Tag Archives: 2 Stars

Movie Review: Deva (2025)

3 Replies

2 Stars (out of 4)

Watch Deva on Netflix

Director Rosshan Andrrews makes his Hindi-language debut with Deva, a remake of his 2013 Malayalam movie Mumbai Police. Screenwriting duo Bobby-Sanjay return to update their original script with a different climax, which feels hastily added and unsupported by the rest of the story.

Shahid Kapoor stars as Dev, Mumbai’s most notorious cop. I’m not sure how closely the new lead character hews to the one Prithviraj Sukumaran played in Mumbai Police, but Dev feels like he was pulled out of cold storage. He’s aggressively macho, breaks all the rules, yet is best friends with two upright fellow officers: Rohan (Pavail Gulati) and Farhan (Pravesh Rana), who’s also Dev’s brother-in-law.

The film opens with Dev getting in a motorcycle accident as he’s leaving a voicemail message for Farhan saying that he’s solved a notable murder case. The accident leaves Dev with amnesia, but Farhan chooses to keep that a secret. Dev’s the best cop there is, and Farhan trusts that Dev’s instincts will help him solve the case again, even if he’s starting from scratch.

The action flashes back to before the accident, as chain-smoking Dev roams about Mumbai smashing the heads of informants and drawing his gun on whomever he pleases. As long as Dev wears civilian attire when doing so, none of his superiors seem to care. It’s useful to have someone who doesn’t care about the rule of law to enforce the rules on others.

While the film gives a few nods to police brutality being undemocratic, it still celebrates its use. Dev always looks cool while beating the crap out of people, and the film’s action scenes are quite entertaining. But there’s something grim about Dev telling a crime boss, “Mumbai isn’t anyone’s kingdom. Mumbai belongs to the Mumbai police.” Not the citizens — the police.

Before Dev is able to confront the boss face to face, the police are repeatedly thwarted in the efforts to find him by a mole in their midst. Journalist Diya (Pooja Hegde) is eager to expose the mole’s identity. She takes his subterfuge personally, as her police constable father is injured in the effort to nab the boss. Her dad’s injury brings Diya and Dev closer together, and soon they are in love.

The intensity that Kapoor brings to his portrayal of Dev is one of the main reasons this movie works at all. He’s the right actor for the job, but there’s not much to Dev that we haven’t seen in other maverick cop characters before. Andrrews doesn’t provide us with any real critique of violent policing or aggressive masculinity, so the whole film feels a bit stale.

If there’s any revelation to be found in Deva, it’s the evocative, nuanced score from composer Jakes Bejoy. His only Hindi credit prior to this was 2020’s Durgamati. Here’s hoping that other Hindi filmmakers realize this composer’s potential to elevate even tired material.

Links

Movie Review: Devils Stay (2024)

1 Reply

2 Stars (out of 4)

Note: I sometimes branch out from reviewing Hindi films. The Korean horror movie Devils Stay opens in US theaters December 6, 2024.

Had the story of Devils Stay been told chronologically, it could have been a compelling examination of guilt and faith leading up to a climax with terrifying consequences. Instead, the asynchronous timeline hampers character development and fails to build tension.

Devils Stay — directed by Hyun Moon-seop — opens with a typical exorcism movie scene. Teenage girl Cha So-mi (Lee Re) is tied to the bed in a befouled room. Young priest Father Ban (Lee Min-ki) prays over So-mi, who levitates and screams for her dad’s help. Cha Seung-do (Park Shin-yang) breaks down the door to get to his daughter, just in time to watch her die.

A flashback shows So-mi and her father gazing at the stars atop the roof of the hospital where she is a heart patient and he works as a cardiac surgeon. He says that they’ve found a donor heart for her, promising her that everything will be all right after her surgery.

Back in the present, her family gathers at the funeral hall for the start of three days of mourning. A despondent Seung-do thinks he hears So-mi calling to him and sees apparitions of her, convincing him that she’s not really dead. Meanwhile, Father Ban worries that his exorcism was incomplete and that something evil still lurks within So-mi’s body.

One feature of South Korea that makes Devils Stay interesting is that hospitals often have their own funeral homes, usually in the basement near the morgue. That makes it convenient if, say, a heart surgeon who thinks his deceased daughter is secretly alive wants to grab her days-dead body and take it up to a surgical suite to apply the defibrillator pads one last time.

Other than the understandable sentiment of a father who lost his child and a priest who failed his parishioner, there are few emotional hooks in Devils Stay. There’s simply too much missing information to really become invested in the characters. We don’t know how much time elapsed between So-mi’s heart surgery and when she started exhibiting symptoms of possession. We don’t see her interact with her classmates, who appear in just one scene to say she wasn’t behaving like herself in school. We don’t know whose idea it was to summon the exorcist or what other interventions they tried first.

Father Ban has his own thin backstory that is shown in dramatic flashbacks that lack context. The particular dangers to him as an exorcist and the theological consequences of So-mi’s possession could have been more developed, rather than dismissed with an out-of-left-field explanation that’s merely an excuse to put Lee Min-ki into a fight scene.

The choppy timeline also makes it hard for any of the performances to stand out, since we don’t really get a sense of how the characters grow. Other characters like So-mi’s mom and younger brother are afterthoughts from a plot standpoint, and their mere existence doesn’t do enough to give shape to the world the three main characters inhabit.

Reorganizing the timeline and fleshing out some of the characters could have made Devils Stay feel more meaningful than it does in its current form. As it is, the film is more like a random collection of mandatory exorcist-movie scenes without a strong point of view.

Link

Movie Review: Munjya (2024)

1 Reply

2 Stars (out of 4)

Watch Munjya on Hulu

Munjya is a nice-looking horror comedy that struggles with its central theme.

The story begins in 1952 in a village in Konkan. A young boy named Gotya (Ayush Ulagadde) is furious that the teenage girl he has a crush on is marrying someone else. He poisons the bride Munni’s fiancé and is publicly whipped by his parents for his destructive obsession. At night, Gotya takes his younger sister Gita (Khushi Hajare) to a sacred tree, intending to sacrifice her to a demon in exchange for Munni’s hand. But Gotya fatally injures himself, binding his spirit to the tree and becoming an evil spirit known as Munjya.

Generations later, timid hairdresser Bittu (Abhay Verma) suffers from frightening visions and hears Munjya’s voice. His mother Pammi (Mona Singh) and paternal grandmother Gita (Suhas Joshi) — the little sister from the intro — shielded him from the family’s sordid history and the role it played in his father’s death. Bittu learns the truth when the family returns to his father’s ancestral village, and he sets out to find the voice that calls to him.

Munjya — who is now a creepy blend of boy and tree — seizes the opportunity to escape, binding himself to Bittu. Death follows, and Munjya vows to kill everyone Bittu cares about in his quest to marry Munni. While Munni herself is now an old woman, her granddaughter Bela (Sharvari) — who happens to be Bittu’s childhood friend and unrequited crush — is her spitting image. Munjya decides he wants Bela instead.

The parallel’s between Munjya’s one-sided love and Bittu’s crush are obvious, but they don’t overlap enough to meaningfully support a theme. Bittu is never in any moral danger of his own preoccupation turning into a violent obsession, and Munjya is so single-minded that he never twists Bittu’s feelings to his own ends. There’s a late mention about mutual consent in relationships, but the idea is otherwise underdeveloped.

Instead, the story — directed by Aditya Sarpotdar and written by Niren Bhatt — treats Bittu’s cowardice as the flaw he must overcome. Yet Bittu is more shy than cowardly. Sure, he’d rather not upset his overbearing mother, and he hasn’t told Bela how he feels, but he’s otherwise pretty brave. He’s planning to study cosmetology in America by himself, and he seeks out Munjya all on his own.

If he’s afraid of Munjya, it’s with good reason. Munjya’s persistence and his capacity for violence are legitimately scary. While there aren’t many jump scares, imagining what it would be like to live harboring a killer demon is frightening enough.

Though billed as a horror comedy, the first 45 minutes are straight horror. Things lighten up a bit when Bittu enlists the help of his filmmaker friend Spielberg (Taranjot Singh), but by that point things are so grim that the balance feels off. The chaotic comic action sequence when the heroes confront Munjya is more tedious than humorous. There are a few very funny jokes, however, including the fraudulent faith-healer Padri’s (Sathyaraj) dubious story about the original vision for Indiana Jones.

An unfortunate side effect of Munjya‘s lackluster story is that none of the acting performances stand out. Everyone is adequate.

Given that the character Munjya is entirely computer generated, one of the big questions is: how does he look? Pretty terrific, actually. He’s substantial enough that his interactions with the characters and the environment feel believable. Munjya sets a new standard for the level of effects quality fans should expect from Hindi films going forward.

Overall, Munjya is a very good-looking movie. The seaside setting and gloomy forests are lovely in their own right. Nighttime shots are perfectly lit to set the mood without obscuring the action. The movie has all the style but needs more substance.

Links

Movie Review: Kaali Khuhi (2020)

Leave a reply

2 Stars (out of 4)

Watch Kaali Khuhi on Netflix

The Netflix Original horror film Kaali Khuhi (“The Black Well“) centers on a compelling theme but falls flat in its execution.

10-year-old Shivangi (Riva Arora, who was delightful as Young Supri in Mard Ko Dard Nahi Hota) lives in the city with her dad Darshan (Satyadeep Mishra) and mom Priya (Sanjeeda Sheikh), who’s pregnant with a baby girl.

The family is called back to Darshan’s village because his mother (played by Leela Samson) is seriously ill. She was afflicted shortly after a tormented man opened up a sealed well outside of the village, letting something out.

When they arrive at the family home, Darshan’s aunt Satya (Shabana Azmi) is agitated. Shivangi sees an apparition of a girl, and the adults hear strange noises in the house. Shivangi suspects that the truth lies in a scrapbook kept by Aunt Satya that is full of horrifying drawings and lists of girls’ names. This is not a safe place, but Darshan refuses to leave, even after his mother dies.

Director Terri Samundra — who co-wrote Kaali Khuhi with David Walter Lech — goes for an eerie tone rather than out-and-out scary, but it’s not totally successful. Apprehensive characters approach every spooky sound at such a slow pace that any tension dissipates by the time they find the source. The film is only 90 minutes-long, but it still feels padded.

In all that padding lies a missed opportunity to better connect the family’s story to that of the town. The curse applies to the whole village for its traditional practice of female infanticide, yet we really only see what’s happening to Shivangi’s family. They feel removed literally and figuratively from the rest of the village, even though they weren’t the only ones to participate in the heinous tradition. As such, the theme isn’t explored as thoroughly as it could have been.

This disconnect between the village and the events at the family homestead make it especially confusing when Darshan insists that they stay, presumably abandoning their life in the city along with Priya’s doctors and Shivangi’s school. Possibly it’s the curse making him do it, but it’s unclear.

The performances are underwhelming when the most common direction is: “look concerned and move slowly.” Prolonged periods of quiet are interrupted by a character suddenly screaming, making for unpleasant sound design. And there’s a moment at the end when things get very, very gross.

The most interesting thing about Kaali Khuhi is positioning a 10-year-old girl as the protagonist. Shivangi hasn’t hit puberty yet, so she may not have gotten the “birds and the bees” talk from her parents. Burdening a young kid with the knowledge that her ancestors murdered their newborn daughters feels unfair. But Shivangi demonstrates that sometimes you have to act with courage even when you’re unprepared.

Links

Movie Review: Wild Wild Punjab (2024)

2 Replies

2 Stars (out of 4)

Watch Wild Wild Punjab on Netflix

TV director Simarpreet Singh makes the jump to features with the Netflix Original film Wild Wild Punjab, a road trip comedy written and produced by Luv Ranjan.

Office drone Khanna (Varun Sharma) caught his co-worker girlfriend Vaishali cheating on him with their boss, and now the new couple is getting married.

Distraught Khanna wants to end his life, but his womanizing friend Maan (Sunny Singh) has a better idea. Maan says that, while Vaishali thinks she’s traded up, if Khanna tells her that he’s over her, it’ll make her question whether she’s with the right guy.

Their friend Honey (Manjot Singh) agrees, but he thinks it’ll be most effective if Khanna tells Vaishali “I am over you” in person. Festivities are underway for her wedding in Pathankot, which is only a three hour drive from Patiala. Honey offers to drive them there in his souped-up truck.

The only friend with reservations is cowardly Jain (Jassie Gill), but that’s just because he’s terrified of his overbearing dad. Jain’s own arranged marriage is scheduled for next week, so he’s already got plenty to worry about. Still, the guys convince Jain to lie to his dad and join them since they’ll be back from Patiala by morning. What could go wrong?

Before they’ve even left town, the guys crash a wedding to get free food and drinks. When they wake up hungover the next morning at a stranger’s house, Jain discovers he’s married to the woman whose wedding they crashed. And they’re still hours away from Pathankot.

As immature as the friends are, they’re actually decent guys. Their plan isn’t borne out of vindictiveness, but out of concern for Khanna’s well-being. Taking him to his ex’s wedding to tell her he’s moved on isn’t that disruptive, and it will give him back a sense of control.

After some initial reluctance, they even welcome Jain’s accidental bride Radha (Patralekhaa) into the group. She suggests that Khanna’s declaration will be more believable if he’s accompanied by a new woman, and they head to a nearby college to find one. That’s how feisty Meera (Ishita Raj) joins the crew.

When the story focuses on the characters, it’s pretty entertaining. It helps that the acting is uniformly good, with Manjot Singh and Patralekhaa standing out among the rest. Counterintuitively, the story drags during the action scenes in the second half, when the group engages in multiple car chases and a shootout with drug dealers. Drugs and guns feel like perfunctory signifiers that the movie is set in Punjab, as if without those tropes the movie would lack a sense of place.

Simarpreet Singh’s direction is overall good, and the screenplay — co-written by Ranjan, Sandeep Jain, and Harman Wadala — is decent. But Wild Wild Punjab is a misleading title for a movie so conventional.

Links

Movie Review: Murder Mubarak (2024)

1 Reply

2 Stars (out of 4)

Watch Murder Mubarak on Netflix

The mystery Murder Mubarak is packed with characters but feels insubstantial. Sara Ali Khan and Vijay Varma show why they are in-demand actors, but Pankaj Tripathi’s turn as an offbeat detective feels too familiar.

The film — based on Anuja Chauhan’s novel Club You to Death — invites comparison to Knives Out, as both feature a murder where most of the suspects are obscenely wealthy. However, a critical difference renders the class undertones in Murder Mubarak less satisfying. The murder victim in Knives Out is the patriarch of a rich family, whereas the dead man in Murder Mubarak is an employee at a posh country club.

Director Homi Adajania’s movie takes place at the Royal Delhi Club, a British colonial relic. The morning after a raucous party, the club’s hunky fitness coach Leo (Aashim Gulati) is found dead in the gym. Police inspector Bhavani Singh (Pankaj Tripathi) and his assistant Padam Kumar (Priyank Tiwari) determine that Leo’s death was homicide and set about questioning the eccentric members.

None of them are eccentric in a fun way. There’s B-grade actress Shehnaaz (Karisma Kapoor), royal descendant Rannvijay (Sanjay Kapoor), and Cookie (Dimple Kapadia), whose tongue is bright red from constantly drinking beet juice. Club president Bhatti (Deven Bhojani) has a perpetually runny nose that he wipes with his hand before touching people.

Adajania insists on showing example after example of the president’s revolting habit. It highlights an unexpected gross streak in the movie. Deaths that occur later in the film are needlessly gory, and Cookie’s bright red tongue is unappealing, too.

Inspector Singh discovers that Leo the trainer was blackmailing several members of the club, using the money he extracted from them to fund the orphanage where he grew up. While this gives those being blackmailed a motive to kill Leo, his death actually makes their lives easier. It’s not like there’s a killer targeting rich folks. The only consequence is that one of the other trainers at the gym will have to take over the Zumba class.

The surfeit of tedious oddball characters accentuate the narrative’s slow pace. The only characters who are remotely interesting are two of the club’s younger members: twenty-something widow Bambi (Sara Ali Khan) and Aakash (Vijay Varma), who’d rather be anywhere else. He’s had a crush on Bambi forever but left town after her wedding. She still knows how to push his buttons and does so to keep him around.

Khan’s performance is natural and engaging. Varma likewise demonstrates why he’s cast in seemingly every Netflix Original movie these days. Sanjay Kapoor has one very good scene, but the rest of the performances are nothing to write home about.

Tripathi has been the go-to guy for quirky roles for several years now, and the well is starting to run dry. Inspector Singh is fine but unremarkable. It’s time for casting agents to find a new actor to pigeonhole into these types of parts and let Tripathi move on to meatier roles.

There’s a chance that the book Club You to Death is better than the movie, but Murder Mubarak is so lifeless that I’m not tempted to find out.

Links

[Disclaimer: my Amazon links include an affiliate tag, and I may earn a commission on purchases made via those links. Thanks for helping to support this website!]

Movie Review: Merry Christmas (2024)

1 Reply

2 Stars (out of 4)

“Merry Christmas” was filmed simultaneously in Hindi and Tamil. This is a review of the Hindi version.

Something got lost in Merry Christmas‘s translation from page to screen. The mystery doesn’t quite work, due in no small part to a miscast lead duo.

Director Sriram Raghavan’s latest thriller is an adaptation of French author Frédéric Dard’s novel Bird in a Cage. Set in “Mumbai when it was called Bombay,” the story follows a fateful meeting between two mysterious strangers on Christmas Eve.

Albert (Vijay Sethupathi) returns to his mother’s apartment for the first time in years after working abroad. Mom died a while ago, and her walker still stands next to the bed, as if waiting for its user to return.

He goes to a fancy restaurant and watches a man ditch a beautiful woman, Maria (Katrina Kaif), and her little daughter, Annie (Pari Maheshwari Sharma), in the middle of dinner. Intrigued, Albert follows mother and child to the movies. When Annie falls asleep, Albert offers to carry her home.

Maria invites Albert in for a drink and puts on some music to set the mood while she puts Annie to bed. Christmas tunes, surely. Or maybe something seductive? Nope, Maria puts on “In the Hall of the Mountain King” by Edvard Grieg.

This sequence in Maria’s apartment is where the film lost me. Besides the weird musical choice — which is explained later, though not exactly why that particular piece of music needed to be used — the apartment is lit so brightly from above that it looks like the set of a TV sitcom. The unnatural lighting makes a goofy sequence in which Albert and Maria dance to holiday tunes look downright bizarre.

It’s a shame since building interiors are otherwise one of the film’s strongest suits. The decor in the restaurant and theater are gorgeous. The wallpaper in Maria’s apartment is seriously stunning.

This is also the point in the movie where we should start to get a sense of who Albert and Maria are and what they might want from each other. Yet there is zero chemistry between Sethupathi and Kaif, so it’s hard to tell. They both look like they are just going through the motions.

The problem really is just the two of them together. In a flashback scene opposite Radhika Apte, Sethupathi is an entirely different actor. And I’ve seen Kaif in enough films to know she’s capable of much better with the right partner.

The disconnect between the two leads makes the first half of the film crawl until a suspicious death resets the pace and raises questions. Unfortunately, the renewed tempo doesn’t last for long, slowed again by acting that feels flat.

When the truth of what is happening is revealed, it lacks a sense of inevitability. I suspect there are details that might have stood out more in the book that weren’t emphasized visually in the film. Rather than ending with the audience saying, “Aha!” Merry Christmas ends with an “Okay.”

Links

Movie Review: Dunki (2023)

1 Reply

2 Stars (out of 4)

Filmmaker Rajkumar Hirani’s Dunki addresses the inhumanity of national borders and immigration policies that disproportionately punish the poor. In typical Hirani fashion, he uses humor to make the problem relatable, but the grim, visceral middle section of the story feels out of place.

Dunki begins with the same framing device Hirani used in 3 Idiots: three long-time pals set out to meet another friend they haven’t seen for many years. This time, the action begins in 2020 in London, as a grey-haired woman named Manu (Taapsee Pannu in old lady makeup) breaks out from the hospital. She holds her IV bag aloft as she navigates public transit in her hospital gown, a sequence that makes for great visual humor. Pannu is the film’s standout comic performer.

Manu meets her buddies Buggu (Vikram Kochhar) and Balli (Anil Grover), who are as eager as she is to return to their Punjabi hometown. But visas are tricky to come by, so they decide to contact the friend who helped them get out of India 25 years ago — Hardy (Shah Rukh Khan).

The action flashes back to 1995, when Buggu, Balli, and Manu hoped to solve their families’ financial problems by working in England. A thriving visa-fraud industry in town promises to help those without skills or money emigrate through dishonest means. Hardy arrives in town to repay a debt to Manu’s recently deceased brother and stays to help her.

The four enroll in an English language class of dubious repute led by Geetu (Boman Irani, who also played an educator in 3 Idiots). Vicky Kaushal has a lengthy cameo as a fellow student named Sukhi. There’s an extended comedy bit as the students think they’ve found a sneaky way to pass their official English exams without really learning much English. Some of it is quite funny, but like many of the bits in Dunki, it’s longer than it needs to be.

When conventional and unconventional methods fail to get them visas, Geetu proposes a third option: the dunki (“donkey”) method. This involves paying brokers to smuggle them over land into Turkey, then via shipping container across the sea to England. It’s illegal, expensive, and dangerous, but it’s their only option. Hardy joins them, hoping the skills he learned as a soldier will help them survive the journey.

This is where the film’s comic tone shifts to something darker. There are some gruesome deaths and an attempted sexual assault that make what had been a family-friendly movie into one requiring parental discretion. It seems like an attempt to do justice to the very real horrors faced by those migrating illegally, but the change is abrupt.

While Hirani deserves credit for shining a light on this global justice issue, his fictional narrative leaves something to be desired. The characters are indistinct and forgettable, and decades of their experience are absent from the story. The audience is only supposed to care about what the characters go through, not who they are, so Hirani doesn’t develop them as individuals.

This is Shah Rukh Khan’s first film with Hirani, who gets a classic performance out of the star. The film’s lone dance number “Lutt Putt Gaya” is enjoyable, although it would’ve been fun if Pannu played more of a part in it. Khan’s other 2023 releases were action thrillers, so this was a nice change of pace. It’s just too bad Dunki‘s screenplay wasn’t up to snuff.

Links

Movie Review: 12th Fail (2023)

3 Replies

2 Stars (out of 4)

Watch 12th Fail on Hulu

Even though 12th Fail is based on the life of a real person, the film feels abstracted from its main character. The story contains a number of obstacles that can trip up viewers unfamiliar with the hiring processes of the Indian civil service.

Vikrant Massey plays Manoj Kumar Sharma, who grew up in a poor, rural village but studied and sacrificed to become a member of the Indian Police Service (IPS). Obviously, the movie doesn’t need to explain what the IPS is to Indian viewers, but it’s not made clear to outsiders how, say, an IPS officer differs from a DSP (Deputy Superintendent of Police). The film uses a lot of abbreviations that blur together for those not steeped in the shorthand.

The story begins in 1997 when Manoj is a teenager in Chambal. The area is known for its bandits, and the mayor runs the village on bribes and corruption. Newly transferred DSP Dushyant Singh (Priyanshu Chatterjee) arrests the school principal for encouraging students to cheat on their exams. Manoj is so inspired by the righteous DSP that he vows to study and become an IPS officer.

Even Manoj is surprised at just how labyrinthine the process to become an Indian civil servant is — and just how small the odds of success are. After passing high school, there are multiple exams: some multiple choice, some essay, including some in English. Students get four total attempts to pass the exams, and that’s it. If they pass their exams, they still have to clear a brutal final interview.

The process can take years to complete, which makes it hard for anyone who has to work while studying. Everyone who takes the tests pays for exam coaching, further weeding out many poor and working class applicants.

Manoj heads to the city of Gwailor to pursue coaching, only to be robbed before finding the coaching center shut down. He gets lucky when he meets Pritam Pandey (Anant V Joshi), another prospective student. Pritam’s family has money, so he takes Manoj with him to Delhi. The two stay friends even as Manoj works a series of low-wage jobs, studying into the wee hours of the night.

Writer-director Vidhu Vinod Chopra makes Pritam the narrator of Manoj’s story, which creates a distance between the audience and the main character. As the narrative proceeds, it becomes clear that the character Manoj portrays in the film is mostly a generic symbol of underprivileged test takers–and not an interesting character, himself. As Manoj’s lower caste friend Gauri (Anshumann Pushkar) says, “Even if one of us wins, the whole herd wins.” But if we don’t care about the one, it’s that much more difficult to be invested in the herd.

Despite featuring Manoj’s friends and eventual girlfriend Shraddha (Medha Shankar), it doesn’t feel like we get much insight into Manoj. He’s determination personified, but that’s about it. Massey’s performance in the lead role is solid.

In addition to the movie’s characterization issues, the studying and test-taking processes are shown in greater detail than is necessary, bogging down the pace.

The real Manoj’s accomplishments are inspirational, but 12th Fail itself is a bit dull.

Links

Movie Review: The Archies (2023)

2 Replies

2 Stars (out of 4)

Watch The Archies on Netflix

One of Netflix’s most highly anticipated Original films turned out to be one of its most underwhelming. Much of the hype leading up to the release of The Archies had to do with its cast of newcomers, some from prominent Bollywood families. None of them are at fault for the film’s problems, which are rather due to uncharacteristic missteps by the film’s writer-director, Zoya Akhtar.

Based on the Archie comic books, the movie takes place in 1964 in the fictional Anglo-Indian hill town of Riverdale, India. The story is centered around the town’s teenagers, including Archie (Agastya Nanda, Amitabh Bachchan’s grandson), his neighbor Betty (Khushi Kapoor, Sridevi’s daughter), her best friend Veronica (Suhana Khan, Shah Rukh Khan’s daughter), and their pals Reggie (Vedang Raina), Jughead (Mihir Ahuja), Ethel (Aditi Saigal, aka “Dot”), and Dilton (Yuvraj Menda).

There are various romantic entanglements and crushes within the group, the most chaotic of which is Archie’s fondness for both Betty and Veronica. Those complications get pushed aside when Veronica’s wealthy father Hal (Satyajit Sharma) pressures the town council to let him build a hotel in the middle of Green Park: a place important to Riverdale’s young people. Archie and friends get a quick education in political organizing and band together to save the park.

When the story focuses on the teens, it’s pretty entertaining, if mostly surface level. Mihir Ahuja as Jughead is the only one with prior acting experience, and his performance is the most assured. The rest of the young actors show promise, particularly Suhana Khan’s dancing and Khushi Kapoor’s attentiveness toward her fellow performers during scenes.

Things slow down when the adults get involved, sapping the dynamism from the film. The teens are absent from a lot of these scenes, shining a spotlight on their expository nature. Was there no better way to convey information than via grownups sitting around talking?

The slow periods stand out because The Archies is structured more like musical theater than a typical “Bollywood” movie. Many of the songs flow out of conversations and have lyrics that are literal rather than metaphorical. You can sense how scenes would physically transition from one to another were this to be turned into a stage musical. Even in this movie version, the scenes with adults talking need to feel just long enough to allow for a set change to happen in the background, and no longer.

Considering that The Archies is a musical, it’s unfortunate that its songs are so forgettable. “Sunoh” and “Va Va Voom” — the two tunes Netflix used in their promotions for the film — are the best of the lot. Instead of using an upbeat number during a rally for the park, Akhtar uses the ballad “Yeh Saari Aawazein.” Betty periodically sings some of her diary entries, but the performance style is too contemporary and feels out of place.

The disappointing quality of the songs is countered by novel, entertaining choreography. There’s something going on in every corner of the screen in the tune “Everything Is Politics.” “Dhishoom Dhishoom” is danced entirely on roller skates. On top of that, the film’s styling and costuming is top-notch.

Good elements like choreography and costume design can’t counterbalance the film’s structural issues and overall underwhelming vibe, unfortunately. Akhtar’s vision for The Archies is interesting, but the execution isn’t up to her usual high standards.

Links