Odyssey, 2026 - Film Review

*spoilers alert*

(Have you really not seen it yet!)

What can possibly be left to write about Nolan’s latest magnum opus, that is not just his most successful movie ever, but is also breaking all box office records. Most have enjoyed the film, many have commented on how close, or criticised how not, it is to Homer’s original, some have chosen an alternate view of trashing it, and few have wondered WTF is the big deal. 

But what struck me most from the day I knew Nolan’s next was Odyssey and now after having watched and mulled over it for a month or so, is: “Why Odyssey? And Why now?”

The film, as per their own declaration, is based on Homer’s version of the epic. That follows the sequence of events after the Battle of Troy is finally won by the Greeks after ten long years, thanks to the cunning plan hatched by Odysseus, the (in)famous Trojan Horse. After brutally destroying Troy, the city and its people, all the Greeks set off on their ships to return home. While most get back home, Odysseus and his crew are lost in sea for ten long years, facing multiple natural and unreal threats, before making his final homecoming to his grieving-yet-patiently waiting wife Penelope and son-now-almost-a-man Telemachus.

Forever immortalised as the metaphor for an arduous journey, Odyssey is not only timeless, but also timely at a time, where our collective future couldn’t be in a more uncertain place today than ever before. With wars, climate change, collapsing democratic beliefs, and AI (to name a few!), we’re all on a reasonably bumpy ride, where the destination is unknown, and the journey gets more interesting and precarious with every passing day. Even though we all hope for our own version of Ithaca, our dominant truth today is not a vision for the future, but a survival on this journey, every day. And if I stretch this metaphor by saying that as for Odysseus and for each of us, it’s as much a journey outwards as it is inwards, you would yawn and say ‘heard-that-read-that’. So, let’s leave the “journey”, the most known and established connection to Odyssey, at that.

Let’s start with Polyphemus, the cyclops, the reason why it all goes South (sometimes quite literally!). Wasn’t it bad enough that Odysseus loses so many men in the cave  to the giant and barely makes the escape, that he also had to go out of his way to add insult to injury by blinding the being on his way out, angering Poseidon and screwing his fate for the next 10 years! But then, after all, isn’t it our egos and the delulu sense of self-importance and self-righteousness of the world’s most powerful leaders, that has triggered 3 big wars in recent times, wars that actually makes no logical sense at all.

When Circe turns his men into pigs, in one of the most understated-but-grotesquely-brilliant special effects scene, isn’t she just acting in self-defense against a bunch of hungry and lustful men who are quite capable of behaving like the animal they have been turned into. Does that make her a witch? 

When Calypso holds Odysseus captive, feeding him lotus stems, is she holding him against his will, or is it because after being away from home for so long, being responsible for the shameful ravaging of Troy, some part of him doesn’t want to go back home after all? Can he really face his family and himself with the burden of everything he has done? Is Calypso just Odysseus’s biggest excuse to escape from facing his karma? Isn’t Calypso and her lotus stems reminiscent of the various dopamine addictions that we all have succumbed to, in order to escape our realities and from having real conversations with ourselves and our loved ones?

When Odysseus has to make the difficult choice of choosing the direction of the Scylla (the giant spider) to lose six men versus choosing Charybdis (the whirlpool) to losing all men, it pays homage to the difficult choices we all make between ‘the devil and the deep blue sea’ and the price we pay living with the guilt and regret against the lose-lose situation we’ve had to live through. In deliberately listening to the excruciating pain of the siren’s song, Odysseus reflects our masochistic tendencies of punishing our own selves in different ways, because we believe, in vain, it will redeem us. 

How long do you comply with Zeus’s law and tolerate the deep rot and decay that the feudal and imperial foreigners are creating in your society in the name of law and world order, rules set by outsiders and imposed on your land. Surely every sovereign nation gets to decide their own fate?

In Hades, when Odysseus faces the anger of the dead, who he has wronged and cheated or not kept his promise to, and even sees the great King of Men, Agamemnon stripped of even a shadow of his human grandness, his realisation of what’s important and meaningful in life, is not very different from the realisation that many of us have had, seeing illness, death and suffering of our near and dear ones. What is really our purpose for the short and fragile years of human life that are given to us?

But, in Penelope and Telemachus, we see the beautifully naive and romantic counter point to an otherwise cynical and dystopian world. Their steadfast belief in Odysseus’s return, their vulnerable moments of doubt, their irrepressible readiness to fight till the end, and their complete denial to give into the rest of the world, is much like our Gen Z-like desire to fight for and create the world we want to live in. Which, in fact, eventually does save the day. As it might just for all of us in reality.

And this is “Why Odyssey! And why now Odyssey”

As I immersed in the sheer cinematic genius of Nolan through the entire IMAX experience, each of these adventures showed more meaning and relevance in our times today, than the journey itself. The journey back home, then, just becomes a reason, an over-arching North Star that makes Odysseus stay committed to the journey. The real anchor of the film, is not Ithaca at all, but the mirror that the film shows to us all, in each of the choices that Odysseus makes in the different situation he faces, and the consequence he and everyone around him has to deal with. Not unlike the choices we make everyday, guided by our own Athena, and the consequences that everyone around us deal with. In any case once we reach Ithaca, it is just the beginning of the next journey that Odysseus and Penelope take together. Isn’t it?

Thank you Nolan, for continuing to make the movies that you do. In the age of Netflix and Hotstar, Instagram and Snapchat, ChatGPT and Gemini,  where individualised and algorithmic content divides us and makes us a ‘powerless of one’, we desperately need more common stories that we consume and feel together as a collective and human society. That is the power of real cinema. Thank you Nolan for making us mere mortals continue to believe in the power and beauty of good movie making. Salute!

 

Cocktail 2 - Film Review

 *spoilers alert* (even though there is not much really to spoil)

Because very few have the confidence (or is it lack of imagination) to release a new movie that is not a sequel or some reference to a successful story from the past, in comes another one from Bollywood, following the success of the 2012 Saif-Deepika-Diana rom-com riot.

First out, it’s not a sequel, or have any connection to the first film. Apart from the name and the plot of a love triangle set in beautiful foreign locations, there is nothing in common with the first film. The story is about Kunal (Shahid) and Diya (Rashmika) in a steady and happy 16 year relationship, where marriage is inconsequential. A trip to Sicily to get away from the constantly prying uncle-aunties, they hit it off with Diya’s old friend Ally (Kriti). When Diya enrolls Ally into seducing Kunal as a test of his commitment to their relationship, amidst the gorgeous locales of Italy, the obvious unfolds leading to unintended consequences in their age old relationship, as they prepare finally for their wedding, towards the eventual emotional drama and dilemma of who will Kunal finally choose to spend the rest of his life with.

Now we know Homi Adajania is no Imtiaz Ali, so the expectation is not a nuanced and soul-stirring love story (Cocktail 1 being case in point), but entertainment, fun, laughs and beauty IS an expectation. The film unfortunately does not deliver on either of those.

The central idea of a young woman testing her relationship that goes wrong, by itself, is an interesting idea and perhaps hits a chord with the youngsters today, where self-evaluating and testing one’s limits/ideas/values has a bonafide place in the lives, especially at a time when it’s difficult to figure out what’s real and what’s not. And this central idea could have led to a deeply entertaining and engaging story, given the big budget production with big stars and beautiful foreign locations. See the runaway hit ‘Obsession’ playing in cinemas right now, as an example. Simple idea of ‘be careful what you wish for’ that goes completely wrong.

But, the film does not do that. The story meanders through the pretty landscapes of the Mediterranean coast, with some engaging but mostly meh moments, that deliver neither chemistry, nor romance, nor comedy. Even post interval, when there seems to be a hopeful twist in the story, reminiscent of My Best Friend’s Wedding ploy of winning the groom away, it amounts to yet-another sequence of mostly blah telling. Even ChatGPT could have written a more engaging script.

Shahid looks terrible and acts as if he is sleep-walking through all of his scenes. Apart from a few comic moments, he is depressingly absent from making any impact in the film. A far cry from Saif’s hilarious performance in the first film. The least he could have done was be funny, or give a brilliant dance performance on a song, that we know he’s capable of. But we get nothing from Shahid. Rashmika, struggling with Hindi delivery and emotions, tries hard but is perhaps keener to get back to her more exciting real life marriage that’s waiting for her at the end of the film shoot. Kriti is the only one who feels invested in the film, looking great and delivering a decent performance by her own standards (though she is no Deepika, ofcourse). 

And then the music. OMG! Why is it so difficult for Bollywood to deliver good music these days? The last big Bollywood soundtrack success of Dhurandhar (which, I have to say, was bloody fantastic) also relied on remixes of old songs than original music. They could have just taken the Cocktail 1 soundtracks and remixed those. Atleast that would have been something. A movie like this NEEDS good music to make the experience complete. Apart from the mildly hummable Mashooqa, the rest of the song and dance numbers are borderline intolerable. Such a pity.

The one redemption in the film is the end sequence and the dialogue writing, when Kunal, fed up of the situation, makes his final decision between his long term steady-but-boring committed relationship and the new-found-passionate-exciting possibility. The only other moment that is done really well is a brief moment between Kunal and his father (Tiku Talsania) in the last scene when Kunal is frought with emotions and confusion, reminding us of what good, experienced talent looks like on the screen.

If you’re looking to get a love story fix, I recommend watching Dharma Productions and Vivek Soni’s Chand Mera Dil (starring Lakshya and Ananya), or perhaps Imtiaz’s latest Main Waapas Aaonga (which I haven’t seen yet, but for Imtiaz, will watch soon). 

Cocktail 2, however, ends up being a forgettable blip of a movie in the year, not because it was a bad movie, but because it didn’t even try!

Masters of The Universe, 2026 - Film Review

A super hero with a vague distant memory from the collective childhood of our generation, He-Man and the Masters of The Universe franchise comes alive on the big screen, with this mega big Hollywood release for the summer holiday season.

This film is the first in what Sony, Amazon and Mattel would hope to become an MCU-equivalent multi-film franchise and tells the story of the making of He-Man, the fantasy world of planet Eternia, and the entire myth and characters of this whole new’ish universe. Born as a short, frail and weak Prince Adam to King Randor and Queen Marlena, and then lost in Earth for fifteen years, after the evil Skeletor conquers Eternia and establishes his reign of doom, he returns with the powerful Sword of Power, transforms into the strong and powerful and in case you missed it, muscular, He-Man and after a series of fights, setbacks and personal growth, he beats the bad guys and re-establishes the reign of good, giving Eternia back its lost glory.

Now there are three types of audiences that this film can potentially appeal to. First, a small group of Gen X’ers who actually have a nostalgic hit of the animated series or comics and/or the toys they played with in a world before smart phones or even cable TV existed. Second, (and I fall into this one), a

 group of people who have been craving a good super hero action fare, with MCU and DCU both having disappeared and nothing on TV either that really gives a fix. Third, and I suspect, this is what the producers are betting on to get the boxoffice going, are the new and young audiences, with an attempt to giving a new hero for the new generation for the new times.

For the first audience, it probably delivers the goods, ticking the memory lane and giving a good reason to take their kids to theatres telling them all about their childhood. For the second audience, it delivers a mild fix at best, with some fun action sequences, some light humour and new characters with new powers. Not exciting, but not too bad either. Think Thor: Love and Thunder or AntMan: Quantum Mania. That level of entertainment. 

For the third audience, and perhaps the most interesting, it probably fails to deliver. Logically, they’ve ticked all the boxes. OTT and insta popular Nicholas Galitzine as the main lead. A well-gymed-out body, with a whole load of muscles never seen before on the actor, as the film dialogues very obviously keep pointing it out. A painfully self-conscious narrative of masculinity being not just about physical strength and muscles (never mind the irony!), but about emotions and sensitivity as well. And a sense of humour that is taking the piss of the very story it is telling. And yet it when it all comes together, it doesn’t feel like something that a Gen Z would really enjoy. The story doesn’t really go much further than Adam coming back and taking back Eternia. A lot of characters that start out well, fade away behind just playing support role. And the story telling fast becomes childish and banal with a quick fight to the finish. And oh, what a fantastic waste of Idris Elba!

At a time when the world does need super heroes, and Marvel and DC characters have outlived their utility to us, there clearly is a fiction gap that is waiting to be filled. Mattel-Amazon-Sony have an opportunity. And in fact, Sony has done it before, with the Spiderverse franchise which was brilliant Gen Z story-telling that hit the spot with its new imagination, fresh story-telling, distinctively different animation, and endearing and authentic characters. But right now, Masters of the Universe is far away from that spot, and if it means to continue, it will really need do some non-AI soul searching to find the answer. Here’s hoping…

Michael, 2026 - Film Review

As an ardent 𝓜𝓙 fan for years, the drop of the much-awaited music rockumentary epic exactly on my birthday month, was a too-good-to-be-true gift from life. I couldn’t have asked for more.

The film tells the story of the early years of his life, and his journey from being the star of the Jackson 5 band, controlled by his ambitious and dominating father, to being his own independent music sensation that “Rocked With You”. From being Jackson to becoming Michael. It covers the time period roughly from the late 60s to the early 80s, if that helps the chronologically minded reader. And as the movie ends, we are left hoping there will be a part 2, that covers the next phase of his life and his music.

Now, being a fan is a funny thing. Walking into the movie hall, we are already hyped up, pre-sold, love what we’re going to see, and ready to enjoy the next two odd hours of sheer magic that we know we will be a part of. Why? Because we know 𝓜𝓙, we know his stories, his music, his movements, his dance (oh his dance!!!), his genius, his talent, the skeletons “In the Closet”, the controversies, the love he had, the hate he got, the icon he was and continues to be. We’ve seen-there-done-that. We’ve listened-there-danced-that. We’ve felt-there-moved-that. In short, when it comes to 𝓜𝓙, we’ve done it all, over and over again. We “Don’t Stop Till You Get Enough”.

And because we can never get enough of 𝓜𝓙, we soak it all in. We hang on to every scene, every moment, every music note he creates, every dance move he invents, every genius inspiration he has that changes the course of music industry, every obsessive perfection he seeks in every frame. We feel for him for the rough childhood and adolescence he had, driven and abused by his father. We smile with indulgence for his obstinate reluctance to grow up and stay a Peter-Pan’ish-child-at-heart. We are intrigued when he loves and connects with animals more than human beings. We applaud when he takes on the mission to help children as his main cause. We cheer for him when he finally tells his father to “Beat It”,and breaks free. And ofcourse we sing along and dance on our seats for all the music and dance and the BTS stories, that cover the period of his albums from ‘Off the Wall’ to ‘Thriller’. 

But the other side of being a fan, is that our expectations are higher and we want more. We want to know stories that we didn’t already know. We want to explore dimensions of his personality that have not been common knowledge. We want to go deeper into the rationale for the choices he made his life - both the great choices and the disastrous ones. We want to feel sides of his music creation that we’ve not felt before. We want to be moved out of our seats so much that we can’t resist the temptation of getting up and dancing. We want to see 𝓜𝓙 the person, not just 𝓜𝓙 the perfect, flawless, poor-little-do-gooder angel. We are fans, not fanatics. We know “He’s Bad, he’s bad, we know it”. We accept the imperfections in our heroes, as much as their magic. Alas, the the movie makers are not as ambitious as we, as fans, are and as a result the film settles for a sanitised, mildly superficial, instagram version of story-telling of the phenonmenon that 𝓜𝓙 actually was. He may have been the King of Pop, but his story was nothing short of rock-n-roll. And it leaves us just that tad-bit unsatisfied. Sigh. What do it. Tell em that it’s “Human Nature”.

However, for non-fans, who are probably the majority of the viewing audience now in 2026, the film hits the spot. For those who are seeing his story, his music, his genius in detail for the first time, it’s a great experience. It ticks all the boxes that an 𝓜𝓙-noob would love and get addicted to. It’s what we, as fans, felt all those years ago when we started. Just for that, the film is a 10/10 and as fans, we cheer that the 𝓜𝓙-magic is spreading more widely to a whole new (Pepsi, sic!) generation. For them, it’s a whole new “Wanna Be Starting Something” and we say ‘Welcome to the party folks’.

But fans, or no fans, what hits the ball out of the park is Jaafar Jackson. He IS Michael Jackson, through and through. His body language, his voice, his moves, his performance, his moon-walking, his emotions. It’s an absolute “Thriller” to watch him. He is the biggest part of the reason why the film works. Absolutely brilliant.

In the end, did we like the movie? Ofcourse. We LOVED the movie. We are fans. And We will always be. And whatever the level of satiation we got from the movie or didn’t, we know nothing has changed, nothing will ever change. We will continue listening to his music, dancing to his beats, feeling in our hearts “I Just Can’t Stop Loving You”.

Dhurandhar, The Revenge (Part 2) - Film Review 2026

Three months after the first part of the Bollywood blockest-buster of all time, we are consumed by the fervour of the second part for an almost-four-hour marathon Dhurandhar-fest, which is turning out to be even a bigger blockbuster than before.

The story continues from where we left off last. With Rahman Baloch dead, Hamza (Ranveer Singh) manipulates his brother Uzair in fleeing the country, making himself the leader of the gang and of Lyari, building strong ties with the Baloch community, becoming the ‘Sher-e-Baloch’, and playing the Karachi politics to the hilt; making himself the potent puppet master of the entire crime-ISI-Government nexus, and then using his position to one-by-one destroy the inner machinery of Pakistan-sponsored terrorism, finally achieving the mission that he was sent for and has been building towards for the last fifteen years. From Mission Impossible to Mission Accomplished.

Like I had written in my review of the first part (https://books-booze-boxoffice.blogspot.com/2025/12/dhurandhar-part-1-2025-film-review.html), is this an important film, yes. For all the reasons I mentioned before. Because it shows a bold new confident India that we are all proud of, because it gives importance to strategy and the mind-driven action, not just physical violence and war mongering (though there’s enough of that too), and because of Ranveer’s silent-but-violent performance. 

But, was it good storytelling as a movie? And I had said 6-7, because the Tarantino-style storytelling feels forced, the violence feels superficial, and the story feels a little too meandering and long. But I had also parked the hope that part 2 takes the storytelling much further and more impactful.

So does the second part deliver? I would say it like this.

Is it a great marketing success? 10/10. Many companies would kill to get a product launch as successful as this.

Is it a good film with great storytelling? I’d say 4-5. 

Needless to say, don’t watch this film if you haven’t watched the first part. Of course, because you won’t get the story and the characters that are in continuation of the first film. In that sense, it’s basically a 7-hour movie, broken into two parts. Like, say, Peter Jackson’s iconic Return of the King, part 1 and 2. But don’t watch this without the first part, also because the first part is the better part, and it would be a shame to only watch the lesser of the two.

In part 1, while there is an intent, a plot, a mechanism, and a careful making of the rise of Dhurandhar, part 2 just becomes about the action and the kills. It’s a classic case of the thrill of the journey towards an imagined destination, which is always more exciting than finally reaching the destination. What happens when you’ve achieved your mission? Nothing! The fore-play that part 1 delivers is not matched by the explosion that seems to be the central purpose of part 2. 

What disappoints is that what took fifteen years of patience and planning becomes an easy kill-all-the-bad-guys in one go. If it was so easy to outsmart all these goons in a few months, why the intricate, long, and painful effort? It’s like watching your favourite music artist on stage not playing what’s true to his/her art but only catering to what the audience wants to hear. No wonder the film is such a commercial success. The film shows what the audience wants to see and cheer for. Nothing wrong with that by itself, but there needs to be a balance between what the creator’s vision is and what the audience wants. Part 1 struck this balance better, with the intricate layers of Lyari politics, the frustrated patience of the Indian intelligence, and the understated violence of Hamza. And we’ve seen other movies do it as well. Meghna Gulzar’s brilliant Raazi comes to mind in the same context. Dhurandhar Part 2 shamelessly throws away all of it and delivers only the all-rage-loose “The Revenge” that the audience wants to see. That’s the reason it’s a great marketing launch of a product (understand what your consumer wants and deliver to that), but not exactly the best form of content, storytelling, or cinema. Alas, Part 2 has nothing new to offer that Part 1 already hadn’t established.  

Also, it is important to remember that this film is not a sequel. It is the second part of the same movie, the same story. It’s like Netflix dropping Stranger Things Season 5 final episodes a couple of weeks after the first set of episodes. Sequels are like seasons in the OTT world. Sequels are different chapters in the life of the story; they tell new stories of the same franchise, explore new dimensions that were not done before, discover new characters or new facets of characters, and at the heart of it are basically different from their previous stories because they come after years of the first film. That’s why sequels can get away with some repetition, lack of newness, and more of the same, because that’s what they are meant to do. Think Oceans 11, then 12, then 13. Basically, the same plot, but we still enjoy each of them for exactly that. Dhurandhar 2, however, is not a sequel. Three months is not long enough to feel nostalgic about the first part that we start enjoying more of the same. That’s where the film goes wrong. And we are left seeing nothing new or different that would move the story that started 3 months ago forward.

The other thing we miss is that while there is a lot of blood and gore, there isn’t enough good violence. To be clear, gore is not the same as violence. What makes for a potent story is good, credible, and violence-that-you-feel. Think John Wick, think Kill Bill, think 300.There is blood and gore, but the underlying psychology and emotions makes the violence hit home in your bones.. Dhurandhar, by contrast, puts gore on the surface, and while we see it, we don’t feel it. Plus, there is a lot of random violence, which doesn’t make sense and takes away the little impact that was possible. Like why did he have to kill his old friend, who has now become a drug dealer? Why was that whole sequence/ needed at all? It doesn’t lead to anything! As a result, we clap and shout along with the action, but don’t really take anything with us when we leave the cinema hall.

However, having said that, despite all the flaws, the film is very watchable. It is predictable, but also enjoyable. One can’t help cheering for Hamza, as he finally becomes true to who he is and does what Jaskirat Singh was meant for. The first sequence of his backstory is brilliantly done and starts the film on a high. After all, we ARE part of the audience that the film is made for. We enjoy “the revenge” that he takes against the terrorist machinery of our neighbouring state, destroying them one by one, their financiers, their weaponry, their supporters, their money, their plans, and their supreme leader who is behind it all (that comes as a great reveal!). Some of the plot twists and turns, especially at the end, are worthy of a thriller movie. Full points for that.

And more than anything, what makes the film is the music and the sound throughout the storytelling. Mixing retro Bollywood with blood-fest action, and the use of sound to make the impact of the story is absolutely genius. And hits the spot. If you don’t believe me, try watching the film with your ears closed. It will not be a patch.

All in all, should you watch the film? Absolutely. It’s good fun, if you don’t mind the length of the film and the blood and the gore. But, is it great Bollywood big cinema that we hoped it would be that we will remember for a long time? Perhaps not!

 

One Battle After Another, 2025 - Film Review

One of the Oscar favourites of this year, One Battle After Another, could well be THE defining reality of our world today. Just when we thought Russia-Ukraine was an anomaly, we had Israel-Palestine. Just when we thought, two wars in the 21st century is bizarre and surreal, we had Pakistan-Afghanistan. And even before we could process that, we have Israel-US-Iran in the biggest conflict the region has seen in a very long time. One Battle After Another, indeed!

The story revolves around the operations of French75, an anti-establishment revolutionary group, in the southern border states of the US, fighting the Government’s anti-immigrant crackdown, and other neo-imperialist-capitalist nexus across the country, led by Perfidia (Teyana Taylor) and Ghetto Pat (Leonardo). After many successful revolutionary years, one wrong impulsive act, leads to the downfall of the group, with each of the members either killed or gone into hiding, hunted down by their arch nemesis, the stereo-typical white supremacist, Colonel Lockjaw (Sean Penn). As 16 years pass, and Ghetto Pat becomes Bob Ferguson (in hiding), raising his and Perfidia’s daughter, Willa (Chase Infiniti), as a single dad, Colonel Lockjaw is back to hunt them down, to win the much coveted membership of the Christmas Adventures Club, the pinnacle group of White Supremacist Community, with a self-declared agenda of protecting and cleansing the country of all impurities. What unfolds is a cat and mouse tense chase, with humorous yet profound consequences for everyone involved.

One can tell why this is one of the Oscar favourites this year. It speaks perfectly to the Hollywood liberal, anti-Trump, anti-MAGA sentiment, that we’ve seen in the Academy, in the Grammy’s, and every other similar forums. And it represents the post-modern dystopian world view of America, that is increasingly the popular world view. In that sense, it’s a predictable set up. The hard right people in power are the bad guys. The left-wing fighters are the good guys. Nothing special there.

What’s special however, is the nuances that the director explores WITHIN each side. That’s where the impact of the film is really felt. 

Let’s start with the left-leaning liberal revolutionaries of the French 75. Even as they start with conviction and passion that youth have, that also fuels an adrenaline-driven sexual energy between Perfidia and Pat, a growing older and changing life stage (after they have a baby), breaks down the very ideological glue that bonded them together. Is it more important to change the world, or to raise my own child? The two of them make very different choices, and pay their respective price for it. 

Then there’s the sanctity of the ideology and what it takes to break it. As revolutionaries, how far are they willing to go, before they cave in. We are deeply distressed (an emotion that sustains throughout the film) when see how easily Perfidia, as the most passionate leader of the group, breaks and gives into the Colonel Lockjaw, the consequences of which are borne by everyone for the rest of the film. What happens to the true believers of the cause, when the leaders themselves betray them. Who are they fighting anymore? And why?

The commentary on the inner workings of a revolutionary organisation is done hilariously well, symbolised by Pat’s phone conversation with the new Gen Z members of the French 75, not being able to remember his secret code to get help in finding his abducted daughter, just because he’s older, not in practice, and drunk and drugged out of his mind. They may have a cause to fight for, but like any other organisation, they are dealing with the same challenges of protocol and Gen Z workforce! Brilliant!

And yet, the film shows hope for organisations and groups with a liberal ideology. Symbolised by Sergio (the brilliant Benicio Del Toro), the karate sensei for Willa, and leader of an underground immigrant community in the city, who provides blind and unflinching support to Pat for his mission, just because of the work and the legend he was 16 years ago, as part of the French 75. 

Now, let’s take the hard right white supremacist side, symbolised by two very different factions. On one side, there’s the Christmas Adventures Club, a group that reminds us of many such groups we’ve heard of. A secret membership-by-appointment only, self-appointed protectors of purity and white culture in America. Just like their cause, there is no black or grey in their mission. You’re either pure or not. And any impurity needs to be gotten rid of.

But on the other side, there are aspiring members, like Colonel Lockjaw (Sean Penn hits it out of the park with this character), who would do anything, including killing his own daughter, to be in this club. Only that he is not as strong and racist as he would like to be. And in trying his entire life to live up to his own ideology, comes his greatest achievements and his biggest downfall. Not as straightforward to be hard right, either, when you are a human being too!

And that’s perhaps the underlying reality that connects the two fighting factions. The human frailty. The human emotions. The human fragility. The human flaws. Our own human-ness is a great leveller. How can our ideologies trump that? We all want to protect our children, we all want to survive, we all want to fuck, we all want to succeed, we all want to love, we all want to be loved. And that will stay on and continue for much longer, beyond any other pursuit, ideological or otherwise.

And that’s how the movie segways towards the ending. An ending that is in the present-continuous, as a work in progress, as a continuing story of life, that will never end. We will continue to struggle, to fight, to hope, to be anxious, to chase beliefs and dreams of building a better world, to balance between our ideals and our everyday mundane realities, to make choices in favour of one or the other and living with the consequences of those choices, till the next milestone of making the next choice comes along. 

Moving from One Battle After Another.