Michael Jordan plays twins (Smoke & Stack) returning to their rural Mississippi home after making a minor fortune in Chicago. They purchase an abandoned factory and convert it into a juke club for their fellow coloured folks. What begins as night of revelry with mind-blowing music and more soon descends into madness as few bloodthirsty vampires come calling to the party as uninsured guests.
Director Ryan Coogler (Creed & Black Panther movies) creates a layered narrative blending visual splendour, delicious groovy blues music, stellar cast, themes of blacks-ploitation, crime and vampire action in this blockbuster entertainer.
In the seventh installment of the MI series, Tom Cruise and director Christopher McQuarrie have crafted a superlative action flick. The movie barrels down its 243 minutes runtime very much like its age-defying superstar who continues to sprint immaculately.
It hits a relentless pace from the word go till its exciting cliff hanger of an ending looking into an exciting abyss and what is waiting to unfold in the sequel to be released next year as we await it with bated breath.
It does everything one could ask for - familiar set of characters from IMF along with some new ones, machiavellian villains seeking world dominance, a foe that is contemporary, globe-trotting narrative propelled by brilliant action sequences including a crazy chase, a healthy sprinkling of humour and a few strands of emotional beats between the key characters, and at the heart of it all, Tom Cruise who is still hitting it out of the park, even after crossing sixty - a perfect recipe for a summer blockbuster.
At long last, after almost half a century, author Frank Herbert's pathbreaking sci-fi novel (published in 1965) gets a worthy movie adaptation. Dune, which has spawned 14 more novels as prequels and sequels and continues to grow, remains the defining benchmark for sci-fi world building.
The story is set several thousands of years into the future when mankind lords over several galaxies with highly evolved physical and mental capabilities. It is a future that unfolds thousands of years after humankind overcomes the challenge from thinking machines which threatened to enslave humankind.
At a basic level, it might follow the familiar template of an action adventure set in a desolate planet where a young prince leads an oppressed clan against a cruel villain who had killed his father to usurp a rightful throne.
While Dune captures only half of the first book in the series, there is no doubt whatsoever that this is an epic movie in almost every dimension as the entire team from the ensemble cast to the technical crew have risen to deliver exceptional contributions. This movie also sets a high watermark in seamlessly weaving together breathtaking real life imagery from stunning landscapes and spectacular CGI to deliver jaw dropping frames with finesse.
In his interviews, director Denis Villeneuve has confessed that this has been a passion project as it marks the realization of his long cherished childhood dream to see Dune on the big screen. And.. the painstaking efforts of the entire team is amply evident in the level of detailing that has been devoted in making every frame of this grand saga. The director effortlessly translates the expansive universe of Dune to cinema as he delivers an adaptation that is mesmerizing and marvelous in equal measure which magically transports the viewers to this dreamy landscape.
This is as much an ode to the book as it is to the big screen movie experience, even more so as it marks the opening of cinemas across the world. Frank Herbert would have gladly approved of this majestic masterpiece which redefines movie magic for our times.
Move over Star Wars and LOTR ... Dune heralds its arrival to take over the throne as defining movie experience of our times with a monumental masterpiece.
An EPIC SPECTACLE !
A MUST WATCH !!
PS - Watch it on the biggest IMAX screen possible. ... & thereafter, start reading the books.
For his second directorial, writer-director Aaron Sorkin (A Few Good Men, The Social Network and many more notable screenwriting credits) has marshalled an ensemble cast for an engaging courtroom drama. The movie chronicles an infamous trial from the late 1960s when the Nixon administration and its new Attorney General prosecuted eight persons belonging to different anti-Vietnam war and civil rights groups on charges of conspiracy for causing bloody riots in Chicago during the Democratic National convention in 1968.
While it is purportedly recreation of a dark episode in the history of American democracy, it brings into stark relief on how it continues to represent the present days. The timing is curious as the chaos and paranoia that were prevalent then find an eerie resonance today as a highly polarized America heads into what promises to be a momentous, messy and one of its most divisive elections.
The writing is superlative as Sorkin dives into the thick of action from the word go and energizes the narrative with his trademark sharp cuts, electric exchanges between a bunch of memorable characters that we would love / loathe in equal vigour. He dials up the rhetoric, keeps the proceedings gripping by crisply inter-cutting the courtroom scenes with scenes from the fateful day of the riots to sustain the suspense. The unfolding drama is layered as it captures the multiple competing cross currents of war and peace, democracy and disorder, racism, calls for rebellion and righteous opposition in the face of unrelenting force of powers that be.
The stellar cast that includes top-of-the-shelf talents including Michael Keaton, Joseph Gordon Leavitt, Sacha Baron Cohen, Mark Rylance, Eddie Redmayne, Frank Langella and Yahya Abdul Matteen II and the performances are terrific across the board as they sink their teeth into these colourful characters that shine brilliantly even in crowded scenes.
This might be a story from another era of stormy unrest on how corrupt and unbridled state power aided by complicit pliant institutions could corrode a democracy by choking the fundamental right of citizens to express dissent. Yet, almost half a century later, it presents a grim reflection of our own times as this movie underlines for us. As liberal democracy finds itself dire straits, not just in America, but in several countries across the world, it is curious case of history repeating itself. Is it a tragedy or farce...? That is a zillion dollar question abegging an answer.
This documentary digs deep into the bottomless digital pit called social media and through lucid accounts from tech insiders, illuminates the existential threat it poses to humanity.
Contrary to popularly held notions, the menace of social media does not stop merely at seeing users accessing free content as products to be monetized through advertisements. In a mad rush to maximize profits, the AI engines at the heart of these social media apps continuously hack the users' psyche through machine-learning enabled manipulative algorithms that are highly effective.
The gullible user base - which includes each one of us - is pushed down a treacherous precipice into a vicious cycle of extended engagement with an endless stream of similarly toned, curated content - thereby creating and reinforcing disruptive biases, polarizing communities, eroding mutual trust, destabilizing democracies, augmenting the armory of autocrats and corroding common grounds for harmonious co-existence.
I wish this becomes a mandatory watch for everyone engaging with social media and should be pinned right on top of our daily news feed from every app that we use.
Do yourself a favour and watch it before you take your next dive into your Facebook or Pinterest or WhatsApp or Instagram or Twitter, etc.
This could well be the best 90-odd minutes you spend this weekend. It holds the potential to alter the rest of your life for the better and heal humanity from a self inflicted digital cancer from the spectre called social media.
A MUST WATCH !!
RATING - 4/5
PS - The Social Dilemma is currently streaming on Netflix.
War wreaks havoc on such a stupendous scale as it lays waste to once fertile fields, reduces resplendent landscapes to rubbish and rubble, delivering a deluge of death to unsuspecting scores while snuffing the life out of those left living as it renders them to a state of walking dead. It painfully wrenches the men from within the boys much before they could feel and enjoy the pleasures of boyhood as they are consumed by the insatiable appetite of obsessed adults who are at each other's throats. Little wonder that wars have captivated the imagination of story-tellers and by extension, film-makers for ages.
World War I.. French countryside.. British and German forces are deadlocked in a pitched battle of trench warfare where neither side is able to advance any more .. Lance Corporals Blake (Dean-Charles Chapman) and Schofield (George MacKay) are assigned on a deadly quest to cut across enemy held territory to deliver an urgent message to another advancing British column which is about to walk into a German ambush.
In 1917, director Sam Mendes and cinematographer Roger Deakins have achieved a milestone as they stage the entire movie which is based on a wafer-thin premise to feel like a single seamless shot. The result is spectacular as it renders a rare fluidity and an immersive experience for the viewers who are sucked into the center of the action brimming with creeping consternation with each passing moment.
We are pushed off the comfort of your seat as we are forced to take the plunge into the trenches .. scurry across the open fields .. get soaked .. taste the dust and grime .. buffeted by the swirling currents .. dragging ourselves across the scores of unfortunate men and animals lying dead.. wondering if they were actually fortunate to reach their fatal ends long ago rather suffering the sorry plight of those living, if one can call it that.
The movie benefits enormously from its technical finesse in almost every aspect, including elaborate production design that recreates the stomach curdling carnage of war and a tense score by Thomas Newman that makes even the intervening silent moments feel deceptive like the passing through the eye of a cyclone heralding the impending perils.
While 1917 rightfully feels like a milestone in cinematic achievement and richly deserves the multiple awards for technical categories, it does not go the whole hog as it falls short of being a masterpiece in storytelling.
It is the final phase of second world war. The Allies are knocking at the threshold of Germany. But, it is business as usual in Berlin where our protagonist - ten year old Jojo Betzler considers himself the ideal Aryan as he prepares to join a weekend camp of indoctrination by Hitler Youth. The Fuhrer is his greatest idol and also imaginary best friend - a confidante with whom he has several personal conversations and seeks guidance. Jojo lives alone with his mother Rosie (Scarlett Johansson) while his father is away fighting in the war.
Jojo aspires to rise through the ranks of Hitler Youth and become a personal bodyguard of the Fuhrer. But, underneath the facade of his Aryan pride, Jojo is a kind and sweet boy who flinches at hurting another being. JoJo's orderly world gets a bolt from the blue when he accidentally discovers that his mother has been hiding a much older jewish girl, Elsa (Thomasin McKenzie) in the attic of their home. Jojo intends to betray Elsa to the authorities and regain some of his lost prestige by winning a medal for the act. But, he faces a dilemma as he feels that it could put his mother in peril.
Thus unfolds a coming-of-age drama that sees our little Jojo on a journey of self discovery of understanding his beliefs including the systematic indoctrination of hate he was subjected to despite his tender age.
While most parts of the movie breezes through as a well made satire filled with oodles of irreverent and dark humour, these are interspersed with moments which are poignant and underline the grim realities of the time without resorting to any melodrama.
Without being preachy, the movie casts its focus on how ideologies - howsoever well meaning - if let loose, could crush the idiosyncrasies that make us human and could convert us into unthinking automatons under the command of powers that be.
Roman Griffin Davis is endearing and absolutely spot on as the vulnerable Jojo. Scarlett Johansson brings a natural warmth and mirth as JoJo's mother Rosie and richly deserves her Oscar nomination for best supporting actor. The talented Sam Rockwell shines in a short cameo while Waititi is having a whale of a time playing Hitler. Director Taika Waititi (Thor Ragnarok) has delivered an important movie which, despite being set during second world war, resonates strongly with our own times that is marked by a rising tide of restlessness and distrust across the globe. A GEM ! A MUST WATCH !! RATING - 4/5
An above average flick that is quite enjoyable in its own right. Nevertheless, it does fall short of the previous installment - The Last Jedi - which continues to stand tall like The Dark Night.
In any case, creating a film that could be considered a satisfying finale for an iconic series that has spanned more than four decades is akin to attempting an inter-galactic leap of several zillion light years.
Director JJ Abrams has succeeded to a fair extent in this formulaic flick that checks multiple boxes including magnificent action set pieces, several nostalgic nudges to the previous movies and enough emotional heft that one could seek in such franchise fare.
AN ENJOYABLE WATCH !!
RATING - 3/5
PS - I watched it in a 4DX Audi ... My first experience of the 4DX format .. was thoroughly enjoyable as it added an element of zing to the on-screen action .. and, most importantly, i loved the fact that there was no break and I could enjoy the entire movie in one go.
The Irishman sees veteran Scorsese (now, in his 70s) returning to a genre that he had redefined with his early works .. a genre that brought him widespread critical as well as commercial acclaim and made him what he turned out to be.
And.. he returns with a power packed cast that is headlined by Robert de Niro (a frequent collaborator), Al Pacino and Joe Pesci (all three, now in their 70s) and many more stars in juicy cameos.
The Irishman is adapted from a novel - "I Heard You Paint Houses" by Charles Brandt. It is set in the period from 1950s to 1980s and narrates the story of Frank Sheeran - a war veteran, truck driver who gets associated with the underworld crime families, becomes a mob hitman and how his life intersects with trade union leader, Jimmy Hoffa.
The movie which runs for a whopping 209 minutes demands - nay, commands - a patient viewing and rewards the viewers with superlative performances by Al Pacino, Joe Pesci and De Niro at the heart of the narrative filling almost every frame besides excellence in almost every technical aspect of filmmaking - be it the brilliant staging, fluid cinematography, pitch perfect score.
De Niro is a class act in the role of Frank Sheeran - a stoic mobster of few words and fewer emotions. Pesci gives great company in his own version of stolid mentor for Sheeran while good old Al Pacino more than makes up for the lack of words and emotions of the these two in an energetic performace where he explodes in almost every frame.
What we might miss in terms of pace is more than made up by the quality of performances and the craft of a master who shows that even the oldest genre tropes, if handled right, could work like magic.
While the CGI assisted de-aging of the leads is not perfect yet, it is nevertheless unobtrusive and heralds exciting augurings for the future of movies.
The deliberate pacing by Scorsese allows us to soak in more of the unfolding events through the conversations, character arcs and gets us ever more invested in their predicaments. The narrative flows like a clear stream that is seamlessly punctuated by historic events (a la Forrest Gump) and sudden bursts of bloody violence.
Overall, this movie feels like a sagely Scorsese in his Yoda mode meditating on a mobster life.
The Irishman would certainly rank among Scorsese's finest and is certain to enjoy a brilliant run at the awards functions too.
A MASTERPIECE ! (if you can muster some patience to enjoy it.)
Ship load of superheroes - Check (Eyes-full in an IMAX screen and some more) Stunning action setpieces - Check Sharp sparkling humour - Check Emotionally charged moments - Check Epic finale - Check Director duo Russo bros dunk us neck deep into nostalgia as we buckle down for a dreamy ride skimming over a decade worth of our favourite blockbusters from the franchise. Their nifty screenplay pulls together plot lines from all those multiple moments of magnificence to a rousing crescendo culminating in yet another audacious, heroic and dare, I say heart wrenching snap.
It is beautiful in how the writing draws on the twenty plus historic blockbusters to create what is going to be the definitive piece in the history of blockbusters. The movie delivers on almost every count As sheer spectacle of ginormous proportions.. As an energetic and exciting entertainer.. As an emotionally charged roller coaster..
Russo bros have crafted a fitting farewell that elevates our favourite superheroes even as it pays an ode to each of them who would remain etched in the collective memories of the fans for a very long time, if not forever. Don't see how it could've ended any better .. Perhaps could've had some more fireworks .. Perhaps it could've been more 'snap'py.. But, again .. am just nitpicking here. Go .. Watch it in the biggest screen possible ! A MUST WATCH ! A MARVEL !! RATING - 4/5
Jordan Peele had tasted stand-out critical and commercial success with his debut directorial Get Out (2017). It was an unusual horror flick which had strong racial undercurrents and won many awards including an Oscar for Best Original Screenplay. Us, Peele's sophomore attempt, is also a horror flick with yet another unusual, genre-bending structure.
The movie begins in 1986 when a young girl -Adelaide - accompanying her parents to the Santa Cruz beach front slips away from them and has an unnerving encounter in a hall of mirrors.
Cut to the present day, the Wilsons - Adelaide (Lupita Nyong'o), Gabe (Winston Duke) along with their two kids, Zora (Shahadi Wright Joseph) and Jason (Evan Alex) - return to their family's beach-front home in Santa Cruz for a vacation. While Adelaide is still haunted by her childhood experiences at the beach and some ominous coincidences that resonate with that past, Gabe convinces her to relax. They spend a tense evening with their friends - Tylers - at the beach. That night, the Wilsons find a family of four in red overalls holding hands, trespassing into their property. They seem to be doppelgangers of the Wilsons. When Gabe tries to scare them away with feigned intimidation, the intruders attack the Wilsons.
Who are these intruding doppelgangers ? Where are they from ? What do they want from the Wilsons ? Why are they attacking the Wilsons with murderous intent ? What connection do they have with the events from Adelaide's childhood ? The rest of the movie is a survival saga spreading overnight as the Wilson family seeks to escape this attack alive. It unfolds in an uneven, albeit uncanny and layered narrative that answers these questions while raising some more deeper and unsettling ones.
Lupita Nyong'o is a class act and is equally convincing in both her roles, seamlessly alternating between being chilling and ferocious or traumatised and terrified. Winston Duke, Elisabeth Moss and rest of the cast provide able support.
Peele's main narrative arc is almost polymorphic as one can uncover layers of sub-texts that reflect on multiple issues like class, race, gender and many more. It makes minimal use of template tropes such as sudden rousing score, jump scares bloody visuals and adds a good bit of humour.
Overall, Us is an ambitious addition to the genre of horror that seeks to expand its horizons as Peele seeks to make it a journey that is simultaneously thrilling and thought provoking.
And ... To his credit, he succeeds for the most part.
It is finally here.. the culmination of 10 years of multiple MCU story lines spanning 18 movies and ship-load of superheroes and their support cast which we have grown to love.
Thanks to the well orchestrated marketing campaign as well as the gradual buildup over the years through all the story arcs converging to this climactic showdown, the tsunami of expectations for Infinity War had hit a crescendo before the release.
Credit to the director duo of Russo brothers who have managed to deliver despite such stupendous expectations and hype.
The movie is chock-a-block with our favourite superheroes and towering above all of them, is their nemesis - the mad titan Thanos who spells death, doom and destruction from the word go, as he sets out on a quest to capture all six infinity stones which would make him the most powerful entity of the universe.
While the narrative is indeed weighed down by the sheer mass of the material on hand and the multiple characters vying for screen-time, the directors have managed to provide space for almost all of them to come into their own.
Given the scale of the challenge at hand, the sinister designs of Thanos and his team and his superlative power which continues to multiply as the movie progresses, there is a palpable dark tinge that permeates the movie. Despite being shrouded under the dark cloud of impending doom an gloom, the narrative is frequently funny with clever cracking quips coming from the clash of several superhero sized egos as well as genuinely tongue-in-cheek conversations as all these characters get to know each other.
The action is often frenetic and the set pieces are brilliantly mounted on a dazzling scale with scope for almost every character to shine in brief bursts. In a movie of this scale, with more superhero per minute than any other venture, Josh Brolin is impressively menacing as the invincible, Thanos who seeks to bring balance to the universe even if it involves wiping half of all lives, including many of our favourite superheroes, at the snap of his fingers.
While some of the outcomes are on expected lines as indicated in the many trailers and teasers, the Russo brothers have packed quite a few nasty surprises that could leave the audience gawking, especially - an epic cliffhanger ending.
As the dust settles after a feverish run-time of almost 160 minutes and an audacious climax (yup every minute counts.. including the end credit scene), the audience are left at a perilous precipice that is shocking and desperately seeking answers to multiple questions from the sequel that is slated to hit the screens next year.
Till then... we are left to MARVEL ... What could be lying beyond this insidious infinity ?
A MUST WATCH (preferably on the BIGGEST screen possible) !!
The movie is set in a post apocalyptic world haunted by blind alien-esque predatory creatures which zero in on their prey by sound. The very thought that any and every sound could literally be your death knell makes one shiver as the seriousness of the situation strikes us in an early scene.
The narrative focuses on the ordeals of a small rural family of the Abbotts consisting of - real life spouses - John Krasinski (as Lee Abbott), Emily Blunt (as Evelyn Abbott) and their two kids - a daughter who is hearing impaired - Millicent Simmonds (as Regan Abbott) (hearing impaired in real life too) and a son - Noah Jupe (as Marcus Abbott) - as they adapt to a silent survival mechanism. Most of the movie proceeds in sinister silence with just the ambient sounds of nature as we find that the family has adapted to survive by walking barefoot always, giving up using any silverware and communicate almost exclusively in sign language.
John Krasinski who has also directed the movie has created a tense thriller which keeps the viewers entirely engrossed and riveted to the edge of their seats. He extracts remarkable performances from the entire cast - especially from Emily Blunt who aces her role as an expecting mother encountering several terrifying turn of events along side Millicent as a rebellious teen with daddy issues.
Special credits are due to the sound designing duo of Erik Aadahl and Ethan Van der Ryn who have done a tremendous job with the silences and natural ambient sounds that infuse every frame with the apt atmospherics of terror that runs through the entire duration of the movie. It is interesting to note that they have also worked on the latest sequel of that junkyard jamboree of Transformers - The Last Knight.
Krasinski is economic with his storytelling and builds the dread with every passing frame as surviving every silent second becomes a spellbinding and spine chilling experience as you fear that your own excited heartbeats are getting too loud for your safety.
Overall, it is a well crafted sci-fi thriller which elevates a simple premise into an absorbing adrenaline rush that stays with you long after your viewing.
A THRILLING WATCH (best enjoyed on a big screen with excellent acoustics) !!
War on terror is a unique species. It involves multiple state actors spanning different continents stacked against an asymmetric enemy who could inflict disproportionate damage despite operating with minimal resources. With the advent of drone based warfare, this war has transcended the borders of sovereign nations and is conducted from remote locations spread across continents using satellite communication and drones which can deliver lethal firepower at selected locations under surveillance to eliminate enemy threats. Noted South African director Gavin Hood (Tsotsi) explores this scenario in an exciting thriller involving a drone based missile strike against the leaders of a terror outfit as they meet to plan their next offensive. The leaders of Al-Shabaab, a dreaded terror group are meeting in a safehouse in the suburbs of Nairobi to plan their next terrorist attack. The meeting includes two British nationals who were radicalised recently and are being actively pursued by the British intelligence. British military intelligence officer Colonel Katherine Powell (Dame Helen Mirren) is heading a remote team stationed in rural Sussex that is actively tracking the meeting to capture the militants. They are supported by ground forces of the Kenyan military intelligence in Nairobi as well as assistance from two teams of US military intelligence - one based out of Hawaii for remote facial recognition of human targets and another team in Nevada which is an air force base where pilots remotely operate drones to deliver missiles on targets across continents with precision.
Meanwhile, a Cabinet Committee on Defence consisting of the Attorney General, two ministers from the Government and Lieutenant General Frank Benson (Alan Rickman) oversees the operation live from Whitehall. The Cabinet Committee is empowered to authorise the capture of the militants after receiving a finalconfirmation of their identities. These multinational intelligence teams are using an unmanned aerial vehicle armed with missile and some miniaturised drones operated from close quarters for their surveillance of the militant safe-house. However, the preparation of two suicide bombers inside the safe-house for an imminent attack on some civilian targets escalates the immediacy and intensity of the mission and consequently, Katherine seeks to convert the mission objective from capturing the terrorists to terminating them. However, any missile strike would also involve collateral damage to lives and property in the area which happens to be a bustling suburb in a friendly country. What follows is an intense and nail-biting finale filled with frantic events and disparate discussions across these multiple teams involving intelligence agencies, defence forces as well as dilly-dallying political leadership which is keen on political expediency than protecting lives.
The movie explores multiple contemporary themes through a taut narrative that keeps the viewer constantly at the edge of their seats. Besides being a tense thriller, the movie throws up multiple questions on the ideas including value of some lives over others, malleability of morality, acceptable levels of collateral damage, remote warfare which despite looking gamified could still present deep ethical dilemmas and political compulsions which could colour critical decisions of life & death. There are no easy answers to any of these questions and as a result, these questions would linger with the viewers to ponder long after they have watched the movie. The ensemble cast consisting of Dame Helen Mirren, late Alan Rickman, Aaron Paul and Barkhad Abdi provide excellent performances as the movie puts our moral compass on a see-saw ride. Despite being a war movie, this thriller is stands out as it abjures from the time tested tropes of the genre with most of the key players being far removed from ground zero and operating remotely through screens in conjunction to pull a virtual trigger. While this scenario means a war without its quintessential grime and blood, it still holds the potency of violence and emotional scarring. After (Tsotsi), this is easily the most accomplished offering from Gavin Hood, especially coming after misfires like X-Men Origins - Wolverine and Ender's Game.
Director Guillermo Del Toro is a magical creator who is capable of conjuring up unique, mystical and quite magnificent settings for his narratives and has set this story in Baltimore of early 1960s.
It is a tender and captivating romance between a mute janitor Elisa (Sally Hawkins) working in a top secret research facility and a creature captured from Amazon which is part fish and part human and is believed to be a river god by local populace. The government seeks to experiment on this mysterious creature for space research and sees it merely as an asset which is dispensable. But, the mute janitor sees it as more of a fellow being - a companion who is capable of communication as well as feelings of compassion, empathy and love.
Del Toro weaves a fantastic tale around this romance in the cold war era which is largely made possible and believable by an Oscar worthy performance from an excellent Sally Hawkins who is ably supported by Octavia Spencer, Richard Jenkins, Michael Stuhlberg as well as Michael Shannon. Great music by Alexandre Desplat and vivid visuals from Dan Laustsen add further allure to this moving fable.
That a story could be so simple, surreal, yet layered in so many subtle shades and suffused with such a gentle and generous spirit all through is an extraordinary achievement of this ace auteur for, in less trained hands, it could have so easily become a caricature or worse.
While I liked the dark and serious tone of Civil War, this flick with a healthy dose of humour is more in the mould of Guardians of the Galaxy.
Both Chris Hemsworth and Mark Ruffalo sparkle, revelling and discovering the lighter side of the superheroes - Thor and Hulk. Academy award winner Cate Blanchet is rocking as the sinister sister of Thor, Hela.
Kiwi director Taika Waititi comes as a breath of fresh air to the MCU and hopefully would continue to explore new and exciting dimensions along with worthy peers like James Gunn and the Russo brothers.
