Film reviews

Gibson’s actions only invite the hatred of British General Lord Cornwallis (The Full Monty’s middle-aged stripper Tom Wilkinson) and reprisals from Tavington — he doesn’t flinch from burning down a churchfull of Gibson’s sympathisers, including Gabriel’s young wife Anne Howard (Lisa Brenner).

The female leads — particularly Gibson’s sister-in-law Charlotte (Joely Richardson) — are only as props in this all male war film that climaxes with the crucial Battle of the Cowpens in North Carolina.

The Patriot features some well-staged battle sequences and is lavishly shot thanks to Oscar-nominated Caleb Deschanel’s cinematography. But the film is simplistic and predictable in the way that all Hollywood big-budgeters are. Aimed squarely at the box office, it’s no history lesson and doesn’t pretend to be. In fact, barring a voiceover at the end, it tells you as much about the war as Godzilla told you about method acting. It isn’t even original and owes more to Braveheart, Rob Roy, The Last of the Mohicans and even Robinhood Prince of Thieves than it does to scriptwriter Robert Rodat’s (Saving Private Ryan) imagination.

— SANDEEP UNNITHAN

BOILER ROOM

In the boiler room, the rules are simple. Pick up the phone and smooth talk the person on the other end into buying shares. Sounds simple, but with everyone always looking to close the deal, life in the boiler room is anything but easy.

What keeps all the twentysomethings going is the promise that within the first three years, all of them will be millionaires. So everybody is always on the phone, persuading, cajoling and peddling stocks to unsuspecting buyers. The more they sell, the bigger their reward. From snazzy cars to mansions, the boiler room boys have it all.

But they are not on Wall Street and that is the catch. The boiler room is not a legit organisation. Davis will take you through the rise and fall of a ficitional firm, which is representative of the murky dealings of the real world.

A tight script and Ribisi do wonders for this film. The script ensures that the momentum of the film never slows and Ribisi exposes the downside of life on the fast lane very convincingly.

— ANURADHA NAGARAJ

Deewane

The film’s camerawork deserves mention, especially during those spectacular song sequences. The music, meanwhile, is just above average. Sanjeev-Darshan deliver at best three hummable numbers. The title song, the Qayamat number and Churao na dil are the only three gems of an otherwise mediocre album.

Ajay Devgan is visibly embarrassed to be a part of this cursed caper. He performs well, but can’t rise above the doomed script. Nevertheless, he’s easily the movie’s only merit. Urmila Matondkar is wasted in a part that requires little more than singing and dancing… and, of course, occasionally breaking down into tears. Mahima Chaudhary has a thankless role that does no justice to her talent.

It’s just such a pity that a film which could have been so much more, turns out to be such a bore.

— RAJEEV MASAND