Movie Review: Don't Look Up (English)

DON’T LOOK UP is the story of two astronomers trying to warn the world about an impending disaster. Kate Dibiasky (Jennifer Lawrence), an astronomy student at Michigan State University, discovers a Comet that is directly approaching Earth. Her professor, Dr. Randall Mindy (Leonardo DiCaprio), makes the calculations which prove that the Comet is 5 to 10 kms wide and that it'll approach Earth in 6 months and 14 days. It is so huge that it will turn out to be a 'planet killer'. They run their findings with scholar Teddy Oglethorpe (Rob Morgan), who confirms that their calculation is bang-on. The trio immediately reaches White House to meet the USA president, President Janie Orlean (Meryl Streep). She is however in the midst of a controversy - her Supreme Court nominee has turned out to be an ex porn star. Since she's busy with this scandal, she is able to give them an audience only the next day. Janie and her son, Chief of Staff Jason (Jonah Hill), moreover, don't take the threat seriously. They argue that even in the past, many had made such the-world-is-ending predictions and all of it turned out to be a hoax. Nevertheless, they promise that they'll assess the situation. With no other option, Kate, Dr Mindy and Oglethorpe leak the information to the press, through Kate's boyfriend Philip (Himesh Patel). The article on their findings appears in The Washington Herald. Philip also arranges Dr Mindy and Kate's appearance in the famous TV chat show, The Daily Rip, hosted by Brie Evantee (Cate Blanchett) and Jack Bremmer (Tyler Perry). Sadly, their appearance on the show happens before that of the famous pop star, Riley Bina (Ariana Grande). On live TV, she admits that she misses her ex-boyfriend, a fellow celeb, DJ Chello (Scott Mescudi). DJ Chello, through a video call, speaks to DJ Chello and they patch up. The moment goes viral on social media. As a result, Kate and Dr Mindy's warning kind of goes unnoticed. Kate also gets enraged by the keep-it-light-and-funny mantra of the show hosts and she loses it. She ends up becoming meme material. Kate, Dr Mindy and Oglethorpe are deciding their next course of action when suddenly they are nabbed by the FBI and taken to the White House. What happens next, forms the rest of the film. <img class="aligncenter size-full wp-image-1318931" src="https://ift.tt/3mxMDbz" alt="" width="720" height="450" /> Adam McKay and David Sirota's story is incredible and at the same time, it’ll be difficult to digest for some audiences. Adam McKay's screenplay is unique and full of entertaining moments. The dark humour bit is kept intact from start to finish and it also makes an important comment on social media, politics and many other issues. At certain places, the film gets quite serious and a bit disturbing and the change of tone happens organically. Dialogues bring the house down. The one-liners overall are also quite relatable and uses the lingo of today’s times. Adam McKay's direction is as novel as his execution. He has proved his worth with films like THE BIG SHORT [2015], VICE [2018] etc, and his films are executed in a certain way. With DON’T LOOK UP, he goes one step ahead as he takes the madness quotient many notches higher. The film has too many characters and a lot is happening besides the impending Comet. It’s praiseworthy how he seamlessly incorporates all these bits in the film and that too in just 138 minutes of run time. The central idea of the film is that the world is getting over but no one is taking it seriously. It’s difficult to pull off a film with such a plot. But Adam succeeds very well. However, at a few places, the film gets into a zone where it seems like the makers are trivializing the issue. The climax will leave audiences divided. In fact, much of the second half will have its critics. To see how the world takes the issue lightly, even when the Comet gets visible to the naked eye, gets a bit unconvincing. DON’T LOOK UP’s opening scene is not as engaging. But the film goes on another level once Kate, Dr Mindy and Oglethorpe are made to wait in the White House for hours and even made to pay for free snacks! Their conversation with the President is hilarious and same goes for Kate and Dr Mindy’s appearance on The Daily Rip. The twist in the tale at the mid-point is unpredictable. The track of billionaire Peter Isherwell (Mark Rylance) takes centre-stage and it gives a nice touch. The film continues to hold interest but as mentioned above, the goings-on become a bit too convenient, considering the threat faced by mankind in the film. DON’T LOOK UP has several prominent actors and all of them are utilized well. Leonardo DiCaprio might seem to be playing a very boring and a niche character. But he’s very entertaining and with his performance, he proves yet again that he’s one of the greatest actors of our times. Jennifer Lawrence probably has the maximum screen time and is too good in her complex role. Meryl Streep is flawless as always and her character seems to be taking a dig on a certain ex-President. Jonah Hill is dependable and only he could have pulled off a character like this. Cate Blanchett leaves a huge mark. Mark Rylance had a difficult role to essay but passes with flying colours. This is yet another Oscar-nomination worthy performance from him. Timothée Chalamet (Yule) is efficient in a cameo and adds to the star appeal. Rob Morgan is missing in between but dominates the beginning and climax to an extent. Himesh Patel, Tyler Perry, Ariana Grande, Scott Mescudi, Ron Perlman (Benedict Drask), Melanie Lynskey (June Mindy) and Paul Guilfoyle (General Themes) do well in their small roles. Chris Evans (Devin Peters) is hilarious in a cameo. Ishaan Khatter also appears in the film for around 10 seconds. Nicholas Britell's music is in sync with the filmmaker’s approach and the film’s narrative. Linus Sandgren's cinematography is neat. Clayton Hartley's production design is appropriate. Susan Matheson's costumes are realistic and the ones worn by Meryl Streep, Cate Blanchett and Timothée Chalamet are memorable. VFX is a bit tacky in the post-credit scene but is great in the scenes of the Comet. Hank Corwin's editing is creative and the quick cuts add a lot to the film. On the whole, DON’T LOOK UP is a crazy black comedy that works despite the unbelievable plot. Thanks to the entertainment quotient and the ensemble cast, it has the potential to emerge as one of the most viewed films on Netflix.

source https://www.bollywoodhungama.com/movie/dont-look-english/critic-review/dont-look-english-movie-review/dont-look-up-is-a-crazy-black-comedy-that-works-despite-the-unbelievable-plot/

Movie Review: Atrangi Re

ATRANGI RE is the story of a girl in love with two men. Rinku Suryavanshi (Sara Ali Khan) resides in Siwan, Bihar with her extended family. The extended family killed Rinku's parents when she was a child. Rinku is in love with a mysterious man named Sajjad (Akshay Kumar) and has eloped with him multiple times. After her latest failed elopement, her maternal grandmother (Seema Biswas) gets fed up with her. She tells her family to get her married with any man available, preferably someone from outside Bihar. Her family members spot Vishu (Dhanush) in their town. He's a medical student who has come to Siwan for a camp. His marriage is already fixed with his girlfriend Mandakini aka Mandy (Dimple Hayati) and their engagement is just a few days away. Rinku's family abducts him and forces him to get married to Rinku. The next day, they book a ticket for them on a train to Delhi. On the train, Vishu is in a daze over last night's development. Rinku tells Vishu that she is in love with Sajjad and that she'll depart with him once she reaches Delhi. Vishu is relieved to know that even for her, it's a forced marriage. He reaches Delhi, where he studies. Rinku tells him that Sajjad has gone to Africa to study magic and that he'll return in 10 days. Vishu has to leave for Madurai. So, he tells Rinku to stay put at his hostel till Sajjad returns. Or else, she can join him for his engagement in Madurai. Rinku accompanies him to Madurai where Vishu and Mandy get engaged. All is going well until Mandy chances upon the video of Vishu and Rinku's wedding. What happens next forms the rest of the film. <img class="aligncenter wp-image-1319204 size-full" title="Atrangi Re" src="https://ift.tt/3ErygLM" alt="Atrangi Re" width="720" height="450" /> Himanshu Sharma's story is innovative and unconventional. The screenplay, however, turns this flawed plot line into a watchable fare. The writer has added some very touching and impressive sequences. Hence, one doesn't mind even if the goings on get too <em>'atrangi'</em>. Himanshu Sharma's dialogues, as expected, are one of the highpoints as they are very witty and suit the character’s traits. Aanand L Rai's direction is great. His storytelling has evolved and it's evident in several scenes. His biggest victory is that he manages to hold the attention of the audience and give a convincing execution to a plot like this. Any other director could have fallen flat but Aanand comes out with flying colours. He also makes an important comment on mental health. The second hand could have been sharper and a little more sensible though. ATRANGI RE starts off very well. A few scenes in the first half are exceptional like Rinku and Vishu’s forced marriage, their conversation in the train etc. The sequence where Vishu rattles off a monologue in Tamil in front of an emotional Rinku is beautiful. The scene minutes before the intermission point is a shocker. Post-interval, the film continues to be interesting although some developments are difficult to digest. The way Rinku resides peacefully in an all-boys hostel and nobody minds is difficult to comprehend. However, even more unconvincing is how in the second half, all the hostel mates come together to participate in the madness for the sake of Vishu and Rinku’s love story. The ending has another twist and while the conservative audience would reject such a culmination, the ones looking for something ‘hatke’ would lap it up. ATRANGI RE is embellished with some fine performances. Sara Ali Khan had played another ‘atrangi’ character in LOVE AAJ KAL [2020] but it fell flat. However, here, she is in superb form and proves that she is one of the most promising actors today. This was no easy character and as the film progresses, one realizes the character is so layered and complex. However, Sara plays it effortlessly. Dhanush, as expected, gives a rocking performance. He has given several memorable performances over the years and yet, one is blown away with his act in this film. He’s of course impressive during the emotional monologue, his dance in the loo or when he loses it in the train and auto rickshaw. But there are scenes where he has no dialogues and it’s impressive how he communicates with his silences and eyes. Akshay Kumar is lovely in the supporting part. He adds a lot of starry appeal. Ashish Verma (Madhusudhan) is dependable as the sidekick.  Seema Biswas and Dimple Hayathi are okay in their small roles. Pankaj Jha (Rinku's mama) and Gopal Dutt (Divorce lawyer) are hardly there and are wasted. One expected more from them. Mannat Mishra (Baby Rinku) is cute. <span style="text-decoration: underline;"><strong>How Sara Ali Khan doesn’t get intimidated by senior actors? She reveals | Atrangi Re</strong></span> <iframe id="jwiframe" class="playerFrame" src="https://ift.tt/3Ha5Tnf" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> A R Rahman's music is soulful and one of the USPs of the film. <em>'Rait Zara Si'</em> is like a theme of the film. <em>'Chaka Chak'</em> is foot-tapping and the best of the lot. <em>'Tere Rang'</em> and <em>'Toofan Si Kudi'</em> spring a surprise and are well shot. <em>'Tumhein Mohabbat Hai', 'Garda'</em> and <em>'Little Little'</em> are not as impressive. A R Rahman's background score is brilliant and it gives a nice touch to several scenes. Pankaj Kumar's cinematography is very good. One doesn’t expect out-of-the-box camerawork in a film of this genre but the lensman surprises. Nitin Zihani Choudhary's production design is very appealing. Ankita Jha's costumes are realistic. Manish Malhotra's costumes for Sara Ali Khan can be trendsetting. Sham Kaushal's action is passable. RedChillies.VFX's VFX is rich. Hemal Kothari's editing could have been tighter. On the whole, ATRANGI RE rests on a very unconventional plot. But it addresses a pertinent topic, that is, mental health which is tackled with sensitivity. Also, the performances, the musical score and several well-executed scenes turn the film into a watchable fare.

source https://www.bollywoodhungama.com/movie/atrangi-re/critic-review/atrangi-re-movie-review/atrangi-re-addresses-a-pertinent-topic-that-is-mental-health/

Movie Review: The Matrix Resurrections (English)

Over 20 years after the release of the first film in the franchise THE MATRIX, we see the release of THE MATRIX: RESURRECTIONS. Taking the story of Neo AKA Thomas Anderson forward, the film starts off with Keanu Reeves’ character living a normal everyday mundane life as Thomas Anderson. However, he is plagued by dreams and visuals of an alternate life. His therapist put him on certain blue pills that help alleviate the situation. But things come to a front when he is given a red pill. Are the visions he has glimpses of, an alternate reality? Or are they simply dreams or unfulfilled wishes? Will Mr. Anderson understand what they are? Will he take the plunge down the rabbit hole to understand better what THE MATRIX: RESURRECTIONS is all about? With Lana Wachowski returning to helm the project, great things are expected. But will the new film live up to the legacy left behind by the previous three or will it be just another cash grab attempt that will ultimately ruin a franchise is what we analyse. <img class="aligncenter wp-image-1318266 size-full" title="The Matrix Resurrections (English)" src="https://ift.tt/3ms5qVv" alt="The Matrix Resurrections (English)" width="720" height="450" /> The film takes off with Mr. Anderson having an encounter with Morpheus (Yahya Abdul-Mateen II) who gives him a red pill to open his mind. From here, he is plunged head first into the Matrix, returning to his long forgotten self Neo. However, there isn’t anything new to expect. Given that the film takes the story of Neo and Trinity (Carrie-Anne Moss) forward, it is essentially somewhat of a love story set against the backdrop of an ever changing world with plenty of action. Sadly, THE MATRIX: RESURRECTIONS is a far cry from the 1999 film. With segments thrown in from each of the previous three parts along with new footage, the film does not make for an appealing watch. In fact, the long drawn out action, and drama sequences make it hard for the viewer to stay seated. Unlike the first film, do not expect stand out scenes that will leave a lasting impression. Moreover, the chemistry between Neo and Trinity seems lost, though both actors, Reeves and Moss try their hardest to ‘resurrect’ the chemistry, it remains a lost cause. On the other hand, the ability of the film to use its own story in a rather ironic fashion is something to watch out for. However, what really takes down the film is that it’s too complicated, even for those who have seen THE MATRIX trilogy. The last part of the series appeared nearly 18 years ago. Many might have not refreshed their memory and watched the three parts before venturing out for THE MATRIX: RESURRECTIONS. For such viewers, the film is sure to go bouncer. It won’t be wrong to say that even those who would have binged-watched the earlier parts would find it difficult to comprehend what is going on. The complex jargon in the dialogues hampers the impact even more. The release period of the film, on the other hand, is also quite wrong. Talking about performances, Keanu Reeves has done a good job, giving it his all. Returning as Neo/ Thomas Anderson, Reeves manages to get back into the mould that we have witnessed in the previous films. The same goes for Carrie-Anne Moss as well, essaying her role as Trinity/Tiffany Moss does equally well to fit into her character. However, the same cannot be said for Yahya Abdul-Mateen II who takes over as the hacker Morpheus from Laurence Fishburne. Despite having limited screen time, with Fishburne’s character appearing from archive footage, Mateen fails to impress. On the other hand, Neil Patrick Harris as The Analyst, and Jonathan Groff as Smith both of whom have taken over characters reprised by others in the past, have excelled. In fact, their rendition of their given roles, takes their characters to another level. Priyanka Chopra Jonas as Sati is wasted and is hardly there for around 8-10 minutes. Though she plays a pivotal role in the film, her acting prowess has been highly underutilized. <img class="aligncenter size-full wp-image-1318268" src="https://ift.tt/3EjMUEQ" alt="" width="720" height="450" /> Coming to the visuals, one expects a lot when talking about the fourth film in the MATRIX franchise. Going by what we saw in THE MATRIX, THE MATRIX RELOADED, and THE MATRIX REVOLUTIONS, it is expected that MATRIX: RESURRECTIONS would take things a notch higher. However, here again the viewer is let down. Though the CGI is well executed and seamless, one expects much more. In fact, the 1999 release given its time period was way ahead in terms of technology used. For a film made in 2021, MATRIX: RESURRECTIONS could have been so much better visually. As for Johnny Klimek and Tom Tykwer's music, there is not much to expect either. Taking a cue from the previous films, the music of MATRIX: RESURRECTIONS is more or less on a similar scale. Do not expect something to stand out. Daniele Massaccesi and John Toll's cinematography is on point. With stunning views, the duo has done a decent job. But, Joseph Jett Sally's editing leaves a lot to be deserted. At 2 hours and 28 minutes, the film is way too long, with certain sequences being drawn out for no reason. The same goes for the action. Though the actors have put their best foot forward, at times the action sequences seem to be never ending, leaving the viewer disenchanted. On the whole, MATRIX: RESURRECTIONS does not live up to the previous films in the franchise. A film that need not have been made, this one does not warrant ruining a franchise. The film has a complicated and convoluted plot that will leave viewers disenchanted. At the Indian box office, it’ll face a very tough time, considering it releases right between last week’s successful films, SPIDER-MAN: NO WAY HOME and PUSHPA and the much awaited upcoming film, 83.

source https://www.bollywoodhungama.com/movie/matrix-resurrections-english/critic-review/matrix-resurrections-english-movie-review/matrix-resurrections-does-not-live-up-to-the-previous-films-in-the-franchise/

Movie Review: 83

To encapsulate an iconic victory on celluloid is a Herculean task. More so, if the event took place several decades ago [almost four decades ago, in this case]. Besides getting the details and facts right, the storyteller needs to recreate the bygone era with precision and also make sure the actors portraying the parts resemble those who achieved the heroic victory. <img class="aligncenter size-full wp-image-1317374" src="https://ift.tt/3FgwZsb" alt="" width="720" height="450" /> Most importantly, since it’s a cinematic format, the storyteller needs to narrate the highs and lows of the victorious past in a succinct manner to keep the moviegoer hooked to the goings-on. In this case, the outcome is known to one and all, but the journey is unknown to many. For this reason, the incidents interwoven in the screenplay ought to be absorbing, avoiding cinematic liberties. Special care should also be taken that it doesn’t become a documentary. 83 attempts to narrate the story of the underdogs - the Indian cricket team - and what transpired behind the scenes before they won the World Cup in 1983. The generation that watched/read about the 1983 win - me included - will recall how everyone was so impatient to know the outcome of the final match. There was no social media [or news portals] then. We had to rely on radio, newspapers and of course, the B&amp;W television to watch the crucial match. The cricketers had become household names and I distinctly remember, we were cheering and praying for the ‘Men in White’ as they took on the mighty West Indies cricket team in the finals. The next morning, the newspapers devoted front-page headlines to celebrate the iconic victory, honouring the heroes and their heroism on the cricket pitch. You relive those moments when you watch 83. Of course, a majority of viewers don’t know the backstory or what actually transpired behind the scenes. The film works for that reason, besides other reasons too. More on that later. For those who recall that era affectionately or were born in the 1990s [or in subsequent years], the World Cup win is immortalised on celluloid with 83. Let’s give you a brief outline of the plot of 83… 1983. The World Cup is all set to be held in UK. The Indian cricket team - led by Kapil Dev [Ranveer Singh] - is participating amidst negligible expectations. Not just the international media, even cricket fans have zilch hopes that Indians would emerge victorious. <span style="text-decoration: underline;"><strong>Pankaj Tripathi: “Zindagi experience ka bhandar hai, jab kam ho jata hai to…”| 83 | Ranveer Singh</strong></span> <iframe id="jwiframe" class="playerFrame" src="https://ift.tt/3F9mjf3" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> Director Kabir Khan and his team of writers incorporate pertinent episodes before the Indians were crowned champions. The humiliation, the nervousness, the anxiety, the pressures of facing several legendary players on pitch - 83 encompasses it all. Yet, there are minor hiccups in the first hour especially. The entire conversation that happens in the commentary box [Boman Irani] - while all matches are being played - is in English. Agree, one has to stick to realism, but the lines spoken by Boman could’ve been in Hindi. This will certainly prove to be a hindrance for those who don’t speak/comprehend English. Also, the first half can do with trimming. A few sequences seem stretched, which should’ve been sharpened during the edit for a better impact. There are some moments that make you emotional too and moist-eyed as well. There’s a particular sequence of a child telling Kapil Dev that he won’t be watching Indians play the matches. Another emotional moment comes at the interval point, when the Indians have faced a humiliating defeat by the rival team. Fantastic sequences, both. Things brighten up in the second hour and thankfully, Kabir Khan and the writers get it right for most parts. Deepika’s introduction in this hour is a plus, so is the way the screenwriting moves to the finale. The conclusion is euphoric and am sure, the viewers will greet it with cheers, claps and even ceetees. The best is reserved for the last. Enters Kapil Dev at this point, who narrates some hitherto unknown anecdotes that deserve an ovation. Kabir Khan's direction is splendid. 83 is a tough film to make and despite the presence of competent actors, the film would’ve fallen flat if the execution of the sports-saga would’ve been inferior. Kabir gives his best shot, hits the boundary in the second and third acts, which is what the viewer carries home when he/she exits the auditorium. He balances the drama on pitch and the tears, laughter and smiles in the dressing room skilfully. There’s not much scope for music here, but the one song that stays on your lips is ‘Lehra Do’. The background score is effective. The DoP captures the mood of the film with precision. 83 has a plethora of actors and while each of them have done their parts with utmost sincerity, the captain of the show is undoubtedly Ranveer Singh. He delivers a sparkling performance. 83 is one of those films that proves his versatility. He excels in a character that’s tailor-made for him. Deepika is wonderful, her soothing presence adds to the sequences she features in. Pankaj Tripathi is in terrific form. It’s a joy to watch him on screen. Kabir devotes substantial footage to every member of the prominent cast. The ones who stand out include Jiiva, Saqib Saleem, Jatin Sarna and Ammy Virk. On the whole, 83 is a winner - on pitch, on screen too. Those who witnessed the victory would be glad to relive the experience, while those who didn’t, will get a chance to witness how things unfolded during one of the greatest episodes of Indian sports history. Watch it!

source https://www.bollywoodhungama.com/movie/83/critic-review/83-movie-review/83-is-a-winner-on-pitch-on-screen-too/

Movie Review: 83

To encapsulate an iconic victory on celluloid is a Herculean task. More so, if the event took place several decades ago [almost four decades ago, in this case]. Besides getting the details and facts right, the storyteller needs to recreate the bygone era with precision and also make sure the actors portraying the parts resemble those who achieved the heroic victory. <img class="aligncenter size-full wp-image-1317374" src="https://ift.tt/3FgwZsb" alt="" width="720" height="450" /> Most importantly, since it’s a cinematic format, the storyteller needs to narrate the highs and lows of the victorious past in a succinct manner to keep the moviegoer hooked to the goings-on. In this case, the outcome is known to one and all, but the journey is unknown to many. For this reason, the incidents interwoven in the screenplay ought to be absorbing, avoiding cinematic liberties. Special care should also be taken that it doesn’t become a documentary. 83 attempts to narrate the story of the underdogs - the Indian cricket team - and what transpired behind the scenes before they won the World Cup in 1983. The generation that watched/read about the 1983 win - me included - will recall how everyone was so impatient to know the outcome of the final match. There was no social media [or news portals] then. We had to rely on radio, newspapers and of course, the B&amp;W television to watch the crucial match. The cricketers had become household names and I distinctly remember, we were cheering and praying for the ‘Men in White’ as they took on the mighty West Indies cricket team in the finals. The next morning, the newspapers devoted front-page headlines to celebrate the iconic victory, honouring the heroes and their heroism on the cricket pitch. You relive those moments when you watch 83. Of course, a majority of viewers don’t know the backstory or what actually transpired behind the scenes. The film works for that reason, besides other reasons too. More on that later. For those who recall that era affectionately or were born in the 1990s [or in subsequent years], the World Cup win is immortalised on celluloid with 83. Let’s give you a brief outline of the plot of 83… 1983. The World Cup is all set to be held in UK. The Indian cricket team - led by Kapil Dev [Ranveer Singh] - is participating amidst negligible expectations. Not just the international media, even cricket fans have zilch hopes that Indians would emerge victorious. <span style="text-decoration: underline;"><strong>Pankaj Tripathi: “Zindagi experience ka bhandar hai, jab kam ho jata hai to…”| 83 | Ranveer Singh</strong></span> <iframe id="jwiframe" class="playerFrame" src="https://ift.tt/3F9mjf3" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> Director Kabir Khan and his team of writers incorporate pertinent episodes before the Indians were crowned champions. The humiliation, the nervousness, the anxiety, the pressures of facing several legendary players on field - 83 encompasses it all. Yet, there are minor hiccups in the first hour especially. The entire conversation that happens in the commentary box [Boman Irani] - while all matches are being played - is in English. Agree, one has to stick to realism, but the lines spoken by Boman could’ve been in Hindi. This will certainly prove to be a hindrance for those who don’t speak/comprehend English. Also, the first half can do with trimming. A few sequences seem stretched, which should’ve been sharpened during the edit for a better impact. There are some moments that make you emotional too and moist-eyed as well. There’s a particular sequence of a child telling Kapil Dev that he won’t be watching Indians play the matches. Another emotional moment comes at the interval point, when the Indians have faced a humiliating defeat by the rival team. Fantastic sequences, both. Things brighten up in the second hour and thankfully, Kabir Khan and the writers get it right for most parts. Deepika’s introduction in this hour is a plus, so is the way the screenwriting moves to the finale. The conclusion is euphoric and am sure, the viewers will greet it with cheers, claps and even ceetees. The best is reserved for the last. Enters Kapil Dev at this point, who narrates some hitherto unknown anecdotes that deserve an ovation. Kabir Khan's direction is splendid. 83 is a tough film to make and despite the presence of competent actors, the film would’ve fallen flat if the execution of the sports-saga would’ve been inferior. Kabir gives his best shot, hits the boundary in the second and third acts, which is what the viewer carries home when he/she exits the auditorium. He balances the drama on field and the tears, laughter and smiles in the dressing room skilfully. There’s not much scope for music here, but the one song that stays on your lips is ‘Lehra Do’. The background score is effective. The DoP captures the mood of the film with precision. 83 has a plethora of actors and while each of them have done their parts with utmost sincerity, the captain of the show is undoubtedly Ranveer Singh. He delivers a sparkling performance. 83 is one of those films that proves his versatility. He excels in a character that’s tailor-made for him. Deepika is wonderful, her soothing presence adds to the sequences she features in. Pankaj Tripathi is in terrific form. It’s a joy to watch him on screen. Kabir devotes substantial footage to every member of the prominent cast. The ones who stand out include Jiiva, Saqib Saleem, Jatin Sarna and Ammy Virk. On the whole, 83 is a winner - on field, on screen too. Those who witnessed the victory would be glad to relive the experience, while those who didn’t, will get a chance to witness how things unfolded during one of the greatest episodes of Indian sports history. Watch it!

source https://www.bollywoodhungama.com/movie/83/critic-review/83-movie-review/83-is-a-winner-on-field-on-screen-too/

Movie Review: Pushpa: The Rise - Part 1

PUSHPA: THE RISE – PART 01 [Hindi] is the story of a badass working in the red sandalwood smuggling industry. In the forest of Seshachalam, the smuggling of red sandalwood goes unabated. The red sandalwood is cut from here and taken illegally to Chennai from where it is shipped to China and even further to Japan. Pushpa Raj (Allu Arjun) is an illegitimate child of Muletti Venkatraman, a rich landlord in a village. The latter never accepted Pushpa and his mother, Parvati Devi. After his death, his biological son threw the mother-son duo out of their house given by Muletti and left them to fend for themselves. Pushpa grows up doing odd jobs. He has a lot of attitude and hence, gets kicked out of a job. While waiting for his next daily wage job, he finds out that the red sandalwood business pays a lot although the risk is also way higher. He joins the industry as a woodcutter. One day, the police raids while they were busy cutting the wood. Pushpa single-handedly hides the precious red sandalwood from them and doesn’t even open his mouth even though the cops beat him black and blue. Konda Reddy (Ajay Ghosh) runs the smuggling business and Pushpa Raj is their labourer. When he finds out about Pushpa’s bravery, he sends his younger brothers, Jolly Reddy (Dhananjay) and Jakka Reddy, to get his bail done. Pushpa demands Rs. 5 lakhs to reveal the place where he hid the red sandalwood. The brothers agree. Soon, he becomes an important member in Konda Reddy’s gang as he tells them innovative ways of transporting the red sandalwood while avoiding the prying eyes of the police. On the other hand, Pushpa falls for Srivalli (Rashmika Mandanna), who runs a milk business. Meanwhile, Konda Reddy sells the red sandalwood to Mangalam Srinu (Sunil). Srinu is the one who gets the consignment safely to Chennai. Pushpa learns that Srinu earns as much as Rs. 2 crore for every ton of red sandalwood that he sells to Murugan at Chennai port. Srinu, however, pays just Rs. 25 lakhs per ton to Konda Reddy. Pushpa suggests to Konda Reddy that Srinu should insist that he should be paid more. Konda Reddy is apprehensive as he feels it’ll strain his relations with Srinu. Also, Srinu can be quite a menace. Hence, he sends Pushpa to talk to Srinu. At Srinu’s place, all goes wrong and it signals the beginning of a long bloodbath between the two gangs. What happens next forms the rest of the film. <img class="aligncenter size-full wp-image-1316287" src="https://ift.tt/3mf0xz3" alt="" width="720" height="450" /> Sukumar's story is a case of old wine in a new bottle. The idea of a man who rises from nothing and turns into a crime lord has been beaten to death in many films. Sukumar, however, adds his touch and introduces certain powerful characters to keep the interest going. Sukumar's screenplay is topnotch. He has infused excellent entertaining and thrilling moments and ensures that viewers get their money’s worth. He compensates for the clichéd storyline with the jungle and red sandalwood smuggling setting. This factor helps the film to stand out as something of this sort has rarely been seen in our films. Rajendra Sapre’s Hindi dialogues are terrific and add to the fun quotient. Special mention should also go to dubbing director Abul Hasan Ansari as the dub has been carried out very neatly. Sukumar's direction is excellent and, as expected, very massy. The film is mounted on a grand scale and he handles the scale perfectly. He leaves no stone unturned when it comes to showing the hero worship in all its glory. Such films are expected to show their heroes in the massiest avatars and PUSHPA: THE RISE – PART 01 is no exception. However, in the quest to show off Allu Arjun’s bravado and the scale of the film, he doesn’t sacrifice storytelling. The film is nearly 3 hours long but keeps one engaged from start to finish. There’s a lot happening in the film and Sukumar doesn’t leave any scope for boredom. On the flipside, the film has too many characters and it becomes too much, although it probably was done as a sequel is also in the offing. The film drags at places and could have had a faster narrative. The romantic track raises laughs but overall, is not as entertaining as the other tracks. Also, the Hindi audiences are used to watching progressive cinema and some of them might have reservations with some of the scenes of Srivalli, in the first half. PUSHPA: THE RISE – PART 01 starts off by explaining in a simple manner and through animation why the red sandalwood business is much sought after. Pushpa’s entry, as expected, is heroic. The way Pushpa outsmarts DCP Govind not once but twice is quite fun. A scene that stands out here is when Pushpa throws the red sandalwood in the jungle; the way it has been executed has to be seen to be believed. The film, however, also has a strong emotional quotient and the scene where Pushpa’s step brother humiliates him and his mother on the day of his marriage arrests attention. The best scene of the first half is reserved during the intermission point. Single-screen cinemas would go in a frenzy at this point. The film drops from here but thankfully, picks up in the scene where Pushpa bashes up Jolly Reddy. This is followed by the forest and funeral sequences. These three scenes take the second half to dizzying heights. The entry of Bhanwar Singh Shekhawat (Fahadh Faasil) initially slows down the film. However, the climax is powerful and excites audiences for the sequel. <span style="text-decoration: underline;"><strong>Rashmika on working with Allu Arjun: “It was a LEARNING journey, it was FASCINATING to…”| Pushpa</strong></span> <iframe id="jwiframe" class="playerFrame" src="https://ift.tt/3q3cOaU" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> Allu Arjun is in superb form. He is a big star down South but has a considerable following among Hindi speaking audiences. And with his massy avatar, he impresses one and all. His look is quite dashing, his action top-class and his comic timing is spot-on. His dubbing is done by Shreyas Talpade and it contributes to the entertainment quotient. Rashmika Mandanna gives a confident performance and this is an apt film to be introduced to the Hindi audiences before her Bollywood debut next year. Fahadh Faasil has a small but significant role. He’s known for his flawless performances and even here, he’s at his best. Ajay Ghosh is decent while Dhananjay and Sunil leave a mark. Rao Ramesh (MLA) is memorable in the funeral scene. Anasuya Bharadwaj (Daksha; Srinu's wife) is too good as the foul-mouthed wife. The actors playing Keshav (Pushpa's sidekick), Jakka Reddy, Parvati Devi, Muletti Venkatraman, Murugan and Moglis are great. Samantha Ruth Prabhu is sizzling Devi Sri Prasad's music is not of chartbuster variety, at least when it comes to the Hindi soundtrack. All songs, however, are well shot. <em>'Jaago Jaago Bakre'</em> comes at a clapworthy moment. <em>'Srivalli'</em> comes up suddenly but is worth a watch especially for Allu Arjun’s dance. <em>'Eyy Bidda Ye Mera Adda'</em> comes next. <em>'Saami Saami'</em> is okay but the sets are picturesque. <em>'Oo Bolega Ya Oo Oo Bolega'</em> is forgettable. Devi Sri Prasad's background score enhances impact. Miroslaw Kuba Brozek's cinematography is breathtaking. S Rama Krishna and Monika Niggotre's production design is realistic and yet cinematic. Resul Pookutty's sound designing could have been better; in certain scenes, the dialogues are not fully audible. Ram-Laxman, Peter Hein, Dragon Prakash and Real Satish's action is one of the film’s USPs as it is imaginative, novel and mainstream. Deepali Noor's costumes are authentic. Karthika Srinivas R and Ruben's editing is appropriate but could have been a bit slicker. On the whole, PUSHPA: THE RISE – PART 01 [Hindi] is a paisa vasool entertainer and rests on Sukumar’s expert direction, action and Allu Arjun’s starry presence.

source https://www.bollywoodhungama.com/movie/pushpa/critic-review/pushpa-movie-review/pushpa-the-rise-part-01-is-a-paisa-vasool-entertainer/

Movie Review: Spider-Man - No Way Home (English)

After much talk and hype the keenly awaited film SPIDER-MAN: NO WAY HOME finally hits screens this week. But with the film which promises to kick start the next phase of the MCU enthrall the audience is the question. <img class="aligncenter size-full wp-image-1315402" src="https://ift.tt/3252G98" alt="" width="720" height="450" /> SPIDER-MAN: NO WAY HOME starts off with Spider-Man's identity now revealed, our friendly neighborhood web-slinger is unmasked and no longer able to separate his normal life as Peter Parker from the high stakes of being a superhero. When Peter asks for help from Doctor Strange, the stakes become even more dangerous, forcing him to discover what it truly means to be Spider-Man. Will Peter Parker survive the impending fight or will he be remembered as another one fallen is what makes up the rest of the film. SPIDER-MAN: NO WAY HOME lives up to expectations. With an engaging first half and a rapidly progressing second, the film keeps the viewer in his seat. Over the past couple of weeks, the media and fans have been in a frenzy talking about what to expect from the film, but SPIDER-MAN: NO WAY HOME still manages to surprise you. It’ll be wrong to give out any plot point and hence it can simply be said that in the second half, the fans will be in for a treat. The goings-on are also unique and never before seen in a Marvel film or any other movie for that matter. The climax and the mid and post credit scenes also add to the fun and drama and make you excitedly wait for the future Marvel films. Director Jon Watts has done a commendable job in retaining the humour, feel and sentiment from the previous MCU films. With plenty of action well interspersed with humourous breaks at key points keep the on screen proceedings light, edgy and gripping. Speaking of performances, there are plenty of people to name, but keeping it just to the key individuals, Tom Holland, Zendaya, Benedict Cumberbatch, and Marisa Tomei have excelled in their given roles. A special mention for Holland who has done a fabulous job to depict the inner turmoil his character faces and has to endure. On the other hand, Jon Favreau seems to be terribly under utilized. Despite being a brilliant actor, Favreau seems to be relegated to a side role that helps with comic relief and being a scapegoat. Jacob Batalon as Ned does a commendable job as Peter Parker's best friend and comic interlude. <img class="aligncenter size-full wp-image-1315404" src="https://ift.tt/3dWvjbk" alt="" width="720" height="450" /> In terms of music, Michael Giacchino has done well to lend the visuals gravitas that keeps viewers glued. The CGI and VFX work are top notch and flawlessly executed making for a seamless visual spectacle. The dialogues deserve a special mention. The one liners are witty and funny and a few of them would be greeted with claps and whistles. On the whole, SPIDER-MAN: NO WAY HOME is definitely a must watch. From a superhero for kids to leading the next phase of the MCU, Spider-Man had certainly come a long way. At the Indian box office, the tremendous hype and historic advance sales will result in possibly the biggest opening of the year and also a healthy lifetime. Hence, it won’t be wrong to say that it has BLOCKBUSTER written all over it!

source https://www.bollywoodhungama.com/movie/spider-man-no-way-home-english/critic-review/spider-man-no-way-home-english-movie-review/on-the-whole-spider-man-no-way-home-is-definitely-a-must-watch-from-a-superhero-for-kids-to-leading-the-next-phase-of-the-mcu-spider-man-had-certainly-come-a-long-way/

Movie Review: West Side Story (English)

WEST SIDE STORY is a love story of two youngsters from different ethnic backgrounds. The film is set in the 1950s in New York City. The Upper West Side of the city is going on for redevelopment and lower class people residing in the locality have been asked to leave. Two rival street gangs control this area - the Jets, which consists of the Whites and is led by Riff (Mike Faist) while the Sharks, which consists of Puerto Ricans and is led by Bernardo (David Alvarez). One of the founding members of the Jets, Tony (Ansel Elgort), has just been released from prison. He was arrested after he nearly killed a rival gang member belonging to a different ethnic community. He has now reformed and works at a drugstore, and prefers to stay away from violence. At an upcoming dance event, members of both the gangs and their siblings make their presence felt. The organizers intend to use this opportunity to form a bond between the two groups. But the effort proves futile as the Whites and the Puerto Ricans prefer to dance among themselves. Tony attends the event and is mesmerized by Maria (Rachel Zegler), sister of Bernardo. She has come with her date, Chino (Josh Andrés Rivera), but is not interested in him. She spots Tony and both dance, away from everyone’s eye and, even kiss. However, they get caught, leading to an altercation between the two gangs. Both decide to fight it out the next night. What happens next forms the rest of the film. <img class="aligncenter wp-image-1312476 size-full" title="West Side Story" src="https://ift.tt/3dyCq9E" alt="West Side Story" width="720" height="450" /> WEST SIDE STORY is based on the stage musical of the same name written by Arthur Laurents. The story is inspired by William Shakespeare's play Romeo And Juliet. The Indian viewers will also be reminded of Shah Rukh Khan-Aishwarya Rai Bachchan starrer JOSH [2000] as it has the street gang connection (the film was also inspired by WEST SIDE STORY). Tony Kushner's screenplay is neat and entertaining. The characters are very well fleshed out and most importantly, he also nicely informs viewers about the problems faced by people of various ethnic communities and lower classes. The dialogues are sharp but the romantic ones are sure to tug at heartstrings. A lot of racial slurs are also heard in the film but that’s as per the script’s requirement. Steven Spielberg's direction is, as expected, supreme and old-fashioned. He handles the film in such a way that one feels like watching an old classic. The colour tone also compliments this aspect. At the same time, he also uses the modern sensibilities of filmmaking and this fusion created on celluloid makes for a delightful watch. Despite the presence of so many songs, for most parts of the film, one is completely immersed. The love story and the track of Anita (Ariana DeBose) and Bernardo are the best portions. On the flipside, at 2 hours 36 minutes, it is quite a lengthy film. It would not have been a problem if it was engaging from start to finish. There are too many tracks and towards the later part of the film, a few songs seem unnecessary or should we say, wrongly placed. Hence, Indian viewers, who are not used to watching western musicals, might get restless in the second half. Agreed that they wholeheartedly accepted LA LA LAND [2016] but that was a shorter film at 128 minutes and had fewer songs. Another major problem with the film is that nearly 10-15% of the dialogues are in Spanish. And as per Steven Spielberg’s directive, those dialogues have not been subtitled. This creates a language barrier and in India, it becomes a bit weird since there are English subtitles available for English dialogues but not for Spanish dialogues! A few Spanish lines are self-explanatory but some are uttered in crucial sequences. Since audiences won’t be able to figure out what’s being said in these scenes, it’ll hamper the impact. WEST SIDE STORY starts with a breath-taking shot that educates viewers about the setting and the era in which the film is based. The street gang fight in the beginning with the dash of dance sets the mood. The entry scenes of Tony and Maria are lovely. But the film takes off when they both meet and also when they meet at Maria’s fire escape. The various songs add to the fun. The scene where the fight takes place in the salt shed is a shocker. One expects the film to end soon but here it starts to drag. The song <em>'I Feel Pretty'</em> seems unnecessary here and should have been placed somewhere else, or maybe shouldn’t have been there in the movie at all. <em>'A Boy Like That'</em> also slows down the narrative and it looks appropriate for a stage version of the story. In the film, it’s the only song, which seems unconvincing. The climax is moving. <img class="aligncenter size-full wp-image-1312478" src="https://ift.tt/3oCONrP" alt="" width="720" height="450" /> Ansel Elgort is excellent as the loverboy. He had earlier played an all-out romantic role in THE FAULT IN OUR STARS [2014] and it remains to be one of his most memorable performances. His performance in the film comes very close though here, he puts up a restrained act. Rachel Zegler looks stunning and it is difficult to say that it is her debut performance. She had a challenging role but she plays it effortlessly. Ariana DeBose is terrific and is a sure shot Oscar worthy performance. She dances like a dream. David Alvarez and Mike Faist are fine in the roles of aggressive gang founders. Josh Andrés Rivera has a crucial part and does well. Rita Moreno (Valentina) is lovely. Brian d'Arcy James (Officer Krupke), Corey Stoll (Lieutenant Schrank) and Iris Menas (Anybodys) are decent. Leonard Bernstein's music is one of the USPs of the film. The same songs, which were there in the musical, are played in the film and are arranged perfectly by David Newman. The most memorable songs of the lot are <em>'Maria', 'America', 'Something's Coming', 'Gee, Officer Krupke'</em> and <em>'Tonight'. 'Tonight'</em>, especially, is terrific and the idea that everyone is waiting for the night for their own reasons makes for a fine watch. <em>'America'</em> is also well thought of and very well-choreographed. Janusz Kamiński's cinematography is remarkable and has an old-world feel. Adam Stockhausen's production design is detailed and brings the past era alive. Paul Tazewell's costumes are very appealing and authentic. Michael Kahn and Sarah Broshar's editing is unhurried. On the whole, WEST SIDE STORY is a fine piece of cinema and embellished with noteworthy performances and music score. The film has the potential to record decent footfalls in Indian cinemas due to Steven Spielberg’s association, the hype and the fact that it has chances to excel at the Oscars. However, the long length, too many songs and absence of English subtitles for Spanish dialogue will reduce the impact to some extent.

source https://www.bollywoodhungama.com/movie/west-side-story/critic-review/west-side-story-movie-review/steven-spielbergs-west-side-story-is-a-fine-piece-of-cinema-and-embellished-with-noteworthy-performances-and-music-score/

Movie Review: Chandigarh Kare Aashiqui

<a href="https://ift.tt/3DHTrZM KARE AASHIQUI</a> is a mind-bending love story. Maninder aka Manu Munjal (<a href="https://ift.tt/3y6aNOU Khurrana</a>) lives with his father (Girish Dhamija) and grandfather (Aanjjan Srivastav) and is a gym trainer. His sisters Preet (Tanya Abrol) and Meet (Sawan Rupowali) are married and they try to dominate his life and his choices. His father, meanwhile, is trying to force him to quit being a bodybuilder as he's not earning much. He has lost a bodybuilding championship two consecutive times to Sandy (Abhishek Bajaj), a fellow bodybuilder. Manu is gearing up for the upcoming edition of the tournament but he doesn't seem to be in his best form. Life is not going great but one day, he meets Maanvi Brar (<a href="https://ift.tt/3lOoayf Kapoor</a>). She has rented a vacant space in Manu's gym to conduct Zumba classes. Both soon strike a friendship. When Manu injures himself in the gym, Maanvi takes him to the hospital and even drops him at home. His family members get excited to see him with a girl as they have been behind his life to get married. Manu clarifies that she is just a friend but it falls on deaf ears. Meanwhile, Manu actually falls for her. On the day of Holi, they get intimate. Before they have sex, Maanvi stops him for a second to clarify something. Manu doesn’t let her speak and kisses her. From here on, they begin a romantic relationship. One day, when Manu is at Maanvi's place, he proposes marriage. At this point, Maanvi reveals a shocking truth about her life. What happens next forms the rest of the film. <img class="aligncenter wp-image-1312411 size-full" title="Chandigarh Kare Aashiqui" src="https://ift.tt/3dBTBqV" alt="Chandigarh Kare Aashiqui" width="720" height="450" /> Abhishek Kapoor, Supratik Sen and Tushar Paranjpe's story is progressive, refreshing, and the need of the hour as it drives home an important message. Supratik Sen and Tushar Paranjpe's screenplay is highly entertaining and commercial. In the second half, however, the writing could have been stronger. Supratik Sen and Tushar Paranjpe's dialogues are fine and raise laughs here and there. But there was an opportunity to have some great punchlines in nearly every sentence. In this regard, the writers missed the boat. However, a few dialogues are sharp and Vaani Kapoor's monologue at the interval point is clapworthy. Abhishek Kapoor's direction is neat. He treats the film in a commercial manner and ensures that though the topic is bold, the film is very much mainstream. His execution is also a surprise as it’s unlike his previous films like ROCK ON [2008], KAI PO CHE [2013], FITOOR [2016] and KEDARNATH [2018]. Some scenes are exceptional, especially the ones dealing with Maanvi and her dilemma. Abhishek deserves kudos as he handles this bit very sensitively and even defies stereotype. On the flipside, though the first half is excellent, in the second half, the film drops a bit. After Maanvi's revelation, it seemed like the writers did not know what to do to keep the interest going. They do pepper the narrative with some interesting scenes but it’s not as impactful as the scenes in the first half. Thankfully, the film picks up from the pre-climax. CHANDIGARH KARE AASHIQUI is just 117 minutes long and introduces the characters immediately and neatly. The way the romance blooms between them is believable. The lovemaking scenes are intense but not too bold as well. The scene where Maanvi makes the big confession is arresting but even more impactful is the intermission point. In the second half, it’s the hospital sequence from where the film gets back on track. The climax is nail-biting and would be enjoyed by the viewers. <img class="aligncenter size-full wp-image-1312425" src="https://ift.tt/3oBH8da" alt="" width="720" height="450" /> Ayushmann Khurrana is in top form as always. And this time too, he gives everything to his character, including an impressive physical transformation. He is known for choosing risqué topics and CHANDIGARH KARE AASHIQUI is no exception. He deserves kudos for yet again stepping out of his comfort zone and taking up a role that not many actors would have dared to accept. Vaani Kapoor is outstanding and is sure to surprise audiences. This was a challenging part but she essays her it with perfection and most importantly, with sensitivity. She also deserves praise for agreeing to do this part, which many actresses might not even touch with a barge pole. She will definitely be seen in a new light after this film. Kanwaljit Singh (Brigadier Mohinder Brar) is adorable. Karishma Singh (Karishma Singh; Maanvi's friend) leaves a huge mark. Girish Dhamija and Aanjjan Srivastav are okay. Tanya Abrol is apt for the part while Sawan Rupowali lends able support. Abhishek Bajaj and Satwant Kaur (Navjot Brar; Maanvi's mother) are decent. Goutam Sharma (Jomo) and Gourav Sharma (Riz) are fine as the twin brothers cum Manu's sidekicks. Yograj Singh (Guruji) is average. Sachin-Jigar's music is foot-tapping. The title song, played in the end credits, is well shot. <em>'Kheech Te Nach'</em> is the best of the lot. <em>'Kalle Kalle'</em> and <em>'Maafi'</em> are touching. <em>'Tumbe Te Zumba'</em> is decent. <em>'Attraction' </em>is played in the lovemaking sequence and is again, picturised nicely. Sachin-Jigar's background score is appropriate. Manoj Lobo's cinematography is neat. Allan Amin and Vishal Bhargav's action is realistic. Bindiya Chhabria's production design is appealing. Shruti Kapoor and Akshay Tyagi's costumes are glamorous. Chandan Arora's editing is slick. On the whole, CHANDIGARH KARE AASHIQUI tackles a bold and taboo subject sensitively and is high on emotions. The superlative performances of Ayushmann Khurrana and Vaani Kapoor are like the icing on the cake. Recommended!

source https://www.bollywoodhungama.com/movie/chandigarh-kare-aashiqui/critic-review/chandigarh-kare-aashiqui-movie-review/ayushmann-khurrana-and-vaani-kapoor-starrer-chandigarh-kare-aashiqui-tackles-a-bold-and-taboo-subject-sensitively-and-is-high-on-emotions/

Movie Review: Tadap

<strong><a href="https://ift.tt/3deEe7A> is the story of an obsessed lover. Ishana (<strong><a href="https://ift.tt/3Iec2QB Shetty</a></strong>) lives in Mussoorie with his adopted father who is addressed by everyone as Daddy (Saurabh Shukla). Daddy is a close aide of Damodar Nautiyal (Kumud Mishra), a politician who is fighting the state elections. Ishana runs a theatre and helps Daddy and Damodar in political activities. On the day of vote counting, Damodar's daughter Ramisa (<strong><a href="https://ift.tt/3EkKirj Sutaria</a></strong>) returns from the United Kingdom where she is studying. Damodar wins the elections and when Ishana is celebrating the former’s victory, Ramisa spots him. She gets attracted to him. Soon, she befriends him and even confesses that she is attracted to him. Ishana falls crazily in love with her. One day, she tells him that Damodar is compelling him to get married. She assures Ishana that she will convince her father to change his mind and that they should not meet for a few days. She kisses and leaves him and at that exact moment, Damodar sees them. He and Ramisa's grandmother decide to separate the lovers and teach Ishana a lesson. What happens next forms the rest of the film. <img class="aligncenter wp-image-1309322 size-full" title="Movie Review: Tadap" src="https://ift.tt/3EkdY7H" alt="Movie Review: Tadap" width="720" height="450" /> TADAP is the official remake of the Telugu film RX 100 [2018]. Ajay Bhupathi's story is ordinary in the first half but the twist in the second half is unpredictable. Rajat Arora's screenplay is engaging. RX 100 was a lengthy film but Rajat has shortened the narrative at several places for a better impact. He also added some interesting scenes; the scene where Ishaana and Ramisa exchange books is one case in point. On the flipside, the first half doesn’t have anything new and might test the patience of the viewers. Also, the obsession of Ishana is not convincing or even logical. Rajat Arora's dialogues are impressive. He is known for penning memorable one-liners and has peppered the film with some sharp dialogues. Milan Luthria's direction is simple and entertaining. He has treated the film in such a manner that viewers of all strata of society and across all centres will be able to relate to it. While the basic narrative is the same as RX 100, the Telugu film was far more violent. Milan has tried his best to down the bloodshed and yet ensure that the desired impact is made. A few scenes are very well helmed like the scene where Ramisa hugs Ishana or Ishana’s grand entry. The <em>'Tumse Bhi Zyada'</em> song also arrests attention and the parallels made between two drastically different situations is seen to be believed. The twist comes as a bolt from the blue but once the suspense is unveiled, the film falls a bit yet again. The finale is thrilling but might not be acceptable to all sections of viewers. And the biggest problem is that the film feels outdated. Viewers will find it difficult to accept that a guy can get so obsessed with a girl in this day and age. RX 100 has a thrilling beginning. The entry of Ishaan followed by the opening fight sets the mood. Viewers will be curious to know why Ishana is so angry and why this hatred for Damodar. A few scenes of flashback portions stand out but overall, the first half is weak as it is clichéd. The second half starts off well but after a point, runs out of steam. The way Ishana gets obsessed with Ramisa and tries to snatch her away puts off viewers. The twist in the tale thankfully saves the day. The final fight and the finale will leave viewers divided. <span style="text-decoration: underline;"><strong>Ahan Shetty: “I don’t want to have an action hero image…” | Tadap | Tara Sutaria</strong></span> <iframe id="jwiframe" class="playerFrame" src="https://ift.tt/3xMbOLS" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> Ahan Shetty makes a confident debut. He is a bit stiff in certain scenes but at places, he shines very well. This is more so in the second half. The climax gives him a ripe opportunity to show his acting prowess and he succeeds largely. Tara Sutaria is a revelation. She gives a fine performance, very different from her acts in her previous two films. Saurabh Shukla is adorable while Kumud Mishra is dependable. Sumit Gulati (LOL) is poor. Saurav Chakrabarti (Guthli) has a crucial part and does very well. Rajesh Khera (Inspector Negi) and the actors playing Kashinath and Ramisa’s grandmother do not get much scope. Pritam Chakraborty's music is of the chartbuster variety. <em>'Tumse Bhi Zyada'</em> is already a rage and comes at a significant juncture in the film. Same goes for <em>'Tere Siva Jag Mein'</em>. <em>'Hoye Ishq Na'. 'Tu Mera Hogaya Hai'</em>, however, is forgettable. John Stewart Eduri's background score gives the film a commercial feel. Ragul Herian Dharuman's cinematography is appropriate. The locales of Mussoorie, Rishikesh and the single screen theatre are well shot. Ajay Vipin's production design is apt. Stefan Richter, Vikram Dahiya’s action is mildly violent, and that will give the film a far more appeal. Rohit Chaturvedi's costumes are appealing. The ones worn by Saurabh Shukla stand out. Rajesh G Pandey's editing is decent. On the whole, TADAP rests on some well executed scenes, shocking twist and a fine debut by Ahan Shetty. However, the clichéd and outdated storyline is a major downside of the film. At the box office, it will turn out to be an Average fare.

source https://www.bollywoodhungama.com/movie/tadap-2/critic-review/tadap-2-movie-review/tadap-rests-on-some-well-executed-scenes-shocking-twist-and-a-fine-debut-by-ahan-shetty/

Movie Review: Bob Biswas

<a href="https://ift.tt/3rroKpk BISWAS</strong></a> is the story of a contract killer who has lost his memory. Bob Biswas (<a href="https://ift.tt/3ddbgVM A Bachchan</a>) is married to Mary Biswas (Chitrangda Singh) and has a son Benny (Ronith Arora) and daughter Mini (Samara Tijori). 8 years ago, Bob met with an accident and has been in a coma since. Bob regains consciousness but has no memory of his past life. He doesn't even recognize Mary or his children. Bob tries his best to adjust thanks to Mary who provides him with all the love and support to sail through this difficult time. Slowly, Bob forms a bond with Benny and Mini. He learns that Mini is his stepdaughter and that Mary was earlier married to David (Karanuday Jenjani). Bob married her after David passed away in an accident. One day, two police officers, Jishu Narang (Bhanu Uday Goswami) and Kharaj Sahu (Vishwanath Chatterjee), take Bob Biswas to a hideout. They inform Bob that he is a contract killer and that he has worked for them in the past. They start giving him contracts to kill people. Bob, at first, is apprehensive but he soon goes for it. His first two victims are Bubai (Purab Kohli) and Rahul (Kunal Verma), both of whom were in the business of selling a powerful and banned drug, code named 'Blue'. When Bob goes to kill Rahul, he suddenly gets flashes of his earlier life. He also realizes that David didn't die by accident but was killed. What happens next forms the rest of the film. <img class="aligncenter size-full wp-image-1309106" src="https://ift.tt/3dfu5HT" alt="" width="720" height="450" /> Sujoy Ghosh's story is interesting and serves as a nice origin story of the iconic character from his much-loved film, KAHAANI [2012]. However, it gives a one déjà vu of similar films like PRINCE [2010] or the Hollywood films like THE BOURNE IDENTITY [2002], PAYCHECK [2003] etc. wherein the protagonists similarly lose their memory. Sujoy Ghosh's screenplay is very effective. He has infused some nice dramatic and emotional moments in the film that keep the interest going. There are multiple characters but most of them serve an important purpose and are well fleshed out. However, he leaves several questions unanswered. Sujoy Ghosh and Raj Vasant's dialogues are sharp yet simple. Diya Annapurna Ghosh's direction is supreme, especially considering that this is her first film. Since Bob Biswas is a character from the film KAHAANI, it was important that this film is also set in a similar zone. Diya succeeds very well in this regard as the look and treatment is just like the 2012 film. The dark humour bit is very strong in this film and one of the USPs. Besides the thrill element, the family track of Bob is something to watch out for, especially his bond with Mary. However, the film is not without its share of blemishes. A major problem is that a few bits are not explained, like how Bob lost his memory. The intentions of Jishu and Kharaj behind killing Bubai, Rahul etc. is bewildering and no attempt is made to explain the motive behind these killings. Lastly, the pace of the film is slow and hence, it is not going to be everyone’s cup of tea. <span style="text-decoration: underline;"><strong>Abhishek Bachchan: “Shah Rukh Khan’s BELIEF in storytelling &amp; storytellers…”| Rapid Fire | Bob Biswas</strong></span> <iframe id="jwiframe" class="playerFrame" src="https://ift.tt/3Igc3Uf" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> BOB BISWAS begins with the drug mafia track. The opening credits are a bit psychedelic that goes with the drug angle. The initial scenes of Bob are decent but nothing special. It is only when Bob kills his irritating neighbour (Kanchan Mullick) that the film goes on a different level. The scenes of Kali Da (Paran Bandopadhyay) are a delight. Post-interval, the interest is maintained, though the unhurried narrative does test patience at a few places. The pre-climax and climax is very arresting. The tribute to KAHAANI in the end is nicely done. Abhishek A Bachchan comes out with flying colours. It was a risk as he was stepping into a role, which was played flawlessly by another actor earlier (Saswata Chatterjee). But Abhishek ensures that there won’t be any complaints. He has minimal dialogues and he communicates with his eyes and silences, and it is something to watch out for. Chitrangda Singh is adorable and she lights up the scene whenever she enters the frame. Samara Tijori makes a confident debut. Ronith Arora is cute but doesn’t get much screen time. Paran Bandopadhyay is terrific. He plays a very intriguing part, which deserves a spin-off. Tina Desai (Indira Verma) leaves a mark. Purab Kohli is memorable in a cameo. Bhanu Uday Goswami, Vishwanath Chatterjee, Rajatava Dutta (Shekhar Chatterjee) and Kunal Verma are decent. Kanchan Mullick raises laughs. Kaushik Raj Chakraborty (Ustad) is passable. Amar Upadhyay (Saubhik Das) plays an interesting part, but is wasted. Deepro Sen (Ayan; the bully kid in the school) is too good in the scene when Abhishek Bachchan threatens him. Pavbitra Rabha (Dhonu; Chinese stall owner) lends able support. Sharad Joshi (Shontu; the person desparate for drugs), Late Yusuf Husain (Dr Mehta), Piyush Lalwani (Ishaan; the guy supplying 'Blue' to Mini), Barun Chanda (Priest) and Gulan Kriplani (Durga Dwivedi; senior officer) are good. Karanuday Jenjani aka Kiran Janjani doesn’t have much to do. Music is not of the chartbuster variety but is well-woven into the script. <em>'Jaanoon Na'</em> is played in the opening credits, while <em>'Tu Toh Gaya Re'</em> is played in the background in some interesting scenes. Clinton Cerejo and Bianco Gomes's background score is in sync with the theme and mood of the film. Gairik Sarkar's cinematography is spectacular and captures the locales of Kolkata beautifully. It is also a pleasure to see the City of Joy after ages. Madhumita Sen Sharma, Ajay Sharma and Rajesh Choudhary's production design is appealing and old-fashioned. Sham Kaushal's action is realistic. Jia Bhagia and Mallika Chauhan's costumes are straight out of life. Yasha Jaidev Ramchandani's editing could have been slicker. On the whole, BOB BISWAS is an interesting thriller and rests on a fine script by Sujoy Ghosh, able direction by Diya Annapurna Ghosh and the excellent performance of Abhishek A Bachchan.

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