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Onaaigal Jakkiradhai “Riythvika” as ghost – Movie review and rating

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Movie Review

SHIVER me timbers. She’s on edge. Home alone, a pretty young woman shakes-‘n’-quakes at the slightest hustle rustle. Zounds, will she make it through the fright night? maybe, maybe not. So there you are in your seat, quite in a flurry, biting your nails with worry. Ramgopal Varma’s Kaun dares to be different, dispensing with those ding-dong songs, prances-dances and sappy stock characters like morose mums, despotic dads, rude-crude comedians and what-heave-you. Although after Satya, Varma could have ventured towards the booming blockbuster terrain, he has pulled off a surprise – a quick suspense-cum-horror movie, a genre which has obviously fascinated him ever since the days of Raat .

This time around, the director appears to be more in control, blasting out chills and thrills with a sufficient amount of stealth and savvy. Hence, here’s a revival of the kind of spine-tingler which you thought had vanished into the catacombs after the Audrey Hepburn scream-fest Wait Until Dark and our very own Rajesh Khanna-Nanda whodunwhat Ittefaq , both intimately scaled efforts which have lingered on in the memory files. Shh…udder murder. Zoom into a well-appointed but spookily desolate home, then, where that pretty miss (Urmila Matondkar) is attempting in vain to keep her cool. Chatting with her fluffy kitten, fixing herself a cheddar sandwich and flinching at every thud and bang, her nerves are shot. Worse, a TV news bulletin announces that a serial killer is on the loose. As the clock tick-tocks, there’s a knock. A stranger (Manoj Bajpai) arrives, begging to enter the house, since a monsoon storm is raging outside. Bespectacled and bumptuous, it’s clear that this wacko Jacko cannot be trusted, even as he strives to look sweeter than a toffee and asks for a cup of coffee. A war of nerves erupts between the young woman and the Jacko, whipping up tension-packed verbal duels. Just when the pair seem to have reached a truce, enters a scruffy-looking, gun-flashing fella (Sushant) who insists that he’s the police inspector of the precinct. Who’s lying and who isn’t? That is the question which must be answered as the trio go hammer and tongues against one another. Mercifully, the climax avoids a long-winded explanation about the mystery behind the malarkey.

In the tradition of Hitchcock, the visuals do all the talking. However, the wordy note tagged on at the end does jar, the epilogue striking you as more tacky than a punchy parting shot. There are other flaws too. Like the hiccupy cinematography, the overuse of the crawling ground-level camera angles, the ubiquitous Steadicam shots (an unflagging obsession with Varma) and some red herrings which are more misleading than smart. The script could have been far more slick-‘n’-needle sharp. In the event, there are far too many loopholes in the plot, leaving you scratching your head. To list them would mean giving away the end, which would be doing injustice to both the film and its creator. All said and seen, Varma has made a compact, less-than-two-hour film, which must be commended for breaking away from the feverish formula norm.

In addition, Kaun does engross and excite the viewer intermittently. Contributing considerably to the picture’s wallop is the throbbing, atmospheric background score by Sandeep Chowtha. Also, the two lead performances are a zinger. Manoj Bajpai is absolutely brilliant. After the amazing Bhiku Mhatre turn in Satya, he is in terrific form again. Funny and frightening alternately, he asserts that he ranks among the brightest talents on the scene today.

Urmila Matondkar’s is a more difficult and demanding role. To her credit, she has done a fine job. She rivets the viewer’s interest, carrying off entire reels on her shoulders, through a gamut of quicksilver facial expressions. Vulnerable and baffled, she is utterly believable as the traumatised girl-next-door.

Just for the two inspired performances and the scary moments, this movie about unusual suspects is eminently worth a look. Don’t expect perfection in the story-telling and you won’t be disappointed.

Hai, this is sri ram, I one of the General Assignment Reporter, at timesnowindia.com, We mainly cover timely news, educational and entertainment, sections. - Chief editor, politico-social activist, software engineer at Accenture India.

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entertainment

Daas Dev – Movie review and rating “Bollywood epic Drama”

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Daas Dev movie review and rating

Directed by Sudhir Mishra
Produced by Sanjjeev Kumar
Gaurav Sharma
Manohar P Kanungo
Screenplay by Sudhir Mishra
Jaydeep Sarkar
Starring Rahul Bhat
Richa Chadda
Aditi Rao Hydari
Saurabh Shukla
Vineet Kumar Singh
Dilip Tahil
Anurag Kashyap
Music by Vipin Patwa
Sandesh Shandilya
Arko Pravo Mukherjee
Shamir Tandon
Anupama Raag
Cinematography Sachin K. Krishn
Edited by Archit Damodar RastogiRastogi
Production
company
Storm Motion Pictures
Saptarishi Cinevision Production
Distributed by Shringar Films
Release date
  • 20 April 2018
Country India
Language Hindi

Once upon a time there used to be recognisable barriers of race, religion, class and caste in the path of true love. But all that is passe today. City of Angels posits a new problem. What happens if an angel falls in love with a human being? How do they meet, touch and mate? And do they live happily-ever-after? If so, where: in heaven or on earth? Also, does the angel become human or does the human acquire a corporal form? Unusual teasers in an unusual love story.

Seth, a dewy-eyed on-duty angel (Nicholas Cage) comes across Maggie, a weeping doctor (Meg Ryan) in the corridors of a hospital in Los Angeles and falls desperately in love with her. In his attempts to console her, he makes himself visible to her, but only occasionally. So that, Maggie, the cardiologist who has just lost a patient on the operating table, begins to lose her blues due to her intermittent encounters with the beatific-looking guy who pops up in the hospital corridors or the local library, lending her a gentle word and a Hemingway book for comfort. Of course, he does pose that strange query now and then, asking her to define taste, touch, love and desire. This only adds to the enigmatic charm of this mystery suitor who begins to cloud the senses of the no-nonsense doctor who longs for more and more of him. A longing that is reciprocated by the winsome seraph who takes the deep plunge that angels must take to become human. All for a whiff of her hair, a touch of her hands.

Gooey, romantic stuff that may be an adaptation of Wim Wender’s Wings of Desire. Only here the philosophical tones of Wender’s films have been replaced by a breezy effervescence that lends a surface sheen and a sparkling chemistry to the relationship between Cage and Ryan. Of course, the riveting portrayals by the two of them enhances the grandeur of the film. If Cage is almost pristine, with his brilliant encapsulation of angelic goodness, then Ryan is bristling with unbridled energy as the perfect human. But more than all this, the film is a lilting ode to human kind. The angels might hear celestial music during sunrise and sunset, but man has free will. Apart from this, he can taste water, read the newspaper, feed a dog and breed a family. So there!

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Hey Jude – A journey of healing and transformation – Review and rating 2018 – TNI

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Hey Jude movie review

Directed by Shyamaprasad
Produced by Anil Ambalakkara
Screenplay by Nirmal Sahadev
George Kanatt
Starring Nivin Pauly
Trisha Krishnan
Music by Ouseppachan
M. Jayachandran
Gopi Sundar
Rahul Raj
Cinematography Girish Gangadharan
Edited by Karthik Jogesh
Production
company
Ambalakkara Global Films
Distributed by E4 Entertainment
Release date
  • 2 February 2018
Country India
Language Malayalam

One more addition to the `Mera Bharat Mahaan’ movie memorabilia, Hero Hindustani is the inverse of Aur Pyar Ho Gaya, the obverse of Pardes, the reverse of Purab aur Paschim and a follow-up of Dilwale Dulhaniya Le Jayenge. It carries forward the current craze for a canned variety of Indian tradition and culture which has become the be-all of popular culture today.

An aging NRI (Paresh Rawal) who has built his fortunes in London has just one fear. His grand daughter Nicky (Namrata Shirodkar) might just turn her back to her family legacy. She might just go ahead and marry some `Tony Braganza’ and give up her native `sanskriti’ and `sabhayata’ for the western life style. So he comes up with an ingenious plan to ward off the imminent doom. He fixes her marriage with a `made-in-India’ groom who lives in a haveli in Tikamgarh, surrounded by colourful Rajasthani bards who break into song and dance at the drop of a hat. Could have been quite all right and the aging patriarch might just have settled down with a brood of Tikamgarhi great grand children who would wear the traditional turban while strolling down the Thames. Only, Nicky has already been swept off her feet by the strong westwardly currents. An Indian groom does not fit into her lifestyle at all. Specially when she has already found a brawny Made-in-London Indian for herself.

So what does natty Nicky do? She flies to India, finds a tourist guide (Arshad Warsi), signs him up as her contract husband and returns to Dadaji, hoping to make him anti-India with the desi husband’s despicable ways. Doesn’t work at all. For East or West, Indians are the best, Yo! The tourist guide turns out to a thoroughbred Hindustani hero who knows how to recite the vedic mantras and celebrate Eid with equal gusto. And yes, he also knows how to tame `phoren’ shrews with a few stinging slaps, forcing them to shed their minis for the Indian sari as part of the metamorphosis.

The plot may be predictable, but the lively comedy track keeps the film afloat. More than the lead players, it is the character actors who steal the show. Kader Khan is irresistible as Topi Master, the taxi driver who has spent his life dreaming of flying off to dear friend Santa Singh, who owns half of London. Shakti Kapoor too manages to raise a few laughs as Cadbury, the butler who bears the brunt of all the tricks. But the surprise package is Arshad Warsi who displays a remarkable spontaneity – reminiscent of Govinda – in his portrayal of Romi, the flamboyant tourist guide.

Light and breezy fare.

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Baaghi 2 “Indian Thriller/Action” Movie review and rating by TNI

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Baaghi 2 Movie Review and rating

Directed by Ahmed Khan
Produced by Sajid Nadiadwala
Screenplay by Ahmed Khan
Abbas Hierapurwala
Niraj Kumar Mishra
Story by Adivi Sesh (original)
Sajid Nadiadwala (adaptation)
Based on Kshanam
Starring
  • Tiger Shroff
  • Disha Patani
Music by Score:
Julius Packiam
Songs:
Mithoon
Arko Pravo Mukherjee
Sandeep Shirodkar
Gourov-Roshin
Pranaay Rijay
Cinematography Santhana Krishnan
Production
company
Nadiadwala Grandson Entertainment
Distributed by Fox Star Studios
Release date
  • 30 March 2018
Running time
144 minutes
Country India
Language Hindi
Budget ₹ 60 crore
Box office ₹ 212.91 crore

Sabotage sends the first space colonisers reeling into unknown territory amidst the stars and the moons. Instead of docking and settling down on Alpha Prime, the only other habitable planet in the galaxy, the Robinson family ends up on a weird space station, inhabited by marauding spiders and a mysterious yellow alien. There, in the midst of nowhere, there is little they can do besides juggle with the sundry buttons on their machines, hoping to strike the right one and head home again. Or else look for peace amidst the webs of intrigue that have been meticulously woven by the sinister Dr Smith (Gary Oldman) who is hell bent on foiling human progress.

So what do we have here? Yash Chopra’s Dil To Paagal Hai replayed as Karan Johar’s Kuch Kuch Hota Hai with a few cosmetic changes to add that note of difference. But no, deja vu does not set in, despite the fact that this young director has replaced Chopra’s dance theatre backdrop with an Archie’s comic college, Karisma’s fiesty hero’s-best-buddy bit by Kajol’s more fiesty friendship and Akshay’s `understanding fiancee’ finesse by Salman Khan’s brawny charisma. It is Madhuri’s Miss India part which has provided him a platform for innovation. He divides the dream-girl bit between Tina (Rani Mukherjee), the feminine new collegiate and Anjali (Kajol) the tomboy who turns into a woman after being sidelined in love. And quite a judicious division which sees Tina playing beloved in the first half and Kajol gracefully metamorphosing from buddy to beloved in the second half.

 

Based on a television series, the film supposedly has 750 state-of-the-art special effects apart from talking robots and spaceship dogfights. Only this time, the effects aren’t actually visible for the booms and bangs of Lost in Space can hardly be distinguished from the booms and bangs of other space adventure films.

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