‘Uma Maheshwara Ugra Roopasya’ movie review: A welcome petrichor

Uma Maheswara Ugra Roopasya is built on the of masculinity and rage. It questions the need for virility and the extent men can go to flaunt.

Towards the end of Venkatesh Maha’s Uma Maheswara Ugra Roopasya, there’s a brief but important scene between a daughter and her mother. The daughter asks her mother if she thinks men are stupid. Nodding in agreement, the mother says that their stupidity and rage knows no bounds. The entire film, a remake of much cherished Malayalam drama Maheshinte Prathikaaram, is built on the notion of masculinity and rage. The film questions the very need for virility and the extent men can go to flaunt and celebrate it.

For an industry (Telugu cinema) that thrives on glorifying masculinity in the garb of heroism, here’s a film that comes as a whiff of fresh air.

The story, set against the backdrop of beautiful Araku valley, is centred on an average photographer – Uma Maheswara Rao, played by the terrific Satya Dev, whose world revolves around tending to his old father, childhood crush and his photo studio. When Mahesh is roughed up for no mistake of his in the town’s marketplace when he tries to stop a conflict, he swears to not wear his slippers again, till he avenges the beating.

For a story that’s about a common man’s revenge, the film is thankfully not serious and mostly works as a light-hearted take on rage and masculinity. Even though a remake, Uma Maheswara Ugra Roopasya has its own charm and works beautifully because it adapts the story to the rural Telugu setting quite convincingly. It is also well aided by the overall good performances of the supporting cast, especially the likes of veteran actor Naresh (who is unbelievably good) and others like Suhas and newbie Roopa Koduvayur.

Satya Dev, who is consistently good lately, is a solid match to Fahadh Faasil and even though you’re reminded of the latter’s mannerisms in a few scenes, Satya still makes his character unique in his own way. One can argue as much as he wants about the film being a remake, but you can’t complain about Satya Dev’s effortlessly good performance.

Having made a solid impression with his award-winning first film C/O Kancharapalem, it was slightly disappointing when it was announced that Venkatesh Maha’s second film will be a remake. But the young filmmaker impresses with Uma Maheswara Ugra Roopasya, and goes on to prove that he has a better understanding of the rural setting that most of his contemporaries. There’s something beautiful about the way Maha uses the setting in his films to elevate the viewing experience. If it was Kancharapalem in his first film, it is Araku in Uma Maheswara Ugra Roopasya.

Bhanumathi And Ramakrishna: Mature Love Story

Bhanumathi And Ramakrishna Review

Director: Srikanth Nagothri

Producer: Yashwant Mulukutla

Release Date: Fri 03rd Jul 2020

Actors: Naveen 𝙲𝚑𝚊𝚗𝚍𝚛𝚊

Bhanumathi And Ramakrishna Review:𝚜𝚑𝚎𝚔𝚑𝚊𝚛 𝚛𝚊𝚓

Bhanumathi And Ramakrishna starring Naveen Chandra and Salony Luthra released today directly on Aha. Let’s see whether the film is worth-watching.

Bhanumathi And Ramakrishna Story Review:

Bhanumathi (Salony Luthra) and Ramakrishna (Naveen Chandra) working in same office are poles apart in nature. While Bhanumathi is modern and egoistic who broke up with her boyfriend after being in relationship for five years, Ramakrishna is a simple guy with positive attitude. How love blossomed between these two different people?

Bhanumathi And Ramakrishna Artists, Technicians Review:

Srikanth Nagothri has come up with a story on relationships. Sensible writing and mature taking makes it a decent watch. From picking suitable actors to getting desirable outcome from all the technicians, he’s done fabulous job. Shravan Bharadwaj’s background score is cool and breezy, wherein songs were okay. Cinematography by Sai Prakash Ummadisingu is spotless. Kshanam and Krishna And His Leela fame Ravikanth Parepu’s editing work is passable, though the transition of scenes was jerky at places. However, 92 minutes runtime is idyllic for the concept. Production values are good.

Onto artists, Naveen Chandra was apt in the role of an innocent guy from Tenali who is positive in his approach. True to the character, he made sure looking to be a village guy with no deleterious thoughts. He has come up with a settled performance. Salony Luthra isn’t beautiful, looks wise. But, she’s appropriate in the role of a modern girl with individual mentality. The duo make perfect couple on the screen. Raja Chembolu is cool as Salony’s ex-boyfriend, wherein Viva Harsha got a meaty role. He provides some comedy here and there.

Bhanumathi And Ramakrishna Review Advantages:

Sensible Writing

Lead Actor’s Performance

Cinematography

Bhanumathi And Ramakrishna Review Drawbacks:

Slow Paced Narration

Climax

Bhanumathi And Ramakrishna Review Rating Analysis:

Coming of age romantic entertainers are best sellers of late. Bhanumathi And Ramakrishna also falls under the category. Though the narration was tad slow, mature writing makes it a decent watch.

The initial portions are meant to describe the character of Bhanumathi played by debutante Salony. She’s stubborn, big-headed and leads life on her own terms. Unable to cope-up with her, boyfriend too call it quits to end the five long year irrational relationship. When she’s trying to come out of the post break-up stress, she meets this nice guy whom she initially hates him.

The conversations were simple yet meaningful. Hyderabad-Vijayawada-Tenali trip makes them understand each other. Salony’s effort to reunite Naveen with his sister who is away from the family after love marriage is one of the best parts.

After a point, the narration turns bit slow, though we hardly feel bored due to good writing. Most of the scenes that featured Viva Harsha were humorous. Naveen’s intervention in Salony’s old relationship doesn’t look sensible because he too has feelings for her and she never tells him that she’s still missing him. The hurried climax is a big drawback of the film.

All in all, Bhanumathi And Ramakrishna is a onetime watch film. Those who love slow paced love stories will enjoy the film. But, commercial movie lovers may not love the film much. OTT release is a smart choice,

Bulbul review A powerfully feminist propaganda not worked. Problematic

The director – Anvita Dutt
cast – Trupti Dimri, Rahul Bose, Avinash Tiwari, Parambrata Chattopadhyay, Paoli Gama

Over-directed but underrated, Bulbul is a visually impaired film that is shunned by a weak script.

From debut cant director Anvita Dutt (whose track record as a dialogue writer includes not only the runway hit Queen, but also Shaandaar, Kambakht Ishq and Housefull), Netflix’s Bulbul is the second streaming film of the month, featuring Amazon’s Gulabo Sitabo Is after, which is set inside the foreboding mansion. But when the dignified ‘Haveli’ in Shoojit Sircar’s film kills his life, one of Bulbul, like the film, cannot help but feel artificial.

As an industry, Bollywood has been famous for producing good horror cinema, with odd exceptions, certainly. In fact, horror in India is paired with other genres such as music or romance – ghosts, which, you see, should not suit the box office potential of films. So for Bulbul wholeheartedly embracing its gothic horror origins – it’s the palace of Kamal Amrohi through Guillermo del Toro’s Crimson Peak – is rather refreshing.

In 1881, a girl named Bulbul, starved of horror stories, is married into a wealthy ‘zamindar’ family. In a deep move it is revealed that her husband is not the boy Satya, with whom she has formed a quick friendship, but rather Satya’s sinful-looking elder brother Indranil, Thakur, played by Rahul Bose. Thakur has a twin Mahendra, who is challenged by Vikas and is married to a woman named Binodini. Destiny forever sentenced her to play second Bella for Bulbul in the house, who is deeply upset by Binodini, the ‘little daughter-in-law’.

Established characters jump 20 years into films in the future. Sathya, returning to ‘Haveli’ after studying law in London, is informed that a series of mysterious deaths have occurred at a time when he has been away. The villagers believe that it is the work of a witch who hunts the surrounding forest. Satya, in Jonathan Hacker mode, dismisses the claims as stories of older wives.

But a lot has changed in the years that Satya has gone. His brother Mahendra is killed in his sleep, and his second brother, Thakur, has disappeared. Bulbul, meanwhile, is no longer the feisty girl he used to be; She has now fully embraced her life as the ‘Thakurine’ of the house, who stays on the seties all day, fed paan and sorbet, yet sheds a fickle and precarious self-reliant energy.

It doesn’t take a genius to put two and two together, but Bulbul certainly treats his audience as if this is the first film he has seen in his life.

Avinash Tiwari and Parambrata Chattopadhyay still from Netflix’s Bulbul.

Because the characters are so thinly written and the surprises are so careless that Dutt’s film is forced to rely more on technical details. For example, it was wonderful to explore the character of Binodini with more patience. He is an interesting foil for Bulbul; Entangled rather than self-reliant, empowering.

Due to the red glow of a blood moon, the nightly scenes at Bulbul are undeniably gorgeous, apart from a couple of noticeable examples where cinematographer Siddharth Dewan’s camera basically breaks the character, and Charming handmade records its otherwise presence in favor of mayhem. It simply does not gel. You will also notice it.

Bulbul also features a lush, orchestral score by the great Amit Trivedi, which evokes memories of his brilliant (but if sincere works) in Vikramaditya Motwane’s Marauder. In a way, there is a tension of melancholy that runs through both films, and Trivedi is able to capture it.

But employing an unnecessarily non-linear narrative becomes an exercise in futility, as almost every turn can be seen coming from a mile away. And because the film is so deliberately planned, Dutt regularly finds himself drowning in style more than substance, his script devoid of effortlessness.

Rahul Bose still from Netflix’s Bulbul.

Some scenes involving violence against women in particular are portrayed suspiciously. Instead of provoking anger, or even repulsion, by shooting the first scene in a stylistic slow-motion that shocks Zack Snyder into ecstasy, Dutt inevitably distracts the audience’s attention from that scary scene. Who is revealing her and in turn turns her towards her impeccable beauty. Frame. The second scene, involving a rape, lasts longer along the way, as there is no reason for it. It plays into the (problematic) trope that in order to bloom, a woman must first (violently) break up. There is a reason why the rape-revenge subjugation of horror is considered outdated.

By knight reviews

Kappela The performances have added an extra glory to the already shining jewel.

It's about a simple girl from a small village who goes to meet a stranger with whom she has been talking since a few days after she calls him by mistake. She going there and meeting him forms the rest part of the story.

Kappela is one of the most enjoyable movies of the year 2020 and it should not be missed by any movie geek. Directed by Muhammed Mustafa, the film is an enroute into the mishmash of human psyche. Shot within the scenic locations of Wayanad, the camera focuses its sweeping images through the greenery of the grass to the warmth of the oceanic blue. The plot begins with the simpleton life of a young girl named Jessy (Anna Ben) and the intricacies that follows her insignificant life within a village sphere. Anna Ben is remarkably excellent in her role where we feel she lives through the character Jessie rather than playing it out. The simple wonders of Jessy’s  life around, a sweetened romance that blossoms and the complexities that encompasses her young mind is what follows as the thread of the storyline. 

While the first half deals more with the character Vishnu played by Roshan Mathew, the second half filters more into the character of Roy played by Sreenath Bhasi. Jessy stands out to lead the entire plot from the beginning to the end without losing a single array of its form and structure which fixes her character to the plot. The first half plods slowly with its own exquisite delicacies while the second half sets ready to throw its own tantrums in multiple ways. 
The direction can be called as impeccable as the story is tight packed with no extraneous chapters glued with. The well packed story has been portrayed in the most convincing manner and the characters could merge with a realistic scene that fills us the aesthetic bend of the audience psychology. Though not based on an uncommon theme, the plot has been well conceived and deserves a remarkable applause. The layers of contradictions that lie within human mind is in fact the crux of the story and the gray areas of being a protagonist and an antagonist has been well articulated in the movie. The serenity of relationships and the bruises of conflicts along with virtue overpowering through vice, turns out to be the platform on which the movie builds its pace. 
Though not a thriller, the movie sticks you to the edge of your seat as perplexities blow up and thuds hard on your chest. The background score was perfectly suitable for the theme it upheld with the buds of agony and suspicion growing around. The most beautiful part of the movie is where it has been able to drive home the fact that the general perception we hold onto cannot always trail smooth as human mind is unpredictable. 
Roshan Mathew goes one step ahead of his usual romantic perfection and has matured into a real actor in this movie. He has handled his role by blending into the veracious nuances of the character Vishnu. Sreenath Bhasi, who is more a veteran in handling comedy had filtered in another testimony of the variations of character sketches that he can handle convincingly. The cinematography of the movie done by Jimshi is beyond description and the very last scene stands as a proof for his finesse and perfection with which the entire frame runs. 
The movie is a well-crafted one with convincing characters, depicted in the most reliable form. This is one of the best movies of the year without much furore and ruckus where it contours the lines of simplicity, plurality of themes as well as its didactic methodology. Beautifully scripted, well-crafted and executed in the most brilliant way, this is a must watch. 
If you miss this movie, you will definitely miss one of the best movies of the year. This movie is a must watch. Go ahead without a pinch of doubt.
By knight reviews

Choked Movie Review: bharat mata and current government Hits Middle 'Note'

Film: Choked, Paisa Bolta Hai
Review: sekhar raj
Cast: Saiyami Kher, Roshan Mathew, Amruta Subhash, Rajshri Deshpande, and others
Director: Anurag Kashyap
Release Date: Jun 5, 2020
Platform: Netflix. 

Sarita (Sayami), a bank employee, resides in a middle-class apartment complex in Mumbai. She is the sole breadwinner of the house of three (her husband and a son).

Her jobless husband’s debts and shattered dreams of becoming a singer make her life dull.

When things turning dreary, she finds a pot of luck: a secret source of income in her home due to a drainage pipe leak.

Rupee notes rolled in plastic sachets, which were stored by the upper floor tenant, pop up from the drainage leak. She stores all those notes and clears debts.

Has this changed her life or brought more problems?

Analysis
Anurag Kashyap’s OTT movie "Choked: Paisa Bolta Hai" is the story of a middle-class housewife. Set in Mumbai in October 2016, the story hits right ‘notes’ till the middle portion.

Depicting the life of an ordinary bank employee and her struggles to clear the piling debts, Anurag Kashyap paints a realistic picture of the Mumbai dwellers and their lives. There’s a beauty in mundane things.

Despite the growing gap between them, the husband and wife still share warmth. Kashyap and the story writer set up the drama nicely.

As the announcement of demonetization, the film takes an unexpected turn from a story of middle-class husband and wife to a satire on ‘note ban’.

The announcement of demonetization - We have decided that the 500 rupee, and 1000-rupee currency notes presently in use will no longer be legal tender from midnight tonight – by PM Narendra Modi comes exactly at 55 minutes after the film and the movie focuses on the things that we had witnessed – serpentine queues at the banks, middlemen enchasing the crisis.

“This is a chance of a lifetime. Once in 50 years such incidents happen,” a broker tells Saiyami Kher asking her to deposit old notes in her bank and take a commission for doing it so. Anurag has portrayed many such close-to-real-life sequences in the film. 

However, the film turns into a dull affair after this moment. It turns ineffective after that. 

It has its many moments to praise about but the satirical portion of demonization lacks sharpness. It turns sloppy at times as well. 

The film boasts good performances and especially it is Saiyami Kher’s show from start to finish. In the role of Sarita is excellent, she brings life to the character.

Her body language and expressions are perfect as a Marathi middle-class woman. Roshan Mathew as Sushant Pillai also plays the role well. 

The cinematography and the production design is topnotch. The story takes place mostly in a cramped apartment room and the camera brings authenticity and also the chocked feel. The colors are warm. The music is okay. 

“Choked” is quite a departure from Anurag Kashyap’s regular style of narration. The director known for his aggressive style lets the story take center stage. This is his restrained work.

On the whole, “Choked” is a mixed bag. The initial hour is excellent but it gets disconnected after that but makes a decent watch and a good satire on note ban.

Bottom line: Money Game

By knight reviews

Palasa 1978 Review: Raw and Rustic.

Movie: Palasa 1978
Review:sekhar raj
Banner: Sudhas Media
Cast: Rakshit, Nakshatra, Raghu Kunche, Thiru Veer and others
Music: Raghu Kunche
Cinematography: Arul Vincent
Editor: Kotagiri Venkateswara Rao
Producer: Dhayan Atluri
Written and Directed by Karuna Kumar
Release date: March 6, 2020.

From the last few months, ‘Palasa 1978’ has successfully generated buzz with several celebrities heaping the praise and Allu Aravind handing over an advance to the movie’s director for his second film. The film’s trailer has also looked quite promising.

Let’s find out whether the film has lived up to all the buzz.

Story:
1978. Mohan Rao (Rakshit) and Ranga Rao (Thiruveer), two brothers from a Dalit family in Palasa, working as workers in a local cashew nuts factory, are known for their artistic talent – folk singing.

When they face caste discrimination, they take up the sword to revolt against the owners. But they cunningly make a peace with the brothers and wait for the right time to strike back.

How Mohan Rao’s life turns volatile with the path he has chosen is all about the movie.

Artistes’ Performances:
The film has mostly newcomers playing the lead roles. Rakshit as the main hero is just okay. Tiru Veer as Ranga Rao shines in his role. Raghu Kunche as the villain is impressive. 

Technical Excellence:
The cinematographer and art director have succeeded in recreating the 80’s of the Srikakulam region. The background score has worked well. But songs don’t ring much. Editing should have been sharper.

Highlights:
Realistic approach
Climax portion
Engaging first half

Drawback:
Uneven narration
Second half

Analysis
Perhaps taking inspiration from Tamil directors like Pa Ranjith (‘Kabali’ and ‘Kaala’), debutant Telugu director Karuna Kumar presents the theme of caste oppression and Dalit revolt in ‘Palasa 1978’. The first thing that we notice in ‘Palasa 1978’ is its raw narration that we generally see in Tamil movies. 

The poor rustic conditions, the dialogues filled with uncensored words, the caste politics, the actors who look like the villagers of the bygone era… such an environment we see in realistic movies of Tamil cinema, where glamourous strappings have no room.

“Palasa 1978” has also similarities with “Rangasthalam” but this one wears a Dalit theme on its sleeve from the beginning of the movie.

Like “Rangasthalam”, it also has brother-sentiment and revenge element. But this is more about caste discrimination and urges all Dalits to take up studies seriously.

The director has also established the fact that the politicians use Dalits as pawns in the games of power. And the rich and powerful cannot be defeated easily thought the means of the judiciary in our present system is subtly told. 

However, the film also has drawbacks. It turns monotonous after a while. The second half loses the grip. Plus, the romantic track between hero and heroine is quite bland and artificial.

The overt stress on the aspect of women going into the fields with ‘lotas’ is off-putting. Also, it has more of a documentary approach.

But this is not a regular commercial film. ‘Palasa 1978’ is a film with a limited appeal, and it is for the discerning audiences who like realistic approach. 

Bottom-line: Voice Against Discrimination

By knight reviews

'Gulabo Sitabo' Movie Review: A Moral Tale!

Movie: Gulabo Sitabo
Cast: Amitabh Bachchan, Ayushmann Khurrana, Vijay Raaz, Gyanesh Shukla 
Screenplay: Juhi Chaturvedi
Music director: Shantanu Moitra
Producers: Ronnie Lahiri and Sheel Kumar.
Director: Shoojit Sircar
Release Date: 12 June 2020
OTT Platform: Amazon Prime

Review-sekhar raj. 

Bollywood acting legend Amitabh Bachchan and the current in-form star Ayushmann Khurrana have teamed up for the first time for "Gulabo Sitabo".

Directed by Shoojit Sircar of ‘Vicky Donor’ (2012) and ‘Piku’ (2015) fame, the film is written by Juhi Chaturvedi.

‘Gulabo Sitabo’ is the big Hindi release to debut directly on the OTT platform and no wonder that the buzz around the film has been high.

Let’s find out whether it lives up to the buzz.  

Story:
Mirza (Amitabh Bachchan), the husband of a Begum who owns Fatima Mahal, a dilapidated mansion in Lucknow, is greedy of money.

The 78-year-old Mirza is waiting for the death of his wife to become the true owner of the mansion and also trying to kick out the tenants of this century-old mansion.

But one of the tenants Baankey Rastogi (Ayushmann Khurrana), who doesn’t even pay the paltry rent of Rs 30 per month believes he’s also owner because they have been living there for years.

Mirza approaches a lawyer to vacate the tenets. Meanwhile, an archeologist tries to declare it as a heritage property. The drama of the battle of ownership begins. 

Artistes’ Performances:
Amitabh Bachchan’s acting is the pillar of this film, he gives a smashing performance. As a 78-year-old hunchbacked and cantankerous old man, Amitabh’s getup is perfect. Amitabh has changed his dialogue delivery to suit the role for more effectiveness. It is more of Amitabh’s story than the Ayushmann’s and the veteran actor is a hoot.

Ayushmann gives a decent performance. 

Shrishti Shrivastava as Ayushmann’s sister Guddo is a scene-stealer. Her character is the only one that has a modern touch in this film. 

Vijay Raaz as an archeologist, Brijendra Kala as a lawyer, and Farrukh Jafar as Begum also need special mention. 

Technical Excellence:
Cinematographer Avik Mukhopadhyay captures the mansion sequences and the Lucknow city meritoriously. The editing is the major issue.

The pace of the movie (screenplay and editing) is a huge minus. It needs a lot of trimming. Music also doesn’t lift the film at all. The makeup artist needs praise for the prosthetic work.

Highlights:
Amitabh’s performance
Last 15 minutes
The Lucknow milieu 

Drawback:
Weak script
Slow pace

Analysis
Set in present-day Lucknow, ‘Gulabo Sitabo’ is all about greediness. It is satire. Writer Juhi Chaturvedi’s story which mostly revolves around the dilapidated mansion is thin but her central theme that people pine for objects than the humans is nice. 

Like the 100-years-old haveli, the main characters – Mirza and Baankey belong to the old times, they are in sync with modern times.

The greedy old man charging a rent of thirty rupees from tenants, the Begum buying an Indian sugar candy for the old man, the tenants scheming things to evade the paltry rent…… these prove that the occupants of this haveli still stuck in the bygone era.

Amitabh Bachchan's character doesn’t even know the value of the antique things he possesses. He gets a shock when he knows that his mansion is worth Rs 5 lakhs. Yes, 5 lakh rupees is 100 crores to this old man. He loves to possess the mansion, while his wife Begum married him for the sole reason of staying in this haveli, Baankey also doesn’t want to move out of this place. Everyone is connected with this aging pile. However, all these elements come out slowly, in an unhurried manner.

The screenplay writer reserves the surprises for the last act. Till then, the story progresses at a languid pace. Although it has a shorter runtime (2 Hr 4 Mins), the slow narration gives the impression that we are watching a long film. 

The battle of wits ensues between Amitabh and Ayushmann bring some laughs in the beginning but the repetitive scenes put off after a while. Plus, the comedy in the film is not explicit, the humor generates from the language, less from the situations. 

“Gulabo Sitabo” stands for two puppets – Gulabo and Sitabo. We first think that this title stands for Amitabh and Ayushmann but it is about Amitabh and his begum who pulls a surprise string in the last. The final act is really good. The film can watchable for this portion, as well as for its nuanced performances. 

Good central performances and the final twist make ‘Gulabo Sitabo’ make a watchable movie. The slow pace is a hindrance but those who like subtle satires may find it a decent watch.

Bottom-line: Old-style. 

By knight reviews

Kadakh is based on. The movie pays homage to Alfred Hitchcock and is quite similar to his 1948 thriller

Kadakh, written and directed by Rajat Kapoor, is centered around a Diwali party hosted by Sunil and Malti, and the dead body of the man whose wife Sunil was having an affair with. The parallels with Alfred Hitchcock’s Rope are very apparent. However, the movie becomes its own beast by talking about gender roles, criticising India’s upper class, and featuring one of the best performances by an ensemble cast.   

The plot of Kadakh

What happens in a day during Diwali celebrations is what the plot of Kadakh is based on. The movie pays homage to Alfred Hitchcock and is quite similar to his 1948 thriller film Rope. Kadakh begins with a suicide. A man played by Chandrachoor Rai confronts his wife's lover played by Ranvir Shorey and after a heated conversation ends up killing himself. The death happens at Sunil's just before the Diwali party. Sunil tries to cover this up and his half-truths to his wife further complicates the matter. The stakes get higher when the party begins and guests start to arrive with a dead body in the house. The movie shows the struggle of Sunil and his wife with a dead body in the house full of guests.

What works'

Kadakh is a treat for the audience as it has a stellar star cast and every actor has done a brilliant job. Ranvir Shorey, Chandrachoor Rai, Mansi Multani, Shruti Seth, Nupur Asthana, Sagar Deshmukh, Tara Sharma Saluja, Cyrus Sahukar, Kalki Koechlin, Palomi Ghosh and director Rajat Kapoor himself play their characters to perfection. The beginning of the film is engaging enough to keep the audiences glued to their screens for the rest of the movie. In between all the drama and chaos, humour finds its way and make you laugh. Rajat Kapoor's finesse as a director shows through the series, especially in some of the more intense moments in the plot. He has been successful in displaying the quirk and uniqueness of each character. Ranvir Shorey is amazing as the cheating husband caught in a major fix. The film's climax is also edgy, funny and good enough to keep the audience hooked.

What doesn't

The movie is around an hour and a half long and gets a bit slow-paced during the middle. The audience is left wondering at certain points about where the movie is heading. There are also some areas which are not addressed in the movie like the dead man's family, police investigation.

Kadakh review: Overall thoughts

Ranvir Shorey starrer Kadakh is an amazing work by Rajat Kapoor as all actors have played their parts perfectly. The direction and story also keep the audience engaged in the narrative. The opening of the movie makes the audience root for the ending and the climax of the film also does not let the movie or the audience down. There are some slow-moving patches in the middle of the story but overall the movie is worth the time investing in.

#knight reviews#kaDak

Axone:- "A Simple Yet Gratifying Film!"

The film has some lovely contemplative moments and the culture-specific cast captures the spirit of the script. While the marginalized characters bustle their way through a series of misadventures the director pulls back, lets the characters breathe.A luxury they can rarely afford in real life.

Nicholas Kharkongor's film explores the threat of racism, discrimination, friendship, family and Indianness through the journey of a group of friends from the Northeast living in Delhi.

It does not matter whether you are in Delhi, Coimbatore, Kolkata or Guwahati, good food is critical to any Indian wedding. Except when it comes to Minam's wedding in Nicholas Kharkongor's Axone, it might be a disaster. Named after the famous dish, Axone (pronounced aakhuni) is a colourful and entertaining film that holds a mirror to the Indian habit of discrimination and racism while providing a reason to be hopeful for change.

The events begin with Chanbi and Upasna (Lin Laishram and Sayani Gupta, respectively) setting out to prepare axone to celebrate roommate Minam's upcoming wedding. A preparation of fermented soyabean added to a pork stew, axone lets off a terrible smell, one that is an acquired taste for many, including Upasna. To prepare such a dish in the heart of Delhi, in Humayunpur, requires all the stealth of a marine force invasion and the logistics as well.

So Chanbi and Upasna set out on the mission, with a little help from their friends. From the quiet Zorem (Tenzin Dalha) to the hyper Shiv (Rohan Joshi), everyone pitches in, in some way. That they should have to go through so much to simply cook a dish they want is a question the Indian populace should be held accountable for.

From people questioning their habits to men passing lewd comments on the women and the universal 'all of you look the same' taunt, the group endures the insensitive, unaware Indians to persevere for the sake of their friend. 

Kharkongor does not allow the story to get stymied within these confines. The additional layers of each character's personal struggle — Upasna's blossoming love with Zorem, Zorem's past with Minam, Chanbi's struggle to get her independence with boyfriend Bendang, and Bendang's fear of people (caused by his experiences) — are excellent touches. These, in spite of the group having its own biases. From Bendang's suspicion and Upasna's struggle to get the names of her African neighbours right to Zorem revealing the sly taunt of 'Nepali' aimed at Upasna, Kharkongor shows that reality is the same across people from all states. Even when they themselves are facing discimination. 

Yet, it takes some small steps of good faith to build friendships. Like a dish of axone. 

The film is driven by some seriously good performances. Lin Laishram is excellent as the strong Chanbi. She is the determined leader driving the group. Laishram anchors the film with her presence and stoicism. Sayani Gupta is lovely as Upasna. The actress manages to bring a naiveté and charm that her character needs, although the accent is a tad heavy. Zorem is played wonderfully by Tenzin Dalha, who is the perfect foil to Gupta's exuberance. He deserves continued presence on the screen. 

Dolly Ahluwalia is terrific as the cantankerous but kind-hearted landlady. Her expressions and tiffs with the young women makes for a wonderful watch. So is Vinay Pathak as Ahluwalia's son-in-law. The actor offers some comic relief through his presence. There is also the skilful Adil Hussain, in a completely wordless role, as the suspicious 'tau' sitting on the corner smoking his hookah and watching events unfold.

The young actor plays Shiv 'Hyper' to the tee. His character's indiscretion, oblivious nature and default racism make for a fun watch. He is the representation of the mainland interacting with this colourful group.

The soundtrack by Tajdar Junaid, which samples sounds and songs from across the entire Northeast, is magical. It brings an authenticity to the proceedings.

The Northeast is a wonderful region filled with almost 200 languages, no less. Kharkongor explores these differences well by building them seamlessly into the dialogues.

Each character brings a different accent, language, culture, behaviour, all of it starkly different from anything on the mainland. From their foods to their relationships to their world views, tenants and landlords, shopkeepers and neighbours add to the story. 'Indians', however, tend to view these differences as 'foreign', leading to a sense of alienation among many people. Unfair, but true. 

Axone lets this angst simmer under the layer of subtle comedy and situations, but it finally rises out through the differences. The film introduces the audience to a whole new subculture, ever present but ignored in the heart of the mainland. In the end, like the axone, the film comes through as a celebration of the differences and the common ties that bind us all as humans.

By knight reviews

#axone#netflix#sayani gupta

Penguin movie review:Penguin is a flawless Psychological Thriller that has been executed in a good way.

This Keerthy Suresh-starrer is inconsistent for the most part, despite some brilliantly-imagined sequences. 

Penguin starring Keerthy Suresh in the lead role is directed by debutant Eashvar Karthic and is produced by Karthik Subbaraj under the banner of Stone Bench Productions. 

PENGUIN - Women centric movie with mystery and thrill. Mother's irreplaceable love and care to save her children. Same old mystery kidnapping story but keerthy suresh as pregnant women gave her outstanding performance.

It’s been six years Rhythm (a) Ritu lost her son Ajay mysteriously. This has miserably impacted her life, which includes her divorce from her husband (Lingaa). However, she found solace after marrying Raghu (Madhampatty Rangaraj) and is 7-month pregnant now. Despite uncaring about the complicated delivery that doctor has informed, Ritu still keeps searching for her lost son. In a surprise twist, she suddenly finds Ajay and it looks like the picture-perfect life has occurred again. But nothing stops her search to find out the main culprit behind this mystery, which takes her through a roller coaster journey, where a new challenge is placed. She can save either she lost and found son Ajay or unborn baby. What unfolds next is narrated unpredictably. 
Karthik Subbaraj’s productions have always been unique despite what genre they belong to. Accordingly, Penguin owns a story that might strike some similarities with few flicks, but that doesn’t affect this drama in anyway. Debutant Eashvar Karthic has attempted his best in mixing non-linear and linear narration, which works out at best in places. It shows that the efforts he has exerted in visualizing how every frame in this movie should look. Earnestly, he has shared wonderful chemistry with cinematographer Karthik Palani and music director Santhosh Narayanan. The visual presentation of the film is very much appreciable. When it comes to narration, the gripping moments are maintained in many places, where audiences can feel the intensity. If you’re watching this movie on a good sound surround system, then you’ll be enjoying it at best. However, a few points fall upon the flip side. This includes the emotional bonding that lacks punch. While the director has exhibited more potential in the writing of dialogues and placement of scenes like Keerthy Suresh and her ex-husband played by Lingaa meeting are done in the right manner, the reason for their divorce doesn’t look substantial. On the other hand, why does such a strong-willed woman lookup for a life partner, when she is possessed with so much emotional strength? These elements should have been corrected properly. 
The first half of the film is engrossing and moves at a rapid pace and it continues till the penultimate point. The scene, where audiences assume that the protagonist has found the culprit behind all these criminal activities, especially during the conversation that happens inside the police interrogation room, director Eashvar attempts for a twist to take the story forward. However, this dramatic play and the reason could have been yet more powerful. More than all, we are told that the protagonist’s challenge is going to be a choice to make between her lost and found son and yet to be born one. Of course, we know that it’s going to be a positive ending, but not an abrupt one. This portion is slightly disappointing. The Characterizations are neatly done and the scene, where Keerthy Suresh finds her estranged son exhibits hero
outstanding acting.
Despite, the film having slightest drawbacks, it’s the powerful screen presence by Keerthy Suresh that keeps you engaged from beginning till end. Although her role as a pregnant woman in search of her lost loved one might be sending reminiscent waves of Vidya Balan’s Kahaani, she is sure to win the appreciations of audiences. 

The plot is based upon kidnappings and the importance of a mother in every child's story. Keerthi Suresh surprised us all with her portrayal of a mother who has to choose between an unborn child or a psychologically altered 6 year old. The movie keeps you guessing at every plot twist. I must admit, this is the best Thriller I have seen in quite a long time.

plot.locations and bgm made us to travel to kodaikanal. Keerthy suresh ' s acting was really appreciable and the negative role bhavana's was also good. The husband roles were not well portrayed. Child actor ajay did an amazing work. Overall the film is a feel good one, it can be watched for the plot. Dialouges like ' i ak just pregnant not brain-dead' will cause goosebumps .

Coming to first one the movie succeeded to create suspense during the first half with Keerthi Suresh natural action, cinematography and the bgm. Interval is set up well.

The game a little before climax reminded me of Vikram Vedha's "Oru kadhai soluta Sir" but didn't give me the same chills. 

Before interval, it had an amazing buildup. Cinematography at its best. 
After that I kept hoping it would surprise me, shock me but not as much. 
Though its intended to be portrayed that way but somewhere falls short a little. 
When you're a sucker for crime thriller/thriller fantasy, the story in our imagination is quite superior and you keep expecting more. 
The climax fell short for me. 
It needed more soul. The main antagonist had to act better. It needed more intensity but sadly lacked soul. 
I kept improvising the acting of the main villian in my mind

Positives I would say are good acting, good story, suspense
Negative :weak narrative in 1st half, irritating bgm, illogical twists in 1st half, climax was not upto the mark. 
PROS:
1.Keerthy suresh's acting
2.mother son bond
3.screen play good
4.music was engaging.
5.frames good
CONS:
1.last 30 mins ruined the whole movie.
2.reason of killer kidnappings a child was not acceptable.
3.climax and killer suspense was boring.
4.unwanted flashback.
By knight reviews
#netflix#keerthysuresh#penguin

Movie review - Pournami

POURNAMI

Banner: Sumanth Arts
Cast: Prabhas, Trisha, Charmme, Sindhu Tolani, Madhu Sharma, Archana, Mukesh Rushi, Chandra Mohan, Geeta, Rahul Dev, Kota Srinivasa Rao, Subba Raju, Brahmaji, Paruchuri Venkateswara Rao,  Sunil, Tanikella Bharani, Dharmavarapu Subramanyam and Narsing Yadav
Music: Devi Sri Prasad
Dialogues: Paruchuri Brothers
Cinematography: Venkat Prasad
Editing: KV Krishna Reddy
Fights: Peter Hein
Direction: Prabhu Deva
Co-producer: Sumanth Aswin
Story - screenplay - producer: MS Raju
Release Date: 20th April, 2006

REVIEW

I’ve become quite fond of Prabhas. Not in a ‘he’s so hot‘ fangirly way. But he is likeable on screen and his presence in a film does seem to promise a commitment to entertainment. Pournami is colourful, visually pleasing, sentimental and rather silly. Just what I have come to expect from Prabhas in fact!

The film opens in 1953 and centres on a family with a long affiliation to a local temple. Many years back there had been a drought that threatened the livelihood of all in the surrounds. One woman had the strength and stamina to dance for Lord Shiva and was rewarded with rain. From that date, her family repeated this ritual every 12 years and her female descendants were trained to dance.

So it was a bit of a surprise to me that it all came as a surprise to the girls in the 1953 family that the eldest daughter, Pournami, was going to have to perform the ritual in 10 years time. Surely it might have rated a mention during dance lessons? Continuing the journey through time, we emerge in the 60s or thereabouts. Pournami has gone missing before the ritual must be performed. Her sister Chandrakala always wanted to dance but was overlooked. Chandrakala is now played by Charmme and she is reasonably convincing in the dance sequences. She is a Cinderella type figure – persecuted by her horrible stepmother, teased by local bullies and overlooked by many.

But where is the drama? Hello evil landlord! I do not in any way approve of evil landlords intent on deflowering young ladies who should be saving their strength to dance for Shiva. However, Rahul Dev has an excellent palace, a resident orchestra and generally believes himself to be a god or at least the equal of one. It is all highly entertaining. Pournami did a runner to avoid being kidnapped by Rahul Dev and he is now intent on claiming her sister.

But where’s the hero? Hello Prabhas in eye-catching plaid pants and rock n roll rebel attitude. Adding to the fun, we learn he is an ‘English Dance’ teacher, Sivakesava. Hmm…is that a Significant Name? Sivakesava rents room with Charmme’s family and opens his dance school.

In between dance classes and dodging the local nymphomaniac, he encourages Charmme to dance, sometimes with quite amazing results. He seems to have mysterious powers over Chandrakala – little things like making her teeth glow in the dark and resisting her attack snake. But he uses his powers for good, and for fixing fuses, so we need not be alarmed on her behalf. I was amused by his gramophone – it’s just not rock n roll as I know it!

All the threads seem to be drawing together, but why? Who is Sivakesava and why is he intent on protecting the upcoming ritual? An extended flashback reveals that he met and fell in love with Pournami (played by Trisha) after she fled the village. She had joined a troupe of travelling performers, and her amazing dance talent, or perhaps her skimpy outfit, caught his eye. Pournami continues to practice her classical dance in her spare time. In a very pretty scene under the full moon, she gives ample evidence that the odds of pleasing Lord Shiva will be improved if she doesn’t dance for him.

It turns out that Sivakesava was from a family who had a blood feud with the other big family in the region. He was sworn to avenge his brother and then would no doubt be hunted down in turn. Pournami became a victim in this feud, sacrificing herself to save her husband on their wedding night. The wedding night scene may mean I never look at corn in quite the same way ever again. Yes, that was corn with a c.

His past life continues to pursue him, never giving him a clear path to his heart’s desire or letting him subside into anonymity.

Chandrakala is abducted by Rahul Dev and he shows why he needs that piano and keeps an orchestra on standby. There is nothing funny about kidnap and rape in reality, but when the villain is improvising a melody to the tempo of Charmme’s footsteps it is very entertaining and adds to the cartoonish effect, as does his balletic fighting style. Naturally Kesava comes to her rescue again, and his actions cement her feelings for him.

Thus the other crucial episode unfolds – Kesava feels compelled to tell Chandrakala about his past with Pournami and why people from his old life, particularly his fiancée Mallika (Sindhu Tolani with a terrible hairdo), are still pursuing him. Chandrakala takes up the challenge to dance at the festival, motivated by love of her sister, of her father and for Kesava.

The finale at the temple is visually stunning and yet daft in equal measures. Which really sums up the whole film so it is perfect.

Although Pournami’s name and presence infuse the film, Trisha is overshadowed by Charmme and Prabhas. This is mostly due to the structure of the film – her story is told in isolation from the present time drama and we aren’t so involved in her relationships with anyone other than Sivakesava. In a film about dancers, Prabhu Deva gave Trisha some beautiful picturisations but her dancing was not as strong as Charmme’s and that aspect didn’t convince me. She looked lovely and her acting was as convincing as the role allowed. When Pournami appears to take over during the final dance it is shown as a way for everyone, including her spirit, to find closure. Trisha uses her very expressive face to communicate her sorrow and joy at this final encounter with her loved ones.

Charmme irritated me in the first half of the film, but I think she was meant to be a troubled teenager who was a bit bratty so I suppose that was a win. Her portrayal of a growing love for Sivakesava was done well, and I could see her puzzlement and annoyance turning to appreciation of the man who supported and protected her. She was a little tougher than your average filmi heroine, and her demonstrated snake wrangling skills make her more than a match for the average thug. Although the hero had to step in and help her finish the ritual, his help would have been for nothing if she hadn’t had the fortitude to keep going and stay focussed. Finally, she saves Kesava’s life and through that act wins the right to his future as his past finally lets go. I felt a bit sad for Chandrakala at the end as once again she will be the understudy for her sister, only this time in life.

Despite the story being ostensibly about the girls, this is a Prabhas film. He is at the centre of all the action and subplots, and once he arrives in town he is on screen for most of the film. He is convincing as both the kick arse hero and the misty eyed lover, and seems to have fun in the retro dance sequences. His relationship with both the heroines was played well, and there is a marked difference in his interaction with each of them. It’s a typically fun Prabhas performance. And his costumes… They make a statement all on their own.

The supporting cast were fine, with Rahul Dev, Brahmaji and Mukesh Rushi the standouts. Sunil is sweetly funny as Pournami’s brotherly friend and Ajay is reliable as a local thug. The soundtrack by Devi Sri Prasad is enjoyable and suits the story. Of course the songs are a visual delight as I expect from a Prabhu Deva film. The sets, the costumes, the locations are all beautiful and add a fairytale quality.

The film has a happy ever after ending, with signs of the new generation ready to maintain this lovely tradition. With any luck they’ll have a new landlord before the next festival!

By knight reviews

HIGHWAY is a visual and aural treat, a refreshing break from the monotonous story lines of the mainstream Bollywood cinema

HIGHWAY

Story: Wealthy Veera is kidnapped by brutish Mahavir. Is she on a highway leading to hell - or away?

A rich and cultured soon-to-be married young lady is unwittingly abducted by an uncouth and violent truck driver. What follows is quite a clichéd tale of love, loss and learning, but it’s told in a refreshing manner. Highway is the story of two seemingly opposite people who slowly grow together only to realize that they are not so different while on a road journey.

Veera and Mahabir, played by Alia Bhatt and Randeep Hooda are strong and sound characters, both with an intense background story. Alia sheds the Barbie image with her stellar portrayal of a girl finally breaking free from shackles of a hypocritical society. But even though the actors executed their parts beautifully, the script somehow fails to lend any real depth to the characters.
The movie in itself has ups and downs. It’s unconvincing in some places, such as when Veera becomes too candid a little too soon with her captors; light and funny in others; it even reaches a point where the movie continues with absolutely no addition to the actual story.Imtiaz Ali also manages to address the issue of rape of minors by their own family members without it sounding preachy or overpowering the entire essence of the film. The music by A. R. Rahman compliments the movie well without being invasive as is the case with many Bollywood movies.To summarise, Highway is an unorthodox spin on a story we’ve all heard before. Watch it for:Great performances by both the actors Visual treats from Rajasthan to Punjab to Kashmir

1. The virtue of not being a run- of- the- mill romantic movie

Review: Straight up, Highway is not a sunny, funny road-trip. It is Imtiaz Ali's starkest, darkest work yet. Rich Veera (Bhatt) steps away from her Monsoon Wedding-style shaadi preparations (a handheld camera capturing gold,Ghaghras and a girl going, "Bhaiyya, flav untilvers lappet do!") for a break with her reluctant fiancé. Driving into a foggy Delhi night, Veera steps out to breathe free - and gets kidnapped by violent criminal Mahavir Bhaati (Hooda) and his gang. Gagged, tied-up, slapped and starved, Veera's thrown onto a terrifying truck that drives off on a never-ending highway, leaving established society far behind.

What does Veera experience on this trip?
Highway belongs unabashedly to Alia Bhatt. Her Veera is stunning - sincere and simple, prettily earnest, shakily emotional. Bhatt's range and prowess are evident in her timid confidence, the slow swagger Veera gains as she takes control of the situation, captivating her captor, confronting assault.
Hooda's Mahavir is frightening, tightly controlled, the actor conveying dark dislike with crackling tension, switching to bewilderment with comic ease. Alongside, Aaroo (Durgesh Kumar), Mahavir's companion, who breaks into a delightful trance-wala dance with Veera as she sways to 'English music' on the road, is memorable.
But what stamps this film indelibly is its sheer boldness. Imtiaz Ali must be congratulated for his daring novelty, for a powerful heroine-centric story, for his heroine who looks like a Vermeer painting dressed in a dusty ghaghra. At times, Highway feels like an unending Bharat darshan, a long look at suffering souls through several deserts and eucalyptus trees. But some meandering is its only flaw. 
Watch it for its cathartic creativity, for colours akin to Iranian palettes, for sound design where melting qawalis, chirruping crickets and a screeching train make layers of noise - for that shot where Veera rests her head on a pillow of water. 
https://www.youtube.com/watch?v=LSrDD52bx4A
Highway is not an easy ride. But it offers fresh breezes and new sights.
By knight reviews