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General News Film Reviews
#11
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Kabali quick movie review: Rajinikanth owns this gangster drama, well supported by Radhika Apte

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Kabali quick movie review: The best part of the Rajinikanth and Radhika Apte film, obviously, is Rajinikanth. His charisma pulls Kabali through.

Kabali’s Rajinikanth is a man on a mission. He was grievously wronged years ago and Kabaleeswaram (Rajinikanth in Kabali) is out to extract his revenge. But before he does it, the audience will get its two-and-a-half hours worth of classic Rajinikanth moves, dialogues and dance steps.

Cut to the Kabali plot: Kabali is a worker who lives happily with his wife (played by Radhika Apte) and daughter. Then things start going wrong and our innocent, hard-working man loses everything. How he fights to save his world and help the downtrodden Tamilians in Malaysia forms the crux of Kabali.

The best part of the film, obviously, is Rajinikanth. His charisma pulls Kabali through. From the slick visuals showing the flashback to Rajinikanth playing his age as a don, his fans will not go home disappointed. Add to it the well-placed Kabali songs especially the hit Neruppa Da and you hear enough whistles and clapping in the theatre.

The other cast members are also good and we would like to give a special shout-out to Radhika Apte and Dhansika. Radhika brings a nuance to her performance as Rajinikanth’s wife and is a refreshing change after watching heroines in bit roles in Rajini movies. Watch out for the scene where Rajinikanth and Radhika meet after a long time. We bet this one will give you goosebumps. There is another moment near the interval which leaves you feeling cold.

What doesn’t work in Kabali is its slow pace and patchy narrations. There are moments when the film starts lagging and your attention wanders. For a movie that has lefts fans in a frenzy across the world, Kabali fails to live up to expectations because of this.

5 Reasons To Watch Rajinikanth’s Kabali


While for most audiences this will be the major grouse, die-hard fans are going to love every moment. This one is a feast for them, others will find it enjoyable but lagging at certain moments.

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#12
Madaari movie review: Irrfan Khan’s aam aadmi takes on the system

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Madaari movie review: As Irrfan Khan and Jimmy Shrgill play a cat-and-mouse game across north India, Madaari turns into a taut thriller.

There is a moment in Irrfan Khan’s Madaari where a grieving father tells him that his son died in a bridge collapse days before he was to join work in Boston. “At least I saved my money,” he cynically remarks to Irrfan who also lost his son in the accident.

That is the kind of film Nishikant Kamath’s film is — it is a look at the system warts and all, it is damning critique of rot in politics and it is the story of a common man pushed to his limits. How the man, who has lost his everything, takes on the powers that be and emerges victorious is what Madaari is all about.

In that, it is a lot like Neeraj Pandey’s A Wednesday, adapted to suit our hyper-connected times. Irrfan plays a vigilante who kidnaps the son of a top politician to avenge the death of his own. His foil is played by Jimmy Shergill, a cop who moves heaven and earth to find Irrfan. As the two play a cat-and-mouse game across north India, Madaari turns into a thriller.

Irrfan brings the powerful of India to their knees and his superpower is that he is an aam aadmi. However, we have seen the same thing time and again. Will the pace and thrill of Madaari be enough to keep the audience glued?


Can it offer something more than what we already seen, especially in A Wednesday?

Can its everyman avenging himself find favour with people?

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#13
Star Trek Beyond movie review: Nobody is asking important questions

[Image: star_trek_beyond_759.jpg]

Director: Justin Lin
Cast: Chris Pine, Zachary Quinto, Karl Urban, Simon Pegg, Zoe Saldana, Anton Yelchin, Idris Elba, Sofia Boutella

It’s day 966 in space — only the third year in a five-year mission — and Captain James Kirk (Pine) is getting rather tired of the “episodic” nature of things. Dr ‘Bones’ McCoy (Urban) and he have a heart-to-heart over some drinks, and discuss legacies and growing older. That’s the last time anyone shows either their age or touches of boredom in Star Trek Beyond. As Justin Lin (The Fast and the Furious) takes over the directorial ropes of this latest Star Trek franchise from J K Simmons, the action is frenetic and constant, the fights don’t just involve spacecraft but also include a lot of hand-to-hand combats, and there is no escaping the refrain of the upbeat American spirit.

It’s not ‘Beyond’ that the Enterprise crew are after, though we get a brief promising glimpse of a futuristic, multi-race space spation. It’s ‘Abronath’, a metallic object with indecipherable inscriptions that pops open to touch and, as the nature of these things is, reveals little. Worse, the film doesn’t bother explaining why the universe across planets may be after it.

Not that anyone is asking that question, for Star Trek Beyond is much too busy pitting Kirk and company against Krall (Elba) and his lot. Krall has a raging anger against the Federation, for seeking to establish peace across planets by way of spaceships such as Enterprise. Confused as his explanation is — “without conflict one doesn’t know one’s strengths”, he argues, to his unmoved people — it’s still the only explanation on offer. It’s also unclear how many people he commands on that scraggly planet of his with pointy rocks for habitat, for he is never seen with them.

Meanwhile, Spock (Quinto) is considering his own legacy, now that “Ambassador Spock” is dead (a nod to the original Spock of the TV series, Leonard Nimoy, who died in February 2015), as well as nursing an on again-off again romance with Lt Uhura (Saldana).

The film is also dedicated to the late Anton Yelchin, who plays the Russian Chekhov, though it is doubtful he would have liked to be remembered for this role where all he does is shout incomprehensible instructions and ask questions just to propel the story forward.

The most memorable performance is Boutella as the painted-face Jaylah, a survivor of Krall’s wrath. She survives everything, including Pegg, the co-scriptwriter who also plays Montgomery Scott in the film, constantly calling her “lassie”.

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#14
Lights Out movie review: Can’t always have the lights on

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Director: David F Sandberg
Cast: Maria Bello, Teresa Palmer, Gabriel Bateman
Stars 2

The story is a nice twist to the normal family equation — of children being told to get into bed with the instruction to turn off lights, ghosts coming to haunt them, and parents looking on helplessly.
Here the one haunted is the mother, Sophie (Bello), and the ones fighting back are her children, including a surly young Rebecca (Palmer) and her little stepbrother Martin (Bateman). There is a boyfriend around, but his role is even lesser than that of the usual hangers-on in such tales.

Lights Out also starts promisingly, with the father alone at his factory as a woman advances menacingly in the dark while also answering calls from Martin back home about Sophie “behaving strangely”. But then the father gets killed in the most horrific manner, the evil is revealed, police never ask any questions, and the film doesn’t know how to scale it up once it has already revealed its hand.

Bello shows such flashes of promise in her truncated appearance as the film focuses on the cliched Gothic life of Rebecca that one wonders at the direction Lights Out could have taken if it had centred on her. There is one especially moving scene of her reaching out to Rebecca through her confused state.

Sandberg, who extended his own impressive short by the same name into this extended film, should have let this one rest. Can’t always have the lights on.

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#15
Dishoom review: This John Abraham, Varun Dhawan film fails to zip-zap-zoom

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Varun Dhawan and John Abraham’s bro-time is matched by the comely female company they get in the shape of Jacqueline Fernandez and Nargis Fakhri.

Dishoom movie cast: John Abraham, Varun Dhawan, Saqib Saleem, Jacqueline Fernandez, Akshaye Khanna, Rahul Dev, Nargis Fakhri, Tarun Khanna
Director: Rohit Dhawan

Dishoom rejigs the buddy cop movie, with John Abraham and Varun Dhawan being assigned to the “Case Of A Vanishing Indian Cricketer”.

The film is fashioned as a fast-paced caper. It’s got flash but the plot keeps stuttering and stops the film from really zip-zap-zooming. And in the second half, it nose dives, meandering off in some Arabian Nights style fantasy space before remembering what it had set out to do.

It begins with promise. Match-winning boy-in-blue Viraj Sharma (Saleem) disappears just a couple of days before a crucial match with Pakistan. Indian Special Task Force cop Kabir Shergill (Abraham) is parachuted into a Middle Eastern country, which is the site of the crime. Local boy Junaid Ansari (Dhawan) partners with the visitor, and off they go, sleuthing.

The slit-eyed stony-faced experienced cop and the bumbling rookie is an old Hollywood cliché but can turn into fun in the hands of good actors and directors: here, Dhawan and Abraham display limited wares, the former in his young wide-eyed joe avatar, and the latter swathed in tight tees and a permanent frown, swaggering down sandy desert outposts and shadowy villains’ dens. Both also get to shuck their shorts and show off their stuff in colourful briefs.

The boys have comely female company in the shape of the two gals, Jacqueline Fernandez and Nargis Fakhri, the former with a few speaking scenes and an item number where she cavorts in the midst of leering men, and the latter who’s around for purely decorative purposes.

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Akshay Kumar’s as a pouting, selfie-clicking man is hilarious in Dishoom.

Dishoom’s villains are a letdown, not even properly evil in a matching comic-book way. Neither Rahul Dev nor Akshaye Khanna have any menace: for fellows who keep threatening to off their victims, they are curiously minus impact. (Dishoom social review: This John Abraham, Varun Dhawan buddy comedy gets a thumbs up)


And that’s what ails the film as a whole. It comes alive only in bits and pieces: Akshay Kumar’s cameo, for instance, as a pouting-selfie-clicking man bun is a hoot. Some of the Abraham-Dhawan bro-time is okay too, but borrows from the ‘Men In Black’ duo Tommy Lee Jones and Will Smith in the way they, Kabir and Junaid, go about addressing each other, yes, K and J.

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#16
Murder Madhuri - Review

[Image: screenshot_www_indiantelevision_com_2016_07_30_0.png]Murder Madhuri seems to be the outcome of somebody’s lifelong dream to make a film. Previous experience: Having watched numerous films, Hollywood as well as Indian. Qualification: Money to waste. The catch to draw audience: name Madhuri in the title.

A girl, Shanaya Kureel, has finished some sort of her exam at some odd hour of the day when it is dark all over, the streets are deserted and no public transport is available or no private vehicle willing to give her a lift. However, the girl need not worry because her father, Sharat Saxena, is with her for safety.

Finally, after trying to hail down a lot of vehicles, they succeed in getting a ride with a private luxury coach. They are welcomed by four, a driver and three others, with ‘goons’ written all over them. If the producers are inspired from the real life incident of Nirbhaya, it seems, so are the goons.

Though tough as he may be, Saxena is overpowered by the goons. The guys take turns to rape Shanaya as the other two keep Saxena under control. After the rapes, the father-daughter duo are thrown out on the streets. They are spotted lying unconscious by a mentally disturbed woman who herself is a rape victim; she was raped by one of the luxury bus men’s father, Kiran Kumar. Raping, it seems, runs in the family.

Kiran Kumar is the home minister of wherever this incident has taken place which, according to convenience, keeps shifting between Mumbai and other places.

Shanaya succumbs to her injuries sustained because of the brutal assault on her by the rapists. The police is divided. While the commissioner is at service of Kiran and seems to be running his force from Kiran’s bungalow, there is one honest office in Sonali Joshi who takes on the home minister as well as her commissioner to bring the rapists to book. Nothing works though arrests and acquittals take place on regular basis.

That is when, suddenly, Saxena remembers he is senior ex-army man who specialized in hand-to-hand combat no matter the number of enemies he had to contend with. Good too that he did not remember this in the bus for had he done so, this film would not have reached so far!

Saxena arms himself with guns of various shapes and sizes and decides to play Charles Bronson (Death Wish and sequels) to pick the culprits and seek revenge for his daughter.

The film has one 1960s song playing in the background meant to rouse the viewers’ emotions. The script, direction, make up, props, just about everything ranges between amateur and juvenile.

Producer: Ali Mohamed Oosman.
Director: Ali Mohamed Oosman.
Cast: Sharat Saxena, Kiran Kumar, Deepshikha, Sonali Joshi, Vinay Verma, Suneeta Rana, Raza Murad, Amit Kumar, Shanaya Kureel.

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#17
White - Movie Review

Mammootty’s romantic flick is stagnant and pretentious

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On first impression, this Mammootty, Huma Qureshi-starrer romantic movie is a painstaking watch where everything looks pretentious including the acting, characters and settings.

Cast: Mammootty, Huma Qureshi
Director: Uday Ananthan

If you are a person who goes to cinema solely for watching pompous exotic frames then Mammotty’s White is a film meant for you. On first impression, this romantic movie is a painstaking watch where everything looks pretentious including the acting, characters and settings. However, we gradually realise this is not a movie for mediocre brains, but for those elevated ones who can understand the epic romantic poetry embedded in this movie.

It won’t be surprising if one such mediocre brain would wonder what would be the motive behind this movie that absurdly stitched together sequences and shots that highlights Mammoty’s ‘semi grumpy -semi smiling’ face and Huma Qureshi’s expressions, typical of a heroine head over heels for the hero even if done subtly. The camera mainly focuses on Roshni Menon’s (Huma Qureshi) curiosity to know Prakash Roy (Mammooty) whom she meets accidentally in London. The script and screenplay is so weak that the way this couple gets to know each other look pathetic. In fact, many scenes feel similar in terms of treatment. For instance, where the heroine follows the attractive and rich hero to return his purse cannot be differentiated from another scene where Prakash Roy exhibits his swag by giving a lecture on the value of his one minute at Roshini Menon’s office.

Director Uday Menon is a man of clichés. But as a director he has shown some signs of novelty with his filming style, be it Pranayakalam or Mrityunjayam. These movies are at least discussed for their peculiar way of storytelling. In White also, Uday has tried to be different with his style and is successful to some extent , thanks to high quality technical support and superior cinematography of Amarjeet Singh who has earlier worked in big budget Hollywood films. Apart from that, the movie completely fails to engage the viewers as it sails sluggishly through a dormant story line, never picking up pace and sadly does not even offer any moment to remember. The dialogues sound forced as there is an effort to sound profound and elite, making the movie a dreadful experience.

Mammotty’s screen presence was pleasing this time, unlike his last outing Kasaba, but the actor’s expressions are still stilted. Huma Qureshi’s Roshini Menon was like a cherry on this cake and blended well with the delicate frames.

The electric guitar background score is distracting and sounded odd while the songs in the movie made little impact.

Uday Ananthan’s ‘White’ thus is like one pale and sickening experience that reminds of the suffocating atmosphere inside a hospital.

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#18
Ghostbusters - Movie review

Special effects are passable, jokes occasional, story not really a parody

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The other standout performance is Chris Hemsworth, who gamingly plays the dumb receptionist to the Ghostbusters.

Cast: Kristen Wiig, Melissa McCarthy, Kate McKinnon, Leslie Jones
Director: Paul Feig

Even at the cost of calling forth the wrath of fans, the 1984 Ghostbusters wasn’t the kind of film we should be discussing 32 years later. The special effects were passable, the jokes occasional, the story not really a parody, and a mix of it all a film that could only survive because of Bill Murray’s zen-like sardonicism, at times even at the cost of the film, because of somehow acquiring a “cult status”, and because of that song.
So what is the problem with the new Ghostbusters again? That it replaces an all-male gang with an all-women one? Yes, the fans of the 1984 film do need to worry, for Feig’s Ghostbusters is an improvement — as much of an improvement, that is, as the film is aspiring to be.

The new scientists exploring paranormal activities kick ass with more style, more science, more fun, more jokes, and even a more pretty face at the reception. The film also manages to put in a semi-back story, gives more of a role to its Black face (though Leslie Jones has had to survive vicious attacks of her own in the process), and builds up to a more satisfying conclusion.

Where Ghostbusters could have done better, ironically, is not being so overawed by the ghost of its predecessor. Apart from characters that are a throwback to the four from the previous film (Wiig standing in for Murray, McCarthy for Dan Aykroyd, McKinnon for Harold Ramis, Jones for Ernie Hudson), it even brings in the predecessors for bit parts. Some of the ghosts too get repeated.

Accomplished comedians all, some of whom have worked before with Feig (Bridesmaids), Wiig, McCarthy, McKinnon and Jones share the spoils here equally, unlike Murray dominating the 1984 version. However, the film isn’t all jokes, of course, and so a shout-out for McKinnon, who is smashing as the madcap, zany scientist who wows with an absolutely manic style.

The other standout performance is Chris Hemsworth, who gamingly plays the dumb receptionist to the Ghostbusters and who is the eye candy whom Wiig’s Dr Erin Gilbert lusts for — in another role reversal from the previous Ghostbusters. He is the kind of guy who covers his eyes when a loud sound goes off, and because he looks so good, just too good, no one really cares.

When the ghosts come around, still covered in slimy-green ectoplasm, Andy Garcia surfaces as the mayor who won’t hear any bad news. But here too, his aide, a woman with perfectly white clenched teeth and perfectly coiffed side parting, steals the show.

The men, really, don’t stand a chance.

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#19
The BFG - Movie review

The Big Friendly Giant never seemed friendlier

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However, in what is The BFG’s failing, rather than give us more of those, Spielberg is content to let The BFG gently float along to its known end

Cast: Starring Mark Rylance, Ruby Barnhill, Penelope Wilton, Jemaine Clement
Director: Steven Spielberg

A girl with no parents gets a giant for a guardian, and the Queen of England for a benefactor. The BFG is a winsome tale from Roald Dahl, a writer who hardly went in for easy, simple pleasures, even in his children’s tales. Spielberg, on the other hand, is a director whose heart lies in such delights. The two meet here to bring us a film that is true to Dahl’s story, but Spielberg’s spirit. The Big Friendly Giant never seemed friendlier.

At the same time, Spielberg gets where the giant comes from. At the witching hour, “around 3 am”, when shadows lengthen around lamp-posts, clouds float over the moon, curtains flutter at the window, should a girl peep out, who is to stay what she will see? What skulks there in the alleys? What stands out behind that wall? Is that shape what it appears? Is that size just a play of light — or more?

A beautifully structured opening sequence where BFG (Rylance) makes away with Sophie (Barnhill), after reaching for her through the window of her orphanage, is just this artful dance of shadow and light. As a sleepy England wakes up around him, BFG manages to slink around unnoticed, and you have to see the scene to marvel at how Spielberg and his long-time cinematographer Janusz Kaminski establish this.
Spielberg approaches this scene and most of The BFG with similar child-like wonder and enthusiasm. And even dawdles a bit over what, one suspects, was one of his other favourite parts of the film — when the giant and Sophie go collecting dreams together. The message is hammered home and you can almost watch a line being drawn between a girl who says she never dreams to one who is now floating on mist chasing shimmering lights that stand in for dreams.

Rylance is delightful as the other lonely creature of this story, who has “lived on and on”, “perhaps since time began”, without ever having a mom or dad either. The talented actor who is seeing rare fame after having won an Oscar with Spielberg’s Bridge of Spies speaks with his eyes again, and here they stand out amidst the motion-capture technology (recording actions of actors, and using them to animate digital characters) used to render the giant. The friendship that BFG and Sophie establish is quick, easy and reciprocal. He is gentle with her, gentlest when she emerges covered in slimy liquid from a snozzcumber, the vegetable BFG most enjoys — a sequence that immediately evokes a baby covered in amniotic fluid. Sophie hides there to escape the other giants, who eat “human beans” like her, unlike BFG.

The scene where the giants clash with BFG, especially Fleshlumpeater (Clement), is the other time the film comes alive with possibilities.

However, in what is the film’s failing, rather than give us more of those, Spielberg is content to let The BFG gently float along to its known end. It’s not necessarily a bad thing, but when one first looked out that window, the world seemed not just darker, but also greyer.

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#20
Pelli Choopulu - Review

This Romantic Comedy Is Very Addictive

[Image: peli.jpg]
'Pelli Choopulu' starts off with the stories of two individuals whose approach to life is as different as chalk and cheese.

Cast: Vijay Devarakonda, Ritu Varma, Priyadarshi, Anish Kuruvilla.
Director: Tharun Bhascker Dhaassyam

The title of the film itself reveals the synopsis, and on top of it, the makers have released a trailer with the main story in it. Yet it made me walk out of the movie hall with a wide grin, and that’s because of the team’s work.

Pelli Choopulu starts off with the stories of two individuals whose approach to life is as different as chalk and cheese. It’s a romantic comedy in which the actors are able performers. All the men in the film, from the lead, Vijay Devarakonda, to the little fellow whose small act of closing a door opens doors of opportunity to Ritu and Vijay later on, are perfectly cast.

Ritu and Vijay have previously starred in Yevade Subramanyam. They weren’t seen as a couple as Nani headlined the film along with Malavika Nair. In Pelli Choopulu, the young actors come together and steal the show from the first scene. Ritu is a level-headed woman with her eyes on making money, and Vijay has his head in the sky always. He wants to marry a woman because the woman’s father offers to pay him dowry. That’s enough for the hero as he is convinced that he’s a good-for-nothing teenager in a grown up man’s body.

We know that the actors are going to leave their differences behind and cuddle each other in the end. It’s no surprise when the story takes a turn in the middle or when it goes for a U-Turn just before the final embrace. Pleasant moments are present throughout the movie, and as the saying goes – the journey is more important than the destination – the characters’ journey is lovely, and the end of the road for the boy and the girl is also not that bad, though it could have stayed away from being “too filmy.”

Haven’t many filmmakers portrayed past relationships like they were some sort of scars? Tharun Bhascker Dhaassyam, the director of Pelli Choopulu, chooses to garnish the characters’ past relationships with humor and matters of fact. That’s a big win in terms of character development as something such as this hasn’t happened before. There were no tears. There were only answers for Chitra (Ritu) and Prashanth (Vijay).

Since the movie is shot in sync sound, all the actors know what they are saying. They know their lines and they know their emotions. A cute ‘fight’ between Vijay and his on-screen grandmother to grab a glass of whiskey is enough to bring the roof down. Add to this: a bumbling Priyadarshi. Did he write the dialogues himself? Every line he utters is gold. He’s so good that I kept my laughs ready whenever he appeared. When he’s asked what he does for a living by Anish Kuruvilla in the climax, his reply is an epic one which can be used by people who are annoyed by their relatives’ relentless taunts.

Vivek Sagar’s music is pure bliss. The songs and background score work pretty well. The music doesn’t interrupt the flow; it rather creates a space for the narrative to move forward. The film uses a lot of natural light. It’s great in parts, but if the room for lighting had been larger, it would have been better.

Pelli Choopulu is going to help the team acquire bright spots in the industry soon. The director, composer, Priyadarshi, and leads should, in particular, be given a rapturous applause.

Rating: 4/5


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