In the seventh installment of the MI series, Tom Cruise and director Christopher McQuarrie have crafted a superlative action flick. The movie barrels down its 243 minutes runtime very much like its age-defying superstar who continues to sprint immaculately.
It hits a relentless pace from the word go till its exciting cliff hanger of an ending looking into an exciting abyss and what is waiting to unfold in the sequel to be released next year as we await it with bated breath.
It does everything one could ask for - familiar set of characters from IMF along with some new ones, machiavellian villains seeking world dominance, a foe that is contemporary, globe-trotting narrative propelled by brilliant action sequences including a crazy chase, a healthy sprinkling of humour and a few strands of emotional beats between the key characters, and at the heart of it all, Tom Cruise who is still hitting it out of the park, even after crossing sixty - a perfect recipe for a summer blockbuster.
Maamannan (Vadivel) is a legislator from an oppressed community and has a difficult personal relationship with son Athiveeran (Udhayanidhi) due to a traumatic event in their past. On the professional front, he shares a fraught relationship with Rathnavel (Fahaad Fasil) who is an aspiring leader from a dominant community and also has psycopathic tendencies centred on retaining his position of power over those he sees as below him.
When a series of seemingly minor events spiral out of control unexpectedly, he is confronted with a situation that raises serious questions over his entrenched sense of authority. The entire first half is a fire cracker which culminates in an explosive interval point. The rest of the movie sees how each of these three leads try to handle the consequences and assert their voice and choice over the other side. Alas, the latter half treads a predictable path and does not manage to create an impact comparable to the first. That is all the more unfortunate given the potential of the material as well as the cast and technical crew at hand.
Vadivel towers over everyone in the titular role, delivering a mature and richly layered performance that is worthy of many plaudits. He packs an impactful punch, whether in the intensely emotional moments or in sequences where he showcases restraint with a seething undercurrent of rage against injustice.
2023 seems to be a year of rebirth of popular comics. After Soori's cinematic reincarnation in Vetrimaaran's Viduthalai earlier this year, Mari Selvaraj reimagines Vadivel in his unique style.
In his third film, after Pariyerum Peumal and Karnan, director Mari Selvaraj continues to explore the conflict points between those who have traditionally been in power and those who have been oppressed under them. His movies continue to speak for those who have been deprived of the rights to raise their voice even to acknowledge the atrocities that they are subjected to on a daily basis. Fahad delivers chilling and menacing performance, especially with those powerful eyes which speak volumes. Udhayanidhi turns in a neat performance of simmering rage that is ready to explode. The fact that he manages to hold his own amidst aces like Vadivel, Fahadh and Keerthi is a testament of his evolution from the breezy roles of his OKOK days. Keerthi registers her presence in an otherwise limited role.
The movie is replete with several subtle and not-so-subtle symbolisms that has come to define his filming style, especially the liberal use of animals like dogs, horses and pigs as metaphors to convey his themes, in his usage of monochromes for certain sequences, his inter-cuts in certain others. There are also those stretches which document unspeakable cruelty - mostly, mimicking actual events in the past and present - to men and animals by those in power just to stamp their authority and to trample upon those they consider lowly and meek.
Rahman has delivered a powerful album including couple of energetic anthems, a soulful melody and a wrenching dirge to accentuate key moments in the narrative.
RATING - 3.5/5
A POWERFUL MOVIE - that could've been much much more !!
The 30th movie from the Marvel Cinematic Universe (MCU) which began in 2008 checks all the right boxes that one could hope for.
Yes.
It does not scrimp on spectacle quotient with its ultra kinetic action set pieces on land, sea and air.
Yes.
It successfully fulfills its MCU mandate of taking the more than two decade long storyline forward as it concludes Phase 4 and sets up the next phase.
Yes.
It includes a roll call of the beloved characters from the first movie including Queen Ramonda, Princess Shuri, General Okoye, Lord Jabari, Nakia, Agent Everett Ross while it valiantly tries to hold its own space despite the untimely demise of Chadwick Boseman who had donned the titular mantle in the first movie in 2016 and the MCU movies that followed.
Yes.
It introduces some more characters who promise to sparkle as the MCU expands into its next installments including Namor, Riri Williams, Valentina Allegra and a certain Toussaint .
Nevertheless, the beating heart of this long awaited sequel is steeped in pathos of loss and grief of what has happened in reel as well as real life as it pays rich tribute to Boseman.
Director Ryan Coogler who had set a high benchmark with his first MCU feature 6 years ago deserves kudos for this valiant sequel which, despite the untimely loss of its central character, manages to soar with high octane feline power.
Even die-hard Marvel fans would admit that the Phase 4 of the MCU has been middling at best, especially coming after the crescendo of Avengers Endgame. However, they can take heart that this is easily the best of the lot and concludes this phase on a high note.
Director Rishab Shetty's Kantara (aka mystic forest) is a story of tribals who inhabit the forest in coastal Karnataka - Tulunadu region. Rishabh has also written the story and stars as the lead. The story which is largely set in 1990s strings together strands from an earlier century as well as 1970s, weaving these three timelines in a brilliant blend of mythology, folklore and movie magic.
The narrative yarn is spun around multiple conflicts - some overt and some simmering undercurrents which are on the verge of eruption. Nevertheless, the primary fault line traces the near unending conflict between humans and nature as the humans continue in their vain quest to conquer, own and control nature - land and resources - to satiate their utmost avarice.
Rishabh Shetty mounts the movie on a canvas that is deeply drenched in the earthy hues of its milieu and richly textured with unique cultural ethos of the coastal Karnataka.
His story presents an eclectic mix of emotions ranging from resonant spirituality, rustic love, healthy oodles of irreverent humour, primal rage, greed that is almost genetic as it transcends and consumes generations, juxtaposed with firmly held beliefs of a close knit community and how such beliefs permeate and define their lives.
Within moments into the film, Rishabh magically transports the viewers to the verdant space where his story unfolds with Kola, Kambala, nocturnal hunting and much much more, thanks largely to the songs and background score by B. Ajaneesh Loknath along with the superb cinematography of Arvind S Kashyap who conjure up an immersive experience.
Rishabh Shetty excels in the role of Shiva as he emotes with ease through the character arc which sees him go from a irresponsible ruffian to the transformation with a final tour-de-force. He is complemented well by a supporting cast including an excellent Kishore, ever-dependable Achyuth Kumar, Pramod Shetty, Sapthami Gowda and the rest. Rishabh's control on the medium as a director is evident through the entire runtime of Kantara, especially as it crescendos to a phenomenal final stretch that packs the potency akin to a force of nature.
Rishabh the writer cooks up a heady cocktail - masterfully mixing up the sensational with the subtle and the surreall; this is one happy "made-in-heaven" marriage of mystique philosophy and mass masala moments.
A delectable coastal Karnataka delicacy that is cooked to perfection to delight the discerning viewers.
As the final visual vanishes from the screen, the viewers leave with the lingering legend of Kantara lurking in their minds.
Comparisons to the epic novel by Kalki are futile as movies are by nature a lesser medium than books. Books translate the imagination of the writer into words which is, in turn, translated and plays out in the near infinite canvas of the reader's imagination which is unbound by the limits of physical media and budget that constrain performing arts like cinema, drama, etc.
Comparisons to recent blockbusters like Bahubali, RRR or KGF, while natural, would also not be fair as they were not bearing the burden of responsibility of being the cinematic adaptation of a much loved epic novel that is adored by readers despite several decades.
If that be so, what is PS-1 about..?
Director Mani Ratnam's magnum opus presents the sprawling story as an adventure doused in generous doses of palace intrigue.
Painstakingly mounted across several exotic locations with elegant production design (Thotta Tharani) and gorgeously visualised frames (Ravi Varman), there is a lot to captivate the viewers here.
Among the ensemble cast which bring to life these much loved characters, the leading ladies - Aishwarya and Trisha - stand out and dazzle the screen in every frame they are in. Karthi, Vikram, Jayaram, and Jayam Ravi are also excellent in their respective roles.
Rahman's songs and score add to the narrative like a curious accessory that enhances the attire without seeking excessive attention to itself.
So... Is it perfect and superlative....?
No..
The narrative could feel too rushed and even disjointed, especially to those who are uninitiated to the book. A trilogy might have done more justice to the story and more importantly, the many memorable characters. Hopefully, this would inspire someone worthy to make a grand webseries soon to delve deeper into the material🤞🏽.
The CGI bits are not eye-popping and are at best, decent.
The action set pieces are not as exciting or innovatively staged as one would've expected.
There are also some departures (not all of them work) from the source material which the readers may not approve of.
Nevertheless, at the end of the movie, I felt Mani is largely successful in marshalling his star studded cast and first rate technical team to the service of this book as he transports us into this adventure set a thousand years ago which remains engrossing through its entire runtime.
The sophomore venture from Director Nelson pulls Sivakarthikeyan (SK) out of his usual comfort zone of simple rom-coms and happy-go-lucky comical hero.
SK is an army doctor who is driven purely by practical considerations which border on the extreme and is also apparently bereft of any emotions.
Even as the narrative begins we see his fiancee ditching him for his lack of emotional support. However, when her family is pushed into dire straits when a young kid is kidnapped, SK steps in to help retrieve the kid.
Nelson handles the serious issue of human trafficking within a broader canvas of a black comedy which is original in its flavour and highly effective in execution with lots of laugh out loud moments, even in the most unusual and unexpected places.
It takes a special conviction and talent to have SK as a hero and not allowing him to even crack a smile for almost the entire length of the movie even as the audience are having a laugh riot.
Director Nelson surprises us constantly as he steers clear of conventional genre tropes and delivers a unique flick with his own distinct imprint. He is definitely a talent to look forward to.
