Ghost Stories Full Movie, Review, story

 Cast: Sobhita Dhulipala, Mrinal Thakur, Janhvi Kapoor, Vijay Verma, Surekha Sikri, Kusha Kapila, Avinash Tiwari, Bidita Bag
Directors: Zoya Akhtar, Dibakar Banerjee, Karan Johar, Anurag Kashyap

From pure paranormal and macabre to wicked Goetsek and vocal, Netflix's Ghost Stories, the quartet directed by the quartet helpless last year's lust stories for the giant, fulfils a range of impulses in its four-ton-separated segment. Despite the undeniably impressive craftsmanship that the director and his technicians bring to bear on the film, the dastardly jerk… with his soullessness. Tales of awe have never been so impregnable.

Let alone the actual jump scare, ghost stories do not even exclude moments that can be deemed spine-chilling. But this does not mean that it is beyond merit. away with. The film has all the ingredients that it does in terms of narrative devices. It is another matter that not all of them turn into truly beautiful scenes. Parts of it - especially the episodes directed by Anurag Kashyap and Dibakar Banerjee - are not as scary as they are intriguing.

In terms of craft, the opening is correct from the animation and the music (by Sameer Uddin), Ghost Stories is impeccable. Cinematographers are at the top of their game, as are editors and sound designers. In fact, on the surface, there is very little in ghost stories that can be flawed for carelessness. Visuals, pacing and soundscape are all of the highest order. This is the ultimate effect of hard-orchestrated images that do not quite measure.

Crows, making their appearance in the animated prologue and surfacing through sounds and/or visuals through the first three episodes before turning into an ornate golden handle on a walking stick owned by a long-dead woman. Birds are, for the elves, evil in the fearless world. In Ghost Stories, when the crows turn down their "core" calls, we know what to expect. Increasing the sense of anticipation, it robs stories of one important element - surprise.

While some segments fall back on a physical brand of terror, the remaining two episodes explore the fear factor almost entirely through the 'presence' of a narcissistic chimera floating in dim-lit corridors. And rooms of haunted houses.

In the segment of Zoya Akhtar, with whom Ghost Stories opens, a young caretaker (Janhvi Kapoor) bargains for more and more when she goes into the home of an old woman (Surekha) with her estranged boyfriend (Vijay Verma) May plan the date. Sikri), abandoned by his only son, killed by dementia and in constant need of medical attention. It is a ghost story in the classic sense of the word, with an Edgar Allan Po-esque twist.

Except for a few scenes that evoke an air of frightening suspense - here is Tanay Satam's CamaraWork, in particular, the way it makes a corridor in an old habitat that actually looks taller than it is - neatly The episodes created ultimately do not turn into anything. That could send a shiver down your spine.

However, it is interesting to see that Kapoor, who breaks the dialogues written by Vijay Maurya, holds him up against a kind of raging Sikri, who reads William Wordsworth on his behalf ("Things I Saw" I can see them now. "Nothing else," while staring at the woman lying on the bed).

Karan Johar's anthology-ending contribution, like his well-received episode in Lust Stories, is marked by a descending tongue-in-cheek drollery. A wealthy businessman family (Avinash Tiwari) did not die two decades ago after the death of his beloved grandmother. He still talks to her every night. He marries a girl (Mrinal Thakur) who does not have the patience for such claptrap. But doubt is to be paid for here: a sinister plot has a dispersed, milky Gharana.

The high point of this stream, written by Avinash Sampat, is a superb performance by Hiba Shah, a staunch, all-knowing housewife, as well as a cameo by Jyoti Subhash, who plays only "On "Has passed. Is not dead ”.

Segments devised by Anurag Kashyap and Dibakar Banerjee, which form the two middle episodes of Ghost Stories, fly their way on a tangent and transform into horror yarns that are beyond the genre's strict parameters.

Banerjee's screenplay creates a nightmare scenario of social crisis, employing a political theme that focuses on the powerful who prefer the weak in the hope of regaining their lost glory. A person (Sukant Goyal), trapped in a soul-crushing itinerary, ends up in a quaint little town, bee-ghara, whose inhabitants stop a boy (Aditya Shetty) and a little girl (Eva Amit Pardeshi) Has been eaten Cannibal, Sau-ghara from the big city. The visitor runs for cover - but there's really nowhere to run outside.

Kashyap attributes the affection of a schoolboy (Zachary Brees) and the passion of a childless young girl (Sobhita Dhulipala) to a David Cronenberg-like 'body horror' story. The metaphor of the noise crow tells about the birds, insects and lost eggs physically and physically in this episode.

The story springs from a sensibility that basically borders on radical and dhulipala, putting body (literally) and soul (figuratively) into her performance that mixes maternal aspiration with frantic ugliness. Kashyap, working with Isha Luthra's screenplay, creates a dark world, where even a child poses danger and a mother is in trouble.

There is no doubt that fans of the four directors will eagerly watch the ghost stories, to see how each has approached the occult. The style is extended to embrace a wide range of concerns and methods. Each section, as in Lust Stories, has a definite texture and style. The director dips into his personal fantasies to come up with clauses bearing his distinctive signature.

Banerjee's episode falls into zombie film territory and emphasizes Johar's slyness. In between, Akhtar and Kashyap appear in their own style. If only Ghost Stories had written more jerks and rattles in its four volumes, it would have told the crow about the crows.