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Citadel (2023)
Richard Madden and Priyanka Chopra Jonas - Citadel is 300 Million USD Average Spy Series !!!
For a series whose plot elements include remembering and forced forgetting, Citadel barely attempts to create recall value.
The Prime Video show has been releasing one episode each week since April 29. The sixth and final episode that came out on Thursday clears up some of the secrets teased in the beginning while pointing to the next of several spin-offs. Citadel: Diana, set in Italy, precedes a chapter revolving around Indian Citadelians. Directed by Raj & DK, Citadel: Hunny Bunny, the Indian branch stars Varun Dhawan, Samantha and Sikandar Kher.
The existing Indian connection to Citadel, is, of course, Priyanka Chopra Jonas. Sporting a low voice bordering on a purr and displaying her athletic side, Chopra Jonas thrives in a series that often feels like a better-produced, less schmaltzy version of the Bollywood fare she swapped for Hollywood.
Citadel revolves around competing independent spy agencies. The one named Citadel claims to be maintaining world peace, like the fictitious Impossible Missions Force from the Mission: Impossible movies. The other, Manticore, represents various regimes who like to see the world order disrupted. It's headed by British diplomat Dahlia (Lesley Manville), who achieves more mayhem simply by picking up the phone than anybody else in the show.
Among those backstopped are Mason Kane (Richard Madden) and his colleague Nadia Sinh (Priyanka Chopra Jonas). Following a failed operation, Mason has a new name and identity, a wife, Abby (Ashleigh Cummings) and a daughter. Summoned back to work by his handler Bernard (Stanley Tucci), Kyle struggles to become Mason again, which means reuniting with Nadia. These spearheads of Citadel were lovers too, adding a layer of frisson to a professional collaboration.
Priyanka Chopra Jonas, in her second global platform after the American show Quantico, lends an air of smoky mystery to her heroine. Nadia is a beauty-brains-brawn package, evident in the moments when she is an eyeroll away from telling Mason how to conduct himself during a critical mission. Richard Madden's frequent glowering doesn't help his poorly sketched character.
The most noteworthy performances have nothing to do with the action. Stanley Tucci, as the sly and wry Citadel handler, and Lesley Manville as his ruthless adversary, bring serious craft to the art of spycraft. These veterans give Citadel a semblance of purpose, rather than the contrived ardour between Nadia and Mason and the increasingly wearying question of who is backstabbing whom.
A recurrent visual gimmick of flipping shots upside-down suggests that nothing is what it appears to be. The world has apparently been turned on its head. But the stakes are too low, the writing and direction too vapid and the leads too dull to make Citadel memorable.
Auron Mein Kahan Dum Tha (2024)
Found This Slow Musical Romance Quite Interesting !!!
Neeraj Pandey's Auron Mein Kahan Dum Tha is a departure from the typical romantic fare and a slow-burn exploration of love, loss, and longing. The narrative unfurls in a prison, introducing us to a formidable Krishna (Ajay Devgn) before it shifts gears to unveil a tender love story. The flashback takes us to a younger Krishna's (Shantanu Maheshwari) romance with Vasudha (Saiee Manjrekar) and how an incident sends him to prison for 25 years. Upon an earlier release owing to good behaviour, Krishna reunites with a now-married Vasudha (Tabu). The ensuing story between the past and present is the film's core.
Pandey's script is a lesson in subtlety, allowing the characters and their emotions to take centre stage. The narrative is anchored by Ajay Devgn's nuanced portrayal of Krishna and his transformation from a formidable convict to a vulnerable lover. Interestingly, Shantanu Maheshwari has a completely contrasting character arc (from a simple and noble guy to a savvy prison survivor) but is as effortless as his senior co-star. Tabu delivers a performance of quiet intensity, capturing the complexities of a woman haunted by the past and coming to terms with her present. The duo's chemistry is palpable, adding depth to the film's emotional core. While Saiee Manjrekar delivers an equally good performance, Jimmy Shergill has a short but impactful role as Vasudha's husband, Abhijeet.
In addition to the powerful performances, MM Kreem's evocative background score is a standout element, contributing significantly to the film's poignant vein.
On the flip side, the movie is inconsistent in its tonality, with elements reminding you of 90s Bollywood fares, complete with festival songs, an athletic Krishna taking on beefy goons, action sequences in the rain, and so on. Kathikuloth Praveen's editing is jerky at various places in the first half. The major twist and the crime's revelation are predictable and have nothing new to offer. Although deliberately languid, the plot feels stagnant by the interval, picking up pace in the second half. Post-interval, the movie also elicits a few chuckles thanks to Krishna's best friend, Jignesh (Jay Upadhyay).
Auron Mein Kahan Dum Tha is an attempt at a mature love story that falters in execution, with its slow pace and predictable plot hindering its impact. Watch this one if you appreciate deliberate pacing and emotionally charged narratives.
Teri Baaton Mein Aisa Uljha Jiya (2024)
This Quirky Man-Machine Love Story is Intermittently Engaging !!!
A robotics engineer, Aryan Agnihotri (Shahid Kapoor), goes to the US to work on a new project for his maasi and boss, Urmila (Dimple Kapadia). There, he is looked after by her manager, Sifra (Kriti Sanon), the robot programmed to make him fall in love with her. And he does. But when he discovers her reality, he is outraged at being used for a lab test. However, he feels drawn towards her and convinces his maasi to send her to India so that she can go through the ultimate test - surviving a big, crazy Indian family (that's obsessed with Aryan's marriage). Whether he will have his happily ever after with the almost-perfect robot forms the rest of the story.
Amit Joshi and Aradhana Sah serve a novel, breezy, and fun concept with a quirky situation. The laughs here are in the absurd situations that the human-robot couple encounters along the way. However, the story takes a while to build up, and the scenes where Aryan's family warms up to Sifra are overstretched. The story picks up steam almost towards the end after a big twist.
Although the concept is unique, the narrative often finds itself going around in circles while trying to build the story around it. The movie also touches upon the man vs machine debate, and using AI and robots responsibly. This aspect seems rushed and wraps up too quickly.
The film elicits quite a few laughs, mainly owing to the characters' reactions. The humour is not so much in the dialogues but in their delivery and timing - especially Aryan's interaction with his friend and colleague, Monty (Ashish Verma), who pulls off his goofy act very well.
The movie's appeal lies in romance, and Shahid Kapoor and Kriti Sanon have a smashing on-screen chemistry. Kriti's poker-faced robotic act and on-cue laughter are hilarious, and she delivers every scene where she glitches in the human world with aplomb.
Shahid breezes through the role of an irreverent guy hopelessly in love. Dharmendra as Shahid's grandfather is adorable, and Dimple Kapadia is a treat to watch. Sachin-Jigar, Tanishk Bagchi, and Mitraz deliver a banger of a soundtrack, especially the title track (redux of Raghav's Angel Eyes) and Laal Peeli Ankhiyan.
At a time when mega-scale action films are ruling the big screen, this one comes as a refreshing concept packaged with humour and good music. The situational comedy gets repetitive and doesn't take off as smoothly, but when it lands, it proves to be an entertaining fare.
Gyaarah Gyaarah (2024)
An Intense Time-Travel Crime Thriller With Brilliant Performances !!!
Set in the mystical hills of Uttarakhand, the story begins 15 years ago when Aditi (Azaya Seth), a young girl, is kidnapped from a fair, and a young Yug (Yug Pandya) witnesses the crime. A few days later, the girl is found dead, and the police are unable to find the culprit. Aditi's mother, Sanjana Tiwari (Gautami Kapoor), fights for justice as time passes. Fifteen years later, Yug (Raghav Juyal) is now a police officer and tries to seek justice for Aditi, but things don't turn in his favour until one day, he finds a walkie-talkie that allows him to contact Shaurya Anthwal (Dhairya Karwa), who is in the past. Meanwhile, Inspector Vamika Rawat (Kritika Kamra) takes charge of solving Aditi's murder before the government decides to close all unsolved cases that are older than 15 years. Will they be able to solve the case together ?
Soon after this case, a cold case unit is set up, headed by Vamika and her team of Yug, Balwant Singh (late Nitesh Pandey), and forensic expert Deepali (Preshah Bharti), who are all set on a journey to solve all unresolved cases from the past.
'Gyaarah Gyaarah' has an extremely interesting beginning-a cop from the present time (2016) finds a walkie-talkie and discovers that the person on the other side is also a cop from the past (1990). It is intriguing right from the start to connect the dots and find out what happened in the past and what will happen now in the present, too. These two characters are also the drama's highlight-you'll get attached to them quickly and root for them to solve the cases and their own mysteries, too. The plot is solid, splitting into many instances while focusing on the major one involving the leading trio.
Raghav Juyal is fantastic as an impulsive and determined cop who never misses the point, even when judging someone's body language. His character, Yug, instantly forms a connection with the viewers and keeps you involved in his struggle to seek justice.
Kritika Kamra's Vamika's past, her connection with Anthwal, was quite all over the place initially, as she appeared as a puppy-eyed new officer joining the police department. But as the story progresses, she emerges as an independent, smart, and determined police officer who fights to solve the case and supports her colleagues. Kamra does well in portraying both emotions.
Dhairya Karwa is convincing as the dedicated cop Anthwal, who is at par with Yug. The rest of the supporting cast, including Gautami Kapoor, Harsh Chhaya, Purnendu Bhattacharya, and Mukti Mohan, helps take the narrative forward.
In this eight-episode crime thriller, which will have its next season to unveil many facts from the past and present, the story is full of flashbacks tampering with the drama's pace. However, director Umesh Bist skillfully handles the multiple timelines and maintains a consistent tone throughout the series. The storytelling is impressive, with each era distinctly portrayed, immersing the viewers in the respective timelines. The plot does drag in bits and pieces, but still, it's a solid drama for those who love this time travel genre.
Bad Newz (2024)
Bad Newz is a Complete Bad Movie !!!
Directed by Anand Tiwari and written by Ishita Moitra and Tarun Dudeja, Bad Newz is more frizzle than sizzle. It is a still-born comedy about a pair of dads and a mom with twins in her womb as a result of being impregnated twice in the same ovulation cycle. Forget the lack of combustible chemistry between Vicky Kaushal and Triptii Dimri, the film struggles to find the right combination of the biology of the relationships and the physics of the plot.
Akhil Chadha (Vicky Kaushal) runs a chaap shop that his father set up in Delhi's Karol Bagh. He is the sort of guy who does not take no for an answer and bamboozles his way into Saloni's life while harping incessantly on his no-mo (no mobile) phobia. He isn't a pretty specimen on the face of it but the audience is constantly encouraged to warm up to his cavalier ways, part of which stems from the overwhelming attention his doting mother (Sheeba Chaddha) showers on him.
Gurbir Singh Pannu (Ammy Virk) is a Mussoorie hotelier who owns a Gujarati restaurant to atone for a beloved he lost because he failed to give up his love for chicken for her sake. Ammy Virk, playing a far more sorted man, is the slow and steady one who serves as an ideal foil to the mercurial Akhil Chadha, whose presence on the screen is accompanied on the soundtrack by a sab ton vadda (greatest of them all) refrain.
As for Triptii Dimri, she seems intent on concealing the sea of emotions swirling within and around her behind an inscrutable mask as the befuddled character fights to assert her right to decide what is best for her and her unborn babies.
Bad Newz is a 2-hour-20-minute film that feels like a cringe TikTok video that's two hours too long. The first 30 minutes to one hour is mildly fun as you watch Akhil woo Saloni, and her falling for him despite valid concerns about her career. The chemistry sizzles and Vicky Kaushal is easy on the eyes and ears with his Dilli ka launda act.
Overstuffed with subplots and lacking genuine emotional depth, Bad Newz ends up being more of a headache than a headline.
Shekhar Home (2024)
Who Sherlock Homes ? It's Time for Shekhar Home !!!
'Shekhar Home' is a fresh Bengali take on Sir Arthur Conan Doyle's iconic detective, Sherlock Holmes. This six-episode series introduces us to Shekhar Home, a genius investigator who unravels mysteries alongside his trusted partner Jayvrat Sahni (Ranvir Shorey), Inspector Laha (Rudranil Ghosh), and his enigmatic older brother, Mrinmoy (Kaushik Sen). As they navigate through their cases, the series cleverly teases the looming presence of "M," a character that promises to be Srijit and Rohan's rendition of the infamous Moriarty. Intrigued ? So are we !
Kay Kay Menon as Shekhar Home is a sight to behold. He slips into the role with such ease that you might wonder if he's been secretly solving crimes in Kolkata for years. His portrayal brilliantly captures the eccentricity and brilliance of the character, with just the right dash of humour. And oh, you'll be smiling at his quips before you even realise it.
Ranvir Shorey as Jayvrat Sahni is nothing short of brilliance personified. He's the perfect partner for Shekhar, balancing the detective's eccentricity with his grounded realism. Kaushik Sen, as the elder brother Mrinmoy, brings depth to the sibling relationship that's reminiscent of the original Mycroft-Sherlock dynamic. However, I wouldn't mind seeing Mrinmoy throw in a bit more mocking towards Shekhar - just to spice things up.
Rasika Duggal as Iravati adds layers of mystery and allure. The moment she steps into the frame, it's as if Shekhar suddenly forgets all the clues and cases - she's clearly the one who's caught his attention, making it obvious that she's our Irene Adler. And let's face it, she's the only one who can outsmart the genius detective, leaving him (and us) in awe.
If you've read the original stories, you'll instantly recognise her as a formidable match for Shekhar. And then there's Rudranil Ghosh as Inspector Laha, who, let's face it, isn't exactly a match for Shekhar's intellect, but his endearing attempts to keep up will win you over. You'll find yourself rooting for him, despite his clear lack of Shekhar-level brilliance.
Rohan Sippy and Srijit Mukherjee have done justice to the original material while infusing it with a unique Bengali flavour. The build-up to the mysterious "M" is handled with finesse, leaving just enough breadcrumbs to keep you guessing without giving the game away. The direction ensures that every case feels fresh and engaging, with just the right amount of homage to Kolkata's culture.
The cinematography captures the essence of Kolkata beautifully. The city's charm, combined with the eerie mood needed for a detective series, creates an atmosphere that is both inviting and mysterious. The visuals, from bustling streets to hidden alleys, make you feel like you're walking alongside Shekhar as he pieces together the clues.
The screenplay is tight, with well-researched cases and dialogues that stay true to the spirit of Doyle's stories. The Bengali representation is top-notch - non-Bengali actors speaking Bangla? It's smooth and doesn't jar the ears, which is a relief. The seamless blend of detective work with cultural references makes the series more than just a watch.
'Shekhar Home' is a delightful Bengali adaptation of the Sherlock Holmes saga that shines in its performances, direction, and cultural representation. While it might not hit every mark, its solid start leaves you eager for more. Grab your magnifying glass and prepare for a wild ride through the heart of Kolkata - where every corner holds a secret, and every case promises to keep you hooked!
Just a little heads up - Ranvir Shorey is the hidden gem in the series.
Stree 2: Sarkate Ka Aatank (2024)
A perfect Sequel to Part 1, Super Blockbuster !!!
Horror comedy is a challenging genre, but the makers of 'Stree 2' have nailed it once again. This sequel retains all the charm of the first film, from the quirky small-town atmosphere to the eccentric characters and the simplicity of its people, blending these elements seamlessly for a winning formula. Sequels are often tricky, but the clever script flips the original plot-while Stree kidnapped men in the first film, this time a male villain, Sarkata, terrorizes and abducts women. With the characters already established, the story dives straight into action, delivering a fast-paced, tight screenplay that keeps viewers hooked, bolstered by a strong ensemble cast in top form.
The plot of 'Stree 2' picks up after the events of the first film, focusing on a new terror in Chanderi-Sarkata, a headless entity targeting and kidnapping women who have embraced modernity. The story takes a personal turn when Bittu's (Aparshakti Khurana) girlfriend, Chitti, falls victim to Sarkata's attacks. A letter received by Rudra Bhaiya (Pankaj Tripathi) contains the missing pages of the Chanderi Puraan, which played a key role in the first film. Using these clues, Bicky (Rajkummar Rao), Bittu, and Jana (Abhishek Banerjee) embark on a mission to track down Sarkata and end his reign of terror, with help from Shraddha Kapoor's character, who remains nameless in this installment as well.
Rajkumar Rao is once again in top form, delivering his signature performance with strong support from Aparshakti Khurana and Abhishek Banerjee. Pankaj Tripathi continues to shine as Rudra, stealing scenes with his witty one-liners and impeccable shuddh Hindi. The screenplay gives each character their moment in the spotlight, allowing them all to stand out. However, Shraddha Kapoor's character feels underwhelming, as she appears sporadically and, apart from adding some intrigue, doesn't contribute much. One standout moment is when Sarkata chases Jana, who is riding with Pankaj Tripathi's character; Jana even manages to make the headless entity drink alcohol, offering a brief glimpse of a smiling Sarkata. Another highlight is Rajkumar Rao's hilarious rendition of Rema's 'Calm Down.' The film is filled with laughs and hits all the right notes for a horror comedy.
However, in the second half, the screenplay starts to feel sloppy, as if the makers were in a rush and running out of ideas. This becomes evident with the sudden special appearances by Akshay Kumar and Varun Dhawan. While Akshay's character does steer the plot in a new direction, it's clear his role was added to draw in more viewers-or perhaps hint at the creation of a shared 'Stree-Bhediya' universe. The pacing feels rushed, and one wishes the writers had given more attention to this part of the film. Despite this, 'Stree 2' delivers plenty of entertainment, and Amar Kaushik once again excels in direction. The film retains the energy and charm of the original, with a clever script that brings a fresh twist.
Phir Aayi Hasseen Dillruba (2024)
Despite A Promising Premise, This Romatic Crime Thriller Fails to Impress !!!
Phir Aayi Hasseen Dillruba relocates from the sleepy town of Jwalapur to the city of Agra while attempting to recapture its predecessor's dark, edgy charm. Written by Kanika Dhillon and directed by Jayprad Desai, the movie has all the ingredients to be a thrilling ride, and with the addition of a formidable new adversary and obsessed lovers, the stakes are significantly raised. A dogged cop, Montu (Jimmy Shergill) is hot on Rani and Rishu's heels, spelling doom for the duo because he is the slain ex-lover Neel's chacha, making the case personal for him.
Despite the initial promise, the execution is lacking, and the script tries to pack too much, resulting in illogical decisions and unconvincing outcomes. The film's focus shifts from the intriguing mystery of the first instalment to a more straightforward chase, diluting the suspenseful elements that made the original compelling. The cat-and-mouse game between Rani, Rishu, and the police becomes predictable, lacking the edge-of-the-seat tension that Vinil Mathew's outing delivered.
While there are moments of intrigue, the narrative often meanders, bogged down by unnecessary subplots (including murders) and convoluted twists. The screenplay's attempts at clever dialogue and literary allusions (the pulpy crime novel background, a highlight of the first film) often feel over the top this time around, detracting from the overall impact. At 132 minutes, the film moves at a decent pace, but the plot points leave many questions unanswered.
Vikrant Massey shines as Rishu, with a commendable character arc from the first film. Taapsee Pannu brings a captivating energy to her role, although her performance in the first instalment was more subtly nuanced. Sunny Kaushal is decent as the meek but intense Abhimanyu. The two actors' on-screen dynamic is compelling. Aditya Srivastav and Jimmy Shergill are underutilized, despite Shergill's impactful scenes. The cinematography is a redeeming factor, capturing the essence of Agra.
Phir Aayi Hasseen Dillruba is engaging, if not awe-inspiring, and has some entertaining moments. While it maintains a stylish aesthetic and a talented cast, the film ultimately lacks the originality and suspense required to truly captivate audiences. With some tighter writing and more focused storytelling, this could have been a memorable sequel.
Dr. Arora (2022)
An Earnest Attempt to Bring Sexual Well-being into the Debate Amid A Complex and Uneven Story !!!
Everyone has seen the posters and ads on walls that say "gupt rog door karne ke liye neeche likhe number par sampark kare." It's as common a sight as the stigma around sexual problems in Indian society. Welcome to Dr. Arora's sex clinic, where everything from erectile dysfunction, nightfall, and premature ejaculation to gonorrhea is cured. Without making it an uncomfortable watch, the story emphasises on these concerns and how men go to great lengths to prove that they are 'manly enough' to not have problems. This show appears to be a much-needed look into the issue of toxic masculinity, rather than just the sexual aspect.
The eight-part series created by Imitiaz Ali features his signature style of presenting a heartfelt love story of Dr. Arora, set against the backdrop of his train journeys from Morena (Madhya Pradesh), Sawai Madhopur (Rajasthan), Jhansi and Agra (Uttar Pradesh) - where he runs clinics and pursues his passion of treating people. While the setting of these small towns works well as the backdrop, the dusty old clinics add character to the narrative, and the soulful songs and background music lend gravitas to the drama.
The premise is interesting and at the same time relevant, as it repeatedly underlines how sex is still a taboo in India. Thankfully, it does so without resorting to cheap humour and double-meaning jokes. However, if you are watching with your family, some of the conversations may make you uncomfortable.
In his private life, even after 17 years of separation, Dr. Arora still has feelings for his ex-wife, Vaishali, who left him because he couldn't satisfy her in bed. This inspired him to run the sex clinic and help the less fortunate. With frequent jumps from his past to the present, the story takes an emotional turn and eventually, it gets stuck in a loop that slackens its pace.
Kumud Mishra in and as Dr. Arora owns the series. He portrays his character's bravado and vulnerability in the right doses. He alternates between being calm and leading a routine life of seeing patients in various cities, and yearning to catch a glimpse of his life's love. And when he does, he relives some happy-sad memories from the past and his eyes sparkle. Vidya Malavade as Vaishali is stunning. Aditya Pandey and Siya Mahajan both play the young Arora and Vaishali convincingly.
Gaurav Parajuli as Devendar Thakur and his nok-jhoks with his neighbour, Putul (Shruti Das), are interesting. Raj Arjun's portrayal of Baba Firangi, with his funny accent, is unmissable. Ajitesh Gupta and Sandeepa Dhar's portrayals of SP Tomar and Mithu Tomar, have endearing chemistry. Some of their scenes provide the story with the needed levity. Dinkar Bagla is the proprietor of the inherited newspaper business - a twisted character played perfectly by Vivek Mushran. However, most of the time his character feels complex, leaving the audience to wonder why he did what he did. Het Thakkar as Dinkar's son Sooraj brilliantly captures the plight of a young man. Among the rest, Shakti Kumar and Shekhar Suman do reasonably well in their limited roles. The subplot of a political angle connecting many characters may work in the next season, but in this case, it just made the narrative busy and complex.
Clearly, the show 'Dr. Arora Gupt Rog Visheshagya,' directed by Sajid Ali and Archit Kumar, does not spark a normal dinner-table discussion, but it does raise awareness about how sex is stigmatised to the point where sex-related problems or sexual wellness are still taboo in India. This social change must be implemented, and the series, like Bollywood films on the same topic such as 'Vicky Donor', 'Shubh Mangal Savdhaan', 'Khandaani Shafakhana', and others, succeeds to some extent. Aside from that, it's just a busy narrative with a complicated and uneven plot.
Zack Snyder's Justice League (2021)
Satisfying and 100 Times Better Than The Original !!!
"Zack Snyder's Justice League" runs 4 hr and 2 mins. That's 242 minutes. That's longer than "Avatar," "The Avengers: Endgame," "The Irishman," "Dances with Wolves," "Malcolm X," "Lawrence of Arabia" and any of the "Godfather" movies. If it were released to big screens, it would tie Kenneth Branagh's 1996 adaptation of "Hamlet" as the longest major studio theatrical release in history.
The backstory: "Justice League" was meant to be the third in a series of Zack Snyder superhero films after "Man of Steel" and "Batman v. Superman: Dawn of Justice," but Snyder and his chief collaborator and wife, executive producer Deborah Snyder, stepped down during postproduction to grieve for their daughter, who had died unexpectedly. The releasing studio, Warner Bros., was already pressuring the Snyders to add humor, following the relative box-office disappointment of the figuratively and literally funereal "Batman v. Superman," which ended with Superman's death.
Joss Whedon (writer/director of the first two "Avengers" films) was brought in to take the project over the finish line, contain the running time to two hours, and keep things light. Whedon ended up rewriting and reshooting most of the movie, Whedon-izing it with smart-alecky one-liners and shooting new action scenes that, while competent, lacked the turbocharged delirium Snyder is known for. According to some behind-the-scenes accounts, less than 20% of what ended up in the final release was directed by Snyder.
The recut-it feels more correct to call it a "restoration"-contains zero Whedon footage. It's broken into seven chapters with titles, each of which has a self-contained quality reminiscent of issues of a monthly comic. Only a sliver of what's onscreen is wholly new, notably a forward-looking "teaser" conversation between Batman and the Joker, perched awkwardly at the end of an otherwise gorgeously shaped three-plus-hour experience. But Snyder generated so much material during the original shoot-much of it shelved by Warner Bros. Without being properly finished by visual effects artists-that the totality still feels like a new work.
The Whedon cut of "Justice League" was the opposite of that. It felt and played more like a Marvel film, busy and quip-driven and relentlessly charming. It favored Bruce Wayne/Batman and Diana Prince/Wonder Woman (Gal Gadot) and marginalized Clark Kent/Superman (Henry Cavill), Arthur Curry/Aquaman (Jason Momoa), Barry Allen/The Flash, and Victor Stone/Cyborg (Ray Fisher). Snyder's cut is an ensemble picture that does as good a job as MCU's "Avengers" films of presenting a band of heroes as strong-willed, fully-rounded individuals, people who had lives and issues before the main action started, and who must learn to work to together (in service of battling Steppenwolf and Darkseid. And resurrecting Superman/Clark Kent).
Cyborg's struggles complement Bruce Wayne's relationship to his butler/surrogate dad Alfred (Jeremy Irons) as well as the memory of his murdered father and mother, absent presences that impact everything he does. Clark Kent's relationship to his sainted adoptive mom, Martha (Diane Lane) and the departed adoptive father Jonathan Kent (Kevin Costner) and blood father Jor-El (Russell Crowe) are reconsidered, re-contextualized, and reborn along with Superman himself. Wonder Woman's feelings about leaving her family, her island, and its culture (and their feelings about her departure) are woven in as well, plus Aquaman's resentment at being a bi-species hybrid torn between two worlds and feeling abandoned by both; and Barry's relationship with his incarcerated criminal dad (Billy Crudup), whom he loves and wants to please even though his actions brought shame on their family and made Barry's life worse. (This film would feel crushingly sad if its main characters weren't so open-hearted.)
"Zack Snyder's Justice League" is so fragmented that it could've been titled "32 Short Films about the Justice League." It often makes momentous promises or sets up seemingly important relationships which it then forgets. It's so bombastic that it makes "Batman v. Superman: Dawn of Justice" seem modest. It will mainly please the people who clamored for it. Even fans of the genre might consider it a bit much. It owes as much to rock concerts, video games, and multimedia installations as it does to commercial narrative filmmaking. It's maddening. It's monumental. It's art.
Justice League (2017)
Justice League is a Quality Delivered by Zack Synder !!!
Amidst all the superhero movie mayhem we've vividly experienced for over a decade, it's not a stretch to say that no comic book event has been as highly anticipated as seeing the Justice League come together on film. Sure, the build-up has been shaky along the way, but fans of the DC Extended Universe (DCEU) saw a distinct glimmer of hope with 'Wonder Woman' earlier this year. It seemed like some crucial lessons had been learned, albeit the hard way, and set into motion. But production woes dogged 'Justice League', striking fear in the hearts of fans - would this be another major misstep from the DC stable ?
Let's get to the good stuff first - this is definitely a highly enjoyable comic book film! Even though the marketing desperately tried to showcase its difference in tone from the rest of the DCEU, most of the chuckle & gasp-worthy scenes land home on the big screen despite being devoid of the surprise element. We're familiar enough with the big three - Batman, Wonder Woman, and Superman, so Ben Affleck, Gal Gadot, and Henry Cavill are all allowed to shine through and make their presence felt. Even the relatively new additions - Aquaman, Flash, and Cyborg, fit well into this world and the actors are well-cast. Thankfully, the whole team has ample chemistry with each other, and while the story is derivative with a disposable villain, it focuses on quickly dazzling from one scene to the next.
Sadly, it's also hard to look past the production issues because they are quite evident at some points. Some chunks seem to be missing from the story, and although it doesn't come across as incoherent, it feels tremendously rushed along with evidently last-minute CGI patchwork. Clearly, the DCEU is building towards bigger, and hopefully better things, but the course-correction feel is glaringly obvious. That aside, it commits to a distinct goosebump-inducing, fandom-pleasing tonality, one that will be well-appreciated down the line. Replace your skeptical lens with 3D glasses, and cheer along with your childhood heroes; 'Justice League' is made for the fans, and if you're one, you'll have a lot of fun.
Batman v Superman: Dawn of Justice (2016)
Batman v Superman is an Ultimate Edition !!!
While Superman's actions are undoubtedly heroic, Batman begins to feel that if Superman isn't made to deal with his own mortality and put in his place, he will assume himself to be a god, an authority unto himself. As the action in Metropolis unfolds and these two icons of the superhero universe battle it out, Superman's nemesis Lex Luthor creates a monster called Doomsday to destroy Metropolis. It's only Batman, Superman and Wonder Woman who have a chance at stopping Luthor and Doomsday.
It's important to know that while all the usual elements of a superhero flick are in place, this is a somewhat different kind of superhero film. It's also pretty dark (given that the Dark Knight series and Man of Steel were intense enough by themselves), and gradually builds up to a climactic conclusion.
Bruce Wayne (Ben Affleck) might have a somewhat inexplicable grudge against Clark Kent (Henry Cavill), and in his anger, he has to be reminded by Alfred (Irons, superb) that taking on Superman would be suicide. After all, how does one defeat a man who cannot be harmed by anything - except kryptonite, of course. So Wayne dons his cowl, a considerably up-armored suit and levels the playing field a bit, with the help of an array of special gadgets and materials.
Those aware about comic lore would know that these two have faced each other off before. But on the big screen, the fight sequences are furious. It's also about a clash of their ideologies. It's pretty heavy and this will put some off. However, Jesse Eisenberg's Luthor is terrific - from his look, to his mannerisms; a psychotic, conniving villain straight out of hell, who quotes Nabokov. Gal Gadot, as smokin' hot Wonder Woman is absolutely kickass. Affleck is good, but you'll definitely miss Bale's Batman.
Characters are briefly introduced and there are certain scenes that might look random (Batman's nightmares, for example) but all reference the DC Universe. The movie is packed with references - both visual and dialogue-wise - to classic comic lore. Underpinning everything is Hans Zimmer and Junkie XL's score. An artillery barrage of action.
Aakhri Sach (2023)
This Aakhri Sach is a Dead Act of Cop Drama, No Where Close to Netflix Documentary !!!
Aakhri Sach is a promising true-life horror crime-drama gone terribly wrong. It means well, oh yes. It does ! And initially, Robbie Grewal (good to see this talented director working) and his writer Saurav Dey are on to a good thing: a family in Old Delhi commits mass suicide.
Wait ! Isn't this the Burari deaths ? And hasn't Netflix already done an outstanding three-part documentary House Of Secrets: The Burari Deaths two years ago on the same tragedy ? This fictionalized version of the voluntary carnage that shook Delhi is more of the same and not quite the intense drama that it aspires to be. It is like a very pheeka saltless chola preparation.
If the truth be told - and that is what this series wants to do - then Aakhri Sach is just pointless and redundant. By the time the time I could figure out how many 'a's and 'n's Tamannaah had in her name, the series had already lost steam.
In the headline-making incident which happened on 30 June 2018, eleven members of one family in a locality known as Burari in Delhi committed mass suicide. How could so many members of the same family agree to end their lives simultaneously ?
The solution offered in this series is not only far-fetched but also borderline preposterous. Aakhri Sach begins with Tamannaah Bhatia playing the cool undercover cop in a club nabbing a credit-card scamster, as far removed from the scene of the Burari crime as Boston from Barabanki.
How did the makers of this series even think of such an incongruous introduction for the female her o? What follows is a mishmash of the real facts in the Burari case and some terribly written fictional brainwaves which seem to have come from pavement crime literature. The suspects in the mass suicide are more like bystanders nabbed for the lack of real evidence than people who have a valid reason to be involved.
Even for a six-episoder, Aakhri Sach creaks and groans under the weight of its own lightness. In the very first episode, one of the dead woman's fiancé is a prime suspect. In episode 2 he travels to a far-off village to confront a man who was harassing the woman he was to marry. In Episode 3 a godman named Chamatkari Baba is the prime suspect.
It is almost like one suspect per episode, each more unlikely than the other. By the time we plod to the end of the plot, there is very little to carry home (even if you are watching this at home) except stilted performances, sketchy characters and discrepant writing.
Aakhri Sach relies heavily on atmospheric pressure to generate a sinister ambience - recurrent closeups of a simmering container of chola to suggest aberrancy in a normal Delhi household, etc. But there is little here to hold our attention except maybe Abhishek Banerjee's traumatized heir-apparent act which could have done with more accentuation.
As for Ms. Bhatia, she is seen trying to shed her glamorous plumes. But the glamorous plumes just won't leave her alone.
Savi (2024)
This Jailbreak Drama Givess Strong Preformances and Moments !!!
This jailbreak thriller centers on Savi, a content housewife in Liverpool, who lives with her husband, Nakul Sachdev, an employee at a construction firm. When Nakul (Harshvardhan Rane) is framed for the murder of his boss and imprisoned, Savi is certain of his innocence. Resolute in her quest to free him, she devises a bold escape plan. She enlists the help of Joydeep Paul (Anil Kapoor), an author and former convict, who helps her execute the plan with his elaborate disguises. As they orchestrate Nakul's daring jailbreak, the Liverpool police uncover clues at Savi's home, sparking an intense and relentless pursuit.
Divya Khossla takes on the challenging role of Savi, and her hard work is evident in her performance. She remains the focal point throughout the film, though one wishes she had showcased a broader emotional range. Harshvardhan Rane, portraying Nakul, delivers a decent performance, but the average screenplay hinders his ability to fully display his talents. However, the film is redeemed by Anil Kapoor, whose presence is one of its bright spots. He brings a certain energy and joy to the screen every time he appears.
The jailbreak genre is underexplored in Bollywood but has been extensively covered by Hollywood, producing memorable films like 'The Shawshank Redemption,' 'Escape from Alcatraz,' and 'Midnight Express.' 'Savi' had a great opportunity to elevate this genre, but despite best efforts, it falls short. The actual jailbreak sequence is more 'tricky' than 'daring,' lacking the expected adrenaline rush. Anil Kapoor's witty dialogues inject the right amount of humour into the thriller. While 'Savi' makes an honest attempt to offer something new in this genre, it ultimately fails to reach the finish line.
Kill (2023)
One of the Brilliantly Crafted Blood Bath Action-Thriller in Indian Cinema !!!
Director-writer Nikhil Nagesh Bhat (who last helmed survival drama Apurva), presents action in its most raw, ruthless and reckless form, and leaves us with no time to breathe. Men are being killed one after the other. In one scene, when a big guy is lying on the floor with his head almost split into two halves, his T-shirt has 24 written on it with blood. Yes, 24 men are already down by now, and there are still some crazy killings to follow.
I also liked how Bhat wastes no time setting context and straight away dives into the world of good and bad men. The storyline is actually a one-liner - two army commandos, Amrit (Lakshya) and Viresh (Abhishek Chauhan) are on a train from Ranchi to Delhi, in which Amrit's love interest Tulika (Tanya Maniktala) is also travelling with her family - father Baldev Singh Thakur (Harsh Chhaya) and sister Aahna (Adrija Sinha), after she's been engaged against her will.
The ride turns into a bloodbath when a group of bandits, led by Fani (Raghav Juyal) start robbing innocent passengers, and the commandos get into action to rescue fellow passengers. Being the strong, and good boys that they are, Amrit and Viresh don't really kill anyone and continue to handle the bad gang with a few punches and high-flying kicks. But soon, after a pivotal and brutal moment in the film, Amrit goes all out, guns blazing and not sparing anyone who comes in his way. The train is speeding and there's blood spattering from one corner of the train to the other, and a bit off the roof too, where we get to hear the cliched, yet funny Chaiyya Chaiyya reference.
Given that the entire film has been shot inside a moving train and narrow, dark, clumsy compartments of a moving train, it's not easy to execute the fight scenes with such precision and perfection. It might be easy and equally difficult to spot errors in any of the scenes. Rafey Mehmood's cinematography and Shivkumar V Panicker's crisp editing totally do the magic here.
Another thing that stayed with me is how Bhat lets emotion often take over the action. When Amrit witnesses a shocking loss, he can't express his misery, which later gets unleashed in form of uncontrollable rage. Or when even the bandits are losing their men one after the other, we see how connected they are as a family, as they shed tears each time, they see their cousin or uncle dead.
Here, I have to mention that for the genre Kill belongs to, I was pleasantly surprised to not hear a single cuss word on screen from any of the characters. Maybe the sanctity of censorship on the big screen saved us from that bit, which Mirzapur and Pataal Lok makers definitely are going to exploit in its full glory on streaming.
Kill shows violence as you have never imagined, and what makes it even more satisfying are the men in action. Lakshya, who was earlier to debut with Dharma Films' Dostana 2 must thank his stars for Kill happened to him. From a doe-eyed lover to a mean machine, he just nails his part. The film gives him ample scope to flaunt his chiselled abs and with those good looks, watching him do brutal action is just outstanding.
On the other hand, Raghav Juyal is such a revelation. The brilliant dancer and humorous fella he is known as, seeing him play this ruthless baddie is as perfect as it gets. He gets into the character from the word go, and his comic lines make you cheer loud. Loved his comic punches, especially the lines when he says, "Aise koi maarta hai kya bey ? Tum rakshak nahi raakshas ho ! (Who hits like this? You're not a saviour, you're a demon)"
Tanya Maniktala is the pretty girl men are fighting for (no spoilers here!), and she has a few scenes but manages to impress.
Kill is gruesome and awesome in equal parts, though definitely not for the faint-hearted. At several places, you feel your body shudder and shiver, and shut your eyes a lot more than you'd actually want. But it's a thrilling ride, just that I can't begin to imagine the amount of fake blood or ketchup used here. Watch the desi version, as John Wick makers are already in talks for a Hollywood remake. Why wait when the original is so well made!
Kakuda (2024)
Riteish Deshmukh and Sonakshi Sinha's Film Is Fresh, Funny, And A Bit Fearsome Too!
Kakuda is the story of a spirit that torments the cursed village of Ratodi, somewhere in North India. Every Tuesday evening, at 7.15, Kakuda searches for a closed small door: it is a compulsion that each house has one, apart from the main entrance. If any door is closed, Kakuda still enters and kicks a male member of the household on the upper back, causing a huge hump to appear. And within 13 days, the man dies. It is a cast-iron certainty that the victim will die after that period, and another fact that Kakuda never touches or harms women.
Sunny (Saqib Saleem) loves Indira (Sonakshi Sinha), but her father (Rajendra Mehta) wants her to marry someone who is 'good' at speaking English. With her mother (Neelu Kohli)'s blessings, the pair decide to run away and get married, with Sunny's best buddy Kilvish (Aarif Khan) as co-conspirator. The temple priest suggests Tuesday at 5pm for the banns but as the place is a shade far away, Kilvish wants Sunny to change his plans as he must be home by 7.15 pm.
But the pair does get married and as the ceremonies conclude, Sunny tries to hurry home to open the vital door, but cannot. He gets a kick from Kakuda and thus the hump on his back, and everyone begins to count the days to his demise, including his father (Yogendra Tikku). But Indira is made of sterner stuff. The educated girl decides to get a medical opinion. Sunny is cured, but only for a brief while!
And so Indira approaches a ghost-hunter (Riteish Deshmukh) and the story takes a 'spirit'-ed turn with a judicious mix of laughs and thrills.
Avinash Dwivedi and Chirag Garg have written the film (story, screenplay and dialogues) and spared no effort at bringing in novelty. Such an avenging spirit is not common in Hindi cinema, not even in Dinesh Vijan's Horror-Comedy Universe, of which Sarpotdar's last enterprise, Munjya, was one. The exorcist is also a novel 'product': not only does he wear stylish outfits, but he is also clear in his concepts and carries gizmos to detect and deal with ghouls. He is a friend to spirits, plays Cupid for them and even games in a graveyard, and sets them free.
Sonakshi Sinha, after a diametrically opposite role in Heeramandi, is again in form as the twins. She plays the quiet and gentle Gomati to perfection, and is her usual self as Indira. But she is excellent in the twisted portions that come midway through the movie.
Riteish Deshmukh plays an earnest yet cocksure character with style and the humor really lies in his seriousness and big talks. Saqib Saleem is alright as the love-struck yet doomed Sunny. Aarif Khan as Kilvish is effective. I really liked Yogendra Tikku as Sunny's father and Rajendra Mehta as the eccentric parent to Indira and Gomati. Unlike the CGI-created Munjya, it is Mahesh Jadhavnas who plays Kakuda here, and his job is basic but competent. Alok Gutch as the old man in the village with whom the film begins and ends scores in the way he comes across, even midway through the story.
This is one recent film that has really missed the bus. With its controlled budget and engaging content, it would have done well in the cinemas. But maybe OTT was a safer option for the filmmakers who had started shooting and had also completed the film way back in 2021.
The Freelancer (2023)
A Neeraj Pandey Special. It's Way Beyond For Most of The Indian Directors !!!
Neeraj Pandey of 'Baby', 'Special 26', and 'Special Ops' fame has created another spy action-thriller 'The Freelancer' and similar to those this series showcases his signature style of storytelling and characterization. The story revolves around the extraction of a young girl who reaches Syria, presuming it to be her honeymoon, after tying the knot with a suspicious man.
This adaptation of the best-selling novel, 'A Ticket To Syria,' includes minor tweaks, such as changing the setting from the Maldives to India, while remaining true to the original story. The plot revolves around a rescue mission undertaken by an ex-cop turned mercenary, Avinash Kamath (Mohit Raina), who embarks on a journey to bring back Aliya (Kashmira Pardeshi), the daughter of his best friend and suspended cop, Inayat Khan (Sushant Singh) after she has been unknowingly trapped in war-torn Syria. How does Avinash track the entire nexus ? Does he manage to bring Aliya back ? This forms the crux of the story.
Creator Neeraj Pandey and director Bhav Dhulia along with their writing team (Ritesh Shah and Benazir Ali Fida) establish the plot quickly and keep the audience invested from the start. The tension among the characters and the sense of urgency are effectively conveyed, keeping viewers on the edge of their seats. The story unfolds in a seamless manner, with little room for the viewers to pause and think. This pacing helps maintain the suspense and keeps the audience engrossed. The narrative effectively weaves in global political themes, adding depth to the narrative.
The characterization and the intertwining of past and present are also done well, as every episode puts in the forefront a new facet of the character and subplots. For instance, Avinash's life as Mumbai police officer with Inayat Khan, his happy moments with little Aliya, and his married life with Mrunal.
Mohit Raina excels in his role as Avinash Kamath, showcasing both intelligence and courage. He grabs all the eyeballs with his pumped-up body, screen presence and intense looks. Anupam Kher's portrayal of Dr. Arif Khan adds depth to the story as a guiding figure to him. Sushant Singh leaves an impact despite his limited role. Kashmira Pardeshi steals the show with her impactful performance, putting forward the varied emotions of an innocent girl held captive. Other cast members, including Ayesha Raza Mishra, Navneet Malik, Manjari Fadnnis, and Geeta Sharma, contribute effectively.
Without a doubt, 'The Freelancer' adds another success to Neeraj Pandey's portfolio. It's a must-watch for its engaging plot, tension-filled atmosphere, and effective storytelling, which captivate viewers throughout.
Crew (2024)
Ufff Kareena Kapoor Khan & Tabu, A Super Funny, Frivolous And Relief Comedy Drama !!!
Air-hostesses Geeta Sethi (Tabu), Jasmine Kohli (Kareena Kapoor Khan) and Divya Rana (Kriti Sanon) serve looks and then some hospitality to the passengers of Kohinoor airlines. The undisputed drama queens have their own battles to fight and lies to hide. Nothing unites employees more than their collective misery and that forges an unlikely bond between the three air hostesses. When they discover that their debt-ridden airline is on the verge of bankruptcy, the women are compelled to seek desperate measures for survival. Necessity is the mother of invention and sometimes, even crime.
Crew has a smooth take-off boasting of a terrific first half and enjoyable landing. The fast-paced comic thriller entertains at all times even when the climax gets too convenient, ditzy or far-fetched. The heist bit isn't clever and doesn't pretend to be clever either, which works. Humour stems from the characters' unabashed, unapologetic approach to life without thinking it through. Their plans are as effective as Vasco Da Gama ki gun (of Andaz Apna Apna) and yet they exude the style and attitude of ramp models. The sheer obliviousness evokes laughter as you submit yourself to their world of ambition, fading vanity, and delusion.
Caught in a crossfire between needs, wants and morals, despite its frothy exterior, Crew has an interesting take on the upper middle class and their relationship with money, ethics and a dead-end job that enslaves them for life. 'Adarshon se bill nahi bharte', Geeta reminds herself.
Speaking of the ladies, Crew's leading actresses are in their 30's, 40's and 50's respectively and casting hasn't looked this fun for an Indian all-female heist film in a long time. Beyond the organic age inclusivity, the story doesn't digress from the ladies even with men as entertaining as Diljit Dosanjh and Kapil Sharma around. Kulbhushan Kharbanda also features in a special appearance and none of the male characters are inconsequential despite their brief screen time as seen in most chick flicks.
While all three bring their A game, Tabu and Kareena exude bonafide movie star energy to show how it's done. Diljit was right when he said, 'Hogi Rihanna, hogi Beyonce, sadi ta ae he hai, Kareena'. Bebo oozes oomph and substance as a hustler who conceals her loneliness. Torn between responsibilities and desires, Tabu is terrific. The two are electrifying on screen with characters distinctly written for each. The two even crack age-related jokes that we are sure resonates with them. Kriti adds to the chutzpah and has great chemistry with Diljit but feels more like a third-wheeler. The latter makes a charming impression. He gives the film its best laugh out loud moment when he asks Kriti, "Tumne mujhe instagram pe follow back kyu nahi kiya ?"
If you are looking for some light-hearted madcap comedy, Crew is worth diving into -- with all its frivolity, humour and glam.
Mirzapur (2018)
The Only Person Who Deserved To Die in Mirzapur 3 was the Useless Golu Gupta !!!
The distance that the surviving gangsters and their accomplices and rivals traverse in Mirzapur Season 3 is considerable. But the tools and tropes that the Amazon Prime Video crime show employs in the new tranche of ten episodes remain firmly within familiar parameters.
The reign of carpet exporter and crime boss Akhandanand Tripathi alias Kaleen Bhaiya (Pankaj Tripathi) has ended in the lawless badlands of Purvanchal. Guddu Pandit (Ali Fazal) is now the top dog in the titular crime-ravaged town. Golu Gupta (Shweta Tripathi Sharma) is his partner in crime. But the gaddi (throne) is shaky. Guddu isn't the undisputed King of Mirzapur yet, which is why the impetuous and impatient contender frequently lets provocations get the better of him. Ill-advised moves and overly cocky stances land him and Golu in situations that snowball beyond their control.
The threat of a determined, scheming vengeance-seeker Sharad Shukla (Anjumm Shharma) looms over Guddu and his gun factory. A battle of attrition ensues despite the chief minister's avowed mission to rid the region of its violent gangsters. Mirzapur S3 has markedly less tensile strength than the first two seasons. The fact that it is much more of a slow burn than usual is not, however, necessarily a drawback. In fact, it opens up room for several startling and intriguing narrative sleights.
Kaleen Bhaiya, hors de combat for the most part, is in the middle of a slow recovery from coma. But even when he is back in harness, the imperious, temperamentally volatile man is only a shadow of his own self, harping on gaddi and parampara (tradition).
Mirzapur S3 is co-directed by Gurmmeet Singh, the sole behind-the-scenes creative talent who has been involved in all three seasons, and Anand Iyer. They ensure that the script, written by Apurva Dhar Badgaiyann, Avinash Singh and Vijay Narayan Verma, does not stray from the white-knuckle ambience originally envisaged for the Excel Media and Entertainment-produced crime show.
Divyenndu's Munna Tripathi is obviously missing from the scene and Pankaj Tripathi's centrality (large parts of his footage has the character in a supine state) is substantially reduced. Ali Fazal solidly carries the show on his shoulders.
Rasika Dugal, Shweta Tripathi Sharma, Isha Talwar, Vijay Varma and Arjunn Shharma stepping up to the plate as individuals engaged in or witness to, the battle for Mirzapur.
Rajesh Tailang and Anil George (as the profit-obsessed opium supplier Lala) - one of the two imprisoned patriarchs helps inmates write mercy petitions and bail pleas, the other pines for freedom for himself - also deliver strong performances.
And amid all this, you'll often find yourself hoping against all odds for Munna bhaiya to be back, infuse some much needed flashiness and eccentricity to the plot and save the day. He was truly a superman without a cape - wielding a gun, unapologetic in his advances and always ready to hurl expletives. In short, what's Mirzapur without him and his lackeys screaming, 'Laal phool, neela phool, Munna bhaiya beautiful !!'
La La Land (2016)
A Super Dazzling Experience of Music and Romance !!!
We live in a cynical world and Damien Chazelle's mesmerising romantic musical (hailed as the front-runner for this year's Academy Awards) is just what you need to light up the dark days. Set in contemporary times, beaming with optimism and soaked in nostalgia, the old-fashioned romance, tugs at your heartstrings with its relevance and simplicity. It reminds you who you were before failures made you practical.
False starts, chance encounters, long walks in the moonlight, clever banter and countless gazing into each others' eyes later, Mia (Emma Stone) and Sebastian (Ryan Gosling) realise they've fallen for each other. They are struggling artists trying to make it big in Los Angeles - she's an aspiring actress and playwright, he's a passionate jazz pianist. Love turns their life into a beautiful song until reality intervenes...
Chazelle's riveting storytelling and Stone-Gosling's terrific performances make you relive the nervous excitement of first love and the devastating emotions of shattered dreams. This lyrical masterpiece brings every dreamer's fantasy and fears to life. It recreates 'Hollywood movie magic', right from the spectacular single-take opening song (Another Day of Sun), where motorists sing and dance atop their cars on a clogged LA freeway.
Winter, Spring, Summer and Fall- seasons signify the highs and lows in Mia and Sebastian's seemingly idyllic relationship. Life may not pan out the way you'd desired but true love makes it worthwhile - this message lies at the heart of Chazelle's basic but soul-stirring tale. The underlying conflict between hopes, wishes and reality never seemed so real.
Though the film is hopelessly romantic, it's equally relatable. You can see yourself through the eyes of its vulnerable protagonists, making their tale, your own.
Interestingly, Justin Hurwitz's soulful music is an extension of the characters' state of mind. Sung by Ryan Gosling and Emma Stone, 'City of Stars' is a classic melancholy tune that's bound to melt your heart.
The performances and chemistry between the lead actors is remarkable. Gosling shines as a prickly Jazz purist, who conceals his emotions while Stone stands out as the sparkly girl, whose eyes speak a million words. Together they are magical and so is this eternal love ballad that will change the way you look at life.
Half CA (2023)
Half CA Impressively Shows the Journey of a CA Student But With Some Minor Flaws !!!
Created by TVF, 'Half CA' primarily revolves around the experiences of Chartered Accountant (CA) aspirants, chronicling their journey from the beginning to the finals of the CA exams. The series skillfully depicts the struggles of commerce students, demonstrating that their challenges are no less than those experienced by science students. The concept is slightly different from what TVF has previously presented to its viewers, making this five-episode series with half-hour segments consistently engaging.
The story centers around two childhood friends, Archie (Ahsaas Channa) and Vishal (Anmol Kajani). Archie is determined to become a CA and firmly believes that "assets and liabilities ko alag karna chemicals alag karne se behtar hain (separating assets and liabilities is better than separating chemicals)." Vishal, on the other hand, blindly follows her every lead. The parallel track follows Half CA Niraj Goyal (Gyanendra Tripathi), who despite his sincere efforts, has failed two attempts at clearing the CA exams. The series highlights the anxiety, tough choices, sacrifices, pieces of advice, and disappointments faced by these characters during their journey.
Creators Arunabh Kumar and Harish Peddinti, who previously wrote popular shows 'Pitchers' and 'Hostel Daze,' respectively, along with their writing team, effectively develop an appealing story with realistic characters. Ahsaas Channa's portrayal of Archie's anxiety and dedication is believable and emotionally gripping, while Anmol Kajani delivers a decent performance as Vishal, the supportive best friend. The duo's chemistry as best pals is quite endearing. Gyanendra Tripathi's character, Niraj, undergoes an interesting character arc as he deals with humiliation following his failed attempts to become a CA. Despite his challenges, Niraj remains optimistic and provides wisdom to Archie. The supporting cast, including Rohit Tiwari, Niraj Sood, Manu Bisht, Prit Kamani, and Rohan Joshi, also play well-written roles that contribute to the series' engaging nature.
The cinematography by Ashwin Kadamboor captures the essence of Mumbai and the challenges faced by students who come to the city to pursue their goals. The meaningful song and background score by Arabinda Neog lend dimension to the drama.
Previously, Pratish Mehta directed 'SK Sir Ki Class,' a similar type of show focusing on UPSC entrance. This time, Mehta expertly blends the characters' own emotional difficulties with the competitive world of CA exams, creating a show that seems familiar yet refreshing.
All said, 'Half CA' is a binge-worthy series that encourages viewers to "Never give up in life." The series potentially reinforces the idea that persistence, resilience, and a positive mindset are crucial qualities to embrace while pursuing one's dreams.
The Whistleblower (2021)
The Whistleblower is Just Patehtic, is Incomplete and Poor in terms of Script, Acting & Execution !!!
Sony LIV's 9 episode "The Whistleblower" highlights the Vyapam scam i.e the mass-scale rigging of admission exams and recruitment procedures for medical colleges and sundry government jobs organised and overseen by the Madhya Pradesh Professional Examination Board, or the Vyavsayik Pariksha Mandal (Vyapam). In the Madhya Pradesh-set series, the fictional examination board is Rajya Pariksha Mandal (RPM).
Under the Vyapam scam, talented proxies wrote exams for undeserving candidates, who went on to score seats, jobs, and become doctors. Between 2013 and 2015, the Vyapam scam came to light. A chunk of the mafia was arrested. Those who came in the way of the mafia or were about to expose the scam, died under mysterious circumstances. The problem with The Whistleblower is that the hero is neither the top good guy, like a cop or a journalist, or the top bad guy. He is in the middle, a part of the scam. At some point, he switches sides and becomes a good guy. As we follow this hero, we also learn how the scam operates, so there's no mystery left. But because the hero is also not the ringleader, this is also not the story of an all-powerful anti-hero getting his just desserts.
Final-year medical student Sanket (Ritwik Bhowmik) is the titular whistleblower. From episode one itself, Sanket is a brat who doesn't inspire sympathy or empathy. His father is the Dean of a private medical college and hospital, so he has no issues with money. But he becomes part of the scam to get a "kick" out of it. He cheats on his girlfriend with her sister and his shenanigans lead to the death of a family member. After this tragedy, Sanket, who until then had no inner life, takes a U-Turn and becomes a 'double agent'. I am not making moral judgements, but such an unremarkable, stupid kid who is out of his depth, conning a dangerous mafia--Bunty-Babli style--and getting the bad guys arrested, is unbelievable by any stretch of imagination.
The Whistleblower is created by Ritesh Modi and directed by Manoj Pillai. Ajay Monga has written the story, and co-written the screenplay with Shivang Monga. The dialogue is by Ajay Monga and Chintan Gandhi. Their research is on point. We get to know several details about how a scam of this nature and scale operates state-wide. But the writers are unable to turn this research into compelling drama. Relationships between characters are not well-established. They are frequently shown to be either gullible or forgiving of one another's past indiscretions, just so that the plot can chug along. The only relationship that gets some kind of a clear arc is the one between Dadda (Ravi Kishan), one of the top minds of the mafia, and Sanket, with whom he develops a mentor-protege relationship. Ravi Kishan is the best thing in the 400-minute-plus series, which is mostly a tiresome watch.
The series' problems are at the writing level. The writers don't seem to know who is the most compelling character in this story. (The intrepid journalist, played by Ashish Verma, is a more interesting character than Sanket, for example). Good actors like Sonali Kulkarni and Zakir Hussain are wasted in badly written roles. The villains spend most of their time sitting on sofas and chairs, making calls to one another. The heroes' harebrained schemes to trap them are out of Famous Five or the likes. And all the deaths happen offscreen for some reason.
Zara Hatke Zara Bachke (2023)
This Rom-Com Fun Ride Was Watchable in Many Parts !!!
A romantic comedy of errors set in a small town with oddball characters and an outrageous plot makes for a fun premise. Director Laxman Utekar's directorial venture delivers on this account for the most part. It promises to be a laugh riot as soon as the viewer is introduced to Kapil Dubey (Vicky Kaushal), his wife Saumya Chawla Dubey (Sara Ali Khan), and their joint family. All hell breaks loose when the pandit's family accidentally eats a cake that contains eggs.
As Kapil's mami (Kanupriya Pandit) takes a jab at the Punjabi daughter-in-law for the fiasco, the latter puts her foot down that she wants to move out and away from the constant taunts. And thus begins the duo's quest to buy a house, which proves to be a proposition they cannot afford.
Things take a bizarre turn when Saumya discovers a government scheme to acquire a flat. But here's the catch-since Kapil's family owns a house, he's ineligible. A dubious agent, Bhagwandas Ishwardas Sahay (Inaamulhaq), tells them Saumya will be eligible under the women's quota if she divorces Kapil, and the two can remarry once the home is allotted. After that, the viewer is treated to a comedy of errors as the couple pretends to fight to persuade the family and the judge that they must get divorced. A love triangle and a nosy security guard, Daroga (Sharib Hashmi), are thrown in to make the ride crazier.
The film's basic storyline feels far-fetched, as Kapil and Saumya decide to take a drastic step, such as separating (even if only on paper) to acquire a house when they are not in dire need. The movie's first half is especially rib-tickling, but the entertainment quotient dips post-interval because of unconvincing and over-the-top tracks, like when the duo pretends to be brother and sister or a government official shows up at Saumya's rented apartment for verification, and Kapil is around too. There's a medical emergency track that adds to the drama but does not take the story forward, segueing to a climax that feels rushed and could have been developed better.
Vicky Kaushal performs ably and gets the small-town penny-pinching guy act well. He emotes perfectly in a scene at the hospital when Kapil and Saumya have a heart-to-heart talk to iron out their differences. Sara Ali Khan does not pass off as a middle-class bahu or a spitfire Punjabi girl. The supporting cast, including Neeraj Sood and Kanupirya Pandit as mama and mami, Inaamulhaq, Rakesh Bedi as Saumya's father, Harcharan Chawla, and Akash Khurana as Kapil's father deliver good performances. Sachin-Jigar's songs are catchy, and Raghav Ramadoss's cinematography captures Indore's small-town vibe and quirks well.
Overall, Zara Hatke Zara Bachke is an enjoyable one-time-watch for the funny punchlines, far-out characters and performances. But the unconvincing story and the temperate screenplay prevent it from reaching its full potential.
The Family Star (2024)
Vijay Deverakonda and Mrunal Thakur's Family Drama Unnecessarily Tests Our Patience !!!
Govardhan Rao (Vijay Deverakonda) carries a lot of responsibilities on his shoulders. He might have two older brothers (Raja Chembolu, Ravi Prakash) and a grandmother (Rohini Hattangadi) but he takes it upon himself to run the family, despite being the youngest. He is careful with the family's finances, constantly reiterating how many kashtalu (problems) he has. When Indu (Mrunal Thakur) rents the upper floor of his house, she changes his life in more ways than one.
The plot of Family Star is so wafer-thin; you can see through it like one of the CGI dosas Govardhan makes for his nieces and nephews early on in the film. But even within the realm of what it is, Parasuram's film defies logic, making it difficult to sit through. Even worse, it almost feels like Family Star was written by someone who doesn't know what living a middle-class life is like, making the whole attempt feel caricaturish.
The biggest issue Family Star suffers from is a lack of emotional depth. Everything in the film feels superficial. You don't feel anything for the lead characters, let alone the supporting ones, with no proper explanation for their motivations.
The supposedly responsible Govardhan often lets out his inner man-child, yet you never understand why those around him put up with any of it. Indu also hides something from Govardhan, but the big reveals (yes, plural) involving her character, come across as plain silly. And the less said about the friction between Govardhan and one of his brothers, the better.
While the core point of Family Star is Govardhan's pursuit of giving his family a better life, a lot of the film also hinges on his love for Indu and vice-versa. And yet, Vijay and Mrunal hardly have any chemistry, except in a few scenes. That's not their fault though because Parasuram doesn't give them space to breathe or a chance to flourish.
He instead chooses to focus on scenes that are meant to be funny, but the jokes don't really land. There's an unnecessary scene where Govardhan is mistaken for a prostitute which is played for gags, but all it does is make you cringe. So does his behaviour at the work place. This is why it's ironic that the infamous 'iron ee vanchala enti' (do I need to bend the iron) fight scene unintentionally make you laugh.
The Family Star could've been a simple, earnest film about a man taking up the responsibility of a massive family and finding love. We could've also gotten a film where the protagonist is content with his circumstances till he's forced to face reality. Instead, you get a film that feels stretched, filled with ridiculous plot points and speeches that make you feel like you're in a time warp. Overall, it's a shame that Vijay, Mrunal and a cast featuring names like Rohini, Jagapathi Babu, Vasuki and Abhinaya were wasted in a film as middling as this one.
The Empire (2021)
Kunal Kapoor and Shabana Azmi Rule This Historical Action Drama !!!
Before the paintings and the poetry, the Taj and Tansen, and the lofty ramparts of the Red Fort, there was a teenage prince besieged by self-doubt. The Empire is the story of how he became Babur.
The show takes us straight to a battlefield, where Babur (Kunal Kapoor) is once again trying to escape death. Armless, he is at the mercy of his enemy but is soon saved by one of his soldiers. It has been this way since Babur was crowned king at the age of 14, danger is his constant companion. So is his strange and constant need for reassurance, which surfaces during testing times. When he defeats the pitiless and cruel Muhammad Shaibani Khan (Dino Morea) to win Samarkand - losing his own city, Ferghana, in the process - he asks his grandmother Aisan Daulat Begum (Shabana Azmi) if he really deserves his victory. Many years later, she finds herself having to slap some sense into her grandson when a vengeful Shaibani drives him out of Samarkand - and he promptly drowns himself in drinks.
The loss of his kingdom is humiliation enough. But the turning point in Babur's character arc is when his sister Khanzada Begum (Drashti Dhami) is capture and imprisonment by Shaibani Khan. The future Mughal emperor begins to conquer small regions and build an army to fight his arch-rival, but he is too powerful. It finally allows Babur to overthrow Shaibani and turn his attention to conquering Hindustan - which he does with the help of his son Humayun.
The Empire is based on Alex Rutherford's book Empire of the Moghul, a historical fiction novel about the Mughal Dynasty. We can't comment on whether the show remains true to the book, but it depicts Babur's story in a simple, precise manner. Writers Bhavani Iyer and Mitakshara Kumar keep the storyline of The Empire straight and uncomplicated. The show's dialogues (penned by AM Turaz) are well-written. During the show's press conference, it was revealed that apart from Shabana Azmi, no other actor was familiar with Urdu, but at no point do they make it feel jarring.
Director Mitakshara Kumar, who has extensively worked with Sanjay Leela Bhansali, takes inspiration from SLB's work in The Empire. Dino Morea's mannerism in the role of Shaybani has a hint of Padmaavat's Allauddin Khilji - he rips the skin off an animal in his darbar, butchers a young boy and laughs like a maniac after mercilessly killing people. Even Shaibani's room resembles that of Khilji's in Padmaavat. The show's set designs and well-researched costumes deserve a special mention too. They make the characters believable and lend authenticity to the plot.
The Empire's biggest strength is its actors. This show tells the story of an emperor, but it gives equal prominence to his counsellors. Women aren't just shown as pawns here, they hold a strong position in every decision that is being made. Shabana Azmi in the role of Babur's grandmother and kingmaker delivers a powerful performance. Esan Daulat Begum has the reins of the kingdom, and it is her will that prevails over everyone else's. Being fluent in Urdu, Shabana effortlessly gets into the skin of her character. It's a delight to watch her scheming and plotting on screen. Similarly, Drashti Dhami's Khanzada Begum plays a prominent role in Babur's victory and in his political life. The show highlights the strong presence of women in politics in the Mughal empire. Though it is the king who announces every decision, there is a woman's brain behind every step.
But the king of this empire is Kunal Kapoor. The actor breathes life into the character of Babur. Instead of making him a larger-than-life figure, Kunal shows Babur's vulnerability, his constant need for reassurance and everything else that makes him human. Kunal doesn't resort to chest-thumping, he plays Babur with ease and sincerity. Another notable performance is by Rahul Dev in the role of Wazir Khan.
The Empire isn't without flaws, but it manages to keep you interested and invested. You can watch the show on Disney+Hotstar.