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.
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. (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.
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’. (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)
An overview into some of the most impactful Telugu movies both in theatres and OTT.
The year 2024 has mostly belonged to stories with interesting storylines rather than the big star vehicles. A very good example of this is Venky Atluri’s Lucky Baskhar.
Venky Atluri started as a romantic director with the likes of Varun Tej’s Tholi Prema (2018) and Nithin’s Rang De (2021). But Dhanush’s Vaathi (2023) marked a significant shift in his career.
With Lucky Baskhar the director pushed the envelope further with the financial thriller/drama. The tight writing coupled with Dulquer Salmaan’s fantastic act made it a major winner.
Prashanth Varma’s Hanu-Man starring young hero Teja Sajja like the film’s storyline was an underdog movie with fewer expectations. The film clashed with big star vehicles but it ended up being hugely profitable for everyone concerned. Hanu-Man is a perfect example of how sometimes an engaging script can transform an actor into a star.
35 Chinna Katha Kadu directed by Nanda Kishore Emani and presented by Rana Dagubbati also deserves a special mention. It was a small movie with a big heart.
Among the big-scale action films, Naga Ashwin’s Kalki 2898 AD managed to sail through mainly because of two aspects. The first one is the merging of a dystopian world with the events of Mahabharata, second, is Amitabh Bachchan’s towering act as Ashwatthama.
Sukumar’s Pushpa 2: The Rise on the other hand rode majorly on Allu Arjun’s histrionics and some well-crafted moments. A major highlight is Allu Arjun’s dance in a saree during a very moving jathara sequence, the film has seen extremely polarizing reviews still the movie managed to make big numbers.
Following are some of the most impactful Telugu movies of this year
Lucky Baskhar
A still from the film ‘Lucky Baskhar’. (X)
Lucky Baskhar directed by Venky Atluri is a refreshingly different story for mainstream Telugu cinema. The theme of financial crimes in the backdrop of a bank is an extremely challenging subject given the intricate details. But Venky Atluri made sure that the movie didn’t become overly complicated.
The functioning of stock markets and the banking system was handled in such a way that even a layman could understand.
What also worked majorly for Lucky Baskhar was the layered characterization of the central character coupled with Dulquer Salmaan’s brilliant performance.
The journey of Baskhar from an honest employee to becoming a scamster and the subsequent changes took the viewers on a roller coaster ride. Apart from Dulqer’s solid act the film also had some impactful dialogues particularly the ones related to success, failure and greed.
35 Chinna Katha Kadu
Nivetha Thomas in ’35 Chinna Katha Kadhu’. (X)
35 Chinna Katha Kadu was a much-needed slice of drama amidst the ultra-masculine heroes. Director Nanda Kishore Emani created an authentic atmosphere whether it was the school portions or the husband and wife relationship going through many ups and downs.
The film made some pertinent points on the necessity of encouraging a child’s curiosity. The second half of 35 Chinna Katha Kadu was more engaging.
The portions of Nivetha Thomas Sarswati battling her own demons while making sure that her son gets passing marks in mathematics had many heart-warming moments. Nivetha Thomas delivered a breakthrough act getting into the skin of a traditional housewife who has to rise against all odds. Newcomer Vishwadev Rachkonda also shined bright.
Priyadarshi as the snooty teacher Chanakya does border on being a caricature but in the context of the story it completely works. Priyadarshi was majorly successful in making the audience hate him.
In spite of the slow pace and predictable scenarios, it was a heartwarming film exploring how parents and educators should explain concepts in an interesting manner rather than dismissing a child’s curiosity.
Hanu-Man
Teja Sajja in ‘Hanu-Man’. (X)
On the surface Hanu- Man is a typical good versus evil plot but what made the movie work was the perfect amalgamation of devotional, superhero and pop culture elements. The character graph of Teja Sajja’s Hanumanthu was another big plus for the movie.
He goes from being a carefree guy to eventually realising his powers and most importantly using them for the greater good, this was wonderfully written and enacted.
Apart from Teja Sajja Varalakshmi Sarathkumar as the strong elder sister also had a pivotal role, the brother and sister bond gave the movie an emotional gravitas.
Varalakshmi Sarathkumar also got her own delightful mass moment. The film’s budget is nowhere close to the likes of Adipurush but the special effects were far superior.
Saripodhaa Sanivaaram
Nani in ‘Saripodhaa Sanivaaram’. (X)
Vivek Athreya’s Saripodhaa Sanivaaram was a quirky tale of two hot-headed men, presented in a commercial format. In many ways, the movie was a modern update of Salim-Javed’s Angry Young Man. What made the film engaging was the strong characterization of both the hero and the villain.
Vivek Athreya also added interesting quirks to the characters of both Nani and SJ Suryah. SJ Suryah’s character, for instance, had shades of sarcastic humour, where he could switch from being serious to jovial in the blink of an eye.
Nani’s character, on the other hand, is someone who suppresses his anger until Saturday, only unleashing it when he feels it is truly justified. These nuances added depth to the characters, and both Nani and SJ Suryah delivered impactful performances.
The dynamics between Nani and his father, played by Sai Kumar, were also a delight to watch. Their scenes were filled with numerous laugh-out-loud moments, while also showcasing warmth.
Ambajipeta Marriage Band
Suhas and Shivani Nagaram play the lead roles in ‘Ambajipeta Marriage Band’. (X)
Suhas and Shivani Nagaram play the lead roles in ‘Ambajipeta Marriage Band’. (X)
Dushyant Kathikeni’s Ambajipeta Marriage Band carries a strong influence from Pa Ranjith and Vetrimaaran’s rustic Tamil dramas; nevertheless, the movie remains an engaging watch.
The story of Ambajipeta Marriage Band primarily revolves around the lives of a brother and sister. Suhas plays a barber, while Sharanya Pradeep portrays a government school teacher. The first half shows Suhas in his usual role as an underdog, while in the second half, his aggressive avatar takes the viewers by surprise.
Suhas was particularly impressive in these later portions. Sharanya Pradeep also made a significant impact with her fierce performance in the film.
Tillu Square
Siddhu Jonnalagadda delivered a blockbuster with ‘Tillu Square’. (X)
Siddhu Jonnalagadda’s follow-up to the 2022 popular film DJ Tillu was an entertaining comic thriller. The movie pretty much follows the same template as its predecessor.
A young man getting caught in a fresh tangle leading to various twists and turns, Anupama Parameshwaran played a morally dubious woman called Lily. The character of Lilly starts off as an innocent young woman but as the movie progresses the viewers get to see a different shade of her.
A major strength of Tillu Square was its fun-filled dialogues majorly enhanced by Siddhu Jonnalagadda’s wonderful comic timing. The actor’s energetic persona coupled with his specific style of speaking thoroughly entertained the viewers.
Anupama Parameshwaran was not only sensuous successfully breaking away from her girl-next-door image, but she also did a fine job in portraying Lilly’s grey shades.
Bhamakalapam 2 (AHA)
A still from the film ‘Bhamakalapam 2’. (X)
Bhamakalapam 2 directed by Abhimanyu Tadimeti was a delicious sequel with an in-form Priyamani. The fresh adventures of Priyamani’s Anupama kept the viewers thoroughly entertained.
The jugulbandi between Priyamani and Sharanya Pradeep playing Anupama’s business partner was a major highlight of the sequel too.
The scenes between them often left the viewers in splits. A particular mention must be made of the portions where the cooking competition and heist take place simultaneously. These scenes have both tension and situational humour in equal measure.
In spite of some lags in the pre-climax, director Abhimanyu Tadimeti did a fine job in setting up a good base for the 3rd part.
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’. (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’. (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)
Director Shuchi Talati does a wonderful job in exploring the complexities of Teenage. An important part of Girls Will Be girls is the theme of sexual awakening portrayed with lots of sensitivity
Starcast: Preeti Panigrahi, Kani Kusruti, Kesav Binoy Kiron and others
Director and writer: Shuchi Talati
Producers: Richa Chaddha, Clarie Chassagne and Shuchi Talati
Production Companies: Pushing Buttons Studios, Blink Digital etc
Music: Pierre Oberkampf and Sneha Khanwalkar
Cinematography: Jih-E Peng
Running time: 1 hour and 58 minutes
Streaming site: Amazon Prime
The age of adolescence is a very complex period in the life of a teenager. Both mentally and physically there are major upheavals. Shuchi Talati’s story focuses on one such teenager without any commercialization.
Preeti Panigrahi and Kani Kusruti in Girls Will Be Girls
The main plot of Girls Will Be Girls revolves around Mira ( Preeti Panigrahi) set in a boarding school. Preeti is both a class topper as well as a prefect. Kani Kusruti plays the protective mother Anila. There is a father too appearing occasionally. Mira’s life takes a major turn with the entry of a new joinee Srinivas ( Kesav Binoy Kiron). Mira starts developing feelings which includes sexual as well. While chatting with Srinivas over the phone Anila catches her daughter making it very clear that the two can only be friends and northing more. However Mira and Srinivas continue to pursue each other romantically. Soon Srinivas starts coming to Mira’s house developing a good rapport with Anila. This leads to a major tension as Mira feels that Srinivas is giving more attention to her mother. The rest of the story focuses on the new challenges that Mira faces and how she navigates adolescence.
Keshav Binoy Kiron as Srinivas
A strong aspect of Girls Will Be Girls is how Shuchi Talati portrays the physical changes that a teenager undergoes. For example there is a scene where Mira tries to appear sexy in the front of a ,mirror while lip syncing. Similarly there is also a bit of Mira trying to practice kissing. These moments have been presented with honesty making it relatable for many teenagers.
Apart from the challenges of adolescence Shuchi Talati also does a wonderful job in showcasing the complex mother and daughter dynamics. Their relationship has shades of jealousy with some unpleasant moments. Anila is an overprotective mother who has a hard time in dealing with her rebellious daughter. She wants to limit the physical and emotional intimacy of the two. The dynamics get further complicated when Srinivas gets closer to the mother, his proximity with Anila increases leading to a further divide. However beneath all the insecurities there is also mutual love which comes out strongly.
The complex mother and daughter dynamics
The movie’s pacing is deliberately slow but for a story of this nature it works perfectly. The build up to the bodily changes that Mira is undergoing has been portrayed with the right amount of sensitivity. The film dwells into the themes of sexuality from a female perspective showcasing how societal repression often comes in the way. This is something that we don’t see in the high testosterone male led cinema.
The scenes of Mira losing her virginity and the various feelings which come with it have been shot in an aesthetic manner with no titlation.
Mira’s sexual awakening
Shuchi Talati’s use of visual metaphors is also brilliant. These metaphors perfectly convey the internal struggle which the characters are going through on numerous occasions. The movie is a perfect example of how dialogues aren’t always needed to convey the emotional turmoil.
The performances of Preeti and Kani Kusruti also make this movie a major winner. Preeti Panigrahi had won the special jury award at 2024 Sundance Film Festival and she truly deserves it for her wonderful portrayal. She perfectly captures the vulnerability, defiance and the contradictions which a teenager goes through. She more than holds her own opposite the terrific Kani Kusruti. Speaking about Kani Kusruti the actress continues her terrific form showcasing her immense versatility post All We Imagine as Light. She does a superlative job in bringing out the turmoil of a woman who is grapping with her own desires while being a caring mother. As Srinivas Keshav Binoy Kiron has an easy charm blending in perfectly. He also brings in a sense of ambiguity adding an extra layer.
While horror films ruled the box office, there were other films that made an impact irrespective of their box office numbers like ‘Laapataa Ladies’, ‘Srikanth’, ‘Chandu Champion’, ‘CTRL’, ‘Kill’, ‘Amar Singh Chamkila’, ‘Crew’ and ‘Jigra’.
The year 2024 has seen a significant shift in terms of viewer choice. Tenth-pole action movies with macho men at the centre predominantly dominated 2023.
This year though there has been a clear fatigue towards the action genre. The horror space has given exciting storylines with sufficient thrills and a good dose of humour.
One of the major production houses Maddock Films scored a double whammy this year with Stree 2 and Munjya. Both these movies featured grotesque demons representing sinister thoughts.
In Stree 2 the headless demon kidnaps women with a modern outlook representing our sexist leaders. In the case of Munjya a young Brahmin boy resorts to black magic to win over a girl but this only results in self-destruction. Stree 2 and Munjya had impactful social commentary apart from the folklore touch.
Another film of the same genre is Anees Bazmee’s Bhool Bhulaiyaa 3, a horror thriller/comedy with an important message on inclusivity and acceptance. A poignant flashback connected to homosexuality made Bhool Bhulaiyaa 3 a notch above the second part.
Queen director Vikas Bahl also made a strong comeback this year with Shaitaan, a home invasion thriller with elements of horror.
While horror films ruled the box office, there were other films that made an impact irrespective of their box office numbers like Laapataa Ladies, Srikanth, Chandu Champion, CTRL, Kill, Amar Singh Chamkila, Crew and Jigra.
Following are some of the most impactful movies of this year.
Laapataa Ladies
A still from the film ‘Laapataa Ladies’. (X)
Kiran Rao’s second directorial venture, Laapataa Ladies, is a well-crafted feminist tale that effectively uses humour to address serious issues. The absurd scenarios arising from the confusion surrounding the same ghoonghat have a Shakespearean touch.
The film tackles important themes such as the necessity of education, the burdensome customs imposed on women, and the need for self-reliance. The latter is explored through the character of Manju Maai, a feisty and independent older woman played delightfully by Chhaya Kadam.
A major highlight of Laapataa Ladies is Ravi Kishan’s incredible comic timing. As a bribe-loving cop with a conscience, he left a strong impact with his performance. Newcomers Nitanshi Goel, Pratibha Rana, and Sparsh Srivastava were also a joy to watch.
Stree 2
A poster of the film ‘Stree 2’. (X)
Aamir Kaushik’s follow-up to Stree (2018) was a rollicking sequel filled with equal parts scares and laughs. The film also featured impactful social commentary through the character of Sarkate, a headless demon. This grotesque creature kidnaps women with a modern outlook, such as those with big dreams or who marry outside their caste. Sarkate had previously burned Stree and her lover alive.
A key moment in the movie shows all the men in Chanderi becoming alpha males due to Sarkate’s spell. In the pre-climax, the women of Chanderi break out in unison, fully aware of the dangers.
What also made Stree 2 a blockbuster sequel was the camaraderie between Rajkummar Rao, Abhishek Banerjee, Aaparshakti Khurrana, and Pankaj Tripathi. Their comic timing and chemistry added depth to the film.
Apart from Stree 2, Rajkummar Rao had a remarkable year, showcasing his versatility in various roles. In Srikanth Bolla, he portrayed the visually impaired businessman with an exceptional performance, perfectly capturing the character’s mannerisms and insecurities.
In Mr and Mrs Mahi, he played Mahendra, a failed cricketer who manipulates his wife for fame. Despite Mahendra being selfish and unlikeable, Rajkummar’s layered performance made him impossible to fully hate. The film performed moderately at the box office.
Chandu Champion
Kartik Aaryan in ‘Chandu Champion’. (X)
Kabir Khan’s Chandu Champion took viewers on an emotional rollercoaster. Based on an incredible real-life story, the film is a must-watch tale of grit and determination.
Beyond being an underdog story, the movie addressed important themes, such as how people with disabilities seek empathy, not sympathy. It critiqued the “Bechara syndrome” and highlighted how their efforts often go unrecognized.
In the title role, Kartik Aaryan delivered a career-defining performance. Along with his impressive physical transformation, he shone in scenes portraying helplessness, frustration, resilience, and grit.
Despite sharing screen space with a strong actor like Vijay Raaz, Kartik held his own. Vijay Raaz, playing the coach and father figure, added significant emotional depth to the film.
Kartik also impressed in Bhool Bhulaiyaa 3, where he entertained as the fake Baba Rooh Baba, leaving viewers in fits of laughter. He also delivered a heartfelt performance in a small double role.
Kill
A still from the film ‘Kill’. (X)
Nikhil Nagesh Bhatt’s Kill was a thrilling ride in spite of its visceral action. He elevated a standard action plot by merging the issue of class divide and blurring the lines between what we consider a hero and an anti-hero.
The humanization of dacoits particularly in the second half was very well done. On more than one occasion the armed robbers are seen venting out their vulnerabilities and fears.
The action sequences by nature are very violent with the titular character Amrit (a mighty impressive Lakshya) coming across as a bigger monster than the real armed robbers.
However, stunt directors Parvez Sheikh and Se-Yeong came up with very innovative combat sequences in confined spaces. Raghav Juyal best known for his dancing skills surprised one and all with his act of a cold-blooded villain.
CTRL (Netflix)
Ananya Pandey in ‘CRTL’. (X)
Vikramaditya Motwane’s CTRL, streaming on Netflix, is an engaging thriller/drama that explores the dangers of AI, including deepfakes and personal data breaches. The film raises important questions about how Gen Z increasingly relies on internet bots for genuine advice rather than consulting real people.
Ananya Panday plays the central role of Nella, a social media influencer. She and her husband, Joy (Vihaan Samrat), run a YouTube channel called NJoy. Their seemingly perfect relationship unravels, leading to a disturbing chain of events.
A key aspect of CTRL is how Motwane makes viewers reflect on the desire for validation through social media and the fine line between sharing and oversharing. These questions are raised in a thoughtful, non-preachy manner.
Ananya Panday delivers a stellar performance as Nella, perfectly capturing the character’s various shades. Special mention must also be made of Aaparshakti Khurrana, who voices the AI, adding depth to the story.
Do Patti (Netflix)
Kriti Sanon in ‘Do Patti’. (X)
Shashanka Chaturvedi’s Do Patti shares some similarities with Jasmeet K Rheen’s Darlings, as both films depict women taking control of their lives when everything seems to have hit a dead end. However, Do Patti is very much its own story.
In addition to tackling domestic abuse, this Netflix film also explores sibling rivalry, post-traumatic stress, and childhood trauma. Kudos to Kriti Sanon for choosing to back such a project for her first production venture.
Kriti is outstanding, particularly in her role as the jealous twin, who eventually becomes a strong ally to her demure sister. Shaheer Sheikh, as the unpredictable husband, also gave a strong performance.
Jigra
Alia Bhatt in ‘Jigra’. (X)
Vasan Bala’s Jigra is a perfect blend of emotional drama and a prison break story. The film combines two distinct elements: on one hand, it tells the gritty tale of a young woman shaped by the emotional turmoil of witnessing her father jump from the roof. On the other, it explores themes of class divide and the brutalities faced by the common man in a police state.
The class divide is starkly portrayed through the way Satya’s wealthy relatives make her brother a scapegoat to protect their son, despite him being a habitual drug offender. Jigra is, for the most part, an engrossing film, and it was further enhanced by Alia Bhatt’s perfect portrayal of Satya’s tigress-like nature.
Vedang Raina, as the naïve young man caught in a complex web, also gave a strong performance. In supporting roles, both Manoj Pahwa and Rahul Ravindran made their presence strongly felt. The film features many memorable scenes, including one where Alia Bhatt’s Satya devours a large amount of food to calm her nerves.
Another impactful scene occurs when a helpless Satya asks a prison security guard if she looks sad. When he says yes, she tries to smile and asks the same question again. The sorrow in her eyes, as she struggles to stay mentally strong for her brother, was beautifully written and enacted.
The Buckingham Murders
Kareena Kapoor in ‘The Buckingham Murders’. (X)
Hansal Mehta’s The Buckingham Murders is a perfect example of a slow-burn investigative drama. While it may appear to be a police procedural on the surface, the film also delves into the lives of immigrants, communal hatred, and the struggles faced by the Queer community, among other themes.
Kareena Kapoor delivers an outstanding performance as a detective sergeant, grappling with deep emotional turmoil while investigating the case of a missing child.
In addition to these themes, Hansal Mehta also did an excellent job of addressing the changes brought about by the pandemic., both positive and negative. The film offers valuable psychological insight into the shortcomings of society. While the narrative occasionally digresses from the investigation, the conclusion more than makes up for these moments.
Apart from The Buckingham Murders, Kareena also played a hustler who is unapologetically greedy in Crew.
Nikhil Advani has aced many genres, including action thrillers like ‘Batla House’, sports dramas like ‘Patiala House’, and films on social issues like ‘Vedaa’.
Starting from the romantic dramas Kal Ho Naa Hoo (2024) and Salaam-e-Ishq (2007) Nikhil Advani has created a distinct space for himself both on the big screen and also in the OTT space.
In a career spanning from 2003 to now, Nikhil Advani has donned various hats as a director, producer, writer and also creator for web series like the two seasons of Rocket Boys (2022, 2024) and The Empire (2021).
However, over the years, Nikhil Advani has moved from light-hearted romantic films to gritty tales about society, and history.
For example, the 2013 movie D-Day is a significant milestone in his career. At the box office, it was an average grosser but the critical reviews were very good.
Although an espionage thriller with all the nationalistic elements, the movie was nevertheless gripping showcasing a different facet of Nikhil Advani. The trials and tribulations faced by the four undercover agents in capturing the late Rishi Kapoor’s character modelled on Dawood Ibrahim packed an emotional punch.
Another TV show POW Bandi Yudk Ke was also directed by Nikhil Advani. The show based on two prisoners of war was taken off the air due to low viewership despite critical acclaim.
Nikhil Advani has aced many genres, including action thrillers like Batla House, sports dramas like Patiala House, and films on social issues like Vedaa. He has also dabbled in the OTT space, giving series like the recent Freedom At Midnight, and Mumbai Diaries Season 1 and 2.
Now let’s get into a little more detail about a few other projects that have been helmed by Nikhil Advani, showcasing how much he has grown as a director.
Batla House
John Abraham in ‘Batla House’. (Instagram)
In 2019, Nikhil Advani directed the action thriller Batla House based on the real-life police officer Sanjeev Kumar Yadav. The film focused on the controversial encounter showcasing Sanjeev’s struggles in proving both the authenticity of it and also dealing with post-traumatic stress disorder.
The movie isn’t entirely objective in its approach more or less siding with Sanjeev Kumar. Still, it was a taut film keeping the viewers engaged. Also, Nikhil Advani’s depiction of PTSD deserves major appreciation.
Nikhil Advani also pushed John Abraham beyond his action star image. On numerous occasions, the viewers see John battling with his inner demons, a particular mention must be made of the portions reminiscent of William Shakespeare’s play Lady Macbeth. Much like that play, here too John’s character is often haunted giving a much-needed emotional heft.
Vedaa
Sharvari Wagh in ‘Vedaa’. (X)
Vedaa (2024) headlined by Sharvari Wagh is flawed yet a gritty social drama about caste-based violence and discrimination. The movie was based on real-life events and Nikhil Advani did a fantastic job in showcasing the struggles of Dalits in climbing up the social ladder even after so many years of independence.
Vedaa deserved to be much more at the box office given its merits but unfortunately lost the box office battle with Amar Kaushik’s mega-blockbuster Stree 2.
A very strong point of Vedaa was how Nikhil Advani developed the character of its titular protagonist portrayed by the brilliant Sharvari Wagh. The character of Vedaa starts off as a timid girl but gradually she grows in confidence becoming a strong rebel refusing to bow down. This transition was wonderfully depicted by Nikhil Advani aided by Sharvari who didn’t miss a single beat.
Apart from Sharvari’s towering act, Nikhil Advani also created a strong antagonist in the form of Abhishek Banerjee’s Jitender Pratap Singh. As the man who firmly believes that one shouldn’t toy with the established caste system, Abhishek simply knocked it out of the park showcasing his immense range.
Mumbai Diaries Season 1 and 2
The two seasons of Mumbai Diaries directed and created by Nikhil Advani focused on two highly distressing real-life incidents.
A poster of the series ‘Mumbai Diaries’. (Instagram)
The first one was about the horrors of 26/11. Nikhil Advani along with Nikhil Gonsalves focused their lens on how medical professionals like doctors and nurses were pushed to their limits in a crowded hospital which is low on resources. The web series was also a tribute to the spirit of Mumbaikars.
A strong aspect of the first season was how it never portrayed the doctors as superheroes. All of them come with their own inner demons and have their backs to the wall both professionally and personally.
Nikhil Advani also did a very fine job in not pitting one religion or nation against one another. It was more about terror versus humanity. The strong acting performances led by Mohit Raina and Konkana Sen Sharma were another highlight of both seasons.
The second season of Mumbai Diaries focused on the rage of floods which had submerged the Mumbai city. Much like the first season this time too the focus was equally on both the doctors fighting against the unfavourable weather and their personal demons along with the fighting spirit of Mumbaikars.
A strong aspect of Season 2 was how Nikhil Advani along with his writers built a palpable sense of urgency. The viewers feel an emotional connection with the characters of Mohit Raina and Konkana Sharma among others.
The flood scenes were also authentically recreated, and the production design of Priya Suhass was simply top-notch.
Freedom At Midnight
Freedom At Might co-written by Dominique Lapierre and Larry Collins is a very difficult novel to adopt given the sheer vastness of the political turmoil.
A still from the series ‘Freedom At Midnight’. (Instagram)
In today’s political environment numerous filmmakers are seen playing to the gallery to please the ruling party but Nikhil Advani’s adaptation of the vast novel stands out for not just the brilliant writing but also the way in which he never takes sides. He let the audiences make their own judgements by placing them amidst the powerful leaders who had fought for India’s independence.
The dynamics between Gandhi and Nehru were a treat to watch in particular. Gandhi’s unwavering idealism and Nehru’s internal struggle leading to discord were both wonderfully written and enacted. The series was also technically top-notch particularly the portions featuring the riot-torn neighbourhoods.
The show moves the viewers on many occasions like the scenes of religious discord leading to communal violence. Cannot wait to see how the second season unfolds.
Apart from the ones mentioned above a couple of other web series worth mentioning here are Rocket Boys and The Empire. Nikhil Advani didn’t direct either of them but he was still creatively involved. Both these shows further demonstrated Nikhil Advani’s versatility.
This is all about the evolution of Nikhil Advani as a filmmaker. Here’s hoping that he continues to do stellar work.
Directors Akarsh Khurana and Nipun Dharmadhikari dig deeper than the previous two instalments looking the dangers of the online personas that we create.
Mismatched Season 3 (Hindi), 13-12-2024, Romance, Comedy, Drama, 8 episodes, A, OTT
Main Cast: Rohit Saraf, Prajakta Koli, Muskkaan Jaferi, Taaruk Raina, Laurena Robinson and Rannvijay Singha
Director: Akarsh Khurana and Nipun Dharmadhikari
Producer: Ronnie Screwvala
Music Director: Jasleen Royal and Anurag Saikia
Cinematography: Sudip Sengupta
Rating: 3.5/5
For those who haven’t seen the first two seasons of Mismatched, the plot revolves around two diametrically different personalities.
Rohit Saraf’s Rishi is a young man with traditional notions of romance. Prajakta Koli’s Dimple is a tech-savvy girl with contrastingly different views on love and marriage. The series is based on the book titled When Dimple Met Rishi by Sandhya Menon
Her perception regarding marriage has zero similarities with Rishi’s filmy ideas. The two have a disastrous first meeting but a summer program brings them together despite the contrasting personalities.
The first two seasons primarily explored the themes of love, coming of age and societal expectations. All this resonated well with the younger audiences making it a popular show.
What also made the first two seasons popular was its supporting cast led by Taaruk Raina and Muskkaan Jafferi.
Taaruk Raina’s character Ammol represents the struggles of disabled people in finding normalcy. To cover up his emotional vulnerabilities he behaves like a bully pretending to be a tough guy. Muskkaan Jafferi’s Celina on the other hand is also someone who pretends to be brave but has secrets of her own.
Synopsis
Rohit Saraf and Prajakta Koli. (X)
Coming to Mismatched Season 3 the plot shifts from Jaipur to Hyderabad. The beginning episodes focus on their long-distance relationship.
Rishi is doing very well in NNIT run by Nandini Nahata (Dipannita Sharma). Dimple on the other hand is grappling with a lack of self-confidence, the reason being she couldn’t secure a place for herself in NNIT.
Their long-distance relationship soon starts cracking leading to a major strain. Dimple eventually makes an important decision to join Siddarth, Nandini’s rival’s (Rannvijay Singha) new institute which is conveniently located right next to NNIT. This move of Dimple isn’t just about beginning her career afresh but it’s also about staying close to Rishi.
The rest of the story focuses on the complexities of career ambitions and relationships coupled with the evolving dynamics of a fresh batch.
Strong points
Akarsh Khurana’s directorial ‘Mismatched Season 3’. (X)
A strong aspect of Mismatched Season 3 is the exploration of digital paradox through a project called Betterverse. This Betterverse, also called metaverse is a virtual reality space where the users can live out all their wildest fantasies, has been created by Rishi and Co. The central conflict of Mismatched Season 3 is this digital utopia.
On paper, this project looks very exciting as the players can live out their hidden fantasies but as the story progresses the characters find difficulty in drawing a much-needed line between the real and the virtual world.
Directors Akarsh Khurana and Nipun Dharmadikiri have done a terrific job in exploring this theme. Many youngsters and also extremely tech-savvy people would definitely relate to this.
Among the flaws, the characterization of Dipannita Sharma’s Miss Nandini could have been done with more nuances. She is mostly seen shouting at the top of her voice. This gets jarring after a point.
Also, the students aren’t seen attending much of theory and practical classes, also the atmosphere of the college often comes across as more of a corporate world than a tech college.
Strong characterisation
A still from the series ‘Mismatched Season 3’. (X)
Mismatched Season 3 deals with the new challenges faced by Dimple and Rishi. Before starting this project Betterverse Rishi was introspective and slightly insecure but post becoming the leader his personality undergoes a significant change.
He somewhat drifts away from his original persona leading to some cracks in the relationship with Dimple. He finds a lot of success in Betterverse but this success comes with a certain cost too.
Dimple on the other hand is facing the dual pressure of wanting to carve a space for herself in the world of coding and technology and having a solid love life. The colliding worlds of real and virtual have been wonderfully written and enacted.
The complexities here go beyond navigating romantic feelings; they also involve figuring out your true self and staying true to it. This is a difficult task, given the challenges of the digital age. All of this has been presented in a raw and unfiltered manner, without beating around the bush or trying to sugarcoat it.
Supporting characters
Ahsaas Channa and Taaruk Raina in ‘Mismatched Season 3’. (X)
What also adds to the impact of the third season are its supporting characters both the older ones and the fresh entrants. A particular mention must be made of the track involving Lauren Robinson’s Rith.
Rith is assigned female at birth and wants to transition and come out of the closet. The romantic track between Rith and Muskkann Jaferi is wonderful to watch. Through the track of Rith, the directors have touched upon the difficulties faced by the transgender community in embracing their real identity.
Talking about the older characters both Muskkann and Taaruk Raina successfully take off from the previous ones providing solid support to Rohit Saraf and Prajakta Koli.
Performances
Talking about the leads, both Rohit Saraf and Prajakta are in wonderful form perfectly imbibing the fresh nuances. The chemistry between them in both the light and emotional scenes is a delight to watch.
The self-discovery of Muskkann’s character runs parallel to that of Dimple and the actress does a fantastic job in showcasing the different nuances. Taaruk Raina is also equally good bringing in both humour and solid emotions.
Special mention must also be made of Laurena Robinson. Laurena is first-rate in portraying the identity struggle of Rith.
The music much like the first two seasons plays an important role in enhancing the story. Tracks like “Ishq Hai”, “Do Din Ke Bad” and “Pyaar Hai” perfectly capture the joys and the internal struggles faced by the characters at different junctures.
Final take
Keeping aside these niggles Mismatched Season 3 streaming on Netflix makes for a good watch, particularly for those who like soothing love stories with a dash of technology.
(Views expressed here are personal, edited by Sumavarsha)
Director Vetrimaaran continues his politically charged storytelling with themes of oppression, the division of human being on the basis of caste and need to question the flaws in the system. The movie often slips into a highly sermonizing zone but for fans of stories with political undertones this is a must watch
Based on: Thunavian by B Jeyamohan and Vengaichami by Thangam
Music: Ilaiyaraaja
Cinematography: R Velraj
Production Companies: RS Infotainment and Grassroot Film Company
Producers: Vetrimaaran and Elred Kumar
Running time: 2 hours and 30 minutes
P A Ranjith and Vetrimaaran are two of the most politically charged filmmakers in mainstream Tamil Cinema. Their movies always feature the suppression of the poor. A very good example of this is Vetrimaaran’s Asuran. It was a powerful take on the caste system making the viewers root for the quest of the central protagonist in protecting his family. The first part of Viduthalai was also a good addition to Vetrimaaran’s filmography. The plot focused on a new joined police personnel Kumeresan played by Soori. As the story progresses he gets caught in the tussle between the police department and the local activist group.
Viduthalai part 1
The movie was highly engrossing engaging the viewers from the first frame with its conflict points. The scenes of police brutality had a very raw nature to it disturbing the audiences. Vijay Sethupati as the leader of the activist group didn’t have a lot of screen time but the national award winner brought in a lot of conviction. Viduthalai part 2 focuses on the events following the arrest of Vijay Sethupati’s Vaathiyar. While the first part was majorly about Soori’s Kumeresan, this time around the narrative focuses on the backstory of Vaathiyar. Before becoming a social crusader Perumal aka Vaathiyar was a normal school teacher. His journey and eventually what happens in the present time forms the core plot of Viduthalai Part 2.
Just like Vetrimaaran’s previous movies here too the major highlight is the hard hitting presentation. The movie focuses on a number of issues taking back the viewers to the times of monstrous zamindars for whom the poor were just meant to be muscled away. A hugely disturbing scene in the first half includes the portion where an evil zamindar rapes a woman who serves him. The events following the heinous incident changes the life of a normal teacher forever.
Similarly the struggles of peasants and how they are exploited touches a raw nerve. The movie also gets into the origin of communism and the movements related to it. The first half also has a romantic subplot between Vijay Sethupati and Manju Warrier. The love story between them has some adorable moments bringing a smile to the viewers face. Manju Warrier’s character is not confined to only romantic scenes, she is also a key member of the party with an agency of her own. In the beginning portions she is seen sporting short hair for a particular reason which can’t be revealed here.
Vijay Sethupathi and Manju Warrier in Viduthalai part 2
The movie also talks about how the activists can also go the wrong way with violence never being a permanent solution. Mention must also be made of the scenes in which the authorities are seen trying to cover up their failures or trying to give a new spin.
What pulls down the movie though is a certain sense of repetition. At times the movie keeps circling around similar themes with heavy sermonizing. This results in a certain fatigue particularly for those who aren’t into politically charged storytelling. More brevity was needed, also Kumaresan’s coming of age would have had more impact with better writing.
Soori is largely relegated to the sidelines making the viewers miss his presence. Soori does make his presence amply felt in spite of the limited screen time but the impact of the first part is diluted here. The movie could also have done with crisper dialogues at some points.
As Vaathiyar Vijay Sethupati pulls the characters transformation with his trademark finesse. He captures the simmering anger, empathy and certain remorse too in an impactful manner. Manju Warrier is suitably feisty proving to be a worthy comrade. She also brings a certain softness to the romantic scenes. Among the rest Rajiv Menon plays a powerful bureaucrat in an authoritative manner.
Vijay Sethupati as Vaathiyar in Viduthalai part 2
R Velaraj’ds cinematography is of the highest order. Particular mention must be made of the battles between the police personnel and the extremist groups in the dense forests. The music of the legendary Illaiyaraja is quite soulful with songs of different nature whether it is the tender love song between Vijay Sethupati and Manju Warrier or the more intense one perfectly capturing the resistance.
To sum it up Vidhulathai is a must watch for those who like Vetrimaaran’s storytelling and have an inclination towards intense political dramas.
The entertainment quotient takes a back seat in this prequel but director Barry Jenkins does a very fine job in exploring the back story of how Mufasa became a king. The film also has stunning visuals particularly the shots of flood. The prequel also gets into a more political zone through the angle of a ferocious pride called outsiders
Voice cast: Aaron Pierre, Tiffany Boone, John Kani, Kelvin Harrison and others
Director: Barry Jenkins
Screenplay: Jeff Nathanson
Based on: The Disney’s Lion King by Irene Mecchi, Jonathon Roberts and Linda Woolverton
Producers; Adele Romanski and Mark Ceryak
Cinematography: James Laxton
Production Company: Disney Walt Productions
Running time: 1 hour and 58 minutes
The 2019 musical drama the Lion King was an entertaining update of the much beloved 1998 animated film. The musical format with the photorealistic animation made it a worthy big screen watch. The humor provided by the characters of Pumbaa and Timon voiced by Seth Rogen and Billy Eichner also gave some chuckle worthy moments. After a gap of 4 years you have the prequel exploring the origin story of Mufasa, how as a young cub he was separated from his parents. Mufasa never wanted the throne, he always wanted to be free of responsibility but destiny had other plans.
The 2019 Lion King was an entertaining update of the much beloved 1998 animated film
In simple terms story of Mufasa The Lion King recounts the tale of the titular character through a wise monkey also called as Mandrill. This wise Mandrill is voiced by John Kani as Rafiki. The plot follows the journey of Mufasa as an orphaned cub to a king. Intermingled in this tale is a friend turned foe Taka/Scar (voiced by Kelvin Harrison jr. )
A strong aspect of Mufasa the Lion King is its CGI department. The work of cinematographer James Laxton deserves a major appreciation. The shots are simply breathtaking particularly the portion where Mufasa gets lost in the flood. Even the battle scenes with a ferocious pride called outsiders keeps the viewers tensed on how Mufasa would come out safe. As already mentioned the prequel comes with a political angle.
This pride called outsiders seem to represent the white colonizers of Africa. It comes out starkly in the attitude of the deadly Kiros (voiced by Mikkelsen). Kiros has a clear goal of conquering everything, he rules the land with an iron fist. There is a strong undercurrent of anti – colonialism underlying the invasion of Africans by Europeans. The underlying message is that more unity would have changed the course of history.
The characterization of Mufasa coupled with the acting of Aaron Pierre is another big plus for the movie. Musafa started off as a carefree cub with no intention of becoming the king in spite of having all the traits but all this changes when Mufasa along with Taka have to run for their life due to this ferocious and deadly pack of outsiders. Mufasa personality has to undergo a significant change, he eventually becomes a leader for the animals in a place called Milele. All these nuances have come out well both in the writing and the voice acting of Aaron Pierre. He does a fine job in conveying both the inner strength and the emotional turmoil of Mufasa.
Aaron Pierre as the voice of Mufasa. He does a very fine job in conveying both the inner strength and emotional turmoil of Mufasa
Also praiseworthy is how the director has built up the rivalry between Taka/Scar and Mufasa. It adds a sense of intrigue on how their relations soured considering that for Taka Mufasa was both a friend and a brother. Kelvin Harrison does a very fine job in showcasing the different nuances going from I am always there for Mufasa, then to an insecure sibling and eventually a bitter antagonist.
Mufasa and Taka
The humor in Mufasa The Lion King doesn’t completely match up to the first part still the prequel has its share of chuckle worthy moments. Billy Eichener and Seth Rogen returning as Timon and Pumbaa respectively have wonderful chemistry in spite of less screen time. Mention must also be made of John Kani. He brings in a lot of warmth.
The music of Mufasa The Lion does fall significantly short in comparison to the 2019 movie. However the song Think “I Always Wanted A Brother perfectly establishes the initial brotherhood between Taka and Mufasa.
To sum it up Mufasa The Lion King is a worthy big screen spectacle for both kids and adults.
2024 has been a different year for big-scale action movies, as they haven’t had the same box office impact as in previous years. This decline can be attributed to “action fatigue,” but there are also several other factors contributing to the shift.
Unlike 2024, the year 2023 was mostly dominated by macho men taking on the bad guys and beating them to a pulp whether it was Jawan, Gadar 2 or Animal.
2024 has been a different year for big-scale action movies, as they haven’t had the same box office impact as in previous years. This decline can be attributed to “action fatigue,” but there are also several other factors contributing to the shift.
For example, in Devara, a simplistic story was dragged out, testing the viewer’s patience. The movie majorly rode on Junior NTR’s double role and to an extent on Saif Ali Khan’s villainous avatar.
Both actors were wonderful in their respective parts as was the technical department but Koratala Siva’s attempt to have his own Baahubali moment made it just about an average watch.
Suriya made his big screen comeback after a long gap with Kanguva, however, the movie turned out to be a disastrous experience relying purely on the big scale and Suriya to do wonders. Not surprisingly the movie turned out to be a box office turkey leaving a big dent in the producer’s pockets.
Now let’s get into a little more detail about some of the underperforming big-scale action movies.
Fighter
Hrithik Roshan in ‘Fighter’. (X)
Siddharth Anand’s Fighter had all the ingredients of a mega-blockbuster, including big stars like Hrithik Roshan, Deepika and Anil Kapoor. It also had a charismatic Hrithik Roshan coupled with some fantastic Ariel stunts.
Following the success of his previous ventures, War (2019), and Pathaan, Siddharth Anand incorporated the typical elements of patriotism. However, the film suffered majorly from clichéd troupes involving India and Pakistan.
Lines about the real meaning of religion and patriotism had a jaded feel pulling down the movie significantly. Fighter is by no means a complete disaster, still, the film fell majorly short compared to Siddharth Anand’s last two action movies.
Jigra
A still from the film ‘Jigra’. (X)
Vasan Bala is known for his unique brand of storytelling. This time he tried his hand at the action genre with an emotional story of an elder sister’s fight.
The director is known for a certain sense of aesthetics. His movies have a Korean touch, something which Jigra also had in its depiction of the fictional country Hanshi Dao.
Jigra was an extremely well-made movie spearheaded by a brilliant Alia Bhatt, yet, the film underperformed as the mass belt didn’t take to the movie much due to its Korean aesthetics.
Singham Again
Rohit Shetty’s Singham Again had a galaxy of stars and a genre in which Rohit has succeeded. But something was majorly off with the movie starting from the long trailer revealing the major parallels with Ramayana along with the character introductions. The result was pretty much a disaster.
Too much time was wasted, introducing the Ramayana parallels and the action sequences were a tired rehash of Rohit Shetty’s previous movies.
The film clashed with Anees Bazmee’s Bhool Bhulaiyaa 3 headlined by Kartik Aaryan, and the latter won at the box office.
Bade Miyan Chote Miyan
A still from the film ‘Bade Miyan Chote Miyan’. (X)
Just like 2023, 2024 was also a disappointing year for Akshay Kumar. Bade Miyan Chote Miyan was especially disappointing.
This Ali Abbas Zafar’s directorial had the pet themes of mainstream Hindi Cinema. A deadly enemy wanting to cause harm to the nation and two brave-hearted soldiers tackling the nemesis.
The genre of Bade Miyan Chote Miyan is a cakewalk for Akshay, given his image as a Khiladi but the movie bombed badly in spite of Ali Abbas Zafar’s impressive commercial track record.
A major problem with Bade Miya Chote Miyan, apart from a tedious Akshay was its simplistic portrayal of complex political scenarios.
The solutions were oversimplified lacking the nuances needed. After a point, the movie just became a stretch of one action sequence after another.
Yodha
Sidharth Malhotra in ‘Yodha’. (X)
Since the success of the Vikram Batra biopic Shershaah (2021) on Amazon Prime, Sidharth Malhotra has been deliberately choosing characters of a patriotic nature. Still, the results have been far from satisfactory.
Yodha directed by Pushkar Ojha and Sagar Ambre despite being a slick action movie with a very watchable Sidharth Malhotra couldn’t do much at the box office.
A major reason for that was the underdeveloped love story between Sidharth and Rashi Khanna’s characters. The emotional drama of the story needed more heft. The movie also suffered from predictability and the typical elements of this genre.
Guntur Kaaram
Mahesh Babu in ‘Guntur Kaaram’. (X)
Reputed filmmaker Trivikram Srinivas’s Guntur Kaaram was a mix of his usual family drama with the general template of action, romance and comedy.
The pet theme of Trivikram on how the greatest battles are fought with the people closest to you reached a saturation point with this one. Mahesh Babu was a lot of fun to watch with his comic timing and his Guntur dialect.
There was a refreshing carefree nature which the actor nailed. But the movie on the whole was a big bloated mess. Even the scenes of Mahesh Babu punching the baddies couldn’t save this festive movie.
The action scenes were the standard hero elevation shots, which had moments of Trivikram Srinivas’s trademark humour but that wasn’t enough to salvage the proceedings.
The Sankranthi release clashed with Nagarjuna’s Naa Saami Ranga, Venkatesh’s Saindhav, and Prashant Varma and Teja Sajja’s Hanu-man.
With the right mix of mythology and superhero elements, Hanu-man emerged as the clear winner among all the big Sankranti releases.
Bharateeyudu 2/ Indian 2
Kamal Haasan in ‘Indian 2’. (X)
S Shankar’s vigilante action drama Bharateeyudu 2/ Indian 2 had none of the emotional complexities of the 1996 blockbuster Bharateeyudu/ Indian.
The movie was a typical Shankar lecture on how corruption should be uprooted. It had long drawn speeches testing the viewer’s patience.
Bharateeyudu 2/ Indian 2 showed that S Shankar’s cinematic language needs a major changeover. For most of the movie, Kamal Hassan is presented as an unbeatable superhero.
His interactions with the bad guys and how he easily beats them to a pulp were embarrassing, to say the least.
Saindhav
Venkatesh in ‘Saindhav’. (X)
Venketash’s 75th movie Saindhav was a deliberate attempt from the actor to mix the elements of the family dramas he is known for with bone-crushing action. The film had shades of Lokesh Kangaraj’s Leo —a family man with a violent past.
Saindhav had all the elements of a solid action drama with Venketash delivering a commendable performance both in the action parts as well as the emotional sequences.
But the movie overall didn’t hit the mark because of too much dependence on the scale. The screenplay was extremely uneven. Also, it lacked a solid antagonist. Nawazuddin Siddiqui’s eccentric villain was a pain to watch.
This is all about the underperformance of some big action movies. Clearly, certain exhaustion has set in the viewers’ minds regarding this genre.
This partly explains the tremendous success of the horror comedy/thriller genre as it is giving more exciting storylines.
