Ananya, Janhvi, Kiara Get Gorgeous
The Pinkvilla Screen and Style Icons Awards were held in Mumbai, and Bollywood suitably glammed up for the night.
'This is a story that should be told'
Barun Sobti has just completed 15 years of acting, and his new Web series, Rakshak India's Brave, has fetched him fresh laurels.
Vedaa: John Abraham-Style Action
Vedaa seems to have the look of a typical actioner, where the plot is subservient to the fight sequences, observes Deepa Gahlot.
Rajendra Kumar was known as one of those actors whose films deeply left a mark on fans' hearts.
No change of release plans for Pushpa: The Rule
No change of release plans for Pushpa: The Rule:- As per the recent rumours circulating
Employer Contacts Man 6 Months After Firing Him, Asks For Laptop Password
The employer requested him to share the laptop password to perform a factory reset to prepare the device for a new user to use in future.
10 Tamil Comedies You Must Watch On OTT
Comedies are a difficult genre to pull off in today's day and age, thanks to the audiences' increasing exposure to diverse content and dwindling attention spans. Still, there are quite a few Tamil movies that can bring on the laughs. Arjun Menon lists the recent releases you can watch at home.
Priyanka's Home Away From Home
Manushi makes memories... Preity gets a jalebi... Erica loves the sea...
Nayanthara made her acting debut with the Malayalam film 'Manassinakkare' (2003). She made her debut in Tamil cinema with 'Ayya' (2005), and in Telugu cinema with 'Lakshmi' (2006).
On day 4, the film Bastar: The Naxal Story, saw a major drop and collected just Rs 24 lakh.
Holi 2024: When Is Holi In India? Know Date, Puja Rituals And Significance
Holi 2024: Holi is a major festival in India that is celebrated by millions across the country
The production house Directors Kut Production, founded by Rajan Shahi, has sacked The Yeh Rishta Kya Kehlata Hai actors Shehzada Dhami and Pratiksha Honmukhe for their unprofessional behaviour.
Randeep Hooda has left fans amazed as he dropped a picture of his drastic transformation for Swatantrya Veer Savarkar.
OnePlus Removes TV, Monitor Categories From India Website, Signals Potential Withdrawal From Market
OnePlus might have decided to discontinue the production and sale of televisions and monitors in India. The BBK Electronics-owned Chinese brand has removed the TV and Displays categories from its India website hinting at a potential shift in business strategy. OnePlus forayed into the television category back in 2019 by launching the OnePlus TV Q1 series.
Kunal Kemmu makes his directorial debut with Madgaon Express, and his wife, Soha Ali Khan, was among his biggest cheerleaders at a special screening in Mumbai.
Shweta Turns 50 And Amitabh Says...
Amitabh Bachchan's latest post on his blog is all about his love for his family members.
What Ed Sheeran told Huma Qureshi
Ed Sheeran was the highlight of Bollywood's weekend as Farah Khan invited the British singer over for a fun party with her friends.
Sudipto Sen opens up about his new release Bastar: The Naxal Story and the controversy that has surrounded the film as well as his previous release The Kerala Story.
'Murder Mubarak' movie review: Shines in absurdity, tires as a satire
Murder, old men and a face immersing in a bathtub. Director Homi Adajanias Murder Mubarak, frequently brought back memories of his debut feature Being Cyrus (2005). With his latest Netflix stint, Adajania takes the setting to an exclusive Delhi club, filled with gaudy caricatures. The film, just like Cyrus, is more of a quirky societal study than a murder mystery. But unlike the Saif Ali Khan headliner, the class satire in this film, although enjoyable at times, gets too on the nose. Murder Mubarak relishes in its loose eccentricity but the thriller at its centre often loses grip. Its more of an absurdist comedy packaged in the delicious pulpiness of a whodunit. Although, for the murder at the core of the film, no blood is shed. Womanizer Leo Matthews (Aashim Gulati) is found dead in the gym of the Royal Delhi Club. It seems like a classic case of a bench press gone wrong. But nothing can escape from the sharp eyes of Pankaj Tripathis chaste Hindi-speaking cop Bhavani Singh (He even dons two glasses). The helium balloons over the CCTV camera suggest that this might be a murder. The suspects are an idiosyncratic bunch of South Delhi socialites. There is royalty-hungover cheapskate Raja Rannvijay Singh (Sanjay Kapoor), yesteryear diva turned horror schlock star Shehnaz Noorani (Karisma Kapoor), rich-girl with tragic past Bambi Todi (Sara Ali Khan), lovelorn lawyer Aakash Dogra (Vijay Varma), garrulous gossiper Roshni Batra (Tisca Chopra), her rehab-returned son Yash Batra (Suhail Nayyar) and alcoholic Cookie Katoch (Dimple Kapadia). Leo was blackmailing all the members to get donations for his orphanage. Everybody had a bone to pick with him and had skeletons in their closets. The pleasure of a whodunit lies more in savouring the delicacies offered by its characters rather than finding which one of them has an odd aftertaste. Adajania with writers Ghazal Dhaliwal and Suprotim Sengupta weaves characters that, although at times outlandish, still remain funny and interesting. Credit also goes to Anuja Chauhans book Club You To Death on which the film is based. Some performances, however, dont hold up to their characters. Tisca Chopra as Roshni Batra is amusing only by excess. Her portrayal of a Delhi aunty is impersonation at max. Sara plays Bambi playing Sara. Her eyebrow raises and goofy demeanor isnt any different from the actors public persona. Vijay Varma as the one-sided lover serves as a red herring at most. In contrast, Pankaj Tripathi is hilariously good as the cop. His performance might give flashbacks of his previous works (most recently Kadak Singh) but the actor brings an adorable sweetness to Bhavani Singh. Dimple Kapadia serves a lesson on how to make exaggerated characters sing while Karisma Kapoor balances grace with the comical and Sanjay Kapoor plays an effective insecure Maharaja. More than the performances and the plot, in Murder Mubarak Adajania scores with tidbits of absurdist humour. Notice how all the waiters at the club are senior citizens, being summoned by a bell by the patrons and being called boys. While telling an emotional story about his subordinate, Tripathis Bhavani puts in an unnecessary but hilarious detail of his junior practising belly dance at night. Karismas Shehnaaz steps back and stands in front of a huge fan, head tilted, hair flying, like she is a 90s heroine. The Delhi satire, however, is as loud as Delhi itself. Murder Mubarak isnt subtle or nuanced. The jarring background music by Sachin-Jigar often hammers humour in case you missed it. The Us vs Them narrative feels inorganic and borrowed from the Knives Out franchise. At a run time of 142 minutes, the allure of the mystery starts fading. The film opens free-spirited and then suddenly morphs into a tight thriller. To quote Radhika Aptes V Naidu in Monica, O My Darling, Loosen the story a bit. With feel. Director: Homi Adajania Writers: Gazal Dhaliwal and Suprotim Sengupta Cast: Pankaj Tripathi, Sara Ali Khan, Karisma Kapoor, Sanjay Kapoor, Vijay Varma, Dimple Kapadia Rating: 3/5
This star kid battled depression and had to sell his car, and wife's valuables for money during the lean phase.
Box Office: Yodha Does Well, Shaitaan Is A Superhit
The next big releases -- Bade Miyan Chote Miyan and Maidaan -- will arrive during Eid, which leaves a lot of time for Shaitaan to earn lifetime collections in the range of Rs 140-150 crore (Rs 1.4-1.5 billion).
'Whenever there is a women-oriented film, people think that it will be a serious film, or there will be men-bashing. But there's nothing like that. Women can do comedy very, very well.'
Sportz Interactive eyes $15-20 million revenue in FY24
Sportz Interactive has partnerships with major sports organisations like F1, UEFA, IOC, NBA, MLB, and UFC. In India, the company works with the BCCI, IPL teams, sports broadcasters, and gaming companies.
Farah Khan gave a tour of Karan Johar's new closet in their latest hilarious video, in which the two of them made amusing remarks on each other.
Anand Mahindra Shares This Innovative Water-Saving Technique On Social Media
Absolutely! Water conservation is crucial everywhere. Let's keep spreading awareness for a better future, a social media user commented.
Ameesha Patel was not Anil Sharma's first choice for Sunny Deol-starrer Gadar Ek Prem Katha.
This actor, who started his career with a B-grade film, became a superstar and a successful politician.
This actress, who gave several hits with Shah Rukh Khan, Akshay Kumar, and Govinda, once used to wipe vomit, and sweep studio floors.
Watch: College Students Analyse Orry's Body Language, Make A Presentation
The presentation began with a summary of Orry's background, then moved on to discuss his posture, body language, hand gestures, eye contact etc.
Javed Akhtar reacts after Sandeep Reddy Vanga hits back for criticising Animal.
Ed Sheeran and Diljit Dosanjh can be seen singing together at Mumbai concert.
'Spaceman' film review: Outer space, inner voyage
Early on in Johan Rencks Spaceman, a little girl asks Adam Sandlers astronaut Jakub whether he is the loneliest man in the world. Sandler hesitates before telling her that he is not lonely, and that he will come back after completing his mission. But his hesitation tells a different story. Jakub is far from home, near Jupiter to find out the origins of the particles that constitute the Chopra Cloud. His pregnant wife Lenka (Carey Mulligan) is eagerly waiting for his return, as he is. It does not take long for Renck to thrust the audience into the spinning space vessel of Jakub and explore the isolation that envelopes his mind. Of course, you expect nothing less from the man who helmed the series Chernobyl before this. Spaceman is an existential sci-fi film, but unlike most such genre affairs, its writing almost subverts the usual lonely-astronaut-syndrome template. The director presents portions of Jakubs hallucination like reality, but shows moments from the his real life like figments of his memory. At some point, a giant spider visits his space vessel. It tells the astronaut that it comes from galaxies and light years beyond in search of solace. Is the spider real? Or is it a manifestation of Jakub losing touch with reality? We never quite figure this out, although we are utterly fascinated. Paul Dano lends his voice to the spider that often serves as a haunting throwback to the sentient computer HAL 9000 from 2001: A Space Odyssey. The actor uses good diction, economy of words and depth of voice to make his characters interactions with the astronaut meaningful. The way Dano says the spiders lines makes you feel that it is Jakubs conscience speaking, shaking up the very roots of his existence. Renck intercuts the conversations between the two with blurry visions of the latters past moments with his wife. Through hypnotic frames, Jakubs reality plays itself out like a hallucinatory chapter from his life. Spaceman takes its time to tell its story about loneliness while exploring themes such as how an astronaut tries to balance work and family without compromising either, and how much ambition is too much. Although, it is not the first film to do so. But Spaceman is unique in the way it flips the usual lonely-astronaut narrative. The film is based on Jaroslav Kalfars book Spaceman of Bohemia. Mulligan and Sandler effortlessly convey their characters yearnings for each other as the sands of time wash away under their feet. At about 100 minutes, it is a slow-burning sci-fi film that requires patient viewing, but your time and investment are duly rewarded.
Suniel Shetty was originally considered with Akshay Kumar, Paresh Rawal in Bhagam Bhag, but the actor-producer reportedly gave up his film as Govinda was striving to find good film to make his comeback.
FIRST PICTURES: Kriti Weds Pulkit
Kriti Kharbanda and Pulkit Samrat got married on March 15 in Gurgaon, and shared the happy pictures on social media.
Priyanka, Madhuri Attend A Roman Holi Party
Holi celebrations started early, as Isha Ambani, together with Bvlgari, hosted a party for filmi folk in Mumbai.
Dreams Do Come True: Yashraj Mukhate Collaborates With Amit Trivedi
Expressing his gratitude and excitement, Yashraj Mukhate recounts the surreal experience of collaborating with Amit Trivedi on the song 'Mann Dhaaga', a dream come true after years of admiration and dedication.
Shocking Video Shows Large Alligator Eating Up Another
The video opens with an alligator floating along in a narrow stream, followed by a scene where it grasps another young alligator in its jaws.
Sonal enjoys the sunset... Tabu is lost in thought... Nimrat's birthday holiday...
'Yaavarum Vallavare' movie review: A multi-chapter film that lacks real cohesion
CHENNAI : Writer-director Rajendra Chakravarthis Yaavarum Vallavare is a film split into four different chapters that uses an episodic narrative to tell its unrelated (and disjointed) stories. It abruptly jumps from one chapter to another. The film revolves around the larger theme of, A hero can come out of anywhere (more on this later), but it takes a while for the film to take off. Early in Yaavarum Vallavare, Samuthirakanis Krishnan gets released from jail and is immediately followed by a gang of goons who are out there to kill him. The fact that he is walking home covered in a long blanket shows that he is expecting an attack. At the same time, he seems so nonchalant that a cop gives him a ride home and tells him that he is a good person. But we wonder why he is being followed if he is a good guy. Chakravarthi spends some time showing the goons chasing the man, only to jump to another chapter that involves a different set of characters. One of the chapters involves a cameraman (Yogi Babu) and a director (Ramesh Thilak) approaching Athaachi (Devadarshini) for a film. The duo want to use Athaachis house as the location for their film, which involves an eloping couple, they even offer her a part in the project. Soon, another set of characters joins the oddball crew, including Paandi (Rajendran) and Athaachis husband, played by Ilavarasus Baskar. Ilavarasus character learns that his daughter is eloping, but he has a hard time making his wife understand the situation because she lives in a filmy world and thinks the old man is talking about her new film project. In a more realistic film, the adult wife will understand the reality of the situation in one exchange with her husband, but this is a deliberately screwball piece of narrative that sticks out like a sore thumb in a film that contains three other serious chapters. There is also a chapter involving Arunthathis Then Mozhi, a teacher who comes home to realise that her Army officer husband is no more. Vijay Sethupathi makes one of his briefest appearances in a feature-length film in a tearjerker of a chapter. Arunthathi plays a grieving wife at a funeral, but Chakravarthi uses this situation more as an opportunity for a big speech about the deep entrenchment of caste and politics in society. Arunthathi delivers the big speech, and the film jumps back to the start with Samuthirakani. Returning to Samuthirakanis chapter, we see the actor give one big speech about the societal and cultural importance of Jallikattuwhich has little to do with the plot of the film. While strongly opinionated monologues might still be entertaining even if they dont serve the plot of the film, they hardly work in a disjointed film like Yaavarum Vallavare. The speech comes abruptly out of nowhere in the film, with very little buildup. You keep watching the film with the hope that every chapter coalesces into one meaningful whole, but the parts remain as they are without any connective tissue. Let us talk about the section that works to some extent. There is a piece of storytelling in the Samuthirakani chapter that catches you off-guard with the nifty and deceptive way in which it unfolds, even though Chakravarthi uses phoney storytelling elements such as red herrings to achieve this effect. In one scene, Chakravarthi shows a character with a weapon in his hand in front of a goddess statue. Later, that character is behind the wheel by happenstance and racing against time to save a life. The contrast between a lifetaker and a lifesaver is startling, in line with the films hero theme, and Chakravarthis attempt to bring it out is appreciable, although one would hope for it to come in a better film. I really like how Samuthirakani creates some sort of arc for his character, even with such a thin plot line. He has a commendable ability to cry on cue as well. His exchanges with Riythvikas Revathy are also wonderful, but I wish they belonged in a film that is not as disjointed as Yaavarum Vallavare. Film: Yaavarum Vallavare Director: Rajendra Chakravarthi Cast: Samuthirakani, Yogi Babu, Riythvika, Ramesh Thilak and Rajendran Rating: 2/5
'Jananam 1947 Pranayam Thudarunnu' movie review: Sweet stir of love and companionship
Imagine youre casually scrolling social media and coming across a random video of an elderly couple sharing some lighter moments, like holding hands while walking or leaning on the partners shoulder. Before you know it, there will be a smile plastered on your face or you might even feel your eyes turning moist. This is the exact feeling that Jananam 1947 Pranayam Thudarunnu offers throughout its 100-odd-minute runtime. Gouri Teacher (Leela Samson) is an unhappy resident of an old age home as her son is unwilling to take her in. Apart from his occasional visits, Teacher, as she is fondly called, has nothing much to look forward in life. Until Shivan (Jayarajan Kozhikode), the retirement homes caretaker, invites her to his home... and, by extension, his life. Abijith Asokan, who has written, directed and produced the film, picks themes like isolation and companionship to weave a beautiful tale of two elderly people deciding to spend the final lap of life. Shivan and Gouri belong to two strata of the society. While one is an educated teacher from a seemingly affluent background, the other is an unrefined farmer. But these differences are insignificant in the now-overwhelming yearning for company. Jananam 1947 Pranayam Thudarunnu shares progressive values, but the progressiveness is not in the face. Both Shivan and Gouri are product of their times; so, its natural when Shivan proposes to Gouri saying, Id love to have someone make tea for him. Similarly, Gouri, who has been caged in the retirement home for over three years, is raring to do household chores, like a typical homemaker. After they move in together, she happily cooks and feeds Sivan, while he sweats it out on his farm. The film is brimmed with wonderful moments that display love in all its splendour. In a fleeting moment, you can see Gouri checking if Shivan ate the food that she packed and realising his love for spicy dishes. Like any newly married couple, their intimacy blossoms gradually, and composer Govind Vasantha augments these sweet moments with his soulful music. Usually in films exploring old-age romance, it is a norm to show at least one of them with a terrible past relationship. However, in this film, both Gouri and Shivan were deeply in love with their former partners and hold them in high regard even after their passing. They dont shy away from talking about their past and the fond memories accompanying it. At the same time, they also embrace the present and their beautiful and respectful relationship. Apart from the lead couple, the film also has some interesting characters like Sudhi, played by Noby Marcose. Though theres a running joke in the film about him not finding a match, the character is not reduced to a comedy sidekick. He is that go-to-guy for any help in the community. In fact, almost all the villagers of Ezhumanthuruthu are portrayed as warm, welcoming people who strangely are never judgemental of Shivan and Gouri teachers unusual choice. It might look too idealistic a setting, but Abijith also sticks to piercing reality when Sivan casually mentions how he has never been called sir his entire life and his misunderstanding that such respectful addressing were reserved only for good-looking people. Jayarajan Kozhikode sells the naivety and genuineness of Shivan effectively. From his dialogue delivery to body language, theres an effortlessnes to his performance. However, Leela Samsons portrayal of Gouri, while graceful, is not so fluent. In fact, it comes across as mechanical on few occasions. It is likely that an unfamiliar terrain and language had has an effect on her performance. Jananam 1947 Pranayam Thudarunnu is the closest Malayalam cinema has got to the MT Vasudevan Nair classic, Oru Cheru Punchiri. It exudes the same warmth, comfort and hope. Film: Jananam 1947 Pranayam Thudarunnu Director: Abijith Asokan Cast: Leela Samson, Jayarajan Kozhikode, Noby, Irshad Ali, Deepak Parambol Rating : 3.5/5
'Amigo Garage' movie review: Mahendran is good in an otherwise mediocre gangster drama
CHENNAi : When we meet Rudhra (Mahendran) for the first time in Amigo Garage, he is a high-school student preparing for his exams. He sports an adult beard and has biceps that would rival that of a gym trainer. He barely looks the part and is unconvincing, but lets just brush it under the carpet for a moment. Soon, in a blink-and-you-miss-it scene, Rudhra and his friends are celebrating graduation. Later, he instantly becomes the good guy and is employed at a factory after listening to one piece of advice from his parents. Between these three crucial shifts, Rudhra strangely looks the same. The only change we see is one of attire from uniform to T shirt in college and then formal wear. These flaws are just the tip of the iceberg. Directed by Prasanth Nagarajan, Amigo Garage has Mahendran playing a man who becomes a gangster at the snap of a finger when he decides to kill a dreaded don. It is safe to say that Amigo Garage, it seems has taken some inspiration from A History of Violence in charting Rudhras rise as a gangster. The garage where it all starts has Anand (GM Sundar) and his henchmen being involved in petty crimes. They take Rudhra under their wing and provide him the care and comfort he needs. Except for Mahendran, none of the leads are lively enough. The jokes dont land either. Despite Mahendrans earnest performance, Rudhras story never gets compelling enough. To make up for the jumpy screenplay, we get several long voiceovers from Rudhra before any major development happens. When Rudhra begins to go astray, his mother is worried, but his father advices her not to worry and suggests that the solution could be marriage. When that doesnt happen over time, his father throws a fit, breaks their family photo frame, and says, Enna pulla valathurukka nee? (What son have you brought up?). Why blame the woman? We are never sure. After an inciting incident that leaves Rudhras life changed forever, he tries to avoid conflict and stays underground, but in one smoke, he gathers the courage to kill. He makes his new gang and begins slashing the necks of his enemies left, right and centre to rise in ranks to become the new head of Amigo Garage. He makes a comment or two about his earlier life, and his friends, but we feel nothing when they die. The women of the film be it Ramya (Deepa Balu), who calls Rudhra thambi in one scene and disappears, and Tamil (Athira) who is his angel descended from heaven are facile and painted in broad strokes. The villains are nothing more than stock characters who are only there to oppose Rudhra. Amigo Garage has sparks of potential, but somewhere in this story of a man who turns into a gangster, it gets derailed and doesnt create an impact with the audience. With all the voiceovers, you mostly dont need to look at the screen to know what is going on. Film: Amigo Garage Director: Prasanth Nagarajan Cast: Mahendran, GM Sundar, Athira Raj, Deepa Balu, Dasarathi Narasimman, Madhanagopal, Murali Chandran, Sakthi Gopal, Muralikamal and Siriko Udhaya Rating: 2/5
'Anchakkallakokkan' movie review: Equally ambitious and uninspiring look at malevolence
Two revenge-thirsty brothers enter a local toddy shop, which also strikingly has families seated inside. One of them turns up the volume of the radio hanging on the wall as a folk song starts playing. As the song progresses, men and women who are inebriated start dancing to the tune along with the brothers. Amidst the celebration, a brawl starts, and it is mayhem all over. While one brother is more into street fighting, the other is more focussed with swaying along with the song that is being played in the background as he keeps on taking down one after the other. This particular stretch, filled with extreme chaos and so much swag, has an unhinged hook to it. It leans more towards style than substance, yet, it works on its own. Anchakallakokkan, with its writing that leaves a lot to be desired, does have a few such well-choreographed and wacky passages but only sporadically. The film is set in the late 1980s in a Kerala-Karnataka border village. Sometime soon after the infamous police atrocity in Thankamani village, which is mentioned a couple of times in the first hour to establish the time period and political landscape, the film opens with a late-night drinking session headed by a landlord, Chaapra (Sreejith Ravi). It soon ends up with him getting stabbed inside a forest while in pursuit of hunting a wild boar. The following day, Vasudevan (Lukman Avaran) arrives at this village to join as a constable, immediately after his training period, in a visibly dilapidated police station. Hes unmistakably a weak-kneed man with a stammer, whos averse towards bloodshed. The stations main man is the head constable Nadavaramban Peter (Chemban Vinod Jose), a seemingly charming cop. Also, we see Chaapras reckless and inseparable sons who are on an insane pursuit to avenge their fathers murder without any regard for the law of the land. The film then follows the unraveling of the mystery behind the murder. The screenplay, co-written by Vikil Venu and the director, seems to have aimed at a neo-noir exploration of the underlying bestiality of men as a whole in the guise of a murder mystery with a volatile tone. However, most often, it fails to make you invested in its characters, who display various shades of grey. Additionally, the manner in which the suspense is repeatedly built by rewinding an incident from a different perspective feels anything but organic. After a point, it starts feeling like an editing gimmick to mask the mediocrity of its unimaginative writing. In between, we are also introduced to Vasudevans traumatic childhood involving a dysfunctional family through one of his nightmares. This memory becomes crucial to the turn of events later, but we can hardly connect with the following revelations as it fails to effectively foreshadow the characters arc. On the same note, the narrative trying to bring in the performative art form Poraattunaadakam as a leitmotif surrounding his character lacked clarity. The less said about its women characters with hardly any agency or identity, the better. Director Ullas Chemban does have some tricks up his sleeve in its briskly paced former hour while drawing inspiration from the likes of Quentin Tarantino and Guy Ritchies penchant for raw violence. The same cannot be said about its erratic latter hour when almost everything goes for a toss as it turns out to be yet another unexciting revenge affair. While the technical front aids the film greatly in giving it a slick look, Arun Mohan aka Armos visuals exploring the vast expanses of the rustic village also felt reminiscent of Amal Neerads work for Iyobinte Pusthakam. Chemban Vinod Jose as Peter is not really a departure from the portrayals he has already done, even if there is a conscious attempt to make his characters arc unique, and he has approached it like clockwork. Lukman Avaran as Vasudevan also fits the part, especially when he has to showcase the timid nature of his character. In the supporting cast, its Manikandan Achari who leaves a mark, but its also unfortunate to see him getting stereotyped repeatedly. Anchakkallakokkan is as much an ambitious look at malevolence as it is an uninspiring revenge potboiler. Film: Anchakkallakokkan Cast: Chemban Vinod Jose, Lukman Avaran, Sreejith Ravi Director: Ullas Chemban Rating : 2.5/5
'Kung Fu Panda 4' movie review: A predictable yet uproarious addition to the franchise
CHENNAI: Pos introduction in Kung Fu Panda 4 is narrated by his newfound biological father Li Shen, who says, If I know our son, hes just kicking back and catching some rays. Now, our mind immediately imagines Po lying on a beach chair, with a Hawaiin hat, catching some sun to get the right tan. Instead, he is wearing a superhero cape, swinging his hands in the air, and throwing punches against a rayfish, to protect his people. The punny humour in Kung Fu Panda 4 begins right at the get-go, just like its predecessors. And all were expected to do is fasten our seatbelts for a hilarious, but extremely predictable ride ahead. Po (Jack Black) is tasked with defeating the toughest of his enemies, the shape-shifting villainous sorceress, The Chameleon. Instead of his furious five, he teams up with Zhen (Awkwafina), the fox, to take on the sorceress and sustain peace in the valley. By now, it is amply evident that every Kung Fu Panda sequel follows a pre-set template. The villain is introduced. Shifu advises Po to level up. Po finds it difficult to make progress. Then, as he finds himself in trouble, Po achieves the unachievable and saves the day. Despite this predictability, we enjoy watching Po, Kung Fu his way through the bad guys, as we have done for the last three times. Zhen, the thieving fox who partners with Po to outwit The Chameleon, is a delightful addition to the franchise. At a point in the film, we forget the animation, the story, and become engrossed by Awkwafinas infectious energy. Whether its Pos hilarious attempts to teach her Skadoosh (which only comes out of her mouth as Skablam), or when they try to escape an army of sleeping lizards but get caught because of a fart, their chemistry is pure magic. So much so that in a film about Kung Fu, the most satisfying scene is one where Zhen hugs Po. However, we do miss The Furious Five - Tigress, Viper, Monkey, Mantis, and Crane, characters who became fan favourites through the years. The film attempts to compensate for their absence by pitting Po against all his past nemeses - Tai Lung, Lord Shen, and General Kai - who are resurrected by the villainous Chameleon. Even a glimmer of Grand Master Oogways return would have been warmly welcomed, but sadly, that wish remains unfulfilled. Although the new entrants to the franchise are enthralling, the old ones are terribly missed. One of the most interesting things about the Kung Fu Panda franchise is how it aptly captures the characteristics of every animal portrayed. When goats greet each other at the beginning of the film, they say hey like mehheheh. An armadillo rolls into itself and opens up with a bang, every time it fights villains. While these are still smaller details, it is the Chameleon that catches ones eye, an evil shape-shifter, who is voiced by the brilliant Viola Davis. Somewhere amidst the Kung Fu and the comedy, the film talks about the politics regarding denied opportunities. Through a character like The Chameleon, we are shown the evils of denying people opportunities based on a persons appearance, birth, or gender. And through Zhen, the film conveys a message of what poverty can do to a person, and how anybody and everybody is susceptible to change. While not compromising on entertaining elements like slapstick humour, wordplay, and action comedy, the film still manages to convey the heavier themes at its heart. At the end of the day, Kung Fu Panda 4 is a mixed bag, no doubt. Does it bring anything new to the table? Not really. But does it shut off your brain and make you enjoy some Kung Fu cuteness for its runtime? Absolutely! When you walk out of the theatres, you have two choices. You could either judge the film for all its weaknesses. Or you could follow Pos advice, Sometimes the greatest dishes come from the most unlikely ingredients, and understand that this is a film made of unlikely ingredients but flavourful nonetheless. Film: Kung Fu Panda 4 Director: Mike Mitchell Cast: Jack Black, Awkwafina, Viola Davis, Dustin Hoffman, James Hong, Bryan Cranston Rating: 3/5
Imtiaz Ali reveals what he finds in common between Amar Singh Chamkila and Sidhu Moosewala
'Yodha' movie review: Hijack of all trades
HYDERABAD : Yodha can best be defined as an overly simplistic film morphing into an overly complicated film. When we meet Indian soldier Arun Katyal (Sidharth Malhotra), he is on a covert mission with his team at the Indo-Bangladesh border. A bunch of insurgents, with wobbly Bangla, are huddled in a hut, conspiring to cross the border. Civilians are at risk. The team is on their watch, awaiting orders from the high command (Spoiler: they arent gonna come). You can guess what our hero is going to do (Yodhas dont know how to negotiate). He takes a headshot, assembles a make-shift zipline and crashes into the hut. Then he kills off all the terrorists in a well-imagined but sloppily-executed action sequence. Punches, knives, guns, assault rifles, almost everything is used. The camera spins more than slithers as Malhotra breaks arms and stabs thighs. This is a pattern with Yodha, stuffing every scene, be it action or not, in order to elevate it. Arun ultimately saves the day, uncorks a flare light and the colours of the Tiranga are flowing in the wind. Nationalism out and out whenever in doubt. To give some context, Arun Katyal is part of an elite Yodha squad, which has the best of Military, Air Force and Navy. The squad is close to his heart since it was formed by his father Surender Katyal (Ronit Roy). In a corny flashback scene, Surender puts the uniform on young Aruns shoulders as they both gleam into the mirror. As expected, soon after only Surenders trunk makes it home. A determined Arun then vows to take forward his fathers legacy. Not for long. After a failed rescue mission, which leads to hijackers killing off the countrys top nuclear scientist, the Yodha unit is disbanded. Arun is shamed for flouting orders and is labelled a traitor. His wife Priyamvada (Raashii Khanna), a government officer, has also served him divorce papers. In the films first half, too many things happen too fast. Some scenes act as mere fillers. Nothing is allowed to settle. It feels like the film is impatiently trying to get somewhere. Like it has some aces up its sleeve. Like its telling you, sit through some cliches, the best is yet to come. Flash forward to a vague, Few years later and now we have Arun, bearded, wearing black shades and smoking a cigarette while looking at an aeroplane through a glass pane. Is he going to hijack a plane to take revenge against the bureaucratic system which wronged him and his team? From here, the film does become nail-bitingly thrilling. A tainted soldier is claiming that the flight is going to be hijacked, should we believe him? Has he gone rogue? A burly, bald guy gets killed and turns out he wasnt the hijacker. On the plane, there is an over-smart teenager, a loud-mouthed uncle and a clueless airhostess (Disha Patani), so whos it gonna be? I liked some of the ideas Yodha brought to the table. It mixes mystery with the hijack-thriller and it pumps up the film for a while. Some action sequences, like a fight inside a plane spinning and nosediving or the one in the flights cargo unit with temperatures dropping, felt novel. But it soon gives in to the gravitational pull of the scrappy thriller. Some details dont quite add up. There are twists and turns as if this is an Abbas-Mustan potboiler. Is there a bomb on the flight? Is the flight the bomb? Is the Indian PM the target? Is the Pakistan PM the target? Were my brain cells the target? Yodha doesnt realise when its gotcha moments start becoming increasingly convoluted. But before you can rearrange the events in your head, before you can let it settle and make sense of it, the flare is out again. Look, a tricolour. Film : Yodha Cast: Sidharth Malhotra, Raashii Khanna, Disha Patani, Ronit Roy Director: Sagar Ambre and Pushkar Rating: 2.5/5
'Somu Sound Engineer' movie review: A raging symphony about one mans battle with anger
The complexities of human behaviour, and the dichotomy of good and bad, often hinge on a persons reactions to the trials and tribulations life throws at them. Abhi Basavrajs Somu Sound Engineer, explores this theme, with a wisdom that A moment of patience in a moment of anger saves you a hundred moments of regret. The film also shows how a person with eloquence and patience seldom engages in strife. These truths are traced through the character of Somu (Shrestha), who initially believes that his angry young man behaviour can conquer everything. However, his journey leads him down a path of self-discovery and transformation. The question remains: will this change ultimately bring him happiness and acceptance? The plot subtly highlights societys tendency to ostracise individuals with anger issues or arrogance, despite their underlying goodness. Set against the rustic charm of a village in Northern Karnataka, Somu finds himself shunned for his brash and arrogant demeanour, despite his inherent goodness. However, beneath his rough exterior lies a heart of gold, a fact only recognised by his father, Shankranna (Girish Jatti). The father and son represent contrasting personas Somus disruptive behaviour frequently stirs trouble in the village. However, as he wrestles with societal judgments, a pivotal incident sparks a transformation in his perspective. This catalyst leads to deep introspection and a journey of personal growth. While we wonder about the significance of the title, Somu Sound Engineer, its relevance gradually unfolds in Somus personality, post-interval. Abhis work undeniably reflects the influential touch of his mentor - Director Suri. The portrayal of Somus journey maintains its realistic tone, though the fault lies in stretching the narrative, Initially, the viewers are presented with a clear image of Somu and his struggles with anger issues, and at one point, you dont want to know more about it, but this gets extensively explored before introducing significant plot twists at the interval. However, it is in the second half where Somus transformation comes to life, accompanied by his inevitable regrets. In a village narrative like this, attention to detail and atmosphere are vital, given the numerous characters involved. Shresthas performance reflects the complexities of human emotions, and he has delivered what the character demands. Jahangirs role as a bachelor brings comedic relief, but it lacks substantial connection to the story, except that he is part of the village narrative. The dialogues by Maasthi come to the forefront, while Charan Rajs perspective of the rustic village adds a further dimension. However, these elements fail to impact the overall story. Abhis earnest direction and Shresthas performance make Somu Sound Engineer noteworthy. Through Somus journey, audiences might find themselves drawn into his world of sound and silence, where emotions speak louder than words, Additionally, the film prompts reflection on the repercussions of anger issues, highlighting how they can serve as both a stumbling block and a catalyst for personal growth. Somu Sound Engineer Director: Abhi Basavaraj Cast: Shreshta Basavaraj, Nishvika Patil, Yash Shetty and Jahangir and Girish Jatti Rating : 2.5/5
'Kerebete' movie review: Agonising tale about love amidst casteist oppression
After years, Kannada cinema sees a revival of films that celebrate the rustic beauty of rural life. Set against the Malnad region, cinematographer Keethan Poojary Kerebete brings to life the lush landscapes, in all their natural splendour. Directed by Rajguru, the film revolves around tales of love, and vengeance. Kerebete marks the return of Rajahamsa actor, Gowrishankar, who has also contributed to the film as a producer, he also worked on the screenplay and dialogues for the film. As an actor, he anchors an intense drama that explores the deep emotions within the simplicity of rural life. While the story touches upon the traditional fishing sport indigenous to the region, Kerebete also brings the essence of the surrounding areas into its narrative. Alongside the tale of young love, the film addresses casteism, in the form of a suspense thriller, providing an enthralling experience. However, it is unclear if the heavy themes blend well with the narrative. The film takes us through the life of Naga (Gowrishankar), a rugged individual who frequently finds himself in trouble for wood smuggling. It kicks off with Nagas release from prison, setting the stage for a gripping narrative about his past. As Naga navigates the complexities of his existence, shown through flashbacks, we witness his participation in Kerebete, a traditional fishing sport emblematic of his villages culture. However, amidst the tranquil waters, Naga and his mother find themselves embroiled in a bitter struggle over their ancestral property, facing discrimination, since his mother is from an oppressed caste. In the midst of these challenges, Naga finds solace in his love for Meena (Bindu Shivaram). But their romance is met with vehement opposition from Meenas parents, especially her father (Gopalkrishna Deshpande), leading to a series of confrontations that escalate tensions further. When Meena mysteriously disappears, leaving behind a shocking revelation, Nagas life takes a dark turn, leading him down a path of vengeance and reckoning. Naga, grappling with societal injustices, confronts the demons of his past while forging unexpected alliances. Will he find justice, or face a dead end? Kerebete, amid its romantic origins, morphs into a suspense thriller and keeps audiences on the edge of their seats. Yet, at its core, the film underscores themes of love, caste discrimination, and societal norms, shedding light on the plight of marginalised communities in rural areas. The director beautifully captures the essence of the fishing sport, with Kerebete serving as the backdrop for the story, showcasing the unparalleled beauty of Malnad. However, strengthening the screenplay should have been the bigger priority. Nevertheless, the highs and lows are so extreme that they feel somewhat out of sync, potentially disrupting the flow of the narrative. While the screenplay occasionally falters, meandering at times and lacking necessary momentum, the latter part of the film injects much-needed energy into the narrative, culminating in a satisfying resolution that ties up loose ends. The flashbacks in the second half, though initially disorienting, ultimately enrich the story, revealing layers of truth and emotion that take forward the narrative. The love story, the mystery of Meenas disappearance, and the finding of truth in the end all contribute to the films intense drama and its thematic exploration. Gowrishankar, with his portrayal of Naga, captures the duality of a person, effortlessly transitioning between compassion and ruthlessness. However, the use of explicit language and some of his behavioural traits could have been avoided, while the repeated acts of heroism could have been tempered for a more nuanced portrayal. Gowrishankar brings an authentic portrayal, coupled with the richness of the Malnad dialect, bringing Nagas character to life in a way that feels genuine and relatable. Bindu Shivaram, a newcomer, delivers a commendable performance. Gopal Deshpande excels in his portrayal as her father, along with support from Sampath Maitreya as a police officer, Harini as Nagas mother, and Rakesh Pujari in a pivotal role, lending authenticity to the films rural setting. Despite its flaws, Kerebete brings into focus the complexities of love, redemption, and the unwavering fortitude of the human spirit. However, the true test lies in whether viewers will connect with Nagas good side and understand why he acts ruthlessly. Will they perceive the ending as justified, especially concerning the protagonists actions and Bindus decisions? Kerebete Director: Rajguru Cast: Gowrishankar, Bindhu Shviaram, Gopalkrishna Deshpande, Harini, and Sampath Maitreya Rating: 3/5
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Arthur the King movie review: Man, dog and adventure racing
The new Mark Wahlberg movie Arthur the King is the cinematic version of an inspirational classroom poster. It means well and has something worthwhile to say, but for the most part, its also rather generic an underdog story that hits the expected beats. Wahlberg plays an adventure racer, Michael, who has yet to win a competition. We meet him one day into his last shot race, stuck in the mud with his team and unable to finish. It is, he says, weak of them. Cut to three years later and hes in his idea of suburban purgatory, working for his dad and living in an extraordinarily nice house with his beautiful, former adventure racer wife and their young daughter. She gave it all up to be a mom, but he cant get over the fact that he never won. Racers race, he explains. She caves almost immediately, likely tired of mopey Michael, and tells him to go find some sponsors. Hes like the maleDiana Nyad maddeningly obsessed with proving his own greatness in a very niche sport. Its also based on a true story, that of racer Mikael Lindnord, and the book he wrote about the grueling endeavor Arthur: The Dog Who Crossed the Jungle to Find a Home. Did I mention there was a dog involved? Well, there is, but the main novelty of Arthur the King doesnt even fully integrate into the story until almost 45 minutes in (the movie is only 90 minutes long). Director Simon Cellan Jones and his editor try to intersperse footage of the dog in his stray days on the streets of Santo Domingo, but the movie doesnt feel like its even started until they get together. And while I realize its a race, it all feels a little rushed and surface-level, lacking personality and distinctiveness without much to hang onto besides the travelogue shots of the Dominican Republic and a by-the-books score. The female characters are deficient too. Michaels wife Helena (Juliet Rylance) is a phone wife, waiting at home and always in a full face of makeup with her blond mermaid locks cascading down her shoulders whether shes post-workout or going to sleep. Shes only ever on screen to be reading about Michael or talking to him. Their daughter is cute and gets to do exactly three cute things, also only as they relate to her dad, and then disappear into the background toplay quietly by herself, I guess. Nathalie Emmanuel at least gets to be part of the racing team, but her only distinguishing trait is being worried about her cancer-stricken father at home. A scene from the 'Arthur The King' There is one rather extraordinary and tense sequence involving a broken zip line and our adventurers dangling with their bikes trying to get to the other line, but Im not sure the adventure aspect really ever takes hold. Not even the brothers in arms banter between the teammates (including Ali Suliman and Simu Liu) is especially memorable or fun. Youre just going checkpoint to checkpoint on this 435-mile journey as Michael gets more and more attached to the dog and less and less invested in winning. Somewhere along the way, Michael even starts caring about his teammates too. The IV line that he thought weak three years ago, hes suddenly insisting for Leo (Liu), an Instagram famous racer who he was basically forced to recruit. When the race ends the dog becomes even more central, and here is where the heartstrings are pulled (though its not exactly difficult to elicit emotions when the camera is pointed at a dog that might die). Michael says at some point that hes never been a dog person or even had a pet, but somehow comes back to life in the company of this one. The real Michael started a foundation for animal welfare because of the experience. Maybe the movie will direct some eyes toward the existence of the Arthur Foundation, but while the movie goes down easy enough it is, on the whole, a bit unsatisfying. Arthur the King, a Lionsgate release in theaters on Friday, is rated PG-13 the Motion Picture Association for some strong language. Running time: 90 minutes. Two stars out of four.
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