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'Operation Raavan' movie: A dull and tiring whodunit
Operation Raavan Cast: Rakshit Atluri, Sangeerthana Vipin, Rocket Raghava, Radhika Sarathkumar Director: Venkata Satya Rating: 1.5 In Operation Raavan , we are introduced early on to Anand Sriram (Rakshit Atluri), a rookie journalist who joins a TV news channel at a time when the organisation is undergoing a major internal crisis. It is hinted soon after that Sriram is not the simpleton beginner that he claims to be, that his status is far greater in the larger scheme of things. However, even after Sriram comes clean about his past, it remains unclear how his new identity alters the narrative in any manner. A little later, Sriram confronts a mysterious bad man in an elaborate action sequence, whose only purpose seems to be to deliver the mass moment. But heres the thing Operation Raavan , at its core, promised to be a whodunit, a thriller about unmasking a psychopath killer. Unfortunately, the writers of the film continually struggle to be loyal to their core premise while incorporating other elements that they probably deem essential for a mainstream film. As a result, the Rakshit Atluri starrer never picks up momentum. The film, directed by Venkata Satya, doesnt deliver either either as a murder mystery or as a thriller that explores the psychology of a criminal mind. After kicking off the narrative with a gory murder sequence, the film spends too much time establishing the two main spheres the story revolves aroundthe media and the police system. However, these tracks feel half-hearted on an execution level. The one confrontational moment between a journalist and a high-ranking police officer notwithstanding, Operation Raavan never attempts to explore the intense possibilities when these rigorous systems cross each others paths. Apart from being uneconomical in its duration, Operation Raavan is also gravely dull in these sequences. After establishing the mysterious antagonist, the screenplay forgets about their existence for a while. So when the narrative comes back to the central conceit of finding the killer, its incredibly tough for the audience to stay intrigued by the mystery element. In terms of building characters one could root for, theres only Amani (Sangeerthana Vipin), a sincere and righteous journalist who wants to do her job adequately despite all the external pressure and obstacles. But the writers fail to bring any depth to her or any other prominent character, already struggling with an incoherent screenplay thats largely plot-driven. So when Amani makes that one emotional phone call to Sriram, expressing her feelings amidst a tense moment, we find ourselves being strangely apathetic to her situation. Writing decisions like this feel like desperate attempts to sprinkle drama and twists when the script lacks them at its core, especially considering Anands new identity adds nothing to the plot later on. At the end of the day, he remains the prototypical hero who needs to save the heroine, and thats that. (The audience also finds itself consistently distracted by the ghastly dubbing work, where it is evident that many of the dialogues were altered on a post-production level, creating a visually jarring impact.) Things get interesting only for a brief stretch in the second half, when the films focus shifts entirely to a chase sequence between the good guy and the bad guy. Despite its logical loopholes, this stretch is well-paced and keeps us glued to the proceedings. This joy is short-lived, unfortunately, because the film again veers into an irredeemably self-indulgent direction in the final act, when it reveals the culprit, their backstory, and the works. There is also an attempt to incorporate religious iconographies into the central good vs. evil battle, but it falls flat because of awkward execution by the director. Sangeerthana Vipin, in the limited scope she is given, is adequate as Amani. Rakshit Atluri, as Sriram, is strangely stiff in his performance, barely capturing the intensity of his character. The only actor who rises above the script is Radhika Sarathkumar. The veteran actor is barely present in a handful of scenes but makes the most of the material. Radhika brings gravitas to a revelatory moment in the climax, reminding the audience of the potential of this concept had the writers attempted to explore the grayer shades of their story. Alas, Radhikas character stays largely peripheral to the overall scheme of things. And Operation Raavan , in its entirety, remains a tiring and dull whodunit.
'Deadpool' movie review: Extravagant fanservice makes up for a hollow core
The merc with the mouth is back and this time, he wreaks havoc across several universes to make sure that the most-awaited team-up in superhero film history finally happens. Through a montage sequence loaded with quirky humour and upbeat music, we see Deadpool universe-hopping to find the perfect Wolverine. Dredging up decades of referencesall the way from the first X-Men film to LoganDeadpool uses every iteration of joke you can possibly think of to annoy Wolverine , and it is enjoyable for the most part. Once the novelty of the team-up wears off and the film unravels the central plotline, both the quality and the momentum go through a steep drop. The Wolverine and Deadpool combination largely works because there is an inherent charm and chemistry in their constant bickering and wildly contrasting personalities. A lot of humour is leveraged from how Deadpool needs to convince a distraught, uninterested, perpetually irate, and psychologically broken-down Wolverine on a quest to save the universe. Ironically, It seems like Ryan Reynolds Deadpool had to drag along, not just an uninterested Wolverine , but almost everyone involved in the film. From the writing department to the production design, visual effects, and cinematography, every creative output seems to be borne out of an explicit apathy towards the whole project. A major part of the film happens in The Void , an inter-dimensional landmass where rejects from every corner of the multiverse are dumped, to be forgotten. The Void is an interesting concept with raw potential, which gives you a licence to use any character (or possible iteration of a character) in any way imaginable. The film has fun with this concept sporadicallyThe giant version of Ant-Man s suit (with his skeleton still intact) is used as the villains lair, ruins of the 20th Century Fox Logo, crashed down Helicarrier etc. Apart from these minor flashes of ingenuity, the immense potential of several such remarkable ideas is sadly never fleshed out. Deadpool s signature, fourth-wall-breaking humour, almost acts like an immunity against the usual issues of superhero films, which works to an extent in Deadpool and Wolverine . When an exposition starts testing your patience, we get a joke out of it, when the screenplay starts getting formulaic, Deadpool points it out, and even worries about Hugh Jackmans legacy being tarnished is playfully acknowledged. The excessive self-referential humour, real-world references, and fourth wall breaks might take you out of the film at some point. However, they are still effective. Unfortunately, the same cannot be said of the unapologetic parade of cameos. Marvel is famously known for embracing the vast interconnected web of narratives and its colourful variety of characters. While the recent line-up of MCU films might have received backlash for excessive use of in-universe references, Deadpool, a franchise that was always cognizant of the criticisms against superhero films, was expected to be better. It comes as a surprise when the absurdly simplistic cameo scenes are rolled out one after the other, in a fashion that is eerily similar to an assembly line. Before Deadpool and Avengers, Hugh Jackmans Wolverine stood as the face of Marvel films. A legacy that was cemented through a grand, poignant end in James Mangolds Logan. While Deadpool and Wolverine largely leave that legacy intact and introduce a brand new Wolverine , it still leaves you with mixed feelings, seeing a tired, uninterested Hugh Jackman grunting his way through the performance. Deadpool and Wolverine caters to a very specific set of fans who enjoy the Marvel films in a very specific way. They derive joy from figuring out the edges of the cinematic universe and find delight in knowing that it is expanding while also exuding warm nostalgia by staying connected to familiar characters. In that regard, Deadpool and Wolverine is one of the biggest fanservice films to come out of the MCU. As these ever-expanding stories connect, one wonders if they will also connect to the audience like they used to. Deadpool Director: Shawn Levy Cast: Ryan Reynolds, Hugh Jackman, Emma Corrin, Morena Baccarin Rating : 2.5/5
'Kenda' movie review: A provocative take on Bengalurus underworld with absurdist flair
Sahadev Kelvadi's Kenda ventures into the tumultuous underbelly of Bengaluru in the late 90s and early 2000s, using an absurdist lens to critique societal decay and political corruption. At its core is Keshava, played by Bharath, whose journey from a factory worker to a figure in the criminal underworld parallels broader societal breakdowns. The narrative is rich in period-specific details and cultural references, evoking the era through visuals and references like Debasis Mohanty and Urmila Matondkar. One of the film's defining scenes involves Keshava and a child finding purpose through cricket, encapsulating the narrative's tone. While aesthetically commendable, the film's stylistic choices sometimes overshadow its substantive story. It boldly criticises political corruption and societal breakdowns, focusing on disillusionment among disenfranchised youth. The absurdist approach highlights urban chaos and moral quandaries faced by individuals navigating corrupt systems. Despite its thematic ambition, Kenda faces challenges. Its narrative is coherent but possibly a bit too complex for those accustomed to conventional storytelling. Sahadev's absurdist approach focuses more on social commentary than audience engagement, which might deter viewers who prefer straightforward narratives. This thematic depth risks overshadowing emotional development, which is crucial for compelling cinema. The portrayal of media influence, particularly through Narasimha Shastry (Vinod Ravindran), underscores power dynamics and societal interests, integrating references to the lines from the Bhagavad Gita. However, at times, the film's treatment of these elements may feel heavy-handed, reducing nuanced exploration to overt allegory. It captures the emergence of electronic media and contrasts it with contemporary sensationalism, reflecting on substantial issues like farmers' protests. Visually, Kenda immerses viewers in its period setting, capturing cultural nuances for authenticity. Performances, notably Bharath's portrayal of Keshava, adeptly convey internal conflicts and external pressures. Supporting characters also contribute to enriching Keshava's journey on screen. The film offers a thought-provoking examination of crime, politics, and personal integrity amidst urban decay. Its use of absurdism provides a distinctive perspective and its critical stance on societal issues is commendable. And while the execution may keep it from being a film that resonates with everyone, the film offers plenty for viewers seeking thought-provoking cinema to chew on. Kenda Director : Sahadev Kelvadi Cast: Bharath B V, Rekha Kudligi, Gopalkrishna Deshpande, Deepti Nagendra, Pranav and Vinod Ravindran Rating : 3/5
'Roopanthara' movie review: Celebrating the enduring spirit of human stories
True to its title, Mithilesh Edavalath's Roopanthara , an anthology featuring a stellar cast including Raj B Shetty, invites us to ponder the metamorphic transformation of a caterpillar into a resplendent butterfly right at the beginning. Will the caterpillar remain ensnared in its current state, or will it transcend its limitations and emerge as a magnificent butterfly? The film deals with a similar dilemmaone of stagnation versus transformationthrough its four interwoven tales. The beginning of the film, where an elderly man observes a caterpillar forming its chrysalise, is in stark contrast to a once lush and vibrant world that has now succumbed to stagnation and decay. This decline into a wasteland raises significant questions about the disintegration of virtue, the fall of civilisations, and the erosion of integrity. In a future where pristine air and water are relics of the past, the old man wanders through the bleak ruins, finding solace in narrating stories. Mithilesh Edavalath's Roopanthara offers an immersive cinematic journey with an eye for detail and meticulously told stories, celebrating Bengaluru's multifaceted identity. Before we get into the old mans tales, Midhun Mukundan's evocative score and Pravin Shriyan's striking cinematography deserve recognition. Mukundans compositions and Shriyans visuals cut across diverse settings, capturing emotional highs and lows with precision, enriching the anthology. The old man's stories revolve around an elderly couple (Somshekar Bolegaon and Hanumakka) who embark on a city adventure from Bagalkot, only to face heartbreaking news that tests their resilience and love; a beggar (Lekha Naidu) accused of child kidnapping, exposing deep societal prejudices due to their differing appearances; a rowdy (Raj B Shetty) encountering a stranger one fateful night, leading to a tragic event that forces him to confront his violent lifestyle; and a troubled young man (Anjan Bharadwaj) wrestling with childhood trauma through a violent, drug-fueled game, mirroring his inner turmoil and self-destruction. Though Roopanthara presents itself as an anthology, the stories intertwine around a common theme: the human struggle for redemption, justice, and love amid adversity. The old mans journey through a ravaged world, with storytelling as his refuge, highlights the timeless power of narratives. These interconnected tales of struggle and redemption offer a deep critique of human nature and our quest for change, making Roopanthara a deeply affecting cinematic experience. The film masterfully evokes a wide range of emotions, creating a poignant symphony of human experiences that is both breathtaking and devastating. Mithileshs direction ensures each emotionally charged moment is stitched with authenticity, urging viewers to confront their empathy. Every actor in the film paints a vivid yet struggling picture, including notable performances by Bharath BG and Gireesh Jatti. Mithilesh and Raj B Shettys combined efforts bring this evocative story to life, shaping Roopanthara into a captivating journey. Amid these intricate narratives, the enigmatic storyteller stands out, delivering a surprising twist. Roopanthara Director: Mithilesh Edavalath Cast: Raj B Shetty, Anjan Bharadwaj, Lekha Naidu, Somshekar Bolegaon and Hanumakka, Bharath BG and Gireesh Jatti Rating : 3.5/5
'Secret' movie review: Ambitious ideas botched by terrible execution
When SN Swamys filmmaking plan was first announced, most Malayali cinephiles, particularly those from the 80s and 90s, were genuinely interested. After all, he is the brain behind some of our most memorable thrillers of those times, including the iconic CBI franchise , Irupatham Noottandu, Moonnam Mura, and Dhruvam. Though Swamys writing genius has waned over the last decade, he is still prominent enough to generate a certain level of expectation. But as it turns out, his directorial debut Secret has done more harm than good to his already diminishing career. Three friends, played by Dhyan Sreenivasan, Aparna Das, and Jacob Gregory, are on a trip to Thanjavur to attend a wedding when one of them suggests visiting an astrologer. Though Midhun (Dhyan) is initially hesitant, he gives in to his friends compulsion and decides to get his horoscope checked. Midhun, whose wedding has already been fixed, is shattered when the astrologer tells him that the marriage will get cancelled because of the brides death. Desperate to find a solution to ensure the prediction doesnt turn true, Midhun meets Mathews (Ranjith), a psychological professor, who heads a community called Believe in You. Though Mathews doesnt have a foolproof solution, he manages to confuse Midhun (and us) by using complicated psychological and scientific terms like System of entropy, Second law of thermodynamics, and Synchronicity. Finally, he comes up with a bizarre solution and he himself admits that theres no rationale behind it. The solutionMidhun has to save three people from dying to save his girlfriend. From writing to direction to performances, Secret is a concoction of such amateurishness. The film has an abundance of gaping loose ends, which are tried to tie up with the repeated usage of the word entropy. Google defines it as a scientific concept thats often associated with disorder, randomness, or uncertainty. While one can understand the concept in a scientific context, its not effectively conveyed in the film. All we see is the characters justifying every bizarre development in the narrative as entropy. How does Midhun find himself amid a mob lynching? Entropy! How does Midhun randomly spot a car accident and rescue the passengers? Entropy! How come a roadside worker is carrying a kitchen knife, which comes in handy in the rescue? Entropy, indeed. In his 734th release of the year, Dhyan doesnt bother sweating as he sticks to his stock expressions. SN Swamy seems to have opted for such a generous approach in handling his actors, which is evident from the performances of both the leads and the junior artists. Last time around, during CBI 5 , when Swamy said the film revolves around a unique concept called basket killings, it invoked a lot of curiosity. But once the film was released, it turned out to be a damp squib. Similarly, Swamy promised to explore many high-concept ideas in Secret , which he called a motivational drama. Unfortunately, the only motivation the film offers is to gather ample strength to sit through its entire runtime. Film: Secret Director: SN Swamy Cast: Dhyan Sreenivasan, Ardra Mohan, Aparna Das, Jacob Gregory, Ranjith Rating : 1/5
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'Raayan' movie review: Dhanush cooks a gangster film thats tasty in its restraint
Well before director Dhanush presents us the ten-headed Raavana image of Raayan (played by Dhanush himself), there is plenty of reason to process the protagonist as a reimagination of the demon-god. He has got a sister he dotes on, a feisty sister who is quite capable of fighting her battles. He has got a couple of brothers, one of who seems more noble than the other, one of who feels more traitorous than the other. Raayan and co. feel like a family of asuras, a clan whose bloodline seems prone to violence, each of them being naturally gifted at mayhem-making. Perhaps thats why towards the end, a mother hands over a baby, saying, Unga raththam enakku vendaam. Perhaps the idea for the story itself began with a what if. What if we threw a family of asuras into present-day civilisation? What if we threw them into a mix of poverty, social neglect and lawlessness? The parents of Raayan and siblings step out, never to return. In suffering, Raayan turns to a deity-figure, as youd expect, but then, when has God, in our mythology, taken the side of asuras? For that reason, he is the first to get murdered here. Someone quips, Poojari, la Adhaan kadavul kitta poitaaru. From then on, its a quest for survival for the Raayan family. Unlike Kokki Kumar, who stood for the survival of the fittest, Raayans idea of survival isnt predicated on climbing up the ladder of ambition. Hes smarter; hes more grounded. He prefers to keep his head down and keep his family together, and as we see his siblings oriented towards specific goals (education for Muthu, marriage for Durga), if you squinted, you could maybe even see a bit of Baasha in Raayan. At one point, he frightens a man into submission, and a cop asks, Enna sonninga? I half-expected him to say, Unmaya sonnen. But Raayan says, Kenji ketten sir. Its one of many places in Raayan where director Dhanush shows that his goal isnt to capitalise on easy mass-ification of his character. Raayan is a fascinating characterand is likened to a lion in the film. Much like the animal, he kills with his clawand it leads to some imaginative fight scenes. Much like a lion, he operates in solitude; hes quiet with his kills, and he has limitless patience when his pride of siblings bother him. Dhanush plays him magnificently. When he willingly walks into the lair of wolves (as he goes to meet SJ Suryahs Sethu), he struts every bit like a lion. When he sizes up his prey, his eyes brim with menace and bloodlust. Through Raayan and Durga, director Dhanush presents the beauty of a selfless relationship where one never lets the other down. Isnt that the stuff of poetryto find someone who is ready to sacrifice themselves for you, someone for whom youd willingly sacrifice yourself? Such a relationship fights the selfishness encoded into our biological beingand yet, every now and then, a special love emerges that shatters primal survival instincts. Raayan and Durga can forgive the harm done to themselves, but when it's done to the other Theres a lovely scene where they even verbalise this sentiment. If Dhanush so chose, he could have treated Raayan as a film with elevation moment after elevation moment, set-piece after set-piece, but he doesnt. He observes fascinating restraint and steps into the action zone quite carefully each time. Around the interval point, as Raayan is mopping up the henchmen of a gangster leader (Saravanan), we dont see that happening. We only see the boss, seated in a chair, ruing his decision-making (the Baasha line came to me: Saththam kekkumbodhe nenachen, nee mudichiruppanu.). Later on, as Raayan is prowling the streets and again, eliminating his foes, we dont see it occurring from his perspective. In another moment, the police chief (Prakash Raj) speaks about his reason for wanting to clean up the neighbourhood of its gangsters. Eventually, when Raayan presents his brand of justice to SJ Suryahs Sethu, it got me thinking about the police chiefs dad being burnt alive many years agoand the stray comment from Durai about an old problem. Its not a film thats trying to handhold you through its details. Its not a film thats trying to provide you easy action entertainment eitherand I feel fondly about Raayan for these reasons. When the fighting portions do come, they do with great attention paid to how the scenes are lit, how the stunts are choreographed, and how the music is used. AR Rahman is wonderful with how he plays around with percussion. Muthus fighting is accompanied by some urgent beats, but when the Raayan trio storm inlike trained assassins in some Tarantino filmthe composer opts for ominous, dull thumps. Pay attention to Rahmans score during that portion when Durga toils to save Raayan; pay attention to how Dhanush ensures that Dushara doesnt feel physically inferior. Its all evidence that for director Dhanush, actor Dhanush is a performer, not a star. Thats why he ensures that Dushara gets such an impressive fight scene, in which she uses objects around her to cause such destruction. This is a far cry from women in such cinema who are mostly relegated to being victims. Durga, like the goddess shes named after, is an avenging angel who knows no forgiveness. Seeing the urgency and chaos in that hospital fight scene, Id happily watch a whole film in which Durga channels her inner Beatrix Kiddo and moves from one kill to another. There are issues too in Raayan . The film may be impressive in how it pays no extra respect to the stardom of those in it, but perhaps SJ Suryah has reached a point in his stardom where hes towering above the graph of a rather rooted character like Sethu. There isnt much space for him to play to the gallery as he likes to do, but on occasion, he seems like hes trying to stretch the rules of his character a bit more than he should. It means that when he moves from comedy (Thani aalaa mudichiya? Gang-a mudichingalaa?) to menace (Nee yenakku velai seiviyaa nu kekkala, velai seiya poranu solren.), the effect isnt as powerful; the danger doesnt feel as real. Also, Sethu doesnt feel particularly well-written. Even if I enjoyed how the film gracefully moves from Durai to Sethu, the latter should ostensibly feel more dangerous. Theres a bit about how manipulative he can be, but for lack of serious exploration of the Sethu-Muthu relationship, even Muthus shifting loyalties feel undercooked. And this is a bigger issuesince Raayan and family disbanding ought to create a lot more emotion than it does. For lack of powerful writing in these spaces, the twists dont feel as organically arrived at. The eventual explanation is all right in theory but feels too hurried for such a dramatic transformation. Despite Raayan and Durga helping humanise each other, we still consume the film from a distance, perhaps because of their stoic exterior. I suppose Raayan and Durga dont have the liberty and luxury of being likeable; perhaps when you are fighting fires all thetime, its natural for the soot and ash to become a part of you. Somewhere near the beginning, Raayan compares himself to a dog and says that if the latter can survive without a home, so can he. The difference, of course, is that a dog can wag its tail about even in such suffering and express love to the world, but a human cannotand so, Raayan doesnt, but this means that Dhanush risks Raayan , the film, feeling rather cold (or perhaps thats exactly how he wants it). I do wish though that the film had done more justice to the Muthu-Manickam relationship. Perhaps that might have made me feel a bit more for either of them. Theres a certain purity, however, to Dhanushs directorial voice. That magnificent shot of the Raayan trio in full flight stands testament to his visual imagination. And yet, the film breaks for an interval during a narrative break, as Raayan and siblings are forced to move again. A lesser filmmaker might have prioritised the elevation moment for the Raayan brothers as a better half-way point, but Dhanushs loyalties lie with the story. Thats why we see that at the beginning of the film, around half-way, and at the end of the film, its the same idea being reinforced: Raayan and family moving out to nowhere. Where they go, violence and bloodshed, it seems, follow. Dhanush is great with the smaller touches too. Like Muthu cutting off a wire to switch off a speaker, instead of requesting someone to reduce the volume. Like Manickams repeated attempts at remorse. Like Durga singing a song to Raayan in the terrace, which, again, in a lesser film, might have led to a full song about their relationship. Even when Durga asks him why he keeps cutting his hair off, you warm up for some emotional story. Instead, I laughed out loud at Raayan's reply: Style. You know that a director truly cares about meaningful cinema when he wont even prioritise his own stardom as an actor. This means that in Raayan , Dhanush has the time and patience to address smaller queries. Why isnt Durga keen on marriage? Why does Raayan not care about educating Durga? So uninterested is Dhanush in amping up his own stardom with this film that he doesnt even care about giving himself a particularly special opening sceneand somehow, that makes it more special. Hes wearing an apron and making some fast food. With his directorial work, however, Dhanush is showing that he isnt really interested in fast-food cinema. And that means that even if the dish isnt necessarily perfect, Im quite happy to say, Do keep cooking. Film: Raayan Director: Dhanush Cast: Dhanush, SJ Suryah, Sundeep Kishan, Kalidas Jayaram, Selvaraghavan, Prakash Raj, Dushara Vijayan Rating: 3.5/5 stars (This story originally appeared on Cinema Express )
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Finally, Lovekesh revealed what he had been hiding ever since the slap incident- Vishal Pandey's comment on Kritika Malik and Armaan Malik
This actress from 2000s had a hit debut but saw her career derail after a star kid got her removed from several films
Discussions on 8-week consistent theatrical window positive, says PVR Inox MD
Cinema exhibitors and film producers in India are in discussions to standardize a consistent eight-week theatrical window across both north and south India. They are also considering extending this period to safeguard box office revenues. This development was revealed by PVR Inox MD Ajay Bijli during the company's Q1 earnings call.
This superstar, who has more flops than hits, earns Rs 20 crore per film.
Fans call Deepika Padukone queen of Indian cinema as she becomes first Bollywood actress to...
Deepika Padukone has given four consecutive blockbusters, Jawan, Pathaan, Fighter, and Kalki 2898 AD within two years.
Harivansh Rai Bachchan, Amitabh Bachchan's father, once revealed that Jaya's father wasn't pleased with Jaya's marriage with Big B in his autobiography, In the Afternoon Of Time: An Autobiography.
It has been 8 years now since 'Dangal' was released, however, the film continues to rule the record charts to this date. The Aamir Khan film is the highest-grossing Indian film with a humungous lifetime collection of Rs 2,024 crore.
Shivani Kumari got slammed by netizens for her 'unhygenic' behaviour in the kitchen area.
The Federation of Cine Technicians and Workers of Eastern India (FCTWEI) has debarred young director Rahool Mukherjee from making films for three months on the charge of violating its rules on visiting a foreign country for shooting. Following this, production house SVF replaced Mukherjee with another director.
'Krantiveer' was a crime-drama film in which Nana Patekar was seen in the lead role. Dimple Kapadia, Atul Agnihotri, Mamta Kulkarni, Farida Jalal, Tinnu Anand, and Danny Denzongpa were also part of the film in supporting roles.
Akshay Kumar talks about how his flop streak in his career impacts him as Sarfira underperforms at the box office.
Directed by Siva and headlined by Suriya, Kanguva is slated to release in the theaters on October 10, two days ahead of the Dussehra festival.
Watch: Distraught Krishan Kumar is consoled by Bhushan Kumar at daughter Tishaa Kumar's funeral
Tishaa Kumar's father Krishan Kumar appeared visibly devastated when he arrived at the funeral.
Shashi Kapoor married English actress Jennifer Kendal in July 1958. They had three children - Kunal Kapoor, Karan Kapoor, and Sanjana Kapoor. Jennifer and Shashi established Prithvi Theatre in 1978 in Mumbai.
Kiran Rao holds herself responsible for Laapataa Ladies' box office failure: 'We didn't do...'
Kiran Rao opens up on Laapataa Ladies' box office failure and holds herself responsible for it.
This person is 50 times as rich as Elon Musk and 100 times richer than Mukesh Ambani but there is a big catch
Divya Khossla shares pics with Tishaa Kumar, mourns her death in emotional post: 'Gone too soon'
Divya Khossla remembers producer Krishan Kumar's daughter Tishaa Kumar in an emotional post
Chattarpur Wale Guruji, who holds a special place in many celebrities' hearts, held a double Master's degree in English and Economics. He was most known for providing treatments for several diseases and impacting the lives of thousands of people.
Watch: Tishaa Kumar's mother Tanya Singh breaks down at her 20-year-old daughter's funeral
Several Bollywood celebrities such as Riteish Deshmukh, Vivek Agnihotri, Pallavi Joshi, Farah Khan, Sajid Khan, and others attended Tishaa Kumar's funeral.
Shiv Sena leader Dr. Manisha Kayande slammed Armaan Malik and Kritika Malik for showing 'vulgar' content after their video from Bigg Boss OTT 3 went viral.
Director Chinmoy Kashyap transitions to producer, establishes Axom Motion Pictures
Yes, you read it right! Celebrated for his innovative storytelling and cinematic excellence, Chinmoy has laid the foundation of Axom Motion Pictures.
'Back Bencherz' movie review: Youthful tale of first-bench students turning into last-bench rebels
BENGALURU: 3 Idiots (2009) left an indelible mark in Indian cinema, and went on to inspire countless filmmakers. Director B R Rajshekar, who shares that he has watched the Aamir Khan-lead film almost 50 times, draws from this well of inspiration for his latest venture, Back Bencherz . This film aims to rekindle the nostalgia of college life, and capture the essence of youthful rebellion and camaraderie with a unique crime twist. Back Bencherz offers a fresh perspective on the familiar college caper genre, and tries to effectively balance humour, sentiment, and youthful rebellion to not just appeal to the current students but also hit the right notes with alumni riding on the wave of nostalgia. Back Bencherz revolves around the lives of a group of final-year college studentsArya (Ranjan Narasimha), Kush (Jathin Aryan), Vikky (Vikas), and Naveen (Namith)whose academic rigour is abruptly disrupted. The film opens with these students being brought into Kalasipalya Police Station, where Police Inspector Vasu (Aravind Kuplikar) accuses them of a grave crime: the rape and murder of a woman. Amidst their pleas of innocence, the students are coerced into recounting their story, which unfolds through a series of flashbacks. Initially, Arya, Kush, Naveen, and Vikky are model students who are always immersed in their studies. However, a pivotal incident changes their trajectory. After a confrontation with a female lecturer, the college principal forces them to swap seats with troublemaking backbenchers. This change in seating marks a turning point; the frontbenchers, now relegated to the back, gradually become entangled in mischief. They start indulging in partying, drinking, and smoking, straying far from their academic focus. As their behaviour becomes increasingly reckless, their lives spiral out of control, culminating in the police station incident. The film explores how these seemingly innocuous actions and a single decision can have significant consequences, challenging viewers to reflect on the impact of peer pressure and personal choices. Back Bencherz provides a fresh take on the college genre by intertwining humour with a serious narrative. The story balances lighthearted moments with a deeper examination of youthful rebellion and responsibility, offering both entertainment and a thought-provoking commentary on student life. With Back Bencherz channeling the nostalgic essence of academic days gone by rather than delivering a heavy-handed message, Rajashekhar crafts a whimsical tribute to the moments that define youth. The film, rated A for its mature content and youthful exuberance, forgoes a traditional narrative structure in favour of a sequence of incidentssome charmingly engaging, others somewhat aimless. However, the film occasionally stumbles with repetitive scenes and moments that can feel monotonous. The recurring shots of the young characters in small shorts might be a nod to the carefree spirit of youth, but their overuse becomes irksome. Additionally, the double entendre dialogues, while adding a playful edge, might not appeal to everyone. Manya Gowda, Chaturthi Raj, and Shashank Simha bring a lively authenticity to the film. Suchendra Prasad, in a rare comedic turn, embodies a fun-loving role that mirrors the directors vision of youthful exuberance. Aravind Kuplikar, alongside emerging talents, delivers a performance that aligns well with the films light-hearted tone. Their contributions add a genuine feel to the college setting, although the characters and plot sometimes lack depth. Nakul Abhayankars compositions and Manohar Joshis cinematography enhance the films vibrant college atmosphere. However, the films length, despite being just over two hours, feels long and its appeal might not extend to more discerning viewers. Ranjan, who also edited the film, could have trimmed its length. Back Bencherz excels in rekindling the carefree spirit of college days. Despite some hiccups, it offers a hearty dose of laughter and a playful reminder of youthful escapades. Ideal for a nostalgic movie night with friends, it joins the list of college dramas that has enough to transport you back to those unruly, unforgettable years. Film: Back Bencherz Director: B R Rajshekar Cast : Ranjan Narasimha, Jathin Aryan, Vikas, Namith, Manya Gowda, Chaturthi Raj, and Shashank Simha Rating: 3/5
Elvish and Faisal appeared on Bigg Boss OTT 3 and got into an ugly spat while supporting their friends Lovekesh Kataria and Adnaan Shaikh.
Aditi Sharma comments on Asim Riaz's misbehaviour with Khatron Ke Khiladi 14 host Rohit Shetty and his rude attitude towards his co-contestants.
Ram Gopal Varma says marriages are made in 'hell' after Hardik and Natasa announce separation.
USIBC recommends PLI for media, entertainment industry in upcoming Budget
The US India Business Council suggested the Indian government introduce production-linked incentives for the media and entertainment industry in the upcoming Budget, along with steps to level the playing field between Indian and foreign companies. Recommendations also included liberalising the satellite communications industry, clarifying tax issues, supporting the energy sector's growth, and enhancing financial services. These measures aim to attract investments, enhance policy certainty, and drive sustainable growth across various sectors in India.
