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Devil Wears Prada 2: An entertaining take on Journalism’s changing trends

David Frankel does a fine job in exploring the different threads like economic pressures, artistic creativity versus Ai. The treatment may across as hurried given the multiple tangents nevertheless the movie is successful in capturing the current digital spectrum. The movie also raises ample chuckles especially for the ones attuned to journalistic trends. Both Meryl Streep and Annie Hathway successfully take off from the previous installment playing their parts with panache

Starcast: Meryl Streep, Anne Hathway, Emily Blunt, Stanley Tucci etc

Genre: Comedy/drama

Director: David Frankel

Writer: Alline Brosh Mc Kenna

Producer: Wendy Finerman

Production Company: Wendy Finerman production

Running time: 1 hour and 59 minutes

For those who haven’t seen Devil Wears Prada 1 the plot followed the journey of an aspiring journalist Andy Sachs (Anne Hathway). Andy takes up the job of a junior assistant to the hardened taskmaster Miranda priestly (Meryl Streep). Miranda is the chief of runway fashion magazine. Andy has a tough time in adjusting to the professional demands but soon she gets a makeover. Andy becomes successful in career, but it comes with a certain cost in the personal space. The ethical compromises eventually become too much leading Andy to quit. She not only reconciles with the friends but also secures a job in another newspaper. Some of the major themes in Devil Wears Prada 1 are the transformation of identity under an extreme workplace pressure, the conflict of personal values while dealing with professional demands among other things. Now you have part 2 after a huge gap of 20 years. Devil Wears Prada 2 is just as glossy and at the same time more relevant than part one

The second part primarily focuses on Andy Sach’s return back to Runway in a very different position. Andy is given the role of a features editor cum writer. Her major task is restoring Runway’s credibility after a politically incorrect article. Miranda on the other hand is struggling to get a hang of modern digital media and is forced to embrace the culture of online clickbait. Adding to this mix is Emilly Charton (played by Emily Blunt). Emily Charton was Miranda’s former assistant and is now a senior executive of Dior. The dynamics between Miranda and Charton are laced with undertones of tension and a mutual ambition.

A strong aspect of Devil Wears Prada 2 is how both the director and writer have captured the evolution of journalism in the current digital landscape. This is reflected in numerous portions whether its stories shaped by sponsorships or the data indicators playing a major part in editorial decisions. All this feels very relevant especially in today’s clickbait era. The movie also explores Ai and its algorisms both as a threat and necessary adaption to the modern landscape of journalism. A lot of this is conveyed through some sharp humor making the topic an entertaining ride rather than a lecture mode.

Devil Wears Prada 2 also benefits from the dynamics between Meryl Streep and Anne Hathway. Initially Miranda looks at Andy as a more of a chairman’s latest whim who wouldn’t last for long. A certain tone of indifference to Andy’s presence is perfectly reflective of this. Having said that a time comes when the two have to navigate the tricky scenarios together in order to save Runway magazine.

A subtle sisterhood forms between the two. This particularly comes out in the pre climax scene, both Miranda and Andy discuss about how work gives them a sense of purpose. The vulnerable areas of Miranda have also come out well. For example, there is a portion where Miranda worries about her time of a journalist and an editorial head coming to an end. The scene is brilliantly written and also of course wonderfully enacted too by Meryl Streep.

Mention must also be made of how Anne Hathway’s character has evolved. Anne Hathway plays the self-assured journalist with a quiet conviction. The fighting spirit of Andy even things stagnate comes out in a solid manner through the writing as well as Anne Hathway’s performance. Stanley Tucci as Andy’s mentor figure lends in a lot of warmth making the viewers wish that they too had a person like him.

Among the rest Emily Blunt also makes her presence amply felt in a different characterization. The rivalry of Emily Charlton and Miranda has the right bite thoroughly engaging the viewers.

Final word: Devil Wears Prada 2 is an engaging watch for fans of the lead actresses as well as those who are fascinated with the world of modern journalism.

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Kara: Familiar tropes but a well staged cat and mouse game

Vignesh Raja’s Kara is two films rolled into one. One a social thriller tackling the issue of financial exploitation and rural debts. The impact of Gulf war set in 1991 forms an important subplot. At the same time the films feature a father and son emotional thread. The latter is melodramatic, but the first one engages the viewers more so in the post interval portions. The grey areas of both Dhanush and Suraj Venjaramoodu is well written and enacted.

Starcast: Dhanush, Suraj Venjaramoodu, Jayaram, Mamita Buiji, K S Ravikumar and others

Genre: Crime/drama

Director and writer: Vignesh Raja

Additional writer: Alfred Prakash

Music: G V Prakash

Cinematography: Theni Eshwar

Producer: Ishari K Ganesh

Production Companies: Vels Film international and Think Studios

Running time: 2 hours and 41 minutes

The proceedings in Vignesh Raja’s Kara has a certain contemporariness though the plot is set in the 90’s. The current fuel crisis because of a global war is a well-known thing. Kara’s timeline features an important subplot along the lines of current war. Here the focus is on the bank exploiting the vulnerable farmers. The movie begins with Dhanush’s Kaarsami along with an associate robbing a house. For Kaarasami it’s his supposed last theft but things go awry after a successful robbery. The protagonist though manages to get away from police clutches. Flash forward he is now a family man with Mamitha Buiji playing the wife Selli. Without revealing much a situation comes when Kaarasami is in desperate need of money for setting up his own food mess. However, that’s easier said than done. Nothing more can be revealed given the different layers

A strong aspect of Kara are the thriller portions. Midway through the first half a scenario comes when Kaarasami also called Kara has to rob a bank going back to his former self. Kaarasami makes two attempts with his associates. One of them is Karunas as an elderly figure. The first attempt turns out to be a disaster though they don’t get caught. The second time around Dhanush and co decide to rob in morning at a particular time. These sequences have a super combination of thrills coupled with humor. There is a scene of Dhanush pretending to be a bank employee and Karunas doing the pretension of filling a form. This is wonderfully written and enacted.

The second half turns into a cat and mouse with the reentry of Suraj Venjaramoodu’s DSP Bharatan. He has a past connected with Kara. Bharatan much like the protagonist comes with his own grey areas. The biggest motivation for Bharatan to catch the thief is having his name splashed in the newspaper. Early on in the movie there is a scene of Bharatan trying to attach his name to an already open and shut case. However, he doesn’t succeed with Kara escaping. Suraj Venjaramoodu’s act of a determined cop and his portions with the sinister bank head (a wonderful Jayaram) gives the movie its best moments.

Dhanush as Kaarasami is expectedly solid. Kaarasami is a layered character coming across as not so likeable in some portions. Dhanush particularly shines in the emotionally vulnerable moments like a heartfelt scene with Mamita Buiji. The subplot of gulf war and its impact on the downtrodden is a character in itself. It gives Kara a contemporary feel moving the viewers emotionally.

A major roadblock of Kara is the underdeveloped love story between Dhanush and Mamita. Mamita as Selli gets a couple of intense moments and the young actress does hold her own. But the writing needed to be much better. Also, the portions featuring KS Ravikumar as Dhanush’s father could have done with less melodrama. The background score does more heavy lifting here than the writing. Finally, Dhanush’s justification of multiple robberies may not work for all.

Technically speaking Theni Eshwar does a fine job in capturing the rural atmospherics through his lens. The production design is on point too; the action sequences have also been well designed. GV Prakash Kumar’s music has its moments. The song Kanamma has a melodious feel making for a soothing listen and watch. The background score on the other amplifies the tense moments successfully.

Final word: Kara is worth watching for the cat and mouse game as well as the social themes it addresses. But tighter writing would have made it a more wholesome experience.

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Matka King: A layered tale of socio-political commentary

Nagraj Mangule’s Matka King has a distinct hangover of Hansal Mehta’s Scam. Both in terms of atmospherics as well as the characterization of the central protagonist. Having said that series does a good job in exploring the origin of Matka. Vijay Verma’s Brij Bhatti aiming to challenge the class divisions through this game and how it eventually became a parallel economy. In the current age of illegal betting apps, the web series has a contemporary feel

Starcast: Vijay Varma, Sai Tamhankar, Kritika Kamra, Siddarth Jadav, Gulshan Grover and others

Genre: Crime/drama

Writer: Abbay Koranne

Director: Nagraj Mangule

Cinematography: Sudhakar Reddy

Producers: Nagraj Mangule, Siddarth Roy Kapur etc

Production Companies: Roy Kapoor Films, SMR Entertainment etc

Theme song: Ajay Jayanthi

No of episodes: 8

Streaming site: Amazon Prime

Stories of crime with gray protagonists make for a fascinating viewing. The reason being as human beings we generally have shades of both white and black. Movies like Deewar and Satya are solid examples of these. In 2024 there was the Karuna Kumar directorial Matka also touching upon a real life Matka gambler but the game in that was just a plot device. Nagraj Mangule’s Matka King not surprisingly does a far better job in exploring the social context of Matka.

Matka King’s story in brief focuses on the rise of Vijay Varma’s Brij Batti. How he turns the betting game into a household obsession forms the main core of Matka King. The web series also looks at the moral decay of Brij. From wanting to build a fair system for the common man to getting consumed by greed and power. Simultaneously there is also the rise of underworld represented through Vineet Kumar Singh’s Darab Ahmed Wadkar.

A strong aspect of Matka King are its lived-in atmospherics. A major credit for that goes to cinematographer Sudhakar Reddy. The texture of 60’s Mumbai has a lived-in feel whether its the gambling dens or the trading hubs. Both the allure and the grit have been wonderfully captured by the cinematographer. The production design coupled with the costumes further add to the immersive experience. There isn’t much scope for music, but the theme song has a catchy feel.

Another strong aspect of Matka King is the central character of Vijay Varma. The role of Bhatti is layered with different nuances. How he gradually ascends the social ladder and the moral descent has been superbly captured in both the writing as well as the acting. There is a crucial line by Sai Tamhankar when she says to Brij on how he isn’t completely bad, therefore it’s difficult to dislike him fully. This pretty much sums up the character of Brij Batti. Matka King also benefits from well written women characters. Sai Tamhankar as the wife isn’t a typical helpless spouse. The character Barkha strongly asserts herself when required. Vijay and Sai Tamhankar have some solidly written confrontation scenes.

Similarly, Kritika Kamra playing a widow striving for her own autonomy is also well written and enacted. Much like Sai Tamhankar’s Barkha Kritika’ s Gulrak also comes with a certain agency, and this is reflected in numerous scenes. Siddarth Jadav as Dagdu is another actor who stands out. Dagdu starts off as loyal but soon things take a turn when he feels cheated by his master. Siddarth Jadav does an excellent job in pulling off the different nuances.

Mention must also be made of how Nagraj Manjule and Abbay Koranne have used the game of Matka. Matka becomes a symbolism of restless India with people wanting to make a quick buck in the absence of equal opportunities. When we look at today’s age of illegal betting aps clearly nothing much has changed. This adds an important social layer to Matka King taking it beyond a tale of one man’s rise.

Coming to the flaw’s certain tracks function as a buildup to season 2. The extended cameo of Vineet Kumar Singh is a perfect example of this. Vineet Kumar Singh gets the swag of an underworld don right on spot, but the writing needed to be much better. There is also the subplot of emergency not adding much to the web show. Also, the significant hangover of Scam will act as a deterrent for some.

Final word: Matka King is worth watching for fans of gritty crime dramas and of course Vijay Verma’s admirers.

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Thaai Kizhavi: A spirited tale of feminism with a massy touch

Sivakumar Murugasen’s story has shades of both Balagam and Ram Prasad Ki Tervi. The unraveling of family secrets as well as the greedy acts of family members have a distinct familiarity. Having said that Thaai Kizhavi is an entertaining movie with a relevant message on a woman’s financial independence. Radhika Sarathkumar as the matriarch/godmother figure has an absolute blast embracing the character’s whacky nature with gay abandon. Her presence can be amply felt even in the scenes which don’t feature her.

Director and writer: Sivakumar Murugasen

Starcast: Radhika Sarathkumar, Bala Sarvanan, Munishkanth etc

Genre: Comedy/drama

Producers: Sivakartikeyan, Kalai Arasu, and Sudhan Sundaram

Production houses: Passion Studios and Sivakartikeyan Productions

Music: Nivas K Prasanna

Cinematography: Vivek Vijaykumar ‘

Streaming site: Hotstar

Running time: 2 hours and 24 minutes

Thaai Kizhavi with Sivakartikeyan as one of the producers has made solid profits at the box office along with positive critical reception. Radhika Sarathkumar has been rightly hailed for her killer act in spite of not having a lot of screen time. There is no denying that Thaai Kizhavi gives a major deva ju of some old films. The angle of selfish sons is a done to death trope. At the same time the movie has a freshness too and this essentially comes from the theme of a woman having her own autonomy. The rural atmospherics makes the main difference.

Thaai Kizhavi’s story in brief is about Radhika’s Pavunuthaayi. Pavunuthaayi is a strong matriarch living life on her own terms. The villagers are very scared with some wishing for her death too. Things take a dramatic turn with Pavunuthaayi getting bedridden. Celebrations start with many enjoying. This includes her own family members praying for her death. But the revelation of the mother stashing gold somewhere changes everything. This is the plot in a nutshell.

A strong aspect of Thaai Kizhavi is the characterization of Radhika coupled with the veteran actress performance. The badass nature of Pavunuthaayi has come out in a solid manner. Its deliberately massy and not for all but Radhika’s conviction makes it hugely enjoyable. Though Radhika is mostly bedridden after a point her presence is still amply felt. A major credit for that goes to writer and director Sivakumar Murugasen.

The odd ball characters with the rural quirks take a while to sink in but once the plot settles down, they are hugely enjoyable too. A special mention must be made of a drunkard villager who threatens his deity Karuppan on becoming a Sai devotee if his prayers aren’t answered. His scenes have chuckle worthy moments. A mention must also be made of Munishkanth’s Pennycuick a forty-year-old desperate for marriage. His reasons for wanting a partner and how he eventually finds someone gives the movie some of its best moments too.

The legendary Kamal Hassan is an omnipresent figure in the way his songs has been used. It spans across different eras, and this includes the one from Vishwaroopam too. The interval block with Vishwaroopam’s title song and the frantic manner in which the mother is taken to the hospital is an absolute hoot.

From mid second half the movie turns into a story of curated change. This can be seen in the way one of the sons has a change of heart. All it takes is one scene inside an ambulance. This transformation feels more manufactured than organic. Having said that Bala Sarvanan sells this moment, an emotional number by Nivas K Prasanna also helps. The second half also has a shift in terms of how the viewers see Pavunuthaayi. In the beginning we are given an impression of her being a desi Shylock. She threatens about disrobing a woman if she doesn’t pay. But the second half presents a different facet. Especially a woman character talking about how the matriarch encouraged her to be financially independent.

The climatic speech of Radhika Sarathkumar serves as a perfect conclusion to the movie’s core feminist theme. The dialogues related to financial independence have a solid punch. The movie also does a good job in normalizing re marriage particularly in the rural context. This has come out well through the montage of Pavunuthaayai encouraging her daughter to start life afresh after a difficult first marriage.

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Michael: A visually stunning highlights package

Like many biopics Michael too has a curated feel with the cherry-picking of major incidents. Part one of Michael is centered around the rise of the legendary popstar and a significant cultural figure. Director Antoine Fuqua is successful in recreating the aura of Michael Jackson. The dance choreography in particular is enthralling. Jaafar Jackson does an excellent job in portraying the different shades. He is a big reason for the viewers to stay invested.

Director: Antoine Fuqua

Starcast: Jaafar Jackson, Colmon Domingo, Nia Long, Juliano Krue Valdi and others

Genre: Biography

Writer: John Logon

Music: Lion Rosner

Cinematography: Dion Bebee

Producers: Graham King, John Branca and John Mc Clain

Production Companies: Liongate Films, GK Films and Optimum Productions

Running time: 2 hours and 7 minutes

Biopics in general follow a certain template. The dark areas are either sanitized or completely avoided. The likes of Sanju and Azhar are solid examples of this. They mostly play out as a highlights package focusing primarily on the protagonist wins. Michael based on the legendary Michael Jackson is no different at least part one of this saga. The critical reviews of Michael particularly from the west have been rather scathing. The harsh critical reviews are somewhat understandable having said that Michael is definitely a big screen watch. Whether you are a fan or not Michael does give an adrenaline rush. His famous dance steps have been wonderfully recreated. Also, the family dynamics especially the undertones of tension has a distinct desi touch.

In brief the plot begins from the early life of Michael Jackson and how he turned into a visionary artist. Parrel to this is the father and son subplot. Colmon Domingo as Joseph Jackson is authoritative father living off on his son’s success. Joseph is also the manager of Michael. Michael is vexed with his father’s authoritarian ways wanting to create his own path independent of the family’s brand. At one point he even sends a firing letter to his own father. This is the story in a nutshell.

The biggest strength of Michael is the technical department. The portions of Jaafar Jackson’s dance performances in particular deserves a special mention. The famous moonwalk in particular will drive the diehard fans into a frenzy. The way it has been choreographed coupled with the dance of Jaafar Jackson alone makes for a big screen viewing. Cinematographer Dion Rebbe does an excellent job in capturing Michael Jackson’s larger than life aura as well as the 80’s setting. The production design is also solid successfully transporting the viewers to that era.

The music of Lion Rosner is also bang on. The tunes especially the portions of stage performance makes for a fantastic viewing and also a good listen. Apart from the technical department the father and son subplot also deserves a special mention. The bossy and patriarchal attitude of Joseph Jackson is shown in an unfiltered manner. This is one area where the film doesn’t gloss over.

Michael quest for creative freedom while staying connected to the family has a distinct desi touch. Most Indian families will definitely relate to the protagonist inner dilemmas. Colmon Domingo plays the authoritative father in a strong manner. Mention must also be made of Nia Long as the helpless mother eventually finding spine. A special mention must be made of her act in the portion when she finally gives it back to the husband. The brothers and sisters though get a raw deal. Michael’s equation with the siblings is touched upon in a superficial manner. In fact, Michael’s sequences with a pet chimpanzee Bubbles is much better written.

Also, the movie doesn’t give an explanation on how Michael turned out to be special. Whether he had any influences or it was just a case of him being a natural is never dealt with. You just get the simplistic explanation of him being differently created.

In the titular role Jaffar Jackson does an excellent job in capturing the different nuances. He imbibes the spirit of his late uncle in a wonderful manner. The swag is spot on but more importantly he is also very effective in the vulnerable moments.

Final word: Michael is a treat for Michael Jackson diehard fans. As a movie though it could have been more effective with a less sanitized approach. Here’s hoping that the second part deals with Michael’s dark chapters in a more honest manner.

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Mrunal Thakur’s emergence in Telugu cinema

An overview into how the actress has got meatier parts down south and has made complete use of it, starting from the romantic blockbuster Sita Ramam to the latest Dacoit with a muti layered character

In the success meet of Mrunal’s new movie Dacoit director and producer Nag Ashwin made a big statement about Mrunal’s acting abilities. He compared her to some legendary actresses saying that she should be wiser in choosing films. One of the things he talked about was her ability to portray characters with emotional intensity. Nag Ashwin’s statement feels very much true especially given her work in Telugu cinema.

Before getting into Mrunal’s Telugu films it’s important to give a background into her early career. Before making her Hindi debut Mrunal has been part of TV shows. A very notable stint is Kumkum Bhagya. As the vivacious younger sister, the actress made her presence amply felt, the actress particularly shined in the intense scenes showing her dramatic chops at an early stage. Love Sonia released in 2018 was her first Hindi movie; the movie was a gritty take on sex trade and prostitution.

Mrunal’s role has heavy emotional bits as well as scenes of graphic violence. Mrunal made a knock out debut capturing the quiet inner strength, as a viewer you root for her mission of finding the sister who is sold off by her debt-ridden father. Love Sonia had its screening at Indian Film Festival of Melbourne. It is here that Mrunal’s paths crossed with Nag Ashwin. His second movie Mahanati was part of the film festival too. Cut to the year 2022 Mrunal was leading lady in Hanu Raghavapudi’s Sita Ramam. The movie was produced under the banner of Vyjayanthi movies and Swapna cinema.

Sita Ramam is by no means a novel story. It has shades of both Hollywood and Hindi cinema. Having said that the film is a well-made poetic love story with a good mix of romance and intense moments. As Sita Mrunal was both stunning as well delivering a solid act. Whether it’s the flirtation scenes or portions showing emotional intensity the actress was simply top notch, she more than held her own opposite the magnetic Dulquer Salman. It was a fantastic Telugu debut by all means. And it got ever better with the second one Hi Nanna.

In this Shouryuv directorial Mrunal was seen in the role of Yashna. The character of Yashna comes with multiple shades both in the flashback portions establishing the love story as well as the present timeline. The character goes through numerous emotional upheavals, she has major anxiety problems and this stems from growing up in a broken home. More than Nani Mrunal stole the show conveying the various feelings with just her expressive eyes. After two solid acts a speed breaker came in the form of The Family Star. 

The Family Star directed by Geeta Govindam fame Parasuram was a convoluted romantic drama especially the second half portions of US. In the Family Star Mrunal’s character comes with two shades. In the beginning the viewers see her as a girl next door and then a CEO with a tough exterior while having a compassionate nature. In spite of Parasuram’s subpar writing Mrunal was very effective in portraying both the shades.

Mrunal’s lastest Telugu movie is the recent Dacoit. Keeping aside whatever the final numbers of this Shaniel Deo’s directorial would be, there is no denying that Mrunal has won lots of hearts with her fabulous performance. The multi-faceted Adavi Sesh deserves utmost praise for writing a strong character like Sarswati. Though Adavi Sesh is the leading man Mrunal is the main pillar of the movie. The actress did a fantastic job in portraying the resilience of Sarswati. The gradual unraveling of different layers was brought out superbly by both Adavi Sesh in his writing, and of course Mrunal Thakur who was an absolute knock out capturing both the vulnerability and a fighting spirit. A special mention must be made of Mrunal in the climatic portions post a crucial reveal.

No wonder Mrunal has received praise from many quarters, whether its Rahul Ravindran, Nandini Reddy and Allu Aravind. She has truly become a Telugu heroine with a separate fan base. As Nag Ashwin said in the event it’s necessary that the actress avoids random stuff as much as possible, keeping aside the comparisons to legendary actresses, Mrunal is an extremely capable performer who can go a long way. Here’s hoping that Hindi cinema also taps more into Mrunal’s talent giving her parts that she deserves

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Bhooth Bangla: A competent cocktail of physical humor with scares

Priyadarshan’s latest Hindi venture feels like a mixed thali of the director’s own Bhool Bhulaiyaa 1 and Aamir Kaushik’s Stree movies. The physical humor is not for all, but a committed ensemble cast especially the veterans make it somewhat work. Akshay Kumar has a dual role one of a wastrel son and the other grey shaded character simmering with anger. Akshay makes a bigger impact in the second role. Among the three ladies Wamiqa Gabbi makes her presence felt in a mysterious character

Starcast: Akshay Kumar, Asrani, Paresh Rawal, Rajpal Yadav, Jisshu Sengupta, Rajesh Sharma, Wamiqa Gabbi, Mithila Parkar, Tabu and others

Genre: Horror/comedy

Direction and screenplay: Priyadarshan

Additional screenplay: Rohan Shankar and Abhilash Nair

Story: Aakash Kaushik

Dialogues: Rohan Shankar

Music: Pritam

Cinematography: Divakar Mani

Producers: Ekta Kapoor, Shoba Kapoor and Akshay Kumar

Production Companies: Balaji Motion Pictures, and Cape of Good Films

Running time: 2 hours and 45 minutes

In the last few years Horror comedies have emerged as a major recipe for success especially in Hindi Cinema. Whether its the Maddock horror universe Stree movies, Bhediya, Munjiya and Thamma. Or the Bhool Bhulaiyaa films. The combination of horror with laughs have been largely successful in entertaining the audience. At the same time an overkill has happened too with the largely familiar structure. Priyadarshan’s Bhoot Bangla feels like a spiritual sequel to his own movie Bhool Bhulaiyaa 1. The building up to the legend of Vadhasur and the progression of events have a major resemblance. Having said that Bhooth Bangla does a fair job in mixing slapstick humor with a well written origin story. An important flashback in mid second half has a good emotional touch.

Bhooth Bangla’s story in brief revolves around Akshay Kumar’s Arjun Maurya. He travels to an eerie place called Mangalpur, Arjun has ancestral palace. Mangalpur has a scary legend of a monster called Vadhasur. The marriage of Arjun Maurya’s sister played by Mithila Parkar is supposed to happen in these haunted surroundings. Arjun Maurya is casually dismissive of Vadhasur calling it as a cock and bull story. But he gradually realizes that Vadhasur is no myth. Unfortunately, the sister’s wedding has to happen here only, it has been destined by the high priest of the groom’s family. The rest of the story focuses on how Arjun Maurya saves the day with some help. Running parallel to this is Wamiqa Gabbi’s Priya in search of her loved one.

A strong aspect of Bhooth Bangla is Vadhasur’s origin story. The use of mythology here as the man born out of a union between an asura and deva has been well staged. The CGI effects are of a good order coupled with the cinematography of Divakar Mani. Mention must also be made of Akshay’s second role in a key flashback. His simmering anger and a feeling of being betrayed his own father has been brought out wonderfully by the actor. In one way this track is reminiscent of Christopher Marlowe’s novel Dr Faustus. How in a heated moment of insecurity the character Madhav sells his soul to Vadhasur for getting the woman he loves has been well written and enacted.

The first half is mostly devoted to scenes of slapstick comedy with major focus on physical humor. The portions of Rajpal Yadav as an electrician often border on farcical humor, he is slapped on more than one occasion by Akshay Kumar. Similarly, Paresh Rawal as the wedding organizer has a running joke on his bum being attacked. These scenes are deliberately low brow in nature, but Priyadarshan’s usual quartet of actors embrace these portions whole heartedly and are successful in raising some chuckles. Late Asrani has a substantial role too. More so in the first half. His scenes with Akshay have a fun tonality as well making the viewers chuckle.

The track between Akshay Kumar and Wamiqa Gabbi also has some interesting touches. Wamiqa lights up the screen the screen whenever she is there and the twist of a twin comes in the right time. Jisshu Sengupta as Akshay Kumar’s father may seem like an odd casting choice, but Jisshu does a fine job especially in the second half. Rajesh Sharma has an important role too. His act of desperate father comes with negative/grey shades much like Akshay’s Madhav and the actor does a very fine job.

Tabu comes in mid second half lending grace to an underwritten part. She looks like a dream though in the dance sequence. Mithila Parkar as the love-struck sister is good in the limited screen time.

A major problem with Bhooth Bangla is a significant hangover of the above-mentioned movies. The viewers get a major deja vu especially for the ones who have seen Bhool Bhulaiyaa and Stree, a more original approach was needed. Pritam’s songs also leave something to be desired. They are not bad per se but given the general track record of Pritam the tunes could have been much better.

Another problem is the scene of toilet humor; it reeks of very bad taste leaving a bitter after taste. Lastly the second half needed some trimming to make the film crisper.

Final word: Bhooth Bangla is a nostalgic horror comedy best watched with moderate expectations.

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Maamla legal Hai (season 2): Jolly LLB of OTT

Much like the first season MLH season two does a good job in mixing satire and social commentary. At the same time this season is more emotional while maintaining the humorous tone. Ravi Kishan continues to lead from the front this time with a different character arc. As a judge grappling with the burden of making tough decisions the actor is excellent

Starcast: Ravi Kishan, Nidhi Bisht, Naila Grewal, Anant Joshi, Dibyendu Bhattacharya and others

Director: Rahul Pandey

Writers: Kunal Aneja, Mohak Aneja, Shadan Syed , Tatsat Pandey etc

Genre: Comedy/drama

Producers: Sameer Saxena, Saurabh Khanna, Biswapati Sarkar and Amit Golani

Production house: Posham Pa pictures

Cinematography: Miling Jong

No of episodes: 8

Streaming site: Netflix

For those who haven’t seen Maamla Legal Hai season 1 the plot revolved around the quirky world of Patparganj. The series tackled a wide range of cases based on newspaper reports flashed at the end of each episode. For example, there was one involving a divorce. The husband wants to divorce his wife just because she doesn’t feel shy on their wedding night. Apart from this the web series touched upon different aspects like the connubial rights of prisoners etc. Apart from the witty writing and direction the series also benefitted immensely from the ensemble cast especially Ravi Kishan and Nidhi Bist. Now you have season two also set in Patparganj but with different dynamics.

MLH season two is primarily about the transition of Ravi Kishan’s VD Tyagi. From a street-smart advocate he has turned into a judge. At the same time the trio of lawyers represented by Nidhi Bist, Naila Grewal etc are dealing with a range of cases which are as messy as their personal lives. The interpersonal rivalries especially the one between Naila Grewal and the new entrant Kusha Kapila also forms an important part of MLH season two.

A major strength of MLH 2 season two is the characterization of Ravi Kishan coupled with his solid act. Unlike the first season the flamboyance of Ravi Kishan is more toned down as VD Tyagi is trying to be more serious. His equation with the old acquittances undergoes a strain. The internal struggles of VD tyagi forms the spine of this Rahul Pandey directorial. The scenarios lend itself naturally to both comedy as well as emotional depth. Thankfully this transition lands giving the show some of its best moments.

A special mention must be made of the episode titled “Beyond reform”. VD Tyagi gets through a major inner turmoil before pronouncing the judgement of death by hanging. Ravi Kishan is especially good in a break down preceding this, he eventually decides that being a judge is not his cup of tea.

Coming to the funny portions season 2 offers plenty of laughs this time too. For example, there is a marital case with a very orthodox mother-in-law, and the wife is fed up of her demanding ways. Additionally, the husband doesn’t stand up for her. It’s not that the spouse doesn’t love his wife, but he is afraid to question his mother,

How the husband finds spine amidst a lot of chaos is both well written and enacted. Mention must also be made of a young boy who aspires to be a gangster. The characters played by Neila Grewal, Anant Joshi and Kusha Kapila struggle a lot to change his mind. Eventually the youngster decides to focus on studies after witnessing a particular incident. The scenes here too are laced with humor.

MLH season two also benefits from the scenes of rivalry between Niela Grewal and Kusha Kapila. Kusha Kapila represents a more media savvy breed of lawyer’s profession. The friction between the two has some impactful moments as well.

An underlying theme of MLH season two is negotiating a system which is imperfect at the same functional. Season 2 goes beyond the satirical tone of first one looking at the compromises and how justice in its true form is difficult to achieve so sometimes it has to be negotiated. The chaotic world of Patparganj district court continues to have a lived-in atmosphere. The messy ecosystem of lawyers, clerks, clients etc has a believable feel.

Apart from the splendid Ravi Kishan the ensemble cast also pitch in some fine performances. Niela Grewal especially stands out perfectly showcasing the evolution of Ananya from textbook notions of justice to absorbing shades of grey. Nidhi Bist continues to shine with her comic timing. Dibyendu Bhattacharya as another judge also makes his presence amply felt. His dynamics with Ravi Kishan especially a key confrontation is solidly written and enacted.

Much like the first season the personal life of VD Tyagi does come across as a speed breaker. A few tonal shifts could have been handled better but these are minor blips in an otherwise engaging show.

Final word: Maamla Legal Hai is a worthy follow up and for fans of legal satire definitely worth watching.

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Love Insurance Kompany: An audacious mix of science fiction and romance

This Vignesh Shivan directorial needed better writing especially the trope of love at first sight. Having said that the film is solidly staged and the latter half has good conflict points. The movie also benefits from SJ Suryah act of a comic villain. His face offs with Pradeep Ranganathan lead to some entertaining moments. Among the two leads Krithi Shetty makes a stronger impact

Starcast: Pradeep Ranganathan, Krithi Shetty, S J Suryah and others

Genre: Science fiction/romance

Director and writer: Vignesh Shivan

Music: Anirudh Ravinchander

Cinematography: Ravi Varman

Producer: Nayanathara

Production Companies: Rowdy pictures and Seven screen studios

Running time: 2 hours and 30 minutes

Narratives of social medium algorithms and how they are influencing people have been explored numerous times on the big screen. Whether its the Hollywood movie Social Network or the Bollywood one CTRL starring the excellent Ananya Pandey. But Vignesh Shivan’s Love Insurance Kompany goes notches above in terms of imagination. The director sets his plot in the year 2040 where there is a clear divide between those obsessed with apps and others growing up in an ashram type. The two leads played by Pradeep Ranganathan and Krithi Shetty differ significantly in terms of their lifestyle. The story in brief focuses on how Pradeep Ranganathan’s Vaibhav Vasudevan falls for Krithi Shetty’s Dheema. Their love story forms the core with a message on human connection being more important. S J Suryah is the owner of the dating app Love Insurance Kompany. How he becomes a thorn in the needle for Vaibhav’s love forms an important subplot.

A major strength of LIK is the production design coupled with Ravi Varman’s cinematography. The stark difference between the environments of Dheema and Vaibhav has come out well. The portions of 2040 especially feel like we are really watching a futuristic world where this can really happen. Ravi Varman captures the different color pallets wonderfully through this camera.

The movie also benefits from solid conflict points especially Kriti Shetty’s Dheema. Her backstory on she becomes an influencer more on less than on the phone creating video’s, also the impact of her mother’s failed marriage has come out well. Kriti does a very fine job in capturing the characters over the top nature as well as emotional vulnerability.

Pradeep Ranganathan as Vaibhav is competent both in the scenes of being love struck and the desperation of making his love story a success. However, the writing doesn’t completely support the actor. For example, the typical love at first sight with Vaibhav landing in a hospital feels overtly dramatic. It becomes somewhat difficult to buy Vaibhav’s intense love for Dheema so much so that he starts using LIK.

Having said that Pradeep Ranganathan does a fine job with his natural acting. His face off with S J Suryah are laced with effective humor contributing immensely to a more enjoyable second half. S J Suryah as Suryan is solid too with his eccentric humor. He particularly shines in the scenes of tug of war. Suryan’s desperate attempts in trying to win gives the movie some of its best moments. Having said that the backstory of Suryan on why he set up LIK needed much better writing. Also, the film could have done with a more balanced approach regarding social media addiction. The dangers of an app like LIK are convincingly portrayed, at the same time the positives of social media could have been equally highlighted.

Anirudh Ravichander’s music has its high points. The song Dheema in particularly has a soothing tune and has been picturized well. The backdrop score is fairly fine especially in the confrontation scenes of Pradeep Ranganathan and SJ Suryah.

Final word: Love Insurance Kompany is worth watching for the solid world building and the audacious ideas. Having said that some fine tuning would have made the film more gripping.

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Dacoit (a love story): A gritty cocktail of love and crime

Shaniel Deo who has co-written the story with Adavi Sesh makes a promising debut especially the second half. The post interval portions have some solid thrills with trademark Adavi Sesh twists. The track of hospital mafia with the backdrop of COVID has been smartly integrated. However, the films biggest strength is Mrunal Thakur as Juilet/Sarswati. She stands shoulder to shoulder with Adavi Sesh coming with a brilliant act

Starcast: Adavi Sesh, Mrunal Thakur, Anurag Kashyap, Sunil, etc

Genre: Action drama/romance

Director and writer: Shaniel Deo

Additional writer: Adavi Sesh

Dialogues: Abburi Ravi

Producer: Supriya Yarlagadda

Production Companies: SS Creations and Sunil Narg productions

Music: Bheems Cecriroleo

Cinematographer: Danush Bhaskar

Running time: 2 hours and 32 minutes

Actor, writer and director Adavi Sesh has created a string niche for himself with stories of action and thrillers. There is a credibility attached to his name. Adavi Sesh’s latest Dacoit has some of his trademark elements like the gritty action combined with twists. At the same time the movie also presents a different facet of Adavi Sesh, a rustic role with a specific dialect. Right throughout the movie’s promotions Adavi Sesh has insisted on how Daciot is a two-hero movie and this indeed turns out true. But more on that later.

The story of Dacoit in brief is about two star crossed lovers. Advasi Sesh’s Hari comes from the downtrodden section. Mrunal Thakur’s Sarswati on the hand belongs to a more affluent household. The situation takes a dramatic turn with Hari going to jail and Sarswati marrying someone else. Hari is in deep hurt with plans of revenge. How their paths once again intertwine forms the core of Daciot.

A strong aspect of Dacoit are the dynamics between Hari and Sarswati. The love-hate relationship with Hari’s simmering anger gives the movie some of its best moments. The action sequences amidst the two dodging the police have been solidly staged. There is a sense of them racing against time. The vulnerabilities of the two leads as they are fighting with their own inner demons makes these scenes more interesting. Mention must also be made of the technical department especially the production design and cinematography. Much like last week’s Biker this movie also benefits from the use of real-life locations.

The rugged landscape with the different moods becomes a major character in itself. Danush Bhaskar’s cinematography is first rate, his work in the chase sequences especially stands out.

Bheems Cecrileo’s songs particularly Rubaroo makes an impact. The background score of Gyaani is of a good order too especially in the action sequences.

Coming to the social commentary the movie is successful in taking the viewers back to the harrowing pre-COVID area. The exploitation of corporate hospitals with mounting hospital bills have an authentic feel. Yes, Prakash Raj as a corporate hospital head is underutilized still the subplot works. The dialogues of Abburi Ravi significantly help too in both the halves.

A special mention must be made of the ones questioning caste. The social undercurrents makes Dacoit more than just an action drama with a love story. For an intense film like this it’s important that both the leads deliver, Adavi Sesh and Mrunal Thakur don’t miss a single beat. As Hari Adavi Sesh gets the angst spot on pulling off the grey shades with finesse. He also raises chuckles in scenes of understated humor. A perfect example of humor is the portion of Hari escaping and a punchline with the popular song ‘Kannepettarao from Hello Brother playing in the background. Mrunal Thakur too matches step to step in a multi shaded role. The emotional vulnerability and resilience of Saraswati has been excellently brought out by the actress. A specific mention must be made of the climactic portion when she gives it back to the husband showing that she is no docile wife. The dubbing has been done by Chinmayi Sripada, and this elevates the performance further. It’s great to see Mrunal getting some solid roles in Telugu and she making complete use of it.

Among the rest Anurag Kashyap as the cop on hunt make his presence amply felt too. He brings in the required authority as well as a humanness. The second one can be especially seen in films final stages. Sunil in a grey shaded role is solid as well. But Atul Kulkarni much like Prakash Raj is underutilized.

Coming to the flaws the first half of Dacoit could have been much crisper. An item song especially sticks out like a sore thumb. Also, the love Dovey scenes could have done with better writing.

Final word: Dacoit is a solid addition to Adavi Sesh’s filmography, and definitely worth watching for fans of gritty action dramas as well as Mrunal admirers.