Bollywood Movie Reviews August 2 2019 Page 1

Movie Review: Mission Mangal

Just like how Eid is synonymous with a Salman Khan release, the Independence Day holiday isn’t complete without an Akshay Kumar starrer. From 2013 to 2018, he has had a release during this beneficial weekend, barring 2014. 2019 is no exception and this time, he is out with MISSION MANGAL, based on an important chapter of India’s history. The mood of the film is also apt, considering that just last month, the Indian Space Research Organisation (ISRO) launched Chandrayaan-2 towards the moon. MISSION MANGAL has all the trappings of a blockbuster. So does it turn out to be as exciting and entertaining as expected? Or does the content fails to entice? Let’s analyse. MISSION MANGAL is the incredible true story behind India’s mission to Mars. The film begins in 2010. At the Indian Space Research Organisation (ISRO), a space mission under Rakesh Dhawan (Akshay Kumar) fails after Tara Shinde (Vidya Balan) in his team makes an error in judgement. As a punishment posting, he’s asked to handle India’s Mars program, which is not expected to take off anytime soon. A few days later, Tara while cooking puris in her home has a Eureka moment. She realises that through innovative methods, they can try to get our satellite reach Mars in just two years. She tells Rakesh about the plan and he realises it’s a golden opportunity. Rakesh approaches his senior (Vikram Gokhale) for approval who finds the idea unfeasible. Also Rupert Desai (Dalip Tahil) who has come from NASA to join ISRO feels that Rakesh’s idea is ridiculous. Rakesh however manages to persuade and begins work. He asks for the best of the men from ISRO for this project. However he’s given inexperienced colleagues like Kritika Aggarwal (Taapsee Pannu), Eka Gandhi (Sonakshi Sinha), Varsha Gowda (Nithya Menen), Neha Siddiqui (Kirti Kulhari) and Parmeshwar Naidu (Sharman Joshi) and a very senior employee Ananth Iyer (H G Dattatreya). What happens next forms the rest of the film. Jagan Shakti’s story is superb and also very challenging. It’s not easy to pen down a mainstream film with such a plot. Also many are not aware of what transpired behind the making of India’s Mars mission. Hence it’ll be exciting for them to witness the whole journey. Also there are so many twists and turns in the plot that one might not believe that some of the plot points are actually true incidents. R Balki, Jagan Shakti, Nidhi Singh Dharma and Saketh Kondipathi’s screenplay not only simplifies the proceedings but also make it massy. The screenplay blends science and entertainment seamlessly. The film’s goings on are extremely easy to comprehend. R Balki, Jagan Shakti, Nidhi Singh Dharma and Saketh Kondipathi’s dialogues are effective and funny. Jagan Shakti’s direction is terrific for a first timer. He had a winning screenplay in his hand and he takes it to another level with his execution. The film has also has subplots of each of the main characters and even these are very well woven in the narrative. And through these tracks too, the makers have made some important comments about religion, parenting, marriage, religious bias etc. and all these contribute to the film hugely. MISSION MANGAL starts off beautifully showing Tara running a house efficiently on the day ISRO has an important launch. Rakesh’s entry and the confrontation scene when he’s offered Mars program is intriguing as well as entertaining. It also makes it clear that the film won’t get serious and that the entertainment quotient will be maintained. The rest of the team is introduced in a quick but interesting montage like sequences and it adds a lot to the film. The first half moves swiftly with no complaints. The second half is longer and the commencing portions are where the film drops. Also to see the team renovating their work station at a time when they are running against time is a bit too much. Thankfully the film soon picks up. The best is obviously reserved for the finale. There are a lot of obstacles faced by the team here and it makes the film even more gripping. The finale is applause worthy.

MISSION MANGAL is embellished with some fine performances. Akshay Kumar is in top form. He gets to play such a splendid role and gets into the skin of his character. And he’s very much there throughout the film! The way his character rarely gets serious and makes even serious discussions light and funny is seen to be believed. One of the greatest sequences of the film is when he makes an imaginary call to none other than APJ Abdul Kalam. Vidya Balan dominates most of the first half and suits her character to the T. It’s also admirable that she has no qualms playing mother to teenagers. Sonakshi Sinha is lovely and gets to shine. It’s great to see how she makes an impact in a supporting role. Taapsee Pannu is also quite efficient and gives her best in the climax. Nithya Menen has a smaller role but it serves as a great debut. Kirti Kulhari manages to score and many would be able to relate to her character’s struggles. Sharman Joshi is funny and would surely make viewers smile. H G Dattatreya is adorable and the scene where he teaches Kirti’s ex hubby a lesson is too good! Dalip Tahil is appropriate as the pessimist. Sanjay Kapoor (Sunil Shinde) is the surprise of the film. He delivers a fine performance and post interval he goes in another mode that would be greeted with whistles in cinemas! Purab Kohli (Vivek) and Mohd. Zeeshan Ayyub (Rishi) lend able support. Rohan Joshi (Dilip Shinde) is hilarious and even heartening as Vidya Balan’s son. Kashmira Pardeshi (Anya Shinde) gets no scope. Vikram Gokhale is decent. Others are also good in their respective parts. Amit Trivedi’s music is well interspersed with the proceedings. ‘Dil Mein Mars Hai’ is entertaining and catchy. ‘Shaabaashiyaan’ is played at a crucial juncture. Amit Trivedi’s background score is engaging. S Ravi Varman’s cinematography is quite simple and has the big screen effect. Sandeep Ravade’s production design is praiseworthy as it’s straight out of life. Debashish Mishra’s sound design is also as real as it gets. Sham Kaushal’s action is good in the lone action scene inside the metro. Famulus Media and Entertainment’s VFX is top class without which the long climax would not have worked so well. Theia Tekchandaney’s costumes are appealing yet not too glamorous. Kirti Kolwankar and Maria Tharakan’s costumes for Vidya Balan are authentic. Chandan Arora’s editing is just perfect as the film neither moves too fast nor drags. On the whole, MISSION MANGAL is engaging and entertaining while being patriotic in its feel. At the box office, it will be accepted whole heartedly by the audiences and has the potential to emerge as Akshay Kumar’s highest grosser ever!

Movie Review: Batla House

Films based on or inspired from true incidents always have an edge, especially if made well. A recent classic example being ARTICLE 15, loosely inspired from Badaun rape case and Una flogging incident, and which became a commercial success. Now Nikkhil Advani attempts to unravel the mystery behind the more-than-a-decade-old Batla House encounter in his flick, also titled BATLA HOUSE. So does BATLA HOUSE give viewers an entertaining and thrilling time? Or does it fail to entice? Let’s analyse. BATLA HOUSE is the story of an upright cop caught in a sticky situation. The year is 2008. The Indian Mujahideen has conducted a series of blasts across the country. Their latest attack is in the capital city, Delhi, on September 13. ACP Sanjay Kumar (John Abraham) is having trouble in his marriage with Nandita (Mrunal Thakur). On September 19, he is informed by his team that the terrorists responsible for this blast are holed up in a flat in L-18, Batla House in the Okhla locality of the city. Before Sanjay could reach the site, his junior officer K K (Ravi Kishan) orders the team to engage with the occupants of the said house. The occupants who are Okhla University students fire at the cops, injuring K K grievously. Sanjay meanwhile reaches and he along with the rest of the police team eliminate the shooters. One of them, Tufail (Alok Pandey) is arrested. Even before the cops could leave, the residents begin raising slogans against the police. Soon, the media and political leaders blame the police for staging a fake encounter. K K on the other hand passes away in hospital. Sanjay meanwhile finds it difficult to prove that he’s right and that these residents of Batla House were indeed a part of Indian Mujahideen. He also informs the police department that there were two more guys in the Batla House flat who escaped, one of which is Dilshaad Ahmed (Sahidur Rehman). He escaped to Nizampur, Uttar Pradesh. Sanjay’s senior Jayvir (Manish Chaudhari) sternly tells Sanjay not to head to Nimzapur to arrest Dilshaad. Yet, Sanjay defies the orders and heads to nab Dilshaad with his team. In Nizampur, he encounters hostile residents and a leader of a political party who tell him to back off. Yet, he goes ahead and attempts to take Dilshaad back to Delhi. The locals on one hand are baying for his blood. On other hand, Jayvir and other senior cops are slamming Sanjay for his irresponsible action. What happens next forms the rest of the film. Ritesh Shah’s story is well researched and gripping. Moreover, it’s extremely relevant in today’s times. Many might not be aware of this case and how it led to such a huge controversy at that time. Hence, the novelty factor is also there. Ritesh Shah’s screenplay is captivating for most parts but is shaky in the first half. The film should have been simpler yet thrilling and devoid of too much of docudrama feel, for a better impact. However, there’s no doubt that some scenes are exceptionally scripted. Ritesh Shah’s dialogues are acidic and sharp. The one-liners in the climax work very well. Nikkhil Advani’s direction is simply brilliant. He understands the material he has in his hand and its sensitive nature. He has handled some scenes deftly and shows his brilliance in the interrogation scene in the first half and later in the courtroom sequences. Also, the Rashomon effect works well here to make the audiences wonder as to which version is correct. However, a few scenes in the first half are not up to the mark. Some scenes might even confuse viewers. For instance, it is bewildering why Sanjay switches off the camera during a crucial interrogation. Thankfully, the plusses outweigh the minuses by a huge margin here. BATLA HOUSE’s first half is decent but one misses the overall ‘Wow’ factor here. The reason behind the straining of relations between Sanjay and Nandita is not explained properly. The encounter is only partly shown and hence, one remains confused as to what exactly transpired between the police and the students. Also, Sanjay’s constant hallucination sequences become a little too much after a point. But on the positive side, a few scenes are quite promising. The film picks up in a big way when Sanjay quotes from the Holy Quran while interrogating Tufail. This powerful scene will surely be greeted with claps and whistles and it also proves how vested interests smartly misinterpret religious texts for violent gains. The Nizampur episode is a bit over the top but is quite thrilling. The intermission point also comes at a great moment. Post-interval, the interest levels increase as Sanjay gets determined to nab Dilshaad. The entry of Victoria (Nora Fatehi) adds charm to the film. But the best is reserved for the last 35-40 minutes. The courtroom drama is quite exhilarating and clap worthy. Also, once the entire scenario becomes clear, the film becomes simpler.  As a result, audiences would be even more interested once they know the complete picture. Sanjay’s monologue at this hour ensures the film ends on a high.

BATLA HOUSE belongs to John Abraham, without a shred of doubt. He is not just playing a brave, decorated police officer. He also essays the role of a person who is abused and slammed from all quarters. No one wants to know or believe his version of truth. The trauma he faces is brought out beautifully by John. Also, he’s first-rate as expected in action scenes and also in dramatic and confrontational sequences. Mrunal Thakur is letdown a bit by the script as the back story is never revealed. But she gives a decent performance. In the second half, she impresses even more as the woman who stands up for her husband. Ravi Kishan leaves a huge mark in a small role. Manish Chaudhari is efficient. Rajesh Sharma (Advocate Shailesh Arya) is quite scathing, as per his character’s requirement. Nora Fatehi provides much-needed sizzle in the film. Her character has a small but important role in the film. Alok Pandey and Sahidur Rehman play their respective parts with earnest. Pramod Pathak (Defence counsel P Krishnan) has a late entry but makes an impact. Others also do well. Songs aren’t memorable except for of course ‘O Saki Saki’. The item song is quite entertaining but it starts off quite suddenly though. ‘Rula Diya’ and ‘Jaako Rakhe’ are okay. John Stewart Eduri’s background score is subtle yet adds to the impact.  Adil Shaikh’s choreography in ‘O Saki Saki’ is visually great. Soumik Mukherjee’s cinematography is topnotch. This is especially in the interior scenes of Batla House flat and in the chase sequence in the small town. Priya Suhas’s production design is quite realistic. Amin Khatib’s action is thrilling and yet not gory or disturbing at all. Maahir Zaveri’s editing is razor sharp in many scenes and also stylish. But this kind of editing also affects the impact in some of the scenes in the first half. On the whole, BATLA HOUSE is a powerful saga which is sure to spark off discussions and debates. The relevant plot, watertight screenplay, clapworthy moments and terrific performance by John Abraham makes BATLA HOUSE one of the finest films of the year. At the box office, it will have a promising run. Recommended!

Movie Review: Jabariya Jodi

A lesser known film, ANTARDWAND, released in 2010 and sank without a trace. But it stood out from rest of the niche films as it was based on the system of groom kidnappings prevalent in Bihar. Now, newcomer director Prashant Singh attempts to make the idea even more popular with his film, JABARIYA JODI. Unlike ANTARDWAND, which was quite a serious fare, JABARIYA JODI attempts to look at it in a light-hearted manner. Moreover, it stars two known actors – Sidharth Malhotra and Parineeti Chopra. So does JABARIYA JODI entertain and comes across as a respite for its lead actors? Or does it fail in its endeavour? Let’s analyse. JABARIYA JODI is the story of two equals, who come from different worlds. In 2005, two kids – Abhay Singh (Aryan Arora) and Babli Yadav (Gurket Kaur) – fall in love in the Madhopur village in Bihar. But Babli’s mother catch them red handed. She and Babli’s father Duniya Lal (Sanjay Mishra) decide to leave Madhopur and shift to Patna. Cut to present day. Abhay Singh (Sidharth Malhotra) is now an adult and works with his father Hukum Dev Singh (Jaaved Jaaferi). Abhay’s job is to kidnap grooms and get their ‘jabariya shaadi’ done. Abhay, Hukum and the rest of the gang members believe that they are doing social work with these forced marriages. After all, the bride’s father doesn’t have to pay dowry in such type of marriages. While getting one such ‘jabariya jodi’ done, Abhay bumps into Babli (Parineeti Chopra), who is the friend of the bride Shriya (Kirtika Budden). Both recognize each other and sparks fly. For Babli, the timing is just perfect. She has been dumped by a guy for whom she ran away from her house. Abhay too falls for Babli but he also gets apprehensive about the relationship. Moreover, he has political ambitions – he wants to be an MLA and stand for elections next year. Meanwhile, Duniya Lal finds out that she is in love with Abhay. He detests Abhay, since he is a goon and decides to get her married to the supposedly decent and educated fellow, Pappu (Rashul Tandon). But Pappu’s parents ask for ridiculously high dowry. With no option in hand, Duniya Lal and his close aide Pathak ji (Neeraj Sood) approach Hukum Dev Singh and request for Babli and Pappu’s ‘jabariya shaadi’. Babli is told of her marriage but she assumes her father is getting her hitched to Abhay! So she is very glad and happily participating in pre-marriage customs. Abhay meanwhile is sulking as he doesn’t want her to get married to anyone else. At this point, the powerful and well-connected Daddan Yadav (Sharad Kapoor) approaches Hukum Dev Singh. He requests him to let go of the deal he made with Duniya Lal since Pappu is his close relative and that he’s planning Pappu’s wedding somewhere else. In return, Daddan would give Hukum Dev the election ticket from the seat of Gaya. Hukum Dev agrees and he tells Abhay to return the fees given by Duniya Lal at his residence. This is when Babli learns the truth and she is shattered. An angry Babli now decides to do ‘jabariya shaadi’ with Abhay! What happens next forms the rest of the film. Sanjeev K Jha’s story is based on an interesting idea. Many in the country are not aware of ‘pakadwa vivah’ tradition and the writer succeeds in showing this bit in an entertaining manner. At the same time, he also highlights the downside of such kind of marriages. But the inherent love story is weak and has loose ends. Sanjeev K Jha’s screenplay (with additional screenplay by Raaj Shaandilyaa and Neeraj Singh) doesn’t really succeed in hiding these minuses. A few scenes are well written and thought of. Also, the writing has the massy vibe. But one wishes the writer and additional screenwriters had done something about the unconvincing plot points. Raaj Shaandilyaa’s dialogues (with additional dialogues by Neeraj Singh) are one of the highpoints. The one-liners are sure to be greeted with claps and hooting. In fact, it’s a rare film where dialogues help in hiding the goofs of the film. In the emotional scenes, the dialogues work big time. Prashant Singh’s direction is very good for a debutant. He understands that the story has a pan-India appeal and executes it appropriately. Also, he keeps the audiences hooked from start to finish without boring them, despite the 144 minutes duration. But he doesn’t do much when it comes to unconvincing moments in the movie. The biggest dilemma faced by Abhay Singh in the film is the fear he has that he’ll turn like his father and harass his to-be wife and she’ll suffer the same fate like her mother (Sheeba Chaddha). This is an important point and should have been explained further. Only the childhood portion shows Hukum Dev Singh indulging in adultery and that he’s quite strict. But it’s not enough and the director should have tried to explore the dynamics between Hukum Dev and his wife. Also, he allowed the repetition of some sharp dialogues, due to which the impact is not made. Not just that, Hukum Dev’s change of heart is too sudden and catches viewers unawares. Lastly, the product placement in the film is too in-your-face and it’ll raise laughs.

JABARIYA JODI starts off on a sweet note, showcasing the love story between two teenagers. The fun continues once adult Babli enters the story and bashes up her boyfriend for not turning up at the railway station. Abhay’s introduction too is done in a fun manner. The sidekicks and supporting characters are also quite strong and they also add a lot to the film and its humour quotient. The manner in which Babli is completely oblivious that she is getting married to Pappu and not Abhay is hard to digest. Did no one around her ever even take the groom’s name, even as a passing remark? Post-interval portion begins on a promising note as Babli decides to force marry Abhay. The way it’s done is pretty hilarious. But soon, the film drops. Thankfully, the action-packed climax, though weak, works and the film ends on a happy and appropriate note. Sidharth Malhotra is in fine form, also look wise as he suits the part. There’s a scene where Babli’s pals try to kidnap Abhay but get scared the minute they see him. And this bit looks convincing as Sidharth makes Abhay look like someone not to be messed with. But his performance is a bit dry in some scenes. He should have shown a bit more aggression in a few more sequences. Parineeti Chopra does quite better and is just perfect as Babli. In the second half, she gets surprisingly mellow, which seems a bit out of character. But even in this hour, she leaves an impact. The scene where Abhay comes to take away Babli is where she leaves a huge mark. Aparshakti Khurana (Sanku) slips into his part effortlessly. Sanjay Mishra is fair and adds to the humour quotient especially in the scene where he consumes the ‘banned’ alcohol. Chandan Roy Sanyal (Guddu) is apt for the part. Mohit Baghel (Halla) is quite funny and makes his presence felt. Raashul Tandon goes overboard and yet manages to entertain and raise lot of laughs. Jaaved Jaaferi is decent as the strict father. Sheeba Chadha gets a raw deal. Neeraj Sood has a few funny dialogues but one wishes he had a lengthier role. Sharad Kapoor is strictly okay. Gopal Dutt (Inspector Tiwari) is very good in the cameo role. Aryan Arora and Gurket Kaur are sweet as young Abhay and Babli respectively. Elli AvrRam is sizzling in the item song. Music is not great as it doesn’t suit the feel and theme of the film. ‘Zilla Hilela’ is the only track in the film that matches with the film’s setting. ‘Khadke Glassy’ is also nice but comes in the end credit. ‘Dhoonde Akhiyaan’ works because of the picturization. ‘Khwabfaroshi’, ‘Ki Honda Pyaar’ and ‘Macchardani’ are disappointing. Joel Crasto’s background score is dramatic. Bosco Martis’ choreography (‘Khadke Glassy’) and Adil Shaikh’s choreography (‘Zilla Hilela’) is good. Vishal Sinha’s cinematography is fair, with few scenes capturing the small-town India very well. Rajat Poddar’s production design is realistic. Malavika Kashikar, Niharika Jolly and Akshay Tyagi’s costumes are stylish. But Parineeti Chopra’s crop tops seem a bit out of place and doesn’t go well considering the film is set in Patna. Vikram Dahiya’s action is realistic. Dev Rao Jadhav’s editing could have been crisper by a few scenes. On the whole, JABARIYA JODI is a decent entertainer and works because of the novel idea of forced marriages, performances and hilarious and witty dialogues. At the box office, it will do decent business before the Independence Day biggies take over.

Movie Review: Fast And Furious Presents: Hobbs And Shaw

The Fast And Furious franchise started way back in 2001. Since then we have seen the franchise evolve from racing to something that includes, heists, spying and of course fast cars. Now two years after the last release in the series THE FATE OF THE FURIOUS hit screens in 2017, we see a spin off feature film in the form of FAST & FURIOUS PRESENTS: HOBBS & SHAW. But will this new action flick woo the Fast and Furious audience or will it like so many other actioners be all glitz and no content is what we analyse. Starting off, FAST & FURIOUS PRESENTS: HOBBS & SHAW is centred around the titular Luke Hobbs (Dwayne Johnson) and Deckard Shaw (Jason Statham), characters introduced in the main series. The film begins with a crew of MI6 agents attempting to retrieve a virus, Snowflake, which can be programmed to decimate millions of people, from terrorist organization Eteon. Brixton Lore (Idris Elba), an Eteon operative with advanced cybernetic implants, arrives and kills all agents except for their leader, Hattie Shaw (Vanessa Kirby), who injects Snowflake into herself as a dormant carrier and escapes. Brixton frames Hattie as a traitor who killed her team and stole Snowflake, forcing her to go on the run. Luke Hobbs and Deckard Shaw are both informed of the missing virus and are assigned to work together reluctantly to track it down. From here on begins a cat and mouse game to save Hattie and the world while keeping the deadly ‘Snowflake’ out of the wrong hands. Much like the previous FAST & FURIOUS films, this spin off too is an action entertainer that promises edge of the seat stunts, fast cars, and big explosions. While there were initial questions raised whether a spin off on a series like F&F would work and hold the audience’s interest, FAST & FURIOUS PRESENTS: HOBBS & SHAW proves that such films if made well, not only keep the audience in their seats but also provides for a fun filled thrilling watch. Director David Leitch, who has in the past proved his mettle with JOHN WICK (2014), ATOMIC BLONDE (2017) and the more recent release DEADPOOL 2 (2018), has done it again. Thanks to a background as a stuntman with professional martial arts training, Leitch is able to execute and shoot some rather difficult action sequences with precision. Keeping in mind the background of the franchise, Leitch has capitalized on characteristic traits of Hobbs and Shaw to develop seamless fight sequences that are well co-ordinated. As for the story of the film, like most action flicks, this one too features a wafer thin plot. However, it isn’t the plot that is the film’s mainstay; instead it is the eye popping relentless action that is interjected with well-placed humour to break the monotony. Coming to the performances, Dwayne Johnson as Luke Hobbs does what he does best, which is smashing things. Assisting him on this endeavour is Jason Statham as Deckard Shaw who takes the more refined approach as compared to Hobbs’ brute force technique to eliminate targets with finesse. Vanessa Kirby as Hattie Shaw does a commendable job and manages to hold her own despite the fact that the film is centred on the characters of Hobbs and Shaw. However it is Idris Elba as Brixton Lore who steals the limelight. A cybernetic enhanced superhuman hybrid, Brixton is capable of feats that push the boundary. Despite having such power, Elba’s restrain is clearly evident, thus preventing the film from becoming too over the top. The dialogues, though not much are good in places with well time punch lines that deliver. As for the action, well it is a spin off from the FAST AND FURIOUS franchise, so expect tons of it. Though unlike the previous films in the series, this one features fewer high end cars, skimpily clad women and debauchery, but rest assured David Leitch has done well with the action. Adrenaline pumping, edge of the cliff (quite literally) gasoline fuelled explosions that are sure to satiate your hunger for destruction. On the whole, FAST & FURIOUS PRESENTS: HOBBS & SHAW lives up to the FAST & FURIOUS tag, with insane stunts, high octane action, well timed humour and an entertaining rollercoaster ride that keeps you in your seat. At the box office, the film that releases in four languages, English, Hindi, Tamil and Telugu is expected to open well and will see an increase in footfalls over evening and night shows. With little competition at the box office, FAST & FURIOUS PRESENTS: HOBBS & SHAW looks set to dominate the weekend.

Movie Review: Arjun Patiala

Comedy is an established genre in Bollywood. Since audiences are now ready for hatke stuff, filmmakers are constantly trying to push the boundaries in the existing genres too. This Friday coincidentally sees the release of two such films, although both the movies are as different as chalk and cheese. While JUDGEMENTALL HAI KYA has violent undertones, the other film – ARJUN PATIALA – is like a spoof comedy, on the lines of famous Hollywood films like SCARY MOVIE and DEADPOOL. Bollywood has rarely made such films and one recent film in this space was WELCOME TO NEW YORK [2018]. It was a huge failure in all respects and now its lead actor Diljit Dosanjh appears in another spoof film, ARJUN PATIALA. So does ARJUN PATIALA manage to entertain and emerge as a pioneer of this genre in Bollywood? Or does it fail to entice? Let’s analyse. ARJUN PATIALA is the story of a cop trying to achieve a crime-free district. A struggling director (Abhishek Banerjee) meets a rich third-generation producer (Pankaj Tripathi). After ensuring that the director has put all the necessary ‘ingredients’ needed for a masala entertainer, the producer allows the narration of the script. The director then starts to tell his story – that of a police officer named Arjun Patiala (Diljit Dosanjh). He becomes a sub-inspector through sports quota and he is posted at Ferozpur Police Station in Punjab. Within a few days, he falls for Ritu Randhawa (Kriti Sanon), an honest reporter working for Tezz News Channel. He is also visited by his senior, DSP Gill (Ronit Roy). Arjun looks up to him since childhood and he is the reason why he decided to be a cop. DSP Gill shares with him his dream of making Ferozpur a crime-free district. Ritu meanwhile helps Arjun in sharing the list of baddies in the area. There’s Baldev Rana (Amit Mehra) who is so brash that he even beats up police officers if they come in his way, Sukool (Mohd. Zeeshan Ayyub) who runs a brick kiln, his brother Anda (Sumit Gulati) and finally Dilbaug Singh (Himanshu Kohli) who runs his business from jail and also has haemoglobin problems. Arjun devises a plan – he generates a gang war between them, hoping that they’ll all kill each other and hence DSP Gill’s dream will be achieved. However, there’s also MLA Prapti Makkad (Seema Pahwa) who seems to be the biggest villain of all and also has ulterior motives of her own. What happens next forms the rest of the film. Ritesh Shah and Sandeep Leyzell’s story is outdated. The writers had some good ideas but fail to put it together on paper. Ritesh Shah and Sandeep Leyzell’s screenplay is shockingly horrible. It’s like an apology of a script. The attempt to make a spoof comedy and taking a dig at conventional Bollywood films is something that could have paid dividends. They also had some very funny characters and any other worthy writer would have made a complete laugh riot. Alas, the writers of the film let these characters go waste. They add some dry and beaten-to-death moments and twists. In fact, it’s bewildering how this script got approved in the first place. Ritesh Shah and Sandeep Leyzell’s dialogues are also dry and fail to evoke laughter. Rohit Jugraj’s direction is smooth for most places but with such a poor script, there isn’t much he could have done. At a few places however, he rushes through the film and this was avoidable. For instance, it’s never properly established why Sukool agrees to bump off other villains in the district. A few more minutes should have been spent in establishing the tensions between the various gangs. If Rohit had done the needful, the end result would have been better but still, the film would have emerged as a disappointment as the content itself is not worth it. ARJUN PATIALA begins on a great note. The manner in which the producer and director converse over the ‘masala’ script is interesting. The opening credits sequence, a spoof on James Bond style of films, is witty. But soon, one realizes there’s nothing much happening in the film. Yes, there are a bunch of villains but they are not utilized properly. In fact, after a point, the film stops being funny. A few scenes are interesting here and there like Sukool assassinating Baldev Rana or the way romance blooms between Arjun and Ritu. But these are few and far between. The twist in the tale in pre-climax is something that one can see from miles away. The finale is hardly funny and reeks of lazy writing.

Movie Review: Judgemental Hai Kya

How will you define ‘normal’ human behaviour? And what is the criteria to be followed by a person that he/she can be considered as ‘normal’? We have seen in films like MY NAME IS KHAN [2010], TAARE ZAMEEN PAR [2007] etc. wherein the protagonists’ behaviour were such that they stood out and were even ostracized. But still they were special and earned respect in society after a long struggle. Now, writer Kanika Dhillon and director Prakash Kovelamudi bring us JUDGEMENTALL HAI KYA that tackles these issues but unlike the aforementioned films, this flick goes into an unconventional zone with even a murder occurring in the narrative. So does JUDGEMENTALL HAI KYA manage to entertain and thrill the audiences? Or does it fail to make the impact? Let’s analyse. JUDGEMENTALL HAI KYA is the story of a woman with mental issues trying to solve a supposed crime. Bobby Batliwala Grewal (Kangana Ranaut) is an orphan who has lost her parents at a young age. She is partly responsible for their demise. Bobby grows up as a disturbed individual and her grandfather (Lalit Behl) takes care of her. She stays separately from him and works as a dubbing artiste for South films. She is on medication for her mental condition but she doesn’t consume her pills. She is in a relationship of sorts with Varun (Hussain Dalal) who is desperate to get physical with her. But she doesn’t give him the opportunity. At this point, Bobby gets a new tenant – Keshav (Rajkummar Rao) and his wife Meena (Amyra Dastur). Both are deeply in love with each other. Bobby spies on them and she starts to imagine herself with Keshav. However, she also gets intrigued since Keshav seems mysterious. In front of Meena, he pretends to be a non-smoker and a vegetarian. But Bobby catches him smoking heavily and also relishing chicken. She starts to trouble them and then it reaches a point where Keshav and Meena decide to move to another place. Before that can happen, a gas explosion occurs in their kitchen and Meena dies. The cops (Satish Kaushik, Brijendra Kala) begin their investigation. Bobby makes it categorically clear to them that Keshav has murdered Meena but doesn’t have concrete proof. The police officers interrogate Kehsav as well but realize it was a case of accidental death. Hence, they decide to close the case. An enraged Bobby assaults Keshav and she’s sent to mental asylum for a brief period of time. Two years later, Bobby seems to be in control. She’s started regular medication and her grandfather sends her to her cousin Megha’s (Amrita Puri) place in London to help in a stage production on Ramayana. All is going fine when Bobby gets a jolt when she spots Keshav. What happens next forms the rest of the film. Kanika Dhillon’s story is unconventional and quite promising and entertaining. Kanika Dhillon’s screenplay is interesting but in some parts, she falters. This is particularly in the second half where the film goes into another zone and doesn’t seem convincing. She however raises some interesting points on the idea of ‘normal’ and even draws parallel with Ramayana. Only if all these things had come together well, the impact would have been manifold. Kanika Dhillon’s dialogues suit the film, especially the ones mouthed by Kangana. Prakash Kovelamudi’s direction is appropriate and he uses his technical knowledge well. The film is very stylishly narrated which goes with its theme and also the title. In a few scenes, he shows his brilliance but goes over the top in the second half’s pre-climax especially. Also, a few scenes might seem difficult to digest, particularly the scene where Bobby confronts Keshav. He was treading line with this film and sadly, he trips at places and this affects the impact.

Movie Review: The Lion King

Years back in 1994 we saw the release of the animated Disney film THE LION KING, which went on to become a cult classic that kids the world over have grown up on. Now, decades on, we see a remake of the film with photorealistic computer animated characters. But will this remake entice the audience or will the film be just another heavy on visual effects extravaganza, is what we analyse. In the African savanna, the young lion Simba idolizes his father, Mufasa, and longs to succeed him as King of the Pridelands. But not everyone in the kingdom celebrates the new cub’s arrival. Scar, Mufasa’s brother — and former heir to the throne — has plans of his own. A jealous Scar initiates a coup which results in Mufasa’s death and Simba’s exile. While in exile Simba grows up in the company of Timon and Pumbaa, a meerkat and warthog pair with a carefree lifestyle. As tensions rise, he is drawn back into a battle with Scar by the friends from his past life. Will Simba take back what is rightfully his is what the rest of the film is about. Starting off since the film is a shot for shot remake of the 1994 animation do not expect differences, though an obvious fact is, more often than not viewers are left waiting for something new to happen. That being said, THE LION KING does not live up to the previous film. In fact, save for the photorealistic computer generated animatronics, little else makes an impression. When compared to the ’94 version, this new age visual effects masterpiece only brings in more colour, vividness and life like realism to a story that has since been told a million times over. Sadly, this is not where it ends, instead unlike the previous film, the new LION KING seems lacking the emotional connect. Contrary to what THE JUNGLE BOOK accomplished, THE LION KING fails to establish an emotional rapport with anyone older than a fifth grader. However, it isn’t all bad. Once the film begins, viewers are hard pressed to believe that the on screen visuals are not live action, from the way hair and particles move in the wind, to the physics of flowing and still water, the makers of THE LION KING have paid attention to the minutest detail.

Super 30 Movie Review

Overpopulation is one of the biggest ills plaguing the country. The number of people in this country vis-à-vis the education institutes available are fairly disproportionate. As a result, lakhs of students every year have to struggle and study hard in order to get a few thousand seats in elite educational institutes. The problem gets compounded when students belong to low-income groups and hence, their access to fine tutoring at affordable prices is even lesser. Anand Kumar from Bihar came as a godsend for many such aspirants. He gave free coaching to students and guaranteed them a seat in IIT. This feat made him a household name and now Hrithik Roshan is all set to reprise his role in SUPER 30. The film has faced lots of obstacles and also few delays. So does SUPER 30 manage to do justice to the journey of the man and yet manage to entertain? Or does it fail to entice? Let’s analyse. SUPER 30 is the story of a selfless man fighting for the cause of education-for-all. The year is 1996. Anand Kumar (Hrithik Roshan) has completed his graduation and is passionate about mathematics. He’s so good in the subject that he is felicitated at the hands of the education minister (Pankaj Tripathi). Anand manages to solve a complex mathematical problem, which has baffled scholars all around the world. His feat lands him a seat in the prestigious Cambridge University. His father Eshwar Kumar (Virendra Saxena) is a postman who takes out his PF to fund Anand’s foreign education. When the money falls short, he and Anand knock at the doors of the education minister, who had promised him help. But the minister refuses to help. Meanwhile, Eshwar passes away one day suddenly. He was the only earning member of the family and hence, Anand sheds his ambition and begins selling papad to survive. One day, he bumps into Lallan Singh (Aditya Srivastava) who runs Excellence Coaching Centre, an institute for those giving the IIT-JEE exams. He is aware of Anand’s brilliance in mathematics since he was in the college when Anand was felicitated. He gets Anand enrolled in his coaching institute as a premium teacher. Since Anand’s teaching methods guarantee success, he becomes quite sought after. Excellence Coaching Centre management even promote themselves by using Anand’s picture on their banners. Anand’s financial condition also improves as he’s even made one of the signatories. However, he soon realizes that some brilliant students aren’t getting a fair chance to excel in life because of their underprivileged background. Overnight, Anand quits Excellence Coaching Centre. He starts his own centre, where he decides to teach 30 students for IIT entrance exams for free. Not just that, he even arranges for their accommodation and food. Lallan obviously is livid and he tries his best to persuade Anand. When nothing works, he tries to demotivate Anand, saying that all his students who fail will go back to their impoverished lives. It’s important that each and every student of Anand manages to crack the IIT exam. What happens next forms the rest of the film. Sanjeev Dutta’s story is decent and has the potential. However, the incidents shown in the film seem too unreal at places. The makers claim it’s based on a true story but some of the episodes of the second half seem fictional. Sanjeev Dutta’s screenplay is watertight in the first half. There’s too much happening but it’s all written down well. The writing in the second half is a bit shaky. Also, the writing seems quite dated. The good vs bad battle is something we have witnessed in countless number of films before. Many of the scenes of the baddies are typical of the 90s films especially the manner in which they are plotting to strike against the hero. Sanjeev Dutta’s dialogues are acidic and make the right impact. Vikas Bahl’s direction is average and could have been better. In the first half, he manages to handle everything well but cracks begin to develop in the second half and it shows. There are several loose ends; for instance, what angered Lallan and the minister so much about the Super 30 programme that they even get ready to eliminate Anand? The funny part is that Vikas hints a bit on the entire education scam. But for a better impact, he should have delved a little bit more on the topic. In the absence of the detailing, it looks quite superficial. Secondly, some characters appear all of a sudden. There’s a way of introducing important characters. In SUPER 30, Raghunath (Amit Sadh) and Purshottam (Manav Gohil) suddenly spring out of nowhere and it takes a while to understand who they are and what their relevance to the plot is. Similarly, some major characters vanish without a trace as well, towards the climax. The biggest goof up by Vikas however is in the Holi sequence. It falls completely flat. It also gives one a déjà vu of Vikas Bahl’s earlier film, SHAANDAAR [2015]. Even the hospital scene in the end seems stretched.

Movie Review: Spider-Man – Far From Home (English)

One of the greatest chapters in world movie history has to be the Marvel Cinematic Universe (MCU). After introducing various exciting superheroes and also the ultimate villain (Thanos), the series went on another level in AVENERS: INFINITY WAR [2018] and later in AVENGERS: ENDGAME [2019]. The latter ended on a somewhat tragic note owing to the demise of Iron Man primarily. However, MCU saga continues and one of the first post-ENDGAME films that have hit theatres is SPIDER-MAN: FAR FROM HOME. So does it manage to entertain and excite audiences? Or after the events of AVENGERS: ENDGAME, it doesn’t live up to the expectations. Let’s analyse. SPIDER-MAN: FAR FROM HOME is the story of a superhero torn between his love and responsibilities whilst fighting a nasty villain. The world is slowly adjusting after half of the population disappeared and then re-emerged five years later (called the ‘blip’). Peter Parker aka Spider-Man (Tom Holland) is still distraught by the demise of Tony Stark aka Iron Man (Robert Downey Jr). He doesn’t want to be a superhero for a change and is looking forward to a two-week summer field trip to Europe organized by his alma mater, Midtown School of Science and Technology. That MJ (Zendaya) is also a part of it makes him even more excited. He plans to propose to her on top of the Eiffel Tower, Paris during the trip. Meanwhile, Nick Fury (Samuel L Jackson) and Maria Hill (Cobie Smulders) reach Mexico where locals complain that the cyclone, that destroyed their village, ‘had a face’. While investigating, the Earth Elemental resurfaces. At this point, Quentin Beck aka Mysterio (Jake Gyllenhaal) also emerges and destroys the creature. Realizing that Spider-Man can prove to be of help, Nick calls Peter and even sends Happy Hogan (Jon Favreau) to him. But Peter ignores the call for plea and heads to Venice for the trip. While he and his school mates are enjoying the sights, the Water Elemental wreaks havoc. Mysterio reaches on time and he destroys it and Peter also helps him. Nick Fury meanwhile reaches Venice as well and tells Peter that the Fire Elemental will be attacking next, in Prague. Mysterio, who is revealed to be from another Earth, says that it is the most dangerous of all and that it destroyed his planet. Nick hence insists that Peter help them. He also gifts Peter Tony’s glasses, equipped with the artificial intelligence, EDITH, meant for the latter’s successor. Peter is touched with the gesture but he rejects to help and looks forward to moving to Paris next where he will be finally proposing to MJ. However, Nick gets the school trip’s itinerary changed to Prague instead of Paris! Hence, Peter reluctantly is compelled to help in fighting Fire Elemental. As expected, the fire creature attacks and with great difficulty, Mysterio, along with Peter’s help manages to destroy it. Peter realizes he doesn’t deserve the EDITH glasses and hands it to Mysterio. All seems to be well but here’s when things change for the worse. Peter realizes he has done a grave mistake and what happens next forms the rest of the film. Chris McKenna and Erik Sommers’s story is impressive and is in sync with the theme and mood of the earlier SPIDER-MAN film, SPIDER-MAN: HOMECOMING [2017]. Chris McKenna and Erik Sommers’s screenplay does justice to the plot and adds a lot to the film. There’s a lot happening in the movie, especially in the personal life of Peter, and this aspect especially is well woven with the hero vs villain track. Dialogues are as expected witty and up the humour quotient. Jon Watts’s direction is commendable and he takes the film to great heights. After having more than 20 MCU films and showing countless number of evil creatures vandalizing various cities, it is a challenge to show all of that and yet impress the audience. And Jon wins the battle here, though in the first hour, it doesn’t entirely impress. But later on, with some twists in the tale, the desired impact is made. He also directed SPIDER-MAN: HOMECOMING and hence, recreates the mood and even some of the aspects. The intro scene, after the Marvel logo is shown, for instance is done in the same way as the earlier film. But he also brings a contrast by making Peter run away from superhero responsibilities whereas in SPIDER-MAN: HOMECOMING, he is dying for the next mission. Lastly, he also touches upon the Iron Man tribute but makes sure he doesn’t go overboard. On the flipside, the twist in the villain track is a shocker but could have been more convincing. It’s bewildering that the antagonist managed to pull off what he did without any suspicion. SPIDER-MAN: FAR FROM HOME’s beginning scene, showing the Mexico sequence is ordinary. The fun begins once the narrative shifts to New York City and viewers get acquainted with the ‘Blip’ concept. With AVENGERS: ENDGAME fresh in mind also Peter’s association with Tony, it seems very convincing when he declines to help Nick. His chemistry with MJ is electrifying and not just action, but this film scores in this department as well. The scenes where Water and Fire Elementals destroys Venice and Prague makes for a good watch, although it’s something that we have seen in previous Marvel films too. But it’s how Spider-Man and Mysterio team up is what makes it novel. Till here, the film is fine but it goes on a high once the true intentions of Mysterio are unveiled. And this really takes the film on a high because the events that follow are novel, especially the villain’s powers and methods. The finale in London is very exciting. The mid-credit scene is shocking and makes you wait for the next Marvel films with even more excitement. The post-credit scene is a surprise, though it raises questions as well. Tom Holland is now fully acceptable in this role. This time, Peter has become a bit matured although his goofy side is still intact. Tom balances this act very well. As Spider-Man too, he is just apt. His best act however is when he’s trying to woo MJ. Jake Gyllenhaal is quite impressive in this interesting role and he gets better in the second half. That evil laugh, when he reveals his true colours, is one of the memorable moments in the film! Zendaya is terrific and she does complete justice to her character. The way she rattles off trivia about various places and shows her dark side of humour makes her even more fascinating. Jon Favreau is dependable as always and this time, his character pisses off Peter and you have to see the film to understand why! Marisa Tomei (Aunt May) is a stunner as expected and is decent. Samuel L Jackson in his element. Jacob Batalon (Ned) is quite funny and even his character comes across a significant change and it adds to the entertainment. Tony Revolori (Eugene) is fine as the bully and there’s a hint given as to how he’s going to contribute a lot to future Marvel films. Other actors who are nice are Cobie Smulders (Maria Hill), Angourie Rice (Betty), J B Smoove (Professor Julius Dell), Martin Starr (Mr Harrington) and Numan Acar (Dimitri). The late Stan Lee unfortunately is not present in his trademark cameo appearance. Michael Giacchino’s music is energizing for such a superhero film. Matthew J Lloyd’s cinematography is breath-taking and the various cities are well captured. The sequence set in the tulip fields of The Netherlands however stands out. Claude Paré’s production design is up to the mark. Anna B. Sheppard’s costumes are appealing. VFX as expected is top class and in the illusion scene, it is very impactful. Leigh Folsom Boyd and Dan Lebental’s editing is sans complaint. But in a crucial twist scene, it is too quick and takes a while to comprehend. On the whole, SPIDER-MAN: FAR FROM HOME is a fun, entertaining fare that gives viewers their money’s worth. With AVENGERS: ENDGAME fresh in everyone’s minds, it further adds to the impact. Spider-Man has been immensely popular in India and hence at the box office, SPIDER-MAN: FAR FROM HOME is expected to rake in huge numbers and possibly emerge as the biggest non-AVENGERS Marvel flick. Recommended!

Movie Review: Article 15

One of the burning issues of the country is the caste system. Despite relevant laws and provisions, one can’t deny that the discrimination of various communities continue with alarming regularity. At times, it manifests into shocking crimes. The political class takes advantage of these conflicts and it further creates a divide. Very few films in Bollywood have plots that actually revolves around caste, shockingly. Anubhav Sinha however takes up the challenge, motivated by the success of his last year’s flick MULK, which dealt with religious tensions. The result is ARTICLE 15, featuring the urban audience’s favourite star Ayushmann Khurrana in the leading role. The trailer and content has already become a talking point. So does ARTICLE 15 succeed in giving audiences a thrilling time? Or does Anubhav Sinha miss the bus this time? Let’s analyse. ARTICLE 15 is the story of a righteous cop trying to solve a caste-related crime. Ayan Ranjan (Ayushmann Khurrana) is an IPS officer from Delhi who has been transferred to a village named Lalgaon in Uttar Pradesh as punishment posting. As soon as he joins duty, he comes to know about a case involving three missing girls from the Dalit community in the village. The cops out there don’t investigate the matter, citing that the case isn’t serious and the community often files false complaints. The next day however, the corpse of two of the missing girls – Shalu and Mamta – is found hanging on a tree. The third girl, Pooja, is missing. One of the girls from the community, Gaura (Sayani Gupta) tells Ayan that these three girls used to work under the local contractor Anshu who used to pay them Rs. 25 per day. The girls then asked for a raise of just Rs. 3 but it was rejected by Anshu. Hence, they protested and left work. Gaura alleges that Anshu possibly violated the girls to teach them a lesson. Ayan decides to investigate the matter as he realizes that Gaura is indeed right. But officer Brahmdutt Singh (Manoj Pahwa), working under Ayan, secretly tries to change the narrative of the crime. He plants a story in a newspaper that both the girls were in a same-sex relationship and that’s why their fathers killed them. In short, it was not a caste-related crime but honour killing is what he tries to prove. He also forces Dr. Malti Ram (Ronjini Chakraborty) to change the post mortem report, although it’s clear that Shalu and Mamta had been repeatedly gang raped and then hung on the tree. Amidst all these challenges, Ayan attempts to solve the case and find Pooja. To top it all, a Dalit underground leader Nishant (Mohd. Zeeshan Ayyub) attacks police officer Jatav (Kumud Mishra) and Ayan’s PA Mayank (Ashish Verma) and sets their jeep on fire. What happens next forms the rest of the film. Anubhav Sinha and Gaurav Solanki’s story is very hard-hitting and deserves to be told. It is loosely inspired by events like the Badaun rape case and Una flogging incident. The various characters, their dilemmas, and of course their caste status is well put out and used. However, one also wishes the film didn’t have so many people as it becomes confusing. Also, not all contribute entirely to the main plot. Anubhav Sinha and Gaurav Solanki’s screenplay is engaging and keeps one hooked from start to finish. There’s so much happening every minute and the writers try their best to keep audiences captivated. A few scenes however should have been written in a more entertaining way. Anubhav Sinha and Gaurav Solanki’s dialogues are one of the pillars of the film. They take several scenes to another level. And the writers don’t take a safe route. The names of various castes are fearlessly mentioned and thankfully, the CBFC hasn’t chopped off these references either. It’s a pleasant surprise that even the F-word has been retained. In one sequence, the characters even discuss about the symbols of the political parties and it’s easy to understand what they are hinting at. Anubhav Sinha’s direction is first-rate for most parts. It’s a very sensitive topic, which is why most filmmakers have feared taking it up. Anubhav not only makes a film out of it, he does a fine job and also ensures the various communities don’t get offended. But one wishes he had made ARTICLE 15 in a more commercial way. His earlier film MULK was easy to comprehend and had a thrill element and that made it more mainstream. ARTICLE 15 is entertaining and massy only in parts. In a few scenes, it seems like a documentary. A few moments however are very memorable and keep lingering in one’s mind for a long time. The shots where sewer cleaners enter the gutters without any safety equipment is bound to haunt viewers. Another brief but powerful shot is how political workers put up the banner of the upcoming rally on the very wall where posters of missing Pooja are pasted. It’s quite an interesting way to subtly tell viewers about how society has got the priorities all wrong.

Movie Review: Kabir Singh

One of the most loved love stories of Bollywood is DEVDAS. It has been remade several times and ten years ago, Anurag Kashyap gave a different touch to the tale through DEV D [2009]. All the interpretations have been liked as there’s a charm in the story of a man who goes on a self-destructive path when he fails to get the girl he loves. Two years ago, Sandeep Reddy Vanga made a Telugu film named ARJUN REDDY, which had a kind of a deja vu of DEVDAS. Yet, it stood out due to the treatment, execution and performances. ARJUN REDDY became a cult success and now its Hindi remake KABIR SINGH is all set to hit theatres. So does KABIR SINGH turn out to be as good as or better than ARJUN REDDY? Or does it fail to stir the emotions of the viewers? Let’s analyse. KABIR SINGH is the story of a heartbroken man on the path of self-destruction. Kabir Singh (Shahid Kapoor) is a top ranked medical student from a Delhi medical school. He is hot tempered and once during a football match, he gets into physical altercation with a rival college student named Amit (Amit Sharma). The college Dean (Adil Hussain) asks him to tender an apology or else he’ll be fired. Kabir choses the second option as he’s of the opinion that he did no wrong. But in no time Kabir changes his mind after he sees the first year student Preeti (Kiara Advani). Luck favours on him as Preeti’s family is family friend of Kabir’s and he’s asked to take care of her. Kabir is much feared on campus and he starts to give her personal lessons. Preeti enjoys this attention and soon they begin a romantic relationship. After their course ends, they move back to their respective residences in Mumbai. Kabir’s brother Karan (Arjan Bajwa) is getting married and Kabir goes to Preeti’s house to pick her up. Things turn awry here as Preeti’s father spots the lovebirds cosying up to each other. In a sudden turn of events, Preeti is compelled to get married to one Jatinder and Kabir is unable to stop this union. What happens next forms the rest of the film. Sandeep Reddy Vanga’s story is top-notch and very entertaining. The entire premise and most of the script is the same as ARJUN REDDY. Sandeep Reddy Vanga’s screenplay does justice to the premise. The biggest plus is that it’s quite fresh. Despite the DEVDAS hangover, it stands out and looks like a story of present day. The film showcases a vast journey of the protagonist and it’s stitched together very well. Siddharth-Garima’s dialogues are quite impactful and suit the temper of the protagonist. The funny and medical-inspired one liners are quite witty. Sandeep Reddy Vanga’s direction is quite impressive and he recreates the same magic that he managed to create in ARJUN REDDY. For a director who’s so new, Sandeep helms this venture like a pro. One can feel the pain that Kabir goes through and despite his immoral acts and addiction, one’s heart goes to him. To manage to achieve this feat is no cakewalk. KABIR SINGH has a bit of a philosophical beginning and it’s confusing. The film gets on track as the flashback commences. One of the high points of the first half is when Kabir assaults the rival college player and rationalises his behaviour in front of the Dean. The scenes where he orders Preeti to join him for private lessons seem a bit unsettling but it gets better once you find out that Preeti is willingly joining him and that she enjoys his company. Then again the film goes on a high during the intense Holi sequence. The tension continues in the entire pre interval and intermission portions. Post interval the film gets a bit dragging. But it keeps one engaged as Kabir turns into an alcoholic but a fantastic surgeon and gets into a sort of fling with Jiya Sharma (Nikita Dutta). The in house court sequence is very intriguing. The climax is partly predictable but the turn of events will surely surprise one and all. The film ends on a lovely note.

Movie Review: Toy Story 4 (English)

In 1995, we were introduced to the characters Woody and Buzz Lightyear, along with a host of others with the film TOY STORY. Since then, we have seen two other films in the series release with Woody and Buzz playing the mainstay characters who though being just toys have imparted valuable lessons. Now nine years after the last film in the franchise hit screen, we see the release of TOY STORY 4. Promising to recreate the feelings of old, the new film yet again brings the two main characters to the forefront, while interweaving a social lesson for viewers. But will this new film from Pixar live up to expectations or will it be just another animated flick is what we analyse. TOY STORY 4 begins with a prelude to what has happened since the first film. Though brief, the segment manages to capture the essence of the past, and gradually transforms into the present. From there we are taken into the world of Woody, Buzz Lightyear and the rest of the gang whose new owner Bonnie is all set to start a kindergarten. Woody, once a favourite is now cast aside, but staying true to his nature, the cowboy goes above and beyond to ensure Bonnie is happy on her first day in kindergarten. While there, Bonnie makes a new toy from a spork, who she names Forky. However, all hell breaks loose when the family along with the toys head out on an adventurous road trip that turns into an unexpected reunion, as Woody’s slight detour leads him to his long-lost friend Bo Peep. As Woody and Bo discuss the old days, they soon start to realize that they’re worlds apart when it comes to what they want from life as toys. For those of you who remember the Pixar animated films from the days past, let us just say that TOY STORY 4 is sure to bring back fond memories. With characters that have already been developed over the past three films, a watertight script and a story that takes viewers on an emotional roller-coaster ride with twists and turns when least expected. In fact, TOY STORY 4 is exactly what you expect a Pixar animated film to be, replete with family values and messages conveyed in an entertaining fashion that connects with kids and adults alike. For those of you who have watched the TOY STORY saga unfold, the latest film is a perfect culmination to the franchise. Director Josh Cooley has done exceedingly well in developing a film that not only keeps up the pace but also gives viewers much needed breathers to slow down and enjoy the plot. The animation is as expected, seamless and visually stunning. From the quick paced sequences to the way each character responds and acts, it is emotions that are the main focus. Another point that needs to be mentioned is the fact that the writers and director have developed the film in such a way that viewers who will be watching this as the first film in the TOY STORY franchise will be able to understand the nuances of friendship between Woody and Buzz, and the rest of the gang. In terms of animation, Pixar has risen to the call and have done an excellent job with making the film. Refined finishes, believable movement and most of all, visual emotions that convey feelings effortlessly are what makes TOY STORY 4 stand out. On the whole, TOY STORY 4 is an entertaining fare as a standalone film and an even better one as a finale to a saga. A definite must watch for the young and old alike. At the box office, the film will face competition from the other big releases, and with low key promotions, the film might find the going a bit tough.

Movie Review: Men in Black: International (English)

Back in 1997 we saw the sci-fi film MEN IN BLACK hit screens starring Tommy Lee Jones and Will Smith. The film, about an undercover government organization that secretly protects the Earth from alien life was an instant hit among the masses. Following the success of this, there were two other sequels that released, with the last one releasing in 2012. Now, six years on, we see a new film in the series with MEN IN BLACK: INTERNATIONAL. But will this new film which features a new cast, comprising of Liam Neeson, and the THOR: RAGNAROCK pair of Chris Hemsworth and Tessa Thompson manage to live up to the past films in the series or will it fall flat and be classified as just another CGI filled fest is the question. The film starts off after the events of MEN IN BLACK 3, with a new branch of the MIB being set up in London. From here the film skips to a scene in a local neighbourhood in America where a young girl Molly (Tessa Thompson) sees her parents get nuralized, but escapes the same herself, while at the same time assisting an alien lifeform to escape. Years pass, and Molly persistently searches for the mysterious organization of individuals who wear only black suits. Meanwhile back in London, the head of the branch, High T (Liam Neeson), pairs her up with Agent H (Chris Hemsworth) to battle a different alien species called The Hive. The battle is won and both Agent T and Agent H are hailed as heroes. Back in America, Molly finally finds the headquarters of MIB and convinces Agent O (Emma Thompson) to recruit her. Put on a probationary period, Agent O sends Molly now rechristened to Agent M on a mission to London where she meets Agent T and Agent H. Though on probation Agent M wriggles her way onto a mission with Agent H, a mission where they need to keep an alien noble safe. Unfortunately things take a turn for the worse, and the two must now figure out what went wrong, who leaked the information of the alien noble being on Earth. And most importantly they have to tackle their biggest threat to date: a mole in the Men in Black organization. Right from the word go, viewers are taken on a journey where everything is possible, from wormhole travel to high speed undersea trains. With excellent CGI, the film is visually stunning keeping you in your seat. However, the first half of the film is spent in setting up the premise for the story while at the same time introducing the new characters. Though Agent T and Agent H aren’t given much in the way of a backstory, Agent M, on the other hand, has her life played out from the moment she first encountered the Men in Black. Sadly this process comes across as long drawn and if not for the visuals and occasional action sequences, viewers would be hard pressed to stay in their seats. The second half of the film picks up with all the ends coming together, a clearer picture begins to emerge. However, as the story progresses one can’t help but notice how predictable the flow is. In fact, the entire core of the film can easily be surmised by the end of the first half with the eventual outcome also being spot on. In this regard, the writing of the film certainly could have been better; with a rather predictable approach and lacklustre punch lines in the dialogues, a lot is missed. In fact, when compared to the previous film, MEN IN BLACK: INTERNATIONAL comes across as a half baked attempt to take the franchise forward. The writers Art Marcum and Matt Holloway could have paid more attention to the comic aspect of the film, which unfortunately works only in parts, while for the remainder of the time it comes across as forced and unwanted. Marcum and Holloway have also tried to imbibe Agent T and Agent M with the same kind of relationship that was shared by Tommy Lee Jones and Will Smith in the previous film. However, once again the writing falls flat with the two coming across as disinterested and unconcerned for the other. Director F Gary Gray does what he can with the script and dialogues, weaving a visually stunning film. Unfortunately, this does little to help the film. Coming to the performances, Chris Hemsworth who was last seen as the bloated Thor in AVENGERS: ENDGAME is back in shape and on the ball as far as his performance is concerned. Sadly, we have seen his comic side and know he could do better but was limited by the script in this one. Given this fact, Hemsworth has done a commendable job of trying to carry the film. Tessa Thompson, as Molly/ Agent M has done a decent job in her role and so has Liam Neeson as High T. However, though each of the artists have given it their all putting their best forward, the underwhelming story and the weak writing severely undermine their acts. As for CGI and visual effects, MEN IN BLACK: INTERNATIONAL has it all. From big explosions to unimaginable alien lifeforms, the film features everything. But once again, visuals alone do not make a film, making this latest in the franchise just another CGI filled venture. Even the background score of the film is rather forgettable, unlike the previous films whose tunes are still there in the back of your mind, MEN IN BLACK: INTERNATIONAL features an uninteresting and uninteresting soundtrack. On the whole, for those of you who have loved the MEN IN BLACK series this new release will be a serious downer. At the box office, with BHARAT running strong and competition from other new releases, MEN IN BLACK: INTERNATIONAL will face a tough time ahead.

Movie Review: Game Over

Video games are an inherent part of the lives of many. In today’s times, it’s not uncommon to see people playing games on their smartphones as a stressbuster or as a hobby for long hours. Hollywood has made films where these games are the USP like JUMANJI: WELCOME TO THE JUNGLE [2017], READY PLAYER ONE [2018], WRECK-IT RALPH [2012] etc. When it comes to Bollywood, apart from RA.ONE [2011], no other film has had this element. Now GAME OVER attempts to get into this space. This is a dubbed Hindi film and is originally shot in Tamil and Telugu. So does GAME OVER manage to give viewers a thrilling time? Or does it fail? Let’s analyse. GAME OVER is the story of gamer fighting demons inside her and also in the outside world. In December 2017, in Sector 101 in Gurugram, a young girl named Amrutha (Sanchana Natarajan) is stalked by an unknown killer while she’s enjoying her meal in her house, all alone. Sometime later, the killer enters her house, assaults her and takes her out of the house in a football field. Here, he beheads her and sets her body on fire. A year later, Sapna (Taapsee Pannu), who stays in Dhankot in Gurugram is having a traumatic time. She is a video game designer and a video game addict who stays alone in a palatial house along with her house help Kalamma (Vinodhini Vaidyanathan). A couple of weeks after Amrutha was murdered, Sapna too had a harrowing time, on New Year’s Eve, when she was raped and the whole act was filmed. With December 31 approaching, she begins to have panic attacks. Since the rape, she has not been able to stay in darkness for more than few seconds. In the midst, she begins to face a new problem. She has a game-centric tattoo on her wrist and it begins to ache badly. Before going to the skin specialist, she goes to the tattoo artist Varsha (Ramya Subramanian) to check if it’s something to do with the tattoo. Varsha hesitatingly informs her that she had mistakenly put a memorial tattoo on Sapna. Meaning, a small amount of ash, of Amrutha, was mixed in the tattoo ink. It was to be used for the tattoo of Amrutha’s mother Dr. Reema (Parvathi T) but by mistake, it was applied on Sapna. Sapna is obviously aghast on knowing this information. She attempts to kill herself but survives. After a meeting with Dr. Reema and knowing the kind of fighter Amrutha was, Sapna decides to start life afresh. At this point, however, the killer who killed Amrutha begins to stalk Sapna. On December 31, he decides to murder her. What happens next forms the rest of the film. Ashwin Saravanan and Kaavya Ramkumar’s story is a bhel puri of various aspects. The film touches upon trauma faced by rape survivors, cancer survivors, serial killing, video game addiction etc. And it’s not stitched together well. Ashwin Saravanan and Kaavya Ramkumar’s screenplay gets affected because of the poor and random storyline. The second half is better and though it reminds one of JUMANJI: WELCOME TO THE JUNGLE, it manages to engage a bit. Shruti Madan’s dialogues are nothing great and the ones by Vinodhini Vaidyanathan could have been better written. Ashwin Saravanan’s direction is nothing great. Though he understands the technicalities, he fails to do justice to the overall plot and that’s not surprising since the writing itself is flawed. A few scenes are quite engaging with one sequence in the second half guaranteed to give viewers a jolt. But he should have made the narrative simpler and not culminated the film on such an abrupt note. Moreover, the loose ends in the film are way too many.

Movie Review: X-Men: Dark Phoenix (English)

Over the years we have seen superhero films grow into a genre of its own, especially with Marvel’s characters entertaining us on the big screen. Now, continuing the same is the latest release from Fox Star in the form of X-MEN: DARK PHOENIX. But will this new film, which will essentially mark the end of an arc in the X-MEN franchise, match up to the ones that have already been release, will it bring clarity to the muddled up timeline of the X-MEN universe or will it be just another actioner devoid of soul is what we analyse. X-MEN: DARK PHOENIX starts off by introducing Jean Grey as a child who realises her mutant abilities via a gruesome accident. From there, Jean is taken to Professor Charles Xavier’s institute, where she eventually grows to become part of the X-Men team. Unfortunately on one fateful mission in space Jean is nearly killed when she is hit by a mysterious cosmic force. Once she returns home, this force not only makes her infinitely more powerful, but far more unstable. Wrestling with this entity inside her, Jean unleashes her powers in ways she can neither comprehend nor contain. With Jean spiralling out of control, and hurting the ones she loves most, she begins to unravel the very fabric that holds the X-Men together. Now, with this family falling apart, they must find a way to unite — not only to save Jean’s soul, but to save our very planet from aliens who wish to weaponize this force and rule the galaxy. Will the remaining X-Men manage to overpower what Jean has become, will Jean manage to fight against the forces within her are some questions that make up the rest of the film. Starting off, the film begins by laying down the premise and introducing Jean Grey’s character and her mutant abilities. Though the first half of the film is rather slow thanks to this setup being introduced, the second half does pick up. However, despite a more rapidly progressing second half, action sequences are sparse and far between. Although, the few action sequences that are there are well executed and are sheer visual treats, one expects more from what is essentially the last film in a character’s arc. X-MEN: DARK PHOENIX has in its run up to release been promoted as an edge of the seat thrill ride that promises an adrenaline pumping action, the onscreen product though is far from it. In fact, more often than not, the viewer is left impatiently waiting for what comes next. Director Simon Kinberg seems to have focussed more on telling the story of an individual mentally tussling with herself to gain the upper hand, while unknowingly affecting those around. Sadly, this latest offering in the X-MEN franchise is as muddles as the recent releases in this series. Unfortunately, unlike the other Marvel sagas, the X-MEN franchise has been subject to rather random time jumps and shifts that have left their core audience at a loss. If you think you will gain clarity about the time line with reference to X-MEN: APOCLYPSE and X-MEN: DAYS OF FUTURE PAST, you will be let down. But it isn’t all downhill, we have to admit that the CGI is well developed and seamlessly woven into the live action bits, from the space mission to the wanton destruction that happens, each CGI heavy sequence is modelled and executed to perfection. The background music too is on point, and with Hans Zimmer as the music director, one expects nothing less. Coming to performances, Sophie Turner as Jean Grey is decent. She does well in her given role; however there are times when it may all seem a bit over the top. But, Turner does hold her own, even when sharing screen space with the likes of Michael Fassbender and James McAvoy. As for Fassbender and McAvoy, both have done equally well in their given roles. In fact, both the actors have over the time adapted to their characters and embodied them perfectly. As for the rest of the cast, each of them have done fairly well in their limited roles. A special mention needs to be made here for Jessica Chastain as Vuk, she plays the emotionally and expression devoid character with aplomb. On the whole, X-MEN: DARK PHOENIX is just another action movie that you won’t regret not watching. And if you are an X-MEN fan there are high chances that you be disappointed. At the box office, the film hits screens alongside the Salman Khan starrer BHARAT, and will face an uphill task. However, the release across 1100 screens in multiple languages will certainly assist in posting decent figures.

Movie Review: Bharat

In Bollywood, a film that covers an entire lifespan of a character is very rare and is only seen in biopics. Hollywood has done that quite often in fictional films but in our cinema, it has rarely been witnessed. Blockbuster director Ali Abbas Zafar, after delivering two Rs. 300 crore grossers, is now back with BHARAT. It stars Salman Khan in the lead and he’ll be seen in various avatars as he ages through the film. The looks of the superstar has been appreciated but will these praises be there for the film as well? Will BHARAT work despite being such an atypical entertainer? Let’s analyse. BHARAT is about the journey of a man and a nation together. The story begins in 1947 in Mirpur village near Lahore. Bharat (Salman Khan) is a kid and his father Gautam Kumar (Jackie Shroff) dotes on him. This is the time of Partition and Bharat and his family are compelled to leave for India. At the railway station, Bharat is climbing on top of the train with his sister Gudiya (Barbiee Sharma) when she falls down on the station. Gautam has already managed to safely climb atop the train but he goes down to search Gudiya. But before that, he gives his watch to Bharat and assures him that he’ll be back. He also tells him to go with his mother Janki (Sonali Kulkarni), brother and sister to Gautam’s sister Jamuna (Ayesha Raza Mishra)’s shop, Hind Ration Store in Delhi. Bharat and his family cross over to India and thus go to the ration shop as asked by Gautam. They are quite poor and Bharat starts doing odd jobs. Bharat soon grows up as a dashing young man (Salman Khan) and he and his childhood friend Vilayati (Sunil Grover) join a circus. Here he comes across the sizzling Radha (Disha Patani). Both Bharat and Radha get into a relationship while also doing death defying stunts. However when Bharat realises his stunts might be influencing youngsters to do the same without proper training, he quits the circus. He goes to employment exchange where he meets Kumud (Katrina Kaif) and gets smitten by her. Bharat and Vilayati are sent to Middle East to work in the oil fields. The money is good but not as much as he expected to earn. Hence, Bharat decides to work in the dangerous underground mines. Kumud who is now in love with Bharat stops him from taking up the project since she’s aware that the risk is quite high. Bharat however still takes up the work. All is well at first but 21 days later, an explosion takes place in the underground mine. It seems near impossible for Bharat and his other colleagues to come out alive. What happens next forms the rest of the film. BHARAT is based on the 2014 Korean flick Ode To My Father (directed by Yoon Je-kyoon; written by Park Su-jin). The story has been Indianized very well and the important events of post-Independence India like the death of Jawaharlal Nehru, rise of unemployment, the 1983 Cricket World Cup final, era of liberalisation and globalisation, emerging trend of redevelopment etc are well inserted in the narrative. Ali Abbas Zafar and Varun V Sharma’s screenplay is effective and keeps viewers engaged from start to finish. The emotional sequences especially are quite well written. Ali Abbas Zafar and Varun V Sharma’s dialogues are simple and sharp, and even quite funny at places. Ali Abbas Zafar’s direction is topnotch. Unlike his previous films, this film is in a different zone but Ali handles it all like a pro. The film changes tracks every 15-20 minutes and to handle such a film is not a cakewalk. For instance, after the tragic Partition scene, the film gets a bit comic and even quite colourful in the circus sequence. The switch however happens quite seamlessly and this can be seen throughout the film. On the flipside however, the humour is forced in a few scenes and doesn’t make the desired impact. Also, the National Anthem scene seems unwarranted for and could have been written in a better way. BHARAT begins very well, showing the 70-year-old Bharat and his life in Delhi. One might feel that the makers perhaps have shown too much at this point. But one need not worry because there’s a lot that the principal character goes through in his life and it slowly gets unveiled. The childhood portion is moving while the circus scenes are vibrant and entertaining. The real fun however begins once Bharat meets Kumud and later when he starts working in the Middle East. Till this point, there hasn’t been much conflict in the tale. But it finally enters the narrative once Bharat and his teammates get trapped. The