Review | Mom – She Wants Retribution. God Save Her Daughter’s Rapists.


Kamran Jawaid  |  The post is the unedited copy of the review published in DAWN ICON on 16th July 2017, which can be read here. Jpeg of the print copy is at the end of the post.

In films, both good and bad, there’s always a scene that sticks with you. A scene that quantifies its essence. A moment you remember the film by in later conversations.

In Mom, that quintessential scene happens late at night, when a young, slightly drunk girl is kidnapped and raped in the backseat of a black SUV.

The camera cuts out of the car to an aerial shot of the SUV, tracking the vehicle as it slinks like a predator on a Noida freeway. The music, vexing and repetitive, graduates to a low-shrill as the car halts to a stop, and the driver switches places with someone from the backseat. The car moves again.

Unable to blink, we watch as unwilling witnesses. The moment of dread amplifies. There are no screams of struggle. A few cuts later, the girl’s corpse-like body is thrown in a neck-deep gutter; her face, swollen and dead of emotion.

Immediately the audience knows two things. One: these people are monsters; the second, an immediate after-thought: she needs retribution.

Arya (Sajal Ali) loses more than her chastity in that scene, and the intelligently crafted ambience, silent in its entirety, screams at the top of its lungs.

Continue reading “Review | Mom – She Wants Retribution. God Save Her Daughter’s Rapists.”


Review | Chalay Thay Saath – But To Where, and Why?!

Kamran Jawaid  |  The post is the unedited copy of the feature published in DAWN’s ICON on 30th April 2017, which can be read here with jpegs of the print copy at the end

“What would make my film different. How would it stand out from the rest of the pack?!” asks a worried little voice inside a filmmaker’s head. The most obvious answer, and logically also the most effective one, is to use a “Cold Open” as the very first scene of the film.

Cold opens are a devious storytelling tool: they often use a dramatic scene from the middle or end of the film, and if need be, explain its relevance through a narrator.

Right now, these openings are notoriously popular with Pakistani filmmakers. Take for example the one in WAAR, which introduces Shaan Shahid’s gung-ho character in a good-cop bad-cop scene (there was no good cop in that room, by the way). Or the one in Jawani Phir Nahin Aani where a pre-intermission suicide scene is used as a ploy to heighten the film’s tension. Or the one in Bachana, Wrong No. and Dance Kahani.

The list is finite, but only because we have a limited number of motion pictures to count off.

Continue reading “Review | Chalay Thay Saath – But To Where, and Why?!”

Dawn | The Life and Times of Video…for It Lived Well, till It Died


By Kamran Jawaid  |  The feature was published in Dawn’s Karachi Notebook in the Metropolitan section, on 11th December 2016. That copy be read here.

Back in the 80’s, which is vaguely vivid in memory, one used to undergo a gush of adrenaline-rush when going out to rent movies.

These were simpler times, when people weren’t in a constant state of media overkill and movies still had a measure of fanciful allure to them – despite the level of intellectual and aesthetic merit.

Continue reading “Dawn | The Life and Times of Video…for It Lived Well, till It Died”

Oscar Predictions 2015–Dawn, Images on Sunday

The following article is published in Dawn, Images on Sunday on the 22nd of February of 2015 here and here.

Oscar Predictions 2015

Who May Win the Oscars Tomorrow

By Mohammad Kamran Jawaid and Farheen Jawaid

Democracy, it seems, will make the Oscar guessing game a challenging exercise this year. So far, apart from a select few categories, a significant number are in disarray because of eligibility regulations in guilds, individual interpretation of placements (especially in both screenplay categories), and shocking snubs.

The series of shudders keep getting bigger, even though by this late in the award season the more respected of the ceremonies are done and over with.

Boyhood, a power-house destined for Oscar greatness, is seriously butting-heads with Birdman, which popped-up to secure wins in all the prestigious guild awards. Richard Linklater, once a shoe-in for Best Director is against Alejandro González Iñárritu. Alternately in Best Picture, Birdman is set to beat Boyhood. But then again, it’s also highly likely that Iñárritu may win Director and Picture would go to Birdman.

Other messed-up awards fall in Adapted Screenplay, Score (probably the most ingenious and competitive of all categories), Sound Editing, Sound Mixing and Foreign Film nominations. Continue reading “Oscar Predictions 2015–Dawn, Images on Sunday”

Review: Hercules by Kamran Jawaid

This is the edited copy of the review. A version of this review was published at

Son of Zeus? Maybe, Maybe Not

By Mohammad Kamran Jawaid

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In the years’ second – and far better – reiteration of the Greek hero Hercules, the action (as clearly defined in the trailer) takes as much precedence as the fact that this hero’s fantastic tales may just be a prolonged advertisement campaign in a world where gods and monsters do not exist. Continue reading “Review: Hercules by Kamran Jawaid”

Review: Saltanat By Kamran Jawaid

This post is the unedited copy of the review published at

An Empire in Shambles (On Eid Day)

By Mohammad Kamran Jawaid

Stars - 1b

In one, maybe overlooked scene in Saltanat, Syed Faisal Bukhari’s real-life inspired underworld action movie, Javed (Chetan Hansraj) sits on a rock in deep emotional contemplation: he has been married to Zainab (actress Zainab Qayyum – or ZQ), a twice widowed, emotionally scarred soul who, unfortunately, is the younger sister of the movie’s chief protagonist – the underworld hero – Aslam bhai (played by Aslam Bhatti, also the producer and co-distributor). Javed’s problem, although told to be otherwise in the plot’s narrative, may be misleading; if you ask me, the character’s gloom may be because he’s seen Saltanat’s dailies – that is, if the concept of dailies existed in Saltanat’s making (dailies, by the way, are raw edits of scenes for review purposes during production).

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Review: Captain America: The Winter Soldier by Kamran Jawaid

The post is the unedited copy of the review published at


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‘Captain America: The Winter Soldier’ Accepts Its Restrictions with Grace – By Mohammad Kamran Jawaid

Right now it’s hard to argue against someone making a superhero movie. After all, they are the fad – like 3D (and often times, in 3D). And why shouldn’t they? The masala combination of super-heroic pathos and pop-corn action that don’t exceed PG-13 censor certification is nary a bad thing for business.

So, when things run according to these pre-planned elements in Captain America: The Winter Soldier, does one applaud, criticize or roll’s eye at some of the creative fatigue that’s wiggled into the formula. Continue reading “Review: Captain America: The Winter Soldier by Kamran Jawaid”

Review: Bhoothnath Returns by Kamran Jawaid

This post is the unedited copy of the review published at


Continue reading “Review: Bhoothnath Returns by Kamran Jawaid”

Review: Main Tera Hero by Kamran Jawaid

This post is the unedited copy of the review published at Dawn.comMTH-Blog Continue reading “Review: Main Tera Hero by Kamran Jawaid”

Review: Divergent by Kamran Jawaid

The review published below is the unedited copy of the review published at


Divergent – Starring Lackluster Romance in Future Dystopia

Stars - 1bBy Mohammad Kamran Jawaid

“Divergent”, the first of the confirmed trilogy by author Veronica Roth, is adamant on playing it safe by using two of the most trending selling points in films today: future dystopia and a gutsy female lead.

However, despite being born from the same idea pool, Tris Prior (Shailene Woodley) is no Katniss Everdeen, and “Divergent” is no “Hunger Games. Continue reading “Review: Divergent by Kamran Jawaid”