Rajeev Masand – movies that matter : from bollywood, hollywood and everywhere else

October 31, 2010

“Relationships between men are awkward. I tap into that,” says Due Date dir Todd Phillips

Filed under: What's new — Rajeev @ 10:50 am


I hadn’t really heard of Todd Phillips until The Hangover. I’d only seen Road Trip, which was disgusting and sick, but also inherently honest to its genre. I hadn’t seen Old School or Starsky & Hutch, but I had friends who swore by both films.
The Hangover is every straight man’s fantasy. Wish-fulfillment. But there’s little one can say about that film that hasn’t been said before. Interestingly, Todd Phillips’ new film, Due Date is an entirely different animal. The dirty humor is still there – among other things, there’s a masturbating dog in this movie – but somewhere beneath the filthy jokes is a warm tale about the grieving process, about impending fatherhood, and the value of true friendship.
Robert Downey Jr stars as an expectant first-time father whose wife’s due date is ony days away. As he hurries to catch a flight home to Los Angeles from Atlanta to be at her side for the birth, his best intentions go completely awry when a chance encounter with an aspiring actor – and disaster-magnet – played by Zach Galifianakis, leads the two of them being tossed off the plane, and forced to drive cross-country to their common destination.
I interviewed 40-year-old filmmaker Todd Phillips in Los Angeles on October 26, 2010 and found him to be articulate and clear-headed. Empire magazine has just labeled him ‘The Funniest Man in America’, and while you could argue with that, there’s no denying that he makes incredibly entertaining films about relatable male characters.
He’s already begun shooting The Hangover 2, which was in the news only last week for a cameo of Mel Gibson’s that’s been cancelled allegedly because the cast wasn’t comfortable working with the controversial star.

Here’s my interview with Todd Phillips on Due Date:

Getting into this movie right off The Hangover, was the pressure palpable?
It was fun to dive into something. It’s fun not to over-analyze why something’s a success and then to get gun shy about doing it again. So I never think of it like, “Oh, it has to be as big as The Hangover or it doesn’t work.” The reality is, we made a comedy film that I think stands up on its own. I think it works, and that’s really the goal with each thing. It’s not so much, for me, about comparing it to The Hangover. I mean I like the comparisons because it’s a great movie, The Hangover, but with this it was its own thing.

At what stage did you realize that Zach Galifianakis was the perfect guy for this role?
Well, I mean, quite honestly, while I was filming The Hangover, the writers of this movie were working on the first draft of this thing, and it was something we were developing at my office, and I thought, “Boy I really want to find something to do with Zach right away, ‘cos you know he’s so great in The Hangover.” And so that was how it started. Then when I took over the writing with my (writing) partner, we started writing it for Zach and for Robert (Downey Jr). And then we asked Robert to do it.

So Robert Downey Jr was your first choice all along?
Oh yeah! I mean, who do you think would be above Robert Downey Jr to choose? I don’t know. He’s the best.

But he’s not an immediate comedic actor…
You know, Robert’s one of those guys who’s known to be able to do anything. I don’t think Robert has any limits to what he can do. So I was excited to go ahead with this.

How did you sell the movie to him?
Well, you know, Zach and I went over to his place, and he had read the draft and he talked about the kind of things that he’d want to address in it, and how to deepen it. But he liked The Hangover, he liked Zach, he liked me… Honestly, it was easier than I thought it was going to be.

You really like Juliette Lewis, don’t you? She has a small part in Due Date again.
That’s right, that’s my girl, Juliette, and she’s been in three of my movies (Old School, Starsky & Hutch, Due Date), and she is somebody I always go to for these kind of interesting parts. Truthfully, if I did a movie that had women in it throughout the whole movie, I’d still go to Juliette. I happen to do movies, where everything’s about men. But if I did a movie – and maybe one day I will – with female central characters, I’d still go to Juliette. She’s just a tremendous actor and she’s a brilliant comedienne…funny and just real. I like her most ‘cos she’s real and she feels very real.

You’ve made a cameo in the movie too…
Well, me, I play the same character in every movie, sort of this guy named Barry, who we also call Mr Creepy. And if you notice, Juliette in this movie is named Heidi, and in Old School she was named Heidi, and I showed up at the door in Old School, if you remember – I said I was here for the gangbang – so it’s really the same two characters reappearing.

I remember you in The Hangover as the guy in the tracksuit, pawing his date in the elevator…
Yeah, same guy. Shady and sleazy…(laughs)… I think some directors like to put themselves in their movies as like a savior sometimes. Like M Night Shyamalan will do that sometimes. I like to be the most deviant guy in the film. I think that’s just more appropriate.

Why do you like making movies about men?
I find the relationships between guys to be inherently awkward. When I watch a movie like Sex and the City, I like it and it’s fun, but I notice that the women have such an elegant way of interacting with each other. And guys just don’t have that elegance. So it’s just funnier to me to explore that ‘unelegance’.

Is that something you discovered growing up? That it’s easier for women than it is for men?
I did. Well, I grew up just with my mum and my two sisters. Which I know is odd, because from my movies you’d think I was this guy’s guy and that I grew up among older brothers. No, never, ever. And I think that maybe my movies are an exploration of that because I never understood it. I never understood male friendships.

What do your mum and your sisters think of your movies?
They’re always embarrassed…(laughs)…

Did they discover your knack for comedy through your movies?
My mom always told me that I was the funniest person she ever met. She didn’t get out a lot…(laughs)…but she always thought that was my thing.

Do you think you’ll ever do something where all the major characters aren’t guys?
Oh yeah, for sure. There are so many female actresses I’d love to work with in a real way, Juliette Lewis being one of them. And if I was to do a comedy, I love Sarah Silverman so much. I think she’s as funny as Zach, she’s just hasn’t been used to her fullest potential in movies. I think there’s a ton of women out there that I’d love to work with, and I think there are a lot of premises that you can do that are still bawdy and real, but involve women.

This movie is different from your other films in one significant way – it has heart. It’s more than just another risqué, ribald comedy.
For me, it’s what was interesting about doing the movie. And I think for Robert Downey and for Zach as well, it was about not doing a straight-ahead comedy, but really trying to manipulate the tone in the movie, which is basically what the director’s job is – to be the purveyor of the tone. So I’ve done a bunch of movies, this was my seventh movie or something, and I thought, maybe with a little bit of confidence you can do another comedy, but really kind of walk the line between going from something a little bit touching and sad, to something really funny…and take an audience on that ride and just play with the tone a little bit. So that was the challenge, but also what made it worth doing.

What was it like to work with Robert? He famously likes to work on a script before heading out to shoot. He has a lot of ideas…
I wish everybody would be like that. I mean, for me, there’s never too many ideas, so I love it. Some directors get nervous and close up around it. For some directors it’s intimidating, I think. For me, I love it. The more, the better. The more things we can throw into the mix and talk about it, I love it.

What about Zach? He just comes across as an actor who’s willing to try anything…
I think the essence of all comic actors – or all the good ones – is fearlessness. You know, Zach just has a fearlessness about him. And I think that comes from getting up on stage and doing stand-up, and maybe it works some times and it doesn’t work other times. I think you build up a fearlessness, and I think you have to have that to be a comic actor. I think Will Ferrell has that, Sacha Baron Cohen has that.

Robert Downey Jr and Zach Galifianakis have said they enjoyed improvising with the lines on set. Were there days you just wanted them to stick to what was on paper? Were there days it was hard to just manage them?
Well no, they’re adults who’re there to work. They’re not out-of-control children. Sometimes actors behave like kids, but I don’t try to rein that in. That’s what you want. You want that energy. You’re not doing heart surgery, you’re making comedy. So you want that energy, it only works for the movie. There’s nothing to rein in. I think you’d be a bad director if you were taking all that energy and talent, and going, “Whoa! Let’s put the brakes on it!”

So then the mood on your set is lighter by virtue of the kind of movies you make?
Yeah, for sure. I mean, I’ve been on other people’s sets and I can’t believe how serious they take it. I once heard that it’s really important to set the tone of your movie on the set of your movie. And we are making comedies. It is a little bit like, the inmates are running the asylum. It’s a little bit weird. I like it really loose, and half the time I’m high…(laughs)

Writing comedy can’t be easy. Where do you get your jokes from? Do you have a muse?
For me, I get inspired by trying to make Zach laugh. Zach, to me, is the funniest person I’ve ever met. So I always try to make him laugh, and I always try to think of something at night, and I’ll just text him, and then I love when he’ll text me back, and say “Ha!”…(laughs)… I like making him laugh, so a lot of the ideas just get inspired by our trying to make each other laugh.

I read somewhere that you showed this movie to test audiences months ago…
Yes, we test our movies…we’ve always done that. It’s not exclusive to this film. I mean, that’s the process of editing and tweaking… I showed this movie two months into an edit, and then again three months in, and then again four months in. And it always changed just by degrees, but that’s what you’re doing.

What I enjoyed about the movie is that some of the humor just makes you cringe. Especially for the characters, which is rare in a comic film, isn’t it?
Yeah, you laugh because it’s cringe-y in a way, and I think that a lot of the humor in the movie is just like you’re so embarrassed for the character… I love uncomfortable moments, and so does Zach, and so does Robert, and I think a lot of that, you’re right, just comes from the discomfort you feel for them.

In most road-trip movies, the characters go through an intense experience that changes their lives forever. In this movie, they come out the same guys that they were, going in, except that they now have a renewed respect for each other.
Well, yes, they come out relatively the same… But you’re right. And I think the same is true of The Hangover too. They didn’t change much. They went through some strange shit together. It’s what I call an unapologetic comedy. A lot of comedies, I find, do really bawdy behavior for the movie, and then they spend the last fifteen minutes essentially apologizing for that behavior. So when you leave, you think, “Okay, they didn’t really mean it like that.” And I always called The Hangover an unapologetic comedy. And I think this is the same thing. And that’s what I think I respond to. You don’t have to justify bad behavior. It’s okay just to have behaved bad for a while. Some people do that. And you’ll get on and everything will be okay, and the dog will be fine. You don’t have to apologize to the dog.

How far are you into The Hangover 2?
We’ve been shooting for about 18 days, and we’re leaving for Bangkok in four days to complete the movie, which is another 40 days. So we’re only about a third of the way through.

You were really divided between Bangkok and Mexico, weren’t you? What made you tilt in favor of Bangkok eventually?
I haven’t shot there yet, but I’ve been there three times this year, and it’s amazing. First of all, they’re really film-friendly and film-knowledgeable. And they’re an incredibly friendly culture, so it’s been wonderful. I had Bangkok in mind very early… The first Hangover took place in Las Vegas and you see how location is such a big part of a movie. There’s not a lot of cities that when you say the word, it just means something. And Las Vegas is a city that it just conjures up some kind of visual…(laughs)

Depravity…whatever you want to call it…bad decisions. And I think Bangkok for me is the same. I mean, take New York – it’s a great city, but it doesn’t really mean anything. It’s a lot of things. But Bangkok, to me, sounds a little bit dangerous and a little bit crazy, where a lot of bad decisions get made. So that’s where it came from.

And finally, to address the Mel Gibson cameo, did you ever think a cameo would be so complicated for you?
No! To be honest it hasn’t really made it complicated, but it’s been a shame. Because really, what it all boils down to is that a cameo is supposed to be a surprise. And it all really blew up and became such a big deal.

October 30, 2010

Kareena Kapoor on her priorities at 30

Filed under: Video Vault — Rajeev @ 8:11 pm

In this interview before the release of Golmaal 3, Kareena Kapoor talks about turning 30, and the shift in her priorities. She reveals why she’s seeking out big films opposite big stars, over challenging roles in interesting films. She also discusses her relationship with Saif Ali Khan and why she’s in no hurry to get married.

(This interview first aired on CNN-IBN)

October 29, 2010

Left, right, and all over!

Filed under: Our FIlms — Rajeev @ 10:10 pm

October 29, 2010

Cast: Deepak Dobriyal, Manav Kaul, Badrul Islam, Bharti Bhatt, Pratyush Doklan, Girish Tiwari

Director: Bela Negi

Deepak Dobriyal, the abundantly talented actor from Omkara, takes the lead in Daayen Ya Baayen, a charming-but-confused film about a young man who returns to his village in Uttarakhand after a failed attempt to make it in Mumbai.

The locals in his idyllic mountain town of Kaanda are amused when Ramesh Majila (played by Dobriyal) announces that he wants to set up a Performing Arts Centre for talented youth. His new job as a teacher in the local school pays little, and getting the attention of the Chief Minister who must approve the Centre and allot a grant for it is a Herculean task. When Ramesh wins a swanky car in a television jingle-writing contest, his stock rises considerably among his envious neighbors. But it also brings with it a series of complications, which lead him to wonder if indeed his life was easier without the car.

Directed by debutant Bela Negi, Daayen Ya Baayen is gorgeously filmed across postcard-pretty locations in the state. Negi uses real homes and schools to give the film a lived-in feel, which is further complemented by the fact that she employs actual locals in smaller roles.

It’s the scattered script that plays spoilsport here, taking too long to bring up key conflicts, and meandering in too many directions along the way. The arrival of Ramesh’s car is the focal point in the story and drives much of the drama in the film; yet it shows up so late in the film. While the languid pace of the movie is understandable considering it mirrors the slow life of a lazy village, several scenes seem pointless and going nowhere in particular.

Yet Daayen Ya Baayen is a film you desperately want to like. Deepak Dobriyal is first-rate as the conflicted Ramesh, and Manav Kaul provides some light moments as Sundar, the slacker desperate to break out of town. The film also has many charming moments, especially between Ramesh and his little son. Nevertheless, in the end Daayen Ya Baayen feels like a string of great ideas in search of a coherent plot.

I’m going with two out of five for director Bela Negi’s Daayen Ya Baayen. It goes on and on and on with no destination in sight. It’s tiring yes, but also a respectable first film. If you have an appetite for the quirky and unusual, you might not be too disappointed.

(This review first aired on CNN-IBN)

You gotta have faith!

Filed under: Our FIlms — Rajeev @ 10:00 pm

October 29, 2010

Cast: Jackie Shroff, Divya Dutta, Smriti Irani, Shakti Kapoor

Director: Deepak Balraj Vij

Jackie Shroff slips into the robes of Shirdi’s famed Sai Baba in Maalik Ek, a simplistic but earnest film that celebrates the life and teachings of the fakir-saint with magical healing powers.

A 1977 film titled Shirdi Ke Sai Baba starring Sudhir Dalvi as the revered protagonist remains a favourite among devotees. And much in the same vein as that film, Maalik Ek is not so much a conventional plot-driven movie as it is a series of incidents strung together that highlight the various ways in which Sai Baba touched the lives of his believers. Director Deepak Balraj Vij can’t match the star wattage of Hema Malini, Manoj Kumar, Rajendra Kumar and Shatrughan Sinha who took cameos in the 1977 film, but he does succeed in assembling a gallery of familiar faces who take bit roles as devotees – Rajeshwari Sachdev, Zarina Wahab, Parikshit Sahni, Ranjeeta and Vidya Sinha.

Jackie Shroff, surprisingly, succeeds in humanizing Sai Baba, a figure who has been mystified mostly until now. He plays him without the lofty dialogue delivery. There is less of a halo and more of an approachable air in the actor’s sincere portrayal.

Yet this doesn’t have the broad appeal of a film like The Passion of the Christ, and is likely to appeal strictly to devotees. I’m going with two out of five for Maalik Ek. Watch it if you’re a believer.

(This review first aired on CNN-IBN)

Go fish!

Filed under: Their Films — Rajeev @ 8:30 pm

October 29, 2010

Cast: Elisabeth Shue, Jerry O’Connell, Ving Rhames, Steven McQueen, Jessica Szohr, Kelly Brook

Director: Alexandre Aja

Very often a title tells you everything you need to know about a film. Piranha  3D is that kind of title.

This shamelessly exploitative film is set during spring break at a lake in Arizona, where a minor earthquake unleashes what seems like hundreds of razor-toothed prehistoric piranhas on an unsuspecting parade of holidaying students. One teenage boy (played by Steven McQueen) is hired as a location scout on a porn shoot, and Elisabeth Shue stars as the local sheriff and mother of this young fellow whose dream job inevitably turns into nightmare once the boat on which they’re filming becomes the piranhas’ favourite feeding spot.

There’s as little suspense in this film as there are clothes on most of the girls partying at the lake. And one of my favourite B-movie moments in Piranha 3D is the one in which the lower body of a para-sailing porn actress gets chewed by the deadly fish, so when she’s hoisted up in the air you only see her head and breasts and the dismembered remains of her hip area.

The special effects are cheesy, but this film’s target audience of horny young males is unlikely to complain, even as scene after scene of wet T-shirt contests and underwater girl-on-girl action unfolds in gratuitous 3D.

You know exactly what to expect going in to watch a film titled Piranha 3D, so don’t complain about the gallons of blood, the dozens of severed limbs, and the absence of any plot. The 3D allows for a handful of silly gimmicks like one in which the porn film director loses his penis to a school of deadly fish, and in one deadly swoop his floating member becomes piranha-lunch too.

Sadly the film isn’t half as much fun as it should have been, because it appears to take itself too seriously. It ends with a suggestion that a sequel’s on the cards, and one can only hope that one delivers more than just naked girls and half-eaten body parts.

I’m going with two out of five for Piranha 3D. If you must, watch it on a lazy weekend with a bunch of friends, and buy lots of popcorn.

(This review first aired on CNN-IBN)

October 24, 2010

Eva Mendes demands to be cast in a Bollywood film

Filed under: Video Vault — Rajeev @ 7:00 am

Model-turned-actress Eva Mendes was named “Sexiest Woman Alive” in a Hollywood internet poll earlier this year. The star of such films as Hitch and Training Day takes her first real stab at comedy in The Other Guys playing opposite Will Ferrell. In this interview recorded in Cancun (Mexico), Eva Mendes insists on being recommended for a Bollywood film.

(This interview first aired on CNN-IBN)

October 23, 2010

Mark Wahlberg finds his comic groove

Filed under: Video Vault — Rajeev @ 12:16 am

Rapper-turned-actor Mark Wahlberg has an enviable film career thanks to his standout performances in such films as Boogie Nights and The Departed. Once a troubled kid who had repeated run-ins with the police, Wahlberg reinvented himself as a dependable leading man and an Oscar-nominated actor.

You don’t usually associate him with comedy, but he’s working towards changing that impression. In this interview recorded in Cancun (Mexico), Wahlberg speaks about The Other Guys for which he teamed up with Will Ferrell and delivered some poker-faced laughs.

(This interview first aired on CNN-IBN)

October 22, 2010

Nerd mentality

Filed under: Our FIlms — Rajeev @ 10:40 pm

October 22, 2010

Cast: John Abraham, Pakhi, Raghu Ram, Alishka Varde, Manasi Scott, R Madhavan, Anaitha Nair

Director: Abbas Tyrewala

Jhootha Hi Sahi, directed by Abbas Tyrewala, is the kind of film that makes you embarrassed for everyone associated with it. It’s one of those films that might have been so bad that it’s good, except that it’s not even bad enough to be enjoyable!

Written by the film’s leading lady Pakhi, who also happens to be Tyrewala’s wife, the script is hare-brained and predictable, and has neither the wit nor the charm to work as an engaging romantic-comedy.

John Abraham is cast as Sid, a nerdish bookshop owner in London who stammers in the presence of pretty girls. When Sid’s home phone number gets mistakenly advertised as a suicide helpline, he sportingly volunteers to talk callers out of taking their lives. One night a weeping female caller named Mishka (played by Pakhi) leans on him to pull her from the brink. Over frequent phone conversations, their friendship grows. Sid seeks her out in person, and romance gradually blossoms. But he never reveals he’s the same guy on the other side of the phone line who knows all her secrets.

Much of the film’s problem lies with the fact that it’s trying too hard to be cool. Sid’s group of friends are straight out of any American sitcom – no parents, no families, no real care in the world. This gang includes Sid’s Pakistani best friend and his unwed-but-pregnant sister, her Japanese boyfriend, two gay men, and Sid’s airhostess girlfriend. Apart from a few genuinely clever moments, the scenes between these friends appear awkward, and the humor forced. The dialogues are over-written and they come off as labored when delivered by the actors. There’s an idiotic subplot involving Mishka’s ex-boyfriend, played by R Madhavan, and his is easily the film’s worst written character.

To be fair, the central conflict appears too trivial for a film trying so hard to be contemporary. Add to that the rawness of leading lady Pakhi, and the indifferent direction by Tyrewala, and you can see why this film doesn’t work. At roughly two hours and thirty minutes, it’s a test of your patience, and it doesn’t help that even AR Rahman’s music suggests that the maestro wasn’t inspired to give his best.

Save for John Abraham who offers an earnest, endearing performance, and a few light moments between the friends, this film is a plodding bore. I’m going with one-and-a-half out of five for director Abbas Tyrewala’s amateurish Jhootha Hi Sahi. I’ve seen school plays that are more entertaining!

(This review first aired on CNN-IBN)

There will be blood

Filed under: Our FIlms — Rajeev @ 10:40 pm

October 22, 2010

Cast: Vivek Oberoi, Abhimanyu Singh, Shatrughan Sinha, Sushant Singh, Zarina Wahab

Director: Ramgopal Varma

With Rakta Charitra, his first film in a planned two-part biopic of famed gangster-turned-politician Paritala Ravi, filmmaker Ramgopal Varma returns to solid ground.

Set in the 90s in the Anantpur district of Andhra Pradesh, this violent tale of betrayal and revenge stars Vivek Oberoi as Pratap Ravi, a young student who swears revenge after his father and brother are killed by his father’s political mentor. The film follows Ravi as he takes down his enemies one by one, and is ultimately adopted by a politician (modeled after NT Rama Rao) who takes him under his wing.

Meant strictly for viewers who aren’t turned off by gore, Rakta Charitra is a relentlessly violent vendetta saga from a director who clearly enjoys shocking his audience. Scene after scene characters are killed in the most gruesome encounters, which include limbs being chopped off by sickle, a drill being driven into a skull, throats being slit, and gunshots delivered to the head.

Returning to one of his favourite themes – the connection between crime and politics – Varma uses many of the same tools he’s employed before: a deafening background score, gravity-defying camera angles and a roster of menacing-looking character actors. Fortunately Rakta Charitra is a more assured effort from the filmmaker, whose movies had become predictable lately. The fact that it’s a real-life story lends weight to the film and makes it more intriguing. What also helps the film enormously is strong acting.

Abhimanyu Singh is the star of the show with a standout performance as the despicable Bukka Reddy, a man who pushes the boundaries of depravity with his merciless, unsparing attitude. Vivek Oberoi oozes confidence and doesn’t miss a beat as he goes from a restless, angry young man to a shrewd political player. Even Shatrughan Sinha in a smaller part, as the actor-turned-politician who takes Ravi in, offers a restrained but memorable performance.

On the flip side, Rakta Charitra jars on account of a bothersome voice-over, and the unending violence threatens to reduce the film to a string of killings in search of a plot. The motives behind much of the action in the film feel simplistic occasionally, and the degree of violence itself is likely to turn off even the brave-hearts.

Yet in the end, Rakta Charitra is compelling and draws you into its drama. The second film, due at the cinemas in a few weeks from now, will focus on Ravi’s clash with the nemesis who ultimately kills him: Suri, played by Tamil star Suriya.

I’m going with three out of five for director Ramgopal Varma’s Rakta Charitra. It’s a bold, disturbing film that’s bursting with the kind of confidence we haven’t seen from the filmmaker recently. If the sight of blood doesn’t make you uncomfortable, chances are you’ll enjoy this film.

(This review first aired on CNN-IBN)


Filed under: Our FIlms — Rajeev @ 10:30 pm

October 22, 2010

Cast: Mallika Sherawat, Irrfan Khan, Divya Dutta, Raman Trikha, Jeff Douchette

Director: Jennifer Lynch

If the sight of two snakes entwined, supposedly making love, doesn’t cause your stomach to churn, then the sight of Mallika Sherawat writhing on the floor with a snake between her legs most definitely will.

In Hisss, directed by Jennifer Lynch, Mallika stars as a shape-shifting snake that’s been separated from her reptile lover by a crazy foreigner who’s seeking a naagmani that will cure his cancer. The outrageous plot involves this ichchadhari nagin emerging as something of a feminist superhero who comes to the rescue of various tormented women, even as she’s seeking out her kidnapped partner. Irrfan Khan plays the cop investigating a series of mysterious killings, and Divya Dutta his wife.

Hisss has a distinct B-movie feel to it, and the special effects scenes of Mallika turning into a snake are more comical than jaw-dropping. The film is haphazardly edited, and appears to be assembled out of incomplete footage.

In the role of the shape-shifting snake, Mallika has no dialogues at all, which may not necessarily be a bad thing. The film relies squarely on her ability to look sexy as she switches forms, and the actress shows much bare flesh in the process. Irrfan Khan looks positively uncomfortable in this ridiculous film, and the only time you smile is when the end credits appear.

I’m going with one out of five for Hisss. At 90 minutes it’s mercifully short, but watch it only if you’re not easily disgusted.

(This review first aired on CNN-IBN)

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