Magow-Intermean Reviews

Wrath of Man (2021)

Wrath of Man Review

[7/10 · 30 May 2021]

Sticking to the lower budget roots that got him a start in a big way thanks to Lock, Stock and Two Smoking Barrels and Snatch, Guy Ritchie has followed up his minor but well-received The Gentleman with Wrath of Man, a crime thriller that sees the divisive but entertaining director get his favorite lad Jason Statham back on leading man duties.

The last time these two long term friends teamed up was for the near forgotten about Revolver, a film that is actually a lot better than you may remember it being, and Wrath of Man is far more straight forward than that affair, with Ritchie remaking European film Cash Truck to deliver a hard-boiled and gritty 90's like action/thriller that gives Statham some of his best material in years.

It may surprise many that this reforming of Ritchie and Statham see's the usually flamboyant director dial things back a notch or two with his hyperkinetic visuals and edits few and far between here and his cockney tinged humor reigned right in as we instead get a mostly humorous free affair following Statham's mysterious H in a new job for a cash truck company that has recently been hit by a deadly heist and seems destined to be targeted once more by a group of elite robbers looking to make a quick buck.

With some bleak but atmospheric cinematography from Alan Stewart, some moody and effective scoring from composer Christopher Benstead and some grizzled performances from co-stars Holt McCallany, Jeffrey Donovan, Scott Eastwood and for what feels like the first appearance in eons from Josh Hartnett, Wrath of Man is a solid all round package that benefits from Ritchie's experience hands as he delivers a non-linear examination of what lead H down this new employment path and who exactly is behind a string of well-oiled robberies taking place across Los Angeles.

There's certainly nothing new or unique about Wrath of Man's central plot or the moments that litter its runtime, in many ways this the definition of a vengeance/crime thriller rulebook in action but there's a sheen and professionalism on display throughout the film and with Statham having an absolute blast (figuratively and at times literally) being back with one of his longest serving collaborators and with some genuinely great set-pieces that ramp up to a pulse-pounding finale, Wrath of Man may not be top-shelf Ritchie, but its top-class crime thriller fare that will please all genre diehards.

Street Dancer 3D (2020)

Street Dancer 3D Review

[8/10 · 14 May 2020]

Adorably pompous by nature, Inayat knows she's got them both - killer looks and impressive dance moves to 'kuch alag karne ka' - and has no qualms about using these innate weapons to rub her age-old foe up the wrong way; the ultimate softie and cut-throat competitor, Sahej. Although they have a respectable fan-base on the streets of London, the duo, not-so-secretly, has always wanted to beat each other in the art-form they are truly passionate about - dancing. What starts off as a harmless tiff between two opponents, takes the form of something bigger than themselves, as the story progresses towards one of the grandest dance challenges in the world. Essentially a dance flick, 'Street Dancer 3D' also encapsulates the moral growth of a pack of skilled dancers - both on stage and the bigger theatrics that is life. The opulent and equally impressive entries of the lead pair - Shraddha Kapoor and Varun Dhawan - has Remo D'Souza's signature style imprinted all over it. In his third dance-based film, the choreographer-turned-writer/director has upped his game in terms of the presentation of various dance forms - Jazz, Contemporary, Afro, Krump, Locking and Popping, Animation Tutting, Urban and Slow Mo. - and has even aptly managed to rope in some very polished performers from the world over. In fact, with her top knot, big hair, profusion of sass and impeccable dancing, Nora Fatehi as Mia turns out to be quite the revelation and reveals the charm of a glam diva. Other than Shradhha and Varun's personable representation of desi-at-heart NRIs, the duo has worked relentlessly hard on their postures and overall dance movements, and it shows on screen despite them being surrounded by a surplus of supremely talented professional dancers. Shraddha's borderline arrogant Inayat complements Varun's sentimental Sahej. The VFX, too, proves to be an added advantage as Remo has used the power of technology to keep things visually exciting for the audience at all times. Dancers-turned-actors Dharmesh Yelande, Punit Pathak, Salman Yusuff Khan and Raghav Juyal have played their respective parts competently and Prabhudeva's act as this silent former performer-restaurateur is a surprise package. His revamped version of 'Muqabla' stirs old memories and is a moment to watch out for. However, what doesn't favour the narrative is the length; it should have been trimmed down by a good 20 minutes. Yes, dance rightly takes the centre stage in 'Street Dancer 3D' but it is almost impossible to overlook the haphazard writing; for one, the film starts with one underlying theme and wraps up with completely another, thus, leaving the viewers perplexed in the first half and disappointed in the second. True, it is a performance-oriented film but if a plethora of songs, dance sequences and battlefield banters are thrown in after every five to seven minutes, then it could get distracting even for a die-hard fan of this genre. Also, this movie caters to the taste of a certain section of the audience - the usual dance lovers, and the ones who love to watch glamorous sets in Bollywood films. 'Street Dancer 3D' does have a strong message to send across to its audience - that of love in the face of adversity, compassion towards those we know and those we don't, and stresses upon the importance of friendship over personal gains - but fails to stitch it together with an organised cinematic fabric. If not for the story, watch it for the love of dance. And, get ready to groove and move!

Sarileru Neekevvaru (2020)

Sarileru Neekevvaru Review

[10/10 · 23 April 2020]

With Sarileru Neekevvaru, Anil Ravipudi brings back the old Mahesh Babu, someone who played cocky characters that fought, danced, saved the day and delivered speeches seeped in morality. There's enough drama, emotion and most importantly, looming danger in the film (until Mahesh Babu saves the day) to fuel the wafer-thin story, but Anil is so caught up in weaving two mismatched story-lines together that he forgets to keep the repetitiveness in check. He banks on you to suspend disbelief for the most part and given as how the film doesn't take itself too seriously in the first place, it might work for some. Ajay Krishna (Mahesh Babu) is the true-blue soldier posted at Kashmir who will disable bombs without safety suit on and walk into operations without a helmet on his head - that's how you know he likes to live life on the edge and is the hero because he has nothing to lose. Professor Bharati (Vijayashanthi) is a patriotic woman and a single mother who has lost her eldest child when he was serving in the army and is yet ready to send her second son (Satya Dev) to serve too. She also has a biological daughter apart from an adopted one and is someone who does not shy away from taking tough decisions to ensure the good emerge victorious. Then there's Kurnool MLA Nagendra (Prakash Raj) who's the epitome of evil because that's what Prakash Raj does best. In a tale completely unrelated to this, there's Samksruti (Rashmika Mandanna), her supportive mother (Sangeeta) and tired father (Rao Ramesh). Her favourite pastime happens to be to propose marriage to anyone she sees just so she doesn't marry the man her father chose for her. So it's only natural that when she sees Ajay, she latches on to him like a leech and refuses to let go, consent and choice be damned. But it's all fun and games and definitely shown in lighter vein till a fake rape scene is staged and of course, she's also wrestled into the other half of the story by force. The good part about Sarileru Neekevvaru is that it never takes itself too seriously. What's also good is that despite the paper-thin story Anil builds on, he does not veer in a direction you would expect the story to take. The way Ajay's character is built, he seems to like to throw a few punches, deliver a speech and crack a joke or two to lighten the mood (in that sequence). The character is completely reminiscent of his roles from the early 2000s and is a trope that will work with fans. So just when you realise something completely implausible has happened on-screen, you are reminded that this is a commercial entertainer. The much-hyped scenes in the train drag on thanks to some of the jokes not landing. Also, what doesn't work is that Anil seems to want to hammer the message home instead of letting his audience think. The jokes get repetitive, so do scenes, the catch lines and all that talk of soldiers serving at the border and patriotism, greatness of Alluri Seetharama Raju are repeated so much, you just wish there was a way to tell the director you get it! The jokes too about Rao Ramesh's family being crazy, you don't have to tell us so many times, we know! Not to mention that climax that veers between idealism and comedy, unsure of which side to take. Phew! The less said about it the better. Also, actor Krishna sure is there in the film, just not in the way you'd think. Mahesh Babu does a good job of playing a man who will serve the country, crack jokes and protect. It's been long since he got a chance to act in a film like this and he grabs the opportunity with both hands, giving it his all. Rashmika Mandanna is there. She woos, gets hyper, dances, has a catch-line, all for the male lead, but why she exists in this tale, other than to fawn over him is a mystery. Vijayashanthi gets a solid role, and the way she's set up you expect so much more from her character. But when even her role is reduced to mouthing one-liners praising the hero, there's only so much one can do. She too gives it her all though, especially in an emotional scene, so do Prakash Raj and Ajay in roles they can play in their sleep. DSP's music for the film is okay, with Daang Daang opening the film on an unexpected note but He Is So Cute and Mind Block (which is super-fun to watch) being horribly misplaced and breaking the flow of things. Suryudivo Chandrudivo and Sarileru Neekevvaru are the numbers that fit the narrative and comes at apt time. His background score however works and gets the job done without overpowering the narrative. Rathnavelu's cinematography too works but is unfortunately overshadowed by subpar VFX shots. The action by Ram-Lakshman is engaging.

Thappad (2020)

Thappad Review

[9/10 · 21 April 2020]

Hailing from a loving and supportive family in Delhi, and trained in Indian classical dance, Amrita's life could have taken a different course but she harboured the dream of being the best housewife ever, even if that meant giving up on her passion for dance. Vikram is a go-getter, and has his mind and heart set on his goals and he will do everything in his capacity to achieve it. But, in a moment, he realises that his big dreams are about to get shattered, blame it on office politics. Vikram does the unthinkable - his pent-up frustration finds an outlet in his committed wife, in the form of a thunderous slap that's witnessed by loved ones from both sides. And, this sparks the beginning of an ugly, emotional battle which goes beyond domestic violence. While the uncalled for incident makes Amrita delve upon and question her life choices and their marriage, Vikram continues to live in denial and wonders how 'just one slap' is turning out to be a life-changing moment. Anubhav Sinha's 2 hours and 21 minutes-long social drama, which is made for a society that rarely talks about the emotional and psychological effects of domestic violence, is set to spark debates and discussions on various ground. One stress-fuelled slap at a party takes the form of a full-blown conversation pertaining to the unsaid rules of marriage (where women are constantly reminded ki ghar zyada zaruri hain and that their actions will always be determined by log kya kehenge) and if it is acceptable for a husband to get away with what he considers one 'casual thappad' because he was fuming with anger. The film takes its own sweet time in expressing the dynamics of Amrita-Vikram's arranged marriage and how the two of them manage to blend in well with each other's financially-imbalanced, yet likeable, families. Sure, Vikram loves his wife, but he has made a monster out of his career goals, which the better half supports and harbours with all her heart. Even before the conflict arises, you can see an uber happy Taapsee making plans of a 'big blue door' at their future London apartment. Naturally, when the slap happens, her world turns over and even both sides of the family are divided on what is right, what is wrong and how much is too much, and the protocols of marriage in our Indian setting. Irrespective of various views thrown at her, Amrita is fiesty and resolves to channel the inner fighter in her and stands up for what she truly believes in - that even one slap is outrageous and not okay. 'Thappad' is not just a film aimlessly ranting about borderline domestic violence; it brings to light the years of conditioning that a woman is subjected to by her own family and the society that she lives in. Other than the aforementioned couple, there are other women in focus, too - one who is bearing the brunt of a family's name and legacy, one hung up on the idea that marriage is the ultimate destination, one coming from the poorer section of the society who is compelled to believe that getting thrashed by the husband is the norm, and one who has loved and lost a fine husband and is now struggling to find a replacement who outdoes the former. Sinha manages to intertwine all these stories and juxtaposition them with one another at right junctions, without being too in-your-face about it. The subtly works beautifully, as the stark contrast in their lives unfold. Taapsee, as the submissive wife, who suddenly undergoes an ocean of change within her, is a firecracker of a performer in this drama. In one scene, where she bids goodbye to a crucial character, Taapsee delivers a speech that is cathartic to its very core. Her portrayal is restrained but at the same time, in every scene she exposes a gamut of emotions - pain, disgust, regret and rage - without saying too much. If that is not a stupendous performance, we don't know what is. Pavail Gulati, as the determined corporate-slave with very intense life goals, pulls off a brilliant performance. You will want to hate him for his flaws, but his character is no less complex than the rest of them. Kumud Mishra stands out as Amrita's father - an ardent supporter of his daughter - and at most times, he is the only one who sticks up for her. Mishra's character reinstates why for a lot of daughters their father is their hero. Tanvi Azmi and Ratna Pathak Shah, as Amrita's mother-in-law and mother respectively, play their roles to a T - that of being the torchbearers of matriarchal mentality and trying to instill the same in the women of the house. However, Maya Sarao, who plays the high-profile lawyer Nethra Jaisingh, is the weakest link in the film. Not that she is bad, but others are so good that she gets overshadowed by some real power-packed performances. The music of the film (by Anurag Saikia) is beautifully melancholic in tone and blends in with the narrative. It is safe to say that Anubhav Sinha has rendered his career best in this strong-worded social drama. He deserves an applause for the depth-handling of the various characters in the film, their greys, complexities, dilemmas without ever getting too loud, overbearing or trying too hard to make a statement. Yet, the film drives home a solid point and leaves you with enough to ponder upon. The fine and nuanced writing, by Sinha and Mrunmayee Lagoo, deserves a special mention as that is what takes the film notches higher.

Baaghi 3 (2020)

Baaghi 3 Review

[10/10 · 21 April 2020]

Rippling muscles, six-pack abs and a chiseled face. Meet Ronnie - the handsome hunk whose only job is to magically appear from thin air whenever his elder brother Vikram is in trouble. He will bash up the bad guys to a pulp and go back to minding his own business. But in a sudden twist, Vikram is kidnapped by a terrorist group called Jaish-e-Lashkar in Syria and Ronnie sets off on a rescue mission. Director Ahmed Khan throws in every trick in the book to make 'Baaghi 3' an action entertainer with elements that highlight his leading man's brute force and deadly machismo. Tiger Shroff, who is clearly one of Bollywood's most bankable action stars, packs quite a punch in the high-octane action scenes (directed by Ram-Laxman and Kecha Khampadkee). His perfect body and attitude make all the stylized action look real. However, he falls short in emotional scenes and comedy. Shraddha Kapoor looks beautiful and brings in some good comic relief in the first half. But her character isn't very crucial to the story and hence, she doesn't have much scope to perform. Riteish Deshmukh has an important role, but his character suffers from a certain handicap, which is never explained. On one hand, he needs to be constantly protected by his younger brother but on the other, he is also recruited as a police officer despite being so vulnerable. Such inconsistency in his character graph makes it difficult to relate with him. In fact, there are quite a few such loose ends in the story that make it far less convincing. While the Syrian setting brings in a terrifying feel, most villains are far too caricaturish to be taken seriously, barring the main villain Abu Jalal (Jameel Khoury). He looks the part and his performance is chilling. Among the other actors, Jackie Shroff, Ankita Lokhande and Vijay Varma lend good support. The dialogues by Farhad Samji are laced with low-brow humour, especially in the first half and fairly filmy in the second half. The film's music is quite average but thankfully, there aren't too many songs. Disha Patani sizzles in a scintillating item number that adds a dash of glamour to this stylish actioner. While the action design (by Ahmed Khan) is impressive, the same cannot be said for the shaky camerawork and weak CGI.

Angrezi Medium (2020)

Angrezi Medium Review

[9/10 · 21 April 2020]

Born and raised in Udaipur (Rajasthan), Champak's world pretty much revolves around his daily bickering with his other Ghasitaram brother, Gopi (Deepak Dobriyal), and caring for his only daughter, Tarika, who's all set to graduate high school and embark on another academic journey. But, unlike her father, she doesn't want to limit her dreams to the place she has grown up in; instead, she wants to explore what lies outside of her small world. Unaware of what's ahead, Champak gives in to his daughter's wishes, but things start to spiral out of control when it comes down to paying the hefty fee. A dedicated father, Champak vows to do whatever it takes to send his daughter to study abroad, and treads on a path that not only proves his unconditional love for his 'betiya', but also redefines their relationship. Homi Adajania's 'Angrezi Medium' touches upon the pulse of the young generation's obsession with pursuing further studies in foreign countries, and their family's determination to embrace every Himalayan hurdle for their loved ones. There are other underlying themes, too, but this remains the primary subject of the film. It is a well-known fact that in reality, Irrfan shot this movie while undergoing treatment. But, while watching this film, you can put that thought aside. What you witness on screen is the actor in his element - in every frame. He just takes you along... you laugh with him, cry with him and every time he overcomes an obstacle, you rejoice with him. Irrfan breathes life into Champak in a way that nobody else can. And walking shoulder to shoulder with him is yet another fine actor, Deepak Dobriyal. His camaraderie with Irrfan is a testament to the fact that both of them are such polished, well-prepared actors. Radhika Madan, as this mildly rebellious and often clueless teenager, pulls off a fine performance, especially in the scenes where her movingly beautiful relationship with her father unfolds. Their chemistry is organic, and the portrayal of their respective characters seem so real that their dilemmas and inner conflicts start to resonate. Kiku Sharda, as the childhood buddy of the two brothers, is his usual funny self. Ranvir Shorey, as Balakrishna 'Bobby' Tripathy, living the seemingly perfect NRI dream, acts as a catalyst in moving the plot ahead. His depiction of Bobby comes as a refreshing twist in the plot and Shorey does complete justice to his part. Kareena Kapoor Khan does well in her brief appearance as tough cop Naina and adds to the chaos in the second half of the film. However, her relationship with her mother, Mrs. Kohli (played by Dimple Kapadia), is underexplored. It would have been interesting to watch the dynamics of their relationship play out in the movie. The look and feel of this comedy-drama is all things sweet and small-town - the actors consistently carry a thick local accent (Radhika's sounds a bit forced though) and close attention has been paid to what we call a 'small-town traits' that beautifully plays out in multiple scenes and sequences as the story progresses. With one foot in homeland and the other in London, the music and the background score have been chalked out keeping the two different scenarios in mind; works out fine and differentiates the mood well. The first half of the screenplay is more engaging then the second, but, while trying to fit in too many subplots, the story goes quite haywire. There are some fantastic moments in the film, and sharply written scenes between the characters, too, which in turn, prove to be the highlights of this drama. However, the story is far too convenient and has inconsistencies that are hard to overlook, but Irrfan's exceptional performance makes it worth the watch. 'Angrezi Medium' does lose its grip on several occasions, what it does not lose is its hold on the emotion that it is trying to bring out, and the message it leaves you with.

Zombieland: Double Tap (2019)

Zombieland: Double Tap Review

[9/10 · 15 February 2020]

Ten years after the world was overrun by zombies, survivors Columbus (Jesse Eisenberg), Wichita (Emma Stone), Little Rock (Abigail Breslin), and Tallahassee (Woody Harrelson) face new challenges and new threats, including hippies, evolved zombies, and monster trucks. Much has happened in the ten years since Zombieland came along, severed tongue planted firmly in rotting cheek, and poked relentless, irreverent fun at zombie flicks whilst creating a core quartet of memorable characters and, in Bill Murray's turn, delivering one of the great movie cameos. Off-screen, Emma Stone - then a vibrant rising comedy star - has become an Oscar-winner and one of the biggest movie stars on the planet, enough to warrant an "And Emma Stone" here. Director Ruben Fleischer followed up his vibrant, inventive debut with three fairly leaden movies, including most recently Venom, that suggested Zombieland might have been the odd one out. And writers Paul Wernick and Rhett Reese, after years of trying to get a sequel off the ground, finally mustered up enough clout, after two Deadpools, to return to the zombie well. On screen, things have moved on ever so slightly. The world is still overrun by zombies, some of whom have evolved into new and more challenging forms. Columbus (Eisenberg) is still our narrator, and still in love with Stone's Wichita, even if their relationship is in something of a rut. Harrelson's Tallahassee hasn't calmed down any, and is making ill-advised and potentially problematic claims about having Native American heritage. Only Little Rock (Breslin) is embracing real change - sick of their nomadic lifestyle and family squabbling, she wants to hit the road. Which brings with it its own complications, and a raft of new characters. However, where Fleischer, Wernick and Reese worked hard to make the original foursome interesting and likeable, here new characters are never allowed to come within a mile of resembling anything like a real person. Take the most substantial new addition - Zoey Deutch's Madison, a relentlessly cheerful, less-than-genius-level Valley girl who isn't given a single shred of depth, and is subject to some horribly mean-spirited hazing by the people who are the nominal heroes of the film. It's a testament to Deutch's sparky, committed performance, and some of the film's best lines, that Madison endures. Even ten years ago, the zombie genre was oversaturated. Since then, the rise of The Walking Dead (riffed on, and dismissed, in an early scene) has only served to further gum up the works. So it's nice, then, that the last thing Zombieland is concerned with is zombies. Sure, they're always around, in several neat new flavours, and there are a couple of big action set-pieces. But the film is never more alive than when it puts its characters together in the White House (a strangely toothless sequence), or a mini-van, or a gaudy hotel, and lets them riff far from the decomposing crowd. If little of this feels that fresh or surprising, that's the curse of sequels. But it's often enjoyable, occasionally very funny, and has an energy and verve sorely lacking from Fleischer's last few films. So, while it's simply, plainly, not as good as the first movie, Zombieland is no longer the odd one out on Fleischer's CV.

Charlie's Angels (2019)

Charlie's Angels Review

[9/10 · 14 February 2020]

The Townsend agency is waving farewell to John Bosley (Patrick Stewart), and welcoming a new mission. When the dangerous potential of a sustainable energy project is harnessed by the wrong people, two Angels - Sabina (Kristen Stewart) and Jane (Ella Balinska) - must work with the young engineer, Elena (Naomi Scott), who created it to save the world. Niceties are taken care of from the get-go: "I think women can do anything," Kristen Stewart's Sabina Wilson tells a rich man she quickly ends up swindling. There was the fear that a new spin on Charlie's Angels could have fallen into a trap of performative, derivative feminism - but Elizabeth Banks' film puts its money where its mouth is, as these women do do so much, as well as just thinking about it.

The premise is the same as ever: Charlie, never seen, only heard over an intercom, runs an agency of spies, assassins, masterminds. These are his angels. We meet two, hired on the same job, but certainly nowhere near soul sisters. There's Sabina, a sly but also silly rebel with a criminal record and enough comedic energy to power an entire country, and Jane (Balinska), a ruthless and devoted former MI6 agent - show-stopping newcomer Balinska really should be considered on the day when Bond finally is played by a woman. It's a real joy to see Stewart actually having some fun - she's the ringleader of this new team, sparky enough to keep spirits up but never gimmicky to the point of derision. Balinska is a revelation - sophisticated and focussed in her mission, channelling severe power when required and bouncing off those around her with sensitivity and charm. And the third angel? Well, it's not that easy. Scott, fresh from this year's Aladdin, finds her feet as the gifted engineer, both the target and crucial asset in the angels' latest job. She knows her craft well, but struggles in her position when her male boss fails to take notice of her warnings or, well, sheer existence. The gender dynamics feel different to those of the 2000 film - physical beauty was then used as the first and most obvious weapon by the angels, distracting men who couldn't stop looking at them. But now, in the age of mansplaining and major Fragile Ego syndrome, the fact that men can't take these women seriously, because they're not even acknowledging base-level worth, makes the conflict so much more rewarding. These skirmishes play out in heavyweight, high-octane action sequences (an earsplitting roving shootout in Hamburg, an almost body-crushing face-off in a warehouse, a floodlit finale set to a Donna Summer banger). Even if the eventual outcome might hit familiar beats, every single fight on the way there feels like it could be the last. Banks has always been one for well-designed characters and worlds - the wardrobe, geography and production design of this film are ambitiously stylish. The angels have tons of fun with sequined party attire and monochrome bodycon fighting gear, as well as candy-coloured disguises - bowl cuts and all. We get panoramic views of Hamburg and Istanbul, touching down in London but never settling long enough for things to get stale. The conventional makeover scene is zoomed in on, walking through the accessories but avoiding the cliché montage of a transformation. Whenever you think she's done enough, Banks comes back fighting. And then some.

Bad Boys for Life (2020)

Bad Boys for Life Review

[8/10 · 7 February 2020]

After 25 years of being together, 'bad boys' Mike Lowrey (Will Smith) and Marcus Burnett (Martin Lawrence) are at the crossroads of their exciting lives. But even as one of them wants out, the dramatic turn of events lead them to more deaths, destruction and startling revelations. It's the year 2020 and Marcus now wants to lead a peaceful family life away from all the violence. But his partner in crime Mike cannot let go so easily because this time, the horrors of his past have come to haunt him and it's destroying the world around him. He must do what it takes to protect himself and exact revenge, but first, he needs to convince Marcus to get back into the game. It's a simple plot with many new additions in the cast. But the one who leaves a lasting impact is the film's main villain Armando Aretas (Jacob Scipio) - a strapping young leader of a Mexican drug cartel, whose lethal blows totally belie his baby-face good looks. Mexican-American actress Kate del Castillo is also impressive as the ruthless widow Isabel Aretas, who literally calls the shots in this high-octane action comedy. The new crack team called AMMO led by Kelly (Vanessa Hudgens) has more young blood (Alexander Ludwig, Charles Melton) and they inject the much needed freshness into the proceedings. However, it's the film's leading duo who take their perfect camaraderie a notch higher. They're the strongest when together. Whether it is Will Smith's towering persona and swashbuckling punches or Martin's poker-faced humour, it works.

Directors Adil and Bilall pull out all stops to make it more exciting. The film's narrative and execution remains loyal to the usual trappings of a testosterone-led action entertainer with shocking developments that will often keep you on the edge. While the action and comedy elements like high-speed chases and witty one-liners work, the pace drops in parts. The film's climax, however, is packed with more startling (almost too dramatic) revelations and some finely executed action in the picturesque locations of Miami and Mexico. In conclusion, this one carries forward the legacy of the bad boys franchise and the magic of its leading men ensure that third time's a charm.

Bombshell (I) (2019)

Bombshell Review

[9/10 · 30 January 2020]

The loathsome Roger Ailes, notorious as a former Nixon apparatchik and veteran CEO of the stridently mediocre Fox News channel, became even less fragrant in 2016 when the open secret of his sexual harassment became an open non-secret. The channel's former anchor Gretchen Carlson successfully filed a lawsuit against him, revealing that he made sexual advances to her and other women at Fox; their careers would be advanced (or cancelled) at his seedy whim. Carlson's courageous lawsuit was supported by six other women and the 76-year-old Ailes's own boss, Rupert Murdoch, fired his underling, who died a year later.

This gruesome soap opera of misogyny and reactionary politics has already been turned into a Showtime TV drama, The Loudest Voice, with Naomi Watts as Carlson and Russell Crowe as Ailes - and now it is a movie directed by Jay Roach and written by Charles Randolph, with Nicole Kidman as Carlson and John Lithgow horribly plausible and latexed up as her bloated old sex-criminal employer. Charlize Theron is Fox News presenter Megyn Kelly, who infuriated the Fox News fanbase by challenging Trump on his anti-women attitudes before the election, and Margot Robbie plays Katya Pospisil, a fictional composite of all the younger women who were abused. She is the "Christian influencer" on Instagram who figures she can get ahead at Fox, and submits, almost in a dream, to the humiliation required. It is a strange film in some ways, speckled with powerful, insightful moments but also with some strained acting, pulled punches and fudged attitudes, unable to decide if its heroines are compromised through having been loyal Fox staffers. Ailes is the obvious villain but Murdoch (still alive, with lawyers and power in the media world) is almost presented as the good guy, finally intervening to create a happy ending and played in cameo by Malcolm McDowell. Despite the film's title, the Carlson/Ailes lawsuit was not a bombshell in the way the Harvey Weinstein revelations were a year later. This may have been because Ailes's accuser was no feminist, and was for years fully on board with the aggressively boorish and sexist attitudes of Fox News. As for Kelly, the film uses some narrative sleight of hand to suggest that she joined forces with Carlson, when it fact she appears to have limited her support to reporting her own harassment from Ailes in an internal investigation. Where Bombshell succeeds is in showing how the predatory and sinister abuse plays out in the corporate environment - in bullying. The film shows that sexual harassment and bullying are not separate issues but part of the continuum of coercion. It sketches out a queasy scenario in which a younger female journalist is taken out for a drink by a male boss who brutally asks for sex in return for career advancement, and the film shows how the aghast woman's instinct is to forgive this man, to pretend it isn't happening, even to apologise: "I'm sorry if I've given you the impression that our relationship could be anything but professional..."

Carlson and Kelly are the male-bully victims and there is a truly toe-curling scene in which Carlson, already demoted to an afternoon slot for complaining about on-air bantz from her grisly male co-hosts, presents a "no cosmetics" show. Ailes crassly blunders into the studio and shouts at her in front of the crew, screaming that no one wants to see a middle-aged woman sweating. Humiliated, Carlson can only riposte: "Thank you for the advice!" - and Kidman powerfully shows her rage.

I found Theron's performance as Kelly a little studied and mannered, but again she powerfully shows the same power dynamic. When male inadequates no longer find a woman in the workplace attractive or susceptible to condescension, they bully and demean her, and Ailes revoltingly allowed Donald Trump to do this to Kelly via Twitter, partly because Trump was a ratings star and partly because Ailes not-so-secretly agreed with the future president. The unexpressed irony of this movie is that the president, a serial non-respecter of women, detonated his own explosion of cynical bigotry. The rubble has yet to be cleared away.

Motichoor Chaknachoor (2019)

Motichoor Chaknachoor Review

[8/10 · 3 January 2020]

Anita aka Annie, a young girl from Bhopal, decides she will only marry an NRI. In the neighboring house, Pushpinder Tyagi who works in Dubai and is a 36-year-old bachelor on the lookout for a bride, is visiting his family. So will a romance brew between both of them? Annie (Athiya Shetty) has rejected a long list of suitors arranged by her parents on the condition that she will only marry someone settled abroad. So she can not only live there but also post photos on social media to make her friends jealous. Pushpinder (Nawzuddin) on the other hand is so desperate to marry now that he is willing to settle for anybody. His mother (Vibha Chibber) however is hoping to marry her son off only against a fat dowry. In due course, Annie's aunt (Karuna Pandey) convinces her to consider Pushpinder as an option to marry, because he fits the bill of living abroad. But does he? Motichoor Chaknachoor tries to capitalize on the small town milieu and the usual mix of quirky characters that we have often seen in movies set in Northern India. So you have two sets of joint families and most of their time seems to be divided between eating copious amounts of jalebi and kachoris and trying to find the required bride and bridegroom for their respective off-springs. While it may have been intended as a quirky comedy of a so called misfit couple, the tedious chain of events in the film makes it a tiresome watch after a point. And although it tried to be a social satire, many of the dialogues and scenarios are problematic. On the up side, there are some genuinely funny moments. Nawazuddin shines in some of the comic and emotional scenes. Athiya Shetty makes a sincere effort and pulls off some scenes impressively. Karuna Pandey as the aunt and Vibha Chibber as the mother make an impact. And film's soundtrack is pleasant. Overall, Motichoor Chaknachoor comes off as a mixed bag that leaves a lot to be desired in the execution department.

Panipat (2019)

Panipat Review

[8/10 · 3 January 2020]

In 18th century India, Shadashivrao Bhau, commander-in-chief of the Maratha army, leads his force in the Third Battle of Panipat against Ahmad Shah Abdali, the king of Afghanistan. Ashutosh Gowariker's magnum opus 'Panipat' is based on historical facts, taking some creative liberties along the way. Shadashivrao Bhau (Arjun Kapoor), is an able commander in his cousin Nanasaheb Peshwa's (Mohnish Bahl) army. After a victorious battle against the Nizam of Udgir, Shadashivrao Bhau is chosen by the Maratha Peshwa to lead their army to Delhi. Ahmad Shah Abdali (Sanjay Dutt), the king of Afghanistan, has set his inroads into India after forming an alliance with Najib-Ud-Daula (Mantra) with the intention to defeat the Marathas and curb their expanding power. Joining Shadashivrao Bhau and his army on this arduous thousand kilometer journey from Pune to Delhi are also his wife, Parvati Bai (Kriti Sanon), his nephew and the Peshwa heir - Vishwasrao (Abhishek Nigam), his cousin, Shamsher Bahadur (Sahil Salathia) and his trusted aide, Ibrahim Khan Gardi (Nawab Khan). As they traverse through the expanse, they form alliances with other kings to form a robust army to counter Ahmad Shah Abdali's one lakh soldiers. And almost mid-way they come face to face with Ahmad Shah Abdali's army, with only the raging waters of the Yamuna separating the armies. 'Panipat' packs in a layered narrative that delves into the complex politics of the period, the intricate workings of war strategies versus might, negotiation dynamics and the importance of forming alliances. And it also weaves in the love story between Shadashivrao Bhau and Parvati Bai. In fact, the chemistry between Kriti Sanon and Arjun Kapoor as their love story develops, is one of the high points of the film. But with a run-time of close to three hours and the many characters and plot points the film touches upon it becomes a lengthy and at times, tedious watch. Kriti Sanon pulls in a solid, effortless performance with a well-etched out character graph. Arjun Kapoor is sincere and shines in the final war sequence and the romantic scenes. Sanjay Dutt channelizes a menacing act effectively. The film has been mounted on a lavish scale and it comes through in almost every scene. The costume design (Neeta Lulla) and the sets and production design (Nitin Chandrakant Desai) are spectacular and stand out. The songs (Ajay -Atul) add to the mood and are well choreographed. However, it is in the final battle set in 1761, where the mammoth effort that has gone into making the film comes to the fore, as we witness a compelling war sequence. One that almost induces goosebumps. The cinematography (C.K. Muraleedharan), sound design (Stephen Gomes) and the visual effects also blend in seamlessly to give an authentic setting to this period film. The ensemble cast of Mohnish Bahl, Padmini Kohlapure, Zeenat Aman (special appearance) add to the milieu. 'Panipat' delves into a significant chapter in history and is a war drama that lauds the unshakeable bravery, courage and the strong principles of the Marathas.

Good Newwz (2019)

Good Newwz Review

[9/10 · 3 January 2020]

Deepti (Kareena Kapoor Khan) and Varun Batra (Akshay Kumar) are a posh, high-flying married couple, living in Mumbai and are much involved with their respective careers. Deepti also has her heart set on having a baby and after trying for a few years and then, some prodding by the family, both Varun and she decide to consult one of the best fertility specialists in the city. The doctor advises IVF and they are ready for it. Only hitch, few days after the procedure is through, Deepti and Varun are told there has been a sperm mix-up with another couple with the same last name. Enter 'the Batras from Chandigarh' into their lives. Honey (Diljit Dosanjh) and Monika (Kiara Advani) are a loud Punjabi couple and now it's a complete clash of sensibilities between the two sets of Batras. As both Deepti and Monika soon find out they are pregnant, the rest of the film forms how the couples come to terms and deal with this unusual situation. Through much of its runtime, director Raj Mehta ensures that 'Good Newwz' stays true to its genre with several light-hearted and funny moments. Add to that, the pace of the film stays mostly tight. Although given the subject and premise the narrative, at times, treads into a problematic zone and stance. And some of the jokes seem off-colour. There's also a tendency to over explain and simplify in some portions which stick out. Also, the screenplay barely scratches the surface when it comes to getting into the depth and complexity of the situation. However, the performances are top-notch. Kareena Kapoor Khan steals the show and delivers a knockout performance as the sophisticated Deepti, and her character's emotional arc is developed well. Akshay Kumar hits the right spot with his comic timing. As does Diljit Dosanjh, who sinks his teeth into his character and plays it with full gusto. Kiara Advani is sincere and makes an impression. Adil Hussain as the straight-faced doctor, at the core of all the confusion, is a hoot. And as a couple, both Kareena and Akshay play off each other well and many of their interactions come off as very relatable.

Mardaani 2 (2019)

Mardaani 2 Review

[9/10 · 3 January 2020]

In this sequel to the 2014 original, top cop Shivani Shivaji Roy (Rani Mukerji) is up against a ruthless young serial killer, who also rapes young women before savagely murdering them. Will Shivani be able to nab him before he strikes again? In the very first scene, writer-director Gopi Puthran sets the tone of his film as a brutally chilling saga of a psycho killer on the loose. As the body count continues to mount in Rajasthan's education hub Kota, the remorseless young killer Sunny (Vishal Jethwa) challenges Shivani to stop him if she can. In the very first scene, writer-director Gopi Puthran sets the tone of his film as a brutally chilling saga of a psycho killer on the loose. As the body count continues to mount in Rajasthan's education hub Kota, the remorseless young killer Sunny (Vishal Jethwa) challenges Shivani to stop him if she can. Rani Mukerji once again steals the show with her measured and restrained act. She doesn't go over-the-top with theatrics but captures the nuances required to play a gritty top cop, dealing with heinous crimes, rape victims and a violent murderer. She does a fine balancing act between being powerful and vulnerable at the same time. The film's antagonist Vishal Jethwa is a revelation and holds his own confidently against a powerhouse performer like Rani. He looks innocent, but delivers quite a chilling performance for a debutant. He gets the rustic Rajasthani accent right, just enough to add more menace. The film's pace is relentless and adds to the thrill even as we see the villain constantly (and quite unbelievably) outsmarting the cops. The first and the second half are equally engaging, with no songs to interrupt the proceedings. Thankfully, the background score is subtle too. The film's writing repeatedly hammers the point of gender inequality and bias. The director gives us glimpses into Sunny's troubled past, but also gives his character way too many smarts, making some of it seem unrealistic. What also doesn't help is him breaking the fourth wall and talking to the audience. The film tends to stereotype its male characters, portraying almost all of them as misogynistic and insensitive towards the plight of women. However, it's the conviction in the performances and a gripping narrative that ensure there's never a dull moment in Mardaani 2. Yes, it is a brutal story that's sometimes hard to stomach, but it needs to be told. And none better than Rani in a khakee to lead the show.

Dabangg 3 (2019)

Dabangg 3 Review

[9/10 · 3 January 2020]

This is the third instalment of the 'Dabangg' franchise, and the audience is well-acquainted with the larger-than-life, lovable cop and his world. Chulbul (Salman) spends his average day romancing his wife Rajjo (Sonakshi), troubling his brother Makkhi (Arbaaz) and fighting and reforming goons. All is well, until he busts a prostitution racket and saves a bunch of girls, which angers the ringleader, the rich and powerful Balli (Sudeep). Cut to, Chulbul Pandey's beginnings, a huge chunk of the first part of the film is about his younger days, his love interest - the beautiful and naive Khushi (Saiee) - and the circumstances that urged him to turn over a new leaf and become Robinhood Panday.

There are ample clap-worthy and seeti-maar moments in Prabhudeva's 'Dabangg 3' for Salman Khan fans to lap up. Yes, he takes off his shirt, flaunts his well-toned, perfectly-greased body and beats up the goons to pulp. The action is raw and solid, however, some action scenes (like Chulbul's introductory sequence) are unreasonably stretched. While the story is clearly predictable, in this one again, Salman's star power, swag and style remain intact. There is an attempt to infuse comedy in the story, but it seems rather forced. The storyline is not cohesive and the narrative is loosely strung together. Sudeep is menacing as the baddie, who is out to make Chulbul's life miserable. The South actor has a great screen presence, which makes the face-offs between Chulbul and him impactful and entertaining. Sonakshi was seen as Rajjo in the first two movies of the franchise, too, but in a film that's primarily about a tussle between the good and the bad men, she doesn't have much to do other than play the loving and doting wife. Saiee, who makes her debut as young Chulbul's lady love, has a pleasant screen presence and is effective, but she could do with expressing more in the emotional scenes. Arbaaz plays his part well. The film, with a runtime of 2 hours and 42 minutes, seems very long and could have done with a tighter edit. The narrative is also interrupted by a long line-up of songs, of which, the memorable ones are 'Munna Badnam Hua' and the title track. Overall, the film has all the ingredients required for a massy masala entertainer - good action, music, drama and, of course, Salman packing all of this in one story. The portions where the actor throws in comedy while doing hardcore action scenes are nicely done. 'Dabangg 3' shows Salman in his element - throwing deadly blows at the villains amidst all the smoke, dust and fire, while you can hear chants of Hudd Hudd Dabangg in the background. And those certainly will be paisa-vasool moments for Salman Khan's fans.

Star Wars: The Rise Of Skywalker (2019)

Star Wars: The Rise Of Skywalker Review

[9/10 · 22 December 2019]

Emperor Palpatine (Ian McDiarmid) lives, and has sent a message to the galaxy threatening revenge with a huge fleet of planet-killing ships. The Resistance, and Rey (Daisy Ridley), must find the clues that will lead to his location and allow them to defeat him once again, despite the fury of Supreme Leader Kylo Ren (Adam Driver). For the third time in many adults' lifetimes, a conclusion of the Skywalker saga. Once again, a trilogy has built to this finale; once again, the fate of the galaxy hangs in the balance. This one features no Sarlaac pit, nor is it as much of a step up from its predecessor as Revenge Of The Sith. But it does feel like a conclusion to the story that director JJ Abrams began in The Force Awakens, for better and sometimes for worse. Although The Last Jedi split fan opinion, it unquestionably caused the biggest shake up in Star Wars lore since that revelation in The Empire Strikes Back. That opened up the story's universe to exciting new possibilities: to characters beyond the small Skywalker group and to injustices and shortcomings in the Resistance as well as the Empire. Yet Abrams almost entirely ignores the doors it opened and goes back to his first instinct, sticking close to elements established in The Force Awakens. So abandoned ideas like the Knights of Ren are back, and the conversation about Rey's parentage that Johnson seemed to lay to rest is reborn like the Emperor. Perhaps it should feel like a relief after Last Jedi's shocks, but instead the effect is to make this story feel like a step backwards at times rather than a great leap forward, and to make the whole trilogy feel disjointed instead of just one film in it. Still, some elements are wonderful. Daisy Ridley's Rey is training now under Leia (Carrie Fisher) and has become more confident in her power, if not in her capacity to resist the Dark Side. She is still linked, bound even, to Adam Driver's Kylo Ren, and their clashes gives the film most of its best emotional scenes. Their strange connection has outlasted Snoke and grown stronger; they can duel no matter where they are in the galaxy, and taunt each other with visions of the future that support their own beliefs. And Ridley's terrific, tormented by the idea that it is her destiny to go to the Dark Side and afraid of her own power. She and Kylo are therefore strangely well matched. Rey is passionately invested in her friendships and her cause; he is passionately cynical and suspicious of everyone. Rey is convinced by Finn that she doesn't have to do everything alone here; Kylo still has terrible impulse control and flits off after her instead of Supreme Lead-ing the First Order whenever possible. But don't worry, he leaves Domnhall Gleeson's Hux and Richard E. Grant's Allegiant General Pryde in charge, both sneering competitively and delightfully at, well, the entire universe but neither seeming entirely reliable. The story more or less ends up in the right place, despite the threads left hanging. Meanwhile Finn (John Boyega) now travels with Poe (Oscar Isaac) and Chewie (Jonas Suotamo) harvesting information from spies for Leia. Poe - in full Indiana Jones mode - is loads of fun here, though these capers bear little relation to his learning curve last time. Boyega is strangely underserved: he gets more screentime than before but less forward motion. While Finn's bond with Rey is repeatedly said to be important to both, they get no room to actually develop it. He's too busy being introduced to new rebel Jannah (Naomi Ackie), a charismatic actress without much to do. It might have been more economical storytelling to just let Finn shack up with Poe - or to give Rose Tico (Kelly Marie Tran) more than a few lines. Keri Russell's Zorii Bliss is another interesting figure who's ultimately mostly there to flirt with Poe. Does he really need another love interest when he can generate heat with literally anyone? Alongside other newcomers like Babu Frik (Shirley Henderson) and droid D-0, and the glorious return of Lando (Billy Dee Williams) and others, there's a whole lot of distraction on our heroes' journey. Sometimes it's fan service, but too often it feels more like pandering. That journey, too, is more complicated than normal. To defeat the Emperor, our heroes face a quest straight from high fantasy or average gaming: find the thing that points to the other thing to do the next thing, with a couple of bonus rescues along the way. The trail leads to the storm-battered remnants of the second Death Star, the "Forbidden Desert of Pasaana" and the snow-flecked world of Kijimi. The level of craft and design in these films remains extraordinary; visually they're all gorgeous, particularly the towering waves of that world in the Endor system. As they search, destiny keeps calling. Rey and Kylo must face one another again; the Emperor must be defeated without the victor simply taking his place on the Sith Throne. And Emperor Palpatine is back, terribly changed but still potent, more machine now than man. Whether that is a good thing for Star Wars storytelling is less clear. That's because, for all the visual panache, pleasing cameos and interesting newcomers here, for all that Ridley and Driver pour into their stand-offs, the Emperor's presence shows a disturbing lack of faith at the heart of Rise Of Skywalker. The fan backlash last time has been taken on-board too well; the storytelling here sputters whenever it approaches any similar chance to turn away from narrative convention and do something truly unexpected. You wish that this galaxy didn't feel so small and scared of stepping away from George Lucas' shadow. Maybe it won't matter to fans. There are effective emotional punches before the end, as we say a final goodbye to Carrie Fisher and her generation of stars and as Kylo and Rey face their demons. Arguably the story more or less ends up in the right place, despite the threads left hanging. When it focuses on Rey and Kylo, this film usually works. Whatever the Dark Side says, we can make our own destiny, and we change the universe when we do. It looks gorgeous and offers strong performances from Driver and Ridley in particular, but ultimately the saga ends with neither a bang nor a whimper but something inbetween.

6 Underground (2019)

6 Underground Review

[8/10 · 22 December 2019]

An enigmatic billionaire known only as One (Ryan Reynolds) has faked his own death and gone underground to lead a group of similarly off-the-grid mercenaries to do the jobs that governments won't. Their first mission: deposing the vicious dictator of Turgistan and replacing him with his more peaceful brother (Payman Maadi). It's become common for directors who have made a movie with Netflix to wax lyrical about the near total freedom that's given to them. While that autonomy can mean we get films like The Irishman from Martin Scorsese, it can also lead to films like Michael Bay's 6 Underground which, with a rumoured budget of $150 million, is on a par with 2017's Netflix tentpole Bright. The latter defied the negative reviews and became a massive hit, and the streaming giant will be hoping that their latest expensive gamble pulls off something similar. For this is Bayhem in its purest form, and that's for the worse instead of the better. The mercs against the world plot (such as there is one), which is explained over and over and over again despite a lengthy opening car-chase sequence and flashbacks designed to catch us up, is laden with potential. If this were a better movie you could easily see it being the start of a franchise, but the problems start early and pile up almost as quickly as the John Wick-esque body count.

This is Michael Bay at his most irresponsible and gory.

There's something to be said for the fact that Bay is such a distinctive auteur that you need only watch the first five minutes of 6 Underground - which has some impressive vehicular moments to boot - to know exactly who's behind the camera. It's just frustrating that that unique visual style goes hand in hand with other elements that are now part and parcel of the Bay experience. From the incoherent editing to the objectification of women to the over-excessive and nasty violence, which is at times perpetrated by the characters we're meant to be rooting for, this is Bay at his most irresponsible and gory.

As for the people in front of the camera, it should be no surprise that Reynolds - who is working from a screenplay penned by Deadpool writers Rhett Reese and Paul Wernick - gets all the best lines, and he remains fun to watch even though we don't learn much about his character as the movie progresses. The rest of One's team fare less well, falling somewhere between the bare minimum of characterisation and, in the case of Adria Arjona's 'Five', absolutely nothing at all. Thankfully, Corey Hawkins infuses his sniper with decency that the movie sorely needs, and Mélanie Laurent seems to know exactly what movie she's in and acts accordingly. Ultimately, though, 6 Underground will have you asking a ton of questions about many of its bizarre choices, including but not limited to: Why replace the driver on your team with a sniper? Why are the team taking orders from the billionaire even though he's clearly the worst leader of all time? The film is less concerned with answering these than it is in plunging you into the next heavily stylised action sequence. Such is the Bay way.

Official Secrets (2019)

Official Secrets

[8/10 · 22 December 2019]

GCHQ worker Katharine Gun (Keira Knightley) is asked to work on a memo revealing details of strong-arm US/UK tactics designed to bully the UN security council into backing the 2003 US invasion of Iraq. Feeling for the 30 million civilians who would suffer, Gun decides to leak the document to the press, putting her job and life in jeopardy. Official Secrets is the kind of film where the most suspenseful scene is built around a grey office printer. The woman doing the printing is Katharine Gun (Knightley), the GCHQ worker who leaked a secret memo revealing a US spying campaign designed to help ratify the 2003 invasion of Iraq. Eye In The Sky director Gavin Hood's is a film full of whistleblowing deliberations, political subterfuge, journalistic legwork and out-of-date tech (you should see the chunky keyboards and HUGE floppy discs), delivered by a strong cast of reliable Brits led by a particularly powerful Keira Knightley. If it's let down by a simplistic take on its complex subject matter, it's still an entertaining slice of recent history celebrating an unsung British hero. After spending time grounding Gun's life in recognisable strokes, the film gets good dramatic mileage out of the printing of the secret memo, a tense if perhaps over-the-top visit to the postbox where Gun is paranoid she is being watched and the interview scenes, which try to flush out the whistle-blower in GCHQ. By the time the leaked memo finds it's way to Observer journalist Martin Bright (a likable Matt Smith), it transforms into a '70s styled thriller with meetings in underground car parks, phone calls to the White House using an alias, and lots of debates about whether it is right to publish. There is also an incredibly explosive scene involving spell-check. Honestly. It's Knightley's Gun you'll remember and admire; steely, stirring but still recognisably human. If Official Secrets falls down it's in a lack of confidence that an audience will follow the complex machinations, constantly recapping to make sure we are all on the same page. It also falls into too many 'movie-movie' tropes, be it shout-y British newspaper editors or a last-gasp attempt to stop a key character being deported. As Katharine makes the incredibly brave decision to 'fess up and GCHQ start threatening her through Scotland Yard, she engages human-rights law firm Liberty, headed by Ben Emmerson (Ralph Fiennes, coasting but classy), to take on her case. Hood's filmmaking is polished if a bit colourless and a raft of great British character actors (Matthew Goode, Rhys Ifans, Tamsin Greig, Jeremy Northam) do good work in under-written roles. But it's Knightley's Gun you'll remember and admire; steely, stirring but still recognisably human. At one point, Gun rails against Tony Blair on TV: "Just because you're the Prime Minister, it doesn't mean you get to make up your own facts." What's that line about the more things change, the more they stay the same.

Commando 3 (2019)

Commando 3 Review

[9/10 · 3 December 2019]

'Commando 3' gets into the thick of things right at the beginning when a police office chases down a group of misled youngsters, which, in turn, leads to a bigger revelation. In a bid to avert the impending terrorist attack, the bureau ropes in Karanveer Singh Dogra (Vidyut Jammwal), who is accompanied by Bhavana Reddy (Adah Sharma), to get to the root of the plan and bring the culprit to justice. The duo receives able support from their British counterpart, Mallika Sood (Angira Dhar) in this mission. The violence in 'Commando 3' is brutal, bloody and graphic in some scenes. It will take some nerve to sit through those. What works is that the third instalment of the series stays true to its core - it delivers heavy-duty action, with raw hand-to-hand combat and swift chases. Vidyut Jammwal as Commando Karanveer Singh Dogra scores on every action scene, taking it a notch higher -- with his smooth and slick kicks, punches and back flips - it's undoubtedly a sure-shot adrenaline rush. The leading ladies, Adah Sharma and Angira Dhar, too, pack a punch, though sometimes it seems like they are trying too hard. But, it's refreshing to see the women kick some butt, in tandem with the action boys in a hardcore action film. Gulshan Devaiah has impressed with his performances in the past, but here, he doesn't quite stand up to the barbaric and menacing character (Buraq Ansari). Aditya Datt's 'Commando 3' uses cliché tropes that action thrillers with such subjects usually do, like the hero making a grand entry while a girl is being harassed by a man, scenes replete with loaded patriotic dialogues and many such. The first half of the story has ample action, but it takes time to gather momentum and draw you in. The second half offers some twists and turns; however, the story is so stretched by then, even the high-octane action doesn't keep you as invested. The basic plotline of one brave commando saving the nation at all costs from a series of terror attacks, is trite, but that is not the bigger problem here. The narrative is far-fetched, defies logic and tries to pack in so much that it loses grip and pace at times. The background score attempts to elevate the drama, but is often overbearing. However, for action buffs, there is enough and more in 'Commando 3'. Vidyut steals the show as the daredevil who can stun you with every blow. Of course, patriotic fervour captures almost every key scene in the film, but what manages to hold your interest is the tension and tact Vidyut adds to every scene with his power-packed action moves.

Ford v Ferrari (2019)

Ford V Ferrari Review

[9/10 · 1 November 2019]

Ford v Ferrari thrills by simulating the record-breaking pace of the cars on the tracks, but really captivates because we care deeply about the men trying to make the victory happen. Before his back-to-back dips into the comic-book universes of Wolverine (Hugh Jackman) and the X-Men - in the films Logan and The Wolverine - James Mangold nimbly danced through genres in search of compelling characters. He'd make a Tom Cruise actioner like Knight & Day, but add on a bumbling innocent character to spice up the routine spy genre. He'd plunge into a conventional biopic like Walk the Line, but reinvent it with the aide of two commanding performance at the head of his Johnny Cash story. Mangold's back at the helm of a sturdy, red-blooded American story of ingenuity and stick-to-your-guns re-invention for the spectacular new Ford v Ferrari. You've probably seen this type of story told before, but rarely this well, with supreme talents overcoming nearly impossible odds to achieve a goal everyone tells them they can't get. It's the late 1960s, and Henry Ford II (Tracy Letts) faces a serious issue. The Ford brand, time-tested and baked into the American popular culture, is struggling to contend against an onslaught of cooler, hipper cars. Kids coming back from the war hardly want to plunk down cash on the cars on which their dads used to depend. Ford needs bold, company-saving ideas, and Lee Iacocca (Jon Bernthal) has one. Iacocca wants Ford to compete on the global racing circuit. Specifically, Iacocca wants Ford to go head-to-head with the dominant force of the international circuit: Enzo Ferrari (Remo Girone). To do that, Ford recruits two men with intimate knowledge of this field: celebrated automotive designer Carroll Shelby (Matt Damon), who raced in and won the annual 24 Hours of LeMans in 1959; and Ken Miles (Christian Bale), a hard-headed and short-tempered grease monkey who has a seamless connection to his automobiles, and might be the only person talented enough to drive the car Ford needs to build from scratch. Even if you know the results of the 1966 24 Hours of Le Mans - and the outcome has been famous in the race world since the moment the event concluded - Mangold's Ford v Ferrari captivates and entertains with the peaks and valleys of the team's journey. The riveting drama spins a classic narrative of teamwork and ingenuity in the face of stifling adversity, as Shelby and Miles constantly had to convince Ford of the risks that needed to be taken if they actually wanted to win the race, and not just contend. Mangold recruits two of the greatest male actors working today to play his leads, but they are overshadowed by one intangible co-star I like to call "speed." The racing scenes in Ford v Ferrari are breathtakingly innovative, with Mangold and his team routinely figuring out new ways to put us in the driver's seat of some of the fastest vehicles on the planet. The chief obstacle facing Shelby and Miles was making their protoptype race car faster, so the tests performed in the film had to convey that achievement. Ferrari thrills by simulating the record-breaking pace of the cars on the tracks, but really captivates because we care deeply about the men trying to make the victory happen. Bale, in particular, is fantastic as the flawed and conceited Ken Miles, a dedicated husband and father who can't help but put his passion for cars ahead of the family he loves. He's conflicted by his desire to be around for them, but unable to resist the temptation that comes with the challenge of being right about the cars that Shelby fights to design. Arguably, Ford could not have competed at 24 Hours of Le Mans without Ken Miles' contributions, and I'd shudder to think of a version of Ford v Ferrari without Bale behind the wheel. Under Mangold's watchful eye, Ford v Ferrari tells a stirring, inspirational story about professional pride, and tells it extremely well. The screenplay creates rich, complicated characters out of its underdog-sport template (though two supporting characters drag the main plot down with their unnecessary contributions), and Mangold's precision for filmmaking helps the ride stay perpetually smooth and swift. Hollywood used to specialize in these audience-bonding crowd pleasers. Now they are few and far between, so when one speeds along and is firing on all cylinders, so out of your way to support it.

Kaappaan (2019)

Kaappaan Review

[7/10 · 1 November 2019]

A Special Protection Group officer who is in-charge of security of the Prime Minister, has to identify a grave threat to the PM as well as the nation At the outset, Bandobast looks and feels like a typical patriotic film that Vijayakanth and Arjun had regularly made in the 90s. It begins with an assassination attempt on the Indian Prime Minister Chandrakanth Varma's (Mohanlal, who is made to spout reams of nationalistic dialogue that hardly strike a chord) life. We are then introduced to Kathir (Suriya), an intelligence officer who doubles up as a farmer, and is trying to track down the threat to the PM. However, unlike Vijayakant and Arjun's films, Bandobast often tends to deviate from its mission and ends up frustrating the viewer. One minute there's action, then suddenly there's romance and then there's a social message thrown in. Rather than building up the suspense, the script deflates it. The first half fares relatively better as we get to see the various players involved and their motives (some evident, some hidden) - Anjali (Sayyeshaa), the press secretary whose father was a victim during the opening assassination attempt; Abhishek (Arya), the seemingly playful son of the PM; Mahadev (Boman Irani), the multi-millionaire who sort-of runs the government; Kathir's SPG teammates (Samuthirakani, Prem, Kiran), one of whom could be a mole; and the mysterious assassin (Chirag Jani), who seems to have eyes everywhere. But things begin to go downhill soon after the interval block and Bandobast turns into a predictable fare. The part where it touches on themes like the plight of the farmers and corporate greed - it becomes a clichéd, routine fare. Some of the elements seem to have been taken straight out of Mahesh Babu's recent films, Bharat Ane Nenu (Abhishek's press conference) and Maharishi (the farming bits). There is a certain pulpy quality to KV Anand's films and even those aspects, like the angle involving bio warfare conducted through locusts, feel underwhelming. By the time the film reaches its ineffective climax, we begin to wish for Vijayakant and Arjun to come and rescue us.

Aruvam (2019)

Aruvam Movie Review

[9/10 · 1 November 2019]

A woman who doesn't like harming even an ant is possessed with the ghost of the man who loves her, which wants to take revenge on the corrupt men who murdered him. For a while in Aruvam, you think that the director, Sai Shekar is winking at the clichés that we see in our films. Take the introduction scene of the heroine, Jothi (Catherine Tresa). She is so pure of heart that she stops herself from stepping on a few ants while getting down from her car. The director doubles the cliché when in the same scene, he makes her carry a dead dog and bury it - even while her colleagues are put off by the foul smell. In the scenes that follow this one, we get more of Jothi's good samaritan side. She lets free a parrot belonging to an astrologer, she feeds the inmates of an old-age home. In fact, the protagonist, Jagan (Siddharth) witnesses her performing some of these acts and in true filmi fashion, falls in love with her. Even Jagan gets a sob story to make us instantly like him. He is an orphan, and honest. "Suthathoda uchcham," his friend describes him. But it is only after a while that we realise that Sai Shekar is dead serious (pun intended). What seems like a high-concept romance - Jothi has an unusual condition, which makes her oblivious to smell, and turns the persistent Jagan down, fearing her disability might result in a tragedy as in her past - suddenly becomes a revenge movie involving a ghost. But this earnestness and the predictable plot developments keep weighing the film down. The writing is all over the place. We expect Jothi's 'disability' to have a bearing on the plot, but it never does. In the latter half, we get shots of Jagan sniffing out food adulteration (he is a food safety inspector), quite literally! But this, too, just doesn't go anywhere. We also get a handful of villains, none of whom make an impact. As for the leads, Catherine Tresa is too lightweight for a role that calls for both acting chops and commanding screen presence while Siddharth's characterisation seems to be just a different version of what he played in the recent Sivappu Manjal Pachai. He comes across as sincere, but with the rest of departments failing him, there is only so much he can make up for. Maybe he can take solace in the fact that he is perhaps the only actor who has been part of three different ghost films - the excellent Aval (pure horror), the partly amusing Aranmanai 2 (horror comedy), and now, this dull revenge drama.

Bigil (2019)

Bigil Review

[9/10 · 28 October 2019]

A do-gooder don wants his footballer son to uplift the life of his people by becoming a champion, but fate draws the youngster into a life of violence. Will he be able to fulfill his father's dream when an opportunity comes his way seven years later? Bigil is, hopefully, a sign of things to come. Along with Nerkonda Paarvai, it shows the way forward for our top stars - the mass heroes. And that is to star in content that suits their larger-than-life persona while at the same time doesn't compromise on the storytelling.

In Bigil, Vijay plays Michael Rayappan, a football player who had to give up his passion due to personal tragedy that is the result of the violence that surrounds his life. And this same violence offers him a chance to get his life back on track, when his friend Kathir (Kathir), the coach of a women's football team, is grievously injured. Michael aka Bigil has to take on the coach's role so that the dreams of the players, all of whom are from the underprivileged class of the society, and most importantly, that of his father Rayappan (Vijay, again), a do-gooder don who saw sports as a means of social upliftment, come true.

Though it feels uneven, especially in the first half, when Atlee struggles a bit to balance the mass elements with the drama, Bigil becomes more sure-footed as it goes, and proves to be an engaging entertainer. There are scenes, like the one set in a police station, that play to the gallery and satisfy the fans. The portions involving Nayanthara, who plays Bigil's love interest Angel, are fun, and the references to other Vijay hits are nicely done. Vijay is delightfully good in these portions, using his comic timing and swag to great effect. His performance as Rayappan, with a gruffy voice and stammer, feels a bit forced, but he makes up for it in a scene set in a railway station that is quite moving. The sports movie must-haves - a team in disarray, the cold shouldering of the new coach, his attempt to gain their respect, the antagonist (here, it is Jackie Shroff, as JK Sharma, a upper class businessman), the on-field drama, and AR Rahman's anthemic score - ensure that the second half feels like a breeze compared to the laboured first half. The girls who form the players in the football team - Indhuja, Reba, Amrita, Indraja and Varsha - get their moments, and do well, though their characters lack depth. But that is the case with the film as well. Like the director's previous films, Bigil, too, lacks depth. And it is overlong. But the calculated attempt to turn the film into a women empowerment saga works. Even if the film reinforces the male saviour complex, you feel glad when a female character, an acid attack survivor, gets the loudest cheer.

Housefull 4 (2019)

Housefull 4 Review

[9/10 · 28 October 2019]

In 1419, the love stories of three couples are left unfinished owing to a conspiracy. In 2019, reincarnated, they meet again and the romances are rekindled. But this time pairings are mixed up. Can what was done in 1419 be undone in 2019? In its fourth edition the Housefull franchise ensures that it takes its brand of over the top and mindless humour forward. Actually, it's more like the reverse, since it rewinds back six hundred years to the 15th century. But first, it's London of 2019, where Harry (Akshay Kumar) is a hairdresser who alternately has bouts of memory loss and flashes from his past life. Max (Bobby Deol) and Roy (Riteish Deshmukh) are his brothers. Together they hatch a plan to marry Kriti, Neha and Pooja (Kriti Sanon, Kriti Kharbanda and Pooja Hegde respectively), the three daughters of a billionaire, Thakral (Ranjeet), to be able to pay off the loot money of a mafia don Michael that they have misplaced. When the marriage destination is inadvertently fixed as Sitamgarh in India, the couples head there and Harry meets his past life friend Aakhri Pasta (Chunky Pandey) and recalls everything from that time. The three pairs of lovers - Rajkumar Bala Dev Singh (Akshay Kumar) and Princess Madhu (Kriti Sanon), Bangdu Maharaj (Riteish Deshmukh) and Princess Mala (Pooja Hegde), Angrakshak Dharamputra (Bobby Deol, yes the pun is not lost here) and Princess Meena (Kriti Kharbanda) are killed, leaving their love stories unfinished when they get caught up in an evil design to eliminate them. Although, Bala himself is 'shaitaan ka sala' and has laid a trap to marry Mala, so that he can become the king of Sitamgarh. The main hitch now is that, in 2019 the couples are mixed up, and Bala (Akshay Kumar) decides that the pairings must be set right so none of them end up with their sister or brother-in-law from their past life. So with this central plot point in hand, Housefull 4 takes off. Of course, this mission to set things 'right' leads to confusions galore and a deluge of characters, who spring in and out of the narrative and from their last life to present life. There is a sprinkling of mindless comic moments owing to the general silliness all around. And a dollop of low- brow, crass humor. A special low point is when Princess Meena pretends to be to convince Dharamputra to marry her. Add to that, there are portions that drag and jokes that feel dated. The film's increasingly loud background score (especially in the second half) and the CGI in the period setting leave a lot to be desired. And a running joke on three pigeons named Neil, Nitin and Mukesh that doesn't actually fly. Of the actresses, it is Kriti Sanon who has the most lengthy role and she pulls it off well. Kriti Kharbanda and Pooja Hegde are reduced to being props, owing to their limited screen time. Interestingly, all three are uniformly dressed in the same colors, as if it were a deliberate attempt to not be able to tell them apart. Riteish Deshmukh gets the quirks of his characters well and does manage to pull in some laughs. Manoj Pahwa, Nawazuddin Siddiqui, Rana Daggubatti and Johnny Lever have their oddball parts to play in the film - though some seem just pointless. And yes, Archana Puran Singh pops up often in a photo. But largely, it is Akshay Kumar who has the most fleshed out role and shoulders most of the film. And he definitely shines in most of them getting the comic timing right. Needless to add, don't go looking for logic in Housefull4 (but still, how did the blood on Rana Daggubatti's blue jacket magically disappear in the last scene?). In the last 30 minutes, Kriti repeatedly asks, "Yeh sab kya ho raha hain?" A sentiment that could be echoed by the viewers. Overall, Housefull4 ends up as a complete mad caper. Which, if you're a fan of the Housefull brand of comedy, might appeal to you. But if you are not, then proceed with caution.

Made in China (II) (2019)

Made In China Review

[9/10 · 28 October 2019]

Raghuvir Mehta is a down-on-his-luck entrepreneur, who fails at every new business venture he sets up. But a trip to China promises to change that and Raghu bites the bait. But soon as a result of this, he finds himself as a prime suspect in the murder of a Chinese General, in India. At first go, Made in China starts off on a sure footing as it sets itself up as a crime investigative story. A Chinese General is found dead after he helps himself to a cup of Chinese 'Magic Soup'. The investigators believe that an ingredient found in the soup, which is derived from tigers, is the reason behind the General's death. The owner of the soup company, Raghuvir and those who worked with him are summoned to get to the bottom of this mystery. And from here on, the film goes into a long flashback mode. In fact, so long, that you may not be blamed if you forget mid-way that this was all being related to uncover the story behind the death. After a series of failed businesses, Raghuvir aka Raghu (Rajkummar Rao) finally hits the jackpot as an underground supplier of a potent Chinese aphrodisiac. Though his journey to this successful stage of his life is an amalgamation of interesting anecdotes and people. There is his unplanned meeting with a potential invester, Tanmay Shah (Paresh Rawal); his daily dose of motivational mantras from the youtube videos of Mr.Chopra (Gajraj Rao), who spouts gems like, "Dimag ideas ka gamla hain," ; his loving relationship with his wife, Rukmini (Mouni Roy), who he wants to see happy at any cost; his condescending rich uncle Mota Papa and cousin, Dhanraj (Sumeet Vyas), and finally, his most lucrative collaboration with Dr.Vardhi (Boman Irani), a 70 year old sexologist. Rajkummar Rao is endearing, sincere and heartfelt as the bumbling, under confident Raghu, who at the same time is also passionate enough to follow his calling, no matter how many times he fails. Boman Irani is a delight to watch as he gives an impassioned performance as Dr.Vardhi. Gajraj Rao, Paresh Rawal, Sumeet Vyas are in fine form. Mouni Roy as Rukmini puts in a decent effort. The setting and mileu of Ahmedabad is captured well. However, where Made in China falters is the weak storyline with digressions in the narrative and portions that feel like a stretch. There are some sparks of humor and a few crude jokes thrown in here and there. At the heart of it, Made in China carries the message of normalizing conversations around sex and exposing the taboo and hypocrisy surrounding it, which is a commendable effort but it also does get preachy. Overall, this one is Rajkummar Rao's film all the way and worth a watch to savor his acting prowess.