Category: Hindi Movie Reviews

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

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

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

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

Synopsis

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

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

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

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

This is the story in brief.

Abhishek as Arjun Sen

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

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

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

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

Father daughter dynamics

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

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

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

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

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

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

What doesn’t work

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

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

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

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

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

Final take

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

(Views expressed here are personal.)

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

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

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

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

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

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

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

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

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

Synopsis

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

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

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

What works and what doesn’t

Ranveer Singh in ‘Singham Again’. (X)

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

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

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

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

Performances

Arjun Kapoor in ‘Singham Again’. (X)

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

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

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

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

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

Final take

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

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

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

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

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

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

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

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

Synopsis

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

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

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

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

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

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

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

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

Performances

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

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

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

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

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

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

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

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

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

Final take

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

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

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

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

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

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

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

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

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

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

Alia Bhatt eating scene in Jigra

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

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

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

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

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

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

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

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

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

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

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

Kareena Kapoor Khan in a knockout performance

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

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

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

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

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

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

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

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

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

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

The supporting cast also make their presence amply felt.

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

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

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

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

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

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

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

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

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

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

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

Abhishek Banerjee proves himself to be a supremely talented artist

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

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

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

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

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Stree 2 Sarkate Ka Aatank: A rollicking sequel with the right mixture of scares and humor

Apart from the horror and scares director Aamir Kaushik also does a fine job in blending impactful social commentary

  • Starcast: Rajkummar Rao, Abhishek Banerjee, Aparshakti Khurana, Pankaj Tripathi, Shraddha Kapoor and others special appearances (Varun Dhawan, Akshay Kumar and Tamanna Bhatia)
  • Director: Aamir Kaushik
  • Writer: Niren Bhatt
  • Producers: Dinesh Vijan and Jyothi Deshpande
  • Production Companies: Maddock Films and Jio Studios
  • Music: Sachin Jigar and Justin Varghese
  • Cinematography: Jishnu Bhattacharjee
  • Running time: 2 hours and 27 minutes

Aamir Kaushik’s Stree 2 is one of those few sequels that matches up to its first part. For those who haven’t seen Stree 1 the plot revolved around a female spirit wreaking havoc in the small town of Chanderi. This female ghost by the name of Stree attacked men at night that too during a particular festival period. She only kidnaps those men who turn around when she calls. Apparently looking into her eyes confirms permission to abduct. There is an underlying satire about how consent doesn’t matter for men. Women even in their non-human form are more evolved. Stree 1 had the right doses of suspense and humor along with a touching origin story. The film also benefitted from the fantastic male cast led by an adorable Rajkummar Rao. Not surprisingly Stree 1 was a major hit.

Stree 2 is one of these few sequels that matches up to the first part

Now you have Stree 2 again set in Chanderi. At the end of Stree 1 the female ghost had left the town, fear has been replaced by respect which was denied to her when alive. Instead of O’ Stree Kal Anna (O Stree, come tomorrow) the new instruction is O Stree Raksha Karna (O Stree, protect us) The mindset of Chanderi people has also undergone a significant change, they have become more liberal with woman marrying outside their caste and having big dreams. However, the peace is short lived thanks to a new demon who abducts girls with modern outlook. His name is Sarkate, a hugely grotesque creature with no head. This Sarkate had burned Stree and her lover alive. Once again, the responsibility of saving Chanderi falls on the shoulders of Vicky (Rajkummar Rao continuing his splendid form). Shraddha Kapoor returns back as the mysterious figure with whom Vicky deeply fell in love. Thankfully the viewers get to know more about her character this time around. Apart from Shraddha Kapoor Vicky gets help from his usual trusted allies Abhishek Banerjee as Jana and Pankaj Tripathi as Rudra. Aparshakti Khurrana as Bittu has as an interesting arc which I will get to later.

Shraddha Kapoor returns back as the mysterious with whom Vicky had fallen in love with

A strong aspect of Stree 2 is how Aamir Kaushik has used the character of Sarkate to explore the patriarchal mindset. Very often we see leaders blaming a women’s mindset for the crimes happening on them. The way Sarkate chooses only those girls who think beyond the traditional boundaries reminds the viewers of the numerous sexist leaders.

There is a hugely poignant moment in Stree 2 when all the Chanderi women break out in unison late into the night, fully aware of the dangers lurking. Stree 2 also touches upon women empowerment briefly while talking about the kidnapped girls. Aamir Kaushik doesn’t go very deep but still these moments are mighty effective.

The humor quotient of Stree 2 is also very strong. Niren Bhatt’s dialogues are filled with punches and often leave the viewers in splits. Abhishek Banerjee as the gullible friend often manipulated by his friends raises many laughs particularly in his interactions with Pankaj Tripathi’s Rudra. The way both of them feed on each other is wonderful to watch. Pankaj Tripathi as the ghost expert continues his great form delivering many laughs. He has also gets a charming romantic subplot with Tamanna Bhatia, it doesn’t last for long but makes for a fun watch.

Aparshakti Khurana as Bittu gets more to do this time around and he does a fantastic job. He is charming as the lover singing a lullaby to his girlfriend. His portrayal of anguish upon his girlfriend being taken away by Sarkate is palpable. At the same time there is a different shade too when Bittu becomes an alpha male as a result of Sarkate’s strong spell. The actor brings out both these shades in a wonderful manner.

Rajkummar Rao as Vicky is spot on in acing the different aspects of his role. Whether it is his lover boy act, or scenes of physical comedy. With this movie he once again proves his ability in jumping genres successfully.

The cameos of Tamanna Bhatia, Varun Dhawan and Akshay Kumar have been smartly integrated. Akshay Kumar plays a lunatic who thinks of himself as Shah Jahan. Akshay’s character is the one who sends a warning letter to Rudra in the beginning. The ending shot suggests that he might be an important part of Stree 3. Tamanna Bhatia sizzles in the special song “Aaj Ki Raat. She adds a lot of glamour with her sexy belly moves. Talking about the songs apart from “Aaj Ki Raat the other two “Aayi nai ” and “Tumhare Hi Rahenga Hum” also make for a good listen and watch. Varun Dhawan as Bhediya gets a dashing entry at a critical juncture. His scene with Abhishek Banerjee deserves a particular mention. Varun’s Bhediya gets attracted to Shraddha and asks him on how to impress her. In response Abhishek Banerjee says that you are Bhediya remain like that and don’t become an animal.

Tamanna Bhatia in Aaj Ki Raat

What drags down Stree 2 much like the first part is Shraddha Kapoor’s character. She has the same set of expressions from Stree 1. The romance between her and Rajkummar feels largely one sided with him doing most of the heavy lifting. The sequences of Sarkate meeting his end also needed to be crisper. The viewers get a feeling of eternity before Sarkate gets defeated.

Keeping aside these small niggles Stree 2 is truly a blockbuster sequel.

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Kill: Visceral action yet a thrilling ride

Kill movie banner

Director Nikhil Nagesh Bhatt elevates a standard action plot by bringing class divide and blurring the lines between what we consider as hero and anti hero.

  • Starcast: Lakshya, Raghav Juyal, Tanya Manikatla, Abhishek Chauhan, Ashish Vidyarti and others
  • Director and writer: Nikhil Nagesh Bhatt
  • Music: Shashwant Sachdev and Vikram Montrose
  • Cinematography: Rafey Mehmood
  • Producers: Karan Johar, Guneet Monga etc
  • Production houses: Dharma Productions and Sikhya Entertainment

On surface the plot of Kill may appear as a series of action sequences, a show reel for debutant Lakshya to establish himself as a massy hero who can vanquish villains even after facing severe blows.  But what makes Kill different from other violent movies is a strong emotional poignancy. The character graph of Lakshya’s Amrit Rathod from a commando who initially just wants to control the situation to eventually becoming a bigger monster has strong undercurrent of emotions. As the movie progresses Nikhil Nagesh Bhatt questions our notions of what we consider as hero and anti-hero. No wonder Kill got rave reviews at the Toronto International Film Festival, kudos to Karan Johar for giving a movie like this a significant platform along with Guneet Monga.

The initial minutes of Kill are devoted to the love story between Amrit Rathod and Tulika (Tanya Maniktala). Tulika is returning to Delhi after a reluctant engagement. Amrit and his fellow commando/ friend Viresh (Abhishek Chauhan) are also on the same train. Amrit is making plans on how to convince his future father in law with the help of Viresh. A romantic story soon turns into a catastrophic night thanks to a group of dacoits (armed robbers). The leader of this gang is Fani (Raghav Juyal). Ashish Vidyarthi plays Fani’s father and a fellow dacoit. The father and son don’t get along well. What should have been a simple robbery ends up in a violent bloodbath because of Fani’s thoughtless actions who is desperate to get his father’s approval and love. Nothing more can be revealed here.

The initial moments start as a love story

A strong aspect of Kill is the humanizing of the dacoits. There are portions of the second half where the armed robbers vent out their vulnerabilities and fears. They want an escape from this havoc seeing the brutal deaths of their family members. On more than one occasion they plead to Ashish Vidyarti’s Beni about deboarding the train.  Director Nikhil Nagesh Bhatt is successful in bringing out a strong sense of brotherhood. He also subtly highlights the class divide and the impoverished state that leads to these men becoming robbers and looting rich people. On the surface they appear as ordinary men but there is a deep angst within.

The scenes between Ashish Vidyarti and Raghav Juyal is another major highlight of the movie, there is a constant friction in spite of both being armed robbers. A particular scene that has to be mentioned is the one where Beni talks about how Fani has dumped his father’s values and principles. To this Fani replies sarcastically that they are dacoits and he isn’t Amitabh Bachchan’s Narayan Shankar  from Mohabbatein to talk about principles and values, this scene raises ample chuckles.

The action sequences by nature are very violent and definitely not for family audiences, however stunt directors Se- Yeong along with Parvez Sheikh deserve kudos for coming up with innovative combat sequences in the confined spaces. A particular mention must be made of how they have used the window curtains that become death traps. Cinematographer Rafey Mehmood camera work is also fantastic. He successfully captures the tense atmosphere through his lens.

Kill wouldn’t be what it is without the brilliant acting particularly lakshya and Raghav. Lakshya makes for a perfect action hero. He captures the turmoil of Amrit many times with just his eyes and overall body language. Lakshya fully convinces the audiences that Amrit has become a killing machine. Fani’s taunt at Amrit on how he isn’t a hero but a big monster feels very true. Raghav Juyal best known for his dancing skills springs a very pleasant surprise. He knocks it out of the park as a cold blooded villain who has his own vulnerabilities. Fani’s anguish at seeing the violent deaths of the family members including his own father has been well portrayed by Raghav.

Both Lakshya and Raghav deliver terrific performances

Tanya Manikatala does well in her brief yet important role. She brings in an understated strength to Tulika. Her lovey-dovey moments with Amrit that include him proposing to her in a toilet seat comes across as a respite from the breathless action. Ashish Vidyarthi also makes his presence amply felt as the frustrated father who prophesies that the reason for him dying before time would be his son. Abhishek Chauhan has a straight forward role of being Amrit’s ally in the initial phase nevertheless the actor has his moments.

True to the title Nikhil Nagesh Bhatt has killed it, this violent saga may make you apprehensive of train journeys but it is a must watch for those who like blood and gore with a solid storyline.

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Chandu Champion: This true story of grit and determination takes the viewers on a roller coaster of emotions

This Kabir Khan directorial begins off hazily but soon finds its grove. Kartik Aryan delivers a knockout performance putting his blood and soul. He doesn’t miss a single beat
  • Starcast: Kartik Aryan, Vijay Raaz, Bhuvan Arora, Rajpal Yadav, Yashpal Sharma, Shreyas Talpade and others
  • Director and writer: Kabir Khan
  • Additional writers: Sumit Arora and Sudipto Sarkar
  • Producers: Sajid Nadiadwala and Kabir Khan
  • Music: Pritam
  • Production Companies: Naiadwala Grandson Entertainment and Kabir Khan Films
  • Cinematography: Sudeep Chatterjee
  • Running time: 2 hours and 30 minutes
  • Genre: Biographical drama

There was a period in Hindi cinema when the on-screen portrayal of disabled/ differently enabled people used to be all about the Bechara syndrome. They were often portrayed as objects of pity or to evoke comedy. But this depiction has undergone a significant change in the recent past. Case in point being Sanjay Leela Bhansali’s Black featuring Rani Mukherjee. In this movie Rani Mukherjee played a visually impaired girl Michelle based on Helen Keller’s life. Michelle is never reduced to a stock caricature, there is a strong determination to prove herself. In Guzaarish Hrithik Roshan played a popular magician Ethan who suffers paralysis and turns into a radio jockey. Although Guzaarish is a grim story that focuses on Euthanasia/ mercy killing yet it is also a tale of resilience. The scenes of Ethan as a Radio jockey and how he spreads hope through his wit are in particular were compelling.

This year you have had the biopic of the visually impaired businessman Srikant Bolla starring Rajkummar Rao. In this movie director Tushar Hiranandani made some scathing remarks on how some people think that the best way to help the blind is only through making them cross the road. Now you have Kabir Khan’s Chandu Champion based on an incredible true story of Muralikant Petkar. India’s first paralympic gold specialist.

The movie begins in the present with an older Muralikant Petkar (An outstanding Kartik Aryan). He is narrating his tale of glorious days to a bunch of cops. From his younger days itself Murali had a huge dream of winning an Olympic gold medal for India inspired by KD Jadhav an Olympic medalist. He openly says that his dream is to win an Olympic gold medal only to get ridiculed and bullied by his fellow classmates. At one point Murali also runs away from his village. He joins the Indian army and finds a strong ally in the form of Karnail Singh (Bhuvan Arora) who gives Murali hope that he can become the next Milkha. Vijay Raaz plays Tiger Ali. He is a coach cum father-like figure who trains Murali for the boxing championship. He reaches the finals but only ends up with a silver medal leading to a strained relationship with the coach. In the life altering 1965 Kashmir war Murali faces many wounds in the process of trying to save his colleagues. Murali ends up in a prolonged coma becoming paralyzed waist down. At one point he even tries to commit suicide by having excess pills, but destiny has other plans for him. The rest of the story is about how Petekar manages to overcome all the odds fulfilling his dream of winning gold along with why he is narrating his life story to a bunch of policemen.

There is no denying that Chandu Champion has a hazy start. The scenes of Murali in the military camp has a distinct hangover of Bhaag Milkha Bhaag. The humor at places is also reminiscent of that however the movie finds its grip soon. The scenes of Murali preparing for the boxing championship and how he pummels down his opponents only to lose in the finals has been brilliantly written and enacted. The Pre interval block of the 1965 war and the life altering event sets a solid base for the second half.

The second half becomes even more engaging. The portions of Murali’s despair touches a strong emotional chord. As viewers you root for him to succeed in life. The return of Tiger Ali and the way he motivates Murali to dream big again is wonderful to watch. This time the sport is swimming with the aim of winning gold in the 1972 Summer Paralympics. But here again the path is far from easy as the sports committee is not too keen on funding a player for the Paralympics event. The way Murali overcomes all these challenges and sets a world record by clinching the gold medal in 37.33 seconds is exhilarating to watch.

An aspect of Chandu Champion that elevates the movie from just a template underdog drama is the message that it conveys regarding disability and differently abled people. There is a powerful monologue where Murali talks about how differently abled are not looking for sympathy. It critiques the Bechara syndrome and how sometimes even their best efforts are not given due recognition.

Chandu Champion is also technically strong. Sudeep Chatterjee’s cinematography coupled with Juluis Packam’s background score elevates the movie’s emotional core further. The cinematography of the boxing and the paralympic sequences in particular deserve a special mention.

Pritam’s music is not of the blockbuster type but the songs Tu Hai Champion and Sarphira make a strong impact.

Coming to the man of the moment Kartik delivers a career defining performance. His physical transformation is of course beyond commendable but beyond the physicality the actor also shines bright in the scenes of showing helplessness, frustration, resilience and grit. He more than holds his own opposite the veteran Vijay Raaz. The hunger to be taken seriously as an actor is very much visible. Even as an older man he is pretty good.

Vijay Raaz as the coach has an interesting arc and is not just used for comic relief. He brings in a lot of emotional depth. His emotional moments with Kartik Aryan give the movie some of its best moments. Bhuvan Arora also makes a strong impact in his limited screen time. The camaraderie between him and Kartik is very much on point.

Shreyas Talpade as the funny cop and Sonali Kulkarni as a journalist could have been used better though.

Chandu Champion is an inspiring story that needs to be watched on the big screen. Muralikant Petkar, Kabir Khan and Kartik Aryan take a bow.

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Mr and Mrs Mahi: Rajkumar Rao and the music are the only redeeming features of this underwhelming romantic/sports drama

Director Sharan Sharma disappoints after a promising debut in Gunjan Saxena. Janhvi Kapoor needs to get out of her stock expressions
  • Starcast: Rajkumar Rao, Janhvi Kapoor, Kumud Mishra, Zarina Wahab and others
    special appearance (Arjit Taneja)
  • Director and writer: Sharan Sharma
  • Additional writer: Nikhil Mehrotra
  • Production Company: Dharma Productions and Zee Studios
  • Music directors: Vishal Mishra, Tanishk Bagchi and others
  • Cinematography: Anay Goswami
  • Running time: 2 hours and 18 minutes

Sharan Sharma’s first movie Gunjan Saxena: The Kargil Girl was much appreciated for its strong storytelling particularly the father and daughter relationship. The movie also packed a powerful punch in showing how Gunjan broke through the mostly male stronghold to make a place for herself. For Janhvi Kapoor the movie was a resurgence after the mixed reviews to Dhadak.

Sharan Sharma’s second venture Mr and Mrs Mahi had all the potential to be a solid feel-good movie, but this time the director has disappointed the emotions land rarely and the cricketing portions are a dampener. It also doesn’t help that Janhvi seems to have stepped straight out of Baawal sets in a different universe. Sure, the character sketch leaves a lot to be desired, but Janhvi’s monotonous expressions doesn’t really help. She really needs to up her game significantly particularly in the times of talented young actresses like Nitanshi Goel and Pratibha Ranta from Laapaata Ladies. Or even Mrunal Thakur who has delivered some impactful performances.

Mr and Mrs. Mahi tells the story of a failed cricketer Mahendra Agarwal (Rajkummar Rao) and his doctor wife Mahima Agarwal (Janhvi Kapoor). Mahendra toils away in his father’s sport shop. Mahendra’s dream was to play for the national team however that didn’t transpire for many reasons. There is a constant undercurrent of tension, the father Hardayal Aggarwal (Kumud Mishra) considers Mahendra as a defective piece. The son on the other hand looks at himself as a complete zero. Adding to Mahendra’s woes is the elder brother Sikander Aggarwal (a caricaturist Arjit Taneja). Sikander is a big television actor whose face is seen on billboards; fans throng after him. This adds to Mahendra’s insecurity. Things take a turn when Mahendra comes upon his wife’s cricketing abilities. He manipulates Mahima into believing that she is made for cricket. Mahendra is successful in making Mahi a star, but their marriage takes a beating as Mahendra’s desire for fame has not been quenched.

One of the few redeeming features of Mr and Mrs Mahi is the top notch Rajkummar Rao. Yes, Mahendra is not a likeable person. On more than one occasion he comes across as very selfish and also insensitive but at the same time it is impossible to hate Mahendra completely thanks to the layered character and Rajkummar Rao’s portrayal. The way Rajkummar showcases the psyche of a broken man is a testament of his immense talent. The actor also raises some chuckles in the scenes where Mahendra records videos promoting himself on how Mahma has reached this far because of him.

The music composed by the various composers does make for a good listen and watch. A particular mention must be made of Vishal Mishra’s “Roya Jab Tu”. This song takes place when Mahendra and Mahi have a spilt and her game has taken a severe beating. Anay Goswami’s cinematography is suitably glossy and does make the movie visually appealing.

Director Sharan Sharma does make some important points on how the need for fame can drive a person insane and also the aftereffects of suppressing childhood dreams. However, these scenes are far and few in between.

A major problem with Mr and Mrs Mahi is the lack of depth in both the characterization and the acting performance of Janhvi. For most part the viewers see the film from the perspective of Mahendra and this leaves little room for Mahima. Often times she comes across as a pushover whether it is the father making her choose a doctor career or the husband manipulating her to become a cricketer. There is little agency here and by the time Mahima gives it back to Mahendra it becomes too late.

As mentioned in the beginning Janhvi needs to get out of her stock expressions. The emotions of fear and vulnerability are the same as we have already seen in the likes of Baawal and Mili. Sure, she has worked on the cricket aspect but other than that there is nothing new. Also, the cricketing aspect feels superficial given that Mahima is never seen fielding on the ground.

Mr and Mrs Mahi is strictly an average watch only elevated somewhat by Rajkummar Rao.