In that video, Vinayakan is purportedly seen yelling at someone out of frame from a balcony, using objectionable language and even exposing himself.
Deewar revolved around two impoverished brothers struggling to survive in the slums of Mumbai.
Singh expressed his enthusiasm for Kaushal's portrayal of Chhatrapati Sambhaji Maharaj and revealed that his film is more detailed in contrast to Chhaava.
Will be first to go to theatre when Saathiya re-releases: Vivek Oberoi says at Davos
Actor Vivek Oberoi expressed enthusiasm about the re-release of his 2002 film Saathiya, attributing its lasting popularity to Gulzar's timeless songs. Oberoi, now focused on entrepreneurial ventures in AI, drones, and real estate, participated in Web3 discussions at the World Economic Forum Annual Meeting.
Even today, the mystery around Zubaida Begum's deaths remains, with some claiming to feel her presence at the Umaid Bhawan Palace in Jodhpur, where it is said her spirit still haunts the royal family.
Yash's Toxic slammed for illegal tree felling, issued show-cause notice
Karnataka Forest Minister confirmed that the notice has been served to the filmmakers, and further action will be taken based on their response.
Bigg Boss 18 contestant Avinash Mishra once told co-contestant, and now the winner Karan Veer Mehra, that he and Vivian Dsena will remain and he will go down. Interestingly, his predictions came quite turned out to be true as he was evicted before the two, despite being finalists. In the exclusive interview with DNA, Mishra weighed on his prediction and said that the top two contestants were well-deserved.
Akshay breathed a sigh of relief upon learning of Saif Ali Khan's safety after the stabbing incident. He added that the entire film industry was grateful to hear that he escaped unharmed.
Abhishek also compared his parenting style to that of his parents, Amitabh Bachchan and Jaya Bachchan.
Police suspect that his wrestling background enabled him to overpower Saif and others during the incident.
Karan Veer Mehra and Sidharth Shukla are the only two individuals who have won Bigg Boss and Khatron Ke Khiladi.
Bigg Boss 18 Grand Finale: Chum Darang evicted, Avinash Mishra next, Rajat Dalal in top 3
After Eisha Singh became the first contestant to get evicted, Chum Darang was the second one to leave the Bigg Boss 18 house in the Grand Finale.
Saif Ali Khan stabbed: Soha Ali Khan shares her brother's health update, says he is...
The attack on Saif Ali Khan occurred when an intruder, later identified as Mohd Shariful Islam Shehzad, entered the actor's home with alleged intentions of theft.
Rupali Ganguly has now taken another big step against stepdaughter, and her lawyer confirmed it.
She also pursued a music career in the 1990s, releasing albums like Dole Dole and Zindagi.
'Jai Shri Ram' and Jasprit Bumrah: Coldplay's Mumbai concert was a celebration of music and culture
Coldplay's first concert in India in nine years at Navi Mumbai's DY Patil Stadium was a cultural celebration. Chris Martin connected with the audience in Hindi and Marathi, interacted with fans, and fulfilled requests. The concert featured hits like Fix You and a special moment with a young fan singing Everglow with Martin.
The accused's real name is Mohammed Aalian alias BJ. Fearing capture, he had been using the pseudonym Vijay Das.
'Blink' movie review: A deep reflection on the gift of sight
How do you explain to a five-year-old what it feels like to go blind? As Edith Pelletier grapples with the challenge of giving an honest yet meaningful answer to one of her three inquisitive children who will soon lose their sight due to an incurable genetic condition, she gently says, Imagine having your eyes closed all the time Edith and Sebastien are parents to four kidsMia, Leo, Colin, and Laurentthree of whom have been diagnosed with retinitis pigmentosa, a condition where the retina deteriorates over time. The wide-eyed little ones brush off the term as gibberish they can laugh about, but for the parents, their lives have changed in the blink of an eyequite literally. The documentary, which begins after the kids diagnosis, establishes early on how blindness is a spectrum, with everyone experiencing it differently. From night blindness to tunnel vision to the loss of central vision, blindness leaves room for some light. For these kids, the first loss is their night vision, depriving them of simple joys like stargazing. This becomes the heart of the film, as the Pelletier family channels their pain into sharing endless happiness by filling their kids visual memory. Blink brilliantly places the audience as a fly on the wall, with the creators deftly capturing the familys emotional rollercoaster as they work to create hundreds of snapshot-worthy memories. At one moment, they are riding camels in Egypt; at another, they are deep in the Amazon rainforest. The family scratches items off their bucket list one by one, travelling to several countries, eating exotic fruits, learning new languages, and hiking in the Himalayas. A poster of the film 'Blink' The National Geographic-backed documentary doesnt shy away from showing the less glamorous side of their journeydealing with sick, cranky kids who are tired yet curious. Despite the hurried screenplay, the film delves into the psyche of Edith and the children as they try to make sense of their condition. It gives space for their agony to surface, without deliberately seeking sympathy. Beyond Ediths heart-wrenching why us? moments, the most difficult scenes come when Laurent, the youngest, cries out of helplessness because he cant see the football to play, or when the family bids goodbye to close friends to explore new horizons. Even with their life-altering journey, the story never fully sinks in as it glosses over moments of doubt and sadness, choosing instead to focus on the brighter ones. While this is a strength, it also deprives the film of a complete portrait of a family that epitomises human resilience. However, Blink excels in underlining key themes, reminiscent of the final scene in Life of Pi, where Pi reflects, The whole of life becomes an act of letting go. In that way, Blink offers an audacious peek into the unknown, extending beyond our line of sight. Blink Directors: Edmund Stenson and Daniel Roher Genre: Drama, Documentary Platform: Disney+ Hotstar Language: English Rating: 3.5/5
Saif Ali Khan attacked: Suspect nabbed by Chhattisgarh RPF, Mumbai Police to take custody of accused
In the latest development of Saif Ali Khan's stabbing attack case, a suspect is detained by Chhattisgarh RPF.
After the attack, Kareena Kapoor took her kids to a different place as she was 'terrified'.
Diljit Dosanjh's controversial film on human rights activist Jaswant Singh Khalra will be released in cinemas, without any cuts; but there's a catch.
Abhishek Bachchan was last seen in the 2024 film I Want to Talk directed by Shoojit Sircar, and is now gearing up for exciting upcoming projects, including Akshay Kumar starrer Housefull 5, Be Happy, and Shah Rukh Khan's highly-anticipated King.
'Pataal Lok - Season 2' movie review: Riveting mystery sans the bite
During the pandemic in May, 2020, season 1 of Paatal Lok hit us like a wrecking ball. While being confined into our homes, we went on a journey with the brooding Haryanvi cop Hathi Ram Chaudhary (Jaideep Ahlawat) into the dark heartland of the country. A world reeking of caste and class inequalities. Based on Tarun Tejpals book The Story of My Assassins, it delved into the origins of four killers and the systems of marginalisation that created them. In his crude, jaat logic, Hathi Ram explained to us simply: Sometimes these insects of paatal lok (underworld) bite the inhabitants of dharti lok (human civilisation). Then what occurs is kaand (ruckus). The messaging was clear, all crime is class war. It was a lukewarm surprise when the second season was announced. Personally, it felt like the makers had given in to popular consensus. Those when season 2?demands in the comments section or maybe, more plausibly, it was platform pressure. But in Sudip Sharma we trust. The writer, who is the first fully-fledged showrunner in India, hasnt had a miss till now. His last, Kohrra, a misty, murder investigation in Punjab, might be devoid of external politics but it was still a deep incision into the structures of patriarchy and interpersonal relationships. Sceptical, I was still hopeful. We return to Outer Jamnapaar thana. If it was possible, Hathi Ram Chaudhury seems even more cynical and defeated. His subordinate from the first season, Imran Ansari (Ishwak Singh), is now an IPS officer and has jumped the ranks to become an ACP. Hathi Rams wife, Renu, wants him to take up a better paying job and his brother-in-law keeps on harping about his new, AC car (It has sapno ka saudagar (dealer of dreams) written on the rear window. The guy deals with hawala traders). Meanwhile, in the realm of swarg lok (heavens), Naga leader Jonathan Thoms headless corpse has been found in a hotel room bathtub. The deceased was a part of the ongoing talks between Nagaland and the Government of India for a multi-crore investment in the Northeastern state. Imran has been given the case. Parallelly, Hathi Ram is trying to help a destitute woman, whose husband has gone missing. Turns out, he was last seen with the main suspect of the Jonathan murder case. After brief hierarchical hiccups, Imran and Hathi Ram team up once again. They land in Nagaland, which is in the midst of political turmoil following Jonathans killing. As the mystery unravels, everybodys deep, dark secrets start spilling. Jonathan ran a drug empire, his wife was paying off his mistress for years, his son Reuben had split from his home party and founded another, a deal for a chain of hotels in Kohima is being rushed and a mysterious sniper is bumping off key links to the case. Sudip, along with team of writers Rahul Kanojia, Abhishek Banerjee and Tamal Sen, weaves a competent if not compelling thriller. Paatal Lok 2 opens with intrigue and ably follows the beats of a polished noir story. But the interest soon wanes away and you are only concerned with finding and placing the last piece of the puzzle, unbothered by the picture it creates. Although novel, Nagaland as a setting lacks the grittiness of Delhi. And its not the viewers unfamiliarity with its cultural context that lets disinterest creep in, the makers too offer only a cursory glance into the states milieu. The place never rises to become more than a scenic backdrop. While the first season was filled with mythology metaphors and cultural critique that managed to offend across the political spectrum (it invited the ire of a Sikkim MP, a BJP legislator, a former Akali Dal MLA and Gorkha youth wing members), Paatal Lok 2 has been sucked dry of any direct political commentary. Politics of the makers still bleeds in the show, unable to burst. In a scene, a child reads aloud a tale of a young boy who brought a baby bear home, only to be chided by his mother. A story, similar to a certain leaders childhood adventures featuring a baby crocodile. A bumper quote on an autorickshaw reads: bas dosti bani rahe(Hope friendship stays) and while talking about a Naga party, a character surmises how their motto overnight changed to development. These indirect potshots lack punch and are only a testimony to these desperate times. Desperation also seeps in when the narrative starts slogging. The action briefly jumps back to Delhi when Nagaland runs out of ideas. We have a riot-rescue mission and also a sniper hunt episode, both reminded me of the mechanics of The Last of Us. Paatal Lok 2 s mystery, although well crafted, is without mayhem. Its satire lacks bite. There are frequent callbacks to the first season, as if the show is craving for simpler, more expressive times. There is also a lot of kicking and punching and often, a heavyset Hathi Ram, in trainers like a PT teacher, huffs and bleeds, frequently getting exhausted of beating up the bad guys. Rest a bit, old chap, it has been a while. Series: Pataal Lok - Season 2 Creator: Sudip Sharma Director: Avinash Arun Dhaware Cast: Jaideep Ahlawat, Ishwak Singh, Tillotama Shome, Gul Panag, Nagesh Kukunoor and Jahnu Barua Streamer: Prime Video Rating : 3/5
In the video, Taarak Mehta Ka Ooltah Chashmah actor Gurucharan Singh expressed gratitude towards his fans and God and also opened up about his struggles for the past few years.
'Sanju Weds Geetha 2' movie review: Srinagar Kitty and Rachita Rams romance lacks spark
When director Nagashekars Sanju Weds Geetha premiered in 2011, starring Srinagar Kitty and Ramya, it struck a deep chord with audiences, telling a love story that was both heart-wrenching and beautiful. Now, over a decade later, Sanju Weds Geetha 2, starring Srinagar Kitty and Rachita Ram, revisits that emotional worldnot as a direct sequel but as a different take on love and longing, inevitably inviting comparisons with its predecessor. The film opens with a melody that mirrors the sombre weather, setting the mood for Sanjus (Srinagar Kitty) reflections on ten years with Geetha (Rachita Ram). Her words, Whatever I wanted, I have. But now, I only want to be with you, capture a love that has grown through lifes challenges. Flashbacks and present-day moments weave together, revealing the depth of their bond, tested by time and circumstance. Their 10th wedding anniversary becomes a mixture of tradition and excess Sanjus gifts of traditional wooden dolls and a handwoven silk saree alongside Geethas lavish surprises, including a luxury car and a helicopter. Geethas journey into her past unfolds in a digital montage, from her Miss Karnataka days to her first encounter with Sanju, a humble saree seller from Siddlaghatta. The saree, representing cultural identity, emerges as a key symbol of love and defiance against societal pressures. The story gets into Geethas relationship with her father (Sampath Kumar), a wealthy tycoon whose disapproval of her love for Sanju causes a clash of values. Amidst this tension, idlis (idly) become an unlikely yet powerful metaphor. From Geethas heartfelt proposal over idly (I deeply love you) to her fathers act of poisoning the dish, this simple food item symbolises love and hatred. Geethas marriage to Sanju comes at a high cost, facing constant opposition from her father and personal sacrifices. Their determination to rise above societal expectations fuels their love, but just as they near their hard-won happiness, fate intervenes, raising questions about the endurance of love. Geethas happiness is interrupted by unexpected news, but she resolves to keep Sanju in the dark. Their Switzerland trip, initially a romantic celebration, also carries a hidden agenda: showcasing Sidlaghatta silks at international markets. Amidst their struggles, the film wrestles with the questioncan their love, built on sacrifices, endure? Will they be able to relish their love with the plate of idli and honey, or will their relationship crumble under the weight of all its layers? Despite its ambitious premise, Sanju Weds Geetha 2 fails to live up to the emotional impact of its predecessor. Nagashekar, known for his skill in crafting heartfelt drama, seems to have lost his touch, especially with this love story. The film feels detached, lacking the depth that made the original so memorable. Whether due to overconfidence in the actors or too much creative freedom given to them, the emotional pullwhether in love or dramais simply missing. The cultural richness of Sidlaghatta, which the director attempts to bring forth, is sorely underexplored. Aside from two sareesone worn during the Miss Karnataka event and another presented as a giftthe regions silk heritage is barely touched upon. The struggles of silk farmers are told as a mere breeze, failing to make an impact. This important aspect is overshadowed by the films tendency toward a westernised narrative. Geethas urban demeanour in her attire feels disconnected from her supposed roots, a detachment that becomes even more glaring in the Switzerland sequences. The central love story, intended to be the heart of the film, is its weakest link. Srinagar Kitty and Rachita Ram, as Sanju and Geetha, fail to create a believable emotional connection. Their interactions lack the spark of a deep, enduring love, and their chemistry often feels perfunctory. Repeated scenes of Geetha expressing her love from a distance, met with Sanjus lukewarm responses, highlight the lack of narrative and emotional coherence. Even the idyllic Swiss setting, meant to evoke romance, feels out of place. The idea of showcasing Sidlaghatta silks in Switzerland is intriguing but poorly executed, adding another layer of detachment to a story already struggling to find its emotional core. A special song featuring Ragini Dwivedi was clearly meant to bring in the glam factor, but it doesnt quite hit the mark. Characters of Rangayana Raghu, Sadhu Kokila, Tabla Nani and Sampath Raj are relegated to mere cameos, appearing in just one or two scenes, adding no value. The films redeeming qualities are V Sridhars music, which stirs nostalgia for the early 2000s, and Satya Hegdes cinematography, which beautifully captures the locales of Sidlaghatta and Switzerland. However, these elements alone cant save the film from its many shortcomings. Sanju Weds Geetha 2 is an ambitious attempt to revisit a beloved emotional landscape but ultimately stumbles under the weight of its own aspirations. While the first film was a masterclass in emotional storytelling, this instalment feels like a disjointed mosaicforced symbolism, lacklustre performances, and missed opportunities. The love story, which should be the heart of the film, feels more like an afterthought. Even the idlymeant to represent deep, enduring lovefails to make an impact. Theres no spice to its essence, no silk to weave its shine, and no romance to make their togetherness meaningful, as the lead actors never quite meet eye to eye. What should have been a rich, flavourful story has become a bland, tasteless reflection of what once was. Despite its visual beauty, whether in performance or storytelling, the film struggles to find its soul. Sanju Weds Geetha 2 Director: Nagashekar Cast: Srinagar Kitty, Rachita Ram, Tabla Nani and Sadhu Kokila Rating : 2.5/5
Rasha Thadani, Tamannaah, and Vijay Varma were seen having a great time, dancing and enjoying themselves to the catchy beats of Uyi Amma.
Ibrahim Ali Khan or Taimur? Know who helped Saif Ali Khan reach hospital after attack
Earlier reports suggested that Saif Ali Khan's eldest son, Ibrahim Ali Khan, was the one who took his father to the hospital after the stabbing incident. However, a doctor from Lilavati Hospital has now clarified who actually brought the actor in.
Several crew members, including the director, were injured as the ceiling collapsed during the song shoot. The incident has raised concerns about the safety of film sets and the need for stricter safety protocols to prevent such accidents in the future.
Kangana Ranaut's Emergency faces heat in Punjab, screenings halted
The Shiromani Gurdwara Parbandhak Committee (SGPC), the governing body of Sikhs worldwide, took a strong stance against the film by protesting outside cinema halls across Punjab.
The duo turned heads in traditional attire, channelling their Bajirao Mastani vibes. Deepika stunned in a pink embroidered anarkali suit, complete with heavy jewellery, reminiscent of her iconic Mastani look.
The doctors who operated on Saif Ali Khan assured fans that he's out of the ICU, and they made him walk. They also recalled how Saif walked into the hospital 'like a lion' and didn't even take a stretcher.
Abhishek Kapoor successfully tapped the potential of Aaman Devgan and Rasha Thadani, and gives a simple-yet-impactful tale of love, bond, relationship, and rebellion.
Kangana Movie Review: Kangana Ranaut's bold and nuanced vision of power and politics
Rating: 3.5
Ahead of the Bigg Boss 18 Grand Finale, journalists were called for a panel discussion with supporters of the finalists. Interstingly, Elvish Yadav didn't even see the season, and yet came to BB house to support Rajat Dalal, and he arrogantly argued with the media.
Disney+ Hotstar to live stream Coldplay's Music of the Spheres World Tour concert
Disney+ Hotstar partners with Coldplay to stream their Music of the Spheres World Tour concert live from Ahmedabad to audiences across India on Republic Day, ensuring high-quality streaming and exclusive behind-the-scenes content. This collaboration aims to enhance accessibility and foster shared cultural experiences.
Saif Ali Khan was attacked by an intruder in his 12th-floor Bandra flat at around 2:30 am on Thursday. The incident occurred when an intruder allegedly confronted the actor's maid at his residence.
Pravinkoodu Shappu opens with a shot of a dead man hanging. This chilling scene is accompanied by the iconic song Thumbi Vaa, with ONVs lines Thumbi vaa thumba kudathin thunjathaayi unjaalidam matching starkly in contrast with the visuals of the dead body hanging. In another crucial scene, after a man commits murder by drowning someone, we see him casually humming the line Ente balagopalane enna theppikkumpam padadi. These two scenes give you a brief idea of how the film worksa thriller with bizarre dark humour peppered throughout. Set largely around a toddy shop and a suspicious death on its premises, the film has a solid premise and quirky characters. However, despite a lot working in its favour, the film somehow falls short of its potential. On a rainy night, a group of men are busy drinking and playing cards in the aforementioned toddy shop when one of them is found hanging dead. The suspects include a former defence personnel, a school teacher, a local thug, and a physically disabled worker from the toddy shop. Basil Joseph plays the cop, tasked with the investigation. His character, SI Santhosh, relies more on brains than brawn to crack a case. He is supremely confident in his investigative skills and prefers scientific evidence over third-degree treatment. Though initially hesitant to take the case, he soon becomes desperate to solve it in order to overcome his childhood trauma. Debutant Sreeraj Sreenivasan, who has also scripted the film, serves information on a need-to-know basis. While we get a good idea about Santhosh very early on, we only learn very little about the other characters at first glance. Kannan (Soubin Shahir) is first introduced as an ordinary worker in the toddy shop, who is among the many suspects. It is only later that we learn about his wife, his suspicious behaviours, his dynamics with the dead person, etc. Sunil (Chemban Vinod Jose), Merinda (Chandini Sreedharan), and Komban Babu (Shivajith) are the other main characters who co-inhabit this world. The writing constantly throws new info about them, keeping us guessing about their real nature. At the interval point, when Santhosh confidently claims to have solved the case by elaborating his findings, youre left wondering where the film will be heading hereon. However, the second half fails to build on that momentum. The overdose of dark comedy also dampens the fun. Murder mystery films usually pivot around the who, why, and how aspects of the crime. But in Pravinkoodu Shappu, the focus is largely on finding who committed the crime. The how angle is overlooked for most part of the narrative before two commoners crack it casually. While the staging of the crime and its execution have some ingenuity, the motive behind it is generic and fails to make an impact. The red herrings, supposed to keep us hooked, also dont succeed much in piquing our curiosity. Often criticised for being repetitive, Basil is in great form here. His Santhosh initially appears composed and calculated, but we gradually see his different shades getting exposed during the course of the investigation. Understanding the complexities of the character, Basil delivers a highly effective performance, while also retaining all his trademark touches. Soubin also plays his part superbly, internalising all the pain, humiliation, and insecurities of the character. Shivajiths character in this film has the nickname Komban (tusker) and his fierce performance does total justice to it. Chandini Sreedharan, Chemban Vinod, and Niyas Aboobacker are also impressive with their earnest performances. Shyju Khalids cinematography is easily among the standout features of Pravinkoodu Shappu . His mastery is particularly evident in how he seamlessly captures lengthy shots. Within the cramped spaces of the toddy shop, his camera moves around like a fly on the wall. A couple of bike sequences, especially the chase with a school bus, are also brilliantly shot. Vishnu Govinds atmospheric sound design also plays a significant part in holding our interest in this world. Every time the scene shifts to the interiors of the toddy shop, we hear faint sounds of doves cooing, glasses clinking, or a boiling curry in the background. However, the music, supposed to aid in tension-building, is placed extremely loud. It seems like an intentional choice to fill the writing voids. The films non-linear narration also offers plenty of room for editor Shafique Mohamed Ali to play around with. While his hyper-stylised editing techniques are a treat to watch initially, especially his match cuts, it comes across as gimmicky after a point. As a whole, Pravinkoodu Shappu is a fairly engaging film with ample thrills and some hilarious dark humour. But these elements dont come together in the right proportions to create the rousing experience promised by the film. Film: Pravinkoodu Shappu Director: Sreeraj Sreenivasan Cast: Basil Joseph, Soubin Shahir, Chandini Sreedharan, Chemban Vinod Jose Rating 2.5/5
Shraddha Kapoor shared the now viral story on Instagram, showing her and Rahul Mody wearing the same outfit. The actress shared the photo with a heart emoji.
Top music labels record high revenues in India
India's top music companies recorded a combined 6% revenue increase, driven by growing audio streaming and social media use. T-Series saw a revenue decline, but Universal and Warner Music India posted significant gains. Digital revenues contributed 87% of the total, with film music dominating consumption.
'Kadhalikka Neramillai' movie review: A mostly perfect new-age romance full of heart
For people who have lived in Chennai for over two decades, the name P James would rekindle a familiar memory that has been long buried. For many, the magician, known for his guerrilla advertising on walls all over the city, he was a mysterious person who felt like magic personified. So, when Ravi Mohan (Siddharth) takes the form of P James for an act in Kadhalikka Neramillai , you anticipate magic to conjure up the spirit of love in this contemporary love story. Siddharth and Shriya (Nithya Menen) are two people who carry extremely varied perspectives on bringing life to Earth. While Shriya is worried about modern women struggling to carry a life within them, battling time, societal expectations, and other constraints, Siddharth believes it is immoral to bring life into a world where there is no hope or future for humanity. Nithya as Shriya is a fierce soul who refuses to bend down to cultural constraints of any kind. The best thing about Kadhalikka Neramillai is its ability to move away from meet-cute moments and massive drama while training its focus on Shriyas solo journey to bring a child to the world. Her character is mature and self-aware. Kiruthiga Udhayanidhi feeds the audience with a romantic comedy that replenishes the void of the genre in recent times. The first half sets up a nearly perfect organic romance between Siddharth and Shriya. The latter portions move into a dramedy that struggles to tie conflicts and resolutions together. In a significant time jump post-intermission, Siddharth looks to be a different man with a poised demeanour, almost having shed all his buzzing energy. Shriya has her focus steady and it is refreshing to see that her priorities remain the same. Her character almost feels like the older, secure, version of Nithya Menens Tara in O Kadhal Kanmani . However, when Shriya and Siddharths lines cross again, it happens too soon, and too easily. A person vehemently opposing the birth of a child suddenly becomes a father figure. The justification for this is thrown to the magic that love begets. The interesting conversations that could have emerged out of the films own themes like childbirth, free will, and choice, are swept away for good. Ironically, this somehow works in the films favour, but you would also like for a film to closely examine the themes it presents. The film still carries several merits for fleshing out a realistic contemporary romantic story but strangely remains uninterested in delving deep into its themes. Despite having a film beaming with potential, bolstered by equally justifying performance from Ravi and Nithya, the makers resort to a few body shaming jokes like Jalaja (Vinodhini) describing Nirupama (TJ Bhanu) as a thodappakuchi (broomstick). One of the biggest assets to Kadhalikka Neramillai is AR Rahman himself. Yennai Izhukkuthadi, which continues to top streaming charts, reverberates beautifully in theatres. It has been a while since weve heard a background score that is refreshing in its conception and runs seamlessly to suit this new-age story that could very well be the start of a new genre of movies that swears by its relatability to newer audiences. With Tamil audiences staring at overused tropes of evidently over-the-top twists and turns, Kadhalikka Neramillai steps back and asks itself a poignant question, How do we treat this film that prioritises the agency of a woman?, How do we present an idea that probes the existing status quo? It is a film that dares to take its audience on a familiar yet revamped route, towards a new and interesting space that might not suit everyones idea of a destination, one that is not bound by the confines of societal expectations or time. Director: Kiruthiga Udhayanidhi Cast: Ravi Mohan, Nithya Menen, TJ Bhanu, Vinay Rai, John Kokken, Vinodhini Vaidynathan Rating : 3/5
'Sankranthiki Vasthunam' movie review: An almost overwhelming, rollercoaster of a feast!
For a straightforward mainstream entertainer, Anil Ravipudis Sankranthiki Vasthunam has several flashback sequences in the first half that constantly jolt us in and out of the story. In one of them, we see how Raju (Venkatesh) and Bhagyalakshmi (Aishwarya Rajesh) meet and instantly hit it off. As the two actors hit impeccable comic timing, with their characters exchanging rhythmic sweet nothings, we realise that the true charm of the latest Venkatesh starrer lies in its ludicrous, over-the-top lunacyyou either buy into it or you dont. Thankfully, Anil sells the madness of his latest entertainer with impressive ease. There is an interesting premise in Sankranthiki Vasthunam . Meenakshi (Meenaakshi Chaudhary), a police officer and Rajus ex-girlfriend, seeks him after six years for a high-stakes mission. The only catch: Raju now is a doting husband to an innocent yet possessive Bhagyalakshmi, who is too afraid of losing her husband to his old flame. Anil Ravipudi blends this quirky love triangle with a farcical rescue mission plot, aiming for nothing but relentless fun. This is not a film that can be judged on the grounds of realism or logic and fortunately, Anil is in great command of his material to keep us amused and distracted us from those minor quibbles. The plot barely moves in the first hour, being strung together with a series of delightfully absurd gags and sequences, driven entirely by the banter between its many charactersand it lands, purely because of the actors here. How long can the writer-director seamlessly integrate the love triangle thread into the central premise, you wonder as the film veers into the second half. However, Anil Ravipudi keeps dialling up the madness with each gag (including a hilarious Kalki 2898 AD reference), pushing his characters against the walls as they dig deeper into their unhinged side, creating graver problems for Raju and bigger laughs for the audience. Everyone in this universe, from the dumb cop figure (a fabulous Upendra Limaye) to the menacing gangsters, has a goofiness to them that is consistent with the narrative tonality. Gladly, each and every cast member is in fine form here, be it VTV Ganesh, Babloo Prithviraj, VK Naresh or child artist Revanth, who delivers some of the biggest laughs as a foul-mouthed boy and the apple of his fathers eye. There comes a point in the second half when the barrage of silly gags almost gets exhausting. Fortunately, Anil Ravipudi sails through despite the occasional sense of overdose. Though the climax again leaves a weird taste in the mouth (who needed a sermon about respecting your teachers in a film like this?), your first instinct is to let it slide, considering how rewarding the film has been so far and how out of place this subplot appears in context to the rest of the events. Aishwarya Rajesh deserves special accolades for how she embraces Bhagyashrees childlike quirks without making her a caricature. Meenaakshi Chaudhary has an impressive screen presence and is efficient with the material at hand, holding her ground while sharing the stage with Aishwarya and Venkatesh. Meanwhile, Venkatesh pulls off the henpecked yet doting husband act just as effectively as the angsty force of deconstruction in the final act. Again, whats commendable about the film is how it uses Venkateshs persona to propel the storytelling. The screenplay somehow keeps Venkatesh under the spotlight and on the ringside at once, letting him casually embue the proceedings with his affable presence even as the supporting cast drives the show. While the film never mentions Rajus age, it alludes to the element of age gap in both of his romantic relationships. A little later, the story also makes a clever use of the actors off-screen age, questioning Rajus virility as a potential hero figure. After all these years out of service, Raju, we are told, might not be as ferocious and strong as everyone expected him to be, and is now forced to rely on his brain than brawn to complete the mission. And yet, the film turns the tables on us in the pre-climactic action sequence, as a pent-up Raju unleashes his wrath on a bunch of bad guys, resulting in a hysterical sequence loaded with kicks, punches and chuckles. Of course, if one attempts to scratch the surface, there is a lot to unpack here in terms of subliminal messaging, what with Raju beating the hell out of the villains henchmen while simultaneously venting out his frustration to the two women in his lives. In a film that barely takes itself seriously, do we really have to see, albeit in a light-hearted fashion, the hero vehemently prove himself as the victim and the women as the irrational kind? But then again, it depends on you if you want to judge this film from that lens. For everyone else who merely wants to have a few hearty laughs, Sankranthiki Vasthunam offers them in plenty. Sankranthiki Vasthunam Cast: Venkatesh, Aishwarya Rajesh, Meenaakshi Chaudhary, VK Naresh, Upendra Limaye, Saikumar Director: Anil Ravipudi Rating : 3/5
