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Sherlock Toms Movie Review

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Sherlock Toms, the Biju Menon starrer has hit the theatres today. The movie has been directed by hit film-maker Shafi and it is for the first time that Biju Menon is appearing as the solo lead in a Shafi movie.Biju Menon has had a good year so far with his film Rakshadhikari Baiju earning a huge fan following. At the same time, Shafi is back after the huge success of Two Countries. So, the expectations would definitely be high on Sherlock Toms. Has the movie hit the right chords? Keep reading Sherlock Toms review to know more about the same.

Synopsis

Sherlock Toms narrates the story of Thomas aka Sherlock Toms, who has been an avid fan of the stories of Sherlock Holmes, since childhood. He aims to become an IPS officer but lands up as an IRS official. Later, he gets a transfer to the enforcement wing and certain interesting events unfold. Sherlock Toms takes the audiences through this entertaining ride.

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Bollywood News

‘Race 3’: A Glamorous Disgrace (Film Review)

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'Race 3': A Glamorous Disgrace (Film Review)

Film: “Race 3”; Starring Salman Khan, Anil Kapoor, Bobby Deol, Jacqueline Fernandez, Saqib Saleem, Daisy Shah; Director: Remo D’Souza; Rating: ** (two stars)

'Race 3': A Glamorous Disgrace (Film Review)

By the time, Salman Khan ripped off his short and Bobby Deol followed suit, I was ready to rip off my hair in exasperation. This maddening mishmash of hot babes and cool guys (including Anil Kapoor who lets his beard grow grey and his accent falter from Angrezi to Bhojpuri, all for a cause) is a roaring grunting mess of a movie.

Trashy beyond endurance, loud beyond the threshold of tolerance and outrageous beyond all definitions of lowbrow entertainment, “Race 3” gives a bad name to the Salman Khan brand. Just when we though he was trying to build a more durable variety of mass entertainment by reinventing himself in “Bajrangi Bhaijan”, “Sultan” and the unfortunate “Tubelight”, “Race 3” comes along to remind us with infuriating aggressiveness, that when it comes to Salman, there is a very thin line between rationale and absurdity.

He skips, jumps and crosses over into the kingdom of crassness with such daring impunity that you wonder what lies ahead in store for this hero of the masses who it seems, has decided to abandon all efforts to give a performance. Here in “Race 3”, Salman is so indifferent and openly bored by the bustling balderdash, he makes no effort to make sense of the tangled mess of a plot.

Sensible decision. I tried to understand what was going on, and failed. The migraine-inducing plot begins with Anil Kapoor striding insouciantly across the screen in a panther-line pantomime of machismo. This, I soon realized, is the brief given to all the actors by director Remo d’Souza. Everyone is required to stride purposefully across the wide-screen, pretending to look like they are on to something that could change the way we look at cinema.

Anil Kapoor plays an arms dealer. We are supposed to applaud his enterprising spirit. Everybody is doing hugely illegal stuff throughout the length and breadth of the perversely panoramic plot which wastefully traverses several countries including China and Cambodia (why Cambodia, if not to create touristic awareness among the Salmaniacs?).

There are ‘heroes’ blackmailing politicians in a sex scandal, heroines running away with millions of dollars that don’t belong to them, that is, when they are not fighting each other on what looks like the dance floor.

'Race 3': A Glamorous Disgrace (Film Review)

While every character is a bit of joke dressed up in self-important colours that fool nobody except the team behind this dim-witted atrocity, Anil Kapoor’s twin children Sanjana and Suraj, played by Daisy Shah and Saqib Saleem, take the cake. They call each other ‘Bro’ and spend most of the time partying and smirking about their Sikandar Bhaiyya who is such a do-gooder, he could kill us with his kindness if only he knew how to.

Salman’s Sikandar act is a feat of supreme somnambulism. He has plenty of action to perform. In fact his introduction shows him jumping off a steep skyscraper – blessedly with a parachute for company – and dropping straight into a villain’s den where the aforementioned Sanjana-Suraj siblings are shooting blanks with a harvest expressions that try to compensate for the blankness of the bullets.

Everyone hams, except Salman. He is too bored to ham.

Throughout the film, the characters keep changing sides from good to bad, as if the scriptwriters had decided to free the characters from all responsibilities of self-discipline. Yup, it’s a free for all in “Race 3”.

A very costly and disturbing anarchy rules the plot of this jejune actioner. Why are producers with the power to pump up puerility, being allowed to spend so much money on a film that makes no sense, even on a trashy level?

Expensive cars are blown up, lavish parties are thrown, adversaries are snuffed, and the characters behave as if blackmailing politicians for their sexual indiscretion is somehow right when it comes to Salman Khan. Morality is not the only casualty in this head-banger of a movie where every character suffers from a flamboyant fatigue.

This would have been a hugely entertaining film if it were a comedy. Alas, these people are serious about their commitment to ersatz mayhem.

Heavens help the cult of Salman worshippers. “Race 3” is a heretical anomaly.

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‘Jurassic World: Fallen Kingdom’: The latest is the best Dino film ever

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Jurassic World: Fallen Kingdom

Film: “Jurassic World: Fallen Kingdom”; Director: J.A. Bayona; Cast: Chris Patt, Bryce Dallas Howard; Rating: *** 1/2 (3 and a half stars)
Jurassic World: Fallen Kingdom

First things first. The fifth Jurassic film is the finest yet. Insanely outrageously entertaining, relentlessly absorbing, constantly searching for that middle ground that connects Man and Beast, sometimes the Beast being so close to Man, they could be the one and the same.

The superbly-scripted, handsomely-shot film flogs the formula of Man & Beast in collaboration and combat, without any sign of fatigue. We have seen all of this before “the urge to preserve wildlife and its plunder by avaricious ruthless businessmen” umpteen times.

Director Juan Antonia Garcia Bayona tears through the tedium of the trite plot to pull out an elemental, heart-warming tale where the recognizable cliched tropes sing and dance in a merry mix of exotic locations and gripping action.

Straightaway, we can declare the action in “Jurassic World..” to be so tightly wound and so ceaselessly gripping that we are often reminded of what edge-of-the-seat entertainment once meant. The “..Fallen Kingdom” celebrates the lost pleasures of primeval entertainment where fear often combines with humour in an unexpected marriage of mirth and melancholy.

Often I felt I was going back into the world of Steven Spielberg’s “Jaws” as those over-sized dinosaurs bit into human flesh gobbling up the entire frame without a burp. Gruesome but gloriously trippy, this is where gore never becomes a bore. The chase sequence where our core-heroes run to save the dinos from destruction while saving their own lives, are sheer heart-in-the-mouth stuff.

The writing is predictable, but legible and lucid. Every moment has a relevance to the plot. Nothing is random. The tensions are all pre-ordained and yet gripping. There is no beating around the bush the way the new Lara Croft film meandered through the lush greenery in search of a plot. “Jurassic World..” knows exactly what it is doing. There is no attempt to hide the entertainment value or garb the relentless thrills in high-falutin pseudo-philosophy as seen in “The Avengers” or “Blade Runner”, films which cloaked the primeval pleasure of taking the audience for a ride with self-important jargon.

Jurassic World: Fallen Kingdom

This film saves not just a dying near-extinct species. It also saves the wildlife-preservation genre from complete collapse. Chris Patt is the kind of charismatic actor who can amuse us even when the script is not into laughter. Together Chris and Bryce Dallas Howard make a watchable couple who redeem not just their characters’ mutual affection but also the sheer pedestrianism of the goings-on by just being ahead of expectations.

Cleverly, the Spanish director (known for his dark deep horror films) plunges the plot into two different stratospheres. The first-quarter unfolds on a panoramic volcanic island which explodes into a thousand embers of extinct humanity. The sight is a spectacle of ruination.

The later portions set in a fairytale mansion replete with a dying millionaire (James Cromwell), his darling little grand-daughter (Isabella Sermon), her stern but caring nanny(Geraldine Chaplin) and a villainous trusted employee (Rafe Spall) who wants to regenerate the dinosaurs as global weaponry.

It is all done in a tone of incredulity inviting us into its fold with a ferocious flamboyance which is never guilty of taking itself too seriously. This is a hugely-entertaining franchise-mongering project where we are not allowed to lose interest even for a moment.

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Kollywood News

‘Kaala’: Realistic guide to dirty side of slum redevelopment (PrimeTime Review, Rating: ***)

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kaala

Film: “Kaala”; Director: Pa.Ranjith; Cast: Rajinikanth, Huma Qureshi, Easwari Rao, Nana Patekar, Pankaj Tripathi and Anjali Patil; Rating: ***

kaala

Pa. Ranjith’s “Kaala”, showcased in Hindi, Tamil and Telugu, is a captivating socio-drama. It is a family-friendly tale with all the trappings of a South Indian fare. It is a superhero film of a different variety.

The film begins on a weak, unimpressive note that represents comic book graphics, but soon, it builds the momentum that is expected of a Rajinikanth film. It is a pot-boiler packed with Rajinikanth antics, albeit in diminishing proportion.

Nevertheless, it would appeal not only to his ardent fans and sceptical viewers, but also to every “urban-poor” living in the slums of the city.

A fiction, set in Dharavi — Asia’s largest slum in Mumbai — the film cheerfully exposes the anguish of the “urban-poor” migrants living in the slums of the city.

It is their struggle against the land grabbers who are trying to exploit them in the garb of government schemes and city redevelopment.

The film is uncomfortable but convincing, illuminating the inconvenient sides of the development.

Haridada (Nana Patekar), a goon who has been elevated to the post of a Union Minister, along with his cronies is hell-bent on usurping Dharavi. With the help of his supporter Vishubhai (Sampath Raj) he tries to evacuate the people from there. How, Karikaalan (Rajinikanth) aka Kaala, a migrant from Tirunelveli, becomes a spike in Haridada’s plans, forms the crux of the tale.

The narrative keeps you hooked – wondering how far Kaala will go or how he will get out of his troubles.

The plot has its graph chalked to perfection, despite major edit jump-cuts. There is never a moment that drags. The dialogues are peppy with the right amount of humour, emotions and melodrama.

With age, Rajinikanth has mellowed, he plays his age and perfectly portrays the comical aspects of a petty gangster with all pride but no substance.

His action scenes definitely seem laboured. But fortunately for him since the director focused his energies on the tale and not on him, he was spared the embarrassment of performance.

kaala

Nana Patekar as the uncompromising and ambitious Haridada stands tall as he matches Rajinikanth in stature and demeanour. But then, this is not his story about his bumpy quest for more power and money.

Huma Qureshi as Zarina, the head of an NGO interested in uplifting the slum, Easwari Rao as Kaala’s wife Selvi, Anjali Patil as Charumati aka Toofani as an aggressive resident of the area and the girlfriend of Kaala’s son Lenin, are earnest.

The trio balance the gender scale with each one of them having their moments of on-screen glory.

Mounted with grand production values, the set showcasing Dharavi appears to be a synthetic and antiseptic place.

It is difficult to identify with it, minus the squalor.

The music that accompanies the action sequences is loud and adrenaline inducing. The songs, especially the rap numbers along with the hip-hop dance, mesh well into the narrative.

Overall, the film with the title which is used as a double entendre, is entertaining as a realistic guide to the dirty side of slum redevelopment.

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