An unfortunate incident forces him into retirement, taking him far from anything related to law.
Suryanarayana (Sathyaraj) is the kind of judge anyone would want he’s someone who’s empathetic to the plight of the people in his court even if his hands are bound by law. The problem is, they seem to have more fun than you are. The actors also seem to have a ball playing their characters, mouthing ridiculous lines. Pakka Commercial starts out as this very self-aware comedy, toeing the line between taking up something a little serious but always bringing it back it madcap category. Review: Maruthi has a particular style of filmmaking that sometimes works, sometimes doesn’t.
But is he really as ‘pakka commercial’ as he seems? “Meander” is in select theaters and on VOD now.Story: Son of retired judge Suryanarayana (Sathyaraj), Lucky (Gopichand) is a talented lawyer who will argue for anyone with money. Whether or not she does is beside the point. She’s determined to solve the puzzle, even if it means losing a few fingers along the way. Confronted with torture and tragedy every second, wrestling with her past, Lisa takes her obstacles, her killers, and her daughter’s death head-on. Weiss, often shunted to action movies or otherwise bland romantic roles, is far more interesting to watch when her emotions are allowed to surface, and “Meander” offers her the opportunity to explore that great range. READ MORE: ‘Escape Room: Tournament Of Champions’: A Well-Crafted Sequel That Doesn’t Think Outside Of The Box Through it all, what keeps the audience invested is the lead performance. Some of the twists and turns do take you out of the film, and the third act is reminiscent of an episode of “ Wipeout” with pools of acid instead of pools of water. This twist, coupled with the onslaught of moving obstacles, akin to Vincenzo Natali’s “Cube,” makes for a taut, terrifying thriller rooted in real-world stakes.
Is she real? Or is she just a memory, another obstacle she has to leave behind? The daughter appears, then disappears, then reappears. The sound design hints at things to come (a muffled scream, a slimy creature), though nothing can prepare her for the arrival of her daughter. She realizes that the clock on her wrist means “hurry the F up,” while the suit on her body is to protect her from balls of fire. Lisa must crawl through the tunnels as fast as she can, squeezing through narrow gaps and learning the rules of the game as she goes along. READ MORE: ‘Fear Street Part Two: 1978’: Leigh Janiak Hogs The 8-Track Player But Throws A Great Slasher Party Within a matter of seconds, a door slides open and the maze begins. Suddenly, the truck stops and Lisa flies through the windshield. As if the truck wasn’t a big enough red flag, a radio broadcast about a killer who drives a similar vehicle and has a tattoo on his hand is heard. Lisa ( Gaia Weiss) is grappling with the death of her daughter, when a man offers her a ride in his red, muddy Ford F-250. In this film, the claustrophobia is metaphorical rather than physical now, as one woman tries to outrun her past by navigating a labyrinth of memory. “ Maze Runner“…well, let’s not talk about “Maze Runner.” But Turi adds something to the maze we haven’t seen before, something the genre has sorely been missing-empathy. “ Escape Room” is more of the same, this time with clues and some decent characters to root for.
“ Saw” is masochistic schlock, each death an excuse to spill more guts. “Meander” brings a new perspective to the formula seen in previous claustrophobic features in recent film history. READ MORE: ‘Nitram’: Caleb Landry Jones Is Chilling In Justin Kurzel’s Portrait Of An Infamous Australian Mass Shooter And that feeling is as thrillingly unpleasant as it is a sweaty-palmed nightmare. That realism is part of what makes this movie work because, as directed by Mathieu Turi, the film gives the audience the feeling of being trapped in a tight and confined space. Of the claustrophobic thrillers inspired by the 1998 cult classic, “ Cube,” “ Meander” might just be the greatest and most realistic.
0 kommentar(er)
