Category: Hindi Movie Reviews

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Emergency review: A competent political drama about the consequences of unchecked power

Setting aside the controversies, ‘Emergency’ offers a fairly balanced portrayal of the life and times of Indira Gandhi.

Emergency (Hindi), 17-01-2025, Historical drama , 2 hours 27 minutes, U/A, Theatre
  • Main Cast: Kangana Ranaut, Anupam Kher, Shreyas Talpade, and Mahima Chaudhry
  • Director: Kangana Ranaut
  • Producer: Kangana Ranaut
  • Music Director: GV Prakash Kumar
  • Cinematography: Tetsuo Nagatas
  • Rating: 3/5

The recent political movies from Bollywood have often bordered on being both tacky and amateurish. They often end up glorifying the current ruling party while showcasing the Opposition Congress as either fools or extreme villains.

With Kangana being a BJP MP, her political ideology is well-known. Emergency directed and written by Kangana has had a long battle before its eventual release.

The censor board had asked for numerous cuts. Recently even the Sikh organizations wanted a ban on it.

Synopsis

Setting aside the controversies, Emergency offers a fairly balanced portrayal of the life and times of Indira Gandhi.

Kangana Ranaut presents the controversial prime minister sometimes as a villain who got blinded by her son’s love doing terrible things. At the same time, the movie showcases the emotional turmoil that Indira went through, we see her getting haunted by her image in Shakespearean style.

Emergency begins with glimpses of Indira’s childhood; the story spans her tumultuous journey till the end highlighting the various trials and tribulations like her complex relationships with her father and the first Prime Minister Jawaharlal Nehru, as well as her husband Feroze Gandhi.

Portrayal of Emergency

On the sets of Emergency
On the sets of ‘Emergency’. (Supplied)

The best part of the Kangana directorial is undoubtedly the portrayal of events leading up to the extremely harrowing period of emergency.

Kangana showcases the very dangerous consequences of unchecked power. Political leaders are locked up and all the dissenters of Indira Gandhi are simply labelled as “anti-national”.

The media, especially the newspapers, supposed to represent the voice of the common man also suffered badly due to Indira Gandhi’s dictatorial ways. The discerning audience can definitely draw a parallel to today’s environment.

In the present times, anyone who raises their voice against Hindutva and BJP is labelled as anti-national and often put in prison for expressing their opinions.

Of course, Kangana wouldn’t have designed these portions keeping this aspect in mind, still, for those who can look beyond the obvious the parallels are very apparent.

Best moments

The dynamics between Indira and Sanjay also give the movie some of its best moments. Indira has a very soft corner for her son often overlooking his bratish ways. This unabashed love for the son makes her blind towards his deviousness.

Kangana Ranaut in Emergency
Kangana Ranaut in ‘Emergency’. (X)

The movie portrays Sanjay Gandhi as the major force behind the excessive brutality of the emergency. He was always confident about having his mother’s support. However, this changes when Indira develops a conscience deciding to take things under her control.

There is a hugely poignant moment after the death of Sanjay Gandhi. Many common people are seen celebrating the death of this spoilt brat linking him to a Raavan. Indira has a major breakdown in the car repenting about the way she has brought up her son.

A major problem with Emergency is its docu-drama feel. At certain points, the movie feels like a rushed narration of the major events in Indira Gandhi’s life.

Indira Gandhi’s return to power and the entire Blue Star operation leading to her being gunned down suffer on the account of an episodic feel.

These parts needed better layering for the viewers to develop a more emotional connection with the protagonist.

Kangana as Indira Gandhi

A poster of the film Emergency
A poster of the film ‘Emergency’. (X)

Kangana Ranaut as Indira Gandhi takes a while to get used to. Her initial speeches in the parliament suffer on account of her squeaky voice however as the movie progresses Kangana Ranaut also becomes better.

The actress particularly shines in the sequences showcasing Indira Gandhi’s emotional turmoil, the scenes where she is haunted by her fate and later expresses remorse have been well portrayed by the actor.

For some, the redemption arc may come across as being calculative to avoid further backlash, still the way these portions have been written and performed is wonderful to watch.

Talking about other actors, Vishak Nair as Sanjay Gandhi is also terrific perfectly portraying the reckless nature of Sanjay. He imbibes Sanjay’s ruthlessness wonderfully making the viewers detest him.

Seniors Anupam Kher and the late Satish Kaushik make their presence amply felt too, as a moral counterpoint to Indira Gandhi. They play Jayaprakash Narayan and Jagjvan Ram respectively.

The dashing Milind Sonam as the famous field Marshal Sam Manekshaw also gives a good account of Manekshaw. Lastly, Shreyas Talpade as Advani also brings a certain authenticity.

Technical aspects

The cinematography of Tuesto Nagata also deserves a special mention. His work particularly in the disturbing emergency is outstanding. Through his lens, Tuesto Nagata does a very fine job of capturing the immense turmoil that the nation had gone through.

The songs come across as more of unwanted guests. The political leaders lip-syncing songs come across as unnecessary; still, “Ae Meri Jaan” sung by the legendary Hariharan makes for a soothing listen and a good watch.

Final take

Keeping aside the rushed storytelling and its docu-drama feel, Emergency makes for a good watch provided you are into political dramas.

(Views expressed here are personal, edited by Sumavarsha)

https://thesouthfirst.com/entertainment/emergency-movie-review/

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Fateh review: Sonu Sood’s directorial debut is a good mix of action and focus on cybercrime

On more than one occasion the movie feels like an extension of the actor’s real life messiah image. The best part of Fateh is how Sonu Sood presents the vast network of cyber crime targetting the lower section of the society which are more gullible.

Fateh (Hindi), 10-01-2025,Action, Drama,2 hours 10 minutes, U/ A, Theatre

  • Main Cast: Sonu Sood, Naseeruddin Shah, Vijay Raaz, and Jacqueline Fernandez
  • Director: Sonu Sood
  • Producer: Sonali Sood and Umesh KR Bhansal
  • Music Director: John Stewart Eduri
  • Cinematography: Vincenzo Condorelli
  • Rating: 3.5/5

Online scamming is a very prevalent issue in today’s times.  A major reason being the rapid growth of technology.

The advent of cell phones and the things related to them have had advantages and disadvantages in equal numbers. Sonu Sood’s directorial Fateh focuses on the huge network of cybercrime which is leading to many deaths and families falling apart.

This topic is presented in the form of a hardcore action movie, with elements of Hollywood action movies and Korean slashers. 

Synopsis

Sonu Sood plays the titular role of Fateh- a former agent who worked as a contract killer for the government.

Now he is leading a quiet life in a place called Monga set in Punjab. However, Fateh is forced to come out of retirement when a girl close to him goes missing.

This girl was trying to unravel some important truths about fake loans and people being harassed to pay back the money with huge interest.

Fateh Singh goes to Delhi to unravel the mystery but the web turns out to be much more complicated than what he had imagined. The main figure behind the dangerous global scam is Raza ( Naseeruddin Shah). Aiding Raza is Vijay Raaz’s Satya Prakash and Dibyendu Bhattacharya’s Nishit Biswas. 

What works and what doesn’t

Fateh is an action thriller
‘Fateh’ is an action thriller. (X)

The best part of Fateh is how Sonu Sood draws the viewers into the extremely dangerous network of cybercrime. How Raza and co make a certain section of people an easy target and how these end up believing these fake loans sends a chill. 

Apart from the fake loans angle the movie also touches upon hacking into other people’s systems and the current trend of deepfake. At one point Sonu Sood’s face is swapped giving the impression that he is the man behind the crimes going on. 

The movie also works because of the fast-paced narration with no unnecessary distractions. The love angle between Jacqueline’s Khushi is understated and more importantly, it has been smartly integrated. Jacqueline’s character is a hacker herself but an ethical one.

She plays an important role in aiding Fateh. In this process, you have some much-needed light moments.

Coming to the flaws, Fateh has a paper-thin story, and as viewers, you can guess where the proceedings are headed after a point. The overdose of blood is also not everyone’s cup of tea, and a section of the audience might feel a certain fatigue, too, given that last year’s Kill also belonged to the same terrain.

Technical aspects

The movie’s cinematography is also of a high standard. Vincenzo Condorelli does a wonderful job of contrasting the brutal violence with an almost serene backdrop. The interesting use of light and shadow is very striking. 

Among the songs, “Ruaa Ruaa Fateh” makes a major impact. This song plays out on more than one occasion giving an emotional depth to the proceedings. 

The action sequences by nature are very brutal; one particular scene feels like an extension of Animal’s explosive pre-interval sequence. Still, the fight sequences are a treat for those who like hard-core action involving a lot of bloodshed. 

Performances

Sonu Sood in Fateh
Sonu Sood in ‘Fateh’. (X)

As Fateh, Sonu Sood does a very fine job balancing the calm exterior with the brute force. His portrayal of a tortured hero both physically and emotionally strikes an emotional chord. What also works as an added advantage is Sonu Sood’s real image where the actor has been much appreciated for great work during the harrowing COVID. 

Jacqueline Fernandez’s presence works as a perfect contrast to Sonu Sood’s smouldering intensity.

Both Vijay Raaz and Naseeruddin Shah don’t have a lot of screen time nevertheless being the exceptional actors they are both make their presence amply felt. Naseerudin Shah brings in a nuanced menace making the viewers dread Raza whenever he comes on screen.

Vijay Raaz as the equally dangerous sidekick brings his own brand of dark humour. Talking about the humour part Sonu Sood’s character has shades of dry humour like the scenes where he offers tea to the villains before knocking them out.

Final take

To sum it up Fateh is a treat for fans of hardcore action and of course the many admirers of Sonu Sood thanks to his recent social work. 

(Views expressed here are personal, edited by Sumavarsha)

https://thesouthfirst.com/entertainment/fateh-movie-review/

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Baby John: ‘Theri’ dialled up to 1,000

Director Kaless and producer Atlee retain the soul of ‘Theri’ while adding some new spices like the angle of human trafficking however the film suffers from a remake fatigue and the highly amplified back ground score.

Baby John (Hindi); 25-12-2024, Action, Thriller, 2 hours 41 minutes, U/A, Theatre

  • Main Cast:Varun Dhawan, Keerthy Suresh, Wamiqa Gabbi, and Jackie Shroff
  • Director: Kalees
  • Producer: Murad Khetani
  • Music Director: S Thaman
  • Cinematography: Kiran Koushik
  • Rating: 2.5/5

The 2016 movie Theri marked the maiden collaboration of Vijay Thalapathy and Atlee, after the grand success of Theri the duo collaborated on two more successful movies Mersal (2017) and Bigil (2019).

Theri had an often repeated story of a cop going underground for personal reasons and later forced to come out of a temporary exile creating havoc. The wafer-thin plot was elevated by Vijay Thalapathy’s charisma particularly his act of a caring father, what also helped the movie was Atlee’s ability to pack the commercial elements in the right proportion.

Coming to the latest release, there is a huge gap of eight years between Baby John and its source material, leading to a certain sense of datedness that Baby John carries.

Synopsis

Much like the original this one is also filled with major melodrama and is crammed with many social issues. As a Varun Dhawan star vehicle, Baby John is a treat for his fans but for those who have seen numerous South commercial entertainers, there is little to take back.

Varun Dhawan in Baby John
Varun Dhawan in ‘Baby John. (X)

For those who haven’t seen Theri, Baby John focuses on John/ACP Satya Verma (Varun Dhawan). In the beginning portions, John is seen leading a normal life with the daughter Khushi (a very endearing Zara Zyanna).

Wamiqa Gabbi plays a school teacher Tara. There is a hint of a budding love story between John and Tara but John comes with a certain past which his daughter isn’t aware of.

In the flashback, we come to know about his identity as a fearless cop ACP Satya Verma a terror for his enemies. Satya Verma’s path crosses with that of Jackie Shroff’s Babbar Sher. Due to certain incidents, Babbar Sher becomes Satya’s nemesis leading to the tragic death of both his mother and wife (Sheeba Chaddha and Keerty Suresh in her Hindi debut).

Another important character is the head constable Ram Savek (a terrific Rajpal Yadav).

Performances

Baby John is an action entertainer
‘Baby John’ is an action entertainer.

As already mentioned Baby John is mostly a star vehicle for Varun Dhawan and he does keep the movie afloat even when proceedings start to crumble. He gets the cocky attitude spot on leading to some entertaining moments. His face-off with Jackie Shroff has the right masala thunder.

At the same time, his act of a caring father is also touching. The scenes with the child actor Zara Zyanna are fun to watch.

Rajpal Yadav as Ram Savek in a refreshingly non-comic role is a delight to watch too. He brings in an emotional resonance as John/Satya Verma’s trusted aid. He also gets the movie’s biggest highlight when a goon mocks him for being a comedian, to which he replies “Comedy is serious business” leading to a mass-ey sequence.

Wamiqa Gabbi thankfully has more to do than Amy Jackson from the original. There is a subplot of her being an undercover cop leading to an interesting dynamic. Wamiqa too gets her fair share of action which the actress pulls off competently.

Lastly, Jackie Shroff also deserves a mention for his intimidating portrayal. He makes for a formidable villain with his chilling presence.

Thaman’s background music is both loud and repetitive. However, the songs are fairly good like “Haazar Baar” and “Nain Matakka.”

Flaws

Varun Dhawan and Keerthy Suresh in Baby John
Varun Dhawan and Keerthy Suresh in ‘Baby John’. (X)

A major problem with Baby John is the unnecessary angle of human trafficking. Director Kaless doesn’t bring anything new to the table; this addition is only there to make ACP Satya Verma more heroic. Also, the movie’s southern flavour particularly the melodramatic scenes gets on the audience’s nerves.

The movie’s running time of 2 hours and 41 minutes also tests the viewer’s patience with some unnecessary additions. Apart from the human trafficking angle even Salman Khan’s extended cameo feels forced.

The love story between Keerty Suresh and Varun is also underexplored. The chemistry between the two just doesn’t add up, unlike Theri.

Keerty Suresh looks stunning but doesn’t have much to do apart from being a devoted housewife.

Final take

To sum it up Baby John ends up as a Christmas dampener, it is strictly for those who enjoy South-styled larger-than-life heroes and Varun Dhawan fans.

(Views expressed here are personal, edited by Sumavarsha)

https://thesouthfirst.com/entertainment/baby-john-hindi-review/

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Vanvaas : Nana Patekar and Utkarsh Sharma keep this overt melodrama afloat

This Anil Sharma directorial has a strong core but too much of melodrama coupled with one note characters make it a test of patience.

Vanvaas (Hindi); 20-12-2024, Drama, 2 hours 40 minutes, U/A, Theatre

  • Main Cast: Nana Patekar, Utkarsh Sharma, Khushboo, Rajpal Yadav, and Simrat Kaur
  • Director: Anil Sharma
  • Producer: Anil Sharma and Suman Sharma
  • Music Director: Mithoon
  • Cinematography: Kabir Lal
  • Rating: 2.5/5

Portraying children as irremediable villains is one of the big pet themes that Indian directors have explored time and again. In this kind of cinema, the offspring and the daughter-in-law are often portrayed as insensitive and used as a medium for how children shouldn’t be. Ravi Chopra’s Baghban (2003) is an excellent example of this kind of story.

The movie had a very simplistic storyline riding mostly on the wonderful chemistry and the performances of Amitabh Bachchan and Hema Malini. Among the older Hindi movies, the late Rajesh Khanna’s Avtaar co-starring Shabhana Azmi is also an extremely popular film perfectly fitting in the Baghbhan category.

Now you have Anil Sharma’s Vanvaas taking this troupe to a whole new level.

Synopsis

Utkarsh Sharma in Vanvaas
Utkarsh Sharma in ‘Vanvaas’. (X)

The story of Vanvaas follows the emotional turmoil of Nana Patekar’s Deepak Tyagi. A retired man living with his three sons and daughters-in-law. He often reminisces about his dead wife Vimla Tyagi (a graceful Khushboo).

Deepak is in the early stages of dementia, apart from dementia he also has a nature of trying to correct everything. His idealistic nature frustrates the family to no end. The children along with the daughters-in-law devise a plan of abandoning him.

On the pretext of celebrating his birthday in Varanasi, they decide to abandon him at an old age home. However things don’t go according to plan, instead the family leaves him in the Ghats and paints a picture of him dying.

Deepak has zero memory of where he lives, at this stage, his path crosses with that of a small-time crook Veeru (Utkarsh Sharma). They form an unlikely bond bringing a huge change in Veeru.

On the shoulders of Nana Patekar

Nana Patekar in Vanvaas
Nana Patekar in ‘Vanvaas’. (X)

It goes without saying that Nana Patekar, along with Utkarsh Sharma, majorly keeps the film afloat. Nana Patekar is a seasoned actor who doesn’t need a particular introduction; here, too, he delivers a commanding performance.

He makes the viewers feel the pain by bringing in a lot of emotional depth. A particular mention must be made of the scenes where the character grapples with dementia, unable to remember anything. He somehow makes the melodramatic lines work with his conviction.

Utkarsh Sharma shows significant improvement compared to his performances in Genius (2018) and Gadar 2 (2023). Although his Banarasi accent is inconsistent, he still does a fine job showcasing the different nuances, whether it’s the early portrayal of a small-time crook or the gradual transformation.

His chemistry with Nana Patekar is spot on, whether it’s the drunken conversation or the intense scenes where Veeru feels he’s had enough of Deepak’s tantrums.

Among the supporting actors, Rajpal Yadav as a fellow crook makes the maximum impact. His camaraderie with Utkarsh is a delight to watch.

The music by Mithoon is for the most part soulful perfectly aligning with the movie’s tone. Among the songs, “Yadoon Ke Jharokhon” Se makes a big impact. The cinematography of Kabir Lal is also of a high standard.

Flaws

The biggest flaw of Vanvaas is the overt melodrama. In many places, the dramatic scenes come across as overstretched. Also, the characterizations of the sons and in-laws are too caricaturist, none of them come across as flesh and blood human beings.

Similarly, the love story between Utkarsh and Simrat Kaur has been severely undercooked. In fact, Nana Patekar and Khusboo in their limited scenes together share much better chemistry than the young leads.

Final take

Overall Vanvaas is strictly for die-hard Nana Patekar fans and those who enjoy this kind of melodrama.

(Views expressed here are personal, edited by Sumavarsha)

https://thesouthfirst.com/entertainment/vanvaas-movie-review/

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I Want To Talk: Not Shoojit Sircar’s best, yet this tale of determination and resilience is worth watching

Abhishek Bachchan delivers an extraordinary performance rising above the uneven storytelling. The father and daughter dynamics are the movie’s strongest suit.
I Want To Talk (Hindi), 22-11-2024, Drama, 2 hours 2 minutes, U/A, Theatre
  • Main Cast:Abhishek Bachchan, Ahilya Bamroo, and Johny Lever
  • Director: Shoojit Sircar
  • Producer: Ronnie Lahiri, Sheel Kumar
  • Music Director: George Joseph, Koyna
  • Cinematography: Avik Mukhopadhayay
  • Rating: 3/5

Shoojit Sircar, known for his films like Piku (2015), October (2018) and Sardar Udham Singh (2021), focuses primarily on grief, death and hope.

His latest release I Want To Talk also dabbles with similar themes. In fact, it feels like an extension of his previous films, so much so that, some parts of Abhishek Bachchan’s characterization have a hangover of Amitabh Bachchan in the engrossing Piku.

Synopsis

Based on an incredible real-life story, I Want To Talk focuses on Abhishek Bachchan’s Arjun Sen. Arjun is a typical marketing man who can manipulate customers with ease.

He has given more importance to rising high in his career, and as a result, his personal relationships aren’t in the best shape.

The story takes a turn when Arjun’s professional career hits rock bottom when he is diagnosed with a particular type of cancer.

His doctor, Dr Deb played by Jayant Kriplani, gives him a timeline of just about 100 days leading to a major metamorphosis in Arjun Sen’s life.

This is the story in brief.

Abhishek as Arjun Sen

Abhishek Bachchan in I Want To Talk
Abhishek Bachchan in ‘I Want To Talk’. (X)

A story like I Want To Talk relies a lot on how well your central character showcases the gamut of emotions. And Abhishek Bachchan is easily the movie’s biggest strength. He gets into the skin of the role.

It is a character filled with many layers and Abhishek makes sure that the viewers root for him in spite of the fact that Arjun isn’t always likeable.

How he portrays the initial hopelessness to eventually transform himself into a fighter is simply outstanding.

Father daughter dynamics

The actor particularly shines in the scenes with the daughter played by the fantastic Ahilya Bamroo.

The way he portrays Arjun’s possessiveness and the attempts to reconnect with the daughter is heart-touching.

Ahilya Bamroo more than holds her own opposite Abhishek. She wonderfully conveys the emotional turmoil of a teenage daughter caught in a complex situation.

The intense scenes between her and Abhishek are a delight to watch. Underneath the anger, there is also a tenderness which comes out strong.

Apart from the father and daughter dynamics mention must also be made of the equation between Arjun and Dr Deb. The scenes between them have shades of humour particularly the portions of banter.

A scene which deserves a particular mention is when Arjun crashes into Dr Deb’s Sunday lunch and comes to know that most of his stomach has to be cut. Jayanth Kriplani as Dr Deb plays his part with a lot of warmth giving the movie some of its best moments.

What doesn’t work

A major issue with I Want To Talk is its way too languid pace. The movie feels way too slow with some repetitive shots. The film also needed a much better exploration of Arjun’s relationship with his ex-wife.

It comes across as a side note adding little heft. The portions featuring Johny Lever also drag down the movie significantly.

The attempt to infuse humour into a morbid subject like this doesn’t always land, unlike an October.

A movie like this hasn’t got much place for music, still, the tunes are lacklustre, to say the least.

On the other hand, Avik Mukhopadhyay’s cinematography is of a fine order. He does a fine job of capturing the various moods of the protagonist through his lens.

Final take

Overall I Want To Talk leaves something to be desired. Given the emotional core of the subject, the film could have been much more, yet Abhishek Bachchan’s stand-out act along with the main message of fighting against all odds make it worth watching.

(Views expressed here are personal.)

https://thesouthfirst.com/entertainment/i-want-to-talk-movie-review/

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Singham Again: A dated Rohit Shetty actioner high on style but low on substance

Ranveer Singh as Simmba is one of the few bright spots. His wisecracks lift the films energy significantly in the second half but the movie overall reeks of datedness

Singham Again (Hindi), 31-10-2024, Drama, Action, 2 hours 40 minutes, U/A, Theatre

  • Main Cast: Ajay Devgan, Kareena Kapoor Khan, Ranveer Singh, Arjun Kapoor, Deepika Padukone, and Akshay Kumar
  • Director: Rohit Shetty
  • Producer: Rohit Shetty, Ajay Devgan and Jyothi Deshpande
  • Music Director: Ravi Basur and Thaman S
  • Cinematography: Girish Kant Raza Hussain Mehta

There was a period when Rohit Shetty was one of the most commercially successful directors with a terrific track record.

Movies like the Golmaal franchise and Chennai Express (2013) were huge hits with the masses lapping them up, despite fair share of criticism.

However, since the pandemic, things have been going downhill for the director, starting with Ranveer Singh’s Cirkus (2022), a slapstick comedy that produced more groans than laughs. His web series debut, The Indian Police (2024), also didn’t generate much of a favourable response either.

Certain overconfidence has gotten into the director, and Singham Again is the perfect example of this.

Synopsis

The movie has a galaxy of stars and the trademark Rohit Shetty elements but it proves to be a festival dampener. The attempt to link Ramayana with the Singham universe comes across as jarring with zero novelty.

In simple terms, the story of Singham Again focuses on the kidnap of Avni Bajirao Singham (Kareena Kapoor Khan). Bajirao Singham (Ajay Devgan) has to save his wife from the clutches of a deadly villain played by Arjun Kapoor. Since Bajirao cannot do everything on his own, others like Deepika Padukone’s Shakti Shetty, Ranveer Singh’s Simmbaa, and Tiger Shroff’s ACP Satya among others come to the aid of their guru.

All this runs parallel to the Ramleela. A nine-day program meant to convince the audiences that Ramayana is not some myth but actually history.

What works and what doesn’t

Ranveer Singh in ‘Singham Again’. (X)

The first half of Singham Again is all about establishing the Ramayana connection. How Rama and Sita’s story represents true love and the various symbolisms. This soon gets tiring and it also doesn’t help that the movie’s trailer established all the Ramayana parallels along with the introduction of all-stars. As a result, the entire first half feels like a never-ending slow grind.

Dialogues like “India ghuske maarta hai Dushmanon Ko” feel like a forced attempt to evoke patriotic feelings. It is only towards the interval that the movie gets mildly interesting.

The character sketches of Singham’s team barring Ranveer Singh also prove to be a dampener. Deepika Padukone as Shakti Shetty never convinces the viewers that she can be Lady Singham. The stale dialogue delivery coupled with the accent is tough to endure.

Tiger Shroff as ACP Satya has even less to do. He is supposed to be modelled on Lakshman but it seems that Tiger was roped in more as a stunt coordinator rather than an actor.

Performances

Arjun Kapoor in ‘Singham Again’. (X)

The film’s second half is significantly better thanks to Ranveer Singh’s energy and his punch lines. The actor lifts the movie’s energy single-handedly. In one instance, Simmbba is seen talking to Kareena’s Avni about how someone’s wife is always getting into trouble in this Cop Verse.

In the climactic sequence, he looks at Deepika and says “Deko Abhi family bhi badh raha hai”, adding to the laughs.

Arjun Kapoor as Danger Lanka/ Zubair Hafeez gets the menacing attitude right. Yes, some polishing is required but he manages to make for a strong villain.

Ajay Devgan does well within the script’s limitations. As an actor, there isn’t a lot to explore but he is his usual competent self.

Kareena Kapoor Khan looks radiant but after Crew and The Buckingham Murders this is just another movie where she is more of a show piece waiting to be rescued.

Final take

There is nothing to rave about either the film’s music or its cinematography. In conclusion, Singham Again fails to roar. It is high time that Rohit gets out of the action and comedy zone.

https://thesouthfirst.com/entertainment/singham-again-movie-review/

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Bhool Bhulaiyaa 3: An entertaining Diwali package with a solid twist

The best part of Anees Bazmee’s direction is how he keeps the audiences guessing about who the real Manjulika is. Kartik Aaryan is hugely entertaining as the fake ghost buster.
  • Bhool Bhulaiyaa 3 (Hindi)
  • 31-10-2024, Comedy, Horror, 2 hours 38 minutes, U/A, Theatre
  • Main Cast:Vidya Balan, Kartik Aaryan, Madhuri Dixit, and Tripti Dimri
  • Director: Anees Bazmee
  • Producer: Bhushan Kumar and Krishan Kumar
  • Music Director: Tanishk Bagchi
  • Cinematography: Manu Anand

2024 has been the year of horror with most of the big grossers belonging to this genre. The best examples of this phenomenon are Stree 2 and Munjya of Maddock and Vikas Bahl’s comeback vehicle Shaitaan.

All these films have been very successful in scaring audiences and making huge profits for producers.

Anees Bazmee’s Bhool Bhulaiyaa 2 in 2022 was a massive hit giving the Hindi Film industry a much-needed respite, it skyrocketed Kartik Aaryan’s career making him one of the most bankable Gen- z actors. And now you have Bhool Bhulaiyaa 3.

Anees Bazmee has once again delivered a perfect festive entertainer. This time apart from the laughs and scares there is also a poignant message on inclusivity and acceptance.

Synopsis

The storyline of Bhool Bhulaiyaa 3 focuses on a con baba called Ruhaan Randhawa/Rooh Baba. In the 2022 Bhool Bhulaiyaa Kartik Aaryan had to put up an act of being a ghost expert due to certain circumstances, in this 2024 movie he becomes a full-fledged conman accompanied by a partner in crime.

Things are going smoothly, in fact too smooth. His life takes a major turn when approached by a girl called Meera (Tripti Dimri) and her uncle played by Rajesh Sharma. Both belong to a once-upon-a-time royal family of Bengal. Except, for now, the palace descendants of this dynasty are in utter poverty.

Meera asks him to do a false exorcism in order to save them from these circumstances. Ruhaan agrees to a payment of ₹1 crore. This is the story in brief.

Vidya Balan and Madhuri Dixit in Bhool Bhulaiyaa 3
Vidya Balan and Madhuri Dixit in ‘Bhool Bhulaiyaa 3’. (X)

The best part of Bhool Bhulaiyaa is how Anees Bazmee has integrated horror, comedy and mystery in equal measures. For a major chunk of the movie, the audiences feel that either Vidya Balan’s Malikka or Madhuri Dixit’s Mandira could be Manjulika.

A lot of suspense has been built around the identity of Manjulika, keeping the viewers constantly guessing.

The reveal however shocks the audience, like an unexpected googly which a batsman doesn’t see coming, which obviously cannot be revealed here. What also adds to this reveal is a poignant flashback connected to homosexuality.

The solution to the ghost problem is also different from what we generally come to expect in these movies. It is a brave climax, for which, both Anees Bazmee and writer Aakash Kaushik deserve a major appreciation.

Performances

Bhool Bhulaiyaa 3 is a comedy horror
‘Bhool Bhulaiyaa 3’ is a comedy horror. (X)

Kartik’s acting in the scenes where his character expresses hurt over the betrayal of close ones is splendid.

Talking about the humour portions a special mention must be made of Vijay Raaz as the impoverished head of the royal family. He raises many chuckles with his deadpan humour.

His scenes with Kartik are a delight to watch, their dynamics raise many laughs. The track involving Sanjay Mishra, Ashwini Kaleskar and Rajpal Yadav could have been done with better dialogues but still, it delivers some laughs.

Both Vidya Balan and Madhuri Dixit lend a mysterious aura and are mighty effective in making the movie more suspenseful. Both have their dramatic moments as well, which they make complete use of.

Kartik Aaryan successfully takes off from where he left off in the second part. He brings the house down on many occasions with his comic timing.

His reaction shots to numerous jump scares are a delight to watch. In the second role too he is equally poignant.

What brings down the film somewhat is a half-baked love story between Ruhaan and Meera. In the last couple of years, Tripti has been trying to actively transition into a mainstream glamorous heroine and this has been pretty awkward to watch. Here too the actress looks out of place in the song and dance routine.

As far as the soundtrack goes “Ami Je Tomar 3.0” is easily the best of the lot. This song appears in various junctures apart from the faceoff between Vidya and Madhuri. Shreya Ghoshal’s singing coupled with the placement makes it a hugely enjoyable number.

Final take

To sum it up Bhool Bhulaiyaa 3 is a perfect festive entertainer, particularly for those not so keen on logic and of course Kartik Aryan fans as well.

https://thesouthfirst.com/entertainment/bhool-bhulaiyaa-3-movie-review/

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Jigra: A perfect mixture of an emotional drama and prison break

Director Vasan Bala does a good job in showcasing how sometimes anarchy is the best solution to fight against the system. Alia Bhatt perfectly embodies the tigress nature of Satya. Her actions aren’t always ethically right but the movie never judges her.

  • Starcast: Alia Bhatt, Vedang Raina, Manoj Pahwa, Rahul Ravindran, Vivek Gomber and others
  • Writer and director: Vasan Bala
  • Additional writer: Debashish Irengbam
  • Producers: Karan Johar, Apoorva Mehta, Alia Bhatt, Shaheen Bhatt and Soumen Mishra
  • Cinematography: Swanpil S. Sonawane
  • Music and background score: Achint Thakkar
  • Production Companies: Dharma Productions and Eternal Sunshine Productions
  • Running time: 2 hours and 35 minutes

Stories about sibling love are pretty much a genre in itself. But stories from the perspective of a sister are few. Vasan Bala’s Jigra is one such tale combining two different genres. On one hand it is about an extremely protective sister who from childhood has taken it upon herself to look after her younger brother. Jigra begins with a little boy Ankur complaining of bullying by some of his classmates to his sister Satya. She assures him that the situation won’t repeat. This is followed by the scene of the father jumping off the roof. Satya covers her brother’s eyes so that he need not face the trauma. This moment best describes their relationship. The movie is also a social commentary on the delayed justice system forcing innocent prisoners to take things into their own hands. Vasan Bala has combined these two elements wonderfully despite an over stretched climax.

In simple terms the story of Jigra focuses on the wrongful imprisonment of Vedang Raina’s Ankur in a foreign prison. The place is Hanshi Dao a fictional country reminiscent of North Korea. Ankur along with his cousin goes there to meet an investor but unknown to Ankur the cousin is in possession of drugs. They are caught by the police while driving speedily. Both of them are immediately jailed leading to a harrowing situation for Ankur. Punishment for possessing drugs in that country is death by electric execution. The cousin manages to get away in spite of being a habitual offender, but Ankur is sentenced to death. There are other people too who have been wrongfully accused. Alia Bhatt’s Satya takes it upon herself to free her brother, facing innumerable hardships along the way. In a way she is like a female Amitabh Bachchan standing tall against all odds.

Alia Bhatt as Satya who would go to any lengths to protect her brother

One of the strong aspects of Jigra is Vasan Bala’s seamless handling of emotional drama with high-octane action moments. The first half is mostly devoted to the world of Satya and Ankur. He establishes their bond in an impactful manner without wasting much time. Satya may come across as too dominant, but the movie reflects real life situations where protective sisters are a reality. Satya’s personality is shaped by the traumatic incident of seeing her father’s death.

The first half also has some light moments that makes viewers chuckle. For example, there is a scene where Satya stuffs lot of food out of stress. The quizzical look of the air hostess played by Akansha Ranjan adds to the humor.

Alia Bhatt eating scene in Jigra

The second half shifts gears by focusing on the big escape plan. Aiding Satya in this jail breakout are a former gangster and a former cop Manoj Pahwa and Rahul Ravindran respectively. Manoj Pahwa’s son is also in prison. The senior actor effortlessly combines humor with pathos making a strong impact. Rahul Ravindran in his Bollywood debut portrays an ex-cop battling his own scars. His character Muthu initially wants to stay away from Satya’s audacious plan but soon joins in due to certain events. Unknown to Satya Ankur and his inmates are also designing their own escape plan making the second half more thrilling. Yes, the scenarios do get complicated but there is no denying the thrill quotient. There is even a dialogue by Manoj Pahwa’s Bhatia that the escape plan is getting complicated, so let’s make it easy. Mithu replies that this isn’t a masala movie to simplify things leading to some chuckles.

The second half also benefits immensely from fantastic cinematography and well shot action sequences. A particular mention must be made of the scene where Alia Bhatt and Rahul Ravindran battle it out in a jungle. Before this fight an incident happens creating rift between them making it hard for the viewers whom to side with. The fight ends with a hugely poignant moment. The jailbreak scene at the end feels like a real-life prison riot. Swapnil S Sonawane’s cinematography is impressive especially in these two sequences. Mention must also be made of Achint Thakkar’s immersive background score; it enhances the scenes of Alia battling it out. The music is well placed with special mention of the two songs sung by Vedang: The Jigra title track and the recreated version of Phooloon Ka Taaron Ka…

What also makes Jigra a big winner is how the director has written Alia’s character and her towering performance. There is an emotional intensity to Satya which the actress pulls off. Satya doesn’t claim to be virtuous; an argument between her and Rahul Ravindran perfectly captures the grey shades of Satya. She is just a determined sister who wants to get her brother out whatever the method and Alia is successful in bringing out those nuances, The good thing here is that Vasan Bala never takes a stand on Satya’s morality leaving the viewers to interpret her actions in their own way.

There is an emotional intensity to Satya which the actress pulls off

As far Rahul Ravindran’s Bollywood debut he has a solid role, and he does a fine job in portraying Muthu’s moral dilemmas. The scenes between him and Alia are easily one of the best parts of Jigra. Lastly Vedang Raina is pitch perfect as a naive young man caught in a complex web. His portrayal of anguish in the torture scenes deserves a major kudos. The actor also shares a wonderful chemistry with Alia.

Rahul Ravindran does a fine job in portraying Mithu’s moral dilemmas
Vedang Raina is pitch perfect as the naive young man caught in a complex web

A slight issue with Jigra is the overstretched climax which takes place on international waters. It doesn’t add much other than extending the proceedings.

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The Buckingham Murders: A well-crafted whodunit focusing on unresolved grief and repressed anger

Hansal Mehta raises many pertinent issues through this police procedural like the plight of immigrants, communal hatred, the queer community etc. The treatment of these topics does feel rushed, nevertheless he delivers an engrossing movie aided by the brilliant Kareena Kapoor Khan

  • Starcast: Kareena Kapoor Khan, Ash Tandon, Ranveer Brar, Keith Allen and others
  • Story and screenplay: Assem Arora
  • Additional screenplay: Raghav Raj Kakker and Kashyap Kapoor
  • Director: Hansal Mehta
  • Producers: Shobha Kapoor, Ekta Kapoor and Kareena Kapoor Khan
  • Music: Ketan Sodha
  • Cinematography: Emma Dalesman
  • Production Companies: Balaji Motion Pictures and Mahana Films
  • Running time: 1 hour and 50 minutes

The Buckingham Murders directed by Hansal Mehta and co-produced by Kareena Kapoor Khan perfectly fits the genre of a slow burn investigative drama. The story is set in the town of High Wycombe. High Wycombe is situated in Buckinghamshire just northwest of London. Beneath the town’s charming nature there are many secrets waiting to be unraveled. The film tapes into the underlying racial tensions echoing real life situations. In simple terms the story of The Buckingham Murders focuses on the emotional turmoil of detective Jasmeet Bhamra akka Jas (Kareena Kapoor Khan in a knockout performance). She is a witness to her son’s tragic death due to a reckless open firing incident in a foreign country. An attempt to escape from her scars results in a demotion to D S shortcut for Detective Seargent. Detective Seargent is a police rank in the UK. On her very first day of work, she reluctantly takes up the case of a missing Indian Child. It starts off as a straightforward investigation but soon a cane of secrets tumbles out. Jasmeet has huge doubts regarding the honesty of Diljeet (Ranveer Brar). Diljeet is the father of the missing child. As the plot progresses many questions crop up like why the boy is missing and who is responsible for it, running parallel to the investigation is the track of immigrants and the issue of communal violence.

Kareena Kapoor Khan in a knockout performance

A strong aspect of The Buckingham Murders is director’s exploration of unresolved grief and repressed anger. The struggles of Jass in dealing with her psychological state and how she emerges as a fighter has been well depicted. The professional and personal struggles of Jass run alongside the investigation, this enhances the drama at many places. There are occasions where we see the seniors being dismissive off her on the grounds of getting overtly involved, she is also treated in a condescending manner at work.

Stories of cops battling personal tragedies while investigating isn’t new but what makes this movie different is how the director has added the angles of Islamophobia and Homophobia among others. The communal tension between Sikhs and Muslim who form an important chunk of immigrants has been well explored too.

The movie also explores the trauma of a closeted Queer through an important character. There is an important conversation regarding this at a crucial juncture, it makes the viewers think about the plight of these people. The movie also dwells into the faulty idea of marriage where a woman is just treated as a servant with no salary.

Additionally, the movie also examines the changes brought by the pandemic. How it has influenced many aspects of our life both positively and negatively. Thankfully all these social aspects flow seamlessly rather than being force fitted. However, there are times where the viewers feel that these topics would have better off in a web series rather than a feature movie.

Just like Hansal Mehta’s previous movies here too there is ample psychological insight into the shortcomings of society. Emma Dalesman’s cinematography is top notch as well. His frames perfectly capture the eerie atmospherics.

As mentioned, in beginning the Buckingham Murders belongs to the genre of slow burn investigative dramas. This is not a thriller with twists and turns at every corner. Hansal Mehta takes his own sweet time to establish the various perspectives. At times the angle of immigrants even overpowers the mystery part of it but the conclusion more than makes up for it. It makes the viewers sit up about how this person turned out to be the real villain.

The Buckingham Murders has an equal mix of Hindi and English dialogues. This is doesn’t become jarring at any point. The English dialogues are equally poignant as the Hindi ones. Mention must also be made of Jasmeet’s wardrobe. Hansal uses the wardrobe in a smart manner to showcase the protagonist’s emotional journey. For most part of the movie Kareena is seen wearing black and dark purples. The only time the viewers see Jasmeet wearing a bright color is when she finally decides to stop running from the haunting past.

Performance wise it goes without saying that Kareena is an absolute treat to watch with her nuanced act. The actress has been aging like fine wine and this movie is the perfect testimony to it. The way she expresses emotions through subtle expressions is a treat to watch. A scene which deserves a particular mention is the one where Jass understands grief from her father’s perspective. It is highly emotional.

A scene which deserves a particular mention is the one where Jass understands grief from her father’s perspective.

The supporting cast also make their presence amply felt. Ranveer Brar deserves a special mention for the way he brings out the different nuances. Whether it is the frustration of a father whose child is missing, the false bravado of someone who is failing in business and finally a misogynist husband taking his wife for granted. Prabhleen Sandhu as the unassuming Preeti Kohli is also a delight to watch. The foreign actors like Keith Allen and Charles Craddock are also efficient in their respective parts.

The supporting cast also make their presence amply felt.

The Buckingham Murders is a skillful exploration of the complex human relationships under the guise of a police procedural. How certain social structures suffocate human beings, for fans of layered stories and Kareena Kapoor Khan this is a must watch.

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Vedaa: A flawed yet a gritty social drama that touches upon caste-based violence and discrimination

In spite of a bloated second half director Nikhil Advani delivers a hard-hitting tale based on real events. Sharvari Wagh has delivered her career best performance.

  • Starcast: Sharvari Wagh, John Abraham, Abhishek Banerjee, Ashish Vidyarthi and others special appearances (Tammanna Bhatia and Mouni Roy)
  • Director: Nikhil Advani
  • Writer: Assem Arora
  • Producers: John Abraham, Monisha Advani and others
  • Production Companies: Zee Studios, Emmay Entertainment and JA Entertainment
  • Music: Ammal Malik and Manan Bhardwaj
  • Cinematography: Malay Prakash
  • Running time: 2 hours and 36 minutes

Nikhil Advani has had a very interesting filmography starting from the romantic dramas Kal Ho Na Ho and Salaam e Ishq. He shifted gears successfully with the film D-Day a well-made action thriller. Nikhil further proved his versatility on OTT with the two seasons of Mumbai Diaries. Of course, the director has also fallen flat on his face with certain movies but there is no denying that Nikhil is a fascinating filmmaker. His latest directorial is based on some real-life incidents dwelling into the oppression of lower caste. Vedaa alternates between a social drama and a high-octane action thriller with dollops of blood. This mix doesn’t always work particularly the long-drawn climax however there is no denying that Nikhil Advani makes an important statement.

Vedaa alternates between a social drama and a high-octane action thriller

The story of Vedaa deals with an ambitious Dalit girl played by Sharvari Wagh. Vedaa aspires to be a boxer breaking the boundary of social stigma. However, that is easier said than done given her family background and the upper caste bigots. Abhishek Banerjee in his second release of the week plays an unhinged antagonist who firmly believes that one cannot toy with the firmly established caste system. The actor is simply phenomenal which I will elaborate on later. John Abaraham on the other hand is a typical hot headed solider who faces court martial for his rebellious streak. His character Abhimanyu comes to the village of Sharvari, his father-in-law stays here. Abhimanyu tries to lead a normal civilian life but an honor killing incident changes everything. Vedaa’s brother falls in love with an upper caste girl, she also reciprocates but expectedly there is no happy ending. Abhimanyu becomes the guiding force of Vedaa echoing Mahabharata.

Sharvari Wagh’s Vedaa aspires to be a boxer breaking free from social stigma

A strong aspect of Vedaa is how Nikhil Advani has showcased the humiliation that Dalits go through. Even after so many years of independence the social and economic conditions of Dalits leave a lot to be desired. There are some hugely disturbing scenes like the one where Vedaa is assaulted by upper caste hooligans, but she is not a position to fight back. There is also a scene where lower caste men rub their noses on the ground. Of course, the treatment is more in your in your face unlike Article 15 that was more nuanced but still these moments leave a strong impact.

Vedaa also benefits from the strong characterization of the central role. Sharvari Wagh starts off as a timid girl but gradually the character grows in confidence becoming a strong rebel. A scene which deserves a particular mention is Vedaa’s confrontation scene with the younger brother of Abhishek Banerjee’s character. A very violent fight ensues with Vedaa taking out all of her pent-up frustration. Sharvari proves to be a worthy action heroine, on a side note cannot wait to see her kick some serious ass with Alia Bhatt in Alpha.

Abhishek Banerjee proves himself as a supremely talented artist with his portrayal of Jitender Pratap Singh. The actor does a wonderful job in portraying an intimidating villain. He gives John Abaraham more than a tough fight in the hand-to-hand combat sequences. It is hard to believe that this is the same man who played the role of Jana in Stree 2. He is that good.

Abhishek Banerjee proves himself to be a supremely talented artist

The second half of Vedaa has numerous car chases and action sequences. These sequences offer a thrilling ride for the viewers. There is constant tension about how Vedaa is going to emerge victorious from all this. However, it has to be said that the fights become too elongated as well and the climax in particular becomes a never-ending saga. John Abraham’s Abhimanyu Kanwar is pumped with numerous bullets but still he stands up. The gritty texture of the first half is in complete odds with these scenes. Similarly, Abhishek Banerjee is seen walking normally even after being shot in the stomach.

Talking about John Abraham the actors hulk like presence goes completely with the role. Abhimanyu is a man of few words letting his fists doing the talk. However, John’s performance feels like a letdown in comparison to his character of Jim in Pathaan.

Vedaa’s music also leaves something to be desired. The only song that makes an impression is Arjit Singh’s ‘Zaroorat Se Zyada’. Malay Prakash’s cinematography coupled with Manoj Sikka’s sound design deserves a major appreciation. The hinterland of Rajasthan has a lived-in feel.

Vedaa in spite of some flaws is thought provoking making the viewers root for the titular character.