Sunday, October 02, 2022

Of global triumphs and cross-cultural rom-coms

talking movies

The last few months have shown that our artists and creatives have the ability to shine at an international level. Films like the upcoming What's Love Got to Do with It? will hopefully help continue that trend.

If you are passionate about Pakistani entertainment and have spent the longest time frustrated with the quality of our output and feeling like you’re stuck in the timeline that’s meant to cause you maximum disappointment, then you’ll be relieved by the recent developments in Pakistani music and cinema. Turns out you were actually in the most rewarding of alternate universes after all, for Pakistan is having a spectacular moment in global entertainment and it’s absolutely glorious.

Within a span of months, we have been blessed with our very first Grammy winner (Arooj Aftab), our first major superhero gracing the Marvel Cinematic Universe (Ms. Marvel), the global recognition of a local song (‘Pasoori’), and the unprecedented success of the film Joyland that has earned critical appreciation at both the Cannes Film Festival and the Toronto International Film Festival.

We are on a roll! And it doesn’t stop here. 

There’s more on the horizon, including a British movie that pays homage to Pakistani culture. Penned by Jemima Khan and starring talent from both Britain and South Asia, the romantic comedy What's Love Got to Do with It? takes a cross-cultural look at love and is all set to arrive in cinemas early next year. 

Its premiere at TIFF was well-received, and we can see why based on the trailer.

The clip introduces us to Lily James’s Zoe, a documentary filmmaker whose efforts to find love on dating apps haven’t yielded the results she would have hoped for, much to the dismay of her mother, Cath (Emma Thompson). When her neighbour, Kaz (Shazad Latif), decides to follow in his Pakistani parents’ footsteps by opting for an arranged marriage, Zoe decides to film his journey, following her childhood friend from London to Lahore to marry a stranger – Sajal Aly’s Zoya – chosen by his parents.

It’s a joy to see Pakistani culture take centre stage in a foreign flick. Jemima Khan has described the project as “a celebration of all things Pakistani, [and] a love letter to my old friend Pakistan”, and given the credentials of its filmmakers, the movie will hopefully take a respectful, insightful look into a very different approach to finding love.

Films like this will hopefully put a positive spotlight on our country and help our talent – both in front of and behind the camera – gain recognition and earn the chance to explore other international projects. 2022 has shown us that we have the ability to shine at a global scale. Here’s to our creatives continuing to impress and making a mark, breaking barriers, and taking our entertainment industry to even greater heights in the months and years to come.

Helmed by Indian director Shekhar Kapur and also starring the likes of Shabana Azmi, Asim Chaudhry, Jeff Mirza, and Mim Shaikh, What's Love Got to Do with It? is a StudioCanal presentation produced by Working Title Films in association with Instinct Productions and will be released in January 2023.

- By Sameen Amer

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

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 *

Sunday, September 11, 2022

The beauty of diversity

cover story

We may still have a long way to go, but it’s heartening to see the fashion industry embrace inclusivity and take strides in the right direction

“Do not read beauty magazines. They will only make you feel ugly,” columnist Mary Schmich famously wrote in a hypothetical commencement speech (and filmmaker Baz Luhrmann even more famously said in the spoken-word song ‘Everybody’s Free (To Wear Sunscreen)’).

She, of course, is not alone in her criticism. Not just beauty publications but the fashion industry as a whole has repeatedly come under scrutiny for the standards it has promoted for much of its history. The body that is often presented to us as the epitome of female beauty – tall, slim, light/fair-skinned – has eroded the confidence of many young women who don’t fit into that very narrow category. It’s a basic fact that most of us simply don’t win that very specific genetic lottery (and nothing against those who do; more power to them). Some of us will even struggle to achieve the peripherals we see on overly-photoshopped centerspreads – like long, silky hair and flawless, blemish-free skin – because time is short and we don’t have that spare kidney to sell in order to afford the array of miracle products being bombarded at us from all directions.

It’s a good thing then that the times they are a’changin’. With consumers voicing their dissatisfaction with unrealistic beauty standards and holding brands accountable for their debatable choices and decisions, the industry has finally started to see the importance of representation and has progressively been making an effort to support diversity. 

An increasing number of beauty brands are embracing what “real women” – for lack of a better term – look like and are hiring models who shatter all stereotypes associated with fashion. Curvy models are now walking runways and being featured in promotional campaigns. Women from all walks of life are now appearing on covers and centrespreads. And it is encouraging to see that we – well, at least some us – are finally starting to see dark skin as beautiful.

This refreshing wave of inclusivity and body positivity has been visible in the – at times imperfect, but still admirable – efforts of several international brands. To name a few: Kim Kardashian has used a diverse range of models in her Skims Solutionwear campaigns; women “of every size” have walked the runway to flaunt her collection, and the reality TV star has told Vogue that “diversity and inclusivity are in our brand DNA”. Rihanna’s approach to fashion with Fenty has been all about inclusivity, and she has also hired women with limb differences to model her brand. Dove has a “real beauty pledge” on their website wherein they vow to always feature “real women, never models” in their campaigns, portray women as they are in real life, and help girls build body confidence and self-esteem. Nike has also made efforts to include underrepresented communities in their ads and products and used diverse models, and has even had plus-size mannequins in its stores. Then there’s Old Navy, Aerie, Dressbarn, Target ... the list, encouragingly, goes on.

On the local front we have labels like Manto, a self-proclaimed “small brand with big dreams” that offers clothing “designed for creatives, thinkers, and problem solvers”. Manto “began as a brand for individuals who strive to get up every morning and look forward to creating, contributing, to cultivate.” Make the mistake of visiting their online shop and you will end up with a wallet that is significantly lighter; just their Husn-e-Urdu line will have you screaming “take all my money!” Visit their social media pages and you’ll be delighted by the diversity you see in their photographs (some of which are on display in our lovely style spread this week).

The range of women who appear in these images is remarkable. 

You have Ljubica Karađorđević – who is not only the princess of Serbia and Yugoslavia but also has a masters in pharmacy and is a successful entrepreneur who has created a content writing service and co-founded a children’s festival for charity – donning a mustard Manto Solid while holding her newborn.

Then there’s Amna Raheel, who didn’t let being wheelchair-bound get in the way of her dreams. From being lost and purposeless to letting go of the despair and turning her can'ts into cans, she has come a long way, and now works for a reputable company as an e-commerce marketer and also runs her own little venture. 

We also have Qaswa Mubarak who is the youngest female certified commercial pilot in Pakistan and achieved something that did not seem “practical and realistic” to the people around her; architect Khulda Amir who has lived life as a Christian minority in a Muslim majority country; and WearManto’s own Afshan Ahtesham who overcame her family’s reluctance when it came to her further education, working a job, and riding a scooty, and achieved her goals.

All of these women are examples of strength and resilience, and reflect a positive way to promote a brand while also uplifting those who see these images instead of chipping away at our self-confidence, one airbrushed photo at a time.

There is beauty to be found in all of us, if only we, the fashion industry, and the society as a whole are willing to look, acknowledge, uplift, and inspire. 

Campaigns like Fenty’s and Manto’s highlight just how important it is to feature women of all shapes, sizes, and colours in fashion. It can be so heartening to see someone who looks like you strutting down a catwalk or looking fierce on the pages of a magazine. Representation in marketing campaigns can easily take the fashion industry into a more positive direction but it can also make the campaigns more relevant and relatable. 

We can only hope that one day we can get to the point where inclusivity and diversity will no longer be considered remarkable and will just become a wonderful, healthy norm.

- By Sameen Amer

Instep, The News on Sunday - 11th September, 2022 *

Sunday, November 14, 2021

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 *

Sunday, November 07, 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 *