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Citadel: Diana (2024)
Citadel Diana is Better than The Orginal Citadel !!!
Citadel is seriously thinking of creating its own universe and world. We have had spy agents like Priyanka Chopra and now Matilda De Angelis, in the Italian version. Just less than a month later, we will see Varun Dhawan and Samantha Ruth Prabhu in the Hindi language called Citadel: Honey Bunny. All the spies have one thing in common- They are tough, intelligent, and in the case of Angelis, who is called Diana, angry.
Set in the year 2030, 'Citadel: Diana' follows Diana Cavalieri (Matilda De Angelis), a Citadel agent planted as a mole within Manticore. She joined Citadel after discovering that Manticore was responsible for the plane crash that killed her parents. Driven by a desire for revenge, she is trained by Citadel veteran Gabriele (Filippo Nigro) to infiltrate the syndicate. Just as Diana plans to disappear and leave the world of espionage behind, she receives unexpected help from Eduardo Zani (Lorenzo Cervasio), heir to Manticore Italy and son of the ruthless Ettore Zani (Maurizio Lombardi), who is playing his own power games against his German and French counterparts. As alliances shift and betrayals unfold, Diana must navigate a dangerous web of deceit, where trust is a rare and costly commodity.
Matilda De Angelis shines as Diana, the undercover Citadel agent, delivering a strong performance in both the dramatic and action-packed scenes. Her interactions with her sister and trainer offer glimpses of her acting range in a series largely defined by action. Maurizio Lombardi impresses as Ettore Zani, the head of Manticore Italy, suspicious of Diana's activities. His cool demeanour and sharp Italian style stand out. However, the real scene-stealer is Lorenzo Cervasio as Eduardo Zani, Ettore's son and heir to Manticore Italy. Lorenzo's calm, calculated approach, even when surrounded by enemies, is captivating. His sharp instincts and ability to anticipate threats make his performance highly credible.
Unfortunately, the basic plot and screenplay let the series down, failing to keep viewers engaged. The meeting between the heads of the Italian, French, and German Manticore branches feels outdated, with their hideout resembling a 70s-style mountain den. While the series boasts high-octane action, gadgets, and advanced tech, the lack of a gripping, edge-of-your-seat plot undermines their impact on the overall storyline.
IC 814: The Kandahar Hijack (2024)
The Hijack of IC 814 Stays True to its Approach and Reality !!!
IC 814: The Kandahar Hijack, filmed in Jordan, Nepal and Mumbai, is based primarily on Captain Devi Sharan's book Flight to Fear. The script uses additional inputs from another book, Anil Sharma's IA's Terror Trail, which recounts 16 cases of hijacking of Indian aircraft from the early 1970s to the late 1990s.
Besides what the solid research and script bring to bear upon the series, a wonderful ensemble cast elevates IC 814: The Kandahar Hijack above the ordinary. Including those playing the passengers in the aircraft, the show has well over 100 actors, many of whom are little-known. However, each one of them contributes to heightening the impact of the drama.
In the face of grave danger and provocation - IC 814, on the way from Kathmandu to Delhi on Christmas eve of 1999, is hijacked by five masked terrorists and forced to fly with a fast-depleting fuel tank to Amritsar, Lahore, Dubai and finally Kandahar, Afghanistan - the captain demonstrates exemplary courage and presence of mind.
Vijay Varma 'pilots' the show as a man whose planned yearend vacation with his wife and daughter is scuttled by the hijacking. The actor's subdued intensity conveys tenacity rather than showy bravado, a characterization strategy ingrained in the writing itself. Patralekhaa is splendid as flight attendant Indrani whose inner turmoil is accentuated by the fact that she has had to leave her ailing father at home. She isn't the only woman in the series but she is nearly as much in the thick of the action as most of the show's other key characters.
Dia Mirza plays a newspaper editor who believes in the virtues of caution. Amrita Puri is cast as an irrepressible newshound. Working in tandem, the two have frequent run-ins with each other on professional matters. The collision of their differing approaches lends the show an extra dimension.
IC 814: The Kandahar Hijack would not be half the series it is without its formidable slew of veteran actors - notably Naseeruddin Shah, Pankaj Kapur, Arvind Swamy, Kumud Mishra and Manoj Pahwa. They immeasurably enhance the show's depth and weight.
The camera swirls around them. They hover over each other. They go head-to-head with contrarian points of view that underscore inter-departmental divergences. Individually and together, these past masters of their craft are a treat to watch.
Kanwaljit Singh, Yashpal Sharma, Sushant Singh and Dibyendu Bhattacharya are somewhat underutilised, which is perhaps unavoidable in a miniseries with a wide array of characters vying for attention. But there is little else in IC 814: The Kandahar Hijack that one can find fault with.
Authentic and to the point, IC 814: The Kandahar Hijack is as good a web series as any we have seen this year.
Khel Khel Mein (2024)
A Widlily Entertaining Comedy After A Long Time !!!
At her sister's lavish Jaipur wedding, writer Vartika (Vaani Kapoor) suggests a twisted game, unleashing a hilarious, heart-rending, and dramatic chain of events. As private lives are exposed, the group discovers hidden secrets: Rishabh's (Akshay Kumar) Casanova personality, Kabir's (Fardeen Khan) personal struggles, Happy (Taapsee Pannu) and Harpreet's (Ammy Virk) marital issues, and Naina (Pragya Jaiswal) and Samar's (Aditya Seal) dark past.
Mudassar Aziz's direction and writing shine through the entertaining script, taut screenplay, and emotional dialogues-Rishabh's call with his 18-year-old daughter where she wants to stay over with her boyfriend for the first time, and his speech at his sister-in-law's wedding will win your heart. The writer-director proves a movie can be entertaining and engaging even when the set-up is confined to a hotel room's dining table.
The couples' introductory part follows a template, but once that's out of the way, the rest of the movie, which portrays the course of the evening, will keep you hooked to the screen and laughing out loud. However, every couple's story is predictable, often veering toward being cliched. But the performers delivering lines with pitch-perfect comic timing and expressions make up for the flaws in the stories.
Akshay Kumar is in top form as an incorrigible man who can read a person and convincingly spew white lies. He has unconventional views on relationships and loyalty, which will also resonate with the viewer. Ammy Virk delivers an outstanding performance as a hotheaded Sardar. He has an undeniable chemistry and comic timing with Fardeen Khan. While the latter's character's back story could have been better, he delivers a powerful performance. Taapsee Pannu as a ditzy and loud Punjaban shines in every scene-especially when the friends find out her nicknames for them or when her husband reads out his text messages aloud. The actress effortlessly alternates between side-splitting and poignant scenes. Vaani Kapoor as a chic writer, Aditya Seal as a professional trying to prove his worth, and Pragya Jaiswal as a clueless, high-society girl play their parts with aplomb.
Khel Khel Mein has minor flaws, but its smart writing, tight direction, and performances make it worth a watch, especially with a bunch of friends. However, if you get too inspired by this game, do it at your own risk!
The Greatest of All Time (2024)
Thalapathy Vijay - Venkat Prabhu Packs a Wholesome Action-Drama !!!
It's Ilayathalapathy versus Thalapathy. One is a good guy and the other is bad one. A young man vs an older one, bringing double the fun and double the action. Director Venkat Prabhu tries to show the audience why this film and Vijay is GOAT to his fans and the audience.
GOAT takes off in Kenya in 2008 where we see a special anti-terrorist squad (SATS) team recover stolen uranium from a group of terrorists led by Omar and Rajiv Menon (Mohan). Gandhi (Vijay) and his team members-cum-friends Kalyan (Prabhu Deva), Sunil (Prashanth), Shaaam (Ajay) come back victorious to India but create havoc in the mission and receive flak from their chief Nazeer (Jayaram) for this. The group of men are thick as thieves and like to party and this is what gets Gandhi into trouble with his pregnant wife Anu (Sneha), who is quite suspicious of his activities.
To keep Anu and his son Jeevan happy, Gandhi decides to take them to Thailand when he is assigned a mission. And this is where things go terribly wrong. Gandhi and his family are attacked by a gang and Anu ends up in hospital while Jeevan ends up kidnapped and killed. Cut to years later and we see things have changed - Gandhi is on a desk job and he is separated from Anu. But terror strikes again in the form of Sanjay. What does Gandhi do ? Who is Sanjay ? How does the SATS team save the day ? Does Gandhi reunite with his family ? Is it a happy-ever-after ?
Director Venkat Prabhu must first be lauded for writing a story that travels the world and has family sentiment, action, humour and drama interlaced with twists and plenty of tributes. He has given Thalapathy Vijay a story that is quite different from the Tamil star's last few outings and it's refreshing. Vijay is seen in two roles and the two characters are radically quite different and that's what makes it interesting. Venkat Prabhu has loaded the film with a lot of tributes starting from Captain Vijayanath, SPB and Ajith's Mankatha hook step to his late cousin, Bhavatharini, and numerous Vijay films.
The first half of GOAT is extremely engaging with the director setting up the stage for superb interval block that takes you by surprise. There is a lot of family drama and high-octane action in various missions around the world before the film hits the interval. Post interval, the film takes off with a face off between the Gandhi and Sanjay and the director tries to keep it fast-paced. Through the film, Venkat Prabhu shows he is a fanboy of Vijay, the Kollywood (references to Ghilli, Thirumalai, etc) and the climax of the film definitely proves this. This is not to say that there are no lags in the film but the superb performance of Vijay and the large ensemble cast makes you forgive this. The director capitalises totally on Vijay's trademark charm, sentiment, action, dance and humour and this is sure to appeal to his fans and the audience.
GOAT is a Venkat Prabhu treat for Thalapathy Vijay fans and the audience. This Vijay film is an action-packed, fun, wholesome entertainer!
Aranmanai 4 (2024)
A Predictable and Decent Horror Comedy Entertainer !!!
Given that Aranmanai 3 ended up making money despite the negative reviews, it is no wonder that Sundar C has once again returned to this franchise to prop up his box office cred after the misstep that was Coffee With Kadhal. But you have to give credit to the director for having developed a formula that is essentially critic-proof. All that a reviewer has to do is take a leaf out of the director's playbook, rehash observations from their reviews of the previous films, and it would perfectly pass off as a review of this latest instalment. And so, here we go !
Aranmanai 4 does what it sets out to do - faithfully tread the formula set by the first film (a reworking of the plot of Aayiram Jenmangal), content to be coasting along with a 'people will see this movie no matter what' attitude. It has the failsafe must-haves - good-looking A-list stars who can draw the youth (here, it is Tamannaah, who gets to dial up the melodrama to an extent she's never done before, and Raashi Khanna, in a role that appears throughout the film while hardly making any impact), scares that thrill kids without disturbing them (they can take a peek at the scenes through their fingers without worrying about having nightmares), a spiritual element that might appeal to the women (featuring a cameo by a yesteryear actress in the climactic song; here, we have two!), and comedy that works for the entire family (though the humour quotient keeps going down with each film; Yogi Babu and co are quite unfunny here).
And the tropes keep coming - palatial mansion, formless smoke figures, brutal murders, children who can sense/see the ghost, bumbling comedians who get thrashed by the ghost, godmen spouting mystic mumbo jumbo, tragic flashback, tacky visual effects, and, of course, Sundar C in a part-detective part-mass movie hero avatar, taking on both henchmen and ghost with the same unfazed expression.
This time, the plot or the clothesline on which the director hangs these tropes, involves a mother trying to protect her kids from the spirit realm after having been tragically killed by a demonic entity. This is baak, a creature from Assamese folklore that can take the shape of the person it kills (though it is still treated in a way that's no different from the way the ghosts in the previous films were). In another film, the fact that the wife dies trying to protect her kids from the baak, which has taken the form of her husband, could be read as a commentary on domestic abuse, but subtext is the last thing this film could be bothered about.
The one noticeable difference is the slightly different visual aesthetic in the first half (borrowed from the Kannada film Vikrant Rona); the glossy, ad film-like forest we see here at once feels unreal and unsettling. But the director soon returns to the chaotic, hyper-saturated look of the second and third films and the rapid cuts.
On the whole, Aranmanai 4 does what it intends to do - overwhelming us with kitsch and underwhelming us with its lack of imagination and originality, in utterly predictable, instantly forgettable and mildly entertaining fashion.
Batman Begins (2005)
Batman Begins Made Everyone Take Superhero Movies Seriously !!!
Batman Begins kicked off Christopher Nolan's Dark Knight Trilogy, which has gone on to become an integral part of the world's conception of not only Batman but also superhero movies in general. While debuting in 2005, Batman Begins is a far (at least 4,350 miles) cry from the last Batman flick-1997's critical Titanic Batman & Robin. While Batman Begins no longer feels like anything particularly special, there is no doubt that it ushered in an era where superhero movies are taken seriously, both by critics and broad audiences.
The production value of the film is off the charts. Seventeen years later, it still feels natural to watch and does not struggle too much with outdated visuals or storytelling. Helmed by 11-time Academy Award winner and acclaimed director Christopher Nolan, it is obvious that the film's baseline quality was one of the most important characteristics of Batman Begins. This next paragraph is about to be obnoxious, but it makes a point.
The movie stars Academy Award winner Christian Bale as the titular Batman, Academy Award winner Michael Caine as Alfred, Academy Award winner Gary Oldman as Commissioner Gordon, Academy Award nominee Liam Neeson as the villain as Ra's al Ghul, Golden Globe nominee and the guy with the super intense eyes Cillian Murphy as Scarecrow, and Academy Award winner and global treasure Morgan Freeman as Lucius Fox. Batman Begins is scored by Academy Award winner and legend Hans Zimmer, and the Batsuit was even designed by Academy Award-winning costume designer Lindy Hemming. These likely only scratch the surface of the level of talent brought in for Batman Begins and The Dark Knight Trilogy.
Aside from the output quality, the story comes across quite differently than most-if not all-superhero movies to come before the film. The focus is on Bruce Wayne himself. His own personal demons and battles drive the narrative rather than fantastical, caricaturized, and shallow shiny-costumed heroes or villains. Rather than the adversary being campy or corny villains taken straight out of a classic comic book, Batman's fight is ultimately against the manifestations of long-lasting systemic crime in Gotham City. There is an element of realism in Batman Begins that frankly did not exist before in the cinematic genre. The film takes its time-albeit a lot of time-to try and explain Bruce and his origin like a fully-established character. We are not just given the Bat. We have to earn the Bat.
Batman Begins is certainly not perfect. Watching it now, it can be rather dull and boring at times. While systemic crime is the real culprit, a somewhat messy mixture of Ra's al Ghul, Scarecrow, and Carmine Falcone make up the individual villains. Because each is diluted, none have the presence of an actually foreboding villain, but the combination and realism influence gives the movie more of its well-rounded and structurally-solid qualities. One thing that the movie provides that was surprisingly refreshing upon re-watch is the steady building of Batman's arsenal. As far as previous Batman movies are concerned, Batman already existed and had his awe-inspiring collection of gadgets, gear, and Batmobiles. Here, watching it all play out with genuine attempts at describing how Batman's stuff works is nice.
Thalavan (2024)
A Watchable Investigative Crime Thriller With Some Good Performances !!!
Biju Menon and Asif Ali probably have the most bankable chemistry, even when they are at each other's throats. Thalavan works to a large extent, even with a messy second half, thanks to this duo.
Karthik (Asif Ali) joins as the SI at Chepannamthotta station, where CI Jayasankar (Biju Menon) is the SHO. They are both hot headed and get off on the wrong foot, and seem to be working at cross purposes throughout. The situation turns even more tense when Jayasankar is implicated in the murder of a goonda's wife and Karthik is put in charge of the investigation. The story and how the case is solved is narrated in flashback by DySP Udayan (Dileesh Pothen), who initially headed the tricky investigation.
The first half of the film, directed and co-scripted by Jis Joy, along with Sharath Perumbavoor and Anand Thevarkad, is straightforward and takes a total hold of you, with a couple of interesting red herrings. In the second half, however, the investigation takes a different turn and gets confusing with new suspects and situations added to the ones from the first half. Also, the climax seems to get overly dramatic and the flow gets a bit bumpy.
Despite keeping the typical cop demeanour, both the lead actors have amazing screen presence and are well-supported by side characters, be it Dileesh or the other cops, and even Miya and Anusree in smaller roles.
Jis Joy, who is veering away from his earlier lighthearted genre like Sunday Holiday and Vijay Superum Pournamiyum, has made a fairly engaging investigative thriller, but missed the opportunity to craft a super one.
Ishq in the Air (2024)
Shantanu Maheshwari and Medha Rana's Journey of Ishq is Sweet and Adorable !!!
Ishq In The Air - brings a familiar romantic formula but does so with fresh vibrancy, making it a binge-worthy watch. Set against the contrasting backdrops of Indore and Mumbai, the series follows Kavya (Medha Rana), a spirited hairstylist, and Naman Kothari (Shantanu Maheshwari), a shy and aspiring photographer caught in his family's namkeen business. Their chance meeting during a flight delay sparks a romance that gradually unfolds over five episodes.
The series stands out in its depiction of the stark differences between the protagonists' worlds. Naman's calm, small-town life contrasts sharply with Kavya's fast-paced, urban lifestyle, and this difference adds a layer of charm to their budding relationship. The way these two environments shape the characters and the inevitable clash of values they represent is captured beautifully, giving depth to an otherwise simple love story.
Medha Rana and Shantanu Maheshwari's performances are a highlight, especially with their chemistry making every moment believable. Shantanu's portrayal of the gentle, soft-spoken Naman complements Medha's spirited Kavya, and watching their interactions feels effortless and heartwarming. Their connection feels organic, and the evolution of their relationship adds a layer of emotional depth to the series.
While the romance is central, Ishq In The Air also explores personal growth, showing how love can inspire change and push individuals to face their insecurities. The characters evolve as they grapple with the differences in their lives, and the series gently nudges the idea that love, despite its challenges, can bridge even the widest divides.
However, the show doesn't stray too far from familiar territory. Directed by Tanmai Rastogi, known for Ishq Express, the premise of two strangers meeting at an airport feels like a small tweak on his earlier work, where the meeting happened on a train. This familiarity might make the story predictable, but it's saved by the charming performances and the emotional journey of the characters.
In a nutshell, Ishq In The Air may not offer groundbreaking storytelling, but its relatable themes, endearing characters, and the contrast between two worlds make it a heartfelt and entertaining watch. It's a sweet tale of unexpected encounters that turn into lifetime memories.
Saripodhaa Sanivaaram (2024)
Nani, SJ Suryah and Vivek Athreya Brings An Absolute Commercial Entertainer !!!
Surya (Nani) is an LIC agent by profession who leads a normal life on all days but has the principle of letting his anger out only on Saturdays. He picks the side of weak and vulnerable to fight against the bad guys. Charulatha (Priyanka Mohan) is the new joiner at the police station where the ruthless CI Dayanand (SJ Suryah) is the head. What happens between Surya and Dayanand ? How Surya gets involved in the issues and what he does to solve them is all about Saripodhaa Sanivaaram.
Nani as Surya nailed it with his performance. Be it emotional sequences with his mother, father and sister characters, action episodes, confrontation sequences with SJ Suryah & 'Eega' episode with Priyanka Mohan, he is at his best. Also, kudos to Nani for letting the director to come up with a performance driven, action packed antagonist character in the film.
How often we see Nani getting outshined by an actor in the film ? SJ Suryah in an author backed role in Saripodhaa Sanivaaram is just brilliant & he even outshined Nani in a few sequences. His comedy timing in a serious role is too good to watch.
Priyanka Mohan is alright. Her role lacks the required depth and emotional connect. Sai Kumar, Ajay Ghosh, Murali Sharma, Harshavardhan got good roles and all of them made their presence felt. Abhirami as hero's mother and Aditi Balan as hero's sister did their roles well and bought the film the required emotional connect.
Nani has been picking scripts with variation and is making sure that no two consecutive films from him have the same genre. Saripodhaa Sanivaaram is an action drama with a unique theme where Nani excels in the lead role with great support from the remaining cast. SJ Suryah's combination sequences with Nani, Murali Sharma and Harsha Vardhan along with Jakes Bejoy's background score made the first hour in the second half very racy and thoroughly enjoyable. Although the sequences in the second half are routine, almost all the actors pulled it off with their brilliant acting abilities.
Right from the word go, Vivek Athreya with his unique screenplay established the characters & conflict very well. His writing needs a special mention. There were many well-written & meaningful dialogues throughout the film. Also, the way he generated fun using Saikumar & Harshavardhan characters is very commendable. Another good thing about Saripodhaa Sanivaaram is that almost every character in the film has a significance & purpose.
Basic plot of the film is a simple & routine one but Vivek Athreya's magic with screenplay made the film standout from the other commercial films. However, editing in the film would have been better. Although, the characters introduction & their purpose were established well, director took almost fifty minutes to do so. Also, climax part was a little stretched. At least fifteen minutes of editing would have taken the film to another level.
Overall, although it has a few flaws like length & a bit over the top background score in first half, Nani's Saripodhaa Sanivaaram is entertaining with a good first half and a decent second half and it can be watched with friends and family.
Kohrra (2023)
Genuine Performances and Authentic Approach Makes This Investigative Crime Thriller Engaging and Compelling Watch !!!
Co-created by Sudip Sharma and directed by Randeep Jha, 'Kohrra' is an intriguing procedural thriller that explores the dark underbelly of the countryside in Punjab. Although slow-paced, the screenplay by Gunjit Chopra and Diggi Sisodia keeps viewers interested throughout the series, shedding light on various aspects of Punjab's society, such as migration, feudal skirmishes, drugs, consumerism, and land inheritance. The show highlights the importance of honesty, empathy, and understanding in breaking free from the cycle of darkness and creating a harmonious community where love and compassion prevail.
The story begins with a dead body found in the village of Jagrana, Punjab, and two dedicated Punjab Police officers, Balbir Singh (Suvinder Vicky) and Amarpal Garundi (Barun Sobti), taking charge of the investigation. As they dive into the case, they learn that the victim is an NRI who returned to his hometown to marry. The news of the murder spreads rapidly, putting pressure on the police to solve the case. The detectives delve deep into the lives of the dysfunctional families involved, uncovering a complex network of secrets and lies. With each clue they uncover, Balbir and Garundi persistently pursue leads, interrogate family members, and piece together the events leading up to the murder.
This six-part series stands out for its genuine approach and layered storytelling. Aside from the inquiry, the series provides a glimpse into the lives of different members of society, exploring the struggles of dominant yet miserable men, helpless mothers, and the desperation of the younger generation. It delves into the buried dark truths that are kept hidden owing to societal constraints and the lies that hold families together.
The performances by the cast are commendable, with Suvinder Vicky portraying the dedicated cop Balbir Singh with authenticity. His character's troubled personal life, affected by his daughter Nimrat (convincingly played by Harleen Sethi), adds intrigue to his journey. Barun Sobti, who plays Balbir's sidekick Garundi, takes some time to master the Punjabi dialect, but once he does, it adds more depth to his performance. The supporting cast, including Varun Badola, Manish Chaudhari, and Rachel Shelly, deliver honest performances that grab the viewers' attention.
Mostly shot in and around Ludhiana, the cinematography by Saurabh Monga adds a realistic feel to the series. The background score by Benedict Taylor and Naren Chandravarkar enhances the tension throughout, heightening the overall viewing experience.
'Kohrra' offers a satisfying conclusion without leaving any cliffhangers or the promise of a second season. By the end of the series, when the true events are revealed, viewers experience a sense of relief. The show provides a clear and conclusive end, leaving the audience satisfied.
Overall, 'Kohrra' is a captivating and well-crafted crime thriller that immerses viewers in the dark secrets and dysfunction of the Punjab countryside, while delivering an engaging storytelling experience.
Karthikeya 2 (2022)
A Worthy Successor to Part 1 That Takes The Story Forward !!!
Chandoo Mondeti made a successful debut years ago with Karthikeya, hinting that the titular character Nikhil Siddhartha plays allowed for the series to carry on through his quest for truth. With Karthikeya 2, he does the same, leaving the ending open for another part in the series that takes us on an adventure along with the curious doctor.
Karthik (Nikhil Siddhartha) is now a doctor who has a successful career not just in the medical field but also otherwise as a myth-buster. We're told that after the events at Subrahmanyapuram, he has continued to provide logical answers to supposedly supernatural questions across the country. When his mother (Tulasi) takes him along to Dwaraka, he finds himself in midst of an adventure he did not seek out. With a murderous clan and a secret society on his heels, will he and Mugdha (Anupama Parameswaran) manage to find a missing anklet that might hold the answers to a future catastrophe ?
Chandoo ups the ante with Karthikeya 2 when it comes to Nikhil's character and the extent of danger he finds himself in. While the prequel spent a lot of time exploring his agnostic character's curious nature, apart from his love story with Valli (Swathi, who's completely missing from this tale with no answers given), the sequel dives right into things from the get-go, almost wasting no time in setting up new characters. As Karthik finds himself in the middle of an already on-going journey, so do we, with new issues cropping up along the way.
The change in tonality and even the budget definitely suits the Karthikeya series, allowing for an immersive experience and richer storytelling that's much more focused than the predecessor. While it's odd that a lengthier runtime has been chosen this time around, with some scenes dragging unnecessarily, the film remains an engaging one for the most part. You're already invested in Karthik, you know how he thinks and you know he won't get off the metaphorical train until it reaches the desired destination. And you're happy to be along for the ride for the most part.
Where the film doesn't work is when it gets too hammy and in-your-face with the fact that the characters believe Lord Krishna's story isn't just mythology, it's in fact 'history'. The attempt comes across as jarring, especially when two key characters suddenly change their tune by the end. This stands out like a sore thumb because you have already believed that Lord Krishna handed over an important anklet, you didn't need Karthik to suddenly be not-so-inquisitive anymore, nor did you need a speech from Anupam Kher hailing the god for his scientific prowess. A key character even says a particular line more than once, in case you missed it the first time. A subtler approach would've suited the way the first part of the series and even the second part initially resumes. It's also sad that where the original underlined the fact that sometimes men of science use faith for their greed, almost every scientist, architect, et al remains a staunch devotee in this film.
None-the-less Nikhil picks up where he left off with Karthik, adding a touch of maturity but maintaining the almost haughty nature the character possesses. He breathes life into the character and shoulders the story well. His character arch and growth should've been handled a little more smoothly for the desired effect at the end. But it's thankful the film doesn't spend too much time on trying to force a romance between him and Anupama, who does a good job as the sidekick whose intentions aren't always transparent. Satya and Praveen, Karthikeya's friends are traded in for Srinivasa Reddy and Harsha Chemudu, who bring some much-needed laughs to an otherwise serious story. The latter's 'paan, pyaar aur paisa' line in particular is hilarious. Rest of the cast don't really get to do much as their characters never really evolve enough and when they do, it doesn't feel organic.
Karthikeya 2 remains a worthy successor to Karthikeya minus the over-the-top strong-arming of Nikhil's character by the end. If you've loved Karthik's questioning nature, you just won't buy it. Watch this one if you're a fan of the first film, you might just have to wait a while though to meet the curious adventurist again in Karthikeya 3.
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.