One way is to show what you want to say in the title and the content of the story in the trailer and invite it to the movie. Ladies, you do the same as director Kishore Thirumala did in the case of Aadavallu Meeku Joharlu movie.
Chiranjeevi alias Chiru (Sharvanand) is a big family. Along with her mother (Radhika), four of her siblings (Urvashi, Kalyani Natarajan, Rajshree Nair, Satya Krishnan) raise Chiruni Graban. Chiranjeevi is twisted into every relationship that comes intending to see a good girl. It’s irritating. Unexpectedly he is introduced to the first (ray). Nurtures love for her. He says the same thing to them at home.
Chiru is the first to agree, but his mother (Khushboo) insists that he has no plans to marry her. What is the reason for that? What happened to Sarita who worked with her first mother Vakula? What does marriage mean to their family? Did you convince these people to get married for the first time? All such interesting things.
The film is in keeping with the title. The house is full of women, the hero who does not do any work even though they all like it. Sharwanand’s acting is good as a torn lad among so many women. Rashmi’s acting is good as a girl who wants nothing more important in the world than her mother. Radhika, Khushboo, Urvashi, Satyakrishnan whose roles they did justice to.
Vennelakishore Comedy, Urvashi Steel Dabba Comedy, Brahmanandam Railway Station Bridesmaids laughed. Devisree songs, background music is good. Radhika’s words about three important things that girls see in a boy make sense.
Everyone knew the story, the story seemed to go smoothly with no unpredictable twists. It would be nice if Vakula and Sarita could explain the reason for becoming strict in a more elaborate way. Emotions need to be expressed as strongly as possible. Family audiences love the movie ‘Aadavallu Meeku Joharlu‘ with occasional scenes.
A turbulent production story resumes interrupted by the outbreak of the pandemic, pauses, doubts about the cast: the fact that on March 3 in the arrivals hall The Batman already seems a small miracle.
A dark, hard thriller, completely set at night and in the rain, a detective story at the height of Seven, a work of reworking a strong and persistent imagination, after more than eighty years of stories on the comic pages and over 30 on the big screen. An operation so intelligent and successful, so solid and against the trend in a market saturated with comic book adaptations, that the feeling of being in front of a miracle is replicated after viewing.
The Batman, no icon
After so many films, so many readings and interpretations of the Dark Knight, it was difficult to do something original or iconic, and Matt Reeves, with The Batman Movierulz, does neither. He moves away from the icons of the character’s mythology, filling his very long film with quotes, references, flavors, and visions.
Between cinema, comics, music, and video games, he creates a unique universe that has Gotham as a background, a dirty and rotten city, beaten by constant rain, which we see only at night, full of garbage and crime, a lost city where the slums are populated with criminals, guarded by the gothic towers that rise against a cloudy and livid sky.
Which constantly reflects a rudimentary bat-signal, once again not the icon we know, but an adaptation, a large remedied lighthouse, a communication tool that becomes useful, functional, and loses its solemnity. Like the Batmobile, the Batcave, the costume, scratched and stained with mud and blood.
He renounces icons, therefore, but also originality, mixing Fincher with comics and video games and with what Todd Phillips made in Joker, moving away from Nolan and Burton, yet using them as a paradigm for what not to be, and thus find his Street.
The Batman Movie
Batman and Riddler, the clash
In The Batman, Bruce Wayne is Batman’s alter ego, it is he who hides, while The Batman Moierulz proudly rises from the shadows to perpetuate his generic revenge against a city that has committed the sin of not being pure and perfect. . If the Riddler is the villain, who stands as executioner against the top of the city, who have done business with the underworld, helping to rot it, Batman is not too different from him.
The two figures are mirrored in each other but, unlike Nolan’s Batman and Joker, who were clearly separated from the granite awareness of the Dark Knight against the chaotic will of the Clown Prince of Crime, here they get to merge and overlap, up to which one of the two does not realize the difference, the distance that separates revenge from awareness.
Robert Pattinson’s Batman does not want to become a symbol, nor a hero, nor a reference, he wants revenge at all costs in the name of a purity that does not exist, not even in the people we idolize and love. But as an idealistic kid, he will realize that his city needs an outstretched hand and someone to give it hope, not an avenger but a rescuer.
The products of a rotten city
Glorious against Matt Reeves’ livid Gotham stand Bruce Wayne / Batman and Edward Nashton / Riddler, the Yin and the Yang, two opposites that have a point of contact and that from a common condition choose to take different paths. They are both products of the city, both orphans and raised without the love of their parents, both seeking revenge.
Robert Pattinson is a subtle Batman, compared to his previous iterations, tormented, immature, marked, he is in a limbo in which he is no longer a boy and not yet a man, he asks himself many questions about his identity, his purpose, his legacy, is questioned.
Paul Dano is instead a very focused Riddler, focused on his purpose, unshakable in his conviction, dedicated to the plan that he has meticulously devised, a madman perfectly in possession of his abilities. And the two performers instill in both a soul, powerful emotional vibrations, an impeccable construction of the characters.
The Batman has a perfect cast
Nothing seems out of place in The Batman, starting with the many characters on stage. Each component of the Dark Knight mythology fits perfectly into the story: Colin Farrell’s Penguin who has so much about the gangster and whom we meet when he’s not yet fully blossomed as a crime boss.
The very sensual Catwoman by Zoë Kravitz, who despite winks at Michelle Pfeiffer, brings with her unexpected depth and nuances; the highly refined Carmine Falcone / John Turturro, the lighthouse of justice in Gotham Jim Gordon / Jeffrey Wright, the unprecedented Alfred Pennyworth / Andy Serkis.
Like the story it tells, even the style of The Batman Movierulz is rich, mixed with influences, echoes, and suggestions, in which the action, the master of the scene in the superhero genre, is relegated to some scene (unforgettable is the chase del Pinguino), while the times of waiting, of investigation, of reflection, of the discovery of the next clue that will lead to another and yet another, prevail until the case is resolved.
The Batman is a fruit of the lesson of Joker, the confirmation that if Warner Bros wants to make its IP DC Comics pay off, it must set aside the “Marvel model” and rely on the power of the characters and the filmmakers who respect them but are not afraid. to transform them to tell them to the contemporary public.
The Batman Movierulz is a descent into Gotham’s sewers, a winding obstacle course in the mind of a troubled boy who goes out at night to beat criminals and who needs his time, his rite of passage, his share of beating, to truly and consciously become the Caped Crusader of a city for which he will never stop fighting.
Malayalam movies are becoming super hits, bringing it into Telugu and spoiling that theme, mood and thought is the norm for Telugu people. In fact, it’s not even a mistake. The sensibilities are different here, separate here. If you want to translate a story into Telugu, you have to do many things.
Measurements and weights are required. I do not know. Changes, additions, and erasing of the attached feeling. The remake of ‘Ayyappanum Koshyam’ has aroused a lot of suspicions. It is a cult classic in Malayalam. If it is being taken with Pawan and Rana in Telugu, it will reduce Rana’s role for Pawan and the new commercials will hurt the flow of the story.
No matter what the recipe, it is important to know how and when to use the ingredients. The movie is the same. Any kind of workout can be a workout if you have the guts to write, to write, to have the characters appear on the screen. Like `Bheemla Nayak ‘.
Daniel Shekhar (Rana) is a former military employee. A politically savvy person. SI Bheemla Nayak (Pavin Kalyan) is arrested near a check post on the Kurnool border. The case is filed and the FIR is also written. But when Daniel finds out about the background .. Bhimla Nayak shrinks a bit.
Danny is provoked to take the same turn. Nayak opens the seized drug bottle for Danny and gets caught on camera. Danny sends the video to the authorities and causes Bhimla Nayak to be suspended. So a small commotion .. Chiniki Chiniki turns into a tornado. The war between Bhimla Nayak and Danny begins. Who won this battle? Who flew? That is the rest of the story.
This is an ego clash. The story of an arrogant man who went to Goti got to Ego and got an ax. That is why the whole story of this movie is told in two pieces in the trailers and posters that it is a war for pride and self-esteem. Danny and Bhimla Nayak are two strong characters. While one is ego, the other is self-esteem.
Both are not diminished. That’s why that competition is fun. The movie is like what happens when two-horned lions are killed. That is the strongest reason why `Ayyappa and Koshyam ‘were hit. That’s not the story. Conflict of two characters. The story revolves around it.
The director walks from scene number one to story. Danny’s arrest, showing Danny’s smoke at the police station and sending Danny to remand all go awry. After that, it became clear what they had done to win over one another. This is the line in Malayalam. There was no opportunity to make big changes in Telugu either.
For Pavine, he wrote a few episodes for heroism. Especially since the flashback episode is not in the matrix. Even if it was written just for fun, it would be nice to use that episode as a link to the climax. Dialogue Oriented Fight is more between two characters in the matrix. But it is not possible to show the same here.
That is why… I went to the fighting. Elevation scenes were written. Bheemla Nayak is a song designed for pine elevation. Superhit song in terms of audio. But it does not give much kick to bring it to the screen. Sunil shines in this song. After that .. goes without a trace. I think Sunil was hired for this song.
Moreover, in this story, this song is not immortal in any sense. The song `Lala… Bhimla… only meditated well in the story. Where in the heroism panda .. there he used this song. After that .. even the interval bang is smooth. Is gone.
Whenever Bhimla took off his khaki shirt, the heroine got more licenses there. Blowing up the bar, looking for Danny in anger over his wife’s kidnapping, and going to the bar… The action sequence is all well and good. In the second half, the film runs in a high-action mode. The character of Nithya Meenan is well brought into the story.
It’s really rare to see a strong female character in a movie with two-star heroes. That feat .. appeared in Bhimla. The song “Anta Ishtamendayya” was removed from the movie. Orakanga has become better. Otherwise, the flow would break. In the end, the fierce battle between Pavine and Rana went on for a long time. The director gave a commercial ending to the whole.
There are not many commercial elements in the matrix. There is nothing wrong with naming them new here. Because in the end, it is a Pawan Kalyan movie. Fans are fixated on giving what they expect from them to come to the theaters. If you want to fix something to see.
Pawan Kalyan looked very energetic. This is the first time I have seen so much energy in Pawan after Gabbar Singh. Especially with a lot of Ease done in the second half. The short hairstyle is a bit embarrassing. Body shape seems to be on the rise. It would have been nice to have paid attention to them and been more prepared for the role of the police.
Everyone wondered if Rana’s character would be downgraded for Pavine. But such a thing did not happen. That’s where Rana’s character was supposed to be elevated. Where there is a reduction there is a reduction. Rana perfectly showed his pride as Danny in words, hands, and eyes. The approach of shaping the character of Nityamine is good.
`Bheemla Nayak’s marriage is not a union in Naik. There is a dialogue in it that says Bhimla Nayak is double. The dialogue was able to be shown on the screen without limiting the character. Provoking the son, he appeared in the ocean in the role of the father who was the real cause of that ego. Rao Ramesh played the supporting villain.
In the elevations of heroism, R.R. All the songs are very good in terms of audio. He made good use of those algorithms. The camera work is good. Trivikram seemed sharp in words. Speaking of the jungle mother, Trivikram’s words exploded well in the Rana-Samudrakhani dining table scene as well.
The dialogue `Friday Signature` is all about finding those who are looking for political meanings. In fact, such stories are very difficult to deal with. It’s even harder to carry more than two heroes. Trivikram overcame that difficulty with his writing.
Bhimla Nayak tells how to add commercial ingredients to a remade story. Pawan Energy, Rana Performance, Trivikram Words, Film Quality. All these combined to further enhance the Malayalam story. Finishing touch:
Uncharted Movierulz: The film based on the adventure of Nathan Drake that will have the face of the Spider-Man SONY / Marvel arrives in theaters.
The Uncharted video game has been delighting Naughty Dog and Sony PlayStation since 2007, but it took four main chapters and two spin-offs (and perhaps the short film made in 2018 by a fan) to push Hollywood to unlock the project. by Avi Arad back in 2008. That of the film adaptation of one of the most popular and beloved videogame sagas of recent years, which finally arrives in cinemas, distributed by Warner Bros. from February 18, 2022.
Certainly thanks to the presence of the big names involved, from Mark Wahlberg to Antonio Banderas. And the good disposition of the many fans of the franchise, not to mention the fans of the action-adventure genre, never out of fashion. And when it is the director Ruben Fleischer himself and the protagonist Tom Holland who cite – explicitly and repeatedly – the old Indiana Jones as the main reference of their creation, expectations will inevitably arise.
Uncharted – more Tin Tin than Indiana Jones
A mistake that many make, more and more often, even if distorted it would be better to talk more about the attempt to attract a specific audience, even if inhomogeneous, such as that of the old films by Steven Spielberg and the followers of the digital Nathan Drake.
That this time they will only be able to observe – without intervening – their hero in the hunt for the “greatest treasure ever found” from one part of the world to the other, in pursuit of all kinds of clues that could lead him and his partner Victor “Sully” Sullivan (Wahlberg) to Nathan’s long-missing brother.
A simple story, built to fit the box office and complicated more by the obstacles that continue to distance the goal and make the research more dynamic and spectacular: this is the synthesis of what it would be unfair to judge as something other than oneself.
Like something other than a video game, carried on without any tension by two-dimensional characters moved by elementary stimuli, even less characterized than those to which the original developers have built a background over the years. More similar – just to stay in the Spielbergian context – to Tin Tin (but that film was something else!) Then to the professorial Indy.
The adventure is only just beginning
A floured Latin, a patina of Californian antiquity, artifacts and merchandising books, difficult family background, and a generic sense of loneliness to empathize with and that’s it. For two hours of pure entertainment, perhaps a little superficial, but in which aficionados can devote themselves to the search for easter eggs and cameos in the various scenes (the director himself has anticipated a couple of them) or admire the splendid settings recreated starting from the Spanish locations of Lloret de Mar, Barcelona, and Valencia.
Especially in the second part, when Uncharted photography manages to take advantage of long shots and open spaces, after the long underground search in which one ends up suffering more from the absence of verisimilitude typical of events so dependent on the more classic suspension of disbelief.
That it will be good to keep this in the final pyrotechnic, which after a predictable conclusion leaves us with the implicit announcement of an inevitable sequel. Never as in this case, after all, and despite everything (including the very concept of a treasure hunt), it is not the goal that is important, but the journey. As long as you enjoy it.
The latest and adrenaline-pumping chapter of The Book of Boba Fett Star Wars Spin-off series only partially lifts a fluctuating season.
We arrived on the last Wednesday in the company of The Book of Boba Fett which, with the seventh episode, closes the narrative arc on the famous bounty hunter. It was a stormy journey that of the Disney + series, punctuated by soporific digressions, questionable narrative choices, and abrupt changes of course. From the introduction to Fett’s new route, between past and present, we moved on to a focus on the character of Din Djarin (Pedro Pascal) and finally to the long-awaited grand finale.
The last chapter entitled In The Name of Honor was a succession of surprises and heated fights, confirming an excellent graphic and scenographic rendering. Unfortunately, in terms of the story, not everything turned out to be flawless, as was to be expected. The mass of characters, each with their own background, flooded the engine of the series. The screenplay written by Jon Favreau tries to give space to each of the elements involved, by restricting the prime time of the protagonists.
Obviously, we are talking about the unfortunate Boba Fett who, although present, never stands out in the story. There is certainly no shortage of great sequences with the “protagonist” of the series, but the accessory elements are more surprising than the character itself.
It’s a real shame because the foundations for creating something unique and capable of competing with the parent series were all there. The primary difficulty, in our opinion, was to give shape to a new personality for the former henchman of Jabba the Hutt, as the canons that had defined him in the films had been inherited from Pedro Pascal’s Mando.
That said, The Book of Boba Fett still manages to give us excellent moments, those capable of making us jump out of the armchair. The problem, however, is once again the direction of Robert Rodriguez. The director can’t stand comparison with Dave Filoni, who directed the sixth episode, or with Bryce Dallas Howard and his fantastic The Return of the Mandalorian. In short, Rodriguez’s aesthetic sense does not seem to blend with the Star Wars universe; a bit like water and oil.
The following contains spoilers, so we recommend reading for those who have seen the seventh episode released on Disney + on February 9th.
The Book of Boba Fett the final battle in the streets of Mos Espa
The sixth episode of The Book of Boba Fett closed with the surprising arrival of Cad Bane, one of the most famous and ruthless bounty hunters in the galaxy. After a fantastic Mexican stalemate with Cobb Vanth and his deputy, the Durosian gunslinger is easily the winner, starting a real war between the Pyke Syndicate and the new Damien of Tatooine. Fett, having accepted the gauntlet, has to deal with the repercussions, first of all, the explosion of the characteristic Mos Espa tavern.
This is what happened on Tatooine, while in another part Grogu’s decision remained pending: to receive Yoda’s old lightsaber and continue his Jedi training or to accept the chain mail given to him by Mando and leave the streets forever. of force. Each piece is in place, and the fuse of battle has now been lit. In The Name of Honor, a heap of rubble starts right from the tavern. Boba Fett, Shand, the Cyborgs, and Mando consider the way forward to face their enemy.
One cannot fail to notice a certain similarity with the last episode of the first season of The Mandalorian. Both endings share not a few elements in common, starting with the protagonists barricaded in a room in obvious numerical inferiority, while on the outside the enemy moves their apparently unbeatable troops. It is not the first time that Disney has been digging up scenes from old products to create new ones in others; whether it is in animated films or within Cinecomics.
Leaving aside this aspect, however not just, the seventh episode of The Book of Boba Fett launches into a frenzied race through the streets of Mos Espa, between shootings, screams, and a lot of explosions. The arrival of the cyborgs on their colorful speeders lights up the receptors of our memory, and the scene is immediately accompanied by an iconic theme: “When you don’t know how to get out of trouble, call the Power Rangers. Here they are in our city, mom what speed.
Red and yellow plus pink, black and blue, the Power Rangers colors ”. Unfortunately (or fortunately) they will not be the heroes of the moment, and we will not have the chance to see a giant Megazord in the world of Star Wars. But Jon Favreau knows exactly what fans want, and in the middle of the episode, he gives us the highly anticipated Boba Fett back at the Rancor. What can I say, at this point, the series regains points again. But let’s go in order.
The arrival of Grogu and the duel with Cad Bane
The calm before the storm is broken by the betrayal of Mos Espa’s noble families, whose followers begin to attack members of Fett’s group from behind. The first to fall are the two Gamorrean guards, in a scene with questionable execution. In a chain, the cyborgs and the brutal Wookie Krrsantan are stopped.
Meanwhile, Mando and Fett engage in a heated blaster battle. The moment is well constructed, especially thanks to that western cut that characterized the previous episode. The synergy of the movements between the two characters, the use of jet packs and armor as shields, fortifies the moment, which will continue in an escalation of adrenaline. We are talking about the aforementioned arrival of rancor and Grogu. As much as the little one warms his heart every time he enters the scene, his presence in The Book of Boba Fett rests on pure fanservice, also detracting from the value of The Mandalorian’s ending.
We would have expected, after the appearance in the sixth episode, to see him again in the third season. The screenplay instead decided to immediately bring him back to the fold, once again detracting from the presence of Boba Fett and his companions. This is demonstrated by the fact that the episode ends with a funny curtain in the company of Mando, instead of with the protagonist.
In The Name of Honor, it also shows the duel between Cad Bane and Boba, perhaps the most important moment of the series, the one in which the protagonist’s path is given greater depth. In the previous episode, the Durosian claimed that Fett is a ruthless killer. Yet, our protagonist seems to have left that life behind, he has softened. This characteristic was discreetly accentuated in the third and fourth episodes, going to dismantle the myth of the great fighter.
Beyond this, Fett manages to get the better of Bane thanks to his new heritage, embodied in the Tusken stick; a cathartic moment that encompasses his entire path. The Book of Boba Fett could be wrapped up in this single duel, which tells a lot more about the protagonist than previous episodes did. Even here, however, the villain is eliminated too easily; we would have expected a greater presence within the episode.
The Book of Boba Fett is an ending that only partially redeems a fluctuating season
But let us return to that structural problem of the entire series, namely the goodness of Boba Fett. The latter would like to be the new crime lord, but his criminal actions have very little. In fact, we are faced with a good and merciful leader, able to accept everyone’s requests for a higher purpose: to save the city and the entire planet from the clutches of the spice and from the despots of the galaxy; a real savior, as evidenced by the final scene in which the people of Mos Espa happily bow before their leader.
And this is where the same principle applies as in the previous episodes because the episode does what had not yet been done: giving space to action. In The Name of Honor is an adrenaline-fueled episode that leaves no room for moments of stasis (although not everything is embroidered with all the trimmings).
From the arrival of Grogu to the clash with Rancor, from the duel with Cad Bane to the end, it is a very pleasant race at breakneck speed. We are happy, of course, to see such moments, but at the same time, we have to deal with what has been shown previously.
The Book of Boba Fett is not a perfect series, and the ending fully reflects the entire season: there are some great action moments, but some narrative choices undermine their full success. Finally, Disney + ‘s new Star Wars product doesn’t beat the comparison to The Mandalorian, but it’s still many steps ahead of the sequel trilogy.
The final episode succeeds in the difficult task of putting all the pieces back in order, touching some of them improperly, of course, but still giving meaning to a story that for four chapters did not have a precise address. The final minutes also lay the foundations for the future, with Mando and Grogu back together and a revived Cobb Vanth, the sheriff of Free Town, being regenerated inside the Bacta tank in the post-credit scene.
We will likely see the charming Timothy Olyphant again in a possible second season of The Book of Boba Fett or other derivative works. In conclusion, the series on Fett confirmed once again how much the Starwarsian imaginary can be adapted to various stories, and how the western component is the right path to follow; perhaps with a less shaky script.
DJ Tillu Movierulz: ‘DJ Till’ Song Chart Buster! Everywhere you look after the release … the title song is heard more.
The trailer attracted the youth. As a writer, Sidhu Jonnalagadda received success with the films ‘Krishna and His Leela’ and ‘Maa Vinta Gadha Vinuma’. And, what kind of story did you give to this movie? How did you become a hero? ‘Premam’, ‘Jersey’, ‘Bhishma’, ‘Rang De’ … Films made by Sithara Entertainment with young heroes have been successful. And, how is this movie?
Story: DJ Tillu alias Bal Gangadhar Tilak (Sidhu Jonnalagadda) is a typical Hyderabadi boy. DJ beats at Mahankalamma Jatara, Half Shari Functions, and Barat. Radhika (Neha Shetty) appears when she goes to a club. The acquaintance takes ten minutes to fall in love. Till invites Radhika to introduce herself to her parents on her birthday and to come to the birthday function arranged at home.
She says she can’t come. Till tells Till to come to his flat. He goes. There will be a dead body in the flat. Whose is that dead body? How many apes did Radhika and Till get to get out of the murder case? What is Radhika’s relationship with bar owner Shaun (Prince), CI Rao (Brahmaji)? Did Radhika cheat on Tillu? Finally, what happened? Is the rest of the movie.
Analysis: DJ Tillu the Typical Character. Already watching trailers, songs … an idea comes up. As soon as the movie starts the father himself starts giving an introduction about that character. DJ Till will be taken into the world. What makes a girl fall in love within ten minutes of being introduced? What is kissing in the car? The story is entertaining without any doubt.
Thanks to the ‘DJ Tillu’ song and Taman background music … made the vibe reach the audience in the movie. The first half had so much fun because of the entertaining, refreshing music. The story slowed down shortly after the second half started. Comedy too! Finally … the movie ends with an interesting twist.
If the hero for ‘DJ Tillu’ is Sidhu Jonnalagadda on screen … the hero behind the screen is Taman. Sidhu Jonnalagadda, who co-wrote the story with director Vimal Krishna, is more dependent on the hero character and characterization than the story. That characterization, Sidhu acting in the role of Tillu became a workout. Sidhu played the role of a typical Hyderabadi. It is good to say satirical dialogues in the Telangana dialect.
Neha Shetty looks beautiful … impressed with the performance. Her look in black saree is good. Prince character is just okay. Brahmaji impresses in his pivotal role as CIA. Narra Srinivas plays a key role. But, comedy is not a workout. Progress in the role of judge, Fish Venkat shines as a constable. The second half hospital episode was not as funny as expected. Therefore, there will be some disappointment.
Ram Miriam gave extraordinary music to the title song ‘DJ Till’. Taman continued that vibe in the background music. Also, provided a new kind of background. The songs ‘Patas Pilla’ and ‘Nuvvila’ provided by Sri Charan Pakala are good. Beautifully filmed. The cinematography is super. Production values too!
The film has a rich look throughout. If the logicians go on to laugh just for fun without thinking … DJ Till will entertain. There are very few such film-making and genre movies in Telugu. Therefore, it is new. This weekend is ‘DJ Till’. This is a good time-pass movie for the audience.
Death on the Nile Movierulz: Kenneth Branagh’s second take on the Agatha Christie mysteries after “Murder on the Orient Express” garnered very mixed reviews in English-speaking countries, though mostly leaning toward rejection. The presence of Armie Hammer in the cast was also questioned.
A few days after his Oscar nomination for both Best Director and Best Picture for Belfast was announced, Kenneth Branagh finally released Death on the Nile, his second bet on the classic police universe, the mystery inside a closed room, by Agatha Christie, delayed almost six years by the pandemic. The first, Murder on the Orient Express 2017 was a resounding box office success: USD 353 million in theaters, much more than its cost of USD 55 million.
It is difficult to think that something like this could happen with this new film, judging by the tones —discordant, although more inclined to the negative— that the film received, starring Gal Gadot, Armie Hammer, Emma Mackey, and Branagh himself as Hercule Poirot.
“Branagh’s spirited performance as Poirot and a cast of big names isn’t enough to keep this stale, two-dimensional mystery story afloat,” he was condemned by The Guardian, who considered that no matter how much the plot progresses over corpses, “there is no neither a crescendo nor a climax.”
“Branagh has delivered a polished follow-up to his previous foray at Christie’s, which won’t win awards but seems to provide a satisfying close to bringing this chapter together,” was CNN‘s subdued praise.
The New York Times found something of a silver lining at the end: “More often than not, Branagh’s Poirot lacks personality, and the film’s fiery epilogue exudes more humor than all the rest put together.”
Sites that use numbers to express the quality of work placed it above the median threshold: Rotten Tomatoes gave it 67%, IMBd 6.6 points out of 10, Common Sense Media 3 points out of 5, and Metacritic 52 percent.
But perhaps the most representative comment of the general spirit of criticism has been that of Variety, which pointed out that it is not enough to throw a corpse imagined by an author of mysteries in the center of a group of stars: “There is a film, which does not is based on Agatha Christie but captures her spirit so well that it is Christie’s best film in half a century: Knives Out. Death on the Nile, while decent, fails to achieve that old-school mix of wit, thrill, and delight.”
That is for the artistic value. Because many of the reviews were largely devoted to Hammer’s presence in the cast.
Hammer plays Simon Doyle, Jacqueline’s (Mackey) fiancé, who one night in a London nightclub meets his girlfriend’s best friend, heiress Linnet Ridgeway (Gadot), with whom he dances. The next time the three of them appear together will be on the cruise ship, where Linnet and Simon spend their honeymoon; Jacqueline follows in their footsteps.
Thus, instead of a train in frozen lands as in Murder on the Orient Express, the Belgian detective will investigate a crime while he sails on the river and explores the archaeological treasures of Egypt. Because, although it takes time —another element that the critics pointed out—, the corpse arrives, and as always in Christie’s stories, the motley people present are all suspicious.
Among the unanimous praise, the film received is its photography, which accentuates the beauty of the places and some aspects of the characters, and compensates for the development of the story with great visual pleasure. Also, Annette Benning, who plays an artist, mother of Bouc (Tom Bateman), Poirot’s collaborator in the 2017 film, was unqualifiedly celebrated: her performance was “criminally wasted”, according to the Times.
Finally, the opening scene of the film, a kind of black and white prologue, which shows Poirot in the trenches of the First World War, was also received positively by critics. That look into the past explains Poirot’s bushy mustache but above all something about his personality.
The denouement surprises anyone who hasn’t read the 1937 novel or seen the 1978 film, directed by John Guillermin and starring a cast that included Peter Ustinov, Mia Farrow, Jane Birkin, Bette Davis, Maggie Smith, and David Niven. Branagh’s picks for the rest of the characters were Russell Brand, Rose Leslie, Jennifer Saunders, Dawn French, Letitia Wright, and Ali Fazal.
Despite differing opinions from early reviews, box office estimates for Death on the Nile’s opening weekend are, according to Deadline, between $11 million and $17 million from 3,200 theaters in the United States, a good start for production of USD 90 million.
As a prisoner in jail, as a stylish man in a suit and boots … Maharaja Ravi Teja’s movie ‘Khiladi‘ appeared in two shades. Released in theaters today. Ramesh Verma, who directed ‘Veera’ with Ravi Teja, directed the film. Did the Ravi Teja – Ramesh Verma combination hit right now? Or not?
Story: Pooja (Meenakshi Chaudhary), a psychology student who claims that silence can find meaning, not just human words. She is the daughter of Intelligence IG. Meets prisoner Mohan Gandhi (Ravi Teja) in Central Jail for a thesis. Believing everything he said to be true, the father forges his signature and bails him out.
After Mohan Gandhi was released from jail it was revealed that he was a big criminal. Puja reveals that he used himself as a pawn to extort tens of thousands of crores of rupees from Italy to the Home Minister. Actually, who are those tens of thousands of crores? Where are they? Did the police catch Mohan Gandhi again? Or not? What did Gandhi do for money? What is his goal? What did Puja do? Is a must-see movie.
Analysis: Infiltration is one of the sixty-four arts. Making money is an art. Also, even captivates the audience! Cheat and steal money. It’s hard to cheat and captivate the audience every time. Maybe … Director – Producers, Hero did not recognize it !? To do justice to the ‘Play Smart’ tagline, the film was driven to the climactic scenes with tremendous twists and turns.
The audience who thinks ‘Anti Routine Movie’ after seeing Fastoff … After watching the second half twists and climax, if that routine Fastoff thinks is better, it is not their fault. Twists were put in that range at the climax. Bored.
Ravi Teja Mark started with routine scenes as soon as the movie started. Neither the comedy nor the scenes are impressive at all. The story was taken to jail before something could happen. Ravi Teja murdered his captive wife, provoking interest in the story. The director failed to sustain that interest until the very end. Frustrated the audience with more twists. Fights are also picked up from Hollywood movies.
However … taken stylishly. Commercial beats were heard more in the songs. The beauty pageants of the heroines are a sight to behold for the mass audience. The background music adapts to the routine story. Construction values are at a high level. Looking at the visuals on the screen it is clear that there was no hesitation in spending.
Ravi Teja (Hero Ravi Teja) did it wisely. He has a habit of doing such roles. However … it is not as handsome as it appears in ‘Crack’. Dimple Hayati impresses the audience with her beauty pageant. Meenakshi Chaudhary also performed in a song. Neither of the characters had much scope in acting.
Anasuya, who appeared methodical in the first half, leaned towards glamor in the second half. The character is such. There are two shades. Arjun, Mukesh Rushi, Nikitin Dheer, Rao Ramesh, ‘Vennela’ Kishore … all are routine characters. Unni Mukundan played the emotional role.
Speaking of ‘Khiladi’ … there are more twists in the movie. As such, it does not mean that the matter is greater. The film is set in a regular commercial format. Audiences who want to have enough songs and fights can try to go to Osari. If you look at the track record of Ramesh Verma who got success with the remake movie ‘Rakshasudu’ … there are a few instances where he got success with straight movies.
The ‘hero’ he had previously taken with Ravi Teja did not get the expected success. Will ‘Khiladi’ (Khiladi Movie) come opposite that movie? Or not? I mean … it depends on the popularity of the audience.
FIR Movierulz: Tamil hero Vishnu Vishal starrer ‘FIR’. Released today in Telugu along with Tamil. How is this movie …
Vishnu Vishal plays the protagonist in the self-produced film ‘FIR’. Directed by Manu Anand. Ravi Teja said, “It is a film with different content. I saw it six months ago. I want to do a film like ‘FIR’ too.” The already released trailer has sparked interest in the movie. How is ‘FIR’ starring director Gautam Vasudev Menon and ‘Sahasame Swasaga Sagipo’ starring Manjima Mohan in the lead roles?
Story: Irfan Ahmed (Vishnu Vishal) Chemical Engineer, IIT Gold Medalist too! His mother is the police. Religion hinders Irfan’s job efforts. He eventually joined a company where he worked part-time as a full-time employee. It is a company that makes perfumes through chemicals. The owner tells him to go to Kochi and meet the Muslim evangelist Jazi. In Kochi, he comes to Hyderabad from Kochi and takes some chemicals there. Arranges to send to Vishakha.
Arrives at the airport from Hyderabad to Visakhapatnam. The phone is lost near the security check. The complaint goes to give. However … with the arrival of the boarding announcement, he flew closer to the flight. The order comes into conflict with airport officials. ‘Is there a bomb in my bag?’ Shouts. With that, the question is left. When Irfan landed in Visakhapatnam, a bomb blast took place at the Hyderabad airport. The bomb blast took place from Irfan’s phone.
Irfan Ahmed was arrested by the National Investigation Agency (NIA). The most wanted terrorist is said to be Ali Bakr Abdullah Irfan Ahmed. Did Irfan Ahmed really carry out the bomb blast? Is he Ali Bakr Abdullah? If Irfan Ahmed did nothing wrong then why did he escape from the NIA officers? Why did Jazi’s son help Riaz’s plan to take the lives of the people of Visakhapatnam? Finally, what happened? Is the rest of the movie.
Analysis: ‘FIR’ strengths and weaknesses are the themes of the story! Did the man make a mistake based on name and religion? Agreed? Many in our society do not want to come to the conclusion that. Stories of people in trouble for being branded a terrorist for the sole reason of being Muslim have already come to the fore. This is such a story. However … this story was given the ‘hooligan’ type. But, if you look at what was taken till then … movies came in the background of terrorism and NIA.
Web series are also coming. If you look at the ‘FIR’ … they come to mind. Some scenes are reminiscent of the ‘Special Apps’ web series, while the pre-climax is reminiscent of the super hit web series ‘The Family Man. ‘FIR’ may not seem new to those who have seen those web series. It may seem new to those who have not seen it.
The hero lives in the role of Vishnu Vishal. Emotional scenes did well. Manjima Mehan, Reba Monica John, Gautam Vasudev Menon, Manjima Mohan, Parvati, Raiza Wilson … there are many artists in the film. Everyone’s characters come and go. Gautam Vasudev Menon is a perfect match for the role. Reba Monica looks beautiful in both scenes, in the song John O. Parvati (who also played the role of the mother of the hero in the movie Tak Jagdish) plays the mother of Vishnu Vishal is impressive.
Speaking of ‘FIR’ … it has all the makings of an action thriller. However, the racey screenplay was missed. Routine treatment has become more common. The ‘FIR’ only impresses a section of the audience. However … showing that the NIA, which works without any fuss, wants to work to let the world know … showing Vishnu Vishal as an unsung hero at the end can be a bit embarrassing.
Gehraiyaan Movierulz: There was a discussion about romantic scenes rather than stories in ‘Gehraiyaan’ promotional films. Questions about those scenes to the actors, trolls! What’s in the movie? Romance? Read Review!
There are kisses in ‘Gehraiyaan’. There are bedroom scenes. After the release of the promotional films, there was a discussion on social media about those romantic scenes rather than the story. Questions about those scenes to the actors, trolls. Did the husband take permission while acting in those scenes? Some netizens asked Deepika Padukone. But … what’s in the movie? (Gehraiyaan Review in Telugu) Just, romance only? Did you say anything beyond that?
Story: Alisha (Deepika Padukone), Karan (Dhairya Karwa) have been in Live-In Relationship for six years. The two are invited by Alisha Cousin Tia (Ananya Pandey) for a trip. Introduces her fiance Jain (Siddhant Chaturvedi). Jain starts laying the line for Alisha on the trip. The two will be reunited after the trip. Jain promises Alisha that he will soon say goodbye to Tia and make people happy.
However … Tiana Jain could not leave due to financial problems encountered in the business. Because … she is not only the finance but also the business partner! Tia’s father has an investment of crores of rupees in a Jain company. Moreover, he plans to sell another property (property worth crores of rupees) owned by her.
Within this, it is known that Alisha is pregnant. What did Jain do then? What did Alisha do when she found out about the Jain scams? Did Tia know about the affair between Jain and Alisha? Or not? Is the rest of the movie.
Analysis: Why did I have to say so much about the opening scene … how deep is the feeling in that conversation? Understandably so … there is a similarly deep feeling in the film. ‘Gehairaiya’ means kisses, not romantic scenes … beyond that! A story about love – face, belief – cheating, happiness – suffering, and so on.
‘Gehraiyaan’ is a film based on modern relationships. The director tries to say that there are people in the society who want to be accompanied by someone else due to suffering and emotion, along with young men and women who are physically involved for financial needs. The heroines Deepika Padukone and Ananya Pandey filmed everything from dress to kisses to modern-day affairs without any hesitation. Until the opening hour of the movie … it’s a little difficult to be emotionally connected to the story and characters.
This generation of young people can match what they are. After that we will feel sorry for Deepika Padukone and Ananya Pandey. Let’s start by showing Simpati that they are both cheating and that injustice is happening to both of them. Despite the occasional boring moments like a roller coaster ride … the message given at the end is good. Deepika Padukone, Ananya Pandey, Siddhant Chaturvedi … the director has shown that the three of them are hiding some secrets among themselves and hence they are settling down among themselves.
Apart from Deepika Padukone’s character and characterization, director Shakun Batra did not focus on other roles and elements. Routine drama became more and more in some scenes. The English word beginning with ‘F’ in the film is overused. This is an ‘A’ certificate movie, for adults only. It is difficult to watch a movie with children at home. ‘F’ words, dressing up the heroines make it difficult for some of the emotion in the film to reach.
Deepika Padukone’s emotional performance in the climactic scenes is impressive. She has acted well in previous scenes as well. Romantic scenes do not seem to bother much. Ananya Pandey looked cute. Siddhant Chaturvedi never mind. The role of Dairy Karwa is not so important. Although the scenes between Naseeruddin Shah and Deepika are short … both are divided. Especially at the climax! Rajat Kapoor played an important role.
‘Life is bigger than that single mistake!’ The message given in the film is good. The message given is to admit the mistake and move forward, without trying to move away from the mistake made in the Vaikunthapali game of life itself. It remains to be seen in the film how much emotion surrounds that romantic mistake.
Audiences who love commercial and mass spice films will not like ‘Gehairaiya’ at all. Audiences who are fond of movies that are based on modern lifestyles and relationships can watch this movie happily. This is for class audiences only!
