Manav Kaushik

A Comedy of Errors: Bhool Bhulaiyaa 3 Stumbles in the Dark Bhool Bhulaiyaa 3 attempts to channel its predecessors but ends up on a winding path of missed opportunities and cringe-worthy moments. Imagine a horror-comedy that left its script in the fridge—chilly, stale, and well past its expiration date. The screenplay reads like a guide on “How to Stretch a Plot,” filled with unnecessary subplots that distract from any potential story. Just when you think the main action will begin, we’re sidetracked by irrelevant distractions. The humor, intended as a saving grace, often feels forced—more like a dad joke at a family gathering than genuine comedy. Character development? More like character neglect. The one-dimensional roles barely resemble actual characters, leaving us searching for a reason to care. When the most engaging character is the ghost, you know you’re in trouble. The pacing feels like an audition for a marathon, with dragged-out scenes that prompt questions about whether you’ve entered a time warp. Just as a comedic moment seems to land, it crashes harder than a poorly timed joke at a funeral. The tonal shifts are jarring, leaving the audience confused about whether to laugh or cry. The comedic trio of Rajpal Yadav, Sanjay Mishra, and Ashwini Kalsekar adds chaos with slapstick nonsense that feels more desperate than humorous. Their antics are about as funny as stepping on a LEGO—painful and bewildering. Yadav’s silliness feels misplaced, while Mishra’s over-the-top expressions and Kalsekar’s physical comedy frequently miss the mark, making it seem like a clown convention rather than a horror-comedy. Visually, the film has moments but relies heavily on clichéd horror tropes. Predictable scares evoke disappointment, and the low-budget special effects make you question the production’s priorities. In conclusion, Bhool Bhulaiyaa 3 is a sequel that stumbles with a misplaced sense of direction. It’s a party with stale snacks and off-key music, leaving you wondering what just happened. If you’re seeking the charm of earlier entries, reconsider your options. Otherwise, grab some popcorn and prepare for a confusing cinematic experience.

Contrived Love: Questioning Authenticity in It Ends with Us In my analysis of It Ends with Us, I find myself questioning the authenticity and depth of the relationship dynamics presented in the film. The scenario where a mature woman, deeply in love, allows the phone number of her first love to remain tucked away in her mobile case—after he places it there "in case you need it"—strikes me as rather forced. She then forgets about it, but I can't help but wonder why. It seems evident that if she didn’t keep it, the story wouldn’t be able to take its later turn. This brings me to the man in love with her, who, in a blatant disregard for personal privacy, handles her mobile in her absence, drops it, discovers the phone slip, and proceeds to call the number. Why does he do this? It’s clear that if he didn’t, the story couldn’t move forward as intended. But these actions raise larger questions for me. What kind of relationship does this couple really have? How mature are they truly? Would two people who genuinely love each other behave in such a manner? To me, this feels pretentious, as if the story is being forced into existence through contrivances rather than allowing the characters’ authentic emotions and decisions to shape the narrative. It’s a common issue in storytelling where the demands of the plot overshadow the natural progression of character relationships. As for the rating, considering my critique of the film’s reliance on contrived plot devices and the questions I raise about the authenticity of the characters’ relationships, I would give it a 6 out of 10. This score reflects the film’s merits while acknowledging its significant flaws in character development and storytelling.

Kill: Love, Knives, and Bollywood Vibes What begins as a romantic rescue soon morphs into a slapstick slaughterfest when bandits on a train decide to turn the carriage into their own personal WWE ring, and our Romeo starts cracking heads like piñatas at a deranged birthday party. We’re already drowning in a sea of over-the-top violence in the Indian action extravaganza “Kill” before the title card finally crashes onto the screen. By then, its simple imperative has been fulfilled so many times, it feels like the film’s theme song should be "Oops!... I Did It Again." The English subtitles are equally redundant—the dialogue might be in Hindi, but the universal language of bones being pulverized into confetti needs no translation. Our hero, Amrit (Lakshya), is a military commando with the emotional range of a brick and the muscles of a bodybuilder who’s never skipped leg day. He’s tailed his childhood sweetheart Tulika (Tanya Maniktala) onto an express train to New Delhi, hoping to rescue her from the horrors of an arranged marriage. But their tearful reunion is rudely interrupted by a gang of bandits armed with an eclectic assortment of knives and hammers, presumably raided from the world’s most violent Home Depot. These bandits may lack sophistication, but they make up for it with the zeal of bargain hunters on Black Friday, terrorizing passengers with the enthusiasm of kids let loose in a candy store. Will Amrit and his trusty military buddy (Abhishek Chauhan) manage to thwart these goons? Can the lead villain, played by a seductively menacing Raghav Juyal, outshine our baby-faced hero? And just how many kitchen utensils can be artistically embedded into someone’s skull? To answer these burning questions, writer and director Nikhil Nagesh Bhat shifts into fifth gear and never downshifts. Amrit’s rampage makes the zombies in “Train to Busan” look like they’re doing a conga line. Cinematographer Rafey Mahmood, along with action specialists Parvez Shaikh and Se-yeong Oh, orchestrates martial arts sequences of such balletic brutality, you half expect a jazz-hands finale. As the actors huff and puff through their exhausting dance of destruction, spare a thought for the Foley artists, whose squishy, crunchy, and splattery sound effects must have been a nightmare to produce—imagine a sound library built entirely from stepping on cereal. Rated R for 52 varieties of knife wounds, one weaponized bathroom fixture, and several fashion crimes involving ugly sweater vests, “Kill” is an unrelenting assault on the senses. It’s the kind of film that takes "blood, sweat, and tears" literally, ensuring you leave the theater both laughing and questioning your own sanity. For a night of mindless fun, absurd violence, and a storyline that makes a rollercoaster seem tame, "Kill" is your golden ticket. By Manav Kaushik

Kalki 2898 AD: A Mythological Epic Meets Futuristic Brilliance "Kalki 2898 AD" emerges as a landmark in Indian cinema, masterfully weaving together mythological grandeur with cutting-edge science fiction. Directed by the visionary Nag Ashwin, this film is a feast for both the eyes and the intellect, pushing the boundaries of storytelling and visual effects in Indian films. The film's narrative spans an incredible timeline, from 3100 BC to 2898 AD, creating a rich tapestry that explores themes of power, destiny, and survival. At its heart is Bhairava, portrayed by Prabhas, whose journey from a dystopian city to the mythical Shambala is both thrilling and deeply emotional. Prabhas brings a nuanced performance that captures the essence of a conflicted hero, balancing moments of intense action with introspective depth. Amitabh Bachchan as Ashwattama delivers a performance steeped in wisdom and gravitas, providing a perfect counterbalance to Bhairava's youthful vigor. Deepika Padukone, as the enigmatic SUM-80, adds layers of mystery and strength to the narrative, her character becoming a linchpin in the unfolding drama. "Kalki 2898 AD" is a visual masterpiece, with its high-quality VFX and breathtaking cinematography setting a new standard in Indian cinema. The post-apocalyptic landscapes of Kashi and the opulent city of The Complex are rendered with incredible detail, making the world of the film both immersive and believable. The action sequences are meticulously choreographed, seamlessly integrating advanced CGI to create some of the most exhilarating moments seen on screen in recent years. Nag Ashwin's direction is nothing short of stellar. He deftly balances the film’s expansive narrative with intimate character moments, ensuring that the audience remains emotionally invested throughout the film’s runtime. His ability to blend the mythological elements with a futuristic setting is a testament to his creative vision and storytelling prowess. The production values are on par with global cinema standards, thanks to the substantial investment by Vyjayanthi Movies. The collaborative efforts of the crew, including Djordje Stojilijkovic’s cinematography, Kotagiri Venkateswara Rao’s editing, and Santhosh Narayanan’s evocative score, culminate in a film that is both epic in scope and rich in detail. Beyond its technical brilliance, "Kalki 2898 AD" resonates on an emotional level, exploring timeless themes through its mythological narrative. The film delves into the human condition, questioning the nature of power, the struggle for survival, and the quest for a utopian existence. This depth ensures that "Kalki 2898 AD" is not just a spectacle, but a thought-provoking journey that stays with the audience long after the credits roll. "Kalki 2898 AD" is a triumph of imagination and execution, marking a significant milestone in Indian cinema. It’s a film that dares to dream big, offering a blend of myth and science fiction that is both innovative and deeply rooted in cultural storytelling. With standout performances, groundbreaking visuals, and a compelling narrative, "Kalki 2898 AD" is poised to leave an indelible mark on audiences worldwide. In my opinion - This film is not just a viewing experience; it’s an event that redefines the possibilities of Indian cinema. Go see it. I strongly recommend 2D with Atmos. By Manav Kaushik for KG (close community of Cine Professionals) with special thanks to Mr. Nadeem Khan (PVR, Pune) for the Invite and Mr. Arvind Shukla (DGM, F&B, PVR - Mumbai).

: In the spotlight of cinematic brilliance, Anil Sir steals the show once more, while Hrithik dazzles in every frame, leaving the rest in the shadows of insignificance. What is interesting in “Fighter” is the high-flying cinematic spectacle that was expertly captured against the backdrop of Indian air bases, featuring authentic Sukhois and Indian fighter planes in exhilarating aerial sequences. Squadron Leader Minal Rathore, “Mini” (played by DP), captivates the audience on the silver screen with applause. Yet, a concerning trend resurfaces - the portrayal of Sikh characters as jesters, echoing a lamentable tradition in Indian films. This began with actor Gurdeep Singh in Around the World (1967) directed by Pachchi, perpetuating the ridicule of Sikh performers, an issue deeply disliked since childhood and persisting to date. In “Fighter” our Sikh character undergoes mistreatment @ the end only to be overshadowed by the intervention of the superhero “Patty.” “Minni” is also left with little impact. Anil Kapoor’s powerful performance adds intensity, complemented by Hrithik’s serious, stern and emotive portrayal. Anuradha Ji, in a brief role as Deepika’s mother, once again showcases her brilliance as seen in “12th Fail.” Ghazal Singer Talat Aziz makes a memorable impression as Patty’s father too. Music is good and songs are well placed. For a visually enchanting experience of “Fighter,” opt for 2D to savor the vibrant colors. 3D and/or IMAX versions can be easily ignored. Looks like we’ve got a blockbuster complaint these days! Forget the popcorn; we need earplugs for this cinema surround sound extravaganzas. It’s a reel-life volume “fight” out there! 🎬🍿Does loud audio elevates emotions? Cinema owners are deafening you! Well… Despite the visual appeal, Siddharth’s film, typical to his repertoire, fails to make a lasting mark. It’s an enjoyable yet forgettable journey, with notable restrictions in Islamic countries, evident for obvious reasons revealed in the storyline. I extend my sincere thanks to Shraddha for the invitation extended to witness the spectacular show. Interesting indeed! A short review by Manav Kaushik is penned for KG Film Community.

The Dubious Dunki: A Cinematic Critique In the midst of seasoned Sikh elders, we encounter "Dhillon," a distinctive young "Sardar" whose attempt at aging is marked by a resonant voice. Sir SRK, adopting a Punjabi accent, inadvertently veers into a dissonant Haryanvi tone, creating an unsettling fusion for the audience. SRK should have taken lectures on PUNJABI from Jaya Bachchan (A Bengali) who did a magnificent job of a Punjaban in Rocky aur Rani. Criticisms extend to characterless Characters, objectionable sitcoms, mocking the National Anthem, cringe-worthy English learning scenes, and uninspiring Visa interviews featuring lackluster acting by Manu (Pannu). A foolish marriage sequence adds to the list. A globally released film resorts to ridiculing the British, Africans, Islamic officers, Arabic language, Dubai’s admn. System, and featuring objectionable characterizations and humour, ultimately making objectionable compromises. The film's subject, "Dunki," is inherently serious, yet the narrative deviates into forced elements. Comparisons arise with the teaser of "Munna Bhai Chale America," released during the peak of the "Munna Bhai" series' popularity, suggesting influences in Raju's "Dunki." Elements from "Brothers in Trouble" (1995) also seem to find a place in this cinematic dish. In a hospital with more cameras (CCTVs) than a Bollywood set, a janitor twirls into a room, cigarette in pocket, setting the stage. 🤣 A Sikh girl defies religious norms, cradling a cigarette, unleashing more smoke than the plot. 🤣 The suspense? She's got a month to live – cue dramatic gasps! Bachchan Sir forgets to drop the bomb: “Aapka Samay Shuru Hota Hai Ab!!!” 🤣 Sukhi "Vicky," the sophisticated looking classmate from same village has a tragic love story that no one knows! 🤣 🤣 🤣 Sir Kaushal, ditching a straightforward tourist visa, embarks on a linguistic odyssey. 🤣 Boman to Vikky: "Chappal'd my face, heart took the hit. Sending you abroad as a 'dunki,' but you may get killed. 🤣 मतलब क्या? तूने चप्पल चलायी, मैं चलवाऊँगा गोली? 🤣 Dunki begins. 🤣 Our entire blockbuster's cast swims like dolphins in the river! 🤣 Our soldier torches companions' pyres, clueless Fauji faces consequences. 😆 Two boys and a girl are killed to serve as mere script fodder. 🤣🤣🤣🤣🤣 And I can continue… Only one character shines and that is TV actor Bhojani. From the initial frame to the final shot, the movie is an unfortunate masterpiece of cinematic disappointment. If you dare to venture into "Dunki," go ahead; my commentary halts here. Regrettably, this film stands as Raju Hirani's weakest endeavor. Perhaps opting for "Munna Bhai Chale America" would have been a wiser choice. Paradoxically, I found no reason to smile or laugh throughout the film; however, the sheer enormity of its flaws made the act of critiquing it an unintentional source of hilarity. Nevertheless, critique it I must. SRK consistently collaborates with successful directors, yet paradoxically, the outcome often culminates in cinematic failure. Regrettably, Raju stands as the latest addition to this streak of directors. SRK, the savvy actor-businessman, had refused to share screens for "Raees" with "Kaabil" at Rakesh Rohan plea. Now, he influenced PVR to ignore “Saalar,” and flooding the TV airwaves with his classic films and iconic "monkey songs." Well-played! 😊😊😊 Written for KG (website)

12th Fail: Echoes of Resilience "12th Fail" is a masterpiece that transcends celluloid, a testament to Vidhu Vinod Chopra's unparalleled storytelling prowess. Through vivid characters, evocative visuals, profound writing, and a soul-stirring soundtrack, he crafts a narrative that resonates deeply. Vikrant Massey's portrayal of Manoj Kumar Sharma is a tour de force, embodying a range of emotions that leave an indelible mark. Priyanshu Chatterjee's portrayal of the upright police officer adds a layer of authenticity and bravery to the story. The film's exploration of discrimination and resilience is both powerful and poignant, shedding light on the stark choices faced by the marginalized. In every frame, Mr. Vinod Chopra's artistry shines through, turning moments into magic. “12th Fail" stands as a 147-minute gem, a cinematic triumph that both impresses and inspires. Kudos to the maestro for his stellar direction and dedication to excellence. Undoubtedly, 12th Fail passes with an immense Distinction. Yes! 12th Fail is a Triumph of Unyielding Spirit. The cinematic expression in question showcases a remarkable portrayal of characters, bringing them to life in a way that blurs the lines between fiction and reality. The depth and authenticity of the performances make it seem as though the characters are not played by actors, but rather by genuine individuals. Given the outstanding work by Vikrant Massey, it would be a profound oversight if he were not recognized with a National Award for his exceptional contribution to this piece of art. Just sharing yet again… Vidhu Vinod Chopra, a cinematic maestro, weaves stories that resonate deep within. His canvas is vast, painting emotions, breathing life into characters, and etching unforgettable moments. Each frame is a testament to his artistry, where passion meets purpose, unfolding like a symphony of emotions. A true cinematic alchemist, Mr. Vinod turns moments into magic, leaving an indelible mark on Indian cinema. By Manav Kaushik (Foodfunda_net)