Under the guise of a romantic movie director and writer Celine Song looks at the various factors which play a part in choosing a life partner and also the dating culture where the older women have a tough time given the specific requirements that some clients have
Starcast: Dakota Johnson, Chris Evans, Pedro Pascal and others
Genre: Romance
Director and writer: Celine Song
Producers: David Hinojosa, Pamela Koffler etc
Production Companies: 2AM and Killer Films
Cinematography: Shabier Krichner
Music: Daniel Pemberton
Running time: 1 hour and 49 minutes
The depiction of love stories has come a long way in movies across languages, from simple rom coms to more complex stories. The Materialists is a very good example of that. Through a story set in the context of today’s dating apps the movie’s plot explores how finding the right partner is so difficult given the many factors both economic and social.
At the heart of Materialists is Dakota Johnson’s Lucy. A failed theatre actor turned matchmaker. She deals with clients of different types everyday with hidden vulnerabilities of her own. Among her numerous clients Zoe Winter’s Sophie is a special one. Sophia is 39 years old and is desperate to find a loving man. Things take a dramatic turn when Lucy falls for the charm of Pedro Pascal’s Harry. Initially she thinks of setting up Harry as a client for the dating website however Lucy ends up falling for him. Harry has many desirable qualities, he is rich, chivalrous, kind and belongs to a happy family. In Lucy’s words he is a unicorn, soon enough Harry convinces Lucy about a potential union between them. Things start to look up at one point but life soon comes to crossroads due to a certain turn of events. One of the other important characters is Chris Evan’s John. A struggling theatre actor trying hard to make ends meet, he is also Lucy’s ex. This is the story in brief.
Dakota Johnson and Pedro Pascal
A big strength of Materialists is how the movie seamlessly integrates the professional and personal life of Lucy. Through the characters of some clients Celine Song does a fine job in touching upon the biases and how men are obsessed with certain physical features like a particular height and BMI (body fat). There is a scene in the movie where a client talks about how it shouldn’t exceed over 20.
Similarly the movie also dwells into the issues faced by older women due to ageism. Most men even if they are 50 want someone younger and not their age. The aspect of sexism has come out in a strong manner through the character of Sophia, she goes through many heartbreaks and assault as well. Zoe Winter as Sophia is excellent in making the viewers feel Sophia’s pain.
Mention must also be made of how Celine Song has dealt with the love triangle. The eventual path taken by Lucy isn’t unpredictable but the path to get there has been written and enacted wonderfully. The practicalities of what sustains a relationship whether it is love or financial security has come out beautifully.
The characterization coupled with the acting performance of Dakota Johnson is another plus for the movie. There is an unapologetic nature to Lucy on wanting a wealthy life partner, there is a scene in the movie where she says marriage is more of a business deal. At the same time Lucy is also clear about wanting love. Dakota Johnson plays the complicated role of a strong woman dealing with low self esteem at the same time in an excellent manner. The men also give solid support specifically Chris Evans. As an optimist with deep love for Lucy Chris turns in a memorable act, he makes the viewers fall in love with the character of John.
Chris Evans as John an optimist with deep love for Lucy
Daniel Pemberton’s songs have a poetic feel uplifting the emotions at many places. Shabier Kirchner cinematography is of an excellent order too. He succeeds in capturing both the glossy nature along with the emotional vulnerabilities underneath the sheen.
Final word: Materialists is a perfect watch for those who like complex love stories
B Kishore’s Devika &Danny is an interesting mixture of supernatural elements and a young woman breaking out of her self imposed shackles. What works for the web series is the family friendly tone and simple but effective storytelling. Ritu Varma in the role of Devika gives an assured performance mixing vulnerability with inner strength
Starcast: Ritu Varma, Surya Vashistta, Subbaraju, Goparaju Ramana and others
Genre: Fantasy
Director: B Kishore
Writer: Deepak Raj
Cinematography: Venkat C Dilip
Production house: Joy Films
Producer: Changati Sudhakar
No of episodes: 7
Streaming site: Disney+ Hotstar
In the first few minutes of Devika &Danny streaming on Disney+ Hotstar Ritu Varma’s Devika Nandan talks about living her life within a 25 kilo radius. She is a woman who despite certain reservations on her father’s choice of a potential groom decides to go ahead. Her belief is that a few adjustments will make the marriage work, also Devika is someone who doesn’t want to cross the line chosen by her father. In more ways than one Devika is an anthesis to the character played in Pelli Choopulu featuring the same Ritu Varma. Devika lacks the agency Chitra had at least in the initial portions. This establishment of character trait sets the tone for the subsequent transformation. The transformation of Devika Nandan into a more determined woman isn’t unpredictable but what makes it work is the subtle nuances.
A major strength of Devika &Danny is the mix of the supernatural elements with a coming of age story. The track of Surya Vashistta who charms Devika gives a different dimension to the web series. The revelation of who Danny actually is though predictable acts as a major catalyst for Devika to rethink and step out of the conventions. The way Devika becomes a more confident person taking on different challenges is a delight to watch. Surya Vashistta as Danny is both charming and intense as the scene requires. Additionally he shares a charming chemistry with Ritu Varma making the viewers wish they had met in different circumstances.
Mention must also be made of how the web series talks about generational patriarchy through the character of Gopuraju Ramana playing Subbaraju’s father. Subbaraju as a potential groom and a complete jerk with a regressive mindset also makes his presence amply felt. He raises many chuckles with his serious expressions and a certain exasperation. Mention must also be made of senior actress Kovai Sarala as an elderly woman running an orphanage. She appears in the crucial flashback lending an emotional depth.
Subbaraju and other cast members
A major problem with Devika &Danny is an over reliance on the use of Ritu Varma’s voice over. A cut down on that would have benefited the series immensely. Also some of the writing choices in the later half feel very convenient reducing the intrigue factor. The portions featuring Harsh Chemudu also doesn’t much add to the proceedings. His comic track comes across as a major speed breaker.
Venkat C Dilip’s cinematography is of a good order specifically in the village portions. Jay Krish’s background score is also fine and the CGi is well intergrated into the narrative.
Final word: Devika & Danny is a pleasing coming of age story. The series makes for a decent weekend watch.
Rachael Zegler in the role of Snow White surrounded by the Dwarfs
Walt Disney production house latest attempt at reimagining an old fairy tale is entertaining in spite of some flaws. What makes Snow White mostly work is the reimaging of the central character as a more self-reliant young woman
Starcast: Rachael Zegler, Gal Gadot, Andrew Burnap and others
Genre: Fantasy/musical
Director: Marc Webb
Screenplay: Erin Cressida Wilson
Based on: Snow White and the Seven Dwarfs
Producers: Marc Platt and Jared LeBoff
Cinematography: Mandy Wanker
Music: Pasek and Paul etc
Streaming site: Disney+Hotstar
Running time: 1 hour and 49 minutes
In the last few years Walt Disney productions have been on a spat of remaking old fairy tales with modern sensibilities whether it is Aladdin in 2019 or now the latest Snow White. A couple of commonalities linking the two films are the musical format and more empowered women characters specifically the lead women. Snow White (2025) is no different from its predecessor, the movie is a mix of fantasy while dealing with real world themes. Not everything lands but the movie makes for a breezy watch with an assertive female protagonist.
Aladdin 2019
In simple terms the story focuses on Rachael Zegler’s Snow White. She is confined to her own castle by a demonically evil queen played by Gal Gadot. Snow White hopes to reclaim her rightful place. In this process she meets Andrew Burnap’s Jonathan, Unlike the prince character from the old one Jonathan is a charming bandit on the lines of Robin Hood. The rest of the story focuses on Snow White ending the reign of the evil queen.
A strong aspect of Snow White (2025) is the characterization of the central character coupled with Rachael Zegler’s act. Marc Webb along with Erin Cressida Wilson have done a good job in gradually building up the character, in the initial portions she comes across as a sweet but docile person however by the end the character becomes a leader standing up against the injustices. This entire transformation has come out strongly.
Mention must also be made of the understated romance between Rachael Zelger and Andrew Burnap. Andrew Burnap bandit is a welcome break from the regular character of a prince. Sure, the character could have done with more depth but the scenes between them make for a good watch. Andrew Burnap delivers a charismatic act in spite of the brief screen time.
Rachael Zelger and Andrew Burnap
Gal Gadot’s character has some modern touches too going beyond someone who is just jealous of Snow White and tormenting her, she is seen as a symbol of fascism plundering the riches of the land. There is a dictatorial way in which the character operates, and Gal does a very fine job in bringing out those shades. These touches elevate the movie beyond just another reimagining.
As far as the visuals go cinematographer Mandy Waker makes sure that the movie becomes a visual treat. The movie has a vibrant look to it and the special effects have been well integrated. The musical numbers make for a fun watch particularly ‘Waiting on a Wish’
One of the big flaws of the movie are the dwarf characters. Their bond with Snow White doesn’t make an impact due to the lazy writing, it feels like more of an add on due to their presence in the fairytale rather than something substantial. Also, the movie’s tonality alerting between fantasy and real-world issues doesn’t land on some occasions.
Final word: Watch Snow White (2025) if you are in the mood to watch something lighthearted and get yourself lost in a fantasy world.
Inspired from a true incident director Karan Tejpal presents a largely gripping and harrowing tale of the huge divide between the privileged and the poor. Stree and Vedaa actor Abhishek Banerjee once again proves his chameleon like ability in adapting to different roles, he knocks it out of the park as usual.
Starcast: Abhishek Banerjee, Shubham Vardan, Mia Mazeler and others
Genre: Thriller
Director: Karan Tejpal
Writer and producer: Gaurav Dhingra
Executive Producers: Kiran Rao, Anurag Kashyap and Vikramaditya Motwane
Production house: Jungle Book Studio
Running time: 1 hour and 55 minutes
Cinematography: Ishaan Ghosh
Streaming site: Amazon Prime
In structure Karan Tejpal’s Stolen shares more than one similarity with Navadeep Singh’s NH10. Just like that movie here too the urbane characters find themselves in a huge tangle, a world far removed from their comfortable lives. The two protagonists become the medium to explore a world which is far away from high rise buildings and the glittery urbane space. However Karan Tejpal gives Stolen its own distinct identity through two brothers who are as different as chalk and cheese. In spite of some rough edges Stolen for most part is largely engrossing drawing the viewers in.
Stolen begins at a small town railway station in Rajasthan. Gautam (Abhishek Banerjee) is waiting for his younger brother Raman (Shubam Vardan). Raman is coming in a train since he missed the flight. Next day there is an important family event, Gautam is desperate to return back home. However things don’t go according to plan and the reason for this is Jhumpa (Mia Mazeler). Jhumpa’s daughter is missing and Raman is briefly suspected by the police. Raman is cleared of the charges but the police ask the brothers to wait leading to several things. This is the story in brief.
A strong aspect of Stolen is the cinematography of Ishaan Ghosh. Ishaan Ghosh is very successful in capturing the gritty tone, the visuals have a lived in feel with the rusty atmospherics. Through his lens he presents an India that we don’t see in big budget mainstream movies. A major divide between the privileged and oppressed, a deep cynicism and an agony of those who aren’t blessed with the safety net. Ishaan Ghosh’s work also stands out in the tense chase sequences. Sure at times they do get repetitive still he does a first rate job in capturing the dreadful scenarios which both the brothers find themselves in.
Mention must also be made of the sibling dynamics. Abhishek Banerjee’s Gautam is the more corporate guy among the two trying to dissuade his brother from helping Jhumpa. Shubham Vardan’s Raman is the more considerate guy leading to an interesting clash of ideologies. At one point the contrast may across as too jarring but Karan Tejpal along with Gaurav Dhingra give a slight insight into why Raman connects with Jhumpa. In spite of different view points there is an undercurrent of love and affection too. The sibling dynamics makes the movie stand out from NH 1O also set in the same space.
Abhishek Banerjee and Shubham Vardan
Stolen is stuffed with numerous social issues like illegal surrogacy and the absolute lack of law and order. However at no point Stolen feels preachy, this is because of the thriller format. As viewers you are constantly tensed about what would be the fate of the three protagonists. It also helps that the movie has no unnecessary detours, no comic or romantic angle to slow down the proceedings.
Stolen also benefits immensely from its lead actors. Abhishek Banerjee shows a masterclass in acting. The way he portrays the different shades of Gautam effortlessly showcasing the eventual transformation is a sheer delight to watch. With this movie he once proves his capability in adapting to different roles. Shubham Vardan as Raman also lends solid support proving to be a perfect foil for Abhishek Banerjee, both the actors feed of each other wonderfully. As Jhumpa Mia Maezeler is very effective too bringing in a raw intensity without going melodramatic.
Mia Maezeler as Jhumpa
Although tight for most part Stolen does suffer from a couple of mishaps. One of them is a slightly repetitive nature of the brothers being chased. Also towards the end the movie does stray somewhat, a tighter edit in some portions would have definitely helped.
Final word: Stolen is a must watch for those seeking stories beyond entertainment.
Ans 1 I have done M. A English literature. With the purpose of becoming a teacher I also did B.ed. However the job of a teacher didn’t really suit me. As an education content writer I worked in Pudami publications for four years. Once the office was shut down movies became my full time profession. Currently apart from movies I am also doing a fellowship for a society called Yakshi, Yakshi has set a program regarding the upholding of constitutional values. I discovered my passion for writing on movies, web series etc during the pandemic. and since then there has been no looking back with more than 500 reviews available in my website rigoberthareviews.com. Even while working as an education content writer I used to watch movies and web series on a regular basis. Apart from movies, web series and theme based some book reviews are also there mostly based on movies.
2 How did interest on movies grow?
My experience with movies started on not a great note. My first movie experience which I saw and couldn’t complete was Ramgopal Varma’s Satya. The first five minutes had numerous killings as a result I hugged mom tightly. Accompanying us was also a friend called Khadeer. Without seeing the movie we came back. My age at that time was six years. Of course later I saw Satya on TV. Now its one of my most favorite films, the depiction of villains specifically showcasing Manoj Bajpai as a normal human being is something which I liked. My initial movies didn’t consist of Hindi much. Whenever mom suggested seeing some language films (she was a member of film society). I used to make a huge ruckus. In fact I made a protest on why she wouldn’t take me to see Telugu movies, however slowly watching the likes of Laagan, Mangal Pandey, Munnabhai MBBS spiked me in an interest towards Hindi language films, I remember even dad accompanying us. Since I couldn’t understand Hindi much mom had to translate. but the sporadic outings of Hindi movies soon led to a major interest. Some of the early Hindi movies which I saw were Lagaan and Mangal Pandey besides the two Munnabhai films. On certain occasions dad also came against his nature and mom had to do the explaining. As the years have gone by I have acquired my own taste across different languages and genres. It has reached a different level by seeing actors and directors across various language spectrums
3 What was the starting point of writing reviews?
Ans 3 Maybe COVID was the reason for that. Just like many I also got habituated to seeing movies and web series in various OTT platforms. I used to write three to four paragraphs on my Facebook page and used to post. it. Apart from posting reviews on facebook I also did Youtube videos in Prabhathalovesmovies. Of course later I stopped it. Knowing about my interest in writing reviews senior editor Ramachandra Murthy guru asked me to write for his website Primepost. At that time I had no proper idea on how to write reviews. Slowly I became habituated to it. I discovered a lot joy analyzing each movie or web series as the stories and the characters vary a lot. As a result it gave me a lot of excitement each time I watched something. As time progressed I also started doing stuff other than movie reviews, these include profiles, theme based etc. Similarly I have also written book reviews based on movies. Although I resumed my job after COVID I continued to write. Even if I join another job in the future I hope to continue writing.
4. Through which mediums do you share reviews?
Initially it started with facebook. However once I started writing for websites like Primepost and Southfirst I started sharing it on Twitter, Instagram, facebook and Linkedin. Currently I have my own website as well; the name of the website is rigoberthareviews.com
5. What are the changes that you have observed from the time you started watching movies to now?
A lot has changed in terms of storytelling particularly with the entire pan Indian phenomenon. Technology has also increased. If we take movies like Bahuballi, RRR and Kalki this change is very apparent. Rugged mass heroes with huge beards are ruling commercial cinema. This doesn’t mean that other kinds of stories aren’t being attempted. Thirty Five Chinna Katha Kadu, Court and Iravai Moodu kinds of movies are coming successfully. A lot of changes are visible too in the new age horror stories. The days of scaring people with swinging doors is gone, instead the new age horror films have plots that have both scares and social issues.
6. In your view how are our movies in comparison to world cinema?
I don’t like comparing Indian cinema with world or Hollywood cinema. We have our unique traditions; many filmmakers have done movies that are remembered even today. There is no limit to the talent we have whether its directors or actors. Many are trying to push the envelope in their own ways. At the same time we also need to let go of some notions, this includes defining commercial cinema as only large action sequences.
7. Who is your favorite director and why?
Not just one there are many. For example, Kabir Khan, I like him for the way he crafts underdog stories who become winners in a heartouching way. The likes of 83, Bajrangi Bhaijaan, Chandu Champion are good examples of these. I also like Anant Mahadevan who directed Phule and Storyteller. Among the senior directors I am a fan of Sanjay Leela Bhansali as well. His stories are not just different, but they also have strong women characters. Among the ones he directed Gangubai Kathaiwadi is my most favorite. Coming to Telugu movies among the new directors Nag Ashwin is one of my favorites. With just three movies he has created a strong space. He effectively handled a big star like Amitabh Bachchan in Kalki. Among the Tamil directors I like Vetrimaaran, I like the way he boldly presents the issues of caste and class. It feels like an eye opener. In Malayalam I cannot single out a particular person, Blessy who directed Prithviraj Sukumaran’s Adujeevitham one of my favorites. I like the way the directors there give importance to stories, it seems like they don’t have the habit of writing a story keeping in mind the hero. Due to this many directors are able to make good films there, In Hollywood I like James Cameron who directed Titanic and the two Avatar films.
Kabir Khan the director of Chandu Champion
8. Who is your favorite actress and why?
Ans 8 Maybe I would have said Alia Bhatt once upon a time. Now though there are many. From Meryl Streep to Ananya Pandey. In between there are the likes of Nayanthara and Parvathy Thiruvothy, there are also some actresses whom I have liked in some movies. We are seeing actresses in different languages acting brilliantly. I will also give my reason behind liking these actresses. Talking about Alia Bhatt she has acted in a wide variety of roles, she has done characters which have represented different sections of society. Examples of these are Udta Punjab, Dear Zindagi and Gangubai Kathiawadi. Parvathy Thiruvothu comes across as a strong person both on and off screen. Nayanathara on the other hand has managed the perfect balance. She has done glamorous roles as well as characters that are strong in nature. Meryl Streep of course doesn’t need a particular introduction. Along with doing many memorable characters being bold is also her strong quality. In the last few years Ananya Pandey has done some good roles and is emerging as a fine talent.
Alia Bhatt in Gangubai Kathiawai
Ananya Pandey CTRL
9. You are translating stories from Telugu to English right! How did you get that interest? Would you like to share those experiences?..
Ans 9 In the beginning Hyderabad book trust (HBT) Geeta asked if I could translate. I said yes since it would be a new thing for me. I transalated Satyavati garu story ‘I am coming with the name of ‘Here I am’. Till now I have done forty small poems poems and 10 stories. Some of the translations have come out in anthologies; some are yet to be published. I don’t know how much the writers liked my translations but I got an opportunity to read Telugu literature through them. Since both the writers and the time periods are very different I found it challenging to translate both in terms of language and style.
I got the feeling of learning something new from every story. The stories of B Anuradha ‘Dheesali’, Ek Chaddar Mailisi’ while translating these two I entered into a new world of jail life. Both the core and the language in Satish Chandar’s Thorn felt unique. While translating this story which deeply examined gender and caste, I initially felt surprised on the spat of verbal abuses between the mother and daughter, it was their way of expressing love. Although it was extremely difficult to translate their conversations I soon started enjoying. The two stories which I did from ‘Viyuka’ collection are also special. I learned many things about the lives of revolutionaries who face many challenges. Also, Chaso’s ‘Why would I throw away Father’, ‘Yugantham stories of Nelluru Keshava Swamy story and Sudhakar’s some soap bubble and a knife cut’ (Barber’s Tale). Finally, Kuppili Padma’s Coffee Plantation. The language in Kuppli Padma’s stories is mostly poetic as a result to bring out their emotions was difficult. Apart from those mentioned I have learned a lot from the rest too however I will stop here since the answer has already become big.
10 How is the response for your reviews? Would you like to share any responses that are special for you!
Ans 10 The response for my reviews has gradually grown specifically after putting my reviews in Instagaram and X. A big reason for this increase is fan pages. They have shared reviews and profiles of their favorite stars. For example my profile on Kartik Aryan was shared well on twitter by his fans. Similarly my Dhootha review starring Naga Chaitanya was widely shared by Akkeneni fans. Coming to the rest of the readers I don’t know whether everyone who has read have liked them or not, so I haven’t had the opportunity to better them. As far as I am concerned I am writing whatever coming to mind. In the recent past the ones which I felt special are one of the directors in My Melbourne anthology Onir. He directed a short segment called Nandhini. Also Ananth Narayan Mahadevan who directed ‘Storyteller and Phule, their responses felt very special. One shared it on Instagram and the other on facebook with praises. Similarly Rahul Ravindran sharing my Jigra review and lastly Bhavana Pandey the mother of Ananya Pandey liking my ‘Kesari Chapter 2’ review are also some of the special moments.
Inspired from the Israeli thriller/drama Magpie Kankhajura focuses on some important issues like the impact of childhood traumas specifically bullying and how a need for validation leads to manipulative behavior. Through the character of Roshan Mathews’s Ashu director gives a message on the need to recognize and address childhood trauma. The slow burn nature isn’t for all, but the acting performances led by Roshan Mathew and Mohit Raina coupled with the themes makes it a thrilling watch
Stories of flawed human always make for an interesting drama as most of us have some flaw or the other whether it is psychological or psychical. The meaning of Kankhajura is a pest called centipede. This pest is small in size but extremely dangerous just like one of the protogonists who can be very cunning and dangerous beneath the seemingly soft persona.
The storyline of Kankhajura focuses on the release of Roshan Mathew’s Ashu. He has spent fourteen years in jail and is desperate to reconnect with his brother Max (Mohit Raina). Max gives refugee to Ashu, but the acceptance comes with a calculative nature. The affection is almost absent, as the plot unfolds Ashu turns against Max due to certain reasons leading to the unraveling of dark secrets. This is the story in brief.
A strong aspect of Kankhajura is how Chandan Arora slowly builds up the tension between the two brothers leading to a crescendo. He gives ample psychological insight into the mindset of the two brothers. The themes of past traumas, sibling rivalry and unresolved guilt has been well integrated by the director.
The cinematography of Rajeev Rai and Vinod Illampaly also adds to the tension. Both the cinematographers present Goa in a different way than the viewers are used to seeing. They present Goa as a place of shadows and secrets unlike a usual paradise. The visual pallet they have chosen perfects compliments the theme of the show.
Mention must also be made of the women characters both Sarah Jane Dias and Trinetra Halder give very good support as the moral counterweights. Their characters have a strong individuality particularly Sara Jane Dias who doesn’t shy away from giving it back to Max pointing out his greedy nature whenever required. This strong personality is maintained throughout and as viewers you cheer for her when she walks out of the marriage in the climax.
Sarah Jane Dias
Trinetra Halder as a transgender plays her role with a lot of grace and is successful in bringing out the inner strength. Her scenes with Roshan Mathew showcase a different facet to Ashu making the viewers wish there was more of her. Trinetra Halder is a real-life transgender; this adds to a certain authenticity specifically in the portions where her character talks about the past.
Roshan Mathew and Trinetra Halder
Coming to the lead actors both Roshan Mathew and Mohit Raina knock it out of the park with their respective characters. As Ashu Roshan Mathew strikes the perfect balance between intensity and underplaying as the situation demands. The role could have easily gone into the zone of overacting, but Roshan Mathew doesn’t let that happen with his skilled act. The way he portrays anguish in particular is excellent. Mohit Raina also does a swell job with his restrained yet impactful act. He perfectly brings out the different layers like being charming and ruthless at the same time. Mention must also be made of Mahesh Shetty and Ninand Kamat playing the morally ambiguous allies. Heeba Shah as inspector Leena also makes an impact.
Although taught for most part Kankhajura isn’t without flaws. On occasions the story loses momentum with meandering subplots. Similarly, the pace at which the events unfold may not satisfy thriller buffs.
Final word: Kankhajura is a perfect watch for those who like character driven dramas at a leisure pace.
Housefull 5 directed by Tarun Mansukhani comes alive from the entry of Jackie Shroff and Sanjay Dutt. As suspended police officers with a point to prove the veterans share a wonderful camaraderie. Housefull 5 has an important message on the dangers of unlimited greed and the twist at the end with the guest star does pack a punch however the movie could have been so much more given the premise. The stale humor with sexual undertones is a major bummer
Additional producers: Warda Nadiadwala and Firuzi Khan
Production Banner: Nadiadwala Grandson Entertainment
Music: Yo Yo Honey Singh, Tanishk Bagchi and others
Cinematography: V Manikandan
Running time: 2 hours and 43 minutes
The Housefull movies is the longest running comedy franchise with five films in total. Rohit Shetty’s Golmaal is the second longest. The Housefull movies have managed to rake in huge numbers in spite of having humor, which is mostly crass. Political correctness has never been the franchise’s biggest strength however the masses have embraced the over top tone. For example, Housefull 4 in 2019 went on to do very good numbers in spite of not-so-great critical reviews and severe criticism on how it treated the angle of a feminine man.
After a gap of six years, you have the fifth installment which is slightly different from the other Housefull movies in terms of mixing suspense with humor. Without giving much away Housefull 5 focuses on the death of a billionaire Ranjith played by Ranjith. Before succumbing to a heart attack set on a luxury cruise, he makes a declaration about leaving 69 million pounds to his first son. However, the trouble is except for Ranjith no one knows who the real Jolly is leading to plenty of chaos. Akshay Kumar, Ritesh Deshmukh and Abhishek Bachchan make a claim of being the real Jolly leaving the board of directors confused. Things take a massive turn with two deaths almost back-to-back leaving the three Jolly’s in a desperate situation. This is the story in brief.
As already mentioned the fifth part of the Housefull installment tries to be different while maintaining the core of what these movies appealed to the masses. The thriller element definitely works starting from the entry of Sanjay Dutt and Jackie Shroff. The duo play suspended police officers with a point to prove, the veterans share a wonderful chemistry uplifting the movie. Whether it is the scene of Jackie Shroff losing his cool on being called the assistant of Sanjay Dutt’s Bhiddu or Sanjay Dutt’s bewilderment on Jackie Shroff on having a hot ex-wife in the form of Chitrangada Singh. The portions leading up to the big reveal has enough suspense on who could be the potential killer or killers and the motivations. Mention must also be made of Nana Patekar in an extended special appearance. He brings in a certain intensity as a dhoti clad Interpol chief.
Just when you think everything is solved Housefull 5 shows up a big surprise with the entry of a guest star who is having a wonderful second innings with a series of grey/negative roles. This guest actor turns out to be the actual Jolly, however he isn’t there to inherit his father’s wealth. Instead, he tells Akshay and co to share the 69 million pounds among themselves leaving the killers angry on what they have done. It’s here that Tarun Mansukhani and Sajid Nadiadwala bring out an important message, the consequences of unlimited greed.
There is no denying that the message is good, but the humor intermixed with the suspense needed to be much better. A lot of movie’s humor is juvenile filled with sexual innuendoes. The character of Shreyas Talpade for example is mostly there to ogle at women’s breasts whenever the secretary bends down for the papers. This becomes a repeated gag even in the pre climax. In fact, the character disappears for a long period too making Shreya’s presence thoroughly inconsequential. The women headed by Jacqueline Fernandes are only there to up the glamor quotient and often times being sex objects for the men to lust at. There is a scene in a tunnel like passage where three female leads are crawling through and the camera focus is on their cleavage line. Even the gorgeous and talented Chitrangada Singh doesn’t fare any better in spite of some grey shades.
Both Fardeen Khan and Dino Morea start of promisingly but are let down badly by the haphazard characterizations. The likes of Akshay Kumar and Ritesh Deshmukh somehow manage to make some of the juvenile’s jokes work on the strength of their experience in this genre. However Abhishek Bachchan sticks out like a sore thumb with his constipated expressions, but the twist around his character does redeem Abhishek somewhat. Chunky Pandey as Aakiri Pasta too suffers from a lazy characterization with little upgrade.
V Manikandan’s cinematography is undoubtedly lavish making the movie a visual feast. The songs are mostly forgettable except for ‘Laal Pari’ which has a catchy vibe.
Final word: Housefull 5 is strictly for those who enjoy juvenile and slapstick humor along with those who have liked the previous Housefull movies.
Reputed filmmaker Mani Ratnam struggles to find the right balance between the demands of a mainstream action movie and a character driven drama; this results in the film never finding its feet in spite of some solid acting from Kamal Haasan and Simbu. The two try their level best to inject some life into the proceedings. Apart from the generic gangster tropes Thug Life also suffers from misogyny and cringe romantic portions featuring Kamal and Trisha
Starcast: Kamal Haasan, Simbu, Trisha, Abhirami, Nassar, Mahesh Manjrekar, Rohit Saraf, Ali Fazal and others
Genre: Action/drama
Director and writer: Mani Ratnam
Additional writer: Kamal Haasan
Producers: Kamal Haasan, Mani Ratnam, Udhayanidhi Stalin etc
Production Companies: Raaj Kamal Films International, Madras Talkies etc
Music: A R Rahman
Cinematography: Ravi K Chandran
Running time: 2 hours
Right since the disastrous run of 2010’s Raavan brand Mani Ratnam has taken a severe beating, the critical and commercial failure of the ambitious film has proved to be a major roadblock for the director who hasn’t still recovered from it. Of course, O Kadhal Kanmai with Dulquer Salmaan and Nithya Menon was a commercial success, though not vintage Mani Ratnam the movie was a charming romantic comedy majorly elevated by the leads. The Ponniyin Selvan movies on the other hand didn’t quite become the pan India blockbuster that Mani Ratnam was hoping to be. With Thug Life the director has reunited with Kamal Haasan, a duo which gave the classic gangster film Nayakan. A lot was expected from Thug Life given the stature of both Kamal and Mani Ratnam, however Thug Life turns out to be a reunion which nobody asked for.
Thug life primarily focuses on Rangaraya Shakti Raju (Kamal Haasan). He is a gangster set in the state of Delhi. In the initial portion Rangaraya Shakti Raju is seen rescuing a young boy Amar (Simbu) during a police shootout. He brings up the orphaned Amar as his own son. Flash forward to the present Amar is seen managing both the crime syndicate and also the family problems like setting up the marriage of Rangaraya’s daughter. An underlining of distrust is there from Rangaraya’s side given the nature of the criminal world. A particular incident leads Amar to turn against his mentor almost resulting in Rangaraya’s death. This is the story in brief.
Among the very few positives the performances of Kamal and Simbu are definitely worth mentioning. The two share a good chemistry bringing in the necessary tension and warmth. The two manage to rise above the formulaic writing. As Rangaraya Shakti Raju Kamal Haasan brings his trademark intensity. He brings in a certain heft like the scenes where the character expresses his anguish and a certain desperation. A good example of is the portion involving Abhirami the wife, a victim of memory loss due to an accident. The actor lends an emotional gravitas to the proceedings even when the writing is subpar. Simbu as the trusted aid going against his mentor is also in fine form portraying the different facets of Amar with ease. He brings in a palpable intensity specifically in the pre climax fight between the two characters.
A light moment featuring Kamal Haasan and Simbu
Ravi K Chandran’s cinematography is effective in creating the right atmospherics. The rustic action sequences like the hand-to-hand combats have been well captured by Ravi K Chandran.
A major problem with Thug Life are its women characters. The so-called romance between Kamal and Trisha is beyond cringe. There is a visible awkwardness, and Trisha eventually ends up as a shuttle cock with little to no agency. Also, the lens through which her role of a mistress has been written and performed is very problematic to say the least. She is reduced to a mostly vampish figure, a third person who has snatched away Rangaraya. Abhirami playing the wife may look like a defiant person from outside but her passive acceptance of Rangaraya’s affair and how she treats Trisha’s Indrani is a major disappointment from a celebrated director like Mani Ratnam.
Kamal Haasan and Trisha awkward romance
Apart from the misogyny and sexism Thug Life also suffers from characters who don’t serve much purpose. The best example of this is Rohit Saraf playing a typical spoil brat who does drugs. The only reason for his existence is to be thrashed by Kamal Haasan and Co. Similarly, Ali Fazal playing the elder brother of Rohit is mostly there to watch from the sidelines. For a large part of the movie, he is relegated to the background only to appear for taking advantage of the tensions between Rangaraya and Amar. Nassar too has a one note characterization as a constantly frustrated man, he is mostly seen in a sulking mood without much nuances.
Talking about the familiar tropes Thug Life majorly suffers on the account of been there and done that scenarios: whether it’s the rivalries both within and outside the crime syndicate or backstabbing from family. It’s hard to see what the legendary duo Kamal and Mani Ratnam saw in this story. The music and the background score both by A R Rahman are another major misfire.
Final word: Thug Life is a massive downfall not even matching 5 percent of the expectations. Watch it only if you are a diehard Kamal Haasan fan, for the rest re watching Nayakan would be best.
Royals directed by Priyanka Ghosh and Nupur Asthana often feels like a cross between the English web series Bridgeton and Shashanka Ghosh’s Khoobsurat. The initial episodes are more of a fizzle than a sizzle but the show does take a turn for the better in the later half particularly for those who like palace politics. Ishaan Khattar as Aviraaj is the series beating heart effortlessly combing swag with emotional depth
Creators: Rangita Pritish Nandy and Ishita Pritish Nandy
Producer: Late Pritish Nandy
Production Company: Pritish Nandy Communications
Cinematographer: Nachiket Pangare
Music: Rooh and Joh
Episodes: 8
Streaming platform: Netflix
Ever since its release on May 9th the web series Royals has seen a very mixed response. Some have praised the performances and the visuals. There has also been a lot of criticism due to the hangover of films and web series set in the same space most notably Bridgeton, also the depiction of royal households has come under intense scanner with the members of erstwhile royal families expressing their displeasure. In spite of not so rave reviews Royals has seen a renewal for season 2.
There is no denying that Royals could have done with much more depth in terms of storytelling, a cut down on the glam quotient would have benefited the series immensely. Having said that Royals does make for a good guilty pleasure and the dramatic twist in the finale does set things nicely for season 2.
The storyline of Royals primarily centers on Morapur royal family. They are dealing with problems of various kinds like financial issues and the death of a king. Ishaan Khattar is Aviraaj, a reluctant prince. Aviraaj has no intention of taking over his father’s place but things take a turn where he is left with no other option. Aviraaj path crosses with Bhumi Pednekar’s Sophia. A self made entrepreneur with a fierce attitude. Sophia wants to turn this crumbling palace into something more luxurious. The two share a relationship swinging between hate and love leading to several developments.
A strong aspect of Royals is the production design and the cinematography department. The web series has a very rich look, the visual esthetics are absolutely on point transporting the viewers into the intriguing world of palace politics.
Talking about palace politics every relationship comes here with layers of manipulation and secrets traumas. Beneath the smiles there is a certain calculatedness making it entertaining specifically in the later episodes. At times it can get confusing too however it adds a lot of spice to the proceedings. The one liners is also a big USP of Royals. Numerous dialogues have shades of sarcasm, even when the script fails the conversations do pack a punch.
As already mentioned Ishaan Khattar’s Aviraaj is the beating heart of Royals. The character comes with different shades, on some occasions he comes across as an asshole with princely arrogance. At the same time he is also Chivalrous, this side comes out on more than one occasion in the scenes with Sophia. Ishaan delivers a splendid act embracing the grey shades of the role with panache, with this act he once proves his versatility in picking up different roles and doing justice to them. A particular scene worth mentioning here is the breakdown before the coronation. The best part of Ishaan’s performance is how he expresses the feelings of happiness, sorrow and other emotions through his eyes. Cannot wait to see his act in the upcoming Homebound which has already received great reviews. Apart from Ishaan Khattar Vihaan Samrat as Yuvraj Digvijay also gives solid support with his nuanced act. His character has the most grounded arc and the actor does a very good job. There is an interesting subplot of Digvijay of wanting to prove himself as a chef without the baggage of being a royal family member. Vihaan Samrat does a very fine job specifically in these portions. Mention must also be made of the scene where Digvijay clears the doubts of Aviraaj handling him with the required love.
Ishaan Khattar and Bhumi
Among the ladies Sakshi Tanwar has the meatiest role as maharani Padmaja. In spite of being a maharani Sakshi Tanwar’s character doesn’t come across as a usual rigid queen. The romantic subplot with the dashing Chunky Pandey shows a different facet to her personality. The way Sakshi portrays Padmaja’s need for love and embracing her libido (sexual desire) is a delight to watch. Veteran actress Zeenat Aman starts off promisingly but suffers on the account of a sketchy characterization, nevertheless Zeenat Aman plays her part with flair. Bhumi Pednekar as Sophia is a mixed bag. The actress looks glamorous with those stunning outfits looking every inch a fierce CEO but on the performance front she come across as rather flat with her expressions. She does ace some of the emotional ones like the portion where Sophia is ousted from her position however the consistency is missing. Also she doesn’t look comfortable in the dances with Ishaan, the chemistry between the two is quite underwhelming with Ishaan putting most of the effort.
Sakshi Tanwar and Zeenat Aman
A major problem with Royals is the clumsy treatment of the LGBTQIA+ representation. Milind Soman plays the father of Aviraaj. He is a closeted gay revealed at a crucial juncture. The past of Milind Soman’s character had good scope for emotional drama but the haphazard narration makes it more of a checklist to be added. Even the lesbian track with Kavya Trehan as Yuvarani Divyaranjini is more of an add on for inclusivity than cohesive storytelling.
The show also needed more depth in the writing of secondary characters, Milind Soman is mostly reduced to a wallpaper, the likes of Nora Fatehi and Dino Morea also don’t get much to do coming and going at the scripts convivence.
Final word: Royals makes for a fun watch provided you can get past the initial episodes and not looking for something very deep.
This is a look-back into how Karan Johar has evolved over the years both as a producer and director encouraging new talent whether it is directors or actors. The way he is going strong with an unfazed attitude is praise worthy in spite of being trolled for different things, more so for launching star kids.
Producer, director, TV Host and occasional actor Karan Johar is one of the most polarising Bollywood personalities. On one hand he gets lots of love for backing films like Kill and Homebound, which has gone to Cannes receiving a standing ovation, on the other hand he faces trolling for producing films with star kids like Alia, Janhvi Kapoor and the recent launch pad Nadaaniyan with Ibrahim Ali Khan. There is an unabashed nature to Karan which comes out strongly in all his interviews. A good example of this is the latest interview with Baradwaj Rangan.
He had a convincing answer to every criticism. He said he goes by his inner conviction while selecting young actors and actresses irrespective of their family background. Sounds true, because in the movie Kill both the lead actors come from non filmy families, Lakshya Kapoor and Raghav Juyal. A big strength of Karan is his strong persona. Karan also has this great ability to take pot-shots at himself and his movies either directed by him or produced by him. Karan’s inherent jovial nature and the way he interacts with even younger actors and actresses, putting them at ease without the baggage of a producer is refreshing too.
Lakshya Kapoor and Raghav Juyal in Kill
Director:
Karan Johar has come a long way as a director in selection of stories, he started his directorial debut with the frothy Kuch Kuch Hota Hai but as a filmmaker his most defining moment came with Kabhi Alvida Naa Kehna a major departure from the usual romantic dramas. Though not without flaws Kabhi Alvida Naa Kehna showed Karan Johar’s ability in taking on more layered and risky storylines. The director successfully dwelt into the complexities of modern marriages and emotional dissatisfaction. The movie showcased how messy relationships can turn out to be with everyone getting hurt.
In more ways than one Karan completely turned the concept of the clichéd ‘happily ever after’ on its head. The movie had its share of brickbats as well due to the bold presentation. Kabhi Alvida Naa Kehna featured SRK in one of his most unlikeable roles as a very bitter and arrogant Dev while Abhishek Bachchan gave one of his better performances. There is a child like nature and sweetness to the role. As viewers you sympathize with Abhishek more than SRK.
The starcast of Kabhi Alvida Naa Kehna
Another movie showcasing Karan Johar’s evolution as a director is My Name Is Khan. The movie explored the burning issue of Islamophobia set in the period after 9/11 attacks. It’s a very risky topic given the political undertones but Karan did a very fine job. Apart from Islamophobia Karan also dealt with a syndrome called Aspergus with the required sensitivity. In spite of having an overblown pre climax involving a massive flood Karan delivered an important message about the need for tolerance and rising above religious hatred.
A still from My Name Is Khan
Mention must also be made of 2023’s Rocky Aur Rani Ki Prem Kahani. Karan managed to bring in something new within the familiar terrain; he subverted some of his own themes regarding patriarchal authority. A major highlight of Rocky Aur Rani Ki Prem Kahani is the recreation of ‘Dole Re Dola’. Ranveer’s Rocky dancing with his prospective father in law challenged the traditional notions of masculinity like nothing else; he broke down the gender stereotypes with this one. gesture. Through the character of Rocky Karan presented a refreshingly different protagonist, a man who is willing to change for his girlfriend.
Ranveer Singh’s Rocky doing Kathak with his prospective father in law
Apart from feature films Karan has also been part of anthology movies like Bombay Talkies, Lust Stories 1 and Ghost stories. By Karan’s own admission he was very sceptical on how he would fare among the more intellectuals Anurag Kashyap, Dibakar Banerjee and Zoya Akhtar. Though he stuck to his favorite homosexuality theme starring Saqib Saleem and Randeep Hooda he effectively brought out the need to embrace one’s real self. It ended up being the most talked about segment.
Producer
As a producer too Karan has experimented with different genres. For example there is Tarun Mansukhani’s Dostana a movie about two guys pretending to be gays in order to find a house. Dostana may come across as just a frivolous fun film with humour that often borders on being outlandish, but it is not that. It is an important film as it is one of the first mainstream movies on homosexuality in an attempt to normalize it. There is an important scene in the second half where Kirron Kher is seen accepting her son’s sexual identity and relationship. Of course Abhishek Bachchan’s character is not an actual gay, still it is an important moment in the larger context of social acceptance.
Abhishek Bachchan and John Abraham as pretending gays
Kapoor &Sons directed by Shakun Batra and produced by Karan is another millstone. The film was a family drama with several hidden skeletons, something which most families try to cover up with a pretense of everything is all right. Through this tale of a dysfunctional family Shakun Batra also advocated on a same sex relationship being normal
Kapoor &Sons
Raazi directed by Meghana Gulzar and produced by Karan is a nuanced war drama bringing alive a little known chapter of history. Raazi’s significance lies in how Meghna Gulzar explored the human cost of war through a wonderful Alia Bhatt. The presentation of the Pakistani characters specifically Vicky Kaushal’s Iqbal was refreshing too.
Raazi movie banner
With Nikhil Nagesh Bhatt’s Kill Karan entered into a very different territory, a movie combining raw and brutal action with societal undertones. The movie brilliance lies in how it humanized the gang of armed robbers through the themes of class divide elevating a standard one man army plot. Much like Homebound Kill also went to a film festival last year to Toronto, it received rave reviews as well as awards. Kill marked the emergence of two promising talents.
With Gauri Shinde’s Dear Zindagi Karan brought the much needed topic of mental health to the mainstream. The need to recognise mental health issues and go for professional help was well emphasised. This is necessary, particularly in today’s society where people are judged constantly. Dear Zindagi also explored the challenges, both professional and personal of a young woman cinematographer aspiring to be a director.
Alia and SRK in Dear Zindagi
Lastly Neeraj Ghawyan’s segment called Geeli Puchhi in the Karan Johar produced Ajeeb Daastaans anthology also deserves a mention for its exploration of caste, sexuality and womanhood in an impactful manner. It was the most liked segment in the anthology making a political statement.
Geeli Puchhi
Of course Dharma Productions has its share of huge misfires too, Puri Jagannadh’s Liger being the best example. The film was a cross pollination of various genres making little sense. Even Ayaan Mukherjee’s Bramhastra: Part 1 didn’t have a long run. There is no denying that Bramhastra: Part 1 was an ambitious attempt at merging western aesthetics with Indian mythology, however the plot suffered majorly on account of tonal issues like the jarring trope of quick love. In spite of these hiccups he continues to be strong backing new talent and content. Many directors who have worked in Dharma productions have talked about the freedom Karan gives.
Actor:
As an actor Karan made his debut with a small role in one of the longest running Indian movies Dilwale Dulhania le Jayenge. He played a small role, as a friend of SRK. After many years he played a full fledged part in Anurag Kashyap’s ill fated Bombay Velvet. The movie was a disaster on many levels but Karan did make an impact, specifically in the scene where his character Khambata breaks into an uncontrollable laugh.
Host:
Karan Johar’s chat show Koffee with Karan doesn’t need a particular introduction. Starting from the year 2004 the chat show has had 8 seasons so far. The show has stirred up numerous controversies due to his adult line of questioning and the intimate nature with which Karan hosts the show. The conversations on more than one occasion may come across as crass; however it presents a different side to the celebrities making it interesting.
Presenter: Of late he has started presenting and promoting movies also, like Bahubali and Lunchbox. Let us see what else he has up his sleeve. One thing is for sure -whatever he does, he makes sure the spotlight is on him and his work.
