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 *

Xulfi’s new groove

cover story

In an exclusive interview with Instep, the multi-talented musician and producer discusses everything from his career beginnings to what his future holds

Once upon a time, back in the early aughts, I was a student at the National University of Computer and Emerging Sciences (FAST-NU), stumbling, rather clumsily, through a computer science degree. On the day in question, the object of my struggles was an assignment that required the coding of logic gates, a task that my group members and I had no idea how to accomplish. Taking pity on our plight, an acquaintance decided to come to our rescue by introducing us to one of his friends: a senior who was taking the same course with our batch and who could potentially give us a few pointers. And so we were schlepped to the aforementioned senior … who then took one look at the sorry state of our project and promptly refused to help, dismissing us instead by saying the assignment needed too much work.

So I guess my first question is, what do you have to say in your defence, Xulfi?

“Computer education was never my forte. I helped you by not helping you,” he deadpans, then laughs and adds “I really don’t remember this.”

Insult to injury. We’re off to a great start!

Past

Just as I was being introduced to Zulfiqar Jabbar Khan as the grumpy dude you shouldn’t even bother asking for coding tips, the rest of the country was getting to know him as the guitarist of the rap rock band Entity Paradigm, which itself had its genesis on the grounds of the university where we first met. Xulfi was the president of the FAST-NU music society, conducting auditions for new members. Among the hopefuls were the then-unknown Fawad Khan and Hassaan Khalid. He heard the former sing and the latter play the guitar and thought, why not make a band? That’s how the dream of Paradigm started.

That dream eventually led him to the stage of Pepsi Battle of the Bands, where, his group – merged, by then, with Ahmad Ali Butt’s band Entity – finished in second place. The creation of an album, Irtiqa, followed, but the union didn’t last and the members eventually parted ways.

Now, some two decades later, looking back at his time with EP, Xulfi is left with a sense of appreciation for the experiences he had with the outfit. “When a band breaks up, it can sometimes seem like it’s the end of the world. Obviously, when EP broke up, it did feel like that, but, parting ways leads to the start of beautiful new journeys for everyone involved. You don’t know where the road will take you and when everyone’s paths will coincide again.”

Their paths did indeed cross in the form of reunions. But where, I ask him, does EP stand now? “We talk. We occasionally meet. We all share a good friendly bond. That’s where it stands,” he answers with a smile. “It’s a chapter that involves a lot of emotions and memories, and I honestly feel blessed to have experienced all those emotions and been through it all.”

While working on EP’s music, Xulfi was also learning the ropes of music production. “We recorded Irtiqa at Mekaal Hasan’s studio when I was still a university student. We used to arrange music, sequence drums, and do the musical parts in my room; then we’d take those tracks to Mekaal’s studio and do the guitars, bass, and vocals. I used to sit there when Mekaal was recording and mixing, learning a lot and giving my suggestions as well.

“In fact there was this thing that Fawad and I used to do. Whenever Mekaal would leave the studio for some time, we used to go in the recording room, and if we thought that, say, the guitar’s distortion gain was too low, we used to increase it so that we’d get the sound that was in our heads. Maza aata tha,” he laughs. “Mekaal probably doesn’t know about that till this point.”

Well he does now. Sorry Mekaal!

Inspired by the experience, Xulfi decided to pursue his dream of making his own studio. After graduating from university, he asked his parents for a year to do what he most wanted: set up a studio, work with different artists, and make a career out of it. And he says he has not looked back ever since.

The first album he produced was Jal’s Aadat, using basic equipment and dilapidated instruments. Fast forward to 2021, and Xth Harmonic is now a fully-equipped, high performance studio that has given Xulfi the chance to work with a wide range of talent, including the likes of Atif Aslam, Meesha Shafi, and even his old pal Fawad Khan.

“After the release of the Jal album, my belief kept growing that everything is possible if I put my heart and mind to it. Subsequently, trying to find new musicians and recording their work became the purpose of my studio. The universe always helped me with that. Artists from all over would somehow find me. While recording their work, I’d notice that a band had a talented guitarist, and another had a talented keyboard player or vocalist or songwriter. So I used to think of combinations, putting the talented people together in my mind, and dream of making music with them,” he recalls.

That idea eventually led to the creation of Nescafe Basement, a television series in which Xulfi mentors and works with young artists. “You need to discover and inspire new people to progress the industry,” he believes. “There is so much talent in Pakistan. There had to be something that empowered this talent.” He is happy about the success of the show’s alumni, like Bayaan, a group that formed during Nescafe Basement, then won Pepsi Battle of the Bands, and now has an album out, as well as the duo Soch, whose song ‘Awari’ found popularity across the border and who have since developed their own studio and become successful songwriters. And it’s this part of his journey that has brought Xulfi a lot of gratification.

But while he has always been dedicated to discovering and polishing new artists, he has also continued his own performing career. Before his time with EP was through, Xulfi had already joined another band, Call, previous members of which had included his brothers, Danish and Khurram. And their partnership – a brief split notwithstanding – is still going strong. “Call has been quite an extensive journey for me,” he says. “I have explored a huge palette of colours with my bandmates – Junaid, Sultan, and also our session players Kenny, Bilawal, and Farhan; I’ve travelled a lot with these people.

“From the heavy side of rock in songs like ‘Jilawatan’ to something like ‘Laree Chotee’, ‘Dhadke Jiya’, and even ‘Sab Bhula Kae’, it has been a very diverse journey. A band’s vocabulary is usually not this extensive. But Call ki hai,” and that is something that makes him immensely proud.

Present

Last month, Xulfi was busy with the production and rollout of the anthems for the sixth season of the Pakistan Super League, his second year associated with the tournament. “PSL is a beautiful blessing for our country through which we get thoroughly entertained,” he opines, and he is absolutely chuffed to be involved with the league. “I am fortunate that I have been given this blessing by God to work with PSL for the last two years and I am so proud of what we have done with them. It’s an honour to work for a platform like this and it gives you coverage and accessibility with such a huge audience.”

Last year, Xulfi was approached by PSL for the anthem for the tournament’s fifth season. That’s how ‘Tayaar Hain’ happened. “PSL was coming to Pakistan completely for the first time, so we thought of the message that we are ready for this, hence ‘Tayaar Hain’.” The track was written by Xulfi and sung by Ali Azmat, Haroon, Asim Azhar, and Arif Lohar. “When you make an anthem, it’s not just a song; it’s a complete narrative,” he declares. “Creating it is a progressive, evolutionary process. You have to connect to that purpose and strike the right big idea, and ‘Tayaar Hain’ was that big idea.”

This year, discussions led to the creation of ‘Groove Mera’, an EDM-inspired pop tune with Naseebo Lal, Aima Baig, and Young Stunners on vocals. He describes the experience of working with these artists as “phenomenal”. “Every one of them is special,” he says. 

“I remember when Naseebo Lal’s name came up. I immediately knew she was the one. Her lines were written specifically for her.” When he eventually heard her sing the track, her performance instantly hit him in the feels. “There was a time when I actually teared up. When she sang the line ‘I am ready tay I am sure oye’, it was so beautifully expressed and delivered that I got emotional, and, touched by my reaction, she teared up as well. When someone convincingly makes a universal line their own, like she did, it’s an amazing moment for me as a producer.”

He has nothing but praise for Young Stunners and Aima Baig as well. “I was working with Naseebo and Young Stunners for the first time, and it was a heart-warming, beautiful experience, full of emotions. Young Stunners are very future forward. They understand the power of good content and create a lot of songs. They are special songwriters. They think about life very deeply. Their lyrics in ‘Groove Mera’ are very impressive. Their confidence, hope, and excitement is contagious. As for Aima, it’s always a pleasure working with her because she works hard to understand what kind of personality she has to depict.”

As much fun as making these PSL songs has been for Xulfi and his team, listeners, however, have been far less enthusiastic about their output. Both these tracks have garnered criticism, especially on social media. How does Xulfi feel about the mixed reception and the negative comments? “I am a positive person, and I don’t see things in positive and negative demarcations. I see everything as a process. I love seeing how the narrative unfolds. I enjoy that. To top that, I have a lot of belief in the work I do with my team on any idea, song, or narrative. If you believe in something, the universe assures that it will resonate in people’s hearts. Your work of heart reaches other people’s hearts. So with this belief, I enjoy my journey.” 

But doesn’t the criticism get to him? “I’m a patient person,” he answers. “Change is not easy. It’s always a battle. But at the same time, change in the form of progress is important. When you are battle hardened, you keep fighting. I am happy the song has resonated with so many people and it’s etched in their memory which is the most important thing. Insha’Allah everyone will always remember ‘Groove Mera’ and that, again, is a blessing.”

Aside from his PSL work, Xulfi has also been involved with other production projects, his most recent being rock band Karakoram’s debut album, Ailaan-e-Jang. “Producing a rock album is always a lot of fun. You have to record all the instruments live. With Karakoram, I wanted to create a benchmark sound that sets a standard and expresses their emotion in the best possible way while creating a new paradigm. I wanted people to hear it and say they haven’t heard such big sounding rock music in Pakistan before. It took us a while to nail everything, but these boys are very talented and expressive and they did a wonderful job. This is going to be a game changer for a lot of artists in Pakistan, Insha’Allah.”

Future

With his various projects and ventures, Xulfi has every intention of keeping himself busy in the coming months. 

Apart from music, his content creation agency, Giraffe, is also churning out ideas for brands. And his passion for sports is ensuring that games – he enjoys playing badminton, table tennis, and cricket with friends – remain a part of his life.

His focus, though, continues to be on music. “This year my journey is more about music than it has ever been,” he states.

Rumours have been swirling about his involvement in the next season of Coke Studio, but no matter how much I prod, he remains tight-lipped. “Let’s see what the future holds” is all he is willing to say on the topic.

He does promise that his mission of discovering and empowering new artists is going to continue. He hopes to help create a thriving community of musicians, and also plans to keep doing his own music and collaborating with other artists as well. As for Call, while the band isn’t working on any new content at the moment, Xulfi has an inkling that something interesting might come along later in the year.

So you can definitely expect a lot more from Xulfi in the coming months. 

If you are a fan waiting for new music, he will deliver. If you are an aspiring artist, he will lend a guiding hand. If you want someone to produce your record, then he’s your man. 

Just don’t ask him how to code logic gates!

- By Sameen Amer

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

In the picture: His House

movie review

Compelling characters and terrific performances anchor the drama in the new horror thriller His House

His House

Starring: Wunmi Mosaku, Sope Dirisu, and Matt Smith

Written and directed by: Remi Weekes

Remi Weekes uses haunted house horror to explore the refugee experience in his feature debut His House, a powerful thriller that weaves socio-political elements into the narrative.

The film tells the story of Bol (Sope Dirisu) and Rial (Wunmi Mosaku), a South Sudanese couple fleeing conflict. In search of a new beginning, they brave stormy waters to arrive on the shores of the United Kingdom, but lose their daughter, Nyagak (Malaika Wakoli-Abigaba), in an accident along the way. After a stay at a detention centre, the duo is finally granted probationary asylum. Their case worker (Matt Smith) then brings them to their new home: a dilapidated house on the outskirts of London that is in desperate need of upkeep.

But as they try to settle in and adapt to their new life, strange voices and visions begin to haunt them. Rial comes to believe that they are being targeted by a vengeful night witch. The protagonists are thereby left to deal not just with the apparitions that emanate from the walls of their house but also the looming fear of being deported lest they make a single wrong move. 

The ghosts deliver the movie’s jump scares, but the actual horror of the situation lies in the plight of these asylum seekers, who, it soon becomes apparent, are dealing with traumas from their past and struggling with the effects of grief and survivor’s guilt.

The proceedings are often touching and, at times, chilling, even though the movie does occasionally falter. The second act meandered a bit (a more taut screenplay could have perhaps made the drama even more intense, especially towards the middle), while the third act delivers a twist that switches the focus to the protagonists’ actions that cause their guilt, a development that some viewers might find more effective than others.

What massively helps the story though is the terrific performances by the leads; Wunmi Mosaku in particular makes it easy to form an emotional connection with Rial and be invested in her plight. 

His House may not be the scariest movie you will ever watch, but it offers a different take on a well-worn genre. You can’t help but empathize with the characters’ predicament as Weekes dissects prejudices, indifference, desperation, assimilation, and several other issues. This is, for the most part, a well-crafted, well-shot, and well-acted project that takes you on an interesting, engaging journey, and delivers horrors both supernatural and – even more harrowingly – very real.

Rating: 3.5 out of 5

- By Sameen Amer

Instep, The News on Sunday - 22nd November, 2020 *

Over the Moon - familiar but touching

movie review

Over the Moon

Starring (voices): Cathy Ang, Phillipa Soo, Ken Jeong, John Cho, Ruthie Ann Miles, Margaret Cho, Sandra Oh

Directed by: Glen Keane

Netflix made a successful foray into the world of animated features with the release of two terrific films – Klaus and The Willoughbys (both of which are highly recommended if you haven’t seen them yet) – within the span of months. The streaming service continues this trend with its latest animated movie, Over the Moon, a charming fantasy musical that is very likely to entertain its viewers.

The story’s heroine is the feisty Fei Fei (voiced by Cathy Ang) who grows up listening to her mother’s (Ruthie Ann Miles) renditions of legends about a Moon goddess named Chang’e (Phillipa Soo), a lonely immortal heartbroken over her lost mortal love. 

Fei Fei and her family live happily in their village where they make and sell mooncakes. But her mother’s illness and death soon bring sorrow to the youngster’s life. Four years later, when she finds out that her father (John Cho) plans to remarry, an upset Fei Fei decides to build a rocket to the Moon so that she can prove that Chang’e – and therefore true love – is real in the hopes that this will stop her father from starting a new family.

Her subsequent journey does not go quite as she had planned, but she eventually ends up learning the very lessons that she needed.

The build-up is sweet and touching, which makes it easy to care for the protagonist. The film does jump from its initial realistic setting to a fantasy-drenched follow-up, and while the transition is a little jarring, the bright and colourful visuals are still fun to watch. 

Despite its uneven tone, the warmth of the tale is sure to win you over. For the most part the drama is moving, even when the developments are either too convenient or just unclear. It is also good to see Asian representation in a mainstream release. Plus there are several (some would say too many!) lively sidekicks (including a possible step-brother (Robert G Chiu), a pangolin (Ken Jeong), and a cute pet bunny), and the tunes are enjoyable too.

Many of the film’s thematic elements, however, are familiar. Several movies by Disney and Pixar have explored the ideas of loss, overcoming grief, and embracing change. And while Over the Moon may not be as memorable or impactful as instant classics like Up and Coco (and even the recent Onward), it is still a heartfelt, touching, engaging episode that tries to keep you entertained from start to finish.

- By Sameen Amer

Young World, Dawn - 14th November, 2020 *

Physics will not judge you

book review

A compendium of impractical but entertaining and scientifically solid advice that will help you see everyday issues in a new light

When we run into a problem, most of us are inclined to look for the simplest solution. Randall Munroe, on the other hand, seems to have a very different philosophy when it comes to handling problems: make them as complicated as humanly possible and see where that leads you.

That is precisely the approach he takes in his book, How To: Absurd Scientific Advice for Common Real-World Problems, a tome that shows there’s clearly no issue that can’t be made more complicated with a little bit of science and a whole lot of imagination!

Best known for his delightful webcomic xkcd, Munroe — formerly a roboticist at the National Aeronautics and Space Administration (NASA) — has been amusing us with his nerdy stick-figure creations for nearly 15 years. Along with his online offerings, he has also employed his wit and wisdom to create interesting books, such as 2014’s What If?: Serious Scientific Answers to Absurd Hypothetical Questions, in which he provides logical answers to humorously bizarre user-submitted queries, and 2015’s Thing Explainer: Complicated Stuff in Simple Words — another very self-explanatory title.

Munroe’s latest volume finds him exploring unusual approaches to accomplishing seemingly simple (as well as some not-so-simple) tasks. Each of the book’s 28 chapters is dedicated to a different topic and applies science, research and creativity to come up with fascinatingly convoluted scenarios.

Many subjects seem like practical concerns before the author takes them to impractical extremes. In ‘How to Throw a Pool Party’, for instance, Munroe doesn’t provide us with a tutorial on putting together the invitations, snacks and décor for a social gathering. What we get instead is a humorously thorough manual on how to build and fill the pool that you would need for the aforementioned party. And, thanks to the magic of science, you are no longer bound to create an average, conventional pool. “Physics doesn’t care if your question is weird. It just gives you the answer, without judging,” Munroe reassures us — before explaining how we can construct a pool out of cheese and fill it with 150,000 bottles of Fiji water.

The discussions don’t degenerate into absurdity, though. The author and illustrator makes sure that he examines interesting ideas along the way. There is something fascinating in every chapter. For instance, ‘How to Tell If You’re a Nineties Kid’ explains the impact of nuclear tests on unsuspecting humans; ‘How to Send a File’ delves into the migration of butterflies; and ‘How to Take a Selfie’ teaches us about occultation (when an object in the foreground blocks an object in the back).

While most chapters are inspired by fairly routine tasks — such as jumping really high, digging a hole, sending a file online, charging your phone or mailing a package — a few stranger ones are also thrown into the mix. If you want to learn how to build a lava moat, keep your house from moving, or power your house on Mars, then this book has you covered.

Munroe’s intelligence and knowledge shine through with his unique take on each subject. Along with his own insights (which are often built upon research or backed by calculations), the author also occasionally reaches out to some experts in their fields in order to “apply their unique expertise to ridiculous tasks.” Most prominently, he interviews astronaut Chris Hadfield on emergency landings and, in what is perhaps the book’s most memorable moment, recruits tennis superstar Serena Williams to help test whether tennis serves could be an effective countermeasure against hovering drones.

The writer’s witty geek humour, and the stick-figure cartoons that accompany the text, make the book a fun read. The more theoretical elements have generally been made accessible to the layperson, although there are a few parts that might still be a little difficult to follow if you aren’t well-versed in basic science.

The material is perhaps easier to digest if it’s read a section at a time instead of being devoured in larger chunks. The mathematical components can occasionally be a bit dry, while some theories and formulae might leave you wishing you’d paid more attention in your high-school physics class. It’s a good thing then that Munroe’s enthusiasm for science is absolutely contagious. How To is likely to motivate you to further explore the ideas discussed therein, and might even inspire you to look at the world in a fascinatingly offbeat way.

All in all, this compendium of impractical advice might not teach you how to actually do anything in a simple, easy way, but its amusingly convoluted takes serve as an entertaining, thought-provoking read that will help you understand different topics, learn random scientific trivia and see things in a new light.

- Sameen Amer

Books & Authors, Dawn - 8th November, 2020 *

Trolls World Tour - warm and bright

movie review

Trolls World Tour

Starring (voices): Anna Kendrick, Justin Timberlake, Rachel Bloom, James Corden, Ron Funches, Kelly Clarkson, Anderson Paak, Sam Rockwell, George Clinton, Mary J. Blige

Directed by: Walt Dohrn

Four years after entertaining us with their first adventure, the bright and cheery Trolls are back on our screens in the sequel Trolls World Tour. We revisit their colourful world of singing, dancing, and hugging in this second outing which retains the joy of the 2016 instalment but lacks the imagination to make the journey truly memorable.

The jukebox musical reunites us with optimistic Queen Poppy (voiced by Anna Kendrick), her cautious sidekick Branch (Justin Timberlake), and their many friends, who are now living merrily in Troll village. But their lives are disrupted with the revelation of a secret. It turns out that there are actually six Troll tribes, each of which represents a different type of music: pop (which is, naturally, Poppy’s tribe), rock, classical, funk, techno, and country. Each tribe has a magical string that powers their music.

A threat emerges in the form of Barb (Rachel Bloom), the queen of the Rock Trolls, who is aiming for world domination. She plans to steal all the strings, destroy all other music, and turn everybody into rock zombies! It is up to Poppy, Branch, and their buddies to stop Barb and save the Troll kingdoms.

Geared primarily towards very young viewers, Trolls World Tour is one of those sequels that seem to exist not because the filmmakers had an interesting tale to tell but because the success of the first movie signalled the potential of a franchise. The story is basically just an excuse for more singing and dancing. The main journey sees the characters visiting each kingdom, hopping genres and thereby giving the film a chance to give us (mostly overplayed) songs (or, in some cases, snippets of songs) in each of their styles.

It isn’t, therefore, the most exciting ride. But it is, nonetheless, colourful and fun and filled to the brim with joyous energy. The lessons about tolerance and diversity that we are left with at the end are also worthy (even if they are repeated a little too often in such movies).

All in all, Trolls World Tour is a warm and bright adventure, but a little more imagination and a better selection of songs could have made the film a lot more impressive.

- By Sameen Amer

Young World, Dawn - 17th October, 2020 *

The Sleepover - a silly, predictable caper

movie review

The Sleepover

Starring: Sadie Stanley, Maxwell Simkins, Cree Cicchino, Lucas Jaye, Ken Marino, Joe Manganiello, and Malin Åkerman

Directed by: Trish Sie

Tagline: To rescue their parents, they need to get a clue.

The ongoing pandemic may have forced cinemas to shut down but Netflix has made sure that we stay entertained even during these strange times. The streaming service has been releasing movies all summer, including fun new films for viewers of all ages. Its latest family-friendly adventure arrives in the form of The Sleepover, a new action comedy that relies mostly on old tricks.

The film revolves around the Finch clan – school lunchtime supervisor Margot (portrayed by Malin Åkerman), her pastry chef husband Ron (Ken Marino), and their kids, teenage cellist daughter Clancy (Sadie Stanley) and imaginative son Kevin (Maxwell Simkins). The family may seem average when we first meet them, but their lives soon take an exciting turn.

Secrets are revealed when dangerous people show up at the Finches’ house and kidnap Margot and Ron. It turns out that Margot used to work with criminals. Her old associates now want her to take part in one more heist and threaten to hurt her family if she refuses.

When the kids find out that their parents have been abducted, they set out on a quest to rescue the grownups. With the help of a couple of their friends, Clancy and Kevin must follow the clues that their mom has left for them, stop the bad guys, and save their parents (who are, by this point, trying to steal a crown with the assistance of Margot’s handsome old flame, Leo (Joe Manganiello)).

It’s a fun-filled journey that entertains but doesn’t do anything particularly different or surprising. So many elements of the movie feel familiar; you are more likely to find the tale exciting if you haven’t already seen similar films, like the Spy Kids series. Also, there are a few ideas that the movie doesn’t take full advantage of. It could have, for instance, done more with the cool gadgets that the youngsters discover while trying to find their parents. 

Still, even though this isn’t the most creative project, The Sleepover does keep you engaged, thanks in part to its charming cast who make sure their characters remain likable. If you are in the mood for a silly adventure with some witty banter and a few amusing hijinks, then The Sleepover just might be worth a watch.

- By Sameen Amer

Young World, Dawn - 26th September, 2020 *