In this era of Indian Cinema, there is no dearth of the high concept movies. There is a certain brigade of creators and actors who are giving some serious entertainment with stellar performances and unique storytelling.
Ayushman Khurana is one of the actors who has been choosing the scripts wisely and delivered some really important characters.
Dream Girl is another feather in his cap. He effortlessly slips in the character teaming with the thespian Annu Kapoor. The father-son duo has done a wonderful job making people laugh with fresh punches written by Raaj Shaandilyaa (writer of several comedy shows) also sat on the director's chair.
Vijay Raaj, Akash Banerjee, Manjot Singh and others have done really an amzinng work., especial mention to the casting team.
However, it fails to portray the female lead and we all can feel the forcefully written role which does not allow Nusrat to do much except appearing for some songs and high moments.
Also it does talk about the social message of loneliness but could not depict it in a meaningful way, it fell short on that but ticks all the boxes of entertainment.
It doesn't have a single dull moment and punches are fresh. Overall a recommended family entertainer.
How often do we see an Indian TV show which is endearing and ticks every box of creativity? The answer is seldom. The league of extraordinary artisans at TVF are doing it consistently and redefining the way a TV series should connect with the audience.
Pitchers, Tripling, Humorously Yours, Permanent Roommates, Kota Factory, and now "Gullak". They have been making these great shows and satisfying the need of the niche shows in the era of archaic TV dramas.
"Gullak" will make us reminisce the memories we grew up with. A middle-class family in Lucknow, their exertions, affection, desires and above all a family which keeps you inspired. The simplicity and
Kudos the entire team working on every aspect of creativity. The writing is impeccable, the direction is top-notch and each actor fulfills every nuance. The production design includes every artifact and placed amazingly. The charismatic background score will give you peace.
TVF is back with a bang, it has a pool of amazing talent and creativity. "Yeh Meri Family" is an archetype how a TV series should be made.
It depicts a middle-class family in 1998 from the perspective of a 13-year-old boy and it is nostalgic. We can re-live the life as writing of the show is impeccable, it captures every nuance of a teenager's life embroidered with such an amazing cast. It talks about happiness and distress, a coming-of-age tale with everything a common family goes through.
A seven-episodes slice of life drama will make you feel every emotion, the indecisiveness, excitement, nervousness, and companionship of a family and a teenager have been explicated with such a finesse. The metaphors will give you an insight into life's intricacies, it will teach you something.
The direction is simply phenomenal, the child actors have done the trailblazing job special mention to Vishesh Bansal, what an amazing talent, he breaks the fourth wall with a panache, Mona Singh as a mother is adorable, Akarsh Khurana as a "cool Papa" is effortless and delivers lessons through his punches. Prasad Reddy as Shanky is hilarious and unapologetic. Casting team you deserve an applause for finding such talents.
"Those were the best days of my life."
It is one of the best out there. It should be watched by every human being.
Now the bar is "incredibly high"- Need more like these
The wait is over, the two mavericks, Anurag Kashyap and Vikramaditya Motwane have done it with "Sacred Games". The Indian TV has become obsolete, it lacks creativity and has zero plausibility for the niche and edgy content lovers.
Thanks to the likes of Netflix, Amazon etc, who are delivering the shows from the corners of the world and catering to the audience who wants intelligent content.
Anurag Kashyap and Vikramaditya Motwane collaborated with Netflix and explored their creative sovereignty which was restricted earlier. We can witness the fathomless creativity of Kashyap & Motwane when no strings are attached and the result is one hell of a performance, they never shied.
"Sacred Games" based on Vikram Chandra's novel of the same name. It has been adapted beautifully, an eight-part series does comprehensive justice to the multilayered characters and plot. The writing is immaculate and the development of characters is top-notch. The ticking background score keeps you on the edge and plot revelations are perfectly timed. The transition between the two timelines is seamless, the editing does a wonderful work here.
The transformation of Bombay to Mumbai is spectacular, the gritty setting, costumes, props, locations, and milieus have attention to details. The production value is higher than most Bollywood movies, every scene looks stunning and rich.
Saif Ali Khan, Nawazuddin Siddiqui, Radhika Apte, Neeraj Kabi, Jitendra Joshi, Girish Kulkarni, Jatin Sharma, everyone has done a trailblazing job. I don't need to say anything more about the performances, it is just magnificent watching every actor doing their part phenomenally.
"Sacred Games" raises the bar very high, it is the first Indian Netflix original series and more to come.
"The Chalet" is a great suspense thriller. Netflix is on a spree of discovering the astonishing shows from across the world, be it "Dark", "Tabula Rasa", "Money Heist" etc, they are seriously bringing the niche shows and presenting to the global audience.
"The Chalet" is the new addition to the suspense/mystery genre, the scenic setting and wicked characters are the backbone of this six-episode binge-worthy thriller.
The cinematography is brilliant, the background score is haunting, the editing is immaculate, and the chilling atmosphere creates a perfect whodunit scenario. The writing is excellent and revelations are superbly timed. The cast has given wondrous performances.
A great watch if you are in the mood for watching a slow-burning thriller, it never fails to surprise you.
Marathi Cinema has been making powerful and hard-hitting movies centered on stigmas and social prejudice. Gajendra Ahire, the celebrated Marathi writer & director, debuts in Hindi with "The Silence".
We come across the cases of sexual abuse on a daily basis and it is one of the most underlined issues. "The Silence", based on a true story, touches this burning subject and reveals the ordeal experienced by the women.
The screenplay is amazing, it keeps you fastened and each scene has an impact, the background score will haunt the audience for a long time. The flashbacks are edited wonderfully; the camerawork and the cinematography are beautiful.
Nagraj Manjule debuts as an actor and he has done a trailblazing job. He looked natural and was able to bring all the malice required for the character. Anjali Patil goes in the skin of the character and her expressions reveal most of her character. Then there is Raghubir Yadav, a shattered father, he can do such roles in his sleep. All the other cast has done impeccable work and they all were convincing.
The Silence gives you food for thought and things to ponder.
It shakes the moral ground on which we are sitting comfortably and how we close our eyes to such heinous and dreadful acts.
Anurag Kashyap is known for the gritty and realistic cinema. He has always shown us the dark side of the coin.
After Dangal, Sultan, Mary Com, "Mukkabaaz" is a new addition to the Indian Cinema which shows the harsh truth of the hinterlands or rural India. It depicts the casteism, power of political biceps, anarchy and a love story in the backdrop of the Boxing.
It demonstrates the challenge experienced by young players who are engulfed in bureaucracy. The talent is hidden everywhere but there are no means to showcase as it is being lost in the nepotism, administration, politics, and casteism.
The screenplay is excellent, the characterization is great, each actor is brilliant. Debutant Zoya leaves an impact. We have already seen the ability of Vineet Singh and yet again he proves it with such a gutsy performance. Jimmy Shergill and Ravi Kishan were really amazing. We don't see slow-motion or suspenseful boxing matches but the reality, that is how it happens.
The Production design, real locations, dialogues, and accent give the genuine feel of North India.
However, I felt it has a lot of songs and a long run time, a bit dragging in some parts.
Kannada film industry is going through a paradigm shift gradually. The filmmakers are taking the affliction on their shoulders to elevate the quality of regional Indian Cinema like Malayalam, Tamil,Telugu, Marathi or Bengali.
Having created movies Like Lucia, RangiTaranga, Ulidavaru Kandanthe etc, the storytelling and narratives are shifting towards excellence.
Ram Reddy has done a marvelous job with a satire "Thithi". The idea and setup work wonderfully.
Working with non-actors and keeping the realism intact is a tough nut to crack. All the ingredients of the movie, a rural setting, authenticity, a dysfunctional family, daily teething troubles, desires, covets and minimalism, work fantastically. The humor is weaved perfectly.
A perfect watch for people who want to watch something different.
Well done, such contents are the need of the hour.
In this era of gauche, phony, and bad-quality content on our TV sets, a web series like "Laakhon Mein Ek" gives us a ray of hope. People want to consume edgy and good quality content, TV does not give us that opportunity because it is filled with clichéd and dumb soap operas.
Biswa Kalyan Rath's web series "Laakhon Mein Ek" does wonders and it is an eye-opener. It is an invigorating experience to see the real-life predicaments are depicted on screen with a sheer brilliance.
These six episodes perfectly illustrate the life of a teenager, who is laden with the affliction on his shoulders. Parents push the envelope and force their children live their shallow dreams, just to showcase and create a distinction in the so-called society.
The writing is impeccable, it sums up all the nuances of a typical coaching center and successfully elaborates the students' ordeal. All the characters are drawn immaculately and every actor gives a fantastic performance.
The background score is phenomenal, it adds intensity, goes well with humor.
You want to watch something new, edgy and real, watch it right now.
"A fresh breeze, gritty and original but goes over the top sometimes."
"Inside Edge" is India's first Amazon web series and it is a fresh breeze. It defies the strictures of decayed Indian daily soap opera and creates a new template for original and gritty content lovers. The production value is high with an ensemble cast. Thanks to Amazon and Essel Entertainment (Farhan Akhtar & Ritesh Sidhwani).
The content is edgy and niche, it shows us the ugliness and prettiness of showbiz and cricket, the two most loved industries of this generation. The deceit, crime, vendetta, and manipulation are the main ingredients of this excellent served dish. Some of the actors did a phenomenal job like Amit Sial, Angad Bedi, Tanuj Virvani & Siddhant Chaturvedi. Richa Chaddha as waning actress needs a better dialogue delivery and Vivek Oberoi as a shrewd magnate goes over the top sometimes.
However, being an Indian show, it occasionally becomes too dramatic with some larger than life characters and instances, which seems pretentious. Having seen TVF's Pitchers, Permanent Roommates, Tripling, Humorously Yours etc. are not equipped with rich production but the acting & content are more relevant and inventive.
Overall, Amazon and Netflix are giving the prospect to the Indian creative pool to come at par with Narcos, House of Cards, Ozark, Breaking Bad etc. It is good to see "Inside Edge" making a mark here.
"Will You Be There?" is an adaptation of Guillaume Musso's 2006 bestselling novel with the same title. South Korean cinema adds one more feather in its cap by adapting such a fantastic novel and Hong Ji-young did true justice to it.
A surgeon (Kim Yun-Seok) helps an old man by operating on his granddaughter during a flood in Cambodia. The old man asks what is your last wish and surgeon says "my only wish is to see my girlfriend" but she died in an accident 30 years ago. The old man gives him 10 pills which allow him to travel in time to the past.
The narration is immaculate and the idea of time travel is utilized magnificently, going back in past and meeting yourself is portrayed with great ingenuity, a dash of humor & melodrama. South Korean movies are known for this peculiarity.
The characters are developed seamlessly; human emotions are captured well. It also draws the protagonist's conflict with relationships and who to choose, the sacrifices are irreversible.
Attention to the details is commendable here as we see the height, smoking style, hairstyle and body language of the protagonist is similar. The cinematography is spectacular and editing makes the movie crisp as the transition of scenes from 1985 to 2015 happens flawlessly.
"Baby 2015" raised the bar of Indian Cinema with its taut, exhilarating and tight screenplay. It had a lot of new elements which made it an amazing film and it was another feather in the cap of director Neeraj Pandey. "Naam Shabana" is a prequel to "Baby" which depicts how the character of Tapasee Pannu was included in the Agency.
A comparison with Baby is a sure thing here but Naam Shabana disappoints. It could not transport the expectations "Baby" inflicted because of its weak screenplay and execution of the subject matter.
It takes at least 45 minutes to get the grip of the plot and misses the point repeatedly. The production value was not as good as "Baby" had. We understand that it is an entirely different movie than "Baby" however when we had already witnessed an astounding movie, the judgment is inevitable.
Tapasee is a very good actor and has done the job tremendously, the extended appearance of Akshay Kumar adds a worth to the movie.
Overall you can watch this movie for Tapasee, do not expect it to be a tense thriller like "Baby".
Shashank Khaitan is here with the second installment of "Dulhaniya" franchise: "Badrinath Ki Dulhaniya"
So, what did we expect from the film? We expected a romantic comedy with several melodramatic moments, foot tapping music in beautiful locations with meticulous dance sequences, the charming chemistry between the lead actors and finally the bride goes with the groom.
We all know what are we going to see, it has everything mentioned above however, it delivers something new, it integrates social issues like dowry, objectification of women, equal rights with subtle humor. It successfully culminates a path for feminism in the most authentic way and delivers a good social message.
On the other hand, it is your usual romantic comedy set in Jhansi (Uttar Pradesh), Kota (Rajasthan) and Singapore. However, it fails to showcase the rural locales and milieus, the weddings are profligate and sets are luxurious, we can comprehend that it was produced by Karan Johar.
Shashank has done a fantastic job in direction, the characters are embodied by the lead actors, even Varun managed to pull off some emotional sequences, Alia is effortless and Sahil Vaid is on top form.
The film works perfectly in the first half, however; it loses the narrative flair in the second half as the film drags. The cinematography is brilliant but the editing in the second half could have been crisper.
Overall, it is a lovely movie filled with light-heart humor, good dialogues, amazing performances and a punch on relevant social stigmas.
The Viral Fever (TVF"), the team of intellectuals behind "Pitchers", "Permanent Roommates", "Tripling" and several other awesome original contents, comes with new web series "Humorously Yours".
It tells the story of a stand-up comedian, who is judged and challenged, the problems he experiences in life, marriage, friendship and how he manages to make us laugh. It depicts what we never think and understand, in a humorous way.
I must say, we have been witnessing that TV shows have become unimaginative, nonsense and decayed. We see saas-bahu soap operas which are an illustration of insipid dispositions, mythological shows which do not have any substance but six-pack abs, reality shows which are more melodramatic than regular saas-bahu shows, fundamentally inventiveness is scanty these days.
These shows have entered our dining rooms or even kitchens with a bang and have demolished the basic idea of intellectual entertainment.
The youth of India is at the mercy of Hollywood TV series and the rest of TV audience is stuck to the content which is being served to homemakers and even working feminine gentry is gobbling around it.
So, we essentially require some respite, and TVF is doing it brilliantly. The writing, acting, direction, screenplay, everything is like a fresh breeze. It is conspicuous that it has the nexus of talented people and they are doing their best.
"Humorously Yours" will make you fall in love with its absolute creativity, its lovely characters, its immaculate writing and original content.
Aditya Chopra has made "DDLJ" which is an epitome of love, DDLJ made people fall in love even if it was rather pretentious. Now in 2016, he comes with "Befikre" a rom-com which is set in Paris. On the ground, it looks like, it is a vehicle to promote Parisian tourism.
However, it is a movie for the Indian audience, being an Indian, I could not relate even a single scene with typical Indian life.
There is no need to describe a synopsis as there is no story. Two people want to be in "Friends with Benefits "or "No Strings Attached" kind of relationship, they just want casual sex, not a serious relationship but eventually they fall in love.
So again we see two independents who don't know that they will fall in love after 20 minutes, the problem is that we as the audience know everything, it has been made known since the inception of Indian cinema, it is as predictable as we do our daily chores.
"Befikre" is exaggerated and shallow at the same time, lead actors do not have any chemistry, Vaani Kapoor hams, Ranveer Singh overplays (we know he can act though), they kiss and kiss, it seemed that kissing is only acting which actors know. We don't get to know any backgrounds and other details which could have added a lot of weight to the story. The screenplay did never work as we never feel connected to the scenes.
Music has always been great in all of Adi's movie but "Befike" has an above average music.
What works here is the locales, which have been captured beautifully and at least it soothes the pain which we have to go through the entire movie.
Overall, it is a waste of money and talent. Not at all worth your time.
"Next to Her" is a poignant drama which explores the emotion, bond, love, detestation, and sacrifice. Two sisters, one is mentally challenged and another one is taking care of her against all odds, surrendering her own freedom.
The director 'Asaf Korman' has done a great study of human emotions it is perfectly resounding on the screen. There might be certain uncomfortable scenes which can be little disturbing but succeeded in the depiction of the real life challenges and encounters.
The perfect cinematography enhances the beauty of grim life and the audience get connected with the emotions and sentiments.
The performances are top notch as the direction, lead actors have done it wonderfully and it is so convincing that you will be deeply immersed in their grief, sorrow and pleasure.
The bond between the sisters has been portrayed with sheer brilliance and it will linger with you long after watching the movie.
A groundbreaking film which wants you to think and act
"Pink" is a film that shakes the moral grounds of human being, it questions the unruly existence of patriarchy, objectification of women, shallow prudence, scruples and how we comprehend the new age, liberal women? "Pink" makes you think after the credit rolls and the thought lingers with you allegedly.
Aniruddha Roy Chowdhury has done a trailblazing job, the subject matter and execution hits you like a bolt. If you are a sane human being, it surely influences the philosophy you might have been carrying all along even if you are a feminist. It not only talks about equal rights for women or empowerment but the way male fraternity thinks about women.
Ritesh Shah writing is impeccable, keeping audience bound to their places as everyone keeps guessing. It is high-intensity courtroom drama which is a rare case in Bollywood. I really appreciate the effort taken by the entire production team, everyone is a winner.
The editing makes the movie more riveting, every frame reveals something, each hearing of the court laced with a strong message and keeps the audience on their toes.
Besides all of that, we have Amitabh Bacchan and Piyush Mishra as opponents in the court defending their respective clients, their performances are top notch as always. The dialogues and delivery will give you chills. Tapsee Pannu, Andrea Tariang and Kirti Kulhari are just phenomenal, they embodied their characters magnificently.
In a nutshell, "Pink" gives us a perspective, an issue to ponder and a way forward to treat women respectfully.
Lately, we have been witnessing many movies on women empowerment and emancipation like Queen, Kahani, Mardaani, English Vinglish, NH10, Parched etc. Akira is an addition to these kinds of flicks from directed by A.R. Murugadoss (Gajini, Holiday fame).
We get the message delivered at the very beginning when younger Akira confronts the acid attackers and later we see how she engulfed in a web of endangerment. Now she has to challenge the murky system and penance involved in the execution.
The intention is noble and it was accomplished in some measure during the first half, however, it becomes predictable and clichéd in the later half. The screenplay is little sloppy and representation of some characters loses the grip. Sonakshi Sinha did justice to her role but the expressions and demeanor lacked in many important scenes.
We see Konkana Sen Sharma is a very strong character but it was underdeveloped. Anurag Kashyap's menacing act is promising but lacks authenticity as a Marathi Cop. Other supporting cast did a good job.
Action scenes are good and well-choreographed, music is average and background score is just fine.
So, overall did the message get delivered, well, it depends on the perception because it has the same theme and execution which we have been served trillions of time, a protagonist rises against some malicious hoodlums then scuffles survives and finally becomes a conqueror.
So Remo D'Souza, the celebrated Bollywood choreographer and also directed films like Faltu, ABCD and ABCD2, comes with a superhero flick "A Flying Jatt".
Aman(Tiger Shroff) is a timid martial art teacher who unlike his father, afraid of everything and does not want to be like him. His father was a numero-uno martial art and named as The Flying Jatt, he kept the righteousness of Sikh community, he also inhabited a colony far from city's pollution. Aman's mother (Amrita Singh) wants him to be like his father but he wants to be himself until he finds the super-power. Malhotra (Kay Kay Menon) wants to dump the debris from his chemical factories to the land where the Sikh community lives and wanted to force people out. Aman with his powers has to combat a villain who is equally powerful.
I wonder why would someone waste a huge money in such a terrible and tacky script, a wafer-thin plot and the execution is heavily borrowed from many superhero movies. We see an exact slo-mo scene lifted directly from X-Men: Days of Future Past.
The special effects are not substandard but it always requires an honest hack to keep people engaged in a superhero movie. We are watching a Hollywood superhero movie every alternate Friday and it's not a comparison but where is the content? Everything is clichéd.
Tiger Shroff cannot act at all; he hams appallingly but his parkour is unmatchable. Jacqueline is doing the same thing what she does and it is bad to see that after so many films, she does not require to act. Then we have season actors like Amrita Singh and Kay Kay Menon and they can do the roles assigned to then flawlessly.
The direction is atrocious, some comedy scenes looked poorly executed mostly because we Tiger looks like a sculpture.
How much we knew about Mohenjo Daro before watching this movie? now I analyze how much do I know about Mohenjo Daro? As we all know from our text books that nothing much is available about this civilization but only the ruins which were discovered around 1920.
So it is safe to say that we see an outright fictionalized account of Mohenjo Daro, it is centered in 2016 BC, where farmers from a small village grow indigo and sell it in Mohenjo Daro. Sarman (Hrithik Roshan), a young man, who sees visions of one-horned animal, vows to go to Mohenjo Daro as he ruminates and thinks he has a connection with Mohenjo Daro. His father Durjan (Nithish Bhardwaj) sends him reluctantly, giving an amulet and warns to open it only when in extreme jeopardy. He comes to Mohenjo Daro, got besotted by Chaani (Pooja Hegde) and engulfs himself in the malevolent and evil practices of the king Maham (Kabir Bedi) and his son Moonja (Arunoday Singh).
We see large set depicting the old era, where Sarman fights with an artificial Crocodile and it looked atrocious, we are living in the period where we have seen an immaculate versions of CGI technology, people cannot distinguish real or fake. Why can the filmmakers not make use of it? And why are they presenting these stale graphics to the people who have seen Bahubali and some of them just seen The Jungle Book?
The screenplay is filled with clichés because once it is a loud love story then a revenge saga then a rescue operation of mankind against a goddamn dam.
The characterization is hackneyed as characters were introduced by characters. Here we again loose the leading lady, she has only one expression and could not even do justice to a scene where her father dies. Other actors play their parts flawlessly as everyone were seasoned. However, a sloppy script has never been saved by an ensemble cast.
The costume design is appalling; it could have been better because we can see the amount of money thrown into every frame. A.R. Rahmans's music is ordinary and it does not have the melody which we have heard before.
Overall, a boredom with cheesy script and clichéd characters. If you are a hardcore Hrithik Roshan fan and want to see one or two good fight sequences, watch it or wait till it airs on one the TV channels.
A court room murder mystery- it does not disappoint.
Rustom based on K M Nanavati case, a Naval commander who shot his wife's lover and surrendered to the police. This case got an exceptional media coverage and became a sensation back in 1959.
The writing is good; the screenplay unfolds the layers of the mysteries successively, it keeps the audience guessing the plot however, some of the twists are predictable. There are also some elements which are unbelievable like 5 Crore transferring to Rustom's account and defense minister directly offering the money.
The cinematography is good. First half is little slow, however it gains momentum in second half and never escapes the audiences' comprehension. It gives us a perspective about the court room when the verdicts were established via jury.
The art direction is worthy and we can certainly reckon that because the producer is Neeraj Pandey and we had already seen it in Special 26, the late 60's era is created wonderfully.
Akshay Kumar as Rustom Pavri did an impressive work, he carries the persona of a naval officer with panache. His expressive mannerisms of calmness and solemnity, carts the entire film. Kumud Mishra is amazing and brings some natural comic relief. Illeana D'Cruz could have done it better as her character was pivotal but we mostly saw her sobbing. Sachin Khedekar and Anang Desia are veterans and can do any role flawlessly. Esha Gupta and Arjan Bajwa were fine. Usha Nadkarni leaves a stamp in one of the hilarious hearing ever in any court.
Music and background score is average, some of the songs are good.
Largely, it is Akshay Kumar whose movie choices maybe erratic but lately he chose some authentic subjects and filled it with great endeavor and diligence, to name a few Special 26, Baby, Airlift etc.
Hoon-jung Park (New World fame) is a director who seems really keen with details. As we watch The Tiger: An Old Hunter's Tale (2015), we witness a haunting tale of suppression and agony.
An old hunter Chun Man-duk (Min-sik Choi) lives with his 16-year-old son and takes care of him. Kingdom of Korea is rules by Japanese and they are hunting for the tigers in the mountains in extreme cold. Due to some events and turns, Man-duk has to return for hunting.
The screenplay is written perfectly and narration is astounding, however, one could deduce that movie is little long and some of the scenes could have been chopped easily to make it more crisp. It packs the real punch and throw it to the audience, we have a lot of tense moments which are truly crafted.
Technically, the movie is impeccable, the CGI is mesmerizing because scenes with animals never looked like CGI, a lot of attention has been given to the details.
Cinematography is exhilarating, each scene has been captured beautifully, the horror of wilderness and harshness of icy terrain will be in your mind even after long.
We cannot comment on Min-sik Choi acting skills as he has been there and done that effortlessly, here he again leaves an impression on our hearts as an anxious father. The casting is just incredible; everyone is a perfect cut-out for the role, they did it wonderfully.
So here we go again,an example of a run of the mill and substandard movie making, no entertainment value, not even basics of script writing are used. Dishoom is the product of sheer extravagance and star value. Directed by Rohit Dhawan, staring John Abraham, Varun Dhawan, Akshaye Khanna (after a long hiatus), Jacqueline Fernandez, Rahul Dev, Huma Querishi's brother, Sushma Swaraj lookalike etc.
Ace Indian cricketer Viraj Sharma is kidnapped just before the final match with Pakistan in Saudi Arabia. An Indian super-cop (John Abraham) arrives for the hunt and helped by local-cop Junaid (Varun Dhawan). The script is cheesy and messy, there is not even a protocol presented that an Indian cop is in the middle east and embarks like a vigilante, just by flexing his muscles. Many situations do not fit in any of aspects of life, be it real or virtual. The production value was high with some good locations and sets, but a bad narrative and acting make is a really bad movie.
John Abraham tries hard to act but was successful showing his muscles instead as always, Varun Dhawan tries to be a comic relief and buddy cop but was successful in overacting. There was no reason of Jaqueline's presence but she was there anyway. Akshaye Khanna, does what he was doing some years ago, his existence does not help much but at least you can see that someone is doing his part flawlessly.
So, if you are fascinated by trailer and grand looking action scenes, those are the only moments which are good, so watch the trailer again, if you miss the film, it is completely fine.
Awakening of Marathi Cinema for the Global Audience- A masterwork
Sairat means "Wild".
A love story is the midst of a contemporary issue. Kudos for Nagraj Manjule's masterwork, he indeed is efficacious in displaying an innocent love saga comprising of ecstasies and agonies of life.
It is really an incredible groundwork for Marathi Cinema which has consistently been making remarkable movies but had only a limited reach, Sairat gave them the global platform and creative sovereignty.
The contemporary content, laced with an acquitted love story where lovers can never think of the repercussions, the pervasiveness of the cast system, the apathy of the people to these issues, and finally the effortlessness and virtue of the lead cast (who are actually not actors), made this movie a masterwork of the director.
By perceiving every frame of the movie, we can comprehend the alacrity of the director who had this vision since "Fandry" as it was a one sided love story, however Sairat is a full blown love story, Sairat shows the earthly matters, and it shows that there is life outside the chiffon cinema, the rural existence is a real thing and it captures the environment perfectly. The gender role reversal is the center theme of the movie which is a message of women empowerment.
Performances are radical, Akash Thosar is perfectly believable as a lad who already has the establishment in his mind that he is from a low caste, Rinku Rajguru is overwhelming as an audacious girl. Arbaz Shaikh (Salim) and Tanaji Galgunde (Langdya) have played the part with innocence and grace.
The camera-work is marvelous, mesmerizing tracking and drone shots, slow-motions give the authenticity to the scenes, it has mostly been shot on location (most in Nagraj's hometown Jeur, Solapur,), and the village has been shown beautifully.
The back ground score and songs are astounding, hats off to Ajay−Atul, also it is a first Indian film recorded at Sony Scoring Stage in Hollywood.
Sairat has been presented considerately and thoughtfully to the audience, it gives us a perspective about the mistreatment currently prevalent in India.
All the best for Nagraj and we are waiting for his next production.