Author: sandeepadnani

Sandeep Adnani is the Amazon #1 Bestselling Author of ‘The Codes of the Exiled Rogue’ , ‘The Origin of the Exiled Rogue’ and ‘The Prophecy of the Exiled Rogue’ eBooks. He nurtured this metaphysical and transformational fiction idea for over six years before publishing the first part in July 2019. All three books of ‘The Exiled Rogue Series’, a trilogy about the purpose and meaning of life and beyond, are Amazon #1 Bestsellers in multiple categories. His first book, The Codes of the Exiled Rogue was declared an Award-Winning Finalist in the Fiction: Visionary category of the 2021 International Book Awards. His second book, The Origin of the Exiled Rogue was an Award Winner in the Science Fiction: Alien/Space category of the 2021 American Fiction Awards. It was also an Award-Winning Finalist in the Visionary Fiction category of the 2021 American Fiction Awards. His third book, The Prophecy of the Exiled Rogue was an Award Winning Finalist in the Fiction: Visionary category of the 2021 Best Book Awards sponsored by American Book Fest. The omnibus of the trilogy, The Exiled Rogue Series, won the Silver Medal at the Global Book Awards 2022, in the Metaphysical & Visionary Fiction category and Gold Winner at the ABLE Awards in 2024 in the Book Series category. Embarking on new genres, he has seven new stand-alone books in the offing. In 2021, he completed writing a futuristic sci-fi-romance which he is currently querying. The unpublished manuscript was a finalist for the Writing Award in the 2022 Page Turner Awards. He finished writing a mystery novel in 2022 and an Alternate Fiction novella in 2023. He has published three non-fiction novellas in the YOU DECIDE series. He is currently working on an illustrated children's book. He changed careers from the advertising/media industry and is now a mental health counsellor in Melbourne, with bases in Mumbai and Dubai as well.

Collateral Beauty (2016)

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Love, Death and Time. One is how we live life, one is how we end it, and one is how we measure it. The movie takes a point of view on all three, through the eyes of the eight stellar cast.

David Frankel directs an interesting concept, the story uses philosophy merged with a capitalist agenda to heal and influence the mourning Will Smith. While parts of it are predictable, the awe quotient is kept high in intermediate revelations.

Kate Winslet, Helen Mirren and Keira Knightley are top notch, getting able support from Edward Norton, Michael Pena, Jacob Latimore and Naomi Harris. Will Smith expresses and emotes mostly without dialogue in an intensely helpless performance.

While we try and help someone, the universe cleverly helps us too. While we heal someone, part of us heals as well. Such concepts are beautifully portrayed amongst other difficult ones, making it a fulfilling watch.

3/5

Befikre (2016)

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Befikre: Aditya Chopra has made a frivolous, silly film where he fails to create romance. He establishes the ‘Frenchness’ of the movie, and you accept it, hoping he will stick to it. But he, like the film, can’t make up his mind, so the audience is subjected to a volley of baseless proceedings.

Cliche. That’s the word I would use to describe my experience. 90 minutes into the movie, I was hoping something, anything would redeem it. But it went further downhill. The film has been directed with careless abandon, much like its name. Kissing incessantly does not equal love, romance or even intimacy. Using the backdrop of Paris it was shoved down our throats but even the Eiffel Tower couldn’t turn the scene.

Ranveer Singh is his usual self. High on energy, good performance, a natural. But the story doesn’t back him up. Vaani Kapoor has difficulty emoting, which makes her look uncomfortable on screen. That is successfully transferred to the audience. Poorly etched and written, they did their best in a script which only demands patience.

I dare you to watch this film. (Ironically a pun you will understand only after you see it. But don’t tell me you were not warned).

1.5/5

The Economics of Relationships

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On the topic of demonetisation, I went through a similar exercise earlier this year. With one surprise jolt, a part of my wealth became only souvenirs which I could deposit in the bank of memories. You see, the only currency I held dear to me were friends. In time new friendships were formed, but unlike notes, people cannot be exchanged.

People complain they don’t have access to their own money. While there are other options to spend besides cash, what of these memories? They stay in a limbo, neither dying, nor living, ultimately becoming a volatile mutation, which cannot be ignored, nor can it be nourished.

While the cash situation will ultimately settle, this particular surgical strike did not cause wounds, which heal with time, but scars, that take years, if not decades, to fade. Their only function will be to serve as reminders of the risks of hoarding good times or not accounting for bad ones. They will force you to deposit echoes of the past so that you may spend them, with the eventual goal of forgetting them. But will they disappear in the abyss of memories?

Arrival (2016)

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Director Denis Villeneuve presents a truly sublime experience in communication, oneness, language and outside intervention.

The beauty of the film is how they steer clear of the predictable ‘alien’ word. What starts off as the arrival of extraterrestrials in towering space crafts, quickly turns in to a quest to decode and understand why they are here. How they do it forms the crux of the movie.

Amy Adams has acted with so much dignity and grace, never wavering in her ‘holistic’ approach to our guests. Jeremy Renner ably supports her, and the pieces of the story quietly fall into place. It’s wonderful how a concept in the film is explained by the very way the story is told.

A sci-fi film with so much soul.

3.5/5

Kahaani 2 (2016)

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Sujoy Ghosh has written an interesting story, but it wasn’t as gripping or shocking like his first.

The story unfolds slowly, but you have glaring evidence where it’s going. That said, it was still a good watch, because he kept it short. The film has a fine cast which doesn’t become melodramatic, though there are some intense moments.

Vidya Balan is herself. Nothing out of the box or different this time round. Sometimes her performance seems ‘textbook’. Arjun Rampal is strong, while Jugal Hansraj in a special appearance is effective. The supporting cast is competent, especially the little girl.

The film is taut and simple, some alarming revelations and a selfless social message make it entertaining.

2.5/5

Dear Zindagi (2016)

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Gauri Shinde is a nuanced story teller. She delved into language, empowerment and touched the surface of human relationships in English Vinglish. In Dear Zindagi, she dives in to more complex human behaviour, patterns and emotions.

Dear Zindagi is a film I have been waiting for Shah Rukh Khan to do. A simple film, which involves him being SRK a la Swades or Chak de. Mature, understanding, introspective and a subtle sense of humour.

The film starts with, ends with, belongs to and is completely Alia Bhatt. She has delivered such performances before, but for a young actor to hit the ball out of the park every time isn’t easy. She does it like a seasoned player.

Supported well by a host of actors who all enter, exit or endure Alia’s universe, the film is a refreshing tale on seeking advise or direction. Ali Zafar and Kunal Kapoor are memorable, while Ira Dubey and Yashaswini Dayama are adorable reality checks.

A small film with a big heart, it encourages us to talk and listen.

3/5

Doctor Strange (2016)

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For the uninitiated, like me, who don’t know about the marvel hero or the plot of the film, you are in for a great viewing experience. I resonated so much with its content and philosophy that I was swept away by its many dimensions (pun intended).

The film delves on various eastern philosophies, ours included, and speaks of them with an authority and subtlety which is truly fascinating. Benedict Cumberbatch is perfect for the title role, embodying the talent and ego which would warrant a transformation. He is supported wonderfully by Tilda Swinton and Chiwetel Ejiofor, who become his world of the Mystic Arts.

He encounters Mads Mikkelsen and Benedict Wong amongst others in that world, with differing agendas and protocols. What impressed me the most was how the sifted through they subject matter so effortlessly, weaving in good quality humour. The special effects are spectacular, sometimes you feel you are looking through a kaleidoscope lense. That’s when your feet leave the floor! How I wish I would have seen this in IMAX.

An entertaining, well written film, a slick direction by Scott Derrickson, crisp at under two hours with a deep message.

4/5

Fantastic Beasts and where to find them (2016)

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The last wizarding world film we saw was in 2011, so just for bringing it back to us, this film was special.

JK Rowling has given us a new world, a new language and it’s deep and meaningful. What we are up against is far more terrifying than fantastic beasts, most of which are not harmful, some maybe large but all are out of their environment.

It’s the 1920s New York, basic wizarding terms are used and explained, so people who haven’t seen Harry Potter movies or read the books can view this film independently. Eddie Redmayne plays an introvert Newt Scamander, transporting magical creatures who manage to escape. While finding Newt and his beasts the ministry solves issues which plague their own existence.

For fans the film feels familiar, we dive straight into the world, devouring every bit of information, new and old. The beasts are woven in seamlessly, while merging darker and more sinister ideas. David Yates gives a good vision to Rowling’s words, putting together an impactful introduction to four more films which will bring back more of our favourite characters.

3.5/5

Ae Dil Hai Mushkil (2016)

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Karan Johar plays the heart strings like a pro in this witty, filmy, fast paced movie. Surprisingly filled with laughs galore, the humour is like a buffer for the emotional quotient.

He usually romantisizes a city in every film, here the chosen ones are London and Vienna. A lot of memories are resurrected in the moments that have been strung together delicately, which are nostalgic, leaving a lasting smile on your face.

Anushka Sharma is as sharp as a tack, her lines and attitude keep you on your toes. She embodies the free spirit without an anchor, because she doesn’t need one.

Ranbir Kapoor is getting more nuanced with every performance. Tamasha was a fine act, this one ranges from sublime to pure abandon. He demonstrates the anguish of unrequited love from your best friend.

Aishwariya Rai Bachchan has a difficult role to play, which she does with ease. This should have been her comeback film, but better late than never. She looks and acts every bit the poetess.

The film has a mood, which it keeps intact throughout, a sense of security, of comfort, of a chemistry that goes beyond the physical attraction of people.

Karan Johar has stepped away from his usual grandeur and into the vast and unchartered territory of the blur between love and friendship. He didn’t get lost, but navigates us out of the labrinth of complex emotions into a love which has no name.

Bravo! And Happy Diwali!

3.5/5

The Girl on the Train (2016)

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A film that starts off as flashes in a stupor, is filled with mysterious gaps in the story. It is natural to start guessing ‘whodunnitt’, but more importantly why did they do it?

Director Tate Taylor quickly turns tables on the why and the plot becomes even more convoluted as unknown pieces appear for the expanding jigsaw puzzle. Once they start falling into place, a disturbing narrative turns horrifying.

Emily Blunt is a fine actress, carrying the film effortlessly, navigating through complex emotional and physical states. Haley Bennett and Rebecca Ferguson put in sincere performances, while Justin Theroux is seen as never before. The remaining cast, including Lisa Kudrow, ably support the story along its baffling and eventual shocking end.

A film which has probably done cerebral justice to a book that had a dark story to tell.

3/5