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‘Jalota’s ‘Dasvi’ unveils the importance of education

But when he realises that education empowers you, he takes up the challenge, and how with the help of other inmates, he works towards studying for the exam forms the crux of the narrative…reports Troy Rebeiro

Film: ‘Dasvi’ (Streaming on Netflix); Duration: 126 minutes, Director: Tushar Jalota
Cast: Abhishek Bachchan, Nimrat Kaur, Yami Gautam, Manu Rishi Chadha, Arun Kushwaha, Chitranjan Tripati, Danish Husain, Dhanveer Singh, Abhimanyu Yadav (Rating: ***)

Director Tushar Jalota’s ‘Dasvi’ is designed as a satire in a political set-up, revealing the importance of education.

Set in the fictional state of Harit Pradesh, the arrogant and pompous Chief Minister Ganga Ram Chaudhary (Abhishek Bachchan) is arrested for a scam. But before getting locked up in judicial custody, he relinquishes his position in favour of his wife, Bimla Devi (Nimrit Kaur), and remote controls the state from behind the bars.

In prison, he is pampered by his sycophants till the arrival of super inspector, Jyoti Deswal (Yami Gautam), who insists that one should be assigned work according to one’s level of education.

Since Ganga Ram Chaudhary is only eighth-passed, he is eligible to work as a gardener, carpenter, or any other menial work. But being the CM and a man of clout, his pride is injured.

He tries seeking his wife’s help to get Inspector Jyoti transferred, but she blatantly refuses, citing a perception issue.

When he learns that prisoners who study are exempted from working in prisons, he contemplates appearing for the Secondary School Certificate exam, which is the tenth standard or “Dasvi” in Hindi.

But when he realises that education empowers you, he takes up the challenge, and how with the help of other inmates, he works towards studying for the exam forms the crux of the narrative.

Being a satire, the writers have crafted a vitreous cocktail of naked ambition and blustery bravado with a distinctly bitter aftertaste. On the face of it, you chuckle constantly, but subconsciously you realise the sad state of affairs that prevails. While the writing is good in parts, it is also the weakest element of the film as the narrative lacks chutzpah.

On the performance front, the film is an outright Abhishek Bachchan canvas. He plays the big-headed, self-important politician who mellows with time to perfection. He is aptly supported by Nimrit Kaur as his timid wife, who suddenly tastes power, and faster than a chameleon changes its colour, she transforms herself into a bumbling shrewd character who lacks any real conviction other than a desire for power and position.

Coming to Yami Gautam as the super-strict police inspector, despite delivering a competent performance, she does not have the persona to play such a character she seems to be a misfit in the film, and the makers of the film are solely to be blamed for it.

The rest of the supporting cast are flat stock characters who have their moments of limited on-screen glory.

The music and songs in the film appear of mediocre quality with oft-heard tunes.

Overall, the film is fairly entertaining and engaging.

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‘Sharmaji Namkeen’: Nothing new or unusual, but light-hearted

The film sorely lacks drama, interesting twists, and an element of freshness. It trudges along on an even keel. Nevertheless, it is an uncompromising depiction of “the show must go on” attitude to life, while it imbues the screenplay with dignity…reports Troy Rebeiro

Streaming on Prime Video, Duration: 122 minutes, Director: Hitesh Bhatia, Cast: Rishi Kapoor, Paresh Rawal, Juhi Chawla, Suhail Nayyar Taaruk Raina, Satish Kaushik, Sheeba Chaddha, Isha Talwar and Parmeet Sethi, (Rating: **1/2) XXX



One of the characters in the film states, “Baat baat pe senti ho jaate hain”. That is exactly what you experience when you see ‘Sharmaji Namkeen’ — Rishi Kapoor’s posthumous film.

There is nothing new, unusual, or flamboyant about this slice-of-life film, which narrates the tale of Brij Gopal Sharma, a widower with two grown-up sons who finds himself at the crossroads of life when he is laid off from work.

The film begins with a function in the office of Madhuban Home Appliances, where Sharmaji is felicitated for being a sincere and dedicated worker. His boss, Mr Sikka, advises him to enjoy life and have fun. But this is exactly what he cannot do.

After staying at home for four months and 13 days, getting on the nerves of his sons, Rinku and Vincy, Mr Sharma feels the itch to find a purpose in his life.

Being a widower, Sharmaji has been cooking at home. Also, at times, he has been volunteering at religious functions in his locality. So, at the behest of his friend, Mr Chaddha (Satish Kaushik), he takes up a cooking assignment for Mrs Gulati’s (Sheeba Chaddha) kitty party.

Since then, Mr Sharma is the most sought-after cook within Mrs Gulati’s circle of merry friends. How his life evolves thereafter forms the crux of the narrative.

‘Sharmaji Namkeen’ is a light-hearted film, yet it is not easy to sit through, for it is unusually mounted, with two actors playing the same role.

Initially, seeing Paresh Rawal slip into Rishi Kapoor’s shoes seems a bit jarring, but gradually, your mind accepts it. Both share the screen time equally as B.G. Sharma.

The film sorely lacks drama, interesting twists, and an element of freshness. It trudges along on an even keel. Nevertheless, it is an uncompromising depiction of “the show must go on” attitude to life, while it imbues the screenplay with dignity.

Rishi Kapoor and Paresh Rawal are effortless in their performance as Mr B.G. Sharma. They are aptly supported by Suhail Nayyar and Taaruk Raina as Sharma’s sons, Rinku and Vincy. They both are sincere despite their frivolous bro-banter appearing forced and amateurishly staged.

Juhi Chawla as Mrs Gulati’s friend Veena Manchanda, who forms a bond with Sharma, adds a cute layer to the narrative, but does not elevate the story.

Parmeet Sethi as Veena’s brother-in-law, Robbie, the Mayor of Delhi, is charming but does not add much heft to the role.

The rest of the cast in supporting roles are mostly natural, but at times they are dramatic and over-the-top. They have their moments of on-screen glory.

Mounted with mediocre production values the film will certainly have a limited appeal. Those who can make it through are going to cherish the film for Rishi Kapoor and the film’s core values

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‘Parallel Mothers’: Ordinary one, yet rich and compelling

(Running in Theatres), Duration: 123 minutes, Director: Pedro Almodovar , Cast: Penelope Cruz, Aitana Sanchez-Gijon, Milena Smit, Israel Elejalde, Julieta Serrano, Rossy de Palma, Daniela Santiago (Rating: ***1/2)

Visually, in the maternity hospital, with tight closeup frames of the mothers in agonising pain, the film highlights the drama of birth…writes Troy Rebeiro



While on the surface, director Pedro Almodovar’s ‘Parallel Mothers’ is an ordinary story of two women who became mothers on the same day at the same hospital and how their lives intertwine. But, if you look deeper into the narrative, you will find stories of many more mothers, including grandmothers, thus making the film rich and compelling.

The film begins with Madrid-based Janis (Penelope Cruz), a middle-aged and successful professional photographer doing a photoshoot with forensic anthropologist Arturo (Israel Elejalde) for a magazine article. After the shoot, she seeks his help in securing permits and funding from a historical society to excavate a mass grave in her ancestral village, where- according to her family- the body of her great grandfather was dumped during the Spanish Civil War. Janis and her relatives hope to exhume the dead to give them a proper burial.

During this period, romance brews between Janis and Arturo, and an ecstatic Janis finds herself pregnant. She decides to go ahead with the pregnancy and be a single mother.

In the labour room of a maternity ward, during the final stages of her delivery, she meets Ana (Milena Smit), a rebel teenager who, given her circumstances, is anything but happy about having a baby. Janis and Ana bond while their daughters owing to some health issues- are isolated in the observation room, after which they go their separate ways.

Janis names her baby Cecilia after her grandmother. And Ana names her daughter Anita.

While Janis has the support of her dear friend Elena (Rossy de Palma) and an au pair, Ana has Teresa (Aitana Sanchez-Gijon), her actress mother, who promises to help raise her granddaughter.

Janis and Ana lead their lives independently as conscientious mothers till fate reunites them to propel the narrative forward.

Visually, in the maternity hospital, with tight closeup frames of the mothers in agonising pain, the film highlights the drama of birth.

And similar to the drama at birth, the film ensures a rhythmic progression that leads to the inevitable resolution. But unlike the high-pitch drama of childbirth, the tension and suspense in the plot are subtle and low-keyed.

Penelope Cruz is spot on as Janis, who is willing to bend her principles to protect her happiness. Similarly, Smit as Ana is commendable. She is radiant in essaying her role as a vulnerable and anguished teenage mother, who is all out to put her stamp on motherhood.

Aitana Sanchez Gijon as Teresa is equally compelling, offering a different dimension to what a conventional mother should be.

Rossy de Palma as Janis’ flamboyant friend Elena, and Israel Elajalde as Arturo are prominent despite having miniscule roles.

Overall, ‘Parallel Mothers’ is an engaging film. You would appreciate it more, only if you knew the customs, traditions, and history of its cinematic universe.

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Love Hostel: Lacks effective blend of romance & social commentary

Of the others in supporting role, Raj Arjun is prominent as the Police officer Sushil Rathi, and Akshay Oberoi as Ashu’s untrustworthy friend Diler is wasted, in a small insignificant role…writes Troy Rebeiro

(Streaming on ZEE5); Duration: 101 minutes, Director: Shanker Raman, Cast: Bobby Deol, Vikrant Massey, Sanya Malhotra, Raj Arjun, Akshay Oberoi, Yogesh Tiwari, Swaroopa Ghosh, Aditi Vasudev, Seema Raja (Rating: ***)

‘Love Hostel’ seems to be inspired by actual events. It is a bland story of star-crossed lovers caught in the tangle of honour killing. It is a nonspecific story oft-heard across the Indian sub-continent.

Ashu, a.k.a. Ahmed Shaukeen (Vikram Massey), is the son of a butcher, in love with the spunky, full of life and potential, Jyoti Dilawar (Sanya Malhotra), the granddaughter of a local politician Kamala Dilawar (Swaroopa Ghosh). Aware that their families will not approve of their union as they come from different religious backgrounds, the two of them decide to elope. They approach the local court, and the judge grants them protection in the District Safe House for a week.

Given the title, one would expect the narrative to unravel the happenings in this “District Safe House.” This place is also known as the “Love Hostel” as it houses numerous other couples who face a similar predicament. But alas, the writers churn out a blatantly generic and straightforward plot dispensing a dispassionate story of the protagonists on the run. The telling progresses in a detached manner with the ruthless mercenary Dagar (Bobby Deol), who driven by a personal agenda, is hell-bent on eliminating those who do not abide by societal rules.

Sans any layers to the narrative and steeped with cinematic liberties, the writing and the editing of the film are its weakest elements. While the nitty-gritty of each scene is effectively taken care of, how the duo escape from the clutches of Dagar each time seems contrived. Also, the tale of the young love against the odds is not particularly groundbreaking in itself, and the wrapping of the narrative is not effective either.

Vikram Massey and Sanya Malhotra are excellent performers. They are flawless as Ashu and Jyoti. They take their roles like a second skin and slowly unravel the complexities of their characters as they go through a complete emotional arc, experiencing love, confusion, disbelief, resignation, and acceptance. Their nuanced work makes them stand head and shoulders above their contemporaries.

Bobby Deol as, the stoic, scar-faced, and unsympathetic, trigger-happy killer, is mechanical in his demeanour. He is frightful and far from menacing because his is a poorly written, two-dimensional character. Similar is the case of Swaroopa Ghosh, who essays the role of Jyoti’s grandmother, Kamala Dilawar.

Of the others in supporting role, Raj Arjun is prominent as the Police officer Sushil Rathi, and Akshay Oberoi as Ashu’s untrustworthy friend Diler is wasted, in a small insignificant role.

Overall, the film fails to effectively blend both romance and social commentary.

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Suspense filled ‘A Thursday’ unveils citizen’s desperate cry for justice

After seeing off all adults from the playschool’s premise, she calls up the police station and informs them that she is holding sixteen children as hostages, and she has a few demands…writes Troy Rebeiro

Director: Behzad Khambata, Cast: Yami Gautam Dhar, Atul Kulkarni, Neha Dhupia, Dimple Kapadia, Karanvir Sharma, Maya Sarao, Kalyanee Mulay, Shubhangi Latkar, Micky Makhija (Rating: **1/2)

‘A Thursday’ is a suspense drama showcasing a citizen’s desperate cry for justice.

The film revolves around how Naina Jaiswal (Yami Gautam Dhar), an enterprising teacher running her playschool called ‘Little Dots’ for young children in a flat belonging to her fiance Rohit Mirchandani (Karanvir Sharma), resorts to desperate measures to make her voice heard and get justice.

It’s a Thursday Naina cuts short her holiday and returns to work a day before her birthday with a motive.

After seeing off all adults from the playschool’s premise, she calls up the police station and informs them that she is holding sixteen children as hostages, and she has a few demands.

Much before the police could turn up, Naina manages to hold two more adults as hostages. One is the driver, who was assigned to bring in the cake and sandwiches for the party, and the other is Savitri, the assistant at the playschool, who had returned to pick up her phone, which she had forgotten.

The momentum of the story accelerates when a heavily pregnant and ruthless ACP, Catherine Alvares (Neha Dhupia), lands up with her team at the doorsteps of the playschool. The atmosphere is tense, with concerned parents and the media curious to know Naina’s demands.

At the very onset of the police negotiations, Naina makes it clear that she would release a child after the fulfillment of each of her demands. Her first request is to negotiate only through Alvares’ junior Javed Khan (Atul Kulkarni).

Being obstinate, Naina gets her way through with her first two demands. But as her third and subsequent demands are laid forth, we realise that she is sending out strong messages, through her personal experience, about the malaise that’s plaguing our country and about the flaws in the system.

Yami Gautam, as Naina delivers her chops earnestly. She is unimposing in her disposition which is why her character does not connect with the audience emotionally.

Neha Dhupia and Atul Kulkarni, as police personnel, play stereotypical roles.

Dimple Kapadia as Prime Minister Maya Rajguru is a bit flat and muted. She is unimpressive and not convincing as the charismatic leader who can bring about a change in the country.

Coasting along on its stretched star cast and good intentions the ‘stitched-together’ plot is derivative, influenced by films like 2008 released ‘A Wednesday’ and 2016 released ‘Madaari.’

The film begins on an innocuous note and hits the inciting moment immediately but gradually one notices a few cinematic liberties taken over crucial moments which makes the telling casual and unrelatable. Also, Naina’s motive, ignited by a Deux ex Machina, though making the tale plausible, does not give a strong enough reason to mount the film- thus the entire set-up appears perfunctory.

Also, most of the scenes appear like oft-seen set pieces. It is every bit as generic as it sounds. Overall, the film fails to introduce any surprise, suspense, or humour.

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Mahaan: Dhruv the prince charming, but Chiyaan is still the emperor

The film derives its ability to impress, not only from the exceptional performances of its actors, but also from a well-thought-out script, which has a clear message to send across…writes Manighandan K R

Duration: 162 minutes, Director: Karthik Subbaraj. Cast: Vikram, Dhruv Vikram, Bobby Simhaa and Simran. (Rating: ***1/2)

Director Karthik Subbaraj’s ‘Mahaan’ is a well-made, intense gangster flick that wins your heart not just with the masterful performances of its protagonists, but also because of its well-thought-out plot and the intelligent twists in it.

Easily one of director Karthik Subbaraj’s best films, ‘Mahaan’ leaves you both delighted and satisfied by the time it ends.

The story begins with young Gandhi Mahaan (Vikram) being punished by his dad (Aadukalam Naren) for having secretly gambled and then having fought over it with two other school boys.

Gandhi’s dad, a strict disciplinarian and an avid follower of Mahatma Gandhi, forcefully drives into his son’s head his family’s illustrious lineage. “You’ve been born into a family of freedom fighters,” he says and in particular, draws the boy’s attention to the fact that his forefathers were actually among the first to fight for the abolition of liquor in the state.

“You must live like Gandhi Mahaan,” the father advises his son and urges him to follow in the footsteps of his forefathers. Poor Gandhi is bullied into meeting his father’s lofty expectations.

Decades pass and Gandhi’s dad is dead and gone, but Gandhi’s misery continues in the form of his wife Naachi (Simran), a strict ‘disciplinarian’. She forces her ideology on Gandhi so much so that he has to lie to even go and watch an English film.

The poor chap lives a suffocating life until his 40th birthday when his wife, along with their son, decides to go on a one-day tour with other members of a ladies club.

Seizing the opportunity, Gandhi decides he will do all that he has wanted to do in these last 40 years in that one day. He wears modern clothes, eats non-vegetarian food and then goes to a bar to have a couple of drinks.

As luck would have it, he meets the bar owner Sathyavan (Bobby Simhaa), who happens to be his childhood friend. The friends party all night and by the time, Gandhi wakes up the next afternoon, his wife has already returned home.

He tries to lie his way through but Naachi finds out that he’s been drinking. She is livid with rage and chooses to take their son with her and walk out of their home, ending their marriage. A heartbroken Gandhi repeatedly apologises and tries to convince her to return, but Naachi is not forgiving.

Angry and frustrated by his wife’s hard-heartedness, Gandhi chooses to join Sathyavan in the liquor business. Soon, his sharp mind ensures they move to the number one spot in the business. He establishes a syndicate and makes his friend its head.

Challenges emerge at every stage but both Gandhi and Sathyavan are up to them. Life becomes a roller-coaster ride for Gandhi, until one day, his son, Dada Bhai Naoroji (Dhruv Vikram), now a police officer, comes to meet him.

The film is an absolute delight to watch. It begins on a slow note and initially gives you the impression that this is going to be like one of those insipid gangster flicks that one often comes across. However, all that changes the moment Dhruv Vikram as Dada Bhai enters the plot. Dhruv arrives like a whirlwind and whips up a storm, not just in Gandhi’s life, but also in the film.

His handsome looks, fearless nature, and his confidence in his ability to control difficult situations with considerable ease make you want to cheer for him while his menacing, cheeky, arrogant and manipulative methods make you want to hate him.

It’s an exceptionally difficult character to portray, but Dhruv does it with such panache that one cannot but admire the actor in him. It’s what one would call a commanding performance by any standards

But despite coming up with such a commanding performance, it is not Dhruv who steals the show; it is dad Vikram who does. Dhruv’s performance is exceptional no doubt, but it is still not enough to match Vikram’s class. Dhruv might be the Prince Charming, but Chiyaan is still the emperor when it comes to exuding charm.

Be it the sequence in which the love for his son and the guilt that he hasn’t done much for him prevents him from helping his followers, who get hunted down mercilessly, or be it the sequence where he chooses to give his son a taste of his own medicine, Vikram is just brilliant. The man might have aged but that hasn’t taken away his class. It is an absolute joy to watch the man perform.

Bobby Simhaa comes up with a superb performance as Sathyavan. Unfortunately for him, his exceptional performance gets pushed to the background in the light of the brilliance of both Vikram, Dhruv’s performances. However, it cannot be denied that the performances of these three actors take the film to another level altogether.

The film derives its ability to impress, not only from the exceptional performances of its actors, but also from a well-thought-out script, which has a clear message to send across.

Vikram tells Simran, “We sell liquor, no doubt. But we never force it down anybody’s throat. People who choose to drink it buy it of their own choice. You, on the other hand, try to force your principles down people’s throats. If living without any principles is extremism, then forcing an ideology on other people too is extremism of another kind.” That’s when you know that Karthik Subbaraj has hit the nail on the head.

The unpredictable twists and turns the plot takes, especially in the second half, make the film refreshing. It keeps you guessing all through the second half, right till the very end. By the time it ends, you find yourself saying, “Well done, Karthik Subbaraj. You’ve outdone yourself this time around.”

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‘Reacher’: A gritty, action thriller package

But when Chief Detective Oscar Finlay (Malcolm Goodwill) and the young police officer Roscoe Conklin (Willa Fitzgerald) investigate the situation, they exonerate Reacher…writes Troy Rebeiro

Series: ‘Reacher’ (Streaming on Amazon Prime); Duration: Average 48 minutes per episode, Directors: Norberto Barba, M. J. Bassett, Sam Hill, Omar Madha, Christine Moore, Lin Oeding, Stephen Surjik, Thomas Vincent, Cast: Alan Ritchson, Malcolm Goodwin, Willa Fitzgerald, Hugh Thompson, Chris Webster, Bruce McGill, Maxwell Jenkins, Gavin White, Leslie Fray, Jonathan Koensgen, Willie C. Carpenter (Rating: ***1/2)



This eight-episode series is based on author Lee Child’s 1997 published first novel ‘Killing Ground’. It introduces us to its eponymous, superhuman hero with all sincerity.

Like the novel, the series too starts with Jack Reacher, a veteran-military police investigator, with the barest of essentials, stepping off a bus in the small town of Margrave, Georgia. As he settles in a restaurant, and before he could taste the restaurant’s “finest” peach pie or even sip his coffee, he is arrested and accused of something he hasn’t done.

Incidentally, a man was murdered in a field just outside town, on the night Reacher was travelling into Margrave. Everyone thinks Reacher is responsible for the killing, given his past reputation- and this being the town’s first homicide in 20 years. The situation gets complicated when an accountant called Paul Hubble confesses to the murder. He is put in the same detention room, along with Reacher, where an attempt is made on their lives.

But when Chief Detective Oscar Finlay (Malcolm Goodwill) and the young police officer Roscoe Conklin (Willa Fitzgerald) investigate the situation, they exonerate Reacher.

Given Reacher’s background, he soon allies with them to prove his innocence. Together the three of them visit the morgue, and on realising whose body is lying there, Reacher makes it his agenda to unravel the deep-seated conspiracy that’s plaguing the town.

With the increasing number of people getting killed, the plot and the pacing of the series are taut and intense. Narrated in a non-linear manner, it’s an investigation you’d not want to miss witnessing. The dialogues are crisp to the point and intelligently shrewd. But then there are a few moments when Reacher reveals some unplausible expositions with precision. The justification given then is lame and dismissible, given this is an exceptional heroic series.

There are several dramatic as well as action sequences that are astutely designed and delicately handled. Some of the murder scenes and bone-breaking acts are gruesome but not over-the-top.

On the performance front, every actor is natural and at ease with the characters they play. Topping the list is Alan Ritchson. He essays- Jack Reacher’s confidence and presence, to perfection, with his big, well-chiselled frame. When his mother Josephine (Leslie Fray) says: “Reacher has the strength of three men,” you believe her, given his over-powering screen presence and formidable demeanour.

Ritchson is aptly supported by; the swift and agile Willa Fitzgerald as Roscoe Conklin – his colleague and love interest in the series, Malcolm Goodwin, who essays the strong-minded and defensive by the books-Chief Detective Oscar Finlay, together the trio make a formidable team, difficult to defeat.

Technically, the series is mounted with good production values. The cinematography adds to the intrigue value of the narrative. It captures the setting and the performances of its talented cast with precision.

Overall, the series is a gritty, action thriller worthy for binge-watching.

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‘Sila Nerangalil Sila Manithargal’: A Beautifully crafted entertainer

Duration: 140 minutes (Showing in theatres). Director: Vishal Venkat. Cast: Ashok Selvan, Reyaa, Manikandan, Abi Haasan, Anju Kurian, Riythvika, K.S. Ravikumar, Praveen and Bhanupriya. (Rating: **1/2)

Director Vishal Venkat’s ‘Sila Nerangalil Sila Manithargal’ is a reasonably well-made entertainer that manages to keep you interested for the most part but does not leave you entirely convinced by the time it ends.

The film’s story revolves around four people, each of whom belong to a different segment of society.

Pradeesh (Abi Haasan), an aspiring actor and son of a famous director, is super-rich. Praveen (played by Praveen), an IT employee who is in town and looking to go back to his project in the US, belongs to the upper-middle class.

Vijay (Ashok Selvan), who works in a mobile shop as a salesman, and Rajasekar (Manikandan), who’s with the housekeeping department of a firm, belong to the middle class and lower middle class respectively.

All these characters have nothing in common except that they all have flaws that greatly inconveniences everybody around them. The sad part is while everybody around them is aware of their personality warts, they are not.

These changes when suddenly one day, an accident occurs and a man dies. How the accident changes all four characters is what the film is all about.

The film works by and large primarily because of the fact that the stories of two characters — Rajasekar and Vijay — are told with a lot of passion and conviction. The stories of the other two — Praveen and Pradeesh — aren’t as convincing and appear to be a little far off from reality.

For instance, the film has a sequence that shows Pradeesh, the actor son of a big director, being accused of killing the man in the accident. As public opinion gathers against him, Pradeesh’s father and mother, who, we are told deeply cares about their son, are shown playing video games with an actress who was primarily responsible for the needle of suspicion to point at him!

Rajasekar’s story is the most impressive of the lot as it effectively communicates the message it looks to send across. Manikandan, who impressed in ‘Jai Bhim’ as Rajakannu, does an outstanding job once again as Rajasekar in this film.

As a man who is always in a tearing hurry to go up the ladder of success without taking the time to properly complete tasks entrusted to his care, Manikandan does a fantastic job. Thanks to the manner in which the character is fleshed out, the message that one must complete what one takes up, comes across clearly.

Ashok Selvan is the next best performer in this film. He delivers a commendable performance as a man who is unable to express his love for his kind, understanding father. He nails it in some of the sequences, especially the one in which he hugs Manikandan, after being overcome by guilt at not having done enough for his father when he was alive.

The film features some brilliant performances from Nasser, who plays Vijay’s father, and Ilavarasu, who’s cast as Rajasekar’s uncle. Actress Reyaa, who plays Malar, also delivers a neat performance. All these performances add value to the film and thereby help it score.

On the technical side, Radhan’s music is a big plus as are Meyyindiran’s visuals. Prasanna’s editing is neat and helps keep the narrative tight. For someone who is just starting off, director Vishal Venkat shows immense promise.

‘Sila Nerangalil Sila Manithargal’ catches your eye and manages to retain your attention. Where it fails though is in being able to leave you convinced.

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‘Sing 2’: A fun entertainer to wow kids

Despite a predictable narrative that drags in the middle, what makes the film appealing are the colourful anthropomorphic creatures and the wonderful songs they sing…writes Troy Ribeiro

Director: Garth Jennings. Voice Cast: Matthew McConaughey, Reese Witherspoon, Scarlett Johansson, Taron Egerton, Seth MacFarlane, Tori Kelly, Nick Kroll, Bobby Cannavale, Halsey, Pharrell Williams, Chelsea Peretti, Letitia Wright and Eric Andre. (Rating: ***) Duration: 110 minutes

Mounted like an adventurous, storybook-style spectacle, ‘Sing 2’ takes place sometime later after the events of its 2016 prequel.

Garth Jennings (Wikipedia)

Set in the glitzy showbiz town of Redshore city, Buster Moon (Matthew McConaughey), hoping to launch a bigger and flashier musical act, gathers together much of the same old cast consisting of Ash (Scarlett Johansson), the porcupine who’s the first to answer his call; Johnny (Taron Egerton), the gorilla who gets a dance sequence in the new show but can’t master his moves until he pairs up with Lynx (Letitia Wright); Gaunter (Nick Kroll), a passionate dancing pig who partners with Rosita (Reese Witherspoon), the momma pig who has basically achieved all that she wanted; and Meena (Tori Kelly), the shy elephant who can’t work up any chemistry with her self-absorbed singing partner Darius (Eric Andre), the yak.

Together, after failing to impress talent scout Suki (Chelsea Peretti), for one of the local talent events, they sneak in for an audition with entertainment mogul Jimmy Crystal (Bobby Cannavale), who is totally uninterested in Moon’s original show-pitch. But after Gunter tells him about “a spectacular show that will take your audience out-of-the-world”, Jimmy is hooked and greenlights the show to Moon with a clause.

The show should be up within the next three weeks and feature the recluse rock star Clay Calloway (Bono), the white-maned, aged lion who has not been seen in the circuit for the past 15 years after his wife passed away. How Moon accidentally promises something he isn’t sure he can deliver and actually succeeds in his mission forms the crux of this story.

Despite a predictable narrative that drags in the middle, what makes the film appealing are the colourful anthropomorphic creatures and the wonderful songs they sing.

The number of characters and eye-catching pieces fill up the screen impressively. There is a grand musical number which is the highlight of the film. Also, the goofy dialogues offer profound life lessons that are either motivational or uplifting.

The voices of the ace star cast lend the right amount of dramatics to the characters.

Visually, the film is exciting, and it is easy to lose yourself in the telling. The animation is spectacular, with all animals faithfully created, looking appealing and truly alive. Also, each frame is vibrant and colourful. The action sequences add that extra punch to the narrative.

Overall, the film is a fun entertainer that will wow children and adults alike.

ALSO READ-‘Spider-Man: No Way Home’: A pleasing entertainer with brilliant cinematography

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‘Spider-Man: No Way Home’: A pleasing entertainer with brilliant cinematography

Director: Jon Watts, Cast: Tom Holland, Zendaya, Benedict Cumberbatch, Jacob Batalon, Jon Favreau, Jamie Foxx, Willem Dafoe, Alfred Molina, Benedict Wong, Tony Revolori, Marisa Tomei, Andrew Garfield, Tobey Maguire. (Rating: ****) Duration: 148 minutes

The first half of the film features awkward plot turns and it takes a while for the narrative to get to the heart of the matter…writes Troy Ribeiro

Director Jon Watts’ ‘Spider-Man: No Way Home’ is the 27th film in the Marvel Cinematic Universe and the sequel to the last two Spider-Man films that were released in 2017 and 2019 respectively. Despite a complex premise that incorporates two decades of its cinematic history and three Spider-Men, the film is satisfyingly entertaining.

Being a sequel, the film takes off from its last edition. Peter Parker’s life has been turned upside-down after Mysterio, the bad guy he killed in ‘Far from Home’, revealed his secret identity to the public at large.

Spider-Man is now a wanted man, and the public has made his life miserable. There is a threat to the lives of his near and dear ones including his Aunt May (Marisa Tomei), his best friend Ned (Jacob Batalon), and his girlfriend MJ short for Miss Jones Watson (Zendaya). Desperate to protect them, Peter does the only sensible thing he can think of: he appeals to a fellow Avenger – the all-powerful wizard Doctor Strange (Benedict Cumberbatch) for help.

He requests the doctor to cast a spell that will make everyone forget his identity. But halfway through the ritual, Peter changes his mind. He does not want everyone to forget him, especially his aunt, best friend, and girlfriend, and while stopping the process, the spell goes awry and cracks open a new dimension.

And through this multiverse dimension, we are introduced to a set of villains. They are; Otto Octavius (Alfred Molina), Green Goblin (Willem Dafoe), Electro (Jamie Fox), Sandman (Thomas Haden Church), and The Lizard-man (Rhys Ifans).

Similarly, MJ and Ned accidentally learn how to open portals using Dr Stang’s ring, and in their attempt to find Peter Parker, they summon two other Peter Parkers – Andrew Garfield and Tobey Maguire from another universe. How the trio of Peter Parkers battle the enemies forms a major part of the plot.

The first half of the film features awkward plot turns and it takes a while for the narrative to get to the heart of the matter. But once the account hits the crux of Spider-Man’s conflict, both the stakes and the intensity magnify ten-fold. There are funny moments that make you chuckle or smile.

At the core of it all is Holland’s stellar performances despite him coming across as a younger and less mature Spider-Man than Maguire or Garfield. It is Holland’s best work as Peter and Spidey to date. His chemistry with Zendaya and Batalon is also real and palpable, and there are moments where they provide gentle comic relief.

With its multiple villains, foraying into magic and multiverse weirdness, and earnest character motivations, the film leans into its comic book roots far more than any previous Spider-Man film.

Mauro Fiore’s cinematography is brilliant. His live-action shots seamlessly merge with the computer-generated visual effects where most of the frames during the action sequences appear like images through a Kaleidoscope.

Michael Giacchino’s score hits the right notes home, elevating the viewing experience.

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