Shaurya Gupta

Malang Movie Review: 'Malang' is good blend of glam, games and thrills STORY: The film revolves around a dramatic event in the lives of Advait (Aditya Roy Kapur) and Sara (Disha Patani), which has them crossing paths with two police officers – Anjaney Agashe (Anil Kapoor) and Michael Rodrigues (Kunal Kemmu), and the impact they have on each other’s future. Advait meets Sara during his trip to Goa. While he is a bit of an introvert, she is a free-spirited girl from London, who is visiting India for the first time and wants to live life to the fullest. They are instantly attracted to each other and make a pact to make the most of their time together. All is well until a twist in the tale sends their lives spinning out of control. Five years later, Advait goes on a killing spree on Christmas night. Anjaney Agashe, a police officer who often doesn’t follow the law, and Michael Rodrigues, a seemingly righteous cop, are now on his trail. They go on a mad hunt for him. Uncovering the reasons behind Advait's actions is what the rest of the film is about. Aditya impresses in the role of a guy whose life goes through a major upheaval. He shows restraint and finesses in his performance. The actor’s physical transformation adds weight to all the kicks and punches he pulls in the film. Disha Patani looks stunning and makes most of her role, which is unlike any character she has played so far. The chemistry between the lead pair is infectious. The ever-reliable Anil Kapoor is in top form and stuns in another interesting act. He walks the fine line between being flamboyant and over-the-top with ease. Kunal Kemmu is sincere and surprising in equal parts. Director Mohit Suri maintains a steady grip on the narrative for most parts. In this film, none of his characters are unidimensional, which makes them interesting. The film begins well with a power-packed action scene, and dives straight into the drama. What it does lack is a tighter edit and dialogues that could elevate the narrative. Though there are two interesting twists in the plot, they aren’t as big a surprise as they should have been, which take away from its thrill quotient. The music proves to be one of its strong points, especially the title track, which stays with you even after you leave the theatre.

Dabangg 3 Movie Review: Salman Khan packs in punches and blows in this masala entertainer This is the third instalment of the 'Dabangg' franchise, and the audience is well-acquainted with the larger-than-life, lovable cop and his world. Chulbul (Salman) spends his average day romancing his wife Rajjo (Sonakshi), troubling his brother Makkhi (Arbaaz) and fighting and reforming goons. All is well, until he busts a prostitution racket and saves a bunch of girls, which angers the ringleader, the rich and powerful Balli (Sudeep). Cut to, Chulbul Pandey’s beginnings, a huge chunk of the first part of the film is about his younger days, his love interest – the beautiful and naive Khushi (Saiee) – and the circumstances that urged him to turn over a new leaf and become Robinhood Panday. There are ample clap-worthy and seeti-maar moments in Prabhudeva’s 'Dabangg 3' for Salman Khan fans to lap up. Yes, he takes off his shirt, flaunts his well-toned, perfectly-greased body and beats up the goons to pulp. The action is raw and solid, however, some action scenes (like Chulbul's introductory sequence) are unreasonably stretched. While the story is clearly predictable, in this one again, Salman’s star power, swag and style remain intact. There is an attempt to infuse comedy in the story, but it seems rather forced. The storyline is not cohesive and the narrative is loosely strung together. Sudeep is menacing as the baddie, who is out to make Chulbul’s life miserable. The South actor has a great screen presence, which makes the face-offs between Chulbul and him impactful and entertaining. Sonakshi was seen as Rajjo in the first two movies of the franchise, too, but in a film that’s primarily about a tussle between the good and the bad men, she doesn’t have much to do other than play the loving and doting wife. Saiee, who makes her debut as young Chulbul’s lady love, has a pleasant screen presence and is effective, but she could do with expressing more in the emotional scenes. Arbaaz plays his part well. The film, with a runtime of 2 hours and 42 minutes, seems very long and could have done with a tighter edit. The narrative is also interrupted by a long line-up of songs, of which, the memorable ones are 'Munna Badnam Hua' and the title track. Overall, the film has all the ingredients required for a massy masala entertainer — good action, music, drama and, of course, Salman packing all of this in one story. The portions where the actor throws in comedy while doing hardcore action scenes are nicely done. 'Dabangg 3' shows Salman in his element – throwing deadly blows at the villains amidst all the smoke, dust and fire, while you can hear chants of Hudd Hudd Dabangg in the background. And those certainly will be paisa-vasool moments for Salman Khan's fans.

Star Wars: The Rise Of Skywalker Movie Review: provides answers, but is a mixed bag Following the events of ‘The Last Jedi’, the Star Wars saga continues with Rey (Daisy Ridley), Poe Dameron (Oscar Isaac) and Finn (John Boyega) as they battle Kylo Ren (Adam Driver) and the First Order. ‘The Rise of Skywalker’ is the last chapter in the Skywalker line of stories in the ‘Star Wars’ franchise. The biggest challenge faced by the new trilogy is that it intended to bring closure to the original beloved characters – Luke Skywalker (Mark Hamill), Han Solo (Harrison Ford), and Leia Organa (Carrie Fisher) while adding new characters to the lore. Since then, the plots and storylines raised more questions than they addressed. This film has the task of answering them well enough to satisfy its passionate fans while paying homage to the mythology that began 42 years ago. It’s a daunting mission, and for all those reasons, this film could become equally, if not even more divisive, than its immediate predecessor. To begin with, what works – John Williams delivers yet another fantastic background score that uplifts some scenes by adding more emotional heft. Similarly, the technical departments fire on all cylinders, with gorgeous set design, vivid cinematography and a striking combination of visual and practical effects. But, the film’s plot and story-line move quickly with a lot of ground to cover. This means some aspects are grazed over; there’s no time to allow the weight of certain events and revelations to sink in fully. A lot of the narrative hinges on Kylo Ren and Rey. Adam Driver and Daisy Ridley put in solid performances to carry that weight. The scenes with them together continue to be the most engaging. John Boyega and Oscar Isaac also get more time to build on the bromance with Finn and Poe respectively, lending some humour, and yet, there’s not quite enough of them. Original trilogy darlings Chewbacca, R2-D2, C-3PO and Lando Calrissian (Billy Dee Williams) get their moments, but they often don’t feel as earned as they deserve to be. That notion extends further to some fan service that may or may not work for everyone. Some new characters are intriguing, but they don’t do enough to matter eventually. Fortunately, the action set-pieces are immense and are often rewarding. Eventually, the film certainly wraps up the new trilogy, but it becomes evident that its overarching narrative wasn’t clearly outlined, and it shows.

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

THE WARRIOR QUEEN OF JHANSI MOVIE REVIEW Real-life heroes deserve all the respect, especially a brave and fierce war hero like Rani Laxmibai, the Queen of Jhansi, who rose against the East India Company's oppression like a Phoenix from the ashes. No one gave her a chance to lead or to rebel, and yet, she did just that with valour and glory. The Queen Warrior of Jhansi, an international production, directed by Swati Bhise treats the historical subject with flattering seriousness. And perhaps, that overstated reverence is what foils this this ambitious project to an extent. There’s nothing really new when it comes to the story. Indian audiences have seen the retelling of this tale on many occasions and as recently as Kangana Ranaut's 'Manikarnika: The Queen of Jhansi', which released earlier this year. What makes Swati Bhise's movie different from anything we’ve seen before is that its narrative honestly makes an effort to include real-life politics, diplomacy and governance into this story of war and conflict. The Indians and British actually engage in dialogue and negotiations, before polity fails and violence ensues. But where the writing shows the promise of detail, the direction looks amateur and lacks precision. Unfortunately, with its heavy dialogue approach and constant attempt to showcase the characters as righteous, the film plays out like a costume drama. At times, the narrative gets bland and uninspiring. Thanks to the international collaboration, the production value of the film is refined. The casting, especially of the British characters is top-notch. You have the likes of Rupert Everett, Derek Jacobi, Nathaniel Parker and Ben Lamb, playing Englishmen with solid performances. The supporting cast of Indian actors like Arif Zakaria, Ajinkya Deo are good, too. But the main lead, Devika Bhise, portraying the role of Rani Laxmibai, often seems out of her depth. While she handles the dramatic scenes well, it’s the action scenes, the handling of weapons and the stunts that leave her looking ordinary. The slight twang in her Marathi and Hindi dialogues doesn't help either. Director Swati Bhise, makes an honest attempt to tell this heroic tale with style and pomp, but while the film certainly looks fine, it lacks the grit and gumption that such an epic story demands. Most of all, it doesn’t quite make Laxmibai the all-guns blazing hero that she was.

Yeh Saali Aashiqui Movie Review: A dark, delectable love story Sahil Mehra (Vardhan Puri) is your quintessential small-town boy -- docile, demure and someone you take home to meet your folks. And Mittee Deora (Shivaleeka Oberoi) is this big-city beauty, who is a smooth-talker and a charmer. They meet in college, fall in love and bam... starts a series of dark, twisted and very gripping chain of bizarre events. This tale of warped and convoluted love is a story that deserves to be told. Vardhan (who is also the co-writer) has pulled off the different facets of his on-screen persona -- that of a soft-spoken guy hopelessly in love, an angry young man bubbling with revenge, a funny lad adding humour to the darkness, a sinner and the one who has been sinned against -- with equal and utmost ease. He owns the show from the first frame to the last, never losing his grip. The Puri scion is brilliant both as a first-time writer and a debutant actor. Vardhan romances with all heart and spews venom with all might. Shivaleeka, on the other hand, seems a little clueless at the start, but surprises during the second half. A note to her stylist: should have given the actress better clothes to wear! The plot line of 'Yeh Saali Aashiqui' is based on the other side of love -- the one that's dark and brutal, vengeful and nasty. And so, the freshness of this romantic thriller is sure to win brownie points with the audience for its originality as the story keeps you on the edge. And, thanks to some witty writing, the red flags are dropped in so subtly that you if you take the liberty to blink just for once, then you will miss it! The narrative navigates through various alleys, ranging from psychotic breakdowns to long-buried secrets, and even the subsequent vengeful tendencies, thus making it a delightful watch. The music and background score of 'Yeh Saali Aashiqui' is bang on -- the rapping bit is hilarious and rightly so. The background score heightens the drama and lends weight to some of the highlights of the film. Yes, some parts of it seem all too convenient and the length could have been tighter. However, the story keeps you engaged throughout it's entire run-time. Very casually, Vardhan pays tribute to his late grandfather and veteran actor Amrish Puri by reenacting an iconic scene from 'DDLJ' (hint: the one with the pigeons) and it brings back some good memories. Needless to say, Vardhan has shown immense range in his unconventional debut and is a talent to watch out for. To sum it up, this one's for love... or, is it?

The Good Liar Movie Review: Great performances in a disappointing screenplay Roy Courtnay’s entire career is based on deception. Using false identities and elaborate manipulations, Roy and his partner-in-crime Vincent have made a handsome living by tricking gullible rich people. Roy’s specialises in vulnerable and lonely women, so the widowed Betty McLeish seems like a straightforward con for him. As the story unfolds mainly from Roy’s perspective, it’s impossible not to be charmed by his charismatic demeanour, thanks to Ian McKellen’s fascinating transitions from one ruse to the next. Helen Mirren makes an extensive case for the otherwise pragmatic Betty to give in to Roy. Betty is no pushover, but Mirren makes you feel for the character who begins to let her guard down. Going by their long and highly decorated careers, including their masterful performances in this film, it’s easy to take Dame Mirren and Sir McKellen for granted as actors. While that’s acceptable for the audience, The Good Lair’s screenplay also does the same, and demands us to receive all the twists and turns it throws along the way with open arms, merely because we get to watch two stalwarts at the top of their game. Yes – the joy of seeing these two accomplished actors hold their own ground as they simultaneously build on each other’s talents, is undeniable. But even though the plot tries very hard to lead you down a certain narrative, the machinations of the inevitable twist are equally impossible to miss. Perhaps the reveal may be shocking to some; for most, it will be too much to digest. Director Bill Condon’s best efforts come apart at the seams in the film’s third act, and the farfetched climax effectively sullies what could have been an engaging watch. It also leaves the entire film riddled with plot holes, which will become evident on second viewing. Since its execution doesn’t quite meet expectations, ‘The Good Liar’ works better as an acting masterclass by its brilliant lead performers, rather than a taut and rewarding storytelling experience.

Tony Movie Review: Good story, actors disappoint Ashish, Martin, Kamya and Kartik are a bunch of enthusiastic students of psychology. And, in order to stand out from the crowd, decide to base their psychoanalysis project on a serial killer named Tony, who they stumble upon after a successful sting operation at a place of worship. Writer-director Vipul K Rawal’s ‘Tony’ has all the integrant of a great psychological thriller/ crime drama – the storyline is gripping throughout, with apt introduction of external conflicts at regular intervals that a decent thriller should necessarily possess. And, the missing pieces of the first part are explained perfectly as the plot progresses towards its climax. But, that’s not what has worked against this film. The actors – all of them – fail to do justice to their respective characters, who could have otherwise been very interesting to watch on screen had they rendered intensified versions of their existing performances. The antagonist in ‘Tony’, played by Yashodhan Rana, does not proffer the savagery, twisted psyche and barbarism of a serial killer. Yes, he exhibits coldness throughout but that has not been delivered not in the finest of manners; a major setback to the plot. The gullible teenagers played by various newbies, which we see on celluloid, seem like they are just that in real life, too – a gang of actors who clearly need to hone their acting chops. The background score, too, does not serve its intended purpose – rather than adding to the eeriness of the story, it derails in parts and even ends up being laughable on several occasions. All-in-all, ‘TONY’ tries, but fails to delve deep into the mind-set of a serial killer and turn it into a gripping murder mystery- psychological thriller. If you are a hunter of good content (and good content alone), go… scout for Tony!

Knives Out Movie Review: A Definitive Murder Mystery Harlan Thrombey, a wealthy writer, is turning 85. His eclectic and eccentric family has become fragmented, but Harlan believes he can reunite them at his birthday. After the entire family gathers at his mansion to celebrate him, he is found dead the very next morning. When the police begin to investigate his death along with private investigator Benoit Blanc, many family secrets come to light. There are now multiple murder suspects, and they must figure who is responsible for Harlan's death. Inspired by the plethora of Agatha Christie novels, writer and director Rian Johnson knows how to stage a murder mystery. Put an affluent old man at loggerheads with his family. Make each member intriguing, and give them reasonable cause – revenge, greed, spite, or all the above. Throw in a peculiar detective to solve the case, and watch the mayhem unfold. But Johnson isn’t content with the plot playing out in predictable ways. Instead, his characters are so mesmerising that you often get sidetracked, by design. After all, these aren’t just big-name actors; they’re all competent performers. Daniel Craig completely throws you off with a thick and heavy Southern accent that could quickly go over the top. But Craig knows how to reel it in, in a masterful performance. We’re used to seeing Chris Evans play a heroic persona, but this time he’s often despicable as Ransom Robinson. The underrated Toni Collette gives a unique take on Joni Thrombey, Harlan’s daughter-in-law. The resurgence of Jamie Lee Curtis’s career continues as Linda, Harlan’s eldest daughter. However, ‘Knives Out’ is probably going to be the breakthrough film for Ana de Armas with her impressive performance. As with most ensemble casts, some actors don’t get as much screen time as they should, and the problem persists here. Nevertheless, it’s safe to say they all do their roles ample justice. That’s because the writing is outstanding, infused with a surprising amount of unexpected humour. While watching a murder mystery, everyone is trying to solve the case, but Rian Johnson will catch most of the audience off guard. He has created an extremely thrilling crime drama, that uses the collective skills of its excellent cast to great effect. ‘Knives Out’ makes a strong case as one of the best films of the year and a definitive murder mystery for the ages. I am going with 4 out of 5 stars.