Lion
Lion is directed by a relative newcomer to the feature film set, Garth Davis, who has taken the reins of bringing the seemly impossible true story of Saroo Brierley to the big screen. Adapted from the book A Long Way Home (written by Saroo himself), Davis has brought about a film that is harrowing, tragic, beautiful, and thought provoking.
It begins by introducing Saroo (who is superbly played by young Sunny Pawar) in his home village, beautifully sketching out village life from the perspective of a five-year-old. From the loving relationship with his brother and mother to the playful nature of his walk home, his world is wonderfully captured through the lens of master cinematographer Greig Fraser (Bright Star, Killing Them Softly). Tragically, while waiting at a train station for his brother to return, Saroo inadvertently wanders onto a train bound for Calcutta hundreds of miles away. Search hard enough and many of us can remember brief times as a child of accidental separation from our parents and the fleeting but undiluted feeling horror that ensued. This feeling is conveyed in gut-wrenching scenes that capture impoverished India in all its Slumdog-esque filth, colour, and chaos. The tragedy of an innocent five-year-old lost among it all, while being beset upon by the denizens of unscrupulous intent, is difficult to watch.
Fortunately pockets of humanity lift little Saroo out of his desperate situation to where he is eventually adopted by an Australian couple, Sue and John Brierley (played by Nicole Kidman and David Denham).
Twenty-five years on and Saroo (Dev Patel with an unwavering Aussie accent), who is now firmly ensconced in the Australian way of life, begins to recall flashes of his early life. This triggers what becomes the obsessive task of piecing together his own origins based on the unreliable memories of his five-year-old self. The obsession puts a strain on the relationship with his girlfriend Lucy (Rooney Mara), and his adopted family. There is a scene where Saroo remonstrates his mum over her selflessness and unswerving commitment and love for her adopted children. It is a short but powerful scene where Sue Brierley’s anguish is caught in one wonderfully acted moment by Nicole Kidman, demonstrating in her limited screen time what a class actor she is.
If I had one quibble, it concerns the chemistry between Patel and Mara. Both are good actors in their own right and yet their on-screen combination felt a little forced and over drawn. Despite this, Lion is a beautiful and moving film made all the more compelling because it is a true story … make sure to bring your tissues.
Rating: 4 jalebis out of 5.
You can see the published review here

Based on the hugely successful video game series of the same name, Assassin’s Creed is another attempt by a studio to transfer onto the bigger screen the success of its gaming origins. Although other efforts (such as Warcraft) have been met with critically tepid responses, there is no doubt that the sheer size of the video gaming industry means a ready-made market for box office success. Yes, I am one of the many who have played Assassin’s Creed … well, at least one of the nine releases within the franchise, which puts me in better stead at knowing the film’s labyrinthine mythology than its star, Michael Fassbender, who hadn’t even heard of the game prior to being approached for the role. To his credit however, he heavily involved himself in the production and went to significant lengths to canvas Australian Justin Kurzel to direct the film. They had previously worked together, along with Marion Cotillard, on the visually arresting Macbeth.
In Passengers, Norwegian director Morten Tyldum (The Imitation Game) has directed a hotly anticipated summer flick, that from reports of early screenings, seem to have polarised ethical opinion on the responsibilities of its protagonist. I couldn’t find any evidence of this in the trailer that I saw, so I was dying to find out more.
Very briefly, my favourite film of 2016 was …
Disney’s first Polynesian-themed animated feature film since Lilo & Stitch (2002) has certainly landed with a splash. The film opened in the U.S. amassing over $200,000 in its first three weeks. This is perhaps standard fare for a tentpole Disney animated feature, but it is still nice to see such attention poured out on stories close to our own shores.
If I am honest I can’t say that I was particularly enthused to see A United Kingdom. A story of love that ushered in the birth of democracy in Botswana certainly sounds intriguing, yet something in its trailer left me wanting. Nonetheless, a dull trailer sometimes offers the film a gain — as they say, under promise and over deliver.
