Tag Archives: 3 Stars

Movie Review: Rocky Aur Rani Kii Prem Kahaani (2023)

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3 Stars (out of 4)

Watch Rocky Aur Rani Kii Prem Kahaani on Amazon Prime

Rocky Aur Rani Kii Prem Kahaani is an overwhelming sensory experience. Every frame is full of vibrant colors, dynamic visuals, and stirring music. A packed movie theater provides the ideal immersive experience for this kind of film. However, watching at home — as I did on a TV screen with an audience of two — it’s harder to ignore the things about Rocky Aur Rani that don’t work.

The performances by the all-star cast are firmly in the category of Things That Work. Ranveer Singh plays the titular Rocky, heir to a sweets company established by his stern grandmother Dhanalaxmi Randhawa (Jaya Bachchan) and run by his equally stern father Tijori (Aamir Bashir). Rocky is nothing like his buttoned-up progenitors, as in he prefers to wear his garishly patterned shirts mostly unbuttoned. He speaks mangled English as he drives around in his expensive sports cars.

Rocky dotes on his grandfather Kanwal (Dharmendra), who suffers from mobility and memory issues. When grandpa utters the name “Jamini” and points to a torn old photo of a woman, Rocky sets out to find her.

Jamini (Shabana Azmi) turns out to be a former flame Kanwal met at a poetry conference, after he was already married to Dhanalaxmi. Rocky meets Jamini’s granddaughter Rani (Alia Bhatt) — a quick-witted TV news anchor — who helps reunite the former lovers on the sly. Coordinating secret meetings between the older couple sparks romance between the younger couple, despite some big differences between them. Rani is as educated and driven as Rocky is not, but ultimately hotness trumps all.

As with every Karan Johar-directed picture, it’s all about loving your family, so Rocky and Rani agree to spend three months (!!!) living with their respective future-in-laws to see if the two clans can co-exist. (Apparently, the love affair between Rocky’s grandpa and Rani’s grandma is not a deal breaker.) Rocky moves in with Rani’s cultured, liberal Bengali family and is immediately clowned upon, and granny Dhanalaxmi freezes out Rani. Things look bleak for our sexy heroes.

The drama, laughs, and heartache in Rocky Aur Rani are punctuated with some grand and truly memorable musical numbers, like the catchy “What Jhumka?” and the visually stunning celebration “Dhindhora Baje Re.” In a funny twist, the only time Rocky ever dresses in a sophisticated manner is during the song “Tum Kya Mile,” when he’s a figment of Rani’s imagination while she’s on a work trip in Kashmir.

The performances overall are charming, with Bhatt again showing that she’s at the top of her game as Rani. Singh is careful to make Rocky a goofball but not an irritant, and it’s always clear that there’s a real person inside the flashy attire. Bachchan also makes the most of her role as mean grandma.

That leads to one of the things that didn’t work for me about Rocky Aur Rani. I’m not sure how an unsophisticated guy like Rocky comes from the family he does. Knowing that he will one day take over the family business, wouldn’t his dad and grandma have sent him overseas to get an MBA and made sure he behaved with perfect decorum? Other than shaming him for his love of dancing, they don’t seem to care what he does. Rocky and his family feel like they belong in two different movies.

I also struggled to nail down the movie’s moral point of view. Rocky Aur Rani makes no secret of when it’s moralizing, with poignant music cueing the audience to pay attention to the meaningful bits. But some of the messages come from strange angles, such as when Rani’s mom Anjali (Churni Ganguly) makes Rocky wear a bra in public in order to teach him gender equality. I have doubts about the lingerie store’s employees participating in an act deliberately meant to humiliate a patron.

Then there’s Rocky’s speech about making socially regressive missteps because he wasn’t taught not to. Singh’s delivery is heartfelt, but it’s strange to hear Rocky ask for leniency because he didn’t know it was rude to make fun of people for their skin color or weight. The whole thing feels like a aging white male standup comic in America lamenting that “you can’t say anything anymore” before ranting about “snowflakes.”

To reiterate what I stated at the start of this review, I think these plot issues may be less glaring when one is watching Rocky Aur Rani Kii Prem Kahaani in a theater on a giant screen with surround sound. Unfortunately, now that its theatrical run is over, the inconsistencies are more apparent.

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Movie Review: Afwaah (2023)

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3 Stars (out of 4)

A bystander’s good deed puts him in danger in the smart political thriller Afwaah (“Rumor“).

Politician Gyaan Singh runs the town of Sawalpur in Rajasthan. Singh’s daughter Nivi (Bhumi Pednekar) is engaged to her dad’s presumed successor, Vicky Bana (Sumeet Vyas), who has national political ambitions. Sawalpur has avoided inter-religious conflict thus far, but Vicky uses a scuffle at a rally in the Muslim part of town as an excuse for a show of force. His goons beat residents, and Vicky himself is captured on camera giving instructions to his lackey Chandan (Sharib Hashmi), who drags a Muslim butcher into a shuttered shop. The butcher is later found dead.

The melee is more than just a headache for the party. Nivi wants no part of Vicky’s violence, and she runs off while her father is in the hospital. Vicky sends his goons to track her down.

They catch Nivi in the town square right as advertising executive Rahab Ahmed (Nawazuddin Siddiqui) is passing through in his Range Rover. He’s on his way from his dad’s house in a village nearby to his wife’s book launch at an historic fort a couple of hours away. Rahab stops when he sees Vicky’s men grab Nivi, and soon the two are fleeing in his car with Vicky’s henchmen in pursuit.

Afwaah takes a comprehensive view of the way political power is exercised through violence and misinformation. When Vicky employs violence at the rally as a display of authority, he unleashes a force into the world that will grow and soon be out of his control. He doesn’t understand that, but Nivi and her dad do. With an army of eager thugs at his disposal and a police inspector Tomar (Sumit Kaul) on the payroll, Vicky thinks he’s untouchable.

That also makes him hypersensitive to being perceived as weak. Nivi’s flight looks bad for Vicky, as does video of him and his cronies harassing her and Rahab. That’s where misinformation comes in. Vicky’s communications guy proposes flipping the video’s narrative to make it appear as though Vicky was trying to save Nivi from being kidnapped by Rahab in an act of “#lovejihad.” Just like violence, Vicky sees bigotry as an expedient tool but doesn’t understand the danger it poses, even to him.

With such loaded themes to explore, Afwaah is very plot-dense. Add to that subplots about a botched assassination attempt on Chandan and Inspector Tomar’s romantic affair with a subordinate officer, and character development takes a backseat. Siddiqui and Pednekar give workmanlike performances, but the movie is more about getting Rahab and Nivi from Point A to Point B. The cast does the job that’s asked, even when that means letting the message command most of the spotlight.

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Movie Review: Faraaz (2022)

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3 Stars (out of 4)

Director Hansal Mehta’s engaging film Faraaz presents a straightforward depiction of the horrific terrorist attack on Holey Artisan Bakery in Dhaka, Bangladesh in 2016, with a special focus on one young man who exhibited moral courage in the face of grave danger.

Though it is inspired by a true event and based more specifically on the book Holey Artisan: A Journalistic Investigation by Nuruzzaman Labu, Mehta and his screenwriters acknowledge taking liberties with some of the details in crafting their narrative. This doesn’t discredit the story in any way, just clarifies why some of the details in the attack’s Wikipedia page don’t line up with the events in the film.

The film’s early scenes bounce between six young men as they prepare to head to Holey Artisan Bakery on a fateful July day. In one crowded apartment, five guys in their late teens and early twenties bicker over breakfast. Rajeev (Godaan Kumar) — an older man who is ostensibly in charge — chides the five for their immaturity before loading them into a school transport van and dropping them off near the bakery. It’s impossible to miss Mehta’s point that these guys are barely adults. Only when they slit the throat of a security guard does it confirm that they are terrorists.

In a mansion across town, Faraaz Hossein (Zahan Kapoor) and his mother Simeen (Juhi Babbar) argue over her insistence that he head to Stanford University for graduate school instead of starting his career in Dhaka. A filmmaker with less faith in his audience would have Faraaz storm out of the house after the argument, manufacturing emotions later when mother and son realize that their last conversation was a fight. In this version, mother and son makeup in the hallway on his way to join friends at the bakery. She tells him she wants him to be happy, and he says he’ll make her proud.

The siege of the bakery is terrifying and gory, with the five men from the apartment shooting patrons and employees who are obviously foreign first, then testing those who remain to identify and spare those who are Bangladeshi Muslims. Nibras (Aditya Rawal) leads the terrorists inside the bakery. (Their handler Rajeev is safely off-site, letting the young guys do his dirty work for him.)

Faraaz and Nibras recognize one another, having played football together while in university. This connection proves a useful distraction, as one of the women Faraaz is with is Hindu. She’s allowed to sit with him and their other friend without having to pass the religious test.

Mehta is not exactly sympathetic to the local police who try to mount a response to the hostage situation. They’re portrayed as overly aggressive despite their lack of protective gear and information about things as simple as the layout of the bakery.The SWAT team that eventually arrives is similarly ineffective.

As the police fumble their response on the outside, tension builds in the bakery because no one understands what the terrorists want. They don’t make any demands or offer any conditions for the hostages’ release. Everyone is forced to sit and wait, with no end in sight. Faraaz’s mother discovers that her political connections can’t help when her son is trapped by people for whom violence is the only point.

The choice to make Faraaz the title character is interesting. He’s not superhero material, and Kapoor spends most of his performance looking like he’s on the verge of tears. But Faraaz is loyal, brave, and protective of his friends. He demonstrates a kind of low-key heroism that all of us can hope to emulate.

While effective at recreating the events of the attack, Faraaz is almost too subtle in its execution. It lacks a strong narrative point of view, relying on the circumstances to keep the audience invested in the characters. The performances and cinematography are competent. Mehta’s trust in his audience to understand why the story is important is commendable, but his approach makes the film feel overly educational.

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Movie Review: Tu Jhoothi Main Makkaar (2023)

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3 Stars (out of 4)

I’m skeptical about any Luv Ranjan project. The filmmaker owes his career to the unfortunate box office success of sexist comedies like 2015’s deplorable Pyaar Ka Punchnama 2. So I was pleasantly surprised by how much I enjoyed Tu Jhoothi Main Makkaar.

Ranjan’s objective with Tu Jhoothi Main Makkar (TJMM, henceforth) is simple: show sexy people having a good time in exotic locations accompanied by a catchy soundtrack with some big dance numbers. To that end, it’s mission accomplished.

Ranbir Kapoor plays Mickey Arora, son of a wealthy, tight-knit family. In addition to helping run one of the family’s businesses — how his periodic strolling through an auto showroom helps is anyone’s guess — Mickey runs a secret side operation orchestrating breakups. He and his buddy Manu (Anubhav Singh Bassi) stage elaborate schemes on behalf of lovers who want to ditch their partners with minimal hard feelings or reputational damage.

While accompanying Manu on a trip to Spain to celebrate his engagement to Kinchi (Monica Chaudhary), Mickey falls for Kinchi’s gorgeous best friend Tinni (Shraddha Kapoor). Despite her reservations about dating a guy who’s never had to work for a boss who isn’t also his dad, Tinni and Mickey grow closer while frolicking in swimwear and cavorting about town. Both Kapoors look incredibly fit in this film, and their dance numbers are a lot of fun.

Mickey and Tinni return to Delhi and make things official, first by introducing Tinni to Mickey’s family. The Arora’s have no chill and quickly monopolize all of the couple’s time. This isn’t a problem for Mickey, but it is for Tinni. She places a call to the breakup expert — who uses a modulator to disguise his voice — and asks for help ending her relationship with Mickey.

Only in the movies would Mickey not immediately recognize his own girlfriend’s voice. More movie cliches follow once Mickey figures things out, including his professional instructions for Tinni to make Mickey jealous with a fake ex-boyfriend and to try to make Mickey cheat with her fake beautiful friend. (The fake ex and the fake friend are played by Kartik Aaryan and Nushrratt Bharuccha, respectively, who both starred in Pyaar Ka Punchnama 2).

Much of the conflict in TJMM could have been avoided had the characters simply talked to one another, but at least they are motivated by doing what they believe the other one wants. That fits with Mickey’s business ethos of trying to minimize the emotional fallout from breakups, but the couple is slow to realize that they are really only punishing themselves by not addressing their issues directly. The film is thoughtful about the way the borders of a romantic relationship extend out to encompass the families of the two people involved.

That said, TJMM is inherently conservative and too centered on Mickey. We see details of Tinni’s life only as they relate to Mickey. His family gets ample screentime, but we only get brief glimpses of Tinni’s family. While the two male friends regularly talk about their romantic relationships with one another, Tinni and Kinchi never do.

In the course of running his breakup business, Mickey spouts off a bunch of simplistic maxims about the behavior patterns of men and women that sound old-fashioned and a bit sexist. There’s also a moment where Mickey vows to get revenge on Tinni for lying to him — an unfortunate callback to the cruel revenge plots that make up the second half of Pyaar Ka Punchnama 2.

Yet despite it faults, TJMM mostly has its heart in the right place. The characters really do try to do right by one another, even when their efforts are misguided. And the film hits all the right notes for the kind of upbeat, escapist fantasy it aspires to be.

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TV Series Review: Citadel (2023)

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3 Stars (out of 4)

This review covers the first two episodes of the Amazon Prime series Citadel.

Amazon’s newest spy series Citadel is fun and totally watchable, thanks to a great cast and a fun, high-concept plot setup.

Citadel is the name of an international spy organization that works for the global good, independent of any single nation. Their efforts are thwarted by an evil spy ring called Manticore that has its tendrils in governments around the world.

Citadel agents Nadia Sinh (Priyanka Chopra Jonas) and Mason Kane (Richard Madden) — who was destined from birth to be a spy with a name like that — are doing reconnaissance on a train in Italy when they realize they’ve been set up. Manticore blows up the train as part of a coordinated worldwide effort to destroy Citadel once and for all.

Mason survives but has total amnesia, except for visions of a beautiful woman in a red dress: Nadia, wearing the outfit she was wearing on the train. His American passport has an alias, so he doesn’t even know his real name.

Eight years later, Mason has a wife and a daughter, but he’s still troubled by the void of information from his past. When he sends a DNA sample to an ancestry company, it alerts one of Citadel’s surviving operators, Bernard Orlick (Stanley Tucci), who tracks down the missing agent and upends his life.

Of course, Nadia survived the train explosion as well, but she doesn’t play a major part again until Episode 2.

The series does a nice job balancing its action, drama, and humor. Tucci’s role is dryly comical and everything one would hope from from Stanley Tucci, The Spy. Madden does a lot of the heavy lifting in the first episode, and he does a very solid job.

From what I’ve seen of Chopra Jonas’s forays in Hollywood to date, they haven’t fully captured what a good actor she is. Citadel does. She gets to showcase a wide emotional range and an impressive set of fighting skills, demonstrating why she is a global star.

The series — which is intended to eventually spin off into global versions set in India, Italy, Spain, and Mexico in languages native to each country — does enough in its early episodes to set up a compelling first season. Bernard gets Mason up to speed while forcing him to resurrect his old career, thereby uncovering the remaining threats to Citadel, its personnel, and the world. It’s a fun setup that balances the personal consequences for the agents with wider, more nebulous dangers that hooked me right away.

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Movie Review: Pathaan (2023)

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3 Stars (out of 4)

This is a review of the Extended Edition of Pathaan playing on Amazon Prime

Pathaan delivers exactly what you’d expect from a blockbuster action entertainer starring Shah Rukh Khan as a super spy. The newest entry into the Yash Raj Films “Spy Universe” of pictures — which also includes Ek Tha Tiger, its sequel, and War — features Khan as the title character. He goes by a nickname given to him by Afghani villagers he saved from a missile decades earlier when he was simply a soldier, before he started working in intelligence.

Pathaan founded a special sub-unit within RAW consisting of fellow soldiers previously deemed too damaged emotionally or physically to continue working in the armed forces. With a renewed sense of purpose, the members of the JOCR (pronounced “joker”) unit embark upon India’s most dangerous covert missions.

JOCR’s main enemy is Jim (John Abraham), the former partner of Hrithik Roshan’s character Kabir in War. After being betrayed by the Indian government, Jim commands a team of mercenaries contracted by a Pakistani general to retaliate against India for revoking Kashmir’s special status. Jim is more than happy for the chance to get his revenge.

In a movie that is blatantly patriotic, Jim’s status as a former Indian soldier and spy makes him a more compelling villain than if he was just a random foreign adversary with a grudge. Jim forces Pathaan to consider whether the country that he loves really loves him back and raises the question as to what a nation owes its soldiers in return for their sacrifice. It’s a thoughtful counterpoint to the many blindly patriotic films released these days.

It helps that John Abraham plays Jim as a fun and charismatic villain.

During Pathaan’s quest to stop Jim’s dastardly plan, he is both helped and hindered by Rubia (Deepika Padukone), a Pakistani agent working undercover as one of Jim’s lackeys. For evidence that Pathaan is not a movie grounded in gritty realism, one need look no further than Rubia’s spy wardrobe, which consists mostly of bustiers and swimwear. Even her flight suit shows cleavage.

Pathaan‘s periodically goofy tone requires a certain amount of buy-in, but this is a movie made for an audience already fond of its leading man. Instead of simply saying, “Ow,” when he’s punched, Pathaan whines “Ow ow ow,” evoking memories of some of the less macho heroes Khan has played in the past. You’re never not aware that you are watching Shah Rukh Khan, but that’s part of the fun.

In terms of action, Pathaan is at its best during scenes of close-quarters fighting, as when Pathaan is introduced or when he’s aided by a special guest while on a prison transport train. The larger scale set pieces — which involve innumerable helicopters — are not as impressive, but that’s less of a commentary on their quality but a factor of CGI-fatigue. Even the most novel computer-generated sequences look like the weightless, manufactured stunts they are at this point (and that goes for most Hollywood action blockbusters as well).

Since suspension of disbelief is such a big part of Pathaan, it’s best just to enjoy the film for what it is. The cast looks hot, the dance sequences are sexy, and good triumphs over evil — not a bad way to spend a couple of hours.

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Movie Review: Gulmohar (2023)

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3 Stars (out of 4)

Watch Gulmohar on Hulu

As the members of the tight-knit Batra family prepare to go their separate ways, secrets threaten to create an irreparable rift. Strong performances and sensitive writing make Gulmohar a touching family drama.

Gulmohar is the name of the family’s Delhi estate built 34 years ago by Prabhakar Batra, the deceased head of the family. His widow Kusum (Sharmila Tagore) is selling the house and announces at a farewell party her intention to move to Pondicherry by herself. Her son Arun (Manoj Bajpayee) and his wife Indu (Simran) bought a large, new penthouse apartment assuming the whole family would continue to live together, but their son Adi (Suraj Sharma) and his wife Divya (Kaveri Seth) are looking for their own place, too.

Arun is not coping well with these changes. His father built their house as a symbol of family togetherness, and Arun idolized his dad. Arun’s discovery that not everyone had the same future plans as he did rattles him.

There are more secrets simmering under the surface of the Batra clan, none more shocking than the contents of a will dictated by Prabhakar that Kusum had kept hidden. But the root of the family’s problems is a tendency not to talk to one another, not just about troubles but about positive feelings as well. For example, Adi is convinced that he’s a disappointment to his father, and everyone tells him that’s not true — except for Arun.

Though the drama comes from all of the things that are going wrong for the Batra family, the movie is really about all of the things that they do right. Kusum’s belief in personal freedom and open-mindedness instills in all of the Batras a desire to chase unconventional dreams and love freely, safe in the knowledge that their family will always be there to support them. The family dynamic enables writer-director Rahul V. Chittella to weave LGBTQ subplots into the story.

Chittella’s screenplay is well-constructed. I re-watched the first five minutes of the film, and it’s impressive how many of the seeds of future conflicts are planted in that short span of time and how subtly it’s done. The opening scene is a large family party that introduces the major characters, and information is dispensed through snippets of conversations and even via the way people move throughout the house. It feels very natural, and only upon revisiting it did I realize how much work the scene was doing.

The whole cast is terrific, and all of the actors play off each other beautifully. Bajpayee and Simran are especially delightful as a married couple. The soundtrack is wonderful, with “Woh Ghar” being the standout track.

If there’s any complaint about Gulmohar, it’s that it could have looked more polished. The edges of shots are often blurry, giving frames a distracting, almost fish-eye effect. Still, that’s a minor knock against a movie that does a nice job of being what it wants to be: nice.

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Movie Review: Qala (2022)

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3 Stars (out of 4)

Watch Qala on Netflix

Writer-director Anvitaa Dutt makes must-see movies. First with 2020’s Bulbbul and now with her second feature film Qala, Dutt has shown an immaculate attention to visual detail and the ability to create lush color palettes that Sherwin-Williams would envy.

As in Bulbbul, Qala finds Triptii Dimri playing another naive young woman trapped in a gloomy mansion with someone who wishes her ill. Qala‘s story, however, lacks the depth and layers that made Bulbbul so memorable.

Qala (Dimri) is the only child of Urmila Manjushree (Swastika Mukherjee), a famous singer who is the widow of an even more renowned musician that died before his daughter’s birth. Qala had a twin brother who did not survive, with the doctor noting that sometimes the stronger of the two fetuses will take the nutrients meant for the other. Urmila spends the rest of Qala’s life punishing the girl for this.

The movie opens with Qala at the height of her fame. She’s the most popular singer in the burgeoning Calcutta movie industry in the 1930s, and she’s just earned her first gold record. She lives in a gorgeous art nouveau home from which she grants interviews to a room full of reporters clad in sage green suits. But her achievements still aren’t enough to win her distant mother’s approval.

Through flashbacks, we learn that music isn’t Qala’s passion, but something she does because her mother demands it. That changes when Urmila meets Jagan (Babil Khan, Irrfan’s son in his film debut), a self-taught singer who has no family of his own. Urmila immediately adopts him, hoping to make him into the most popular movie singer in Calcutta. She predicts that one day he’ll earn a gold record. Urmila stops instructing Qala in music and instead tries to find her a husband.

Urmila’s emotional abuse takes its toll on Qala, who has elaborate hallucinations that are interesting to look at but do little to inform her character. Beyond Qala’s psychological damage, there’s little to her personality, almost like she only exists in the scenes we see in the movie. Of course the extent of her mother’s control is extreme, but for Qala to be as devoid of desire or social awareness as she is strains credulity. She’s shown reading in one sequence. However, the point is not to show books as Qala’s window into the outside world, but instead for the audience to notice the symbolism of the title she’s reading.

Dutt is heavy-handed with her metaphors, especially during Qala’s hallucinations and one particular shot of a gargoyle (if you know, you know). Qala‘s message isn’t so subtle that it needs such obvious symbolism. There’s a theme about Qala using her fame to promote women in an industry that relies on women’s involvement on- and off-screen while simultaneously shaming them for it, but it’s only surface level. The film has no subplots.

Still, a period movie set in the worlds of classical and film music and directed by a filmmaker with such a distinct visual style is meant to be watched for more than just its story and characters. In addition to the stunning lighting, filters, costumes, and interiors, the beautiful songs by Amit Trivedi and background score by Sagar Desai demand constant attention from the viewer. Even with its flaws, Qala is an unforgettable sensory experience.

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Movie Review: Four Samosas (2022)

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3 Stars (out of 4)

Rent or buy Four Samosas at Amazon

Four aimless friends in Los Angeles’s Little India neighborhood rob a grocery store in the goofy heist movie Four Samosas. A well-established sense of place and likeable characters make this indie comedy a delight to watch.

Life came to a standstill for Vinny (Venk Potula) when his girlfriend Rina (Summer Bishil) broke up with him. That was three years ago. He works in a sari shop, still wearing his old gym uniform from middle school. His confidence is so low that he won’t share his rap lyrics with anyone but his younger cousin and biggest fan, Nikki (Maya Kapoor).

When he finds out that Rina is engaged to a manure salesman from India named Sanjay (Karan Soni), Vinny comes up with a plan: steal the diamonds that are set aside to pay for Rina’s wedding. See, Rina’s dad (played by Tony Mirrcandani) is one of the neighborhood big shots. He owns a grocery store, which makes him rich — at least by comparison to Vinny and his friends.

Vinny gathers a crew of oddballs to help him steal the diamonds from the grocery store safe, tailoring his reasons for the theft to the person. He appeals to his wannabe actor buddy Zak (Nirvan Patnaik) out of friendship. He convinces the “under-over-achiever” Anjali (Sharmita Bhattacharya) that some of the money will go to charity (although she’s really just interested in spending time with her crush, Zak). Finally, there’s Paru (Sonal Shah) — a “malcontent engineer” who’s eager to wreak havoc while she waits in endless limbo for her green card.

The world in Four Samosas is tiny, no bigger than the neighborhood where the characters work and live. It’s the reason why Vinny can convince himself that stealing from Rina’s dad will help him achieve whatever it is he thinks it will achieve. It also makes the obstacles to the plan very local and small potatoes, from neighbors putting on a play about King Ashoka to another group of slackers petitioning to build an independent South Asian state on an empty piece of land near the railroad tracks.

Even if it’s not strictly realistic, Four Samosas feels authentic. The character growth driving the whole story — Vinny needs to either confess his love to Rina or move on — is modest enough to suit the setting.

The real treats in Four Samosas are the performances. Everyone understands the assignment and executes, but there are a few standouts. Maya Kapoor’s shouty, pizza-centric rap audition as Cousin Nikki is bonkers. Samrat Chakrabarti has an amazing cameo in a double role as Sunny and Salim: characters from a fictitious movie about twin brothers separated at birth who avenge their mother’s death.

But the absolute star of Four Samosas is Sharmita Bhattacharya. She is hysterical as Anjali, and every line is delivered for maximum laughs. The movie is very good, but she’s simply fantastic.

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Movie Review: Brahmāstra Part One – Shiva (2022)

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3 Stars (out of 4)

There’s a reason why you don’t use the phrase “first annual” to describe an event: you can’t guarantee the “second annual” event will actually happen. Writer-director Ayan Mukerji put extra pressure on himself when he titled the first film in his ambitious planned superhero trilogy Brahmāstra Part One – Shiva. Fortunately, Brahmāstra Part One is a solid foundation for future films in the franchise.

The movie opens with the establishment of the story’s foundational lore. Centuries ago, a group of sages received powerful weapons called astras, the most powerful of which is the Brahmāstra. The sages named their order the Brahmānsh, using their powers to protect humanity, keep the Brahmāstra from spinning out of control and destroying the world, and passing their powers down across the generations.

The powers themselves are pretty cool. One member of the Brahmānsh has the strength of a thousand bulls, another the agility of a monkey, and one can shoot snakes as arrows. It’s not totally clear how the powers are inherited, though. Some powers are explicitly tied to physical artifacts like bracelets, while others seem to transfer genetically and don’t require a sacred object. The first film in a planned series is the place to make those rules crystal clear.

In the present day, orphaned disc jockey Shiva (Ranbir Kapoor) is struck by a confluence of life-changing events in a temple during Durga Puja. He has visions of a scientist (Shah Rukh Khan, in a movie-stealing cameo) being tortured by three people with strange powers. He also sees a beautiful woman, Isha (Alia Bhatt), with whom he falls instantly in love.

As Isha and Shiva get to know one another, he has more visions in which the scientist reveals that an artist named Anish (Nagarjuna Akkineni) is in danger from the three strangers, and that the location of an ashram must be protected at all costs. Isha corroborates details of Shiva’s visions, and the two head out to warn Anish.

There they encounter the mysterious strangers, each wearing a piece of rock that emits a sinister red glow. Their beautiful, terrifying leader Junoon (Mouni Roy) wants to ignite the Brahmāstra’s full power and resurrect an entity called Dev. A battle ensues, but Shiva and Isha are able to reach the ashram.

The ashram is run by Raghu (Amitabh Bachchan), leader of the Brahmānsh and tutor for all astra wielders. He promises to explain Shiva’s visions and his strange connection to fire to him — and even tell him about his parents — but only if Shiva agrees to stay and send Isha back to the city.

Brahmāstra Part One employs a lot of superhero origin story tropes, right down to the main character being an orphan (a 30-year-old one at that). Character development isn’t high on Mukerji’s priority list, at least not in this phase of his saga.

Dialogue also isn’t a main priority, as much of what the characters utter is matter-of-fact or utilitarian. It’s also repetitive, as Isha says Shiva’s name fully 83 times, by one Reddit user’s count. It might even be more than that in the streaming video version, as Mukerji added some scenes to better establish the central romantic subplot.

Mukerji’s main focus in this first film is in establishing a visual language for the series. What he creates is stunning. Each scene is perfectly lit to focus the audience’s attention or set the emotional tone. Characters sport wardrobes in eye-catching hues. Best of all are the gorgeous ways the astras manifest, as collections of ethereal sprites of varying colors, depending on who wields them. Battles are vibrant as opposing magical forces clash, eschewing grittiness in favor of pure fantasy.

The scale of the film’s fight sequences feels appropriate. Battles are fought in enclosed spaces or in remote areas away from prying eyes, which makes sense, since the existence of the astras is supposed to be a secret. This approach provides a welcome respite from the tiresome city-wide destruction used in every Marvel film.

Brahmāstra Part One‘s sensory appeal is enhanced by an excellent soundtrack, written by Pritam and sung beautifully by Arijit Singh. The memorable songs come to life when performed by Ranbir Kapoor, who dances with a spontaneity that belies the hours of training that went into creating each song sequence.

Superhero origin stories have a formula for a reason, so Brahmāstra Part One – Shiva gets a pass for the elements that feel a little generic. Mukerji was smart to zero in on the aspects that set his film apart, including a distinctive look and approach to special effects that can enhance the array of possible superpowers yet to be introduced. I’m looking forward to Brahmāstra Part Two.

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