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/

Movie Review: Don't Look Up (English)

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

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

Movie Review: Atrangi Re

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

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

Movie Review: The Matrix Resurrections (English)

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

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

Movie Review: 83

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

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

Movie Review: 83

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

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

Movie Review: Pushpa: The Rise - Part 1

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

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