PART 2: FILMS
A typical story of a Man trying to fulfill his ambitious dreams through the likes of his unborn child. What else can you do after your father doesn't support your dream of becoming a national wrestling champion?
He (Amir Khan) vows that he'll make a wrestler out of his unborn son but soon gives up hope after having four daughters. But when his older daughters Geeta and Babita come home after beating up two boys one day in response to passing comments, he realizes their potential to become wrestlers and begins coaching them.
DR STRANGELOVE, OR HOW I LEARNED TO STOP WORRYING AND LOVE THE BOMB
Stanley Kubrick’s classic Cold War satire is a masterclass in absurdity. As with its close cousin Catch-22, it takes a deadly serious subject (in this case nuclear annihilation) and offers it precisely zero respect – with genuinely hilarious results.
Every character here is an absolute idiot, from the deranged general whose obsession with ‘precious bodily fluids’ kicks off the whole crisis, to the uppity British captain who tries to stop him (but without disobeying orders of course) to the yee-hawing bomber pilot to the prevaricating president to the goose-stepping Dr Strangelove himself.
Peter Sellers plays three of the roles - to perfection, obviously - while George C Scott excels as the xenophobic General Turgidson. Oh, and underneath all the funny stuff it’s still quite terrifying, even today.
THE BIG LEBOWSKI
Does anyone not like the Coen brothers? Maybe there’s a woman somewhere in Minnesota who refuses to watch their films because Joel didn’t ask her to the prom in 1971. Maybe there’s a man somewhere in Cheshire who’s never seen any of them because Ethan looks like the sod who ran over his dog. But the rest of us are all on board, right?
Fargo (1996) was the breakthrough movie that made their reputation for somehow managing to be funny, warm, dark and grotesque all at the same time. The Big Lebowski came two years later and it’s every bit as watchable, with John Goodman and Jeff Bridges in a ramblingly daft story of money, revenge and bowling.
Everybody’s favourite part-time cereal refuser and full-time dreamboat, Ryan Gosling, dons a snazzy jacket to play an unnamed getaway driver of very few words. When his neighbour’s husband returns from prison with a hefty debt to the local mob, the Driver offers to help out in a robbery that’ll pay it off. But you’ll never guess what – it doesn’t quite go as planned.
Drive is director Nicolas Winding Refn’s best film by far but it’s very much a case of style over substance. Still, when that style is as sharp as this, with its pulsing (if now completely overplayed) soundtrack; moody, noirish feel; and heart-thumping driving sequences, we’re not complaining. Certainly not to the Driver’s face. Have you seen what he does with a hammer and nail?
Looper is a superb, mind-bending, futuristic, time-travelling action-thriller that sees Joseph Gordon-Levitt assume the role of an assassin whose job consists of putting a bullet in the head of people teleported to his time by a future mob organisation (holy plot line, Batman).
But when the poor sap that appears before him is his future self (played by Bruce Willis), things get rather, well, complicated.
The intricate plot is strongly complimented by plenty of action and strong performances from all, although Gordon-Levitt’s Bruce Willis-like prosthetic nose is initially a little distracting.
We all can agree on one thing, there's no bigger badass than SRK. Like wine, he only gets better with age.
The story of Raees revolves around the prohibition of alcohol and illegal drugs in Gujarat. Raees Alam, a bootlegger, must survive and keep his trade thriving when challenged by ACP Majmudar. While he's in the mix of his illegal trades getting busted at an alarming rate, he must keep his wits to face people far sinister than he has ever come across.
Reservoir Dogs may have put Quentin Tarantino on the map, but it was Pulp Fiction that cemented him as the enfant terrible of 1990s cinema, as well as inspiring an entire generation of imitators – none of which came close, we might add.
What is Pulp Fiction? On the face of it, a trio of interweaving stories set in the Los Angeles criminal underworld, which is in itself a pretty interesting, novel way to structure a movie. But it’s the film’s style, its snappy dialogue, its music, its depictions of violence and drugs, and its dance sequences that truly make it something special.
Tarantino has yet to make a better film than Pulp Fiction. And judging by his recent efforts, enjoyable as they are, he never will. It manages to feel both fresh and classic at the same time, both a tribute to cinema and a mould-breaking, pioneering piece of filmmaking. If we had to pick a movie that best sums up cinema in the 1990s, it’s tough to think of a better bet.
THE BIG SHORT
How the hell do you explain collateralised debt obligation to the 99% of the population that doesn’t work on Wall Street? Stick Margot Robbie in a bathtub, of course.
Adam McKay’s scathing retelling of the 2007-2008 financial crisis is jam-packed with these little explainers. Just in case Ryan Gosling’s acerbic narrator hasn’t boiled it down enough for you already.
Don’t let the subject matter turn you off - The Big Short takes a complex money minefield and turns it into a devilishly funny and genuinely exciting tale. You’ll tune in for the incredible cast, but stay to the end for the dissection of adjustable-rate mortgages.