MOVIES REVIEWS

Wednesday, February 16, 2022

Movie Review: A Thursday

<a href="https://ift.tt/uwvoUCp THURSDAY</a> is the story of a woman who takes 16 kids hostage. Naina Jaiswal (<a href="https://ift.tt/N2k0u7V Gautam Dhar</a>) is engaged to Rohit Mirchandani (Karanvir Sharma) and stays in his sprawling house. A part of his residence has been converted into a playschool, which is run by Naina. She falls sick and resumes the playschool three weeks later, on a rainy Thursday. After the parents drop the kids off and leave, the maid, Savitri (Kalyanee Mulay) asks Naina for a holiday the next day as she has to go to the Aadhaar card centre for updating her details. Naina insists that she get her work done on the same day. After Savitri leaves and Naina is all alone with the kids, she calls the Colaba Police Station and informs them that she has taken 16 kids hostage. Her demand is to talk to a reputed cop, Javed Khan (Atul Kulkarni). After she ends a call, she gets a visitor, a driver (Boloram Das) of one of the children, who has come to deliver a parcel. She lets him inside. The driver notices that she has a gun. He gets scared and tries to raise an alarm. She ties him up. As luck would have it, Savitri returns as she had forgotten her cell phone. She too gets tied up. Meanwhile, a pregnant cop, Catherine Alvarez (Neha Dhupia) arrives at the scene. Naina fires at her and this is when the cops realise that the matter is serious. Javed is asked to come down immediately. Javed calls Naina and she says that she wants Rs. 5 crores. She assures that after her demand is met, she'll release one kid, and would inform about the rest of the demands later. After her demand is fulfilled and after a child is allowed to leave, Naina puts forward her next demand - to talk to the Prime Minister of India, Maya Rajguru (Dimple Kapadia). What happens next forms the rest of the film. <img class="aligncenter size-full wp-image-1342248" src="https://ift.tt/KncSzDj" alt="" width="720" height="450" /> Ashley Michael Lobo and Behzad Kambata's story is quite engaging and relatable. It is also in the same zone as A WEDNESDAY (2008). Ashley Michael Lobo and Behzad Kambata's screenplay is very gripping and thrilling. The writers are in firm control of their material and have peppered the narrative with a lot of thrilling and unpredictable moments. Vijay Maurya's dialogues are hard hitting. A few of the sarcastic dialogues of Atul Kulkarni raise laughs. Behzad Kambata's direction is superior. The director's last film BLANK [2019] was decent but A THURSDAY shows that he has improved considerably. The nearly two-hour long film has no song and dance or lighter moments. The focus is just on the story and the main characters. And Kaizad manages to grip the viewers from start to finish. What’s commendable is that the finale is hard-hitting and clapworthy and to a great extent does justice to the legacy and impact of the predecessor (of sorts), A WEDNESDAY. On the flipside, it's a little unconvincing to see that a person single-handedly was able to take the kids hostage and the cops and the commandos outside stood as mute spectators. The track of the journalist, Shalini Guha (Maya Sarao), is also weak. However, these are minor faults and the twists and turns in the second half compensate for all the shortcomings. The suspense is unpredictable. A THURSDAY’s beginning makes one feel that it’s a sweet, light-hearted film. But soon, the thrilling background score is played and one realizes that Naina has a sinister plan in her mind. The way she takes the kids hostage without making them feel that they are in such a situation and the way she negotiates with the cops has been done very nicely. The tu-tu-main-main between Catherine and Javed enhances the entertainment quotient. Post-interval, the interrogation of Rohit is gripping. The film stagnates after this sequence. However, the scene where Naina gets attacked while the kids are listening to meditative music in their noise-cancelling headphones once again piques interest. The last 15-20 minutes are terrific. Yami Gautam Dhar delivers the most accomplished performance of her career. She has always been a fine performer but after this film, she’ll be seen in a different light. Her performance is just right and the way she switches from being menacing to being very sweet is seen to be believed. Atul Kulkarni is highly entertaining and is lovely as the sarcastic and kind-hearted cop. Neha Dhupia had played a similar part in SANAK [2021] but here, her role is fleshed out in a better way. And her performance is also first-rate. Dimple Kapadia is very good and suits the part. Karanvir Sharma is quite good in the supporting role. Maya Sarao is nice but doesn’t get much scope. Kalyanee Mulay and Boloram Das lend able support. Others are fine. A THURSDAY is a song-less film. Roshan Dalal and Kaizad Gherda's background score is one of the USPs of the film and contributes to the thrill factor very well. Anuja Rakesh Dhawan and Siddharth Vasani's cinematography is very good. Madhusudan N's production design is rich. Ayesha Khanna's costumes are realistic and non-glamourous, as per the demands of the script. The same goes for Vikram Dahiya's action. Sumeet Kotian's editing could have been tighter towards the beginning of the second half but overall, it’s good. On the whole, A THURSDAY springs a huge surprise. It is laced with a taut script, first-rate execution and the finest performance ever by Yami Gautam Dhar. It’s a film that should have ideally come in cinemas. Had it been released on the big screen, especially in the Women’s Day week, it would have emerged as the sleeper hit of the year, if not the sleeper super-hit. Highly Recommended!

source https://www.bollywoodhungama.com/movie/a-thursday/critic-review/a-thursday-movie-review/a-thursday-springs-a-huge-surprise-its-a-film-that-should-have-released-in-cinemas/

Thursday, February 10, 2022

Movie Review: Badhaai Do

<a href="https://ift.tt/tW3Fzgn DO</a> is the story of a homosexual couple entering into a lavender marriage. Shardul Thakur (<a href="https://ift.tt/SrnybHz Rao</a>) is a cop in Dehradun. He stays with his conservative family. He is a closet homosexual man and he hasn’t revealed this fact to his family. He’s 32 and his family is pressuring him to get married. Suman Singh (<a href="https://ift.tt/jKaNY5g Pednekar</a>), meanwhile, is a physical education teacher, and is a closet lesbian. Even her family is compelling her to settle down. She resorts to dating apps to find a suitable match. She comes across the profile of Raju and he expresses a desire to meet her and take matters forward. She agrees and they decide to meet in a café. At the café, she gets the shock of her life when she realizes that Raju is actually a guy pretending to be a girl. This guy, whose real name is Rajeev (Vyom Yadav), finds out where Suman lives and where her father (Nitesh Pandey) has a shop. He blackmails her and demands sexual favours or else he threatens to expose her. Suman complains to the police. Shardul notes down her complaint and he gets Rajeev arrested. Rajeev blurts out to Shardul that she’s not straight. While noting down her complaint, he has learnt that Suman is of the same caste as him. Hence, he meets Suman and asks her to get married to him. According to his plan, both can reside as roommates after tying the knot and can live their lives on their own terms. Suman agrees and thus, both get married. A year after marriage, Shardul’s family starts pressurizing the couple for a baby. Shardul is dating an MBA student, Kabir (Deepak Arora), and their relationship is on the rocks. Suman, meanwhile, bumps into Rimjhim Jongkey (Chum Darang), who works at a pathology lab. Both begin a secret affair and Rimjhim even moves into Shardul and Suman’s marriage. Shardul gets afraid over this development as he resides in the police quarters where his fellow cop neighbours are quite conservative. What happens next forms the rest of the film. <img class="aligncenter wp-image-1339296 size-full" title="Badhaai Do" src="https://ift.tt/MYur7K6" alt="Badhaai Do" width="720" height="450" /> Akshat Ghildial and Suman Adhikary's story is progressive and the concept of the film is quite brave. Akshat Ghildial, Suman Adhikary and Harshavardhan Kulkarni's screenplay is shaky though at few places, it is entertaining as well touching. Both the main characters are very neatly fleshed out and also that of Shardul’s mother (Sheeba Chaddha). However, the script is stretched in the middle portion of the film. Ideally, the screenplay should have been shorter for a better impact. Akshat Ghildial's dialogues are conversational but lack punchlines. His dialogues were far better in BADHAAI HO [2018] and the one-liners here should have been similarly witty and smart. Director Harshavardhan Kulkarni has handled certain scenes with élan. He deserves kudos as a film of such a topic needs to be treated sensitively. In this regard, Harshavardhan comes out with flying colours as there’s nothing offensive or objectionable at all about LGBTQIA+ community. He also breaks stereotypes; the gay character is a strong body-builder with six pack abs and is a cop, something that’s never seen before in a Bollywood film dealing with a homosexual character. Sadly, he lets the film go on and on. BADHAAI DO is 147 minutes long and should have been ideally of 2 hours duration. A few humorous gags fall flat. The director doesn’t explain why Kabir lost interest in Shardul and what went wrong between them. Even Rimjhim’s character disappears in the middle. Thankfully, the last 30-35 minutes are excellent and very moving. BADHAAI DO’s beginning is alright. The track of Raju is intriguing and inspired by true events. After Shardul proposes marriage to Suman, one expects the makers to devote the next 10-15 minutes to the family preparing for the marriage. However, the film straight away moves to their marriage part and one expects the film to move like a rocket. However, the film begins to wander aimlessly for a while. A few scenes, thankfully, stand out like the blood test scene between Suman and Rimjhim, Shardul pretending to be ‘manly’ in front of the DSP (Abhay Joshi) and his wife (Durga Sharma) and Shardul’s mother trying to act tough in front of Suman but failing big time. Thankfully, things get better in the third act. The film ends on a fine note. <img class="aligncenter size-full wp-image-1339298" src="https://ift.tt/mjLwo30" alt="" width="720" height="450" /> Speaking of performances, Rajkummar Rao, as expected, nails the part. His comic timing is spot-on and overall, he does justice to his part. Bhumi Pednekar also gives her best shot and delivers a heartfelt performance. Sheeba Chaddha gets to play a fun character and raises laughs. In the last act, she communicates through her expressions and eyes beautifully. Chum Darang is a great find and delivers a great performance. Gulshan Devaiah (Devi Narayan) is impressive in a cameo. Nitesh Pandey is lovely and is memorable in the pre-climax scene. Deepak Arora, Vyom Yadav, Loveleen Mishra (Suman’s mother), Abhay Joshi, Durga Sharma, Seema Pahwa, Priyanka Charan (Shardul's sister) and Nidhi Bhati (Naaznin Baig) are fine. Music is not memorable and the songs act as a deterrent. The title track, 'Atak Gaya', 'Hum Thay Seedhe Saadhe', 'Bandi Tot' and 'Maange Manzooriyan' don’t have a long shelf life. 'Hum Rang Hai' is the only track that stands out and comes at a great juncture. Hitesh Sonik's background score gives the film a light-hearted touch. Swapnil S Sonawane's cinematography is appropriate. Laxmi Keluskar's production design is realistic. Rohit Chaturvedi's costumes are straight out of life. Kirti Nakhwa's editing could have been tighter. The film should have been mercilessly edited by at least 30 minutes. On the whole, BADHAAI DO talks about an important topic in a sensitive manner and is embellished with some fine performances. However, the long length, poor writing, lack of buzz and niche appeal will prove detrimental to its box office performance. It would work only in a handful of cities and urban multiplexes.

source https://www.bollywoodhungama.com/movie/badhaai-do/critic-review/badhaai-do-movie-review/badhaai-do-talks-about-an-important-topic-in-a-sensitive-manner-and-is-embellished-with-some-fine-performances/

Movie Review: Gehraiyaan

<a href="https://ift.tt/OkdZNLU" target="_blank" rel="noopener">GEHRAIYAAN</a> is a story of two couples. Alisha (<a href="https://ift.tt/PJqCSzA" target="_blank" rel="noopener">Deepika Padukone</a>) is a yoga instructor based in Mumbai. She is developing a yoga-based app, for which she requires funding. She has a strained relationship with her father Vinod (Naseeruddin Shah). Her mother (Pavleen Gujral) died by suicide, after Vinod forcibly relocated to Nashik with his family. She has still not been able to come out of the trauma of losing her mother. Since 6 years, Alisha is in a relationship with Karan (Dhairya Karwa), an advertising professional who quit his job to write his novel. Their relationship also develops cracks due to lack of communication. Alisha’s cousin Tia (<a href="https://ift.tt/CubzQDR" target="_blank" rel="noopener">Ananya Panday</a>) invites the former and Karan to Tia’s farmhouse in Alibaug. Tia knows Karan very well too and she wants Alisha and Karan to meet her boyfriend, Zain (<a href="https://ift.tt/3fBZeWm" target="_blank" rel="noopener">Siddhant Chaturvedi</a>). The foursome meet and Alisha and Zain get attracted to each other, without the knowledge of their respective partners. Zain is a self-made man who left his violent father and helpless mother at a young age and worked his way up. He’s into the realty business and is trying to put together an expensive, dream project. Tia’s father is also helping Zain in his venture. After having a gala time in Alibaug, they return to Mumbai. Zain and Alisha keep in touch, secretly. Zain even visits Alisha’s yoga studio as he has a back pain. Here, both get intimate. Soon, Tia leaves for USA to settle some family legal issues while Karan relocates to Alibaug to finish his novel. This gives a golden opportunity to Alisha and Zain and they both start an affair. Zain also raises funds for Alisha’s app. After a few days, Karan returns to Mumbai. Alisha realizes that he hid from her that a publishing house declined to publish his novel. She also found it difficult to communicate with him and to digest that he has not been earning. Hence, they break up. Zain also promises to end his affair with Tia but there’s a catch and he needs to wait for 6 months. At a party thrown to celebrate Zain and Tia’s third anniversary, Zain is informed by his business associate Jitesh (Rajat Kapoor) that they are going to be in a big time and legal and financial mess after a banker, who approved their bad loan, got arrested. Zain is already processing this information when Alisha turns up and tells him that she’s pregnant with his child. What happens next forms the rest of the film. <img class="aligncenter size-full wp-image-1339554" src="https://ift.tt/37ATjwr" alt="" width="720" height="450" /> Ayesha Devitre Dhillon and Shakun Batra's story is layered and offers an interesting take on modern-day relationships, which is rarely seen in our films. Ayesha Devitre Dhillon, Sumit Roy and Shakun Batra's screenplay (additional screenplay by Yash Sahai) is peppered with intriguing moments. However, the writing is very niche. The first hour is predictable and it takes a while to get a hang of the narrative style of the film. Yash Sahai and Ayesha Devitre Dhillon's dialogues are conversational and even acidic at places. The lines mouthed by the actor are very real and straight out of life. There’s hardly any funny punchline and hence, there’s very limited scope for humour. However, it’s not a problem as there’s a lot of interesting stuff throughout the film. Shakun Batra's direction is more on the lines of the ones seen in world cinema. This time, the director is just not touching upon the relationship-based complexities but also the business angle. The comment he makes on this aspect apart from cheating in relationships adds a lot to the film. On the flipside, the beginning portions are difficult to comprehend. A lot of information is thrown in the start of the film as to how the characters are related to each other and especially their parents. Also, the film has a niche appeal and hence, a major section of the audience would find it difficult to relate to the goings-on. GEHRAIYAAN’s beginning is a bit shaky. The way Zain and Alisha’s bond grows is neatly and organically executed. Even the problems they face doesn’t seem sudden and is totally believable. The film takes a turn when Alisha gets pregnant and Zain faces problems in his business. Several scenes in the second half stand out, particularly Tia asking Zain whether he’s cheating on her, Zain and Jitesh’s confrontation and Zain and Tia’s fight in the parking lot. The last 30 minutes comes as a bolt from the blue is seen to be believed. The final scene will leave viewers stunned. Deepika Padukone has the maximum screen time and delivers one of the finest performances of her illustrious career. This is not an easy act and the role required someone of the calibre of Deepika to pull it off nicely. Watch out for her in the last hour of the film, when she communicates beautifully just through her eyes and very few dialogues. Siddhant Chaturvedi gets to play a great part and he nails it. There’s a lot to his character and his track than what is shown in the trailer and he’s particularly great in the second half. Ananya Panday also tries to give her best and is very memorable in the scene where she confronts Siddhant Chaturvedi and when she tells the truth to Deepika about the Alibaug property in the end. Dhairya Karwa gets limited scope and is decent. Naseeruddin Shah, as always, is dependable. Rajat Kapoor has a crucial part and is terrific. Pavleen Gujral, Anaaya Anand (young Alisha), Vihaan Chaudhary (Bejoy; banker), Deepak Kriplani (Karan's father), Kanika Dang (Karan's mother), Kamal Adib (Kamal; old man stranded in a boat), Mohini Kewalramani (Kamal's wife) and Shereena Master (Anika) also do a fine job. Deepika’s Rapid Fire: “People will love Hrithik & my chemistry in Fighter because…”| Gehraiyaan <iframe id="jwiframe" class="playerFrame" src="https://ift.tt/PrD0aK3" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> Oaff and Savera's music has an international feel and works well with the film. 'Doobey' is the most memorable of the lot. The title track and 'Gehraiyaan (Reprise)' are soulful. 'Beqaaboo' fails to register. Oaff and Savera's background score blends with the narrative and world-cinema-vibe of the movie. Kaushal Shah's cinematography is first-rate, especially the scenes shot in enclosed spaces. T P Abid's production design is rich and authentic. Anaita Shroff Adajania's costumes are stylish and reflect the upmarket and urbane outlook of the characters. Nitesh Bhatia's editing is smooth – the film is neither too dragging nor too quick. Special mention should be made of Dar Gai's intimacy direction – the lovemaking scenes are aesthetically handled; and Ayush Ahuja's sound design – the use of sound is quite creative. On the whole, GEHRAIYAAN is a mature relationship drama but has a niche appeal. However the bravura performances and the exciting climax makes the film a decent watch.

source https://www.bollywoodhungama.com/movie/gehraiyaan/critic-review/gehraiyaan-movie-review/with-an-exciting-climax-and-bravura-performances-gehraiyaan-makes-for-a-decent-watch/

Friday, February 4, 2022

Movie Review: Looop Lapeta

LOOOP LAPETA is the story of a girl in a race against time to save her boyfriend. Savina Borkar aka Savi (Taapsee Pannu) is an athlete based in Goa. She is trained by her father Atul Borkar (K C Shankar) and it is his dream to see her become a successful sportsperson. While running a race, she trips and injures her knee so badly that she can no longer participate in races. She gets depressed and is about to end her life when she bumps into Satyajeet aka Satya (Tahir Raj Bhasin). Both fall in love and move in together. Satya wants to become rich using shortcut methods. He tries his hand at gambling but doesn’t get the desired result. He starts working for Victor (Dibyendu Bhattacharya), a gangster cum restaurateur. Savi, meanwhile, takes up the job of taking care of an octogenarian (Abdul Majid Shaikh). On the day of Savi’s birthday, while taking care of the elderly patient, she realizes in his toilet that she is pregnant. She gets high on drugs and this is when Satya calls her. He is in panic and narrates to her that Victor had told him to deliver a parcel to a man and bring cash amounting to Rs. 50 lakhs in return. Victor had given him 80 minutes to complete the job. Satya delivered the package and got the money. While returning to Victor’s restaurant in a bus, Satya starts smoking pot with a fellow passenger. The cops enter the bus at a bus stop. Realizing that Satya is smoking a banned substance, they try to nab him. A scared Satya escapes from the bus. After outsmarting the cops, he realizes that he forgot the bag that contains the money in the bus. Hence, he calls Savi and asks for her help. Savi advises him to go to the bus depot where the bus is headed to. Satya does as instructed and even finds the bus. However, the bag is no longer there. Meanwhile, she runs and meets her father, with whom she has broken all ties after her accident and after she began dating Satya. Savi asks him to pay Rs. 50 lakhs. He refuses straight away. She shows him the middle finger and leaves. She gets into a cab run by a man called Jacob (Sameer Kevin Roy). She asks him to take him to Satya. However, Jacob refuses as he’s depressed since his girlfriend Julia (Shreya Dhanwanthary) is getting married to someone else. An angry Savi breaks his side mirror. A cop, David Colaco (Bhupesh Bandekar), witnesses Savi vandalizing Jacob’s taxi. He runs behind her. Meanwhile, with no other option, Satya tries to steal from a jewellery shop called Shree Mamlesh Charan Chaddhaji & Sons Jewellers. It is run by Mamlesh (Rajendra Chawla) who treats his two sons, Appu (Manik Papneja) and Gappu (Raghav Raj Kakker), in an insulting manner. As luck would have it, Appu and Gappu are fed up with daily humiliation. They are also about to loot the jewellery store at the same time. Satya enters the shop and steals money from the locker. As he’s about to escape, Appu and Gappu enter. Savi reaches the store and helps Satya escape. At the back alley, Satya and Savi are rejoicing when Mamlesh lands up and shoots Satya dead. All of a sudden, Savi finds herself back in the toilet with the pregnancy kit in her hand. It takes a while for her to understand that she had gone back in time. She gets a call from Satya, who informs him about the mess. She realizes that she has got one more chance to save Satya’s life. What happens next forms the rest of the film. <img class="aligncenter wp-image-1335912 size-full" title="Looop Lapeta" src="https://ift.tt/N4Ygt86" alt="Looop Lapeta" width="720" height="450" /> LOOOP LAPETA is based on the 1998 German film RUN LOLA RUN (written and directed by Tom Tykwer; produced by Stefan Arndt). The story is interesting and experimental. Not many films in India have been made in this genre, though GAME OVER [2019] was based on the time loop concept and it also starred Taapsee. However, one is not reminded of it at all as LOOOP LAPETA has an altogether different setting and execution. Vinay Chhawal, Ketan Pedgaonkar, Aakash Bhatia and Arnav Vepa Nanduri's screenplay is entertaining at places but the side tracks are weak. There was also a lot of scope for humour but the makers miss the chance. Vinay Chhawal, Ketan Pedgaonkar, Aakash Bhatia and Arnav Vepa Nanduri's dialogues (additional dialogues by Puneet Chadha) are witty and hilarious. Aakash Bhatia's direction is technically quite strong. He has made great use of the music and camerawork and given the film a very stylish execution. The film is 135 minutes long but doesn’t seem boring or dragging even for a second. One is completely engrossed in the narrative and looks forward to seeing what happens next. On the flipside, the track of Julia is forced in the narrative. In the third try, Savi could have just avoided bumping into Jacob and getting embroiled into Julia’s problem. Yet, she attempts to help her escape. In the process, she keeps aside the mission of saving her boyfriend and arranging for Rs. 50 lakhs in 50 minutes! Shockingly, in the third attempt, she even goes to the casino on the cruise and one wonders how did she get the time to do so many activities in less than an hour! The track of the jewelers’ sons has a part to play in the main plot but it’s too childish. As for the track of father, it's written well but fails to evoke emotions. Speaking of performances, Taapsee Pannu, as always, is excellent. The script might be faulty but she tries her best to rise above it and it makes the film a watchable fare. Tahir Raj Bhasin is decent but looks out of place in some scenes. Dibyendu Bhattacharya is apt for the part. Shreya Dhanwanthary does a fine job and her monologue is superb. However, as mentioned above, her track is needlessly thrown in the script. Sameer Kevin Roy is okay. Raghav Raj Kakker, fondly remembered for playing ‘Karamchand’ in the web series SCAM 1992 [2020], and Manik Papneja try too hard to be funny. The same goes for Bhupesh Bandekar. Rajendra Chawla is a little better. K C Shankar is passable. Abdul Majid Shaikh is cute. Alistar Bennis (Robert) and Varun Pande (Yash; Atul Borkar's boyfriend) are okay. Music relegated to the background and won’t have a shelf life. The title song has an exhilarating vibe. 'Beqaraar' is a bit memorable. 'Nirvana' and 'Tera Mera' fail to impress. Rahul Pais and Nariman Khambata's background score is exciting and appropriate for the film’s overall mood. Yash Khanna's cinematography is stylish and unique. Rarely have you seen camerawork of this sort. Aejaz Gulab's action is realistic. Pradeep Paul Francis and Diya Mukerjea's production design is a bit theatrical. Indrakshi Pattanaik's costumes have the Goan stamp. The crop tops worn by Taapsee are quite chic. Priyank Prem Kumar's editing is quite stylized. Lastly, Debjyoti Saha's title sequence and animation is memorable. On the whole, LOOOP LAPETA works due to the experimental plot, stylized narrative and Taapsee Pannu’s performance. However, thanks to the loopholes in the script and the weak side tracks, the film at best turns out to be an average fare.

source https://www.bollywoodhungama.com/movie/looop-lapeta/critic-review/looop-lapeta-movie-review/looop-lapeta-works-due-to-the-experimental-plot-stylized-narrative-and-taapsee-pannus-performance/

Movie Review: Looop Lapeta

Thursday, January 13, 2022

Movie Review: The King's Man (English)

THE KING'S MAN is the story of the beginnings of a discreet intelligence organization. The year is 1902. Orlando Oxford (Ralph Fiennes) was a fighter once but has now given up violence. He is in South Africa with his wife Emily (Alexandra Maria Lara), son Conrad and man Friday Shola (Djimon Hounsou) to meet a British regiment. A rebel suddenly attacks the regiment and it leads to the death of Emily. Before she dies, she tells Orland to promise her that he’ll keep Conrad away from war and violence. Oxford agrees. 12 years have passed. The year is now 1914. A grown-up Conrad (Harris Dickinson) is interested in joining the Army. Orlando, obviously, is dead against the idea. One day, British General Herbert Kitchener (Charles Dance) visits Orlando and tells him that the life of Archduke Franz Ferdinand of Austria (Ron Cook) is in danger. An attack on his convoy is foiled with the help of Conrad. However, in the second attempt, the killer succeeds and the Archduke dies. Meanwhile, somewhere, deep in the mountains, a cabal headed by a psychotic chief, is gearing up to cause destruction and mayhem around the world. One of the cabal members is Grigori Rasputin (Rhys Ifans), a priest who has a considerable influence on Tsar Nicholas of Russia (Tom Hollander). England fears that if Russia withdraws support to them in World War I, they’ll have a tough time. England’s intelligence team is confident that Rasputin must be stopped as he could alter the mind of the Tsar. Hence, Orlando, Conrad, Shola and Polly (Gemma Arterton) head to Russia to carry out Rasputin’s assassination. What happens next forms the rest of the film. <img class="aligncenter size-full wp-image-1326694" src="https://ift.tt/3rdIVoU" alt="" width="720" height="450" /> Matthew Vaughn's story is quite nice, for a standalone film; the way real-life characters and events have been seamlessly woven into the plot is impressive. However, since it’s a part of the KINGSMAN film series, the storyline is just decent and not as great as the previous two films in the series. The same goes for Matthew Vaughn and Karl Gajdusek's screenplay. The narrative is engaging but the impact is limited as it’s set in an altogether different era. To add to it, the goings-on are fine but not as gripping as in the first two films. A few scenes, however, are exceptionally well thought of. The research is also spot-on. Dialogues are thankfully quite witty and fun and add to the film’s entertainment quotient. Matthew Vaughn's direction leaves a lot to be desired for most parts of the film. One can see the intention of the maker was to inform viewers how the Kingsman began and under what circumstances. However, moviegoers would obviously expect THE KING'S MAN to be in the same zone as KINGSMAN: THE SECRET SERVICE [2014] or KINGSMAN: THE GOLDEN CIRCLE [2017]. For example, a film like BACK TO THE FUTURE PART III [1990] was also set in a different time zone and yet, it seemed like a film from the same franchise. That doesn’t happen here. The other problem with the film is that it is awarded an ‘A’ certificate. The earlier films of this franchise were too violent but this one is not. Hence, the adults-only rating can curtail its box office prospects. THE KING'S MAN’s opening scene is fine but the first 30-40 minutes are quite weak. One feels as if one’s watching a period drama and not the third part of an established film series. The drama at the trenches is too good, but again, when seen individually. As the part of the KINGSMAN film, it kind of looks out of place and gives a déjà vu of 1917 [2020]. However, one can’t deny that it’s sure to grab attention. Thankfully, the film has its entertaining moments. The fight with Rasputin is totally in the KINGSMAN zone and sets the mood. In the second half, the last 30 minutes are excellent and save the day to a great extent. The parachute and the lift sequences, in particular, stand out. <img class="aligncenter size-full wp-image-1326696" src="https://ift.tt/3rdZj94" alt="" width="720" height="450" /> Ralph Fiennes is in fine form and is apt for the part. He’s especially exceptional in the latter part of the film when he’s down and out. Harris Dickinson lends able support. Djimon Hounsou gets his moments to shine. Gemma Arterton is too good in a small role. Rhys Ifans is a surprise and the impact raises many notches in his scenes. Tom Hollander plays as many as three characters - Tsar Nicholas of Russia, King George of England and Kaiser Wilhelm of Germany and is decent. Charles Dance, Ron Cook and Alexandra Maria Lara are fine in their small roles. Matthew Goode (Morton) leaves a mark. Daniel Brühl (Erik Jan Hanussen) and Aaron Vodovoz (Felix Yuzupov) are wasted. The same goes for Valerie Pachner (Mata Hari); her character is iconic and deserved more screen space. Aaron Taylor-Johnson (Archie Reid) is lovely. Matthew Margeson and Dominic Lewis's music has cinematic appeal. Ben Davis's cinematography is spectacular and the hilltop location especially is very well captured. Darren Gilford's production design is rich and very detailed. The action this time is less gory, unlike the previous two KINGSMAN films which were too violent. VFX is top-class. Jason Ballantine and Rob Hall's editing could have been slicker. On the whole, THE KING’S MAN rests on some fine performances and a very exciting climax. However, its treatment and setting are different from the previous two editions in this franchise due to which fans of the series might feel shortchanged. Also, it has been unfairly awarded an ‘A’ certificate despite not being as violent as the prequels. On the positive side, it has got a wide release and doesn’t have any film for competition at the ticket window for the next couple of weeks.

source https://www.bollywoodhungama.com/movie/kings-man-english/critic-review/kings-man-english-movie-review/the-kings-man-rests-on-some-fine-performances-and-a-very-exciting-climax/

Friday, December 24, 2021

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/

Thursday, December 23, 2021

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 'atrangi'. 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. How Sara Ali Khan doesn’t get intimidated by senior actors? She reveals | Atrangi Re <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. 'Rait Zara Si' is like a theme of the film. 'Chaka Chak' is foot-tapping and the best of the lot. 'Tere Rang' and 'Toofan Si Kudi' spring a surprise and are well shot. 'Tumhein Mohabbat Hai', 'Garda' and 'Little Little' 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/

Wednesday, December 22, 2021

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/

Monday, December 20, 2021

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&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. Pankaj Tripathi: “Zindagi experience ka bhandar hai, jab kam ho jata hai to…”| 83 | Ranveer Singh <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&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. Pankaj Tripathi: “Zindagi experience ka bhandar hai, jab kam ho jata hai to…”| 83 | Ranveer Singh <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/

Friday, December 17, 2021

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. Rashmika on working with Allu Arjun: “It was a LEARNING journey, it was FASCINATING to…”| Pushpa <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. 'Jaago Jaago Bakre' comes at a clapworthy moment. 'Srivalli' comes up suddenly but is worth a watch especially for Allu Arjun’s dance. 'Eyy Bidda Ye Mera Adda' comes next. 'Saami Saami' is okay but the sets are picturesque. 'Oo Bolega Ya Oo Oo Bolega' 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/

Wednesday, December 15, 2021

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/

Thursday, December 9, 2021

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 'I Feel Pretty' seems unnecessary here and should have been placed somewhere else, or maybe shouldn’t have been there in the movie at all. 'A Boy Like That' 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 'Maria', 'America', 'Something's Coming', 'Gee, Officer Krupke' and 'Tonight'. 'Tonight', especially, is terrific and the idea that everyone is waiting for the night for their own reasons makes for a fine watch. 'America' 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. 'Kheech Te Nach' is the best of the lot. 'Kalle Kalle' and 'Maafi' are touching. 'Tumbe Te Zumba' is decent. 'Attraction' 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/

Friday, December 3, 2021

Movie Review: Tadap

<a href="https://ift.tt/3deEe7A> is the story of an obsessed lover. Ishana (<a href="https://ift.tt/3Iec2QB Shetty</a>) 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 (<a href="https://ift.tt/3EkKirj Sutaria</a>) 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 'Tumse Bhi Zyada' 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. Ahan Shetty: “I don’t want to have an action hero image…” | Tadap | Tara Sutaria <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. 'Tumse Bhi Zyada' is already a rage and comes at a significant juncture in the film. Same goes for 'Tere Siva Jag Mein'. 'Hoye Ishq Na'. 'Tu Mera Hogaya Hai', 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/

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