not just because they're "gory". Coralie conceptualizes every form of body horror one can imagine, using splendid prosthetics to gross out even the toughest of viewers. Also, the film manages to be tremendously entertaining while at it.

Both Demi Moore and Margaret Qualley offer performances worth diving deeper into - the former, for her nuanced take on loneliness and being a has-been; the latter for her sultry take as a selfish, attention-loving, Gen Z(?) model. Big shoutout to Moore & Qualley for the prosthetics-heavy scenes - both handled them like true body-horror-victims (David Cronenberg would be proud!). Qualley is busy playing "bad gal" in ways only she can, making viewers' jaws drop. Her prosthetic-heavy bits almost remind you of the mutated abominations from The Thing (yikes!).

Some scenes also reminded me of Shankar's "I" (2015), for cosmetic reasons. The ugly side of showbiz is explored in greater satirical detail, with characters like that of Dennis Quaid's only serving to drive that point home. Aiding the storytelling big time is Raffertie's score, which underlines the personas' growing hatred of each other. Pierre-Olivier Persin (make-up effects designer & supervisor), take a bow!

A late twist even adds a spectacularly blood-soaked set piece, reminding us why Fargeat's very much an action director (I wasn't a fan of Revenge though - maybe, I should rewatch it?). But, good lord, can anything prepare us for what awaits us during the climax? Nope. This, my LB geeks, is a SPECIAL film.

P. S. The relevance of that first shot - just wow!

Joker: Folie à Deux succeeded in one thing and one thing only-ruining what the first film had built.. an intriguing character study, a slow descent into raging madness, a performance of a lifetime. This "mus-equel" is an extension of the first movie, just plain uninteresting this time around. Big-ticket studios can never give up on making sequels just because the first one was critically and commercially successful, can they?

Scott Silver writes the whole thing like a high-school drama, and none of Todd Phillips' smart direction from the first film is evident here. The infatuation between Lee and Arthur is so cosmetic, it hardly leaves any impact. Even Phoenix and Gaga don't seem to be buying what's written on paper, then how will the audiences? The musical numbers are just NOT for me, I guess. Heck, these jukebox musicals as a whole AREN'T. First-rate production quality though, as expected.

I'm really liking how Karthi is able to seamlessly portray these upbeat village lads-his body language, mannerisms, use of dialects-everything makes you want to sit down with him in his backyard and have a beer. Maybe, he would make for an unconvincing "Sardar", "Dev", or "Japan" in my books, but his career trajectory has so far thrived on these believable rural/suburban Tamizhan characters. He hits all the right notes in C Prem Kumar's second Tamil directorial, and making us care alongside him, is a brilliant Arvind Swamy. Both their characters are so candid, relatable, and likeable.

The film also features an array of solid supporting acts from the likes of Sri Divya, Devadarshini, Jayaprakash, Raj Kiran, Karunakaran, and more. Special shoutouts go to the snake and the bull at Karthi's place in Needamangalam, and the lovely parrots at Arvind Swamy's place in Chennai-they played really important cameos.

I love how the writer-director builds entire scenes around places and objects that youngsters, growing up, get attached to-in this case, it's Arvind Swamy's ancestral home, bicycle, and slippers. Govind Vasantha's music is a primary ingredient in this dish, elevating the sentimental quotient of several scenes. One could call it a nostalgic overdose, but it's done tastefully. Plus, when we get these two stupendous performers on screen, it's a dramatic treat, even at 2h 38m.

P. S. This shouldn't have been released around the same time as Vettaiyan.

I caught wind of this thriller by complete accident-and it turned out to be a good one! If you've grown up on your share of 2000s thrillers (with slasher inclinations), this one should be right up your alley too. This is what I want Netflix to make more of-in the process, extract star-making roles out of lesser known names. Considering it's a Sam Raimi (co-)production, I did expect some thriller interventions to hit me out of the blue.

The directorial duo of Adam Schindler & Brian Netto keeps the proceedings fast-paced and engaging, even when some of it is (cinematically) predictable and plot-convenient. The environs are also used effectively, although I'm definitely sure that's NOT how floating (while paralysed) in the rapids would end up.

Kelsey Asbille plays the protagonist to believable effect, while Finn Wittrock makes for a really convincing sociopath. Also, there's a lot of talking involved, for a thriller featuring strangers doing stuff to each other. The less said about the overused "trauma-redemption" arc in survival thrillers at this point, the better, right?

Gaganachari scores high in how it treats its familiar (yet experimental, for Malayalam) plot, garnished with a heavy dose of pop culture references, making it palatable for both 90s and 2000s kids. The sci-fi mockumentary packaging, which I only remember from a recent Krishand film, looks and feels fresh. The humor flows organically, even when a few writing misses occur in the second hour. The cast is terrific-each fitting their respective roles to the T. Gokul Suresh is surprisingly good as the lovestruck loser Allan, and so is Anarkali Marikkar as Alieyamma. Ganesh Kumar and Aju Varghese bring in the laughs with their one-liners, making even generic events like dinner, sleep, and meditation look entertaining.

There is overuse of AI but it's understandable given what the makers were trying to achieve here. Ultimately, what we see and hear on screen, looks incredibly believable for its given budget, and that's what should matter at the end of the day. The socio-political subtext is also played for laughs, and I particularly enjoyed the writing (and visual) choice of painting Kerala in a greenish excess, as opposed to the typical dystopian desert shades. Sankar Sharma's music also adds zing to the proceedings. I'm unsure if the sequel (or is it a spinoff?) holds the same level of potential given it'll be a star-led vehicle, but we'll just have to wait and see. Good work, Arun Chandu!

A killer cast-featuring the likes of Peter Dinklage, Josh Brolin, Glenn Close, Brendan Fraser-just isn't enough to elevate Brothers above the average comedy caper. Unlike Max Barbakow's previous film Palm Springs which offered an interestingly romantic take on a time loop with fascinating characters, this flick purely rides on the uneasy equation between the brothers and their mum. Brolin and Dinklage do make for a fun pair, with Glenn Close rounding out the trio that's seemingly up to no good. But the film doesn't take many storytelling risks, sticks to the basics of what constitutes a dysfunctional family, providing some one-liners and slapstick humour (courtesy Fraser's dirty cop), ultimately treading familiar paths even when the heist elements take over. It's definitely a few steps down from Palm Springs, but I still have faith in Barbakow as a filmmaker when it comes to handling comedy.

P. S. I never thought I'd say this about Marisa Tomei but the film could've done without the scenes featuring her.. or that ape.

I'm yet to see a larger-than-life Iranian film where characters defy physics, logic, and emotions-here's another sweet little gem to add to that list. This is a story of two 70-year-olds finding love one fine evening, sharing life's little details and cherishing its little moments along the way. We meet Mahin (an absolutely adorable Lili Farhadpour) as she goes about her day, understanding more about her through the slice-of-life interactions she has with the people around. Faramarz (Esmaeel Mehrabi, playing the tender counterpart to perfection) enters her life as randomly as it can get, and this leads to interesting conversations, wine, and merry-making. A late (and expected) swerve only reminds you of how happy moments don't last forever, but neither do the sad ones. Also, when all this plays out in a country that's big on moral policing, how can you not smile first (and sigh later)?

Well, sometimes I ask myself the question: what am I to expect from an Amal Neerad film? Is it protagonists (or antagonists) looking like they dropped straight from heaven in stylish costumes? Is it those soft-glow-induced frames where aesthetics tower over the plot? Is it the sudden burst of slo-mo action scenes? Maybe, all of this and more. Given he works with technicians like Vivek Harshan (edits), Joseph Nellickal (prod. Design), Anend C Chandran (cinematography), and Sushin Shyam (music), the kind of audio-visual output one expects is nothing short of tremendous. Bougainvillea wholly delivers in that regard, and a solid (returning) Jyothirmayi and a suave Kunchacko Boban make it worth your while.

The first half of the film (i.e. The drama) really worked for me. I won't go into the details of the plot, but the way Amal chooses to present it holds promise. It carries an underlying question related to identity and mostly toys with the concept of memories. There's also an element of art blending with crime, which brings Fahad Fazil's cop into the mix. The other recurring characters include that of Srinda, Sharaf, and Veena. As I hadn't read the novel on which the film is based, I really thought Amal would decide to go all out pulpy in his signature style in the second half. But it underdelivers-neither is that big twist very convincing in its presentation, nor is it shocking enough to make you go "what the hell". The final 20 minutes or so, is fun, in a grindhouse-like way (no big "empowerment" feels here, tbh!).

Sure, there's the instant gratification in all of it, cooked in typical Amal Neerad garnishing. When you consider the film in totality, it isn't likely to satisfy hardcore crime-thriller enthusiasts (who are in it for the plot, the performances, and the twists) or churn out dozens of fresh Amal-Neerad-converts. It lies somewhere in the middle, offering mild thrills and good-to-great performances, but not making a whole lot of sense plotwise (Ikigai? The flashback scene? That unnecessary exposition scene at the end-What was all that for?) or little-details-wise. Also, a criminally underutilized Fahad Fazil is never a good thing.

As someone who has followed this franchise from its very beginning, Fede Alvarez's entry has given it a fresh spin, but with neat callbacks to what makes it truly iconic (yep, we have a chestburster, a face-to-face shot, and more). The symmetrical screens and gooey membranes are back, in a film that also made me an instant fan of Cailee Spaeny and David Jonsson. I feel, unlike Civil War, this is the film that put Spaeny at the forefront of affairs, giving her more to do, alongside an arc that felt more relatable. Alvarez's use of practical effects and sets really drive the point home of bringing instances of sheer terror (+ body horror) into this space station, also reminding you why Ridley Scott's original and James Cameron's sequel remain all-time greats.

Alvarez (and co-writer Rodo Sayagues) carefully write the protagonists into a corner, forcing them to take on the Xenomorphs and Face Huggers with no choice. There are cinematic liberties aplenty, but I wouldn't deny how much fun the 2h ride turned out to be. The entry also takes it back to its claustrophobic horror roots, something Alvarez effectively pulled off at a small scale in Don't Breathe. I'm left to wonder why Neill Blomkamp's version never got made -- but at least it paved the way for someone other than Sir Ridley to make an Alien flick that wasn't always busy trying to tie itself to a larger plot (and universe). Romulus reinvigorates the franchise, and the box office numbers did not lie.

I have an affinity for the grainy texture of 16mm film -- the likes of which this film was (almost entirely) shot on. The film starts off as a noir whodunnit, but it transforms into a slow descent into mental chaos for its protagonist -- the cop investigating a series of murders, who we closely follow. The clues and motives behind the murders begin to matter less, but the protagonist's obsession with finding the killer consumes him. Chengma's cinematography is fantastic, offering an aesthetic feast set in mid 90s rural China.

The (minimal) score and edit work are solid too, playing key roles in pulling us into this vortex of unexplained character layers and revelations. A hallucinatory sequence, in particular, is very tastefully executed -- it's one of the most inventive stretches I've seen in a film in recent times. Yet, Only the River Flows isn't the kind of cinema interested in giving clear-cut answers to all your questions. Call this Wei Shujun's arthouse version of Memories of Murder, minus the edge-of-the-seat thrills.

Still, a very "mid" film from someone like TJ Gnanavel -- whose melodramatic style I'm not a big fan of, and thankfully, that's not excessive here like in Jai Bhim. Gnanavel is clearly a better storyteller than a masala filmmaker, and hence, struggles to an extent trying to stage hero-elevation points, action blocks, and song-and-dance sequences. His politics is on the appreciable side, which he side-tackles using Bachchan's character but with fairly low impact, if you place this alongside Jai Bhim.

Manju Warrier gets a typical wifey role, with one scene towards the end giving her a momentary upgrade. I'm unsure if we needed someone like FaFa to fill in the role of "Battery" Patrick (even when he's spontaneously entertaining with his quirks and one-liners) -- someone like Sivakarthikeyan or Manikandan could've done the honors. Rana plays such a typical, paper-thin villain, with absurdly poor characterization. Placing him against Thalaivar also doesn't work all that well. That being said, I enjoyed one scene towards the end where conflicts pile up against the protagonists simultaneously, and how each rises to the occasion.

Anirudh's score here is better than what we witnessed in Indian 2 (phew!) although it's nowhere in the league of his top works. Again, I found the song picturization of Manassilayo to be lackluster and dull, except for that hook step. Gnanavel wanted to make a message-drama I suppose, and shoehorning all (or most) of Thalaivar's antics into the screenplay certainly did NOT work in his favor. Nonetheless, despite its somewhat flat treatment, the film is thoroughly watchable because Thalaivar still brings the swagger, and we get to see incredible performers share the silver screen.

P. S. Damnnn, Ritika Singh can handcuff me all she wants!

P. P. S. Can we NOT have rape scenes played over and over in films? It's been getting out of hand, lately.

It has sort of become an annual Spooktober routine now, with these V/H/S films. Let me review segment by segment, as I have with all the previous entires:

• "Abduction/Adduction" /frame narrative: The wraparound segment is in the style of a documentary--inspired more from the likes of BBC and WB Discovery than the Netflix format. It isn't outright scary per se, just a tone-setter. The final shot is weird in ways we've come to expect these V/H/S wraparound segments, though. (2/5)

• "Stork": Now, this I could get behind. A gory zombie actioner with an extra-terrestrial setup, I loved how the action is relentless once it starts. The bloodletting is also on the higher side, with some disgusting (but the right dose of enjoyable) creature effects. The finale is tame in comparison to the rest of the proceedings, but it's still a very solid (ACTUAL) first segment. Jordan Downey has my attention. (3.25/5)

• "Dream Girl": Never in my dreams did I imagine seeing a musical (item) number in a V/H/S movie, but this takes it one step further by embedding the extra-terrestrial within a Bollywood diva. The creature effects are captured from a distance most of the time, so I wouldn't call it the most well-shot segment. Yet, I'll give marks for the innovation in plot, setting, and some (extra) dark humour. Good job, Virat Pal. (3.25/5)

• "Live and Let Dive": Once again, a very unique setting for an alien attack -- a celebratory skydiving session. The creature CG reminded me of The Thing videogame (from 2002), and the way the scares are built and the practical effects are used -- good stuff indeed. Justin Martinez, part of Radio Silence, clearly showcases his filmmaking prowess. (3.5/5)

• "Fur Babies": Justin Long and his brother Christian Long create an extension of Tusk, with gnarly effects that are bound to irk dog lovers -- and that's probably the whole intention. This is also the only segment that doesn't imply an extra-terrestrial presence. It's fine, I suppose. (2.5/5)

• "Stowaway": While this has the most direct alien-UFO-exploration plot, it moves at a slow pace and given its late '80s setting, the visuals are (deliberately) pixelated. Flanagan and Siegel manage to create a trance-like aura of being stuck in an alien spaceship, but the segment somehow lacks the urgency and tension of an actual alien abduction. The effects can rival David Cronenberg's The Fly, but not a lot is actually revealed. (2.75/5)

P. S. That's the highest I've rated a V/H/S film since V/H/S 2.

We all know how great a performer Sarah Paulson actually is, but I just don't understand why she signs up for lacklustre films like this one. Of course, her character is the one holding it all together, and the plot carries some potential, both from the perspectives of a character study as well as a psychological horror drama. The little girls playing the daughters also do their parts well. It's just that the story keeps meandering from one thing to another, unable to find a clear landing zone. Visually, I'd say it's an okayish effort. The dust element could've been used to greater effect--I wonder how another director would've handled it (hint: Under the Shadow immediately comes to mind). Some of the drama works owing to Paulson's performance, but I wish the film overall, had more punch.