Raayan (2024)

 Raayan (2024)

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Director: Dhanush

Writer: Dhanush

Stars: Dhanush , S.J. Suryah, Prakash Raj

Raayan Full Review:
As with his debut directorial effort, Pa. Pandi, Dhanush shows yet again that he can do solid work behind the camera as well. The world he explores this time is far removed from the warm, feel-good world of his first film. Raayan has a raw and rage-filled setting, and is populated by characters who are rugged, violent, deceptive and also vulnerable.




Raayan begins in the past when four siblings - three brothers and their new-born sister - fleeing their village and ending up in the city, where they, fortunately, end up under the care of Sekar (Selvaraghavan), a handyman in a vegetable market. The film then cuts to the present where we see that the four have grown up into individuals with distinctive characteristics. The youngest brother Manickam (Kalidas Jayaram) is a college student, filled with righteousness. His elder brother Muthu (Sundeep Kishan) is rash and rage-filled. The eldest, Raayan (Dhanush) is the responsible one, and more like a father-figure. It's their love for their sister Durga (Dushara Vijayan) that's holding them all together, and as Raayan puts it, only seeing her wedded and with a child would truly make them a family.




But even as he tries to get her wedded, due to circumstances, he finds himself caught up between a power struggle between Sethu (SJ Suryah) and Durai (Saravanan), two gangsters with a history between them, who control the locality. Meanwhile, there is also the new cop in town (Prakash Raj), who is silently stirring up things between them so that he can clean up the city in the eventual clash that would ensue.

Agent (2023)

 

Agent (2023) Hindi Dubbed

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Director: Surender Reddy

Writer: Vakkantham Vamsi

Stars: Akhil akkineni, Mammootty, Sakshi Vaidya

Agent full Review:

Agent is ‘wild’. The lead character carries a certain ‘wildness’ within him. He’s just wild. W-I-L-D. I need you to register that he’s wild because, in Agent, the word ‘wild’ features some 37 times, ‘wildness’ a dozen times, and everybody including the hero’s mentor, girlfriend and the villain calls him ‘wild saala.’ Now, whatever you picture this lead character to be like, Akhil Akkineni will surpass that with his portrayal of the vexingly unidimensional Ramakrishna a.k.a Ricky, who comes across as a man-child struggling to come out of childhood spy fantasies; everything he does has a dash of explosive energy that’s pushed just enough to make the whole affair very annoying.

An ethical hacker operating on his own, Ricky hacks the system of Mahadev (Mammootty), the cold-blooded Chief of RAW who is nicknamed ‘The Devil’. When reprimanded, Ricky says he did it to impress Mahadev and to get himself recruited as a RAW agent since the agency rejected him thrice — those two interviewers who rejected him might be the only smart people in this universe.

Kakli 2898 AD (2024)

 Kakli 2898 AD (2024) 

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Director: Nag Ashwin

Writer: Nag Ashwin

Stars: Prabhas, Amitabh Bachchan, Kamal Haasan

Kalki 2898 AD Full Review:

A couple of things wrestled for front-of-cortex space while I was watching ‘Kalki 2898 AD’: this Telugu language sci-fi film, set in, what else, 2898 AD, is the first comprehensive pan-Indian film. The trend which has been gathering force in the last few years has resulted in a cast which is drawn, literally, from all the major filmmaking centres in India, straddling Bengal and Kerala, and everything in between.
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And the other was just how hard it is for Indian tent poles to have a screenplay which is tight and gripping all the way through. I can’t remember a recent film of this staggering size and scale, mounted with such ambition, being such a plod to begin with.
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Pre-interval, Kalki, which happily borrows its aesthetics from all kinds of futuristic films (with flashes of Mad Max, Game of Thrones, Star Wars, Lord of The Rings, and even, yes, a glimpse of the godawful Adipurush, and, of course, the Bahubali-RRR slate, showing major indebtedness to the Amar Chitra Katha universe) meanders, stops and starts, remembers that it needs to bung in a set piece here and a set piece there, and then slumps back again. Oh, and how did I forget Bladerunner, and Dune in terms of influences? The latter is an ‘inspiration’ for the film’s posters, in both image and font. Hard to believe? Check it out for yourself.

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DeadPool and Wolverine (2024)

 

DeadPool and Wolverine (2024) Hindi Dubbed Movie 

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Director: Shawn Levy
Writers: Ryan Reynolds, Rhett Reese, Paul Wernick
Stars: Ryan Reynolds, Hugh Jackman, Emma Corrin

DeadPool And Wolverine Full Review:

When Fox Studios released the first Deadpool movie back in 2016, it played like an irreverently funny antidote to our collective comic-book-movie fatigue. Wade Wilson, or Deadpool, was a foul-mouthed mercenary who obliterated his enemies and the fourth wall with the same gonzo energy.

Again and again, Deadpool turned to the camera and mocked the clichés of the superhero movie with such deadpan wit, you almost forgot you were watching a superhero movie. And Ryan Reynolds, Hollywood’s snarkiest leading man, might have been engineered in a lab to play this vulgar vigilante. I liked the movie well enough, though one was plenty; by the time Deadpool 2 rolled around in 2018, all that self-aware humor had started to seem awfully self-satisfied.

Now we have a third movie, Deadpool & Wolverine, which came about through some recent movie-industry machinations. When Disney bought Fox a few years ago, Deadpool, along with other mutant characters from the X-Men series, officially joined the franchise juggernaut known as the Marvel Cinematic Universe.

That puts the new movie in an almost interesting bind. It tries to poke fun at its tortured corporate parentage; one of the first things Deadpool says is “Marvel’s so stupid.” But now the movie also has to fit into the narrative parameters of the MCU. It tries to have it both ways: brand extension disguised as a satire of brand extension.

Kingdom of the Planet of the Apes (2024)

 

kingdom Of The Planet Of The Apes Hindi Dubbed

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Director: Wes Bal

Writers: Josh Friedman, Rick Jaffa, Amanda Silver

 Stars: Owen Teague, Freya Allan, Kevin Duran

Kingdom Of the Planet of the Apes Full Review: 

For a series with a goofy premise — what if talking apes overthrew humanity — the “Planet of the Apes'' universe is uncommonly thoughtful, ndi Deven insightful. If science fiction situates us in a universe that’s just different enough to slip daring questions past our mental barriers, then the “Apes” movies are among the best examples. That very premise, launched with talking actors in ape costumes in the 1968 film, has given storytellers a lot to chew on, contemplating racism, authoritarianism, police brutality and, in later installments, the upending of human society by a brutal, fast-moving virus. (Oops.)

Those later virus-ridden installments, a trilogy released between 2011 and 2017, are among the series’ best, and well worth revisiting. The newest film, “Kingdom of the Planet of the Apes,” picks up exactly where that trilogy left off: with the death of Caesar, the ultrasmart chimpanzee who has led the apes away from what’s left of humanity and into a paradise. (The scene was a direct quotation of the story of Moses leading the Israelites to the Promised Land, but dying before he could set foot there.) The apes honor his memory and vow to keep his teachings, especially the first dictum — “ape not kill ape.” Caesar preached a gospel of peacefulness, loyalty, generosity, nonaggression and care for the earth; unlike the humans, they intend to live in harmony.

The teachings of peaceful prophets, however, tend to be twisted by power-seekers, and apparently this isn’t just a human problem. “Kingdom of the Planet of the Apes,” directed by Wes Ball from a screenplay by Josh Friedman, leaps forward almost immediately by “many generations” (years matter less in this post-human world), and the inevitable has happened. The apes have fractured into tribes, while Caesar has passed from historical figure to mythic one, a figure venerated by some and forgotten by most.