
Untamed first reviews: Critics call the Eric Bana-starrer ‘beautiful but predictable'
Created by Mark L. Smith and Elle Smith, the show follows the story of investigative services branch special agent Kyle Turner (Bana), who is tasked with investigating the death of a female rock climber. While people believe that the climber fell to her death, Turner feels something mysterious is afoot and takes along a rookie agent, Vasquez, to investigate the accident. In the six-episode show, the two give a tour of the entire Yosemite National Park while trying to solve this case, and some reviews suggest that this is just Netflix's attempt to have their own Yellowstone. TV critic Judy Berman from Time Magazine says, 'Almost certainly a product of audiences' addiction to detective procedurals and streamers' desperation to find their own Yellowstone, the series is, as written and acted, mediocre. It's worth watching, though, if you're fascinated by the inner workings of a place like Yosemite.'
ALSO READ: The Bear Season 4 review: Jeremy Allen White serves a three-course season but Ayo Edebiri is the one 'cooking'
The Guardian sort of doubles down on this premise and calls the show a 'blunt force thriller which is beautiful but predictable.' THR wasn't entirely convinced by the show, as they think that the series felt too tightly closed and the narrative at times feels rushed. Apart from this, almost all the reviews maintain the fact that the series has too many clichés present in it that take away that unique punch which it had the potential of packing.
While many of the reviews have deemed the series as something which lacks depth, almost all the reviews call the series worth a watch. The cast of the series includes Eric Bana, Sam Neill, Rosemarie DeWitt, Lily Santiago, Wilson Bethel, William Smillie, and Josh Randall.
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India.com
an hour ago
- India.com
This actor was once stabbed by his friend, bled excessively, was rushed to hospital, was saved by..., his name is...
This actor was once stabbed by his friend, bled excessively, was rushed to hospital, Om Puri saved him by..., his name is... Naseeruddin Shah is considered one of the most versatile and talented actors that Indian cinema has ever produced. In 2024, the actor introduced his autobiography titled 'And Then One Day' and revealed several interesting anecdotes from his personal and professional life. He also opened up about an incident where he was stabbed by an actor friend Jaspal and Om Puri then interfered to rescue him. During the shooting of his 1977 film Bhoomika, Naseeruddin and Om had gone to have a dinner at a restaurant. Just then, his friend Jaspal, with whom the actor shared a strained relationship arrived at the place. Naseeruddin Shah shared, 'We ignored each other but, eyes fixed on me, he passed to sit on another table behind me, so I thought. After a while, I was reminded of his presence by what felt like a short sharp punch in the middle of my back. I started to rise, wearily preparing myself for another free-for-all. Before I could move, Om with a strangled cry lunged at something behind me. I turned to see Jaspal holding a small knife, its point dripping blood, his hand raised to strike again, and Om and two others grappling to subdue him.' The senior actor than narrated further, 'Om returned to inform me that Jaspal had been taken to the kitchen and was being given the treatment. He wanted to take me to a doctor but was thwarted by the restaurant staff refusing to let us move till the police arrived. When the ambulance came, Om made the cardinal error of climbing in as well without permission and managed to rile the boss-man, thereby asking the cops to be gentle with me. He was ordered to get off and after considerable pleading with the goon in charge was allowed to stay. Neither of us had an idea where we were headed but I prayed it was not the police station.' Naseeruddin Shah was then rushed to the Cooper hospital and later to Jaslok hospital as he was bleeding excessively from his injury. 'The bleeding had not seized, the pain was getting intense and these cops obviously had not quite understood the situation. After a few cursory questions to us, and some garbled transmissions over the radio in Marathi, we arrived at Cooper Hospital in Juhu,' he wrote. The actor also mentioned in his autobiography that Jaspal, after the incident, had arrived to meet him at his home. Rather than apologising, he said that whatever happened wasn't 'personal.'


Scroll.in
an hour ago
- Scroll.in
‘The Mozhi Prize Anthology 1': Short stories with wide appeal are grounded in Tamil cultural milieu
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The stories and themes The titular story, written by Chandra, translated by Padmaja Anant (and also the winner of the 2022 Mozhi Prize), showcases a family's journey from testing times to brighter days. Here is a father who thinks that his children's education alone can restore the family's lost glory, a mother, a playmate and storyteller to her children, whose timely act and foresight secure the family's future, and there's a cat with her kittens who are almost like a part of the family. Jeyamohan's 'Filfilee', translated by Amruth Varshan, the first runner-up, takes us back in time to King Herod's regime when thousands of innocents were massacred. Set in a town called Ein Sheva, a stopover en route to Turkey from the East, dotted with taverns selling acrid yayin drink, has stories within a story. 'And what is poetry but history…', claims Thomas, a bard as he, a lady tavern-keeper, an ugly man with a swollen leg and an easterner nomad witness history unfold before their eyes. What happens when the cause of a serious affliction is prescribed as a source of alleviating it? 'Cotton Fever' by Senthil Jagannathan, translated by Anjana Sekhar, the second runner-up, is marked by astringent irony. The special mention entries and other stories in the collection are as engrossing as the prize winners. A crazy carpenter (kirukkan asari), known to ruin every piece of wood he touches, carves the most exquisite sculpture for a child on a sandalwood plank in 'Ammaiyappam' by Jeyamohan (translated by V Iswarya). Untold stories quietly tucked away in things in a trunk box tumble out gently in Vannadasan's 'A Brief Strain of Music', translated by Mayuravarshini M. The melancholy and nostalgia in this story reminded me of Ambai's 'In a Forest, a Deer' (translated by Lakshmi Holmstrom). The question 'Can man turn into an animal with rigorous meditation?' is answered by blending the real with surreal and magical with rational in Jeyamohan's story 'Beast', translated by Megana Kumar. There couldn't have been a better beginning to the collection than Jeyamohan's story 'Maadan's Deliverance', translated by Sherwin Rodriguez. The man's obsession with religion and caste supremacy, his dogmatic adherence to rituals, can even trounce gods themselves – a playful mockery and satire of current times. Both Senthil Jagannathan's 'Clarinet', translated by Darun Subramanian, and 'Resurrection' by Su Venugopal, translated by Vignesh Hariharan, are heartrending stories of relationships that aren't defined by blood. A melange of translation styles One of the standout aspects of this collection is how it offers readers a variety of translation styles. Each translator fashions the conduit between Tamil and English differently. Sherwin Rodriguez uses the pronoun 'it' to refer to the deity Sudalai Maadasamy in the story 'Maadan's Deliverance', probably to emphasise that he is the god of the lower castes. Though the Tamil title means 'Maadan's Salvation', the translator's choice of English title befits the irony in the climax. Anjana Sekhar resorts to using 'ter' and 'ma' respectively for 'to' and 'my' in the story 'Cotton Fever', making us wonder what aspects in the original led to this choice. ('We have got ter think about our boy's college admission; Ma hands won't harm ma own children'). While Mayuravarshini highlights Tamil words like 'ratchasan', 'komban' in italics, she leaves an entire line in Tamil describing the appearance of a deceased person in the story 'A Brief Strain of Music' as it is, without using italics, and Darun Subramanian carefully shares the meaning of many popular Tamil songs that feature in the story 'Clarinet'. This assortment of styles is a source of both delight and intrigue to readers. Sample these lines from 'Clarinet': 'With the clarinet supported on the right thumb, the remaining fingers danced on top of it like a flock of sparrows pecking at grain, while the little fingers bobbed up and down like their tails. The music sounded rich.' Meanwhile, in 'Ammaiyappam', the opening of a wooden trunk box with a waxy surface and handles embellished with floral craftwork is compared to handling a harmonium (in A Brief Strain of Music) and idlis slowly peeled off the warm cloth covering are compared to fluffy white chicks, newly hatched from their shells by a child. From a farmer's joy upon seeing a mature crop, a man's unconditional love for his cow, an idli with the dent left by the mother to check if it's cooked just right, a tape recorder or a shirt as caches of memories, the themes here though universal are grounded in Tamil cultural milieu. These stories are pen portraits of Tamil 'lived' experiences. Even when a reader can appreciate the meaning of Tamil songs like 'Veedu varai uravu', 'Nee illa deivam illai,' thanks to translation, their cultural significance goes beyond explanations in footnotes / glossaries. It is here that readers aware of the Tamil way of life/fluent in the language play a vital role. Discussing these stories with fellow readers who don't know Tamil paves the way for a deeper appreciation of the stories. After all, reading is an activity that is as solitary as it is social. And in this respect, the Mozhi Prize Anthology 1 is a wholesome collection, which is in tune with Mozhi's vision to 'talk about Indian literature in all its various manifestations.'


Time of India
2 hours ago
- Time of India
'Jurassic World Rebirth' box office collections day 16: Scarlett Johansson starrer unshaken; India net at Rs 88.11 cr
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