Anto Jerik

"Aadujeevitham (Goatlife): The Real Life Story of Najeeb" is a poignant cinematic triumph that transcends the screen, immersing its audience in the extraordinary journey of Najeeb. Led by masterful performances from actor Prithviraj and director Blessy, this Malayalam masterpiece captures the essence of human existence with raw intensity. Prithviraj's portrayal of Najeeb is mesmerizing, inviting us to experience the world through his eyes. Blessy's direction infuses the film with authenticity, navigating Najeeb's story with grace and sensitivity. Despite its commitment to authenticity, some aspects fall short, notably the underwhelming music, CGI, and Amala Paul's performance. However, Prithviraj's career-best performance and impeccable makeup earn the film acclaim. "Aadujeevitham" is not just a movie; it's a testament to resilience, human connection, and the enduring power of hope.❤️

Prashanth Neel's directorial prowess shines through in 'Salaar,' crafting a world where he adeptly guides the audience to rally behind the protagonist. His storytelling channels a god-like perspective, engaging us in high-octane action sequences while maintaining a sense of hero worship throughout. For the most part, 'Salaar' succeeds in this endeavor, offering an engaging drama that captivates the audience. The film unfolds across four distinct tracks, each contributing uniquely to the narrative tapestry. The Kanzar backdrop intricately intertwines with the characters and their arcs, enhancing the storytelling experience. Meanwhile, the portrayal of the friendship between Prithviraj and Prabhas resonates strongly, although it eschews dramatic, melancholic music, opting instead for a simple yet impactful emotional connection that stands out within the movie. However, the other two narrative threads concerning Shruti Hasan and the mother sentiment falter, failing to add depth to the storyline beyond serving as elements for the hero's elevation. The movie's pacing is uneven, with the initial half extending over 70 minutes, showcasing stellar character introductions but losing momentum until the pre-interval block. Conversely, the latter half, spanning over 100 minutes, adds more substance and maintains a stronger connection to the overarching narrative. Neel orchestrates the characters in Kanzar reminiscent of the intricate dynamics seen in the Mahabharata series, providing ample room for gripping drama, particularly in the final ten minutes, mirroring the audience's anticipation for the sequel akin to the intrigue generated by 'KGF.' At times, Neel's execution of mass elements feels a tad exaggerated, like a child invoking a deity, followed by Prabhas' entry and subsequent action sequences, which may evoke mixed reactions among the audience. Nevertheless, post 'Baahubali,' Prabhas breathes life into his role in 'Salaar,' fitting the character like a glove. Prithviraj's understated performance is commendable, and the entire ensemble cast delivers their roles convincingly. Neel's world-building in 'Salaar' stands out as distinctive and captivating. The deliberate buildup to pivotal scenes pays off handsomely, supported by the judicious use of light flickers and seamless frame transitions, enhancing the overall cinematic experience. Despite its flaws, 'Salaar' remains a quintessential Prashant Neel film. The well-crafted drama surrounding Prithviraj and Prabhas manages to overshadow some of the movie's shortcomings, ultimately making it a worthwhile watch.🎥

Jigarthanda Double X," starring Raghava Lawrence and SJ Suryah, Karthik Subbaraj's 'Pandyaa Western' film amalgamates the essence of the 2014 'Jigarthanda' with the spirit of a spaghetti western, marking it as his most political and heartfelt work to date. Karthik Subbaraj, after a nine-year hiatus, returns with a mature sequel that amplifies every element associated with the original film. "Jigarthanda Double X" weaves a plot-heavy narrative, dubbing it a 'political masala western,' constantly surprising and aiming to impress with ambitious storytelling. The film unfolds as a true-blue 'Pandyaa Western,' delving into the hero's journey and the heart of the story rooted in a '60s incident. The narrative revolves around a handheld Canon 8mm camera, initially gifted by Clint Eastwood to a tribal boy, evolving into a 'weapon' in the hands of the characters, delivering an explosive ode to cinema and elephants. Karthik Subbaraj skillfully explores duality in the sequel, interconnecting two contrasting worlds — the vibrant streets of Madurai and the lush forests of Kombai Sambala. Set in 1973, the plot revolves around a police officer's mission to capture a forest brigand, intertwining with political conflicts and undercover missions, leading to a 172-minute-long saga. While the film exhibits impatience in the initial segments with a rapid introduction of characters, Karthik's trademark layers and humor keep the audience engaged. The hat-tips to Tamil cinema, nuanced character details, and pop-culture references contribute to the film's richness. The standout element of "Jigarthanda Double X" lies in Karthik's portrayal of dualities within the two heroes and their interaction with the two worlds. The blend of reality and fiction, coupled with symmetrical frames, adds depth to the characters. The protagonists, Kirubai and Caesar, undergo journeys of self-discovery, overcoming fear, and reclaiming oneself from pain. SJ Suryah and Raghava Lawrence deliver spectacular performances, with Suryah convincingly portraying his character's moral dilemma, and Lawrence excelling as the ruthless gangster Caesar. The film incorporates an unexpected political narrative, displaying a previously unseen side of the filmmaker, creating a seamless tonal shift that draws the audience in. Despite a few hiccups, like an abrupt wedding and some melodrama, Santhosh Narayanan's exceptional score rescues the film, making the flaws forgivable. "Jigarthanda Double X" emerges as Karthik Subbaraj's most heartfelt film, standing alone and surpassing comparisons with its predecessor, solidifying its status as a true Double X of "Jigarthanda."

This film is truly fantastic; it's almost perfect in every aspect. Undoubtedly, this marks one of DiCaprio's finest performances, and Gladstone's portrayal was absolutely fabulous. However, DeNiro's performance remained somewhat repetitive, which proved distracting in this context, giving the impression of a mobster trying to pull off a Midwest accent. I believe they could have made a better choice for the role of King Hale. Although the movie is lengthy, every minute is warranted to establish the environment and fully immerse you in that world. At first, the initial 30 minutes held my attention more than the last 3 hours; however, as the events unfolded, time began to fly by. The film excelled in showing rather than telling, empowering you to shape your own perspectives while witnessing the events. The motives of each character weren't overtly articulated or explained in monologues to the audience. Events unfolded, and you had to deduce the underlying motivations of certain characters, discerning whether they were virtuous or not. Surprisingly, the antagonists were portrayed with depth, making them more relatable, as they resembled real individuals. The film displayed a wide array of motivations, such as greed, blind loyalty, love, blind love, guilt, jealousy, bigotry, and sanctimony. This film masterfully mirrored real-life complexities. In contrast, many modern movies suffer due to less skilled writers and directors who grapple with conveying such intricate narratives. These creators often err by resorting to excessive expository dialogue, preachiness, or overbearing lecturing, presuming that the audience cannot grasp the story independently.