Toy Story 4 may seem unnecessary but we should know better than to doubt Pixar

trailer review

The Toy Story series is one of the brightest gems in Pixar’s dazzling crown. The acclaimed franchise not only helped the studio establish itself in its budding stages but also ensured that Pixar cemented and maintained its position as an animation powerhouse. From Toy Story (1995) – Pixar’s first feature film – to Toy Story 3 (2010) – arguably the best movie of its year, animated or otherwise – the saga of Andy’s anthropomorphic toys has been a delightful, emotional ride that has impressed viewers of all ages.

Nearly a decade after their last adventure, the toys are now returning to the big screen for another outing, and you can’t blame us for being excited!

Woody (voiced by Tom Hanks), Buzz Lightyear (Tim Allen), and the rest of the toy gang have been enjoying their time with new owner Bonnie, the little girl who Andy gave his toys to at the end of the previous film. But it’s the arrival of a new toy that sets off the upcoming adventure.

In the trailer, Bonnie fashions a toy out of a spork in arts and crafts, creating Forky (Tony Hale), a utensil-turned-plaything who ends up having an existential crisis. Forky runs away; Woody goes after him to save him and, along the way, runs into Bo Peep (Annie Potts) who helps Woody realize that change can be a good thing.

Ok, so the whole Forky business doesn’t seem like the most riveting detour. Also, it is hard to deny that Toy Story 3 seemed like a fitting finale to the toys’ chronicles, and fairly easy to see why people seem sceptical about this film. Everything from newcomer Forky to the change in Andy’s appearance – if that is indeed Andy in the trailer – has left fans concerned about the direction this project might take.

But by now we know better than to doubt Pixar when it comes to this franchise. Whatever doubts we may have at this point, it’s still a safe wager that by the end of Toy Story 4, lessons will be learned, hearts will be touched, and tears will certainly be shed. Plus nostalgia will be invoked, especially with Hanks and Allen returning as the voices of the beloved lead characters.

Pixar has given the reigns for the fourth chapter to Josh Cooley, making this his feature directorial debut, which means the franchise is now in new hands, but we’re cautiously optimistic that the fourth instalment will be able to do justice to the cherished characters and not only entertain younger viewers but also enthral the now-adult audience who grew up watching the adventures of Woody and Buzz. 

Toy Story 4 arrives in cinemas on the 21st of June this year.

- Sameen Amer

The Express Tribune Blogs - 29th March, 2019 *

Can Late Night’s stellar cast save the film from a seemingly uninspired script?

trailer review

When Late Night premiered at Sundance Film Festival earlier this year, the critical consensus appeared to be generally positive, with praise directed at the movie’s heart and wit. Watch its new trailer, though, and you might be left confused why the film drew such favourable comments.

The comedy drama tells the story of a talk show host, portrayed by the ever-terrific Emma Thompson – who is “a little old and a little white” and on the verge of losing her show. She hires a new writer (Mindy Kaling), a “woman of colour” who revamps the show and helps revitalize the program.

The cast, admittedly, is absolutely stellar. Thompson is always wonderful, and with her as the lead, the project is certainly in capable hands. Just the chance to see her in action is reason enough to watch the movie. The supporting cast includes some impressive names, like the very talented John Lithgow, Hugh Dancy, and Reid Scott. And while Kaling may not be the most gifted actress, she did write the script and is in an excellent position to bring her words to life on the screen.

It is also great to see director Nisha Ganatra at the helm here. The female presence both in front of and behind the camera is so refreshing and encouraging.

The problem, however, is that the trailer doesn’t really show anything particularly impressive or inventive. The premise sounds like a mashup of The Devils Wears Prada and the incomparable Tina Fey sitcom 30 Rock, without the finesse of either of these two hits. And for a film with supposed comedy leanings, the attempts at humour are disappointingly weak.

Its cast is so promising, however, that even a ho-hum trailer hasn’t dampened our excitement for this female-driven satire. The film might not seem to have the most inspired script in this brief clip, but there must be so much more to the story and humour than what we see in these two minutes.

We can only hope that this is a case of a trailer not doing justice to a movie, especially considering its success at Sundance and the positive comments of those who saw its early screenings in January this year. The rest of us will just have to wait till June 7 to watch the film when it is released by Amazon Studios.

- Sameen Amer

The Express Tribune Blogs - 23rd March, 2019 *

Aladdin - a whole new world indeed

trailer review

After leaving viewers less than impressed with the initial teasers for the upcoming live-action adaptation of Aladdin, Disney appeared to have upped its game with the full-length trailer for this fantasy revisit. We might not be in masterpiece territory just yet, but things are certainly starting to look a lot more promising for this Guy Ritchie movie. 

The production – which has been mired in controversy ever since its inception, primarily for its casting choices – finds the studio continuing its trend of turning their animated classics into live-action adventures.

We return to Agrabah, as the CGI filled spectacle reunites us with street rat Aladdin (Mena Massoud), who is smitten with the Sultan’s daughter, Princess Jasmine (Naomi Scott).

Genie (Will Smith) is, once again, on hand to grant three wishes, and everyone who was appalled by Smith’s overgrown-Smurf appearance in the teaser will be relieved to know that the character isn’t always blue and instead seems to change appearances throughout the film. And while no one could possibly match Robin Williams’s take on the character, Smith does have the charisma to make his version of Genie likable as well as the comedic skills to make the movie amusing and enjoyable.

The new film seems to be trying to recapture the fun and energy of the classic, and fans of the original will also be delighted to hear familiar tunes from the 1992 movie revisited here. The trailer reveals that the film is likely to feature some of the iconic songs from the animation, including its Oscar and Grammy winning theme song, ‘A Whole New World’, which is guaranteed to take viewers down memory lane.

While hiring Ritchie to helm this adventure may not feel like the most intuitive choice, the preview suggests that he might be a good pick for the action packed remake after all. The visuals are bright and colourful, but the CGI doesn’t look stellar, although there’s only so much you can tell from a trailer. And those who were expecting a more Middle Eastern vibe might be a tad confused by the movie’s overly Indian ambience. From the decision to cast half-Indian Scott as the female lead to her outfits as well Disney’s own admission that the film mixes various Silk Road cultures, the studio clearly has the Asian audience in mind with this outing.

As with all of Disney animation-to-live-action transitions, the new movie will exist in the shadow of its beloved predecessor, and we’re just going to have to wait two more months to see how well it fares. 

Aladdin arrives in cinemas on 24th May this year.

- Sameen Amer

The Express Tribune Blogs - 14th March, 2019 *

In the Picture - Cold Pursuit and The Kid Who Would Be King

movie reviews

Cold Pursuit offers enough intriguing touches and amusing turns to keep viewers fairly entertained; Joe Cornish puts a modern spin on the Arthurian legend in The Kid Who Would Be King

Cold Pursuit

Starring: Liam Neeson, Laura Dern, Emmy Rossum, William Forsythe, and Tom Bateman

Directed by: Hans Petter Moland

Tagline: Revenge is best served cold.

No one could have foreseen that a controversy over a random revelation by actor Liam Neeson – regarding something awful he considered doing nearly forty years ago but then didn’t actually do and is immensely ashamed about – would end up completely overshadowing the film Cold Pursuit. But it is easy to see why director Hans Petter Moland chose to put the actor in charge of this vehicle. Riding high on a late-career resurgence as an action hero, Neeson’s particular set of skills were fitting for a film that builds on and then wryly subverts the parent-seeking-revenge trope while ramping up the absurdity to shape an offbeat dark comedy.

The movie tells the story of a snowplough driver, Nels Coxman (portrayed by Neeson), who goes from being the citizen of the year to a vigilante on a mission to avenge his son’s (Micheál Richardson, Neeson’s real-life son) death. He gradually kills his way through a drug cartel that’s led by the ruthless Viking (Tom Bateman), who, in the meantime, manages to spark a gang war with a rival, Native American drug lord (Tom Jackson).

The quirky tale plays out like Taken meets Fargo with shades of Quentin Tarantino, as dry wit and dark humour colour the proceedings. Not all of its punches land and some pacing issues slow the action down at times, but Moland brings enough off-kilter twists and stylistic flair to the project (which is a remake of his own 2014 Norwegian movie In Order of Disappearance) to keep things interesting. A quirky running gag that commemorates each of the deaths onscreen is particularly memorable and gets funnier as the film progresses.

The actors are well-suited for their roles, although the female cast doesn’t have quite as much to do as you’d hope. Julia Jones holds her own as Viking’s ex-wife, but Emmy Rossum’s rookie cop character doesn’t live up to its potential. And based on the casting, you’d think Laura Dern – who plays Coxman’s wife – would have an integral part in the storyline but her appearance here is disappointingly brief.

All in all, Cold Pursuit might not be able to have you emotionally invested in its characters, but it offers enough intriguing touches and amusing turns to keep viewers fairly entertained.

Rating: 3 out of 5

*****

The Kid Who Would Be King

Starring: Louis Ashbourne Serkis, Dean Chaumoo, Tom Taylor, Rhianna Dorris, Rebecca Ferguson, Angus Imrie, and Patrick Stewart

Written and directed by: Joe Cornish

Tagline: An army to fight. A demon to slay. A world to save. No pressure.

Joe Cornish puts a modern spin on the Arthurian legend in The Kid Who Would Be King, a charming fantasy adventure that brings a classic tale into contemporary times.

The story revolves around 12 year-old Alex (Louis Ashbourne Serkis – yes, that’s Andy Serkis’s son), whose best friend Bedders (Dean Chaumoo) is being bullied at school by older students, Lance (Tom Taylor) and Kaye (Rhianna Dorris).

When Alex stumbles upon and retrieves a mysterious sword, it turns out that he has found Excalibur, the sword of King Arthur. As wicked sorceress Morgana (Rebecca Ferguson) re-emerges with nefarious intentions, it is up to Alex to turn his foes into allies, stop the evil enchantress, and save the world from destruction. 

With a little help from the wizard Merlin – both in his young (Angus Imrie) and old (Patrick Stewart) physical form – the protagonist and his cohorts set out on a journey that seems overly familiar but charming nonetheless. The film is aimed primarily at the younger audience; grownups too are likely to enjoy revisiting a tale they probably first came upon in their childhood, although they will have to exercise their suspension of disbelief skills as things move along. Yes, the kids learn fighting skills ridiculously quickly, and no, how things unfold isn’t quite convincing, but there is enough gusto here to keep you rooting for the heroes. The villain, however, is one of the movie’s weaker elements, never menacing enough to be as effective as the film would have hoped and in considerable need of more development. 

As for the casting, the young cast delivers good performances, even if their work might not be extraordinary. The standout here is Angus Imrie who steals the show whenever he is onscreen; his older counterpart, Patrick Stewart, is, like always, fun to watch as well.

On the whole, The Kid Who Would Be King lacks the visual or thematic inventiveness that could have made it truly impressive. But the film’s humorous touches and amicable tone make sure that the adventure remains entertaining while it delivers moral lessons about friendship, loyalty, chivalry, and perseverance.

Rating: 3 out of 5

- Sameen Amer

Instep, The News on Sunday - 10th March, 2019 *

Blending genres and pushing boundaries

interview

As Sweden-based EDM producer DJ Shahrukh joins forces with the famed Sufi singer Abida Parveen to collaborate on a series of remakes and originals, Instep investigates...

In 2011, Shahrukh Sheikh, who goes by the moniker of DJ Shahrukh, created a remix of a song by legendary singer Abida Parveen, who had been one of his favourite artists since childhood.

Almost 8 years later, he has earned the chance to officially work with her.

The Sweden-based EDM producer has joined forces with the famed Sufi singer to collaborate on a series of remakes and originals, combining flavours from the East and the West to create a delightful fusion of genres.

In a chat with Instep, DJ Shahrukh reveals how the project came about and what it was like to work with one of the most accomplished artists in the industry.

Instep: You have been captivating listeners with your remixes since 2009 and have had notable success with some of your re-workings including your version of Abida Parveen’s ‘Ghoom Charakhra’. What inspired you to experiment with Pakistani Sufi music and EDM (electronic dance music)?

Shahrukh Sheikh (DJ Shahrukh): EDM is all about making those unique combinations that fit well together. When I started experimenting with remixes back in 2009, some of my more casual remixes were going viral, like the Veena Malik remix and the Imran Khan remix. Simultaneously I was also always brainstorming on more serious combinations in music.

HSY was doing a fashion show with the theme of a new Pakistan and commissioned me to handle the music. I took that as an opportunity to materialize my ideas that went perfectly in sync with the theme. I was finally doing what I liked, and being paid for it.

I did remixes of Quaid-e-Azam’s speech ‘The Creation’, along with Nusrat Fateh Ali Khan’s ‘Halka Halka Suroor’, and Abida Parveen’s ‘Ghoom Charakra’, all of which had been inspirational for me when I was growing up. They went viral and got much appreciation by the underground community of EDM and house music listeners all over Pakistan.

Instep: What, in your opinion, makes this combination of Sufi music and EDM interesting?

SS: What makes this combination interesting is the element of trance – a deep meditative and spiritual state during which a person loses the sense of ‘self’ or ‘ego’. This state has been referred to, in many works of literature by poets and Sufi saints, as a state of being in ‘love’. One flows freely in the looping rhythms, like waves on a seashore, back and forth, till infinity. This element of trance is the binding force of this fusion, consistent in both the East and West, though the West is catching up with it now, whereas the East has always been in pursuit of trance as a higher level of consciousness.

Instep: How did the chance to collaborate with Abida Parveen come about?

SS: I moved to Sweden from Lahore six years ago and I was least expecting any inquiry from Pakistan for a project. One day I received a message from someone claiming to be a representative of Abida Parveen and they wanted to talk, but I didn’t reply thinking it’s fake or someone is trying to bully me into taking my ‘Ghoom Charakhra’ remix off YouTube. Because stuff like that had happened before.

The next day, I received another message that they liked my remix and wanted to work with me on an official project with them. I immediately replied and from then on we started discussing different ideas.

Instep: What has it been like working with Abida Parveen?

SS: To make a song is in itself a complicated process. A group of musicians together in a studio can have a tough time. On top of that we were literally worlds apart. Everything has been done digitally. I was working from my studio in Sweden, while they were recording vocals in Islamabad and sending me the files online. I would bounce an MP3 and send it back to them to get feedback on it. So we used the Internet and technology to a fairly high level to make sure this collaboration got through.

It is worth mentioning that Abida Parveen’s style is very different from what I produce. She is a very senior artist with a lifetime of experience, but her attitude towards this project has been immensely encouraging. I was very humbled by the respect and amazing work ethic shown by her whole team.

Instep: You have just released the song ‘Hori (Aj Piya)’. What can you tell us about it?

SS: It is a festive song, celebrating a reunion with the beloved. The original kalaam is by Hazrat Bedil, composed by Abida Parveen.

My take on this track flaunts a crisp bassline side-chained to a solid kick that I’ve shaped specially for high-fidelity car and home stereo systems. In the middle of the track, a DJ drop completely takes over the track, taking it into a different direction and then comes back to the mesmerising vocals. The track is 5 minutes and 30 seconds long. A good track to dance to at parties, or just enjoy while driving.

Instep: Why did you choose to remake this song?

SS: Abida ji shared with me a version of this song produced in a hard rock style that she hadn’t released. Then I heard an earlier recording of it from the ‘80s. It was obvious that in both versions the feel or essence of the song wasn’t being complimented by the music. The song was underrated and unheard of. Moreover, it fit well into a ‘4 to the floor’ beat, typical to electronic dance music. So we mutually decided to take this song as our first. It has been a good warm-up to get into the studio flow and ease the friction.

Instep: What are you planning to release next?

SS: We are planning our next release with a music video in May 2019. Not much can be said about it for now except that it will make you cry with joy and dance like thayya thayya.

Instep: Have you and Abida Parveen also worked on original material together? How soon will that be released?

SS: We are working on two original tracks. However it is still work-in-progress and not much can be revealed at this stage.

Instep: You have played your remix of ‘Ghoom Charakhra’ in various parts of Europe (like Prague, Copenhagen, Amsterdam, and Stockholm). How have people there responded to the song? What response does Pakistani Sufi and folk music generate in Europe?

SS: People have highly appreciated it. Many people don’t understand the lyrics, but when the drop comes in with the ‘Ghoom Charakra’ chant, it is visible that the listeners have calmly drifted into a trance state, which is the core essence of the track originally. I am glad that I was able to carry that essence into the remake. My proudest moment was when I played ‘Ghoom Charakra’ at the Stockholm Cultural Festival 2017, which was attended by over 5000 people.

There was a time when people would get surprised that someone from Pakistan had produced such a work of fusion in Sufi music and EDM. But now they get surprised when they find out that this is one of the only such works coming out of Pakistan. People expect more as hardly a few EDM producers are working to rekindle the flame our Sufi legends have left for us.

Instep: Are there any local or international musicians that you’d particularly like to collaborate with?

SS: Might come as a surprise, but I’d like to collaborate with Abrar ul Haq. He seems like a fun guy to work with.

Instep: Are you working on any other project(s) at the moment?

SS: Today’s digital world and the power of the Internet has made many things possible. My collaboration with Abida Parveen is the biggest example of it, and it has inspired me to develop a platform for artists/producers in Pakistan to be able to collaborate with artists/producers in Europe.

In this first-of-its-kind show, we will have one artist/producer from Spain, Germany, France, or Sweden, and one artist/producer from Pakistan to work together online, and produce ground-breaking work in music. It is also at a very early stage in the process and I will continue to publish updates as it develops. 

- Sameen Amer

Instep Today, The News - 15th March, 2019 *

In conversation with Abida Parveen

interview

With a career spanning several decades, Abida Parveen has become one of the most well-known voices in the history of Pakistani music. Along the way, the flag-bearer of Sufi music has played a huge role in the popularization and progression of her genre. Not one to shy away from exploring new horizons, the legendary singer has now collaborated with Sweden-based electronic dance music (EDM) DJ Shahrukh Sheikh for a series of remakes and original tracks that are set to be released in the coming months.

So what inspired her to delve into EDM? “Keeping in mind the latest trends in music, I felt the need to evolve in a different way while staying true to my roots,” the singer tells Instep. She acknowledges that EDM isn’t her genre, but she felt drawn towards it after hearing DJ Shahrukh’s 2011 spin on her song ‘Ghoom Charakhra’. “I really appreciated DJ Shahrukh's remix because he succeeded in keeping the essence of the kalaam intact. He knows his job really well. His experiment with my composition was a very bold step. I had never thought of my kalaam being treated so differently but I am glad he didn't let me down. I was truly impressed, I must say.”

It was this remix that eventually brought the two artists together to work on new versions of her kalams along with a couple of original songs. “As an artist, I feel it's my responsibility to spread the message of peace and humanity to the masses,” she comments. “We have experimented officially to spread the same message of love, peace, and humanity with fresh and different music.”

The first single from this project, ‘Hori (Aj Piya)’, was just released, and the singer is very proud of the material that the duo have produced. “We have worked very hard for this, considering its experimental nature and the geographical challenges. We hope people will like it just the way they have enjoyed my earlier works.”

Seeing how this project started with the ‘Ghoom Charakhra’ remix, how does she feel about other artists doing remixes or covers of her work? “I encourage it, but only with due respect to the original artist,” she replies. “It must be considered that the original artist puts in a lot of effort and hard work researching the poetry of the Sufi saints, and it's even harder to create soulful compositions for them. I take the task of composition as a great responsibility on my shoulders as I have to do justice to the lyrics. The original artist does not really bother about day or night, food or no food; it’s just the divine driving force that keeps us going, at least I can say that for myself. Whoever copies should acknowledge the fact that the voice may be theirs but the entire effort behind the composition and research of the kalaam belongs to the original artist, for which they should seek permission and pay due credits.”

Abida Parveen will soon unveil more of the music she has created with DJ Shahrukh, including a music video that will be out in May this year. As for her other upcoming projects, the singer reveals that there is a lot more to come. “We are working on a music video series, Bazm-e-Rang, which is an in-house production. We have featured various artists in it, DJ Shahrukh being one of them. We plan to release it real soon.”

- By Sameen Amer

Instep Today, The News International - 7th March, 2019 *

A hit and a miss

album reviews

Ariana Grande’s newest album presents a confident image; Avril Lavigne’s melodies are bland and unmemorable

Artist: Ariana Grande

Album: thank u, next

Ariana Grande’s life seems to have taken its cues from a rollercoaster over the last couple of years, yielding a string of amazing highs and devastating lows that have constantly kept her in the news. But the drama and heartache also seem to have fuelled her creativity. The singer has released two albums within the span of six months: Sweetener and thank u, next – the former has earned her accolades, including a Grammy; the latter is busy breaking chart records and cementing her place as pop music’s preeminent star.

But while her popularity has clearly skyrocketed, the amount of criticism she has received hasn’t been far behind. Her fake tan, hip hop flavoured R&B-leanings, and supposed “blaccent” have led to accusations of cultural appropriation, criticisms that won’t be negated by the material on her latest release.

The new album, her fifth studio effort overall, serves, once again, as a showcase for her smooth R&B vocals, served with trap pop flavours and hip hop beats. 

Lyrically, these 12 songs seem to draw inspiration from the artist’s life, with Grande focusing mostly on love and loss here. Lead single and title track ‘thank u, next’ sees her taking a refreshingly positive look at her past relationships. Second single ‘7 rings’, a retail therapy themed friendship anthem, interpolates portions of ‘My Favorite Things’, the irresistible melody of which makes this among the set’s standout tracks. 

Grande sings about being needy (‘needy’), needing space in a relationship (‘NASA’), and not wanting to make a commitment (‘bloodline’). ‘ghostin’’ appears to be about the singer grieving for Mac Miller while she was with Pete Davidson and is the album’s most touching tune.

While thank u, next isn’t musically as interesting as Sweetener and there are elements of its sound that will be deemed problematic by her detractors, the record is a cohesive effort, and the singer’s honesty is often disarming. There may not be enough variety here, but the album presents a confident image of an artist who has found her sound and is creating charming pop ditties seemingly effortlessly (albeit with the help of an army of songwriters and producers).

Highlights: ‘imagine’, ‘ghostin’’, ‘7 rings’, ‘thank u, next’

Rating: 3.5 out of 5

*****

Artist: Avril Lavigne

Album: Head Above Water

Since the release of her 2013 self-titled album, Avril Lavigne appears to have gone through a lot, including a debilitating battle with Lyme disease and the end of her marriage to second husband, Nickelback’s Chad Kroeger. You might be inclined to assume, then, that the singer would have gained both inspiration and insight in the ensuing years. Sadly she displays no evidence of that on her comeback album, Head Above Water, a dull record that sees her drown in a tepid sea of sophomoric songwriting.

Once a (very unconvincing) punk poser, the Canadian singer has since dropped all rock pretence and embraced power balladry. But while the years have clearly subdued her verve, unfortunately they don’t seem to have brought any sophistication to her songwriting which remains as clunky as ever. Hers is the kind of poetry that rhymes “pyjamas” with “bananas” and revolves around writing choruses so repetitive that they seem to border on pop parody.

The subdued vibes don’t particularly help either. While Lavigne has never been a very interesting or inventive artist, here she slides into a lacklustre sea of power ballads. For the most part, the melodies aren’t exactly bad; they are just bland and boring. The singer sounds oddly identity-less here, trying to find a place for herself somewhere between Kelly Clarkson and Pink but struggling to create something impactful. 

The tempo rarely picks up. The album’s most energetic song is the very obnoxious ‘Dumb Blonde’ (featuring Nicki Minaj, because of course) – a supposed self-empowering, feminist anthem that can’t resist taking a swipe at “stupid Barbie doll(s)” – which is as grating as mainstream music can possibly get.

As a vocalist, Lavigne sounds stronger than before and her voice is more powerful than ever. Which makes it all the more disappointing that the material she has chosen to record is so unimpressive. Created with the help of various songwriters and producers, Head About Water suggests that the singer should pick better collaborators and work on creating a more inventive and distinct sound that can make better use of her voice.

Highlights: ‘Bigger Wow’

Rating: 2 out of 5

- By Sameen Amer

Instep, The News on Sunday - 3rd March, 2019 *