cs_rahul_prasad Reviews

Shaitaan (2024)

One of the best Black-Magic Thriller in recent times !!!

[10/10 · 4 May 2024]

Ajay Devgn plays Kabir Rishi, the quintessential family man (the Drishyam kind not the Family Man kind) who is on his way to his farmhouse with his family that consists of his wife, Jyoti Rishi (Jyotika) and his two kids, Janvi (Janaki Bodiwala) and Dhruv (Anngad Raaj).

On their way, they meet a seemingly kind stranger Vanraj Kashyap (R Madhavan) who offers a sweet to Janvi. Here the words 'stranger danger' should've started flashing across the screen. The family soon realises, to their horror, that the sweet has put Janvi under Vanraj's hypnotic control.

Shaitaan's appeal lies in the atmosphere it creates, especially without the use of CGI. It mostly hinges on the antagonist's sinister intentions and games, which leave you with an unsettling feeling. Written by Aamir Keeyan Khan and Krishnadev Yagnik, the film sidesteps usual horror tropes. But it does touch upon the ageold supernatural versus science debate and human crudity that makes the species as basic as malevolent forces.

The narrative maintains a good pace and the treatment makes the movie gripping for the most part, although things gets a tad monotonous in the second half. Albeit not too suspenseful, the buildup is unnerving. The story has some unconvincing elements, and one scene gives away a pivotal plot point, which makes the climax predictable. Cinematographer Sudhakar Reddy Yakkanti excels in creating an atmosphere of dread and darkness, further enhanced by Amit Trivedi's music.

R Madhavan is outstanding as the malevolent figure and pulls off every sinister deed perfectly. Ajay Devgn delivers a powerful performance as a helpless but determined father. Jyotika stands her might, too. Janki Bodiwala deserves to be lauded for her pitch-perfect performance as the young girl under a devious spell. She laughs, cries, dances, and attacks on cue in immediate succession perfectly. Anngad Raaj as the son performs well, too.

"Shaitaan" is a commendable addition to the psychological thriller genre, driven by the exceptional performances of R Madhavan and Ajay Devgn. Vikas Bahl's directorial vision, coupled with a gripping screenplay, makes it a worthwhile watch for those seeking a chilling and thought-provoking cinematic experience.

Ishq Next Door (2023– )

A Nice and Good Heartwarming & Feel Good Series !!!

[9/10 · 29 April 2024]

Set in a small-town colony of Delhi called Rajat Vihar, the series introduces the viewer to its leading characters, Dev Mishra (Abhay Mahajan) and Meher Sikka (Natasha Bharadwaj) and their backstories. The former is an average guy-the narrator describes him as the colourful colony's most colourless character, and the latter as savage.

Despite being neighbours, the two are practically strangers, but love blossoms when they get to know each other. Before they can confess their feelings to each other, in comes Meher's strapping stud of an ex (and the show's narrator), Ashwin Chauhan (Mrinal Dutt), who breaks up with her, unable to manage the long-distance relationship. The story is about their love triangle and what happens when Meher faces the same situation as she gets a scholarship to study in Italy.

Abhay Mahajan is convincing as the average dorky young man burdened with providing for his family and filling in for his late father. He pulls off the act of being a good-hearted and self-conscious guy well. As a self-confident and straight-talking girl, Natasha Bharadwaj is good, too, and has a pleasant screen presence.

Mrinal Dutt is impressive and does a good balancing act of being the troublemaker and a good guy. Purav Jha stands out as the spoilt and smarter brother who advises Dev on matters of the heart. He does well in comic scenes and delivers funny lines with ease, like "Keep your attitude in your pocket, I have enough of it."

Farrey (2023)

These Students Executed A Near-Perfect Cheating Plan !!!

[9/10 · 11 April 2024]

The word 'Farrey' stands for ways to cheat, to devise ingenious ways to surpass the system and most importantly, do this without getting caught. But what makes the film a terrific watch is the treatment and performances of the lead cast.

'Farrey' sort of pushes the boundaries and caters to a more mainstream crowd. There is very little titillation or need to push the envelope in that space and instead, Soumendra Padhi and his troupe of kids focus on their characters and making the performances take the lead.

When we meet Niyati (Alizeh Agnihotri) in an orphanage wanting to go big, we actually also get into what an all-girls shelter home looks like from the inside. On the other side of the spectrum are the rich and very privileged Chhavi (Prasanna Bisht) and Prateek (Zeyn Shaw). How Niyati gets entangled in what seems like just a mere case of making a quick buck is what sets 'Farrey' apart from the rest.

Performances are the strongest pillars in 'Farrey'. After writing, if there is a force that makes the film worth watching, then it has to be the ensemble that Soumendra Padhi has put together. You can tell from the scenes that he has definitely put these kids through rehearsals and sessions before finalising the main take.

Alizeh Agnihotri, who makes her debut with 'Farrey', is perhaps the best find of 2023. Easy on the eyes and yet so riveting, she shines bright in some of the most complex scenes. The no-makeup, de-glam look also helps Alizeh make Niyati feel real. Her first big scene - the long monologue opposite Ronit Roy - is where you get to see that glimpse of someone who, with the right guidance and support, can be moulded into a terrific performer.

Prassana Bisht, who plays Chavi, is super terrific and so is Sahil Mehta, who plays Aakash. These two actors will go a long way and should get picked up for the right roles.

'Farrey' has a steady first half, but it's the second follow-up storyline post interval where you find the most juice. It's fast paced, makes you sit on the edge of your seat and the characters spring one surprise after another. There is, thankfully, no forced love angle or any other gimmick that might be a distraction to what the maker is set out to do.

'Farrey' is a solid effort that keeps you engaged. The fact that it is based on a real-life event makes it even more fascinating. A solid A + on the mark sheet for the cast of 'Farrey'.

Murder Mubarak (2024)

The opening scence of the movie tells where our Bollywood is going. Absolutely Vulgar !!!

[1/10 · 25 March 2024]

The film is based on a book by Anuja Chauhan, and the book is titled Club Me To Death. Now, while Ghazal Dhaliwal and Suprotim Sengupta adapted this book into a screenplay and presented a whodunnit, they forgot to incorporate the most important and essential element of this murder mystery - mystery.

The whodunnit starts off straight with the point - a murder that happens in the first 5 - 10 minutes of the film. The case is entrusted with ACP, played by Pankaj Tripathi and his subordinate. Now, as soon as he starts the investigation, the main problem of this film gets highlighted. This murder mystery has been tried to present in a hilarious manner with shades of dark comedy, but the laughs definitely do not get catered.

The very next problem with this film arises when too much starts happening in a single scene. It is so cluttered that despite not suffering from OCD, you would have a terrible feeling to organize it in a much better way than Homi Adajania has attempted to. Definitely, murder mysteries need to develop a certain level of suspense to keep the audience hooked.

While none of the characters are strongly established, the second part starts shifting towards the main leads (so to say) Sara Ali Khan and Vijay Varma, trying to solve the case parallelly and taking their not-so-required romance to another level with a love-making scene and a song out of nowhere. By this time, my head was spinning way too much to empathize with those who had signed up for this film.

There is no star in the film because there is no performance in the film. In fact, it feels like no one knew what they were supposed to do on camera. And suddenly, everyone tries to put up a worthy performance or rather overperformance when the focus shifts to them for 60 seconds!

Homi Adajania has a good plot in his hands, and he certainly does not know what to do with this film. He took the herculean task of developing strong plots for eight suspects, he could not deliver justice to even one of them, and it is heartbreaking to see such a great ensemble shatter like a castle made of cards in lieu of a struggling script.

Adding to this already confused tale of mystery meets humor is an out-of-nothing song that you just want to fast forward.

There are only two ways I would suggest you watch this drowsy tale of multiple murders, all aimless, and an ensemble cast lost in the tale - either watch it in 2X or better start watching it backward and just get frakking done with it in 15 minutes! Ooof, it seems like a lifetime already !

Hijack (2023)

Idris Elba and Team Makes This Tense Thriller An Execellent Watch !!!

[10/10 · 17 March 2024]

Apple TV's offering is Idris Elba on a Plane. He plays ordinary guy Sam Nelson - known for his business negotiating skills back on Earth - who finds himself trapped on a hijacked flight and forced into the role of reluctant hero. So it's Idris Elba in Die Hard, too. And the seven-hour journey plays out in almost real time, so he is also Kiefer Sutherland in 24. Or rather it's Idris Elba in 7, but the actual title of this brilliantly executed, suspenseful, daft and wholly convincing ride is Hijack. It doesn't even have an exclamation mark.

To believe in the premise of Hijack for even one moment, you see, requires you to believe several difficult things. One: that there exists a man so potently charismatic he can persuade anyone - arrogant posh boy playing video games too loud, frantic passengers, jittery and bloodied hijackers, desperate people locking themselves in various unhelpful places - to listen to him and his reasonable proposals for turning down the video games, taking a deep breath, unlocking the door and generally trying to find a way to de-hijack the plane and not kill any of the 200-odd people on board.

Two: that there is a man so keenly alert and intelligent that he can deduce that a violent takeover is brewing from the presence of an unnaturally furrowed brow three rows down, and an aberrant washbag.

Three: that he could then keep his head sufficiently to orchestrate various plays, offences, measures and countermeasures up and down a plane among a disparate group of panicking passengers as the aisles are patrolled by an increasingly strung-out set of plane-nobblers.

But of course, Elba is - innately, majestically, irreducibly - all these things. And upon this rock, seven hours of preposterousness can safely be built. Which is not to say the creators have not taken their responsibilities seriously. It marshals its secondary characters with aplomb. The priest, the red herring (or is it two? Or three?), the stressed family of four either suffering marital difficulties or just having two children on a seven-hour flight from Dubai to London, the kind young single lady, the vulnerable schoolgirls, the stewardess having an affair with the captain (Ben Miles) are all given just enough personality to stop them becoming ciphers, but not enough to get in the way of the action. We care, but we are not asked to invest in any cumbersome way.

Hijack unfolds perfectly. Suspense builds, is released, builds again, a little more tension, a little longer wait until the elastic snaps back each time. Just when everything is at the point of being absolutely too much and you're at the point of switching off and going out for a walk to recover, it will cut to a domestic scene involving the boring family to which Sam is inexplicably wanting to get back safely. Or if it just wants to keep the motor purring, a scene with the increasingly concerned people on the ground - including Alice (Eve Myles), the air traffic controller who first notices something's amiss, counter-terrorism officer Zahra (Archie Panjabi) and eventually various government ministers trying to decide whether to shoot the plane down over water or let it crash into buildings.

Not a moment, not a drinks carton, not an in-flight entertainment system is wasted. Narrative seeds are sown, allowed to ripen and harvested at just the right moment. It works like clockwork without the (plentiful) larger twists being predictable. The only duff note is the brutal outbreak of violence from Captain Robin in the first episode, which stands out both for its moral and physical nastiness, and for the fact that nothing else in the remaining six-and-a-half hours suggests he is that type of man. Like everything else in Hijack, it serves to further the plot, but unlike everything else in Hijack, it comes at the cost of taking you out of the moment. And that is something you cannot afford to do too often when you are asking an audience to buy into Hijack's level of absurdity for the duration.

Salaar (2023)

Engaging and Violent Saga With Lots of Blood and Brotherhood !!!

[7/10 · 18 February 2024]

Salaar: Part 1 - Ceasefire, directed by Prashanth Neel, unfolds in the rustic and politically charged landscape of Khansar. This action-packed film, featuring Prabhas as Deva and Prithviraj Sukumaran as Vardharaja, is set against a backdrop of intrigue and rebellion, relying heavily on drama as well as swag and action. Prashanth has meticulously created the dystopian city of Khansar with intricate details, establishing a multitude of characters with a narrative spanning between 1747 and the present times. Reminiscent of Black Panther, the empire boasts 101 tribes with distinct characteristics, divided into three divisions, including Kaparlu (clan leaders) and Doralu (council members).

A man of few words, Prabhas packs a punch with his dialogues and looks slick in action sequences, making the film a feast for his ardent fans. Prashanth leaves no opportunity to elevate the character of Deva aka Salaar, masterfully making his protagonist appear larger than life. The screenplay takes its own sweet time in the first half to establish the character of Deva, creating a slow burn and preparing audiences for what is to come.

Prashanth Neel takes an unconventional route in narrating this dystopian world and its characters, leaning more towards international cinema. Much like the KGF franchise, the director adheres to a dark colour palette. The film eschews typical dance numbers or romantic melodies, instead relying on situational anthems sung by school children in the first half and by children from the Mahara tribe in the second half, which enhance the drama. The film explores themes of power, loyalty, betrayal, and the right to leadership, delving into the complexities of political machinations and personal allegiances, offering a compelling commentary on power struggles.

Prabhas, as Deva, is both electrifying and docile, delivering a performance that combines raw power with deep emotional depth. His portrayal of Salaar showcases his ability to balance raw aggression with subtle emotional nuances. Prithviraj Sukumaran, as Vardha, portrays the vulnerability and determination of a young heir caught in a political whirlwind, yet harboring his own strategic calculations. His compelling performance adds a layer of complexity to the narrative. As the film progresses, Prithviraj's character exudes strength and valour. Shruti Haasan, in her role as Aadhya, brings a sense of balance but is mostly limited to the first half and a few scenes in the second.

Jagapathi Babu, as Raja Mannar, delivers a commanding performance, while Bobby Simha, Tinnu Anand, Easwari Rao, and others contribute significantly to the story's depth. The supporting cast, including Sriya Reddy, Ramachandra Raju, Madhu Guruswamy, John Vijay, Saptagiri, Prudhvi Raj, Jhansi and Mime Gopi, adds layers to the narrative.

The cinematography captures the essence of Khansar's tumultuous atmosphere, immersing the audience in the city's tension and drama. Ravi Basrur's soundtrack adds a robust layer to the film's atmosphere, complementing the tone and heightening the emotional impact of certain scenes. The editing is sharp in the second half, though it cannot be said the same for the first. The special effects are effective, contributing significantly to the film's visual appeal.

Salaar: Part 1 - Ceasefire combines political drama with high-stakes action and champions brotherhood. It is a riveting watch for those with a taste for grand and epic narratives. Fans of Prabhas and Prithviraj Sukumaran will find much to admire in this intense and captivating film. It's a film that will entertain and impress with its scale, but might require some patience in the initial stages, mostly establishing the world of Khansar and its inhabitants and setting the stage for Salaar: Part 2.

Fighter (2024)

Excellent Aerial Scences Elevates This Action Entertainer !!!

[9/10 · 11 February 2024]

Siddharth Anand's Fighter takes several cues from Top Gun to lay the foundation for what becomes a pacy story about valour, patriotism and celebrating the birds in the sky that protect our country. It doesn't hurt that the cast is led by some good-looking actors -- Hrithik Roshan, Anil Kapoor and Deepika Padukone.

Siddharth Anand has carved a niche for himself with his larger-than-life, good-looking masala entertainers. With Fighter, that writing has taken a patriotic flavour. Every time a film shifts to Kashmir and the Indo-Pakistan conflict, there is a certain template that is set. Siddharth Anand follows the cue but adds dollops of glamour, high-octane action scenes and loads of patriotism with 'Vande Mataram' and 'Jai Hind' playing in the background.

Siddharth Anand has a way of introducing his men in his movies. Be it the stylish entry scene of SRK in Pathaan or even back in the day, how Hrithik Roshan blazed on screen in Bang Bang and even War. But in Fighter, he tries something different. He gives Deepika Padukone's Minni a stellar entry scene before he brings in the big gun -- Hrithik Roshan's Patty. Given the scale of the film, the director doesn't rush into the big action scenes. He spends most of the first half introducing us to the Air Force pilots. Led by Rakesh Jaisingh aka Rocky (Anil Kapoor), the unit of Air Dragons comprises of Minni (Deepika Padukone), Patty (Hrithik Roshan), Taj (Karan Singh Grover) and Bash (Akshay Oberoi).

The plot revolves around the Pulwama attack and incidents leading before and after the incident. In terms of storyline, Fighter flies high on the newfound love of filmmakers to weave in patriotic sentiment in a bonafide potboiler. The action scenes are the real hero of Fighter. Anand steers away from any Top Gun comparisons by creating an original palette for the big-ticket shots.

The first half has the right mix of emotion and action, but the second half nose dives before picking up just in time for the juicy climax. Deepika and Hrithik's pairing is a winning master stroke. They not only look good as a pair, but also do justice to the characters when they are in uniform. There is a certain seriousness they bring to the table when they mean business. Anil Kapoor shows us why he's the real boss. His scenes with Hrithik and the team are a major highlight.

What helps Fighter maintain its pace is the lead hero Hrithik Roshan, who reminds us what makes him a true-blue Bollywood superstar. His committment to making Patty's journey feel personal is something the young blood should take a cue from. Deepika Padukone delivers in both the action and emotional scenes. Watching her and Hrithik flirt in the first half is pure thrill and so is their delicious dance in the air. Karan Singh Grover and Sanjeeda Shaikh provide the right support to these able front-footers. The weakest link however is the villain Azhar Akhtar, played by Rishabh Sawhney. His nearly ironed hair and lip-glossed pucker seem too pretty to be menacing.

Fighter is a big-screen spectacle. When those birds soar high in the air, there is nothing that can take your eyes off the screen. Hrithik and Deepika set the screen on fire and I won't be surprised if they become the go-to pair for big-ticket movies in the future. Siddharth Anand's Fighter soars high on the entertainment quotient.

Ved (2022)

Riteish Deshmukh-Genelia Deshmukh is a Beautiful Movie, Better Than Original !!!

[10/10 · 4 February 2024]

Ved (Crazy) is a film that is miles apart from what crazy means. The movie is beautiful and heartwarming. Riteish Deshmukh in the role of Satya is the perfect mix of Kabir Singh and Chulbul Pandey as a lover. His frustration and will to get into fights and kill is pretty evident and the actor is seamless in his character.

Ashok Saraf in the role of his father, Mr. Dinkar, is a cutie. He is also a pleasant surprise and his acting skill is just on point as always. Genelia Deshmukh's entry in the film as Shravani is unique and pretty. She is extremely adorable as his wife. She narrating her side of falling in love is extremely beautiful.

Ashok and Genelia's bond is the best thing to happen to the film. Them bringing Jodha-Akbar, Salim and Anarkali is natural and entertaining. The movie has hilarious moments that make it beyond watchable.

In the second half, Riteish and Genelia become extremely adorable. They have their moments - both heartbreaking and loving. Riteish's scene with sign language is like a cherry on the top of a delicious cake. The song Besuri perfectly shows the bond between Satya and Shravani. The song also sees how their relationship has evolved over the years, making it an important track in the film.

Jiya Shankar in the role of Nisha has a brief yet lasting role. She comes back in the form of memories and all of them leave you smiling. Ved has equal amounts of comedy and action. Every actor nails the scenes that require both.

Riteish and Genelia's bond, as one would expect, is the highlight of this cutely wrapped gift of a movie. The two tend to overpower the other but still leave you rooting for them as a couple.

Ved is a beautiful film. It is better than Majili in many places. The movie, however, sticks to the adaptation. This is even when Ved could have ended many scenes before, making it more powerful than it currently is. Nonetheless, this movie is hilarious and action-packed aka a masala entertainer everyone loves seeing.

Animal (I) (2023)

Ranbir Kapoor Aces as Ranvijay Singh In This Toxic Crime Drama !!!

[6/10 · 4 February 2024]

Having craved for his rich father's (Anil Kapoor) love and attention all his life, an unhinged Vijay (Ranbir Kapoor) gets obsessive and violent when his dad is attacked. Seeking revenge and hunting down the conspirators become his only aim. Picture Godfather on steroids, devoid of its psychological tension.

Blood is thicker than water according to the film's protagonist. The safety and unity of family is sacrosanct no matter how twisted the relations. We are even led to believe that dysfunctional is better than broken.

Through an exhausting runtime of 3 hours, 21 minutes, comprising extreme bloodshed, testosterone and blatant misogyny, writer-director Sandeep Reddy Vanga, known for his controversial statements and thoughts, glorifies the alpha male once again through his Godfather-esque tale.

When his father is shot, Vijay declares himself as the 'man of the house' and takes matters into his own hands. He assures his father that he'll safeguard their steel empire and family's legacy but revenge first.

Despite anger and daddy issues, he has an active love life. He seduces Geetanjali (Rashmika Mandanna), through his toxic macho traits and erratic, inappropriate humour. "Don't call me bhaiyya. I don't have brotherly feelings for you." He compliments her childbearing hips and like Christian Grey, whisks her away in his private jet for some high-altitude dom/sub love making. "You were the bottom, you didn't have to do much", he comments after. He even expects her to forgive his infidelity because she forgives his other crimes anyway. "Aap log mahinay ke chaar din pad badalne par bolte ho, main din mein chaar baar pad badal raha hu", he argues post an injury, questioning women's right to complain about period pain.

Pop culture has often glorified bad boys. There's always something attractive about people who refuse to toe the line. Vanga takes this romanticisation a bit too far. Even as his take on women and violence unsettle you immensely as a viewer, those are his preferences for a protagonist as a director, and he is free to have them. The bigger issue is the lack of purpose in the story. His gun-wielding angry young man comes across as a rebel without a cause.

Cocky, broken, and problematic characters can be celebrated if they have a reason strong enough to explain the mayhem, if not justify. Vijay has none and in the absence of it, Animal ends up as all swag and no substance derailed family drama. What is fuelling his fire and the rage within? The father-son discord that forms the crux of the story itself stays unexplored. Barring Ranbir, the story barely invests in other characters, turning them into silent spectators, including the very talented Anil Kapoor and Bobby Deol. AK is excellent in the confrontational scenes and Bobby looks menacing, but both have very little to do. Women are submissive puppets. Mandanna's Hindi dialogues are harder to comprehend than the film's intention.

'Animal' relies heavily on Ranbir Kapoor's talent and stardom. His raw sex appeal and unmatched intensity are the film's highlights. One of the finest actors of this generation, you find yourself trapped in his troubled mind as his blood-soaked eyes seethe with rage. Uninhibited, his ability to become the character he plays, shocks, stuns, and draws you in each frame. RK lends that dangerously unpredictable quality to this deranged character and aces it especially in that Vaastav-like crucial climax scene. He deserved a better script to match this level of performance.

Ranbir Kapoor can be Joaquin Phoenix but Animal's no Joker. This entire film could have just been a conversation between the father and his son.

The Marvels (2023)

Lights, Lazer And Super Ladies Illuminate The Screen With Heroic Brilliance !!!

[6/10 · 28 January 2024]

Captain Marvel is reeling under the guilt of being the Annihilator, after destroying the Supreme Intelligence, and subsequently triggering a civil war. Hala, the homeworld of the Kree, is dying with no air, water and a diminishing sun. Its new leader, the formidable Dar-Benn (Zawe Ashton) has managed to find one half of the pair of the Quantum bands. The second half is with an unassuming 16-year-old Captain Marvel fan-girl Kamala Khan (Iman Vellani), who soon finds herself in the midst of the most important mission in the world, along with her idol, Captain Marvel.

It's a standard template of superheroes tasked with saving the world, but this time it's a lazer, lights and ladies extravaganza. After long, Marvel Studios have come up with a story that is far less complicated, more fun and full of heart as well. While being a fan always helps connect the dots between superhero stories, just watching the three superwomen with interchangeable powers pack a punch, is hugely satisfying. And all of this, while having their share of fun as well. For all practical purposes, it's sort of a sequel to the 2019 installment 'Captain Marvel' that launched Brie Larson into the big league. But this time, Captain Marvel is more human than ever. She is relatable and it's easy to rally behind her character. Larson brings her distinct charm and restraint to this hugely significant role in the MCU, owning every aspect of it. Iman Vellani is quite effortless, as the young and excited teenager, who is living her superhero dream. Marching on with confidence and ease, Vellani seems quite set for her future endeavours in the MCU. However, some of the scenes involving her Indian family featuring Mohan Kapur and Zenobia Shroff as her parents, are slapstick and struggle to evoke humour. Teyonah Parris is impressive as the slightly resentful yet wise Monica Rambeau.

The chemistry between the three superwomen is effortless and the highlight of writer-director Nia DaCosta's all women outing. In fact, the film is the strongest when its leading ladies dominate the screen. Zawe Ashton looks a bit gimmicky as Dar-Benn, blunting the seriousness of her villany. Samuel L. Jackson continues to be the ever-dependable Nick Fury despite the fact that his role adds little ammo to this high-octane action extravaganza.

The animation besides being convincing is also a whole lot of fun, especially with Goose, Carol Danvers's lovable cat, who is surely not as harmless as a pet feline. 'The Marvels' scores in its runtime as well. None of the scenes drag endlessly and there is definitely more action than talk this time.

'The Marvels' triumphs as a dazzling spectacle that seamlessly combines action, heart, and a stellar cast. This one breaks free from the complexity of previous storylines, delivering a refreshing and heartwarming take on superhero narratives, leaving audiences eager for more, especially after those enticing post-credit scenes.

Indian Police Force (2024– )

Even A Class 10th Student Can Write a Better Story/Script Than This. A Big Disaster !!!

[3/10 · 27 January 2024]

The story opens with a series of blasts happening in Delhi on the Delhi Police Raising Day, staging it as a challenge thrown at the Delhi Police. So DCP Kabir Malik and Joint CP Vikram Bakshi are on it immediately. Even though they were almost on the verge of nabbing the culprits, some things didn't go as planned, and the main men behind the attack managed to escape after causing heavy losses to the Delhi police. What we see in the series is the efforts by the Delhi Police, especially Kabir Malik, to find those who were behind the whole attack.

Unlike Rohit Shetty's movies, the writing credit of this series is shared by five individuals, and the directorial responsibilities are shared with Sushwanth Prakash. But to my surprise, the screenplay was never going beyond a bullet point level scene order creation. And the dialogues were so flat and outdated that you could witness an Amazon Prime original series competing with something like CID in terms of coherence. Even the way the opening credits are rolled out before every episode would make you realize how lazy was the scripting process as there is no effort to make things exciting for the audience.

The warm and blue contrast of the colors in the initial episode made me think that they had given some extra care to the frames and how the show should look. But pretty soon, it slips into that high saturation zone, and the monochromatic Bangladesh of Rohit Shetty was so bad that even Hollywood folks will feel like criticizing it. The action set pieces are of course the highlight of this movie, oh sorry, series. But none of them has an organic landing.

Rohit Shetty wants to experiment with different kinds of action set pieces, and he tries out all that but never bothers whether it serves the series in any way. The set pieces that pop out unnecessarily have these swirling camera movements using drones similar to how Michael Bay used to give the audience a headache with his helicopter shots. The whole Bangladesh episode in the series is Shetty's attempt to make his Sastha version of Extraction, and the vehicles in Bangladesh are extremely sensitive to touch.

Sidharth Malhotra, as the typical Rohit Shetty hero, gets to mouth these lame heroic dialogues, which you might predict before he opens his mouth. In a Rohit Shetty creation, the theatricality level in acting is always high, and Sidharth, who isn't that loud by default, occasionally becomes a misfit. The veterans like Vivek Oberoi and Shilpa Shetty, on the other hand, know how to deliver those clunky lines in the least awkward manner. The villain, played by Mayyank Taandon, is struggling to make an impact in terms of performance, and a good share of that should be given to the generic writing of the series.

The problematic politics of the Rohit Shetty cop movies are going to be a constant it seems. With the current mood in the larger society, he won't feel the need for introspection in the way he creates his antagonists and stories in ChatGPT mode. Even if you look at it purely on a craft level, there is absolutely nothing there to applaud. At a time when audiences are struggling to complete one movie in a single stretch, Rohit Shetty sort of makes it easy for them by splitting it into 7 episodes.

Thunivu (2023)

Did Not Feel Like It's A Thala Ajith Kumar's Movie !!!

[3/10 · 14 January 2024]

There are a couple of episodes in the second half of Thunivu, which, if they were played separately, might make someone mistake the film to be something from the Shankar stable. Or from an AR Murugadoss. We get a Shankar-style tragic flashback that explains the motivations of the protagonist, who is on a mission. The other is a crowdpleasing bit in which the antagonists who have been taking advantage of a gullible public are made to answer for their wrongdoings on live television even as we get to know the evil machinations of a familiar industry.

But unlike Shankar or Murugadoss, H Vinoth doesn't seem to believe in packaging his film's core subject into an expansive, grander and conventional narrative that first sets up the characters before diving into the plot. This film dives right into the plot in the first few scenes, keeping us in a state of uncertainty as it gives us events that are unfolding in real time and introduces characters along the way. And so, we get straight to the bank robbery that's the film's inciting incident.

Gangster Radha (Veera) and his men plot to rob a bank and land up there only to realise that there is a mystery man (Ajith Kumar) who is already in the bank, and is only too eager to take over the task. Even as the police, led by the Commissioner (Samuthirakani), is figuring out a way to capture the man, he learns that there is something else sinister afoot. Who is this man and what is he after ?

The first thing that strikes you about Thunivu is its pace. The scenes move from one to the next in breakneck speed, and there are times when we wonder if the editor, Vijay Velukutty, is playing them at 1.5x speed. It does take some time to settle down to this, as it does with Ghibran's wall-to-wall background music as well. And for a big-budget film, the production design is quite tacky.

Meanwhile, Vinoth keeps packing the screenplay with all the information he must have come across while writing the film. From the way financial scams are done to what happens to the hard-earned money that customers deposit in a bank, he fills us in with a lot of info. Some of this even flows right over our heads given the fast-paced nature of the film. There are moments when we desperately wish for the director to slow down so that we can get to know the characters and the issue better. The villains here are not just bankers, but policemen, media and politicians as well. But the rapid pace never lets us get an idea on how one feeds off the other.

The director choses to give the film its highs with scenes in which his star, Ajith, lets loose and does stuff that is more anti-heroic. From dancing like Michael Jackson to coming up with smart quips, the actor just takes over the scenes in the first half, coming up with an enjoyable over-the-top performance that brings out the whistles from the fans.

Meanwhile, Manju Warrier, who plays the protagonist's partner (the film never bothers to specify if they are strictly professional partners or romantically involved as well) gets to perform some stunts and gets a terrific mass moment in one scene. However, the role doesn't offer her anything more other than that.

The other actors, including Samuthirakani, remain more or less functional. The film falters mainly with the performances of the actors who play the antagonists. None of them appear as a threat to Ajith's character, not even remotely. Supreme Sundar's action choreography, too, pushes implausibility quite a bit, especially, the numerous gun shoots.

Despite raising many relevant questions about the operations of our financial institutions and the impact that has on the common man, the film's refusal to show it as something that affected the protagonist directly makes it impossible to root for him whole-heartedly. And when the film turns into a logic-defying chase on the sea, we begin to wonder if guts alone can be enough for glory.

Hi Nanna (2023)

An Absolute Brilliant and Heart-warming Tale of Love and Emotions !!!

[10/10 · 7 January 2024]

Hi Nanna, a much-anticipated film of the season, directed by Shouryuv and featuring Nani and Mrunal Thakur, lives up to expectations, offering a cinematic experience rich in emotional depth. The 155-minute runtime expertly explores the nuances of love, marriage, and parenthood, maintaining engagement and feeding the soul.

Hi Nanna unfolds a poignant narrative against the scenic backdrop of Coonoor. The story follows Viraj (Nani), an aspiring photographer, and Varsha (Mrunal), who defy economic disparities to discover love. Their journey takes a turn when they become parents to Mahi (Baby Kiara). Fast forward to the present; Viraj, now a celebrated photographer in Mumbai, navigates the complexities of single parenting as Mahi battles a life-threatening lung condition.

The performances by Nani, Mrunal Thakur, and Kiara Khanna bring the heartwarming family drama to life. Their portrayal of vulnerabilities and the essence of the father-daughter bond is commendable. Nani's post-Dasara transformation adds a fresh touch to his character, while Mrunal displays versatility with panache. The chemistry between the lead actors is palpable, making their on-screen moments a delight. Their characters are intricately layered and thoroughly explored. Whether stepping into the shoes of a photographer, depicting the desperation of a father, or conveying the longing of a lover, Nani strikes all the right chords, and Mrunal beautifully compliments him.

Kiara Khanna, portraying Mahi, steals hearts with a brilliant performance, becoming the cutest and most beautiful aspect of the movie. Even Pluto, the pet dog, delivers an impressive performance, becoming an integral part of the plot. The film has plenty of moments that moist the eyes of the audience.

The ensemble cast, including Shruti Haasan, Nassar, Priyadarshi, Angad Bedi, Jayaram, and Hemayat Rahman, contributes effectively to the film's beauty. Shruti and Nani shake a leg in the peppy song 'The Party Anthem Odiyamma' during an episode in Goa. And it acts as a swift break from the poetic narrative showcased in the film.

Kushi fame Hesham Abdul Wahab's musical brilliance, Sanu John Varghese's cinematography, and Praveen Anthony's editing enhance the emotional depth of the narrative, turning it into a tastefully crafted saga with top-notch production values. Despite some predictability and slow-paced narrative, all the crafts came together to create an engaging cinematic experience.

While the film maintains engagement throughout, minor lags occasionally surface, providing the lead characters with ample time to establish and showcase their emotions. Hi Nanna transcends being just a movie; it's a journey through love, resilience, and the delicate threads that bind a family together. Shouryuv, Nani, Mrunal, and the entire cast have created a beautiful film that resonates with the audience, making the film a must-watch for those seeking a blend of heart and soul in cinema.

Mission: Impossible - Dead Reckoning Part One (2023)

Mission Impossible - Dead Reckoning Part 1 is Visual Spectale !!!

[10/10 · 7 January 2024]

An AI gone rogue threatens to disrupt the world as we know it, and its key is a hotly sought commodity that Ethan Hunt and the IMF must find. This key is the McGuffin for a prescient plot, but audiences aren't watching 'Mission Impossible' films for their riveting stories. Since 'Ghost Protocol' (2011), Tom Cruise has been on his own mission as an actor and entertainer - to outdo himself with audacious stunts in each entry. 'Dead Reckoning Part One' is no different, where Cruise rides a bike off a cliff, as heavily promoted in the trailers. Naturally, this may appear to be the film's centrepiece, and while it looks jaw-dropping on a big screen, the action has much more in store across its close to 3-hour run-time. The screenplay's pacing takes a little beating, but the film is thrilling, especially in its climax.

Once again, Tom Cruise and Christopher McQuarrie's constant need to challenge their respective boundaries result in some increasingly tense set pieces. Paired with the franchise's iconic theme, they succeed in pushing you to the edge of your seat. Additionally, the plot raises the stakes for Ethan and his team, including Benji (Simon Pegg), Luther (Ving Rhames) and Ilsa (Rebecca Ferguson). Hayley Atwell shines as Grace and is a charming addition who pairs off brilliantly with Cruise's Ethan, both dramatically and comedically. In fact, this may be the funniest MI film in the franchise so far.

Of course, the star of the show is Tom Cruise, whose running antics are awe-inspiring despite his increasing age. His commitment to doing most of his stunts allows the fight choreography to breathe, and the film is so much better for it. In this year of adrenaline-driven action films, it has become increasingly hard to distinguish one from the other, but Cruise ensures he stands out from the rest. The fact that this franchise still has enough life left in it after seven films without feeling too exhaustive says a great deal about Cruise and McQuarrie's passionate dedication to action-based blockbusters.

Scoop (2023– )

Hansal Mehta Sets The Bar High Once Again in Scoop !!!

[10/10 · 2 January 2024]

There's a lot to register and process in Scoop, the new Netflix drama series created by Hansal Mehta. Reasonably, the conversation might kickstart whether the director has been able to surpass expectations that were created by the brilliant Scam 1992: The Harshad Mehta Story. I am here to tell you in the affirmative, with enough proof and evidence. With Scoop, Hansal Mehta has set the bar even higher, creating a strikingly written and performed show that stands on its own ground with an immediacy attempted by very few shows in recent memory.

Not a single minute is wasted in the hour-long, 6-episode long series, created by Mehta and Mrunmayee Lagoo Waikul-- diving headlong inside the middle of everyday journalistic hustle: tracking breaking news, connecting with undercover sources, and bringing the report down to the page.

Based on journalist Jigna Vora's 2019 memoir 'Behind Bars in Byculla: My Days in Prison,' Scoop retells the true story of the murder of renowned journalist Jyotirmoy Dey, and the subsequent arrest of Vora. Here, it is mirrored in the cold-blooded murder of Jaideb Sen (Prosenjit Chatterjee, superb in a brief appearance) in broad daylight by gangster Chhota Rajan's men. The focus zooms in on senior crime reporter Jagruti Pathak (Karishma Tanna, easily delivering her career-best work) -- and Scoop devotes its initial episodes primarily in building the web of speculation that surrounds her, and which subsequently leads her to jail.

Jagruti Pathak is a single mother, a divorcee who lives with her loud Gujarati family in a tiny apartment in the city. The only aspect of her life that gives her purpose is her job as a crime reporter. When a junior reporter Deepa Chandra (Inayat Sood, registering a brief role with control) asks the resident photographer how she deals with her sources, he says that Jagruti always treats them first as humans and then as information bearers. It rings true, in the assuring and skillful presence of Jagruti's exchanges- she chooses to stay right on track, even when the motives of the other person might feel otherwise. She's tough and alternatively tender, confrontational but always authentic- and that rattles a few men around her. A woman with ambition, who has given the most front page exclusives for her newspaper. Scoop gets that thrill of nabbing an exclusive, proof-checked story for the next morning story extremely well.

Jagruti's equation bodes well with Imraan (played tremendously by Mohd. Zeeshan Ayyub), the desk in-charge, who believes in her work ethics. He also cares for her a little too much in a profession where time and again, he is reminded to prioritize the audience and the views. He refuses to let the culture of consumerism get hold of his morals, and Mehta constructs him as a moral compass of the show. In one standout scene later in Scoop, he expresses how the entire media trial after Jagruti's arrest feels rotten. He can either stay and do his job or leave. What else are his choices? One can also ask DCP Shroff (Harman Bhaweja making his comeback), who becomes an important source for Jagruti and then an accomplice, accommodating himself according to the circumstances. Kudos to casting director Mukesh Chhabra for bringing back Harman Baweja- he is immensely watchable as the morally dubious player thrown in the ring, although his part does strike a little rushed.

Mehta is an immersive filmmaker, filled with a keen eye for world-building. He is interested in characters who demand control and agency; in constructing the spaces from which they generate that demand. There is no restlessness in his storytelling, as Scoop rarely feels hurried and burdensome with so much story to tell. Shoutout to the crisp, razor-sharp dialogues by Karan Vyas. Moreover, aided by Deepu Sebastian Edmond's impeccable research and Amitesh Mukherjee's taut editing, Mehta delves deep into the proceedings without losing touch of the authenticity. Scoop could have easily become a very different story of survival if he had just focused on the journey of Jagruti's arrest and subsequent days inside the Byculla jail for almost a year. Instead he avoids any of that narrative trickery and chooses to account for the story that began to unfold much earlier. This is no survival drama, nor it is trying to be a true-crime thriller that has suddenly becomes the vogue of the web series format.

Yet, when the proceedings take us inside the jail, Scoop does lose steam for a while. The segments involving Jagruti being bullied by her cell inmates to Shikha Taslania's underwritten cameo appearance as a cult-like figure-- with so much already piling up already, Scoop could have benefitted more with a tighter control in these transgressions. The focus is pulled right back in, thanks to a tight run back to the court proceedings with Jagruti on the strands. She's so exhausted with the toil and harassment of the media trial and the speculation on her motives, that words do not come out easily anymore. Karishma Tanna truly shines in what combines to form her breakout performance- nailing the body language and poise to precision. The toil that begins to get hold of her inside the jail is faultlessly expressed.

Scoop doesn't hate journalists, nor does it want you to. It respects the profession and acknowledges the dangers involved, but also points its finger at the increasingly volatile scenario of the current trend of controversy-happy, clickbait journalism. There is no time for truth, only views. Less facts, more gossip. All part and parcel of the hustle. Scoop is gripping, thought-provoking work- right down to its bone-chilling final credits, and it is brought together by a director in full command of his craft. All reports need evidence, while some mostly need courage.

Leo (III) (2023)

Parthiban aka Leo Das is Freakin Badass !!!

[10/10 · 1 January 2024]

Set in Himachal Pradesh, animal rescuer and coffee shop owner Parthiban (Vijay) becomes a local hero after rescuing the town from a Hyena attack. An unrelated incident in his coffee shop gets unwarranted attention from the world and hence, media. Brothers Anthony Das (Sanjay Dutt) and Harold Das (Arjun Sarja), who hear about Parthiban, assume him to be Leo Das (Vijay), the former's son. With guns blazing, they land in the tiny town to find out if Parthiban is Leo.

Brothers Anthony Das (Sanjay Dutt) and Harold Das (Arjun Sarja) run a tobacco business as a front to their illegal drug business. Anthony's son, Leo (Vijay) is one of the most powerful ground workers who ensures smooth running of drugs from one place to another. A harrowing incident causes fire in the tobacco factory, thus killing Leo. Cut to 20 years later, the Das brothers find out about Parthiban and his uncanny resemblance to Leo. Did Leo fake his own death to become Parthiban or are they two different people who simply look alike, is what forms the crux of the story.

Despite having an ensemble of actors, Leo is a one-man show. Vijay is terrific in the film, as Parthiban, as well as Leo. He keeps the audience guessing if he is really Parthiban or a Leo who has turned Parthiban right up to the climax. The scenes are wonderfully carved to keep the audience glued to the screens till the last minute. The pre-climax scene takes the cake. Writing is a bit inconsistent, but Vijay's charm and performance make it a believable outing. He has outperformed himself as he gets to be an out-and-out 'badass' Leo Das, a break from his casual, quirky, playful outings. He shines as dad, husband who is fighting an internal battle, but still keeps looking out of the bedroom window, just to ensure that no harm comes his way.

At the beginning of the film, Lokesh tells us that the story is inspired by David Cronenberg's A History Of Violence, thus preparing the audience to be taken to an action-filled violent world. Lokesh's previous films of LCU, Kaithi and Vikram, were strictly action films, though Vikram did have a small opening for family sentiment. But here, Lokesh dwells into family sentiment and equations, which disrupt the high-octane action flow. Leo is a trademark Lokesh Kanagaraj film with visible star service effects. The film creates for a visually compelling world of antagonists, but doesn't give them a strong platform to stick to. Despite having performers like Sanjay Dutt and Arjun Sarja, the film lacks a good climax showdown between protagonist and the antagonists. Anirudh's music peaks in the second half. A slow song in the first half and the much-hyped 'Naa Ready Daan' in the second half, keeps the movie balanced thus also setting the tone of the movie. The action sequences in the first half required a little more BGM energy.

Lokesh has chosen a well-known and age-old and tried and tested 'hero in exile' story and has embellished it with creative action-packed sequences. While one can guess where the movie is going within half an hour after entering the theatre, Lokesh shines in his 'innovative violence and action sequences'. The hyped Hyena scene fails to leave an impact in the first half, but the blood-thirsty animal comes for a perfect revenge act in the second half.

Trisha plays more than just a perfect partner, and thankfully, she is more than just an arm candy here. Her role gets the right kind of attention. Sanjay Dutt, Arjun Sarja, Priya Anand, Gautam Vasudev Menon, Mysskin get good credit marks for acing their roles, but their performance is dimmed amid the towering presence of Leo Das aka Vijay.

Though the whole 'LCU' part looks forced, one can say that with Leo, Lokesh has a strongest shot in his arm for the next franchise. Lokesh and Vijay's Leo is a lot 'bloody' than 'sweet'. Leo's roar may not be at its peak here, but, hey! It is still a Lion!

Dream Girl 2 (2023)

Not Even 1% of Dream Girl 1 !!!

[3/10 · 1 January 2024]

Director Raaj Shaandilyaa serves this comedy four years after the original Dream Girl, which was delightful for its quirky set-up and premise. The second outing has a similar premise. Karamveer (Ayushmann Khurrana) needs to raise an enormous amount of money quickly if he wants to marry his girlfriend, Pari Shrivastav (Ananya Panday). So, he pretends to be a woman, Pooja, and works as a dancer at Sona Bhai's (Vijay Raaz) bar. Thereon, the movie has little new to offer throughout its 133 minutes. Writers Raaj and Naresh Kathooria have tried to crank up the comedy, but the narrative goes haywire and ends up as just a mishmash of situations and characters pursuing each other.

Besides Sona Bhai, Pooja attracts unwanted attention from Shoukiya (Rajpal Yadav) as she pretends to be a psychiatrist treating his brother Shahrukh (Abhishek Banerjee), who is depressed after a breakup. The much-widely spoken issue of mental health could have been treated far more sensitively in the plot, instead, it's left to being called a 'rich person's disease.' Shahrukh's father, Abu Saleem (Paresh Rawal), believes marrying Pooja is the cure, and the family vows to reward her with Rs 50 lakhs for the unison. Amid this, there's Shahrukh and Shoukiya's sister Jumani (Seema Pahwa), who falls for Karam while his father Jagjit Singh (Annu Kapoor) is in love with her.

As the viewer tries to keep up with the characters' shenanigans, some tracks are long-drawn, such as when Karam switches between being himself and Pooja. Many comedy scenes come across as too forced, and simply add ot the film. In comedy films, dialogues and their comic timing play a pivotal role in bringing out the laughs, but here, the one-liners here are kitschy and don't always land. When trying to convince Karam to become a dance girl, his friend Smiley (Manjot Singh), pointing to an aged customer on the dance floor, says, 'Shakti nahi bachi par Shakti Kapoor poora bacha hai.' While songs pop up one after the other, the music by Meet Bros and Tanishk Bagchi is not memorable, except for Dil Ka Telephone 2.0, a redux of the hit from the movie's first instalment.

Ayushmann Khurrana skillfully switches between playing Karam and Pooja's characters in the film. He particularly shines in the dance sequences and gets the latkas and jhatkas perfectly. His knack at pulling off situational comedy shows and he owns some of the best parts of the film. Ananya Panday has little scope to perform, and struggles with consistency in her Braj Bhasha dialogue delivery. Annu Kapoor stands out, while other actors like Paresh Rawal, Seema Pahwa, Vijay Raaz, Manjot Singh, and Abhishek Banerjee offer commendable support.

Dream Girl 2 relies on familiar territory, often straying into unnecessary comedic tangents. Despite some good performances and moments, the film falls short of recreating the quirky charm of its predecessor.

Scam 2003 - The Telgi Story (2023)

Scam 2003 is Worth Watching But it Misses Hansal Mehta Badly !!!

[8/10 · 13 November 2023]

'Scam 2003' chronicles the story of Abdul Karim Telgi, who goes from being a fruit vendor to becoming the mastermind behind the 'Telgi' scam in a matter of few years. Meet Abdul, a fruit vendor who knows his way with words. Don't be disarmed by his shy demeanour because Telgi's street smartness makes him somewhat dangerous. Once provoked by his friend to take a 'daring' step, Abdul's greed to earn more is unleashed. Once satisfied with taking a spoon of 'halwa' from a feast, comparing himself to a rat, Telgi did not stop at that.

The first volume delves into Telgi's exploration of system loopholes which fueled his meteoric ascent. Different from the flamboyant character Harshad Mehta, portrayed by Gandhi in the previous series, Telgi, played by Gagan Dev Riar, is a reserved personality with a sharp intellect, weaving his web of deception unnoticed amidst the crowd until it's too late.

Stamp paper scam is not as famous as the Harshad Mehta Scam, but the subject matter indeed has enormous potential, and the makers have explored that. While the first volume showcases how Abdul Telgi built his empire, the second installment depicts his downfall. How politicians and a few police officials tried to make Telgi a scapegoat is depicted well.

Volume 2 emphasizes more on the personal side and family angle of Telgi. The emotions weren't that great in the first season, but here, the emotions worked pretty well. Especially the scenes involving Gagan Dev Riar and Sana Aman Sheikh came out well. Sana Aman Sheikh's character says a nice dialogue that the criminals are unknowingly affecting their families, which is very much true.

The makers deftly recreate the Mumbai of the 1990s when life was simpler without mobile phones and social media. The timeline itself lends the show a unique charm and nostalgia. Compared to 'Scam 1992' however, the storytelling feels a bit uneven because the way Telgi's character switches from being content to dangerously ambitious, is a bit abrupt. He starts sabotaging his friendship with Kaushal Jhaveri (Hemang Vyas), a small-time con artist from Gujarat, who holds his hand when he is down in the dumps. Hemang Vyas is brilliant in his performance, as the foul-mouthed Gujarati vendor, who teaches Telgi to dream big. Achint Thakkar's pulsating beats from the Scam that are used quite effectively here by music composer Ishaan Chhabra.

A fine ensemble cast carries out the attempt to sentence Telgi as well as exonerate him of some of the more serious allegations. Among the noteworthy actors are Nandu Madhav as one of Telgi's early beneficiaries, Mukesh Tiwari, and Irawati Harshe as a Pune police officer who makes Telgi a deal he cannot refuse.

Taken as a whole, the 10-episode show makes more sense than its initial truncated run. Perhaps the best way to release a limited series is at one go, especially when the better bits are kept for the end.

OMG 2 (2023)

A Absolutely Complete One Man Show - Pankaj Tripathi Ji !!!

[10/10 · 15 October 2023]

A diehard bhakt of Lord Shiva, Kanti Sharan Mudgal (Pankaj Tripathi) is forced to question his own thoughts and societal norms on morality, religion and sex after his son gets expelled from school on grounds of obscenity.

A video by an anonymous person captures Kanti's troubled teen son Vivek, masturbating ('selfie' as a slang) in the school washroom.

Once the video goes viral, the school expels Vivek (a brilliant Aarush Varma) to salvage its image and reputation. Ashamed of his son's vulgar act and fearing the public outrage, Kanti decides to flee with his family to an undisclosed location. His son's suicide attempts and declining mental health owing to humiliation and bullying, compel him to open his eyes and question his own understanding of being a parent and an adult.

Religious and God-fearing Kanti decides to sue the school for the mental harassment caused to his son. He holds the elite educational institution accountable for being negligent towards their student's need for sex education and right to information. The school appoints English speaking Kamini Maheshwari (Yami Gautam) as their defence lawyer. The latter argues that 'masturbation is a sin', our conservative society isn't ready for sex education yet and there's a reason why private parts are called private. Their contradicting views and verbal exchange in court in front of a rather delightful judge (Pavan Malhotra as Judge Purushottam Nagar) forms the story. The film does take a few liberties in depiction of the court proceedings. You can even tell who's winning the legal battle fought on moral grounds but it's still quite interesting.

It's rare for sequels to outshine the original and writer-director Amit Rai's clever and crisp courtroom comedy fulfils this mammoth task. A spiritual sequel to Umesh Shukla's OMG - Oh My God! (2012), OMG 2 hits the nail on the head while addressing a rather sensitive topic. Funny, fearless and entertaining, Amit Rai doesn't play safe. His writing challenges the status quo and yet upholds the sanctity of religion, dignity and India's family values. His language is desi and voice, progressive. The social dramedy dares to begin a dialogue and conversation perceived as awkward. It calls out the parental flaws that have been long buried under the garb of culture.

Most importantly, it's a courageous attempt to understand the unspoken distance between desi parents and their children. How many of us are comfortable watching a lovemaking scene in a movie in front of our parents ? Why are vagina and penis given names and not addressed as vagina and penis ! Why is there no talk on the menstrual cycle in schools ? Porn is accessible freely on the internet but sex education is a taboo. Women can perhaps be safer in the country if men know more about their sexual needs and boundaries ?

The first half is more gripping but through its 2 hours, 36 minutes runtime, the narrative doesn't get preachy or sluggish. Akshay Kumar, who had a cameo in the previous film, gets a larger part to play here as the messenger of God (altered from playing God to his messenger after the CBFC modification). There are at least 27 modifications made for Indian viewing so expect weird dubbing in parts. The A rating is an issue given how important this film is for families and teenagers.

OMG 2 boasts of a talented ensemble cast. Pankaj Tripathi is excellent as a father torn between guilt and anger. Akshay's starry presence and hippie look make an impression. He humming 'Udd jaa Kaale Kaava' of Gadar is a chef's kiss, since the two films (Gadar 2 and OMG 2) clash at the box office. Yami Gautam is sincere but the attempt to project her as a menacing lawyer by resorting to over the shoulder camera angles don't work.

OMG 2 shows you how a film can be entertaining, socially relevant and informative. You don't need to leave your brain behind to have a good laugh.

Tumse Na Ho Payega (2023)

Ishwak Singh's Movie Will Make us Miss 'Maa ke Haath ka Khana' !!!

[10/10 · 30 September 2023]

'Tumse Na Ho Payega' has been inspired by Varun Agarwal's book, 'How I Braved Anu Aunty and Co-Founded a Million Dollar Company.' Gaurav, played by Ishwak Singh, is a 28-year-old man who is stuck in a lifeless corporate job. One day, he is fired from his job, which earns him naysayers' disapproval. After a short setback, he gets the idea of a new start-up that he works on with his friend.

Gaurav delivers home-cooked lunches made by mothers to working professionals in the office. The moms are happy, the customers are happier - this new food start-up is an instant hit. However, in an era of cut-throat competition, Gaurav's business takes a hit. He takes comfort by sharing his problems with Devika, played by Mahima Makwana, his love interest. What happens next forms the rest of the story.

"Tum decide karoge if you have failed or passed" - This line from 'Tumse Na Ho Payega' is a big life lesson. If you are one of those who is stuck in a dead-end job just to keep the salary coming in, this film is for you. While getting a decent lifestyle is the dream, how many of us think about ruling our own lives, having no boss and kickstarting a new business perhaps? At the same time, many of us have also been bogged down by the pressures of society. Haven't all of us felt suffocated at a point in our lives? Gaurav was also one of those people. However, he doesn't give in to people who are constantly putting him down. He stands up to everyone and becomes a successful entrepreneur, of course, after tasting failures. From being a boring man, Gaurav transforms into a daring risk-taker. 'Tumse Na Ho Payega' has a lovely motivational message, especially for the millennials who are in a constant search for happiness.

Anu Aunty, played by Meghna Malik, is the perfect depiction of those in our society who have nothing better to do but poke in other people's business. Her overachieving son, played by Karan Jotwani, keeps getting success and Gaurav's mom, played by Amala Akkineni, keeps comparing her son to him. Think of him as Sharma ji ka beta jiske marks tumse zyada aye. More relatable, eh? Greedy investor (Parmeet Sethi) is the devil in the film. And the moms who cook food for Gaurav and help him in his business are pure angels. Watching them on-screen will instantly make you want to hug them, perhaps even remind you of your moms.

Ishwak Singh is the star of the film. There's no other actor who could have played Gaurav better than him. Mahima Makwana's character has a very trendy job of as a social media manager for celebrities. The actress has done a great job with her performance. Gaurav's friends, Mal, played by Gaurav Pandey and Vaghela, played by Gurpreet Saini, add depth to their roles.

'Tumse Na Ho Payega' will remain in your hearts for a very long, long time despite shortcomings. Even though it's a one-time watch, this slice-of-life film is relatable because, hey, life's a mess and we get to see just that on screen. The realities of everyday life are perfectly portrayed in the film.

Jawan (2023)

Atlee Presents SRK at His Best, Brings The Best Commercial Entertainer of the Year !!!

[10/10 · 10 September 2023]

If Pathaan placed Shah Rukh Khan in the top position after a series of dismal box office duds, his latest, Jawan, directed by Atlee, will cement his position as the king of the box office. Jawan has all the elements of a quintessential Bollywood blockbuster. Whistle-inducing dialogues and action sequences, a credible plot, woman power, foot-tapping music, a bevy of stars, and of course Khan himself. Atlee masterfully crafts a tale that showcases Shah Rukh Khan in all his glory - and if you aren't happy with one - the film offers two of them - both brawny, flexing muscles, hitting goons and charming everyone around with complete ease.

Jawan's plot takes a while to set in. It opens with a bandaged man saving a remote village, presumably in Ladakh from a bunch of invaders. The film then cuts to 30 years later when a battered, bandaged, bald madman takes a metro train in Mumbai hostage. He has his aids, a bunch of smart, stealthy women dressed in combat uniforms, well versed with hacking the system. Officer Narmada Rai (Nayanthara) is summoned to negotiate with the man, who dances to Bekarar Karke Hume and cracks dry jokes as he narrates the story of a farmer who died a few years back unable to repay his loans to the authorities. When Narmada asks what would make him free his hostages, the man states he wants Rs 4 billion to be transferred from billionaire and arms dealer Kaali's (Vijay Sethupathi) account within a few minutes.

The police give in to his demands, and he, along with his girls, disappears leaving all the hostages charmed. So much so that they turn hostile towards the case. Turns out the man is an IPS officer and head of a women's jail in Mumbai, Azaad Rathore (SRK) who has turned a bunch of inmates from the jail into vigilantes. These women have all landed in the said jail due to wrong allegations and have had a transformative life inside the jail, thanks to their captain.

Azaad meanwhile unknowingly befriends Narmada's daughter who wants him to become her father. A single mother, Narmada agrees to marry Azaad after she sees her daughter's fondness for the man. Narmada, of course, can't recognise Azaad as he works in disguise. As cases of heists increase, Narmada takes it upon herself to nab the culprits. Would she know Azaad's truth? And what motivates Azaad to stage such heists? Atlee forms an intricate story that goes back and forth in time - keeping the viewers hooked with multiple subplots.

Pathaan reiterated SRK's liberal stance and Jawaan brings forth the feminist side of the actor. Khan has been a vocal ally for women's empowerment for years. In Jawan, sure he plays a mentor of sorts to a bunch of wronged women, but the film celebrates strong women and their might to fight it out. All the female characters are projected as strong women who can take on a goon or two on their own and yet be maternal and soft when the time arises. Nayanthara, who makes her Bollywood debut in Jawan, plays a feisty cop who will not slow down even for a second due to familial emotions when duty calls.

There's Deepika Padukone in an extended cameo, exubering grace to her character. Sanya Malhotra, Priyamani, and a bunch of girls play SRK's 'gang of girls' who can tackle men double their size.

While the film celebrates girl power, it presents SRK in a larger-than-life role. He is in a double role and the older character seemingly gives tribute to Rajinikanth with his walk and talk in almost every scene. The action sequences are elaborate, scenes that are common in action films down south - and are still new to Hindi cinema. Khan, the star of Hindi cinema for decades, eases into the south culture very well, perhaps due to the able direction of Atlee, and looks comfortable doing what he does on screen.

Giving SRK company and complementing him in every scene is the very talented Vijay Sethupathi who plays the antagonist. Slightly menacing, and slightly quirky (he gets some of the best lines), Sethupathi helps alleviate some of the most average scenes to another level. It's not a role that demands a lot from the talented actor but he still manages to impress you.

The film's music needs special mention. Composer Anirudh, who is a well-known name in Tamil cinema, makes his Bollywood debut and delivers a stellar soundtrack. Foot tapping, refreshing, and unique - Jawan music is hatke from the usual Hindi films. Dialogues by Sumit Arora draw in the claps in the theatre and camerawork by GK Vishnu also impresses.

The elaborate fight sequences, some of the scenes, and plot points require a certain suspension of disbelief but Jawan tackles pertinent societal issues in a very commercial setup and manages to throw in entertainment and thrill in between a serious narrative.

SRK and Atlee take on the system in Jawan but they take a very complicated route to send out the message. The course is 2 hours 49 minutes long with multiple, elaborate action sequences. It's a tad bit long but still a very thrilling ride. Watch out for the climax sequence, and Sanjay Dutt and Deepika Padukone's cameos.

IB 71 (2023)

IB 71 Based on 1971 Indo-Pak War is Well Executed by Vidyut & Team !!!

[9/10 · 10 September 2023]

Drawing inspiration from real events, "IB 71" delves into the prelude to the Indo-Pakistan War of 1971, when East Pakistan transformed into Bangladesh. The makers deserve praise for selecting this extraordinary chapter from the history of Indian Intelligence, which at times seems almost unbelievable. This action thriller is a gripping cinematic experience that will keep you on the edge of your seat. The events in the film unfold thick and fast, tightly centered around the operation conducted by the Intelligence team, making it an engrossing watch.

"IB 71" unfolds with the intensity of a Hollywood thriller, wasting no time in getting to the crux of the matter and maintaining focus on the core plot throughout its duration. It is commendable that the makers opted to forego song placements for the majority of the film, thus ensuring its momentum (although there is one song towards the end). Any musical number would have undoubtedly hindered the film's pace. The daring exploits depicted in the film exude authenticity rather than a clichéd cinematic portrayal. The art direction and cinematography of this film deserve special mention, as they create a magnificent backdrop that transports viewers back to India in 1971. The sequences set in Dal Lake are breath-taking, with aerial shots capturing its beauty like never before.

The film revolves around Dev Jammwal (Vidyut Jammwal), an intelligence officer who receives critical information about Pakistan and China's impending attacks on Indian soil within a mere ten-day timeframe. With limited time and resources, the only viable strategy to counter this threat is by implementing an airspace blockade. Dev presents his audacious plan to his superior, NS Awasthi (Anupam Kher), which involves orchestrating the hijacking of an Indian plane by Kashmiri separatists and ensuring its landing in Pakistani territory. Initially dismissed as an implausible scheme by the government, they eventually recognize its potential and agree to execute the well-structured operation. Complications arise when the entire team of passengers, comprising intelligence officers, find themselves lodged in a Lahore hotel, and events unfold in an unforeseen manner, deviating from the original plan.

Vidyut Jammwal portrays his character with utmost control and restraint. Apart from two action sequences, Vidyut relies more on his acting skills and delivers a sincere performance. The noteworthy aspect is that this time he receives ample opportunities to showcase his acting chops, which he accomplishes with finesse. Anupam Kher reprises a role that he has mastered in the past, and once again, he excels in it. However, it is Vishal Jethwa who truly shines in the film, portraying the character of Qasim. As a restless Kashmiri separatist, he delivers a commendable performance, balancing both cruelty and unintentional humour. Sankalp Reddy takes the director's seat, providing crisp and focused direction. However, it is the film's background score that will certainly detract viewers from an otherwise exhilarating experience. The loud and overpowering background music becomes jarring and overwhelming at times. If only the film had opted for a more restrained approach to the background music, the impact would have been heightened significantly.

"IB 71" is an engaging watch that sheds light on a remarkable chapter of history, instilling a sense of pride in our intelligence network. With a runtime of nearly two hours, the film maintains a screenplay that keeps the audience captivated throughout, ensuring there is never a dull moment. If you have an affinity for period action thrillers, this film successfully checks the boxes.

U Turn (2023)

U-Turn is Filled With Enough Thrills and Chills to Keep Viewers Interested !!!

[8/10 · 10 September 2023]

A remake of the 2016 Kannada film of the same name, Arif Khan's first directorial venture skillfully hooks you right from the opening scene, when an accident happens on the flyover because of traffic offenders. This mysterious accident forms the backbone of the film and unravels in the climax. Although the plot is similar to the original film, this 'U-Turn' keeps you engaged throughout.

The story follows the life of rebellious Radhika Bakshi (Alaya F), an intern journalist who wants to crack the story about traffic offenders who disrupt the divider and take a U-turn on the double lane flyover in Chandigarh. While investigating this story for her article, she finds herself in a precarious predicament that makes her the prime suspect in one of the murders. Will she be able to prove her innocence while also assisting the investigating officers-Arjun Sinha (Priyanshu Painyuli), Inderjeet Singh Dhillon (Manurishi Chadha) and Surrinder Kumar Yadav (Shreedhar Dubey)-in solving the case ?

Writers Parvez Sheikh and Radhika Anand's screenplay and director Arif Khan's taut direction ensure the story moves along quickly for most part, even when the narrative goes into flashbacks. The story is filled with enough thrills and chills to keep viewers invested. The sequences, such as how the first murder occurred, and the eerie soundtrack (by Ketan Sodha), keep you on the edge of your seat. However, some of the approaching twists and the big revelations during the climax can be spotted from a far. The film is primarily shot in the dark with persistent heavy rain serving as the backdrop, but the added effect only makes it difficult for viewers to grasp what's going on.

The dialogues of the film are quite average. But, the crisp editing by Rohit Ajit Makhwana deserves special mention here as there is no dull movement in the film and the screenplay moves at a brisk pace.

Alaya F. Brings her character to life. From a rebellious and independent girl to detective Byomkesh Bakshi (as she is often compared in the film)-Alaya is brilliant as Radhika. Similarly, Priyanshu Painyuli (better known for his role as Bhavesh Joshi) gives a decent performance as an empathetic and astute cop. Manurishi Chadha is simply fantastic. Rajesh Sharma, who plays H. S. P Saxena, contributes nothing to the plot and is completely squandered. Even Aashim Gulati, Radhika's coworker and love interest, has no substantial role.

Overall, this mystery thriller that deals with the consequences of traffic violations adds a topical and relevant element to the story while also acting as a useful reminder to always follow the rules of the road for your own and others' safety. Watch it !!!

Por Thozhil (2023)

Sarath Kumar, Ashok Selvan Delivers A Brilliant, No-Nonsense Investigative & Spine Chilling Crime Thriller !!!

[10/10 · 20 August 2023]

Por Thozhil - directed by Vignesh Raja featuring Sarath Kumar, Ashok Selvan and Nikhila Vimal in pivotal roles is a 147 minutes thriller drama that keeps you on the edge due to its smart, effective and intelligent writing.

The story is set in 2010 and two women are murdered one after another and the police cannot find any clue. A senior police officer, Loganathan, played by Sarath Kumar and a recruit, Ashok Selvan's Prakash are appointed to investigate the case. The story explores how the senior police officer with his experience and practical knowledge and the rookie with his bookish knowledge crack the case.

Director Vignesh Raja delivers a no-nonsense, straightforward plot line that continues to build suspense and anticipation till the end. The story explores childhood trauma inflicted by parents. Alfred Prakash and Vignesh Raja teamed up to make the screenplay different from the way it was told.

Prakash is shown to be a scaredy cat right from the first shot, while Loganathan has an imposing presence and essays a stern police officer. Often Prakash's lack of experience and bookish knowledge annoys the senior police officer and they find themselves at loggerheads due to conflicting opinions. Nikhila Vimal has an important role but comparatively less screen time and still creates a lasting impact in all her scenes. The movie also starred the late actor Sarath Babu who added a different dynamic to the script with his mature performance. Unfortunately, the filmmakers did not give him much screen time.

The scenes were beautifully shot and the credit goes to cinematographer Kalaiselvan Sivaji. His contribution to the thriller is massive. He proves his exceptional talent in the railway gate scene right before the intermission. Throughout the movie, the makers have dropped casual hints and clues to let the audience guess who the killer is which makes the viewers glued to the skin and pay attention to every detail and makes it all the more interesting.

Vignesh Raja on debut has come up with an intelligently scripted, layered psycho analysis of a film that will work for not only genre lovers but for the general crowd too. He is most definitely one of the finds of the year and may be the decade too.

Gadar 2 (2023)

Gadar 2 is an Emotion, Perfectly Lifted by Sunny Paaji !!!

[10/10 · 20 August 2023]

Gadar 2 - The Katha Continues is the story of a son and a father. After the events of the first half, Ashraf Ali (Amrish Puri) is slammed in Pakistan, and at the insistence of Hamid Iqbal, he is hanged. 17 years later, in 1971, Tara Singh (Sunny Deol) is residing peacefully with his wife Sakeena (Ameesha Patel) and son Charanjeet Singh aka Jeete (Utkarsh Sharma). The Indian army is preparing for war with Pakistan. Lieutenant Colonel Devendra Rawat (Gaurav Chopra) asks Tara to help a particular army unit that is stuck at the border while fighting the Pakistani army. Tara not only provides the Indian army unit with ammunition but also fights the enemy.

The Pakistani army captures several Indian soldiers and truck drivers, who were with Tara. Tara is nowhere and is presumed to be imprisoned in Kot Lakhpat jail in Pakistan. Sakeena is devastated and so is Jeete. Jeete is unable to bear her mother's condition. He runs to Pakistan on a fake passport to find his father. He meets Gul Khan aka Gullu (Mushtaq Khan) and Ashraf Ali's brother Abdul Ali (Ehsan Khan) and asks for their assistance so that he can infiltrate Kot Lakhpat jail. As part of their plan, Jeete masquerades as a cook in the house of Kurban Khan (Mushtaq Kak). Jeete gets the job thanks to Kurban's daughter Muskaan (Simratt Kaur), who falls for him. What happens next forms the rest of the film.

Speaking of performances, Sunny Deol is terrific. His screen presence is electrifying and it's a pleasure to see him perform so energetically even at this age. Ameesha Patel is hardly there and is wasted. Utkarsh Sharma tries to give his best shot. But his performance leaves a lot to be desired. Manish Wadhwa is over the top but it works for his character. Simratt Kaur is lovely. Ehsan Khan, Mushtaq Khan and Mushtaq Kak are okay. Gaurav Chopra is fine. Aaditya Sharma (Imtehaan; Darmiyaan's nephew) is there for the heck of it. Lubna Salim (Pakistani mausi) is adorable.

While the first part is spent on establishing the emotional content and pretext, the second half is where most meat lies. There's Sunny Deol jumping atop moving trains, hailing slogans for India, talking about the tricolour, Pakistan, bombing and lots of 'ayee'! What more can you possibly ask for?

All in all, 'Gadar 2' supersedes expectations, as it successfully tugs at your heartstrings. And there's Sunny Paaji to do all the heavy-lifting (pun intended).

Hence, it would be safe to conclude that 'Gadar 2' ne kaafi gadar machayi hain!