Lights, camera, action!

cinema scope

A celebration of stunt work and those who perform it, The Fall Guy thoroughly entertains with its action and wit

The Fall Guy

Starring: Ryan Gosling, Emily Blunt, Aaron Taylor-Johnson, Hannah Waddingham, Teresa Palmer, Stephanie Hsu, and Winston Duke

Directed by: David Leitch

Hollywood loves making movies about itself, but such films often have the tendency to come off as self-important or pretentious or indulgent (or all of the above). The Fall Guy is quite the opposite. The latest offering by David Leitch is a love letter to filmmaking that is just a whole lot of fun with no pretentiousness in sight.

Inspired by the ‘80s television series of the same name, the film pays homage to action flicks and tips its proverbial hat to the stunt performers who make these movies possible.

The plot revolves around Colt Seavers (an incredibly charming Ryan Gosling), a down-on-his-luck stuntman who withdraws from the industry after a stunt goes wrong, abandoning both his career and his ladylove, camerawoman Jody Moreno (the lovely Emily Blunt), along the way.

A year and a half later, Colt is approached by producer Gail Meyer (Hannah Waddingham) to once again work as the stunt double for famous actor Tom Ryder (Aaron Taylor-Johnson), who is now starring in a sci-fi epic that is being directed by Jody.

Under the impression that his ex-girlfriend wants him to join the production, Colt arrives on set in Sydney, only to realize that Jody never asked for him and is still fuming over their breakup. It soon becomes obvious that our hero has been lured to the set under false pretences. Embroiled in a conspiracy, Colt must figure out what’s actually going on and save Jody’s directorial debut.

The absurdly entertaining ridiculousness that ensues is simply a lot of action-packed fun. 

The film references and meta humour are bound to amuse movie buffs. The action is thoroughly entertaining, and you can tell that the set pieces have been shaped by someone who clearly revels in and appreciates the intricacies of the craft; Leitch’s work as a stunt performer makes him the ideal choice to helm the vehicle. The cast is terrific; everyone is so committed to the zaniness of the premise, it's glorious.

Ultimately, its story might not be exceptionally clever and your mind might need to skirt a few plot holes along the way, but The Fall Guy is still a very enjoyable popcorn flick with an excellent cast and crew. Filled to the brim with entertaining action, built around a gentle romance, and wrapped in complete and utter silliness, the film is likely to leave you with a grin on your face (and a Phil Collins song stuck in your head!)

Rating: 4 out of 5

- By Sameen Amer

Us Magazine, The News - 14 June, 2024 *

Strong female character in distress

cinema scope

Damsel

Starring: Millie Bobby Brown, Ray Winstone, Nick Robinson, Shohreh Aghdashloo, Angela Bassett, and Robin Wright

Directed by: Juan Carlos Fresnadillo

Tagline: This is not a fairytale.

Subverting fairytale cliches and turning the princess from a damsel in distress to the hero of the story is such an intriguing, empowering idea. But it’s an idea that no longer seems novel. There is no shortage of strong female characters in everything from ‘80s sci-fi to the latest Disney adventures. Which is why just this idea alone cannot sustain an entire movie, especially in the absence of an interesting, intricate plot and a strong script. This is the predicament that befalls Damsel, the new Netflix fantasy that clearly means well but doesn’t seem to have much to offer beyond this narrow premise.

The titular damsel here is Elodie (portrayed by an enthusiastic but one-note Millie Bobby Brown), the princess of a struggling kingdom that is in dire straits. When a proposal arrives for Elodie to marry the prince (Nick Robinson) of a prosperous realm, she reluctantly accepts, hoping the union will help the impoverished people of her land. Little does she know that her fairytale wedding is about to turn into a nightmare. 

Turns out that Elodie is nothing more than a sacrifice, the latest in a series of offerings to a dragon (voiced by Shohreh Aghdashloo) meant to repay a centuries-old debt. But our protagonist has no intention of being devoured by a fire-breathing giant lizard. Instead she must MacGyver her way out of her predicament and get revenge on the people who put her there.

Damsel’s heart is in the right place and its premise does have potential, but its half-baked plot and dull script keep the adventure from giving us anything exciting or inventive. A whole chunk of the movie is just Millie Bobby Brown making her way through a cave survival movie with a conveniently useful dress and perfect makeup, and while there is no shortage of acting talent in the film’s cast – the terrific Angela Bassett plays Elodie’s stepmother and Robin Wright appears as the evil queen responsible for condemning Elodie to a dire fate – most of the actors aren’t given much to do here.

All in all, Damsel is too corny to really connect with viewers who have seen other movies explore similar ideas but with more nuance or at least woven into more exciting tales. 

Rating: 2 out of 5

- By Sameen Amer

Us Magazine, The News International - 29th March, 2024 *

The tale of a tuatara

cinema scope

Leo

Starring (voices): Adam Sandler, Bill Burr, Cecily Strong, Jason Alexander, Sadie Sandler, Sunny Sandler, Rob Schneider, Jo Koy, Allison Strong, Jackie Sandler, Heidi Gardner, Robert Smigel, and Nick Swardson
Directed by: Robert Marianetti, Robert Smigel, and David Wachtenheim

Too many cooks may spoil the broth but it turns out that three directors can, in fact, make a fun movie, at least if Leo is anything to go by. The film sees comedy stalwart Robert Smigel teaming up with W/M Animation’s Robert Marianetti and David Wachtenheim (the latter two in their feature directorial debut) for some heart-warming drama peppered with silly humour and warm musical moments.

The animated adventure is the latest offering from the partnership between Adam Sandler’s Happy Madison and streaming giant Netflix, and finds the actor voicing a grumpy old lizard who stumbles into an existential crisis.

A 74-year-old tuatara, the titular Leo (Sandler) lives in an elementary school terrarium which he shares with his turtle friend, Squirtle (Bill Burr). The two animals have spent many years in the same fifth-grade classroom, learning and growing alongside the pupils but unable to live their free, natural lives.

But when Leo overhears someone say that tuataras have a lifespan of 75 years, the lizard is aghast that he only has one year to live and hasn’t fulfilled any of his goals and dreams. 

When grumpy substitute teacher Ms. Malkin (Cecily Strong) orders that each child must take the class pet home for a weekend, Leo hopes to take the opportunity to escape and accomplish everything he hoped to do in his life. But he instead finds himself bonding with each student and becoming an impromptu therapist to the kids, as each of them learn his secret: that he can actually talk.

A funny, emotional family flick, Leo offers some valuable life lessons for kids. Its musical numbers may be a little slight, but they are often presented in visually creative ways and serve their purpose in the tale. There is a whole lot of warmth on offer here, plus there is plenty of humour – some a tad juvenile, some perhaps a little out of place in a kids’ movie – that will manage to elicit at least a few chuckles. 

All in all, it won’t exactly redefine cinema (nor is it trying to), but Leo successfully delivers some wholesome, feel-good fun. It’s well-animated, the voice cast is solid – I’m not entirely sure if it's a complement that Sandler's voice is well-suited for an aging reptile! – and it leaves you with lessons that will hopefully help kids – and grownups – embrace their quirks and learn to love themselves.

Rating: 3.5 out of 5

- By Sameen Amer

Us Magazine, The News - 22nd March, 2024 *

Guardians of the Galaxy Vol. 3 - one last huzzah

movie review

The Guardians disband as James Gunn says farewell to the Marvel Cinematic Universe (MCU) in a touching, affecting adventure

Guardians of the Galaxy Vol. 3

Starring: Chris Pratt, Zoe Saldaña, Dave Bautista, Karen Gillan, Pom Klementieff, Vin Diesel, Bradley Cooper, Will Poulter, Sean Gunn, Chukwudi Iwuji, Linda Cardellini, Nathan Fillion, and Sylvester Stallone

Written and directed by: James Gunn

Tagline: Once more with feeling.

Peter Quill and his merry band of misfits get a warm send-off in Guardians of the Galaxy Vol. 3, James Gunn’s final MCU adventure (for now?) that gives its characters a fitting farewell while leaving the door open for their potential return.

The film revolves around the story of the resilient Rocket (voiced by Bradley Cooper), who is critically wounded in an attack by Adam Warlock (Will Poulter) towards the start of the film. Unable to heal his wounds, the Guardians – who are now settled on Knowhere and some of whom (see: Peter Quill (Chris Pratt)) aren’t faring particularly well – set out on a mission to save their friend’s life. 

To use their med-packs on Rocket, they must first deactivate a kill switch embedded in him by the High Evolutionary (Chukwudi Iwuji), the ruthless scientist who genetically engineered the now-beloved raccoon. 

To find the switch’s override code, the group must confront a villain who easily ranks among the MCU’s most loathsome. 

Weaved into the narrative, along the way, are arcs about friendship and family, heartache and redemption. One of Gunn’s many strengths is creating characters that are flawed but downright endearing, and he has excelled in this department in the GotG series. Thanks to the connection we have already made with these characters, Vol. 3 hits you right in the feels from start to finish, as it takes its ragtag crew on one last adventure together and delivers closure through an ending that is bittersweet but remains hopeful.

Ultimately, Guardians of the Galaxy Vol. 3 is one of the more entertaining chapters in the increasingly struggling Marvel Cinematic Universe. It may sometimes feel like an anti-animal-cruelty PSA and there are a couple of fake-outs the film could have done without, but, all in all, this emotionally satisfying instalment not only tugs at your heartstrings but, in once again showcasing James Gunn’s very considerable talents, also leaves you with the sense that the DC Universe is now in very capable hands.

Rating: 3.5 out of 5

- By Sameen Amer

Us Magazine, The News International - 16th June, 2023

In the picture: John Wick: Chapter 4

movie review

The fourth film in the very entertaining John Wick series delivers lots more action and even some affecting consequences.

John Wick: Chapter 4 ★★★1/2

Starring: Keanu Reeves, Donnie Yen, Bill Skarsgård, Laurence Fishburne, Hiroyuki Sanada, Shamier Anderson, Lance Reddick, Rina Sawayama, Scott Adkins, and Ian McShane

Directed by: Chad Stahelski

Tagline: Baba Yaga.

John Wick: Chapter 4 is basically a 3-hour long string of action sequences. And what a glorious string of action sequences it is!

The movie continues the tale of Keanu Reeves’ titular super-assassin as he attempts to settle the score and find the peace – whatever form it may take – that has eluded him since whatshisface made the very unfortunate decision to kill Wick’s dog.

Familiar faces return as we go around the world, from New York to Osaka to Berlin to Paris, with The High Table – represented this time by Bill Skarsgård’s odious Marquis Vincent de Gramont – still trying to eliminate Wick, while the protagonist continues his quest for revenge against the nefarious criminal organization.

Lots and lots of fighting ensues. You’ve got skirmishes of all varieties with some innovative choreography on display here, the body count soaring with each well-crafted, well-performed, hyper-stylized action set piece.

It does feel a little overlong and there are times when the epic run of violence starts to border on tedium, but what keeps Chapter 4 riveting is the fact that we are already invested in the fate of its characters. (There isn’t enough character building in this instalment on its own, so make sure you watch the previous three films first if you really want to enjoy this episode.)  

The wins make you cheers, the losses resonate. Reeves is always easy to root for, the supporting performances are terrific – Donnie Yen (playing a blind assassin) and Hiroyuki Sanada (portraying the manager of the Osaka Continental) particularly stand out; and there are characters – like Rina Sawayama’s Akira – who have so much potential as the franchise goes on.

Chad Stahelski makes sure that everything, from the adrenaline rush to the sombre tones, hits its mark. 

All in all, Chapter 4 is yet another entertaining instalment of what has been a solid action series. Enjoy the impressive fight choreography and stunt work, and feel quite a few emotions as the film reaches its tragic but satisfying conclusion.

Rating: 3.5 out of 5

- By Sameen Amer

Instep, The News on Sunday - 2nd April, 2023 *

In the picture: Shazam! Fury of the Gods

movie review

The very unexceptional Shazam sequel doesn’t make the most of its plot’s underlying whimsy but still remains watchable.

Shazam! Fury of the Gods ★★★

Starring: Zachary Levi, Asher Angel, Jack Dylan Grazer, Rachel Zegler, Adam Brody, Ross Butler, Meagan Good, Lucy Liu, Djimon Hounsou, and Helen Mirren

Directed by: David F. Sandberg

Tagline: Oh. My. Gods.

As the DC Extended Universe attempts to reshape itself (hopefully into something more compelling than the mess we’ve gotten over the last decade), we are left with the final pre-reboot projects before the DCEU morphs into the DCU. Among these remnants is Shazam! Fury of the Gods, the second outing of teenager Billy Batson and his foster siblings who transform into adult superheroes upon reciting the titular magical phrase.

Their nemeses, this time around, are the Daughters of Atlas: commanding Hespera (Helen Mirren), vengeful Kalypso (Lucy Liu), and kind-hearted Anthea (Rachel Zegler). They seek retribution and aim to reclaim the magic that was stolen from them long ago. 

The sorceresses face off against the Shazamily in what is basically a standard issue superhero caper. You have the charming, well-meaning, sometimes-bumbling good guys. You have the baddies with their textbook nefarious plan that threatens the world. And you are never in any doubt about which side will emerge victorious. 

It’s all very generic and not quite as delightful as its predecessor. The story doesn’t take any interesting or creative turns and isn’t even brave enough to deliver meaningful consequences. The humour is amusing in parts, cringey in others. And the script could definitely have done with more polish. 

For all its faults though, Fury of the Gods is still fun. Even when the adventure is less than exciting, the proceedings aren’t exactly boring, thanks in large part to Zachary Levi’s charisma. He remains terrific as the adult version of the protagonist (even when the writing is failing him and his character), and we can only hope James Gunn and co. will allow him to continue his Shazam journey as they rework the struggling DC franchise.

All in all, the Shazam sequel falls firmly in the “turn off your brain and enjoy the silly adventure” category. It’s a middling popcorn flick with a solid cast and enough heart and moments of wit to keep you invested in the predictable tale. If you choose to give it a pass though, you won’t be missing much.

Rating: 3 out of 5

- By Sameen Amer

Instep, The News on Sunday - 26th March, 2023 *

In the picture: Missing

movie review

Missing is a taut techno-thriller that keeps you riveted to its twisty proceedings

Missing ★★★

Starring: Storm Reid, Joaquim de Almeida, Ken Leung, Amy Landecker, Daniel Henney, and Nia Long
Directed by: Will Merrick and Nick Johnson
Tagline: No one disappears without a trace.

Following in the footsteps of 2018's Searching, Will Merrick and Nick Johnson take the screenlife conceit out for another spin in Missing, an intriguing thriller that, like its predecessor, takes place entirely on screens but revolves around a completely different set of characters.

The protagonist, this time around, is teenager June (Storm Reid), who lost her father, James (Tim Griffin), when she was a child and has a loving but somewhat strained relationship with her mother, Grace (Nia Long). After enjoying a week of adult-supervision-free time while her mom is on vacation with her boyfriend Kevin (Ken Leung), June goes to pick the couple up from the airport upon their return from Columbia, only to realize that neither of them made it back to the U.S.

Worried about her missing mother and determined to find out what happened, June puts her sleuthing skills to the test, using technology to her advantage by reaching out to people over the phone while trying to seek help and find answers online. 

We see the proceedings unfold almost entirely through June's phone and computer screen, as it becomes increasingly clear that things aren't exactly how they seem. With the reveal of each secret, it becomes harder to figure out who is in June's corner and who might be responsible for her mother's disappearance.

There are several twists and turns on offer here along a fairly well-crafted route that sometimes stretches credulity but still remains riveting from start to finish. The movie keeps you guessing as it shifts suspicion several times, and its solid cast makes sure that you stay invested in their characters' fate. Reid makes a likeable protagonist, while the supporting actors deliver engaging performances, making it hard to figure out who the culprit really is. And even though we have experienced the screenlife gimmick before, it still remains an interesting, effective device that is visually intriguing and a powerful comment on how tech immersed modern life has become.

All in all, despite taking the occasional turn that isn't quite convincing, Missing keeps you hooked to its central mystery, delivering its drama through compelling characters and an unconventional style that fits the story well.

- By Sameen Amer

Instep, The News on Sunday - 19th March, 2023 *

Potpourri: of love and hate

potpourri

Watch

What's Love Got to Do with It?

In her screenwriting debut, Jemima Khan takes a cross-cultural look at love in What's Love Got to Do with It?, a delightful film that spruces the British romcom formula by garnishing it with Pakistani flavours. Lily James's loverlorn Zoe decides to follow her best friend, Shahzad Latif's Kaz, as he opts for an arranged marriage with a bride from Pakistan, documenting his journey for her next film. Things don't go quite as planned, however; although when it comes to matters of the heart, you can't really expect them to.

With a terrific cast (that also includes the likes of Emma Thompson, Shabana Azmi, and Sajal Aly) and a sweet script, What's Love is a downright charming romcom with lovable characters, touching (albeit predictable) drama, and a refreshingly warm look at Pakistani culture.

Read 

Spare by Prince Harry

The bizarre saga of the publicity-obsessed Sussexes continues in Spare, a memoir by Prince Harry that finds the writer spilling the tea on the mess that is the British royal family. The biography takes a look at Harry's childhood and his mother's death, his time in the military, and his relationship with Meghan Markle, while criticising the press and throwing his family – including “Pa” and “Willy” - under the proverbial bus.

Spare isn't exactly a literary masterpiece, and for a salacious tell-all, it's surprisingly dull and off-puttingly “woe is me”. It's ultimately more of a “borrow from the library” than a “spend your money on” volume.

Play 

June's Journey

Follow amateur sleuth June Parker as she solves mysteries and navigates life in June's Journey, a globe-trotting hidden object game set in the 1920s that lets you earn coins by finding objects in scenes, then spend the coins on purchasing decorations to beautify your island(s). For a more social element, you can join a club, share drinks for rewards, and play bi-weekly competitions.

It's a fun game that keeps you invested with likeable characters and interesting storylines. Resist the urge to spend actual money on the game though – Wooga really wants your cash, but June's Journey is very playable without spending a single rupee; you're going to have to watch in-app ads though, which can be kind of a drag.

- By Sameen Amer

Us Magazine, The News - 17th March, 2023 *

In the picture: What's Love Got to Do with It?

movie review

What's Love Got to Do with It? is a fairly conventional British romcom with an unconventional Pakistani slant.

What's Love Got to Do with It? ★★★

Starring: Lily James, Shazad Latif, Shabana Azmi, Emma Thompson, Sajal Aly, Oliver Chris, Asim Chaudhry, Jeff Mirza, Pakiza Baig, Alice Orr-Ewing, and Rahat Fateh Ali Khan

Directed by: Shekhar Kapur

Sometimes there are movies that bring you joy merely by existing. What's Love Got to Do with It? is one of those instances. Not just because it's delightfully charming – which it is – but because it does what few other foreign films do: show Pakistan in a positive light and portray people of Pakistani descent as normal humans. Hurray for that!

Directed by Shekhar Kapur with a screenplay by Jemima Khan, the movie takes its cues from the Richard Curtis school of romcoms to create a sweet drama about the search for love and happiness, giving its tale a slightly different spin by imbuing it with flavours of Pakistani culture.

The protagonist is award-winning documentary filmmaker Zoe (Lily James), an unlucky-in-love Londoner who seems to be looking for Mister Right in all the wrong places. Turns out that a string of dating app swipes and hookups isn't what fairytales are made of, but how else are you going to find love in the modern world?

A potential answer arrives when her childhood friend and neighbour, the British Pakistani Kaz (Shazad Latif), announces that he has decided to let his family arrange his marriage. Could there be some merit to this seemingly quaint approach to finding a partner?

A fascinated Zoe decides to explore the concept, convincing Kaz to let her film his journey that will hopefully lead to matrimonial bliss. But things, of course, don't go quite as seamlessly as everyone would have hoped.

The overall formula may feel familiar, but What's Love drapes its romcom hijinks in cultural tones that usually can't be found in such flicks while touching on topics like racism, conservatism, and interracial marriages. Things never get too heavy though. It's all quite sweet and entertaining, thanks in no small part to the ridiculously charming cast that makes the proceedings warm and touching. It's impossible not to root for Zoe and Kaz when they're being played by actors as winsome as James and Latif. The supporting cast – particularly a very animated Emma Thompson, who portrays Zoe's mother – also bring much life and colour to the tale.

Ultimately, there may not be many surprises on offer here – is it mean to wish for an untidy ending for a romcom? – but What's Love Got to Do with It? still makes for enjoyable viewing and tugs at your heartstrings (especially if you have stumbled in your search for the right person) while leaving you feeling hopeful that there will be more projects – both local and foreign – that will embrace Pakistani culture and people with the same level of warmth.

- By Sameen Amer

Instep, The News on Sunday - 12th March, 2023 *

In the picture: Lou

movie review

It may be formulaic and predictable, but action thriller Lou still makes for a fun watch, thanks in large part to the considerable talents of its leading lady

Lou

Starring: Allison Janney, Jurnee Smollett, Logan Marshall-Green, Ridley Bateman, and Matt Craven

Directed by: Anna Foerster

A young girl is taken. Lucky for her though, her neighbour is Lou, an aging lady who has a very particular set of skills, skills she has acquired over a very long career, skills that make her a nightmare for people like the kidnapper.

Well, sort of.

The new Netflix action flick Lou retreads old ground, venturing onto paths that several thrillers have walked down before. Lucky for us though, the film is in the very capable hands of Allison Janney, a wonderful screen presence who makes her strong, kickass character a delight to watch.

Allison’s gruff loner Lou is, the movie tells us from the very start, a troubled soul. She lives with her dog Jax in a small, isolated island community in 1980s America, and demons from her past are making her want to forego her future. But when Vee (Ridley Bateman), the daughter of her tenant, single mother Hannah (Jurnee Smollett), goes missing, the protagonist immediately springs to action and heads into the woods to go on the trail of the man (Logan Marshall-Green) who has kidnapped the girl.

To make matters worse, a torrential storm has hit the island and is making it even harder for the women to navigate the area’s trying terrain.

But the road is riddled with derivative elements and silly turns and ultimately leads to a fairly foreseeable destination, made all the more predictable by the fact that the movie keeps telling us that everything isn’t quite as it seems and a convoluted revelation is imminent.

The story around the strong central character could have been more convincing, and while the rain makes for a fittingly grim backdrop, the film could have perhaps spend a little more time exploring the survivalist aspect and the harshness of the elements or at least thrown in a couple more adversaries for Lou to defeat.

Still, it is so much fun to watch the wonderful Janney being a total badass and so refreshing to have an older heroine in charge of an action vehicle. Lou gives Janney the opportunity to not only show off her action chops but also display enough emotional depth to keep you invested in the drama. 

All in all, it may be formulaic but if you’re in the mood for a good old fashioned action thriller, then Lou will deliver some escapist fun, even if it doesn’t leave you with much to think about.

Rating: 3 out of 5

- By Sameen Amer

Instep, The News on Sunday - 2nd October, 2022 *

Mixed bag: new releases by ABBA and Coldplay

album reviews

ABBA prove they can still deliver on their first album in four decades; Coldplay goes pop on their space-themed ninth record

Artist: ABBA
Album: Voyage

ABBA offer a nostalgia pop masterclass with Voyage, the group’s first new album in four decades that effectively serves as a quick ride in a musical time machine, sweeping you back to the Swedish pop legends’ heyday. Built around beautiful melodies and sublime vocals, the new set finds the outfit sticking to what they do best – creating sweet, likable pop tunes – without pushing the sonic envelope, an apt decision given the nature of the project.

The terrific lead singles – the piano and guitar adorned power ballad ‘I Still Have Faith in You’ and the disco-tinged banger ‘Don’t Shut Me Down’ – easily stand out, although there are several other bright moments on the set as well. The Irish folk-touch of ‘When You Danced with Me’ is infectious; the upbeat ‘Just a Notion’ and ‘No Doubt About It’ are irresistible.

Benny Andersson (who also serves as the set’s producer) and Björn Ulvaeus remain in charge of the songwriting, while Agnetha Fältskog and Anni-Frid Lyngstad prove that they still have lovely voices. The ladies complement each other wonderfully and sound charming even when the material they are delivering is more than a little cheesy (Christmas single ‘Little Things’) or lyrically odd (‘I Can Be That Woman’).

Voyage is, all in all, quintessentially ABBA. If you have always been immune to the group’s pop magic, then the new record won’t change your mind. Fans of their easily enjoyable music, though, will certainly find plenty of pleasant moments on Voyage. If you want depth and experimentation, look elsewhere, but if you are in the mood for a sweet dose of nostalgic pop, then this is the album for you.

Highlights: ‘I Still Have Faith in You’, ‘Don’t Shut Me Down’, ‘When You Danced with Me’

Rating: 3.5 out of 5

*****

Artist: Coldplay
Album: Music of the Spheres

Music of the Spheres may or may not be Coldplay’s worst album – an accusation that is being widely hurled against it – but it certainly is one of their most confusing. Inconsistent, incohesive, and unfocused, the record reveals a band that is being pulled in two very different directions at the same time and not doing a very convincing job navigating either course. 

On the one hand, the British outfit seems so eager to remain relevant that they are willing to morph into the most mainstream version of themselves in the process. With the heavy involvement of pop super-producer Max Martin and vocal appearances by the likes of Selena Gomez (treacly ballad ‘Let Somebody Go’) and BTS (synthpop ditty ‘My Universe’), the band appears to have gone out of their way to manufacture cookie-cutter pop blandness.

On the other, the group want to try new things and push boundaries to the point of self-indulgence. A space-themed concept album set in a fictional planetary system, emoji song titles, a 10 minute long closer (‘Coloratura’), whatever the heck they’ve done to ‘Biutyful’ (which could actually have been, well, beautiful, given its lovely melody) … everything here is a bit all over the place. 

The result is a pop album with superficial space prog veneer that tries a little too hard to be both commercial and interesting but just pales in comparison to the much stronger output that put them on the musical map in the first place. Even the album’s best moments seem sonically borrowed as the band channels Muse on ‘People of the Pride’ and Pink Floyd on ‘Coloratura’. The hints of ambition may be admirable, but ultimately Music of the Spheres just suggests that a little course correction might be in order.

Highlights: ‘People of the Pride’, ‘Coloratura’

Rating: 2.5 out of 5

- By Sameen Amer

Instep, The News on Sunday - 21st November, 2021 *

In the picture: The Harder They Fall

movie review

The action and wit in the revenge Western The Harder They Fall entertains even when the storyline meanders

The Harder They Fall

Starring: Jonathan Majors, Idris Elba, Zazie Beetz, Regina King, Delroy Lindo, Lakeith Stanfield, RJ Cyler, Danielle Deadwyler, Edi Gathegi, and Deon Cole
Directed by: Jeymes Samuel

Real people serve as the inspiration for the characters in The Harder They Fall, the film tells us at the very start, just after it clarifies that the events we are about to watch are actually fictional. It’s a dichotomous introduction, one that intrigues as much as it frustrates. People who bore the same names as these characters did exist, and they were clearly fascinating enough to merit a mention in history. But these characters aren’t those people. At all, in some cases. And we aren’t about to learn their actual stories. Make of that what you will.

Regardless though, the Netflix Western – led by an all-Black cast, a rarity for the genre – tells the (entirely made-up) tale of two opposing gangs. One is led by Nat Love (Jonathan Majors), an outlaw who robs other bank robbers, but whose main goal in life is to avenge the death of his parents by exterminating the men who killed them. His final and primary target is Rufus Buck (Idris Elba), the leader of the rival gang, who has just been released, rather circuitously, from prison.

It takes over two hours for us to arrive at the inevitable final confrontation between these two men. In between, we witness – among other things – the introductions and exploits of their various associates. These include Love’s cohorts, including his paramour Stagecoach Mary (Zazie Beetz), sharpshooter Bill Pickett (Edi Gathegi), cocky fast-draw prodigy Jim Beckwourth (RJ Cyler), the fierce Cuffee (Danielle Deadwyler), and marshal Bass Reeves (Delroy Lindo), as well as Buck’s gang members, like the ruthless Trudy Smith (Regina King) and famed quick-draw Cherokee Bill (Lakeith Stanfield).

The various detours can, at times, start to feel a little meandering but they are generally wrapped in enough action and wit to remain entertaining nonetheless. Each of the sequences is generally well-crafted and often very well-shot, even if the pieces don’t always feel essential to the bigger picture.

The cast, of course, is stellar. From the inimitable Idris Elba and a scene stealing Lakeith Stanfield to the wonderful Zazie Beetz and Regina King, the performances are terrific, while Jonathan Majors helms the action impressively throughout. And the fact that this is one of the few Westerns where the principal cast members are all Black makes the effort even more significant.

On the whole, The Harder They Fall makes for an entertaining viewing even if it doesn’t tell us who the people behind these characters really were and what actually went down in history. The many subplots combined with its uneven pace and lengthy runtime do sometimes get in the way of a crisp, cohesive narrative, but the competent direction and impressive performances ensure that you stay invested in the drama from start to finish.

Rating: 3.5 out of 5

- By Sameen Amer

Instep, The News on Sunday - 14th November, 2021 *

Modern Times - Finneas and Maisie Peters craft enjoyable debut sets

album reviews

Finneas displays his pop crafting skills on his first album, while Maisie Peters’ debut makes for an enjoyable, if not particularly memorable, listen

Artist: Finneas
Album: Optimist

The O’Connell siblings have been busy causing a stir with their avant-garde approach to pop music ever since the release of the irresistible ‘Bad Guy’ and its acclaimed parent album When We All Fall Asleep, Where Do We Go? (2019). The massively successful creative partnership between Billie Eilish and elder brother Finneas has earned the duo global recognition and a bucket-load of awards. Now the 24-year-old producer is striking out on his own with a debut set that is about as DIY as it gets.

Titled Optimist (ironically, one would assume), the self-written and self-produced record finds the singer-songwriter pondering his life and the world around him in 13 tracks that may not be as offbeat as the standout work he has created with his sister but still capture his innate ability to come up with pleasant pop tunes.

Parts of the album find Finneas sticking to conventions, especially when he is focusing on piano balladry with his warm vocals serving as the centrepiece on sombre tracks like ‘Love is Pain’, ‘Only a Lifetime’, and ‘Someone Else's Star’. The lovelorn lead single ‘A Concert Six Months from Now’, meanwhile, echoes indie vibes as it puts together a strummed guitar and sentiments that reflect both lockdown blues and hopes for reconciliation.

The more sonically adventurous parts of the record yield some interesting moments (‘Around My Neck’) but can sometimes feel a little out of place (‘Medieval’) or downright clunky (the autotune-drenched ‘The ‘90s’). A weaker element of these tracks is often the overly earnest lyrics, especially when the songwriter attempts to offer social commentary and appears to be trying a little too hard to be topical; instead of insight, he often delivers on-the-nose observations that feel hollow and awkward.

Throughout Optimist, though, you can see glimmers of the same talent that helped make Billie Eilish a star, as the set captures Finneas’s pop crafting skills, but the album also proves that he needs to mature as a lyricist. But this is, after all, the debut release of a relatively young performer. And it effectively serves its purpose of introducing Finneas as an artist and setting the stage for all that is surely yet to come.

Highlights: ‘Only a Lifetime’, ‘Around My Neck’

Rating: 3 out of 5

*****

Artist: Maisie Peters
Album: You Signed Up for This

Mentored by Ed Sheeran and signed to his Gingerbread Man Records label, 21-year-old British singer Maisie Peters has released her debut album You Signed Up for This, a collection of pretty, mid-tempo pop ditties that bring Carly Rae Jepsen and Taylor Swift to mind.

Relationships, mostly of the failed variety, are the central theme of this record, and the 14 songs here prove that Peters has a penchant for storytelling and an ear for catchy melodies.

Sheeran provides a hand writing three of these tunes, including the album’s primary highlight: first single ‘Psycho’, an irresistible synth-ridden earworm with an infectious chorus guaranteed to get stuck in your head. Songs with more distinctive musical backdrops (‘I'm Trying (Not Friends)’, ‘Boy’) easily stand out. But elsewhere, the bland, uninventive production makes some of the tracks (‘Outdoor Pool’, ‘Hollow’, ‘Love Him I Don’t’) feel samey and forgettable. 

Overall, this is competently made, unchallenging pop music that is easy to enjoy, even if some of it doesn’t make much of a lasting impact. You Signed Up for This is likely to please young fans of artists like Jepsen and Swift, and the online following Peters has amassed over the last few years won’t be disappointed either.

Highlights: ‘Psycho’, ‘I'm Trying (Not Friends)’

Rating: 3 out of 5

- By Sameen Amer

Instep, The News on Sunday - 7th November, 2021 *

In the picture: Army of Thieves

movie review

It may be a slight improvement on its predecessor, but Army of Thieves’ unconvincing premise and uneven pace ultimately yield unexciting results

Army of Thieves

Starring: Matthias Schweighöfer, Nathalie Emmanuel, Guz Khan, Ruby O. Fee, Stuart Martin, Jonathan Cohen, and Peter Simonischek
Directed by: Matthias Schweighöfer
Tagline: Nothing is a safe bet.

Netflix released the zombie heist caper Army of the Dead earlier this year. It wasn’t very good. The streamer has now unveiled its prequel, Army of Thieves. It isn’t very good either. So at least no one can fault the franchise for not being consistent.

The new film gives us the backstory of Dead’s Ludwig Dieter (Matthias Schweighöfer), who is known, at this point, by his real name Sebastian. The protagonist works as a bank teller and is stuck in a mundane life. But his passion for safecracking soon takes him on an unusual adventure when he is recruited by a crew that executes international bank heists. The team includes jewellery thief Gwendoline (Nathalie Emmanuel); hacker Korina (Ruby O. Fee), getaway driver Rolph (Guz Khan); and their supposed leader Brad Cage (Stuart Martin) who fancies himself an action hero.

Their target is the Ring Cycle, three of the four safes created by famed locksmith Hans Wagner that have now become the subject of legend. Due to the zombie outbreak in America, the owner of the Wagner safes is transferring them to a vault in Geneva where they will be decommissioned. For Sebastian, this is the last chance to solve the puzzle that Wagner spent his life developing before it is forever destroyed. 

The action takes us from Paris to Prague to St. Moritz as the thieves try to reach and then crack each of the three safes, an obsessive Interpol agent (Jonathan Cohen) and his team clumsily in tow.

This premise should, theoretically, be exciting. Practically, it really isn’t. Things may not be as nonsensical as the mess Zach Snyder created, but they are still pretty preposterous nonetheless. Plus the safecracking – basically a man pressing his ear against a safe which slowly turning a dial – which should be the heart of the film, isn’t exactly the most thrilling thing to witness.

But its primary flaw, perhaps, is that it gives us no reason to be invested in any of the action. Most of the characters are underdeveloped and uninteresting. The stakes never seem as high as they should be. (Oh and in case you were expecting the undead to have an integral role here, you’ll be disappointed to know that the zombie outbreak plays no real part in the proceedings, although yes, things do ultimately tie into the parent franchise.)

The degree to which the movie does work is thanks largely to the very likable Schweighöfer. He is a charming presence in front of the camera, and knows that the story needs a light, goofy touch behind the lens. It’s a pity though that the plot and script continuously let him down. Ultimately, while the film probably won’t leave you looking forward to whatever is coming up in this franchise, it may still pique your interest in what the German actor-director does next. 

Rating: 2.5 out of 5

- By Sameen Amer

Instep, The News on Sunday - 7th November, 2021 *

In the picture: Shang-Chi and the Legend of the Ten Rings

movie review

Despite a little too much exposition, the MCU’s 25th offering is a solid, entertaining adventure

Shang-Chi and the Legend of the Ten Rings

Starring: Simu Liu, Awkwafina, Meng'er Zhang, Fala Chen, Florian Munteanu, Benedict Wong, Michelle Yeoh, Ben Kingsley, and Tony Leung

Directed by: Destin Daniel Cretton

The last few years have seen the Marvel Cinematic Universe (MCU) embracing diversity and giving characters like Black Panther, Captain Marvel, and Black Widow the chance to helm their own vehicles. The franchise now offers its first Asian-led instalment in the form of Shang-Chi and the Legend of the Ten Rings, an action adventure that may falter in places but remains thoroughly entertaining nonetheless.

Canadian actor Simu Liu (that is, Jung from the much-loved sitcom Kim’s Convenience) portrays the eponymous superhero as the film details his origin story while giving the MCU an interesting new world to explore.

After escaping his complicated life in China, the titular Shang-Chi has moved to San Francisco where he works as a valet alongside his best friend Katy (a delightful Awkwafina). But his past ultimately catches up to him when he is ambushed by soldiers while on a bus and it turns out – much to Katy’s shock – that he is skilled at martial arts. The attackers steal a pendant that was given to Shang-Chi by his late mother (Fala Chen), forcing him to return to his homeland – Katy still firmly in tow – in the hopes of warning his estranged sister, the fierce Xialing (Meng’er Zhang), who has a similar pendant. But the unconventional reunion is interrupted when the trio are captured and taken to the intimidating Wenwu (a show-stealing Tony Leung), the siblings’ father and the wielder of the magical ten rings that give their bearer immense power.

Turns out that Wenwu is convinced his wife is still alive and he will stop at nothing to be reunited with her. It is then up to Shang-Chi and his friends to stop his father and thwart his dangerous plan. The story gets more fantastical as things go along, at times to uneven results, while a plethora of exposition and unnecessary reliance on repeated flashbacks threaten to slow down the film’s action, but the excitement still prevails, thanks to the efforts of the talent both in front of and behind the camera.

Destin Daniel Cretton brings the movie’s interesting setting to vivid life and populates it with compelling characters while creating some impressive action set pieces (including the aforementioned bus skirmish). Liu’s central performance is effective even when it’s understated, while Leung is absolutely terrific as the antagonist, portraying both his character’s vulnerability and strength with impeccable skill.

Shang-Chi and the Legend of the Ten Rings is an exciting, compelling introduction to MCU’s newest addition, even if it does come with some of the same, familiar beats of a reluctant hero coming into his own. And it may be over two hours long but the film makes sure it keeps you invested and entertained the entire time and leaves you looking forward to Shang-Chi’s participation in future crossover adventures.

Rating: 3.5 out of 5

- S.A.

Instep, The News on Sunday - 31st October, 2021 *

A Very Punchable Face - charmingly self-deprecating

book review

SNL comedian Colin Jost’s affable memoir takes an amusing look at his life and career

Book: A Very Punchable Face

Author: Colin Jost

Full disclosure: I, personally, have never wanted to punch Colin Jost in the face. Based on my limited exposure to his presence via Saturday Night Live clips on YouTube, he has seemed too bland and unexceptional to warrant such a visceral response. But apparently there is something about his work, image, and – clearly – face, that rubs some people the wrong way. He addresses all this and more in A Very Punchable Face, a charmingly self-deprecating memoir that just might make you want to punch him a little bit less.

For those unfamiliar with the bearer of this fist-clench-inspiring mug, Jost is a comedian who joined SNL as a writer in 2005, before eventually becoming one of the show’s co-head writers and the co-anchor of the Weekend Update segment. He is also the latest husband of Scarlett Johansson. Which means he has the seal of approval of one of the most gorgeous and successful actresses on Earth. And when you read his book, you can kind of see why ScarJo fell for him.

Jost has, of course, joined a long list of comedians who have written memoirs. But the thing about actor/comedian books (by the likes of Amy Schumer, Mindy Kaling, and Anna Kendrick, to name a few), which often come in the form of essay collections is … they can be quite underwhelming, and even, at times, read like a random set  of lazy blog posts the celebrities typed on their phone in their downtime

To Jost’s credit, A Very Punchable Face actually reads like a book, and a fairly good one at that, at least as far as celebrity memoirs go.

The comedian covers a range of topics – his childhood in Staten Island; his Irish Catholic upbringing (and its many side effects); not being able to speak until he was four years old; his accident-prone nature; attending Harvard (with the likes of Pete Buttigieg and Mark Zuckerberg) and graduating with a (very practical) degree in The History and Literature of Russia and Britain after abandoning his stated major, Economics; and many other (often humorous) life experiences – in the amusing volume.

But his focus remains, primarily, on his comedy career. Jost charts his career trajectory, from writing for the Harvard Lampoon, trying to find a job at late night shows, and writing for an animation company, to finally submitting a sketch packet to SNL and subsequently landing his dream job, which he has now held for fifteen years.

A fairly large chunk of the book sees Jost talking about his SNL experiences. As he recounts his successes and failures at the television series, shares behind-the-scenes titbits, and lists the standout sketches that he penned, you would have to be fairly interested in the long-running Lorne Michaels sketch show to really appreciate and enjoy his recollections on the topic.

Ultimately, Jost’s main strength here is that he knows how to tell a story and connect with readers. His prose is often funny, and a couple of his tales – particularly the essay about his mother, who worked as the chief medical officer in New York for more than two decades, including during 9/11 – are quite affecting. Plus his self-deprecation is instantly disarming. And even if the book does not completely change your opinion of him, his self-awareness and wit will at least leave you with the sense that behind this supposedly punchable face is a rather intelligent guy.

- By Sameen Amer

Instep, The News on Sunday - 4th July, 2021 *

In the picture: Road Trip

short film review

The latest Digestive Showtime short film Road Trip goes down a worn-out path to arrive at its inevitable destination

Road Trip

Starring: Feroze Khan, Ahmed Majeed Agloria, Waliya Najib, Shees Sajjad Gul, Mehmood Aslam, and Nargis Rashid
Directed by: Sultan Ghani Afzal

The concept of the road trip has driven numerous films ever since the success of movies like It Happened One Night (1934) and Stagecoach (1939) fuelled its popularity almost a century ago. Plenty – some would argue too many – of mainstream Hollywood actors have gone on a cinematic road trip at one point or another, and even our local industry has dabbled in travelling from Karachi to Lahore and beyond. Filmmakers around the world have embraced the genre, but while the conceit has clearly shown no signs of waning in popularity, the concept needs an exceptional script or a creative turn (like the hidden camera angle of the recent Bad Trip or the robot uprising of the even more recent The Mitchells vs. the Machines), at this point, to really merit attention or praise.

Creativity, unfortunately, is in scant supply in the latest local attempt at a road movie, the short film Road Trip that is about as imaginative as its title.

Two estranged brothers are at the centre of this overlong short. The tale is told in the form of an anecdote being relayed by a father to his son.

Ayan (Feroze Khan), who has returned from London upon the news of his father’s illness, embarks on a long car ride with his younger brother, Hamza (Ahmed Majeed Agloria). How or why they have reunited before Ayan’s return to his family home where Hamza supposedly lives is not entirely clear, but the two are, at any rate, “forced to share a long ride across the country”. They, of course, eventually bond, as the film delivers the message that, well, family is important.

Along the way, they meet a group of vacationing ladies. Where that storyline heads will not surprise anyone who has ever seen a movie before.

The location and views, where they are allowed to shine, are beautiful. But a short film that is only half an hour in length has no excuse to drag, and that is what Road Trip does for several stretches. And while the acting is serviceable, something is distractingly off about the audio/dubbing which is perhaps, in part, what makes many of the exchanges feel forced or artificial.

And the point remains, ultimately, that the road movie doesn’t have to be pedestrian – everything doesn’t need to be tired or literal or obvious. You can deliver the same messages with more creativity and arrive at the same destination a lot more entertainingly. Just throw in a robot uprising or two, or at least hire writers who can make the journey convincing.

Rating: 2 out of 5

- By Sameen Amer

Instep, The News on Sunday - 27th July, 2021 *

The Croods: A New Age - more prehistoric fun

 movie review

The Croods: A New Age

Starring (voices): Nicolas Cage, Emma Stone, Ryan Reynolds, Catherine Keener, Clark Duke, Cloris Leachman, Peter Dinklage, Leslie Mann, and Kelly Marie Tran

Directed by: Joel Crawford

More than seven long years after they first ventured onto the big screen, The Croods are finally back with a new adventure. The prehistoric family went on a search for a new home in their 2013 outing and they now continue their journey in the sequel A New Age.

As the proceedings commence, we catch up with the Palaeolithic pack that includes stubborn patriarch Grug (voiced by Nicolas Cage), his wife Ugga (Catherine Keener), their rebellious teenage daughter Eep (Emma Stone), pre-teen son Thunk (Clark Duke), and youngest child Sandy (Kailey Crawford), as well as Ugga’s mother Gran (Cloris Leachman). 

Grug is still annoyed by Eep’s relationship with Guy (Ryan Reynolds) who wandered into their lives in the first film, and worried that the pack will split up.

A series of events lead the Croods to encounter the Bettermans – husband Phil (Peter Dinklage), wife Hope (Leslie Mann), and daughter Dawn (Kelly Marie Tran) – who live in a giant tree house and appear to be a couple of rungs up the evolutionary ladder.

At first seemingly friendly, the families soon begin to clash. But when a threat emerges that could impact both the households, the Croods and the Bettermans must put aside their differences and work together, learning lessons about unity along the way.

With many characters and way too many subplots, the proceedings quickly become quite chaotic. Luckily though, there is much fun to be had amidst this chaos. It’s an enjoyable adventure that delivers positive lessons and moments of mirth. That said, however, it doesn’t always work uniformly well for viewers of all ages. The slapstick humour is better suited for children than adults; on the other hand, Eep and Guy’s relationship drama isn’t likely to engage very young viewers.

Still, while it may not be a masterpiece, The Croods: A New Age will keep you entertained for an hour and a half, even if it doesn’t leave a very lasting impression.

The Croods: A New Age is rated PG by the MPAA.

- By Sameen Amer

Young World, Dawn - 26th June, 2021 *

In the picture: Love and Monsters

movie review

With its amusing tone and touching relationships, Love and Monsters makes for fun viewing

Love and Monsters

Starring: Dylan O’Brien, Jessica Henwick, Dan Ewing, Michael Rooker, and Ariana Greenblatt

Directed by: Michael Matthews

Had the coronavirus pandemic not thrown a spanner in the works, we would have had the chance to watch Love and Monsters in cinemas earlier this year. But instead of its intended big screen release, the film has now arrived for streaming on significantly smaller screens via Netflix. 

Seeing how impressive the film looks visually might leave you wishing you were watching it in a movie theatre instead.

The dystopian comedy adventure takes us to a post-apocalyptic world where giant mutated creepy crawlies – from cockroaches and spiders to crabs and frogs – have taken over the planet, sending the decimated human population into hiding. Among the survivors is Joel (Dylan O’Brien), a young man who has spent the last seven years living in an underground bunker with a colony of people, all of whom have paired up. All, that is, except him.

The lovelorn Joel – who has an unfortunate habit of freezing when faced with danger – finally decides he must venture out of the safety of the bunker and go on a quest in the hopes of reuniting with his pre-apocalypse girlfriend, Aimee (Jessica Henwick).

His journey is, of course, riddled with peril. But he fortunately finds quite a bit of help along the way as he encounters a plucky dog named Boy (played primarily by the wonderful Australian Kelpie Hero), a damaged Mav1s robot (voiced by Melanie Zanetti), and two fellow travellers, survival expert Clyde (Michael Rooker) and his young sidekick Minnow (Ariana Greenblatt).

It’s in his relationships with those who cross his path that the film truly excels. The premise isn’t exactly fresh and the route the movie takes is fairly predictable, but the writers make sure that you stay invested in the adventure through the strength of the relationships and interactions. Joel and Boy make wonderful companions. Minnow is endearing, and, surprisingly, so is Mav1s; you know a movie is doing something right when even a robot manages to elicit emotions from the audience.

The timing of its release – an apocalypse movie in the middle of a pandemic, one that suggests we should venture out of our bunkers? – may not be perfect, but with its impressive world-building and delightful Zombieland-like vibes, Love and Monsters makes for fun, entertaining viewing. Here’s hoping that by the time the inevitable sequel arrives (they’ve built a sturdy base, now they need more inventive stories), the circumstances will be more favourable and we’ll be able to watch it in all its visual glory on the big screen.

Rating: 3 out of 5

- By Sameen Amer

Instep, The News on Sunday - 25th April, 2021 *

Aria - Iran's Doctor Zhivago?

book review

Book: Aria

Author: Nazanine Hozar

Reach for just about any book on your shelf and you will find a couple of enthusiastic blurbs on its cover. Each line of praise will try its best to draw you towards the novel, each recommendation raising your expectations of what you are about to read. And when that endorsement comes from an author as well-known as Margaret Atwood, who compares the book to a tome as celebrated as Doctor Zhivago, you are bound to think that what you have in your hands is the next literary classic.

It is with these high expectations that we are introduced to Aria, Iranian-Canadian writer Nazanine Hozar’s debut novel and, as per Atwood, “a Doctor Zhivago of Iran.”

True to the comparison, the novel attempts to deliver a sweeping drama set against the backdrop of political turmoil, as the Iranian revolution collides with a young girl’s life. But the result, ultimately, isn’t quite as riveting as you might hope.

Spanning nearly three decades, Aria opens in the early 1950s in a turbulent Tehran and ends in the early 1980s, soon after the downfall of the last Shah of Iran and the instatement of Ayatollah Khomeini as the country’s Supreme Leader. At the centre of the tale is the titular protagonist, who experiences several trials and tribulations through the various stages of her life, just as the winds of change are sweeping her country.

The book is divided into four main parts, the first three of which are named after her three maternal figures — “a mother who left her, a mother who beat her, and a mother who loved her but couldn’t say so” — while the last reflects Aria’s own journey of motherhood (although none of the sections fully focuses on the character it is named after).

As the novel begins, a newborn infant is abandoned in an alleyway, from where she is rescued by a kind army driver, Behrouz, who names her Aria, “after all the world’s pains and all the world’s loves.” Not pleased with her husband’s decision to adopt a discarded, blue-eyed, red-haired baby, Behrouz’s wife, Zahra, treats the child cruelly, raising her with abuse and neglect.

A series of events eventually lead Aria to her next surrogate mother, the affluent Fereshteh, who provides the girl with a significantly better home and upbringing, but remains emotionally distant. Behrouz and Fereshteh soon start sending the young girl to help out the impoverished family of a woman who, unbeknownst to Aria, is her birth mother, Mehri.

Her parents aren’t the only source of complications in her life. Drama follows Aria wherever she goes. Her friendships — from her childhood pal Kamran, to schoolmates Mitra and Hamlet — all lead to misfortune in one way or another. And then, of course, there is the socio-political turmoil shadowing every turn of the story, as a revolution alters the life of every character in the tale.

Hozar displays a talent for bringing a complex setting to vivid life, and her ability to create unique, fascinating characters shines throughout the novel. Many interesting individuals appear in the proceedings, such as Aria’s friend Kamran — who makes beaded bracelets for her — or Kamran’s father, Kazem, who injures and infects his hand, but continues working as a bricklayer. Or Rameen, a captain in the army who forms an entanglement with Behrouz. But these characters don’t always get the satisfying arcs they deserve. Instead, they often just disappear till the story needs them again.

It is peculiar that, despite all the melodrama constantly surrounding her, somehow Aria is not the most intriguing character in her own book. Far from it. You get the feeling that someone such as, say, Rameen, has a much more interesting story to tell, if only Hozar would let him tell it.

The novel’s scope, perhaps, is a little too ambitious. The author populates her yarn with too many characters and weaves a tapestry that doesn’t quite cohere. Pacing issues plague the narrative, as the story goes from a laconic build-up to a rushed wrap-up. Some incidents are described in more detail than seems necessary, while others don’t get the space they require. Plus, the dry, distant prose makes it hard to stay absorbed in the events or really connect with the strong, but flawed, protagonist.

It also doesn’t help that, all too often, the most important development in the book relies on contrived coincidences (especially towards the jarring end) and the characters behave in ways that don’t seem entirely credible.

Where Hozar excels, though, is in creating a fascinating portrait of a complex nation — one inhabited by Muslims and Christians, Jews and Zoroastrians — on the precipice of change, her vivid descriptions relaying the stark realities of a divided region and poor populace. You will, however, need prior knowledge of the historical developments and figures to fully understand the depth and breadth of the various settings and situations.

All in all, Aria may not be an instant classic, but it certainly has its merits. The story would have benefited from some fine-tuning and the novel could have used some editing, but it is still likely to please readers who enjoy slow-paced, character-driven family sagas and are both knowledgeable about, and intrigued by, Iran’s culture and history.

- By Sameen Amer

Books & Authors, Dawn - 11th April, 2021 *