Category: Movie Reviews

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Sky Force : A competent and refreshing war drama avoiding the usual bombastic-ness

‘Sky Force’ directed by Sandeep Kelwani and Abhishek Anil Kapur is set during the tumulus war of 1965. The movie follows India’s daring and successful airstrike on Pakistani’s heavily protected Sargodha airbase.
Sky Force (Hindi), 24-01-2025, Action, Drama, 2 hours 30 minutes, U/A, Theatre
  • Main Cast: Akshay Kumar, Veer Pahariya, Sharad Kelkar, Sara Ali Khan, and Nimrat Kaur
  • Director: Sandeep Kelwani and Abhishek Anil Kapur
  • Producer: Dinesh Vijan, Jyothi Desphande
  • Music Director: Tanishk Bagchi
  • Cinematography: Santhana Krishnan Ravichandran
  • Rating: 3/5

Subjects involving our beloved neighbour Pakistan have been one of Bollywood’s pet themes over many years, whether it is the likes of Kabir Khan’s Bajrangi Bhaijaan (2015) or Aditya Dhar’s Uri (2019).

The love and hate-relationship between India and Pakistan has been the emotional fodder for numerous movies. When it comes to war movies portraying Pakistan there has been an increasing trend of playing to the gallery with zero nuances, of course, exceptions are also there like the Meghana Gulzar-directed Raazi (2018), a movie which looked at the human cost of war.

Synopsis

Sky Force directed by Sandeep Kelwani and Abhishek Anil Kapur is set during the tumulus war of 1965. The movie follows India’s daring and successful airstrike on Pakistani’s heavily protected Sargodha airbase.

In this very successful mission, the rebellious squadron leader TK Tabby (a promising Veer Pahariya) goes missing. He has a major disregard for protocols, which leads to him flying solo into the enemy territory during a sky-force mission.

TK Tabby goes missing and the higher authorities in the military have zero interest in knowing his whereabouts given his rebellious nature. It is left to Akshay Kumar’s KO Tiger Ahuja to uncover the mystery.

KO Ahuja is both a wing commander and also a fatherly figure to Tabby. The movie follows KO Ahuja’s relentless quest.

Sharad Kelkar in an extended special appearance plays Pakistani squadron leader Ahmed Hussain. He turns out to be a major link for Tiger Ahuja in unravelling the mystery.

What works and what doesn’t 

There is no denying that Sky Force has a bumpy start. The initial sequences of camaraderie and the air training portions have a distinct hangover from Siddarth Anand’s Fighter a movie which also featured many air combat sequences.

But the movie soon settles down as the intensity of the 1965 War takes centre stage.

The movie also taps into the bureaucratic frustrations and political red tape. These issues are briefly touched upon effectively. The pre-interval sequence leading to the successful airstrike and then the subsequent disappearance of Tabby is wonderfully staged thoroughly involving the viewers.

The second half focuses on KO Ahuja’s relentless quest and from here on the movie engages the viewers emotionally.

How KO Ahuja finds the first lead thanks to Ahmed Hussain and his determination to uncover bringing closure and also justice to Sarah Ali Khan’s Geeta Vijaya —Tabby’s wife packs in an emotional punch.

The ultimate revelation and how Tabby gets his much-deserved due for his bravery has both been wonderfully written and enacted.

Dynamics between the leads

A major plus for the movie apart from the strong emotional resonance, are the dynamics between Tabby and KO Ahuja.

The on-screen camaraderie between the two characters has been wonderfully established. KO Ahuja sees his lost son in Tabby— there is visible warmth in the light-hearted scenes.

KO Ahuja is a father-like figure to Tabby, someone he respects deeply. Ahuja treats Tabby with warmth but maintains an authoritative stance. In one scene, Tabby is kept on standby and not allowed to take part in any action. When Tabby asks for an explanation, saying he has always looked up to Ahuja as a father, Ahuja responds firmly, “I don’t owe you any explanations.”

Sky Force is also refreshing in the sense that there are no in-your-face celebrations after India defeats Pakistan, no over-the-top dialogues looking down at Pakistan.

The animosity between the two nations isn’t going to last forever. There is a mutual sense of respect for men in uniform in both India and Pakistan. The scenes featuring Sharad Kelker as the Pakistani squadron leader is a very good example of this.

Technical aspects and performances

The action sequences designed by Parvez Shaikh and Craig MacRae are a delight to watch particularly for fans of air combat sequences.

Santhana Krishnan Ravichandrana’s cinematography is also stunning. He perfectly captures the intense action like an action-packed sequence between Veer Pahariya and Sharad Kelkar.

Tanishk Bagchi’s music is of a good standard barring one rather unnecessary party number. Among his compositions, the standout number not surprisingly goes to B Praak’s “O Maaye Teri Mitti Bulaye”. The composition along with B Praak’s soulful voice will move the audiences.

Talking about the main leads Akshay Kumar as KO Ahuja plays a senior officer and a concerned mentor with absolute finesse. He brings in a lot of gravitas making the viewers root for his character.

Veer Pahariya makes a confident debut; he plays the determined soldier with conviction effortlessly embodying a rebellious nature. Sharad Kelkar also leaves a significant impact in his brief role with a restraint act.

Nimrat Kaur and Sara Ali Khan play the typical army men-wife characters. They are good in their limited portions but the characterizations of both leave a lot to be desired.

Final take

To sum it up Sky Force is worth boarding on despite a familiar territory.

(Views expressed here are personal, edited by Sumavarsha)

https://thesouthfirst.com/entertainment/sky-force-movie-review/

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A Real Pain: A poignant holocaust drama with the backdrop of two polar opposite cousins

Director and writer Jessie Eisenberg delivers a moving tale of inherited scars. The film comes across as a more of a character exploration than a plot driven one. The evolving bond between the cousins in spite of their mismatched personalities give many poignant moments

Writer and director: Jessie Eisenberg

Starcast: Jessie Eisenberg, Kieran Culkin, Jennifer Grey, Kurt Egyiawan and others

Producers: Ewan Puszczynska, Jennifer Semler, Emma Stone and others

Production Companies: Topic Studios, Fruit Tree and others

Cinematography: Michael Dymek

Running time: 1 hour and 30 minutes

Genre: Drama/comedy

The genocide of the Jews by the Nazi Germany under the hugely dictatorial leadership of Adolf Hitler is something that can never be forgotten. Although the holocaust had taken place in the 1930’s the scars left by that very traumatic incident still persists. The psychological trauma endured by the survivors manifests in numerous ways. Some examples are sleep disorders, anxiety and night terrors, It is an extremely painful chapter in history and a huge blot on mankind. Unfortunately the mankind has learned northing from the past. The current Israel and Hamas War is the perfect example of this. The tactics employed by the Israel government are being compared to the Nazi ways. In a way the movie A Real Pain reflects the current scenarios through the holocaust tragedy.

Over the years numerous movies and documentaries have been made with the subject of the holocaust like the deeply disturbing The Boy In The Stripped Pajamas. The Boy in The Stripped Pajamas focused on a friendship between the son of a German officer and a Jewish Prisoner. The climax of The Boy In The Stripped Pajamas is deeply haunting to even this day. There is also Steven Spielberg’s excellent Schindler’s list. Schindler’s list focused on the bravery of a German industrialist saving many polish/ Jewish refugees by employing them in his factories during the hugely tumultuous World War 2. In spite of the above mentioned movies with similar topic A Real Pain has its own uniqueness.

The Boy In The Stripped Pajamas

Schindler’s List

In simple terms the plot of A Real Pain focuses on two Jewish cousins. David (Jessie Eisenberg) and Benji (Kiera Culkin). Both of them are travelling to Poland to visit their late grandmother’s home as a way of honoring her memory, she was an holocaust survivor. David and Benji have very contrasting personalities. David is more reserved and also a settled family man with a stable job. Benji on the other hand is extremely free spirited with zero filters. Benji is anti- capitalist and also often prone to emotional outbursts making David uncomfortable. The cousins do share a playful camaraderie but there is also an underlying tension which comes out strongly. This is the story in brief.

Kiera Culkin and Jessie Eisenberg

A strong aspect of A Real Pain is the intermingling of the holocaust tragedy with the complex dynamics of the cousins. In a way the film feels similar to Nitesh Tiwari’s Bawaal. A movie which mixed relationship drama and the world war 2 horrors. But there is a huge difference in the way the directors have handled the extremely sensitive topic. Nitesh Tiwari on one hand made an absolute mess, but Jessie Eisenberg treats the sensitive subject with the respect that it deserves.

A particular mention must be made of the scenes where the cousins are forced to confront the scars of the holocaust which in turn brings out their personal/ emotional crises. The dialogues coupled with the acting leaves a huge impact. As the journey progress the relationship flows through many ebbs. All this has come out wonderfully. The changes in the relationship by the end of the journey and how they are more accepting of each other has come out in a subtle and grounded manner.

Among the lighter scenes a special mention must be made of the portion where Benji coaxes Jim into breaking rules. The scenario is predictable but the understated approach brings a smile to the viewers face. One of the extremely poignant moments in A Real Pain involves the visit to Nazi concentration camp where Benji has a huge breakdown. A deep emotional catharsis is apparent. This moment makes David realize that beneath his cousin’s happy go lucky demeanor there is also a major inner sadness.

Although the focus is mostly on the cousins the supporting characters also get their due like Kurt Egyiawan as Eloge. Eloge is a recent Jewish convert and a survivor of Rwandan genocide. His character and performance offers a poignant remainder on how the horrors of holocaust aren’t just confined to the past. Genocides have always been there and continue to persist like the ones happening in Gaza. Every member of the tour have their personal histories adding a lot of emotional heft.

Kieran Culkin as Benji delivers a truly superlative performance. He masterfully transitions between the character’s free spirited nature and the simmering anguish. Jessie Eisenberg on the other hand comes across as more of an observer to his cousin’s eccentricities still he too makes his presence amply felt. He particularly stands out in a breakdown scene while talking about his brother’s nature and the complex relationship that they share. Both the actor’s play off each other wonderfully.

Kieran Culkin as Benji masterfully transitions between the character’s free spirited nature and the simmering anguish

A Real Pain is also technically sound. The cinematography of Michael Dymek is of a very high order specifically in the portions related to Holocaust scars.

To Sum it up A Real Pain is a very worthy addition to the movies previously made on the subject of Holocaust.

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

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

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

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

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

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

Synopsis

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

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

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

Portrayal of Emergency

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

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

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

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

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

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

Best moments

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

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

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

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

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

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

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

Kangana as Indira Gandhi

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

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

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

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

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

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

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

Technical aspects

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

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

Final take

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

(Views expressed here are personal, edited by Sumavarsha)

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

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Sankranthiki Vasthunam: A fun filled Sankranti outing in trademark Anil Ravipudi style

‘Sankranthiki Vasthunam’ is a wholesome entertainer particularly for those likeVenkatesh’s brand of comic timing and Anil Ravipudi’s whacky storytelling.

Sankranthiki Vasthunam (Telugu), 13-01-2025, Action, Comedy, 2 hours 24 minutes, U/A, Theatre
  • Main Cast: Venkatesh, Aishwarya Rajesh, Meenakshi Chaudhary, and Upendra Limaye
  • Director: Anil Ravipudi
  • Producer: Shirish
  • Music Director: Bheems Ceciroleo
  • Cinematography: Sameer Reddy
  • Rating: 3.5/5

In a short span of time, Anil Ravipudi has established himself as a successful commercial director. His stories rely more on punch lines and outlandish humour rather than a coherent storyline.

However, the conviction with which he narrates his stories and the actor’s commitment makes them hugely enjoyable. Very good examples are F2: Fun and Frustration (2019) and its sequel F3 (2022).

The director also proved his versatility with the action drama Bhagavant Kesari in 2023. He did a fine job in merging Nandamuri Balakrishna’s stardom with strong beats of women empowerment.

Synopsis

With Sankranthiki Vasthunam, the director returns to familiar territory. A whacky comedy with elements of family drama, the storyline isn’t high on logic, and often borders on being farcical, but what holds the movie together majorly is Venkatesh’s brilliant act coupled with Anil Ravipudi’s narration.

Sankranthiki Vasthunam begins off with a kidnap scenario. A CEO of the world’s number one tech company Aakella (Srinivas Avasarala) is kidnapped on his visit to India. The government has a big responsibility to bring Aakella back.

Venkatesh plays suspended officer YD Raju, extremely well known for his notorious handling of criminals, shooting them at his will.

Due to the numerous complaints of a human rights organization YD Raju is suspended. Meenakshi Chaudhary plays VD Raju’s ex-girlfriend and a police officer herself. Meenakshi and YD Raju had a bitter break-up.

YD Raju makes a promise not to marry anyone else but it turns out that he is a happily married man with Bhagyalakshmi (Aishwarya Rajesh). They have four kids, among the kids, Bheemla Revanth Pavan Sai Subhash is the most important one.

Meenakshi comes to VD Raju’s place to seek help from him and also a certain hope of reconnecting but is thoroughly shocked to know that he has moved on. The rest of the story focuses on the tangle that VD Raju finds himself in and how Meenakshi and Co are able to free Aakella with his help. There is a small subplot as well connected to the importance of respecting teachers.

Strong aspects

Sankranthiki Vasthunam is a comedy entertainer
‘Sankranthiki Vasthunam’ is a comedy entertainer. (X)

A strong aspect of Sankranthiki Vasthunam is undoubtedly the characterization of Venkatesh, coupled with his wonderful act. The senior actor isn’t new to the genre of humour.

The actor’s comic timing in movies like Malliswari (2004), F2 and F3 along with Nuvvu Naaku Nachav (2001) has brought the house down raising many chuckles. Still, director Anil Ravipudi brings out a different side to his comedy.

As a man caught between his ex and his wife, while handling the important task at hand Venkatesh is simply brilliant. He brings the house down on many occasions with his expressions and lifts many of the movie’s comic moments with his wonderful sense of timing.

Performances

Venkatesh portrays a loving family man, an ex-lover and a smart cop in a wonderful manner. A particular mention must be of the pre-climax fight when his character lets out all the pent-up angst. There is a super mix of action and comedy thoroughly entertaining the viewers.

His chemistry with both Aishwarya Rajesh and Meenakshi Chaudhary is the icing on the cake. The scenes involving a trio are super fun to watch as well.

Aishwarya Rajesh as the jealous yet lovable wife does a great job too. There is a certain naivety to Bhagyalakshmi which Aishwarya pulls off wonderfully. Aishwarya’s portrayal of jealousy and insecurity whenever Meenakshi gets close to her husband is brilliant to watch.

Anil Ravipudi directorial Sankranthiki Vasthunam
Anil Ravipudi directorial ‘Sankranthiki Vasthunam’. (X)

Meenakshi Chaudhary as the cop and an ex-girlfriend also gives a good account of herself. After playing the roles of housewife in Lucky Baskhar and Matka, this marks a different terrain for her and the actress more than holds her own opposite Venkatesh and Aishwarya Rajesh.

Special mention must also be made of Bheemla Revanth Pavan. As a boisterous kid with OTT-inspired curses, the child actor does a very good job. The chemistry between Venkatesh and Bheemla Revanth adds to the fun element.

Upender Limaye plays an eccentric cop with a high pitch. His scenes often border on being loud still it goes with the movie’s nature.

Technical aspects

Bheems Ceciroleo’s music is another asset for the movie with Ramana Gogula’s “Godari Gattu” being a major highlight. Apart from that, the song “Meenu” showcasing YD Raju and Meenakshi’s romantic past is also a fun number.

Talking about the movie’s flaws there is a shabbily written subplot about respecting and remembering your teachers. The message behind this is noble as teachers are an important pillar of society and worthy of respect, however, the way it has been integrated is patchy.

Also, the second half has moments of repetitiveness in terms of humour. Some sequences with farcical humour test the viewer’s patience.

Final take

To sum it up Sankranthiki Vasthunam is a perfect watch for those looking for light-hearted entertainment. Fans of Anil Ravipudi and Venkatesh will have a blast.

(Views expressed here are personal, edited by Sumavarsha Kandula)

https://thesouthfirst.com/entertainment/telugu/sankranthiki-vasthunam-movie-review/

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Daaku Maharaaj : A mass feast for Balakrishna’s die hard fans

Bobby Kolli’s ‘Daaku Maharaaj’ doesn’t break any grounds in terms of the story. It is a tried and tested good versus evil saga somewhat elevated by Balakrishna’s star power.
Daaku Maharaaj (Telugu), 12-01-2025, Action, Drama, 2 hours 30 minutes, U/A, Theatre
  • Main Cast: Nandamuri Balakrishna, Bobby Deol, Shraddha Srinath, Pragya Jaiswal, and Chandini Chowdary
  • Director: Bobby Kolli
  • Producer: Suryadevara Naga Vamsi
  • Music Director: S Thaman
  • Cinematography: Vijay Kartik Kannan
  • Rating: 2.5/5

Bobby Kolli’s Daaku Maharaaj plays out like an unabashed love letter to the crazy fan following of Nandamuri Balakrishna.

Balakrishna’s connection with the masses is undeniable, regardless of whether you like the actor or not.

Bobby Kolli uses the connection to the hilt to keep the viewers invested.

Synopsis

In simple terms, the story of Daaku Maharaaj focuses on a civil engineer turned vigilante. The movie initially presents Balakrishna as Nanaji, a driver. However, Nanaji’s real intentions are different.

His true mission is to protect the granddaughter of the tea estate. The family is under threat from MLA Trimurthulu Naidu (Ravi Kishan).

Nanaji quietly eliminates the gangs related to Trimurthulu Naidu. Things take a dramatic turn when Nanaji’s real identity comes out.

Balwant Singh Thakur (Bobby Deol) is informed of Daaku Maharaaj’s reappearance—the second half shifts to an origin story.

Before becoming a vigilante Balakrishna’s Sitharam was an upright civil engineer. Sitharam’s aim was to bring water to the withered area of Sonapur in Madhya Pradesh. This area is ruled by the demonic family of Thakurs.

Bobby Deol’s Balwant Singh Thakur is the youngest among the brothers. The rest of the story focuses on the transformation of Sitharam and his connection with the granddaughter of the tea estate.

A showreel for Balakrishna

Daaku Maharaaj is an action thriller
‘Daaku Maharaaj’ is an action erntertainer. (X)

It goes without saying that Daaku Maharaaj is mostly a showreel for Nandamuri Balakrishna. The actor’s screen presence coupled with his histrionics is what makes the movie watchable even when the plot enters into an utterly mundane zone.

The actor’s delivery of punch lines is definitely something that hardcore fans will enjoy. He does a very good job of portraying Sitharam’s transition from an honest civil servant wanting to solve the problems of Sonapur through government methods into a vigilante.

A scene which deserves a particular mention is a breakdown portion in the flashback involving the death of a girl. The quire in the voice coupled with the tremble as he talks about the horrific death brings out the actor in Balakrishna.

Both Shraddha Srinath and Pragya Jaiswal make their entry in the second half as the spouses of Bobby Deol and Balakrishna respectively.

Both of them make their presence amply felt particularly Shraddha Srinath as the honest collector who goes against her husband. An emotional sequence between Shraddha and Balakrishna before the death of her character is hugely poignant.

Bobby Deol as the thoroughly aristocratic Thakur with zero emotions makes for a suitably cruel villain. He gets the patriarchal nature of an upper caste bigot to perfection, his confrontation scenes with Balakrishna like the pre-climax sequence are deadly.

Flaws

A major problem with Daaku Maharaaj is its tried and tested formula of good versus evil. The movie comes with zero surprises for those who have grown up on commercial Telugu cinema. The beats of the story become very predictable.

The movie also suffers on account of too much fan worship. The fan service gets nauseating after a point giving little enjoyment for the neutral audiences.

Daaku Maharaaj also suffers from the mostly flat characterizations of the supporting cast. Able comic actors like Satya and VTV Ganesh are given very little to play with. The likes of Shine Tom Chacko as a wacky cop on the hunt of the Daaku start off promisingly but end up being majorly sidelined as the movie becomes a celebration of Balakrishna’s aura.

Technical aspects

Apart from Balakrishna’s performance, Vijay Kartik’s cinematography is also of a good standard, the Chambal portions of the second half showcase his prowess as a cinematographer.

Thaman S’s songs don’t help the movie much but his background score is pulsating, it perfectly complements the cinematography of Vijay Kartik in the Chambal portions.

Final take

To sum it up Daaku Maharaaj is strictly for the hard-core Balakrishna admirers, the ones who worship the actor and watch movies only for him.

(Views expressed here are personal, edited by Sumavarsha Kandula)

https://thesouthfirst.com/entertainment/telugu/daaku-maharaaj-movie-review/

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Game Changer : Ram Charan and SJ Suryah make this political tug of war worth watching

‘Game Changer’ is a welcome return to form for the celebrated director. The film isn’t vintage Shankar, still fares far better than the catastrophe of ‘Bharateeyudu 2’.

Game Changer (Telugu), 10-01-2025, Political, Drama, 2 hours 45 minutes, U/A, Theatre

  • Main Cast: Ram Charan, SJ Suryah, Srikanth, Kiara Advani, and Anjali
  • Director: S Shankar
  • Producer: Dil Raju
  • Music Director: Thaman S
  • Cinematography: Tirru
  • Rating: 3/5

Over the years Shankar has created a niche for himself as a director tackling issues of corruption and presenting social crusaders of different natures. Some of his protagonists take extreme measures like the extremely popular Gentleman (1993) and Anniyan (Aparichitudu) (2005).

On the other hand, you have Mudhalvan (1999), in which a television presenter becomes a chief minister. He ends up repairing the rotten system while staying within his powers.

Despite repeatedly tackling corruption themes in different forms, Shankar has enjoyed a huge fan base in not just Tamil but also Telugu. His Tamil dubbed movies have many admirers, in the recent past though the celebrated director has lost his mojo due to certain datedness, Bharateeyudu 2 (2024) being the best example.

The recent release Game Changer comes with a lot of pressure for Shankar, as there are doubts about his abilities to adapt to the present audience.

Synopsis

With Game Changer, Shankar proves that he has still got it, particularly the way in which he has designed the different shades of Ram Charan’s character and some solid moments between the protagonist and the antagonist.

He also discusses vote bank politics, in which poor people are given money to vote for a candidate belonging to a specific political party.

The storyline of Game Changer focuses on a generational fight of a father and son against societal injustices. SJ Suryah plays the chief antagonist Bobbli Mopidevi.

Bobbli has major aspirations of being a chief minister. To fulfil those dreams, Bobbli can go to any extent. Senior actor Srikanth also plays the grey-shaded character of Bobbli Satyamurthy. In the flashback portions, Bobbli is initially shown to be an admirer of Appanna, but things take a very drastic turn.

Strong aspects

Game Changer is a political drama
‘Game Changer’ is a political drama. (X)

As already mentioned a strong aspect of Game Changer is how Shankar has designed the dual roles of Ramcharan. The character of Ram Nandan on the one hand is high on swagger and Ram Charan pulls it off in a charismatic manner.

He brings in the required authority to command the screen, particularly in the confrontation scenes with SJ Suryah. As Appanna he brings in an emotional depth. Appana is a man who suffers from a serious stutter.

In spite of his inability to deliver powerful speeches, Appanna is driven by a single-minded goal of changing the corrupt political system. Ram Charan does a very good job of bringing out the various nuances.

SJ Suryah has emerged as a wonderful character artiste in the last few years and in this one too, the actor makes for an extremely formidable antagonist. SJ Suryah does a terrific job of portraying the obsession of Bobbli Mopidevi.

His trademark dialogue delivery coupled with the mannerisms is a delight to watch. Srikant in a grey-shaded role also deserves appreciation for his effective portrayal of a guilt-ridden man. The way he showcases the transition of Bobbli Satyamurthy from an admirer to a backstabber has been wonderfully written and enacted.

Among the two female leads Anjali as Appanna’s wife leaves a significant impact. Her role as Parvathy is an important emotional anchor and this has come out very well despite having less screen time. The mother and son scenes in the second half are another major asset.

Weak aspects

Ram Charan in Game Changer
Ram Charan in ‘Game Changer’. (X)

A major drawback of Game Changer is the insipid love story between Ram Charan and Kiara. All the sequences featuring the two have been weakly written.

Kiara doesn’t bring much to the table, other than looking beautiful and dancing energetically. Also, the portions featuring the likes of Priyadarshini and Satya among others are a major misfire. Despite their proven abilities, the comedic situations lack the required punch.

The climax is also too elongated with repetitive action sequences. The movie needed a much crisper edit in the closing portions. The cat-and-mouse game between Ram Charan and SJ Suryah though well-written gets repetitive.

Technical aspects

Thaman’s songs also enhance the narrative. On one hand, there is the upbeat “Jaragandi” and “Raa Macha Macha”. On the other hand, there is also the soulful “Arugu Meedha” picturised on Ram Charan and Anjali. Thaman has also delivered a thumping background score, particularly the portions elevating Ram Nandan.

Like most of Shankar’s movies, this too is visually grand. Cinematographer Tiru does a very fine in capturing the grand visuals through his lens. Sai Madhav Burra’s dialogues are also quite effective particularly the ones featuring Ram Charan and SJ Suryah.

The portions where Ram Nandan talks about the dangers of accepting money from a political party and subsequently voting for a particular person deserve a special mention.

Final take

Overall Game Changer is a passable political drama majorly enhanced by Ram Charan’s double role and S J Suryah’s antics. Don’t expect vintage Shankar and chances are you won’t be disappointed. For die-hard Ram Charan fans though the movie would be an absolute treat.

(Views expressed here are personal, edited by Sumavarsha)

https://thesouthfirst.com/entertainment/telugu/game-changer-movie-review/

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

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

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

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

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

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

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

Synopsis

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

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

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

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

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

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

Performances

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

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

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

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

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

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

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

Flaws

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

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

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

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

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

Final take

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

(Views expressed here are personal, edited by Sumavarsha)

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

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

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

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

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

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

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

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

Synopsis

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

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

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

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

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

On the shoulders of Nana Patekar

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

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

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

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

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

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

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

Flaws

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

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

Final take

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

(Views expressed here are personal, edited by Sumavarsha)

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

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Viduthalai Part 2: Powerful conclusion but this political tale isn’t everyone’s cup of tea

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
  • Starcast: Vijay Sethupathi, Manju Warrier, Soori, Rajiv Menon, Kishore and others
  • Direction and screenplay: Vetrimaaran
  • 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.

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Mufasa The Lion King: An engaging origin story with darker themes

An image from Musafa The Lion King

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.