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Amar Akbar Anthony - Honest Movie Review

[This Movie Review was first posted on Anurag's The Filmy Basti]

Director Srinu Vaitla’s latest release, Amar Akbar Anthony, is an opportunity completely wasted. He uses his tried and tested template – a hero running the show, surrounded by a bunch of comedians and fighting against a gang of shrewd villains. Despite using all his formulaic tropes, the film is an incohesive drag, that tries every trick in the trade, yet, falls short of hitting the mark.

Verdict - "An Incohesive Drag!"

Amar Akbar Anthony (played by Ravi Teja), much like their Hindi namesakes, are three characters from three major religions. Amar, a Hindu, is the son of a pharmaceutical baron, who is destined to marry the daughter of his father’s business partner, Aishwarya (played by Ileana). The love birds are separated in their childhood by the four suave looking antagonists, who take over his father’s business. Akbar, a Muslim, speaks Urdu-laden Telugu, and is a Robinhood in New York – cheating the cheaters. Anthony, a Christian and thankfully the last one of these wretched characters, is a congenial and smiling psychiatrist. Just like any other Srinu Vaitla movie, the protagonists go against the treacherous antagonists, while being surrounded by a bunch of comedians, headlined by Sunil and Vennela Kishore.

The problem begins in the first 20 minutes itself, when the narrative feels like two different movies. The comedy track at ‘Whole Andhra and Telangana Association (WATA)’ seems completely unrelated to the parallel track involving the conniving villains, all of who look way better than Ravi Teja in their salt-and-pepper looks. Ignoring the logics (or the lack of it), Srinu Vaitla’s movies have always been madcap comedies, which keep the audiences entertained throughout. This is where Amar Akbar Anthony fails miserably. While the comedy does evoke a few laughs, it remains underwhelming in comparison to his previous works in Ready, Dookudu, Dhee or King (actually, any movie before Aagadu)! Also, the insipid dialogues feel nauseating. Sample this – one of the antagonists says, “Not to expect badness from bad people is madness”, which is quickly translated into Telugu by his partner in crime, “Chaddavadi degara chaddatanam expect cheyakapovadam pichhitanam’! It’s almost 2019 and its high time we are spared of such nonsensical dialogues.

One of my major contentions was Ravi Teja’s mysterious demeanor and performance. For the longest time in the beginning, he makes you wonder if he is playing a blind character again, after Raja- The Great. He stares into oblivion, keeps a straight face for most part of his performance and surprisingly, barely does he emote! (If this frozen face and staring gaze is due to a medical condition in his real life, my apologies!) Even his impeccable comic timing, which is usually on point, is faltering in this movie. He comes across as an uncomfortable hero amid a chaotic narrative. Ileana, making her comeback to Telugu movies, looks healthier than before and has dubbed for herself for the first time. This is all one can say about her, because that is all that she brings to the table. I wish we saw the sparks that were there between the two in Kick, but even that ends in a disappointment here.

Giving credit where its due, the cinematography and the casting of actors for comic relief were pretty good. Venkat C Dileep captures New York in all its glory and makes the frames comes alive. The supporting cast, especially Vennela Kishore as the comedian and Abhimanyu Singh as the conniving cop, are quite good. There are moments of hilarity, especially the sequences involving a religious leader, Junior Paul. Sunil, who appears pretty late in the movie, misses his charm but manages to be decent. It was surprising to see Laya in a movie after a long time, and equally shocking to see her get a completely inconsequential and small part. Again, another opportunity wasted.  

We have seen psychological angles being used in movies like Aparichitudu and Chandramukhi, but it feels like a quick fix in this movie, without adding much to the plot or the narrative. Srinu Vaitla seems to be stuck in the early 2000s, and he needs to evolve with the changing audiences. If he doesn’t, he is not going to find many takers again.

Rating – 1.5/5 | Grade - D+

-An Honest Movie Review by Anurag Rao (@The Filmy Basti!)

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Aravinda Sametha Veera Raghava - Honest Movie Review

While writing this review of director Trvikram Srinivas’s latest outing ‘Aravinda Sametha Veera Raghava’ (ASVR), I chanced upon his Wikipedia page. The introduction says, “Regarded as the "wizard of words" Trivikram's craft is known for its high dose of comedy, fast-paced repartee, farcical situations, escapist themes, and comedy thriller plot lines involving action, emotion, courtship, family and marriage.” Except for the farcical situations, he lets down his audiences on every other aspect.

Set against the backdrop of two warring villages in Rayalaseema, ASVR is the story of Veera Raghava Reddy (played by Junior NTR) spearheading his clans fight against Basi Reddy (played by Jagapathi Babu). They call this ‘Aidu rupayala godava’ (5 rupees fight) and hand it over to their progeny, who find it easier to stick swords into each other than solve this dispute for once. But Veera Raghava Reddy, moved by his grandmother’s (played by Supriya Pathak) rants, decides to take on his opponents with non-violence. Now, this is a novel idea, where unlike the usual mass entertainers, the male protagonist is not shown as the macho and masculine savior. A comical version of this theme was seen in S.S Rajamouli’s 'Marayada Ramanna', where the protagonist does not fight against a bunch of goons.  Trivikram uses his trademark dialogues with rhyme and rhythm, to act as a weapon that Veera Raghava uses to win over his opponents, apart from the generous use of daggers and swords. To trigger his change and affect his conscience, a haughty, arrogant and bubbly Aravinda (played by Pooja Hegde) enters the scene. She casually drops her pearls of wisdom, which Veera Raghava picks up to pave his plan of action ahead. Again, instead of just being the arm-candy or add glamor, this role had a great potential. More recently, Anushka Sharma played a similar support and trigger to the male lead, as Mamta in ‘Sui Dhaaga’. But, again, the writing lets down the character of Aravinda. Despite being the titular role, Aravinda is reduced to just being a caricature, with no weight.

It would be a sin to look for logic in a mass entertainer and we Telugu audiences love them for the lack of it. But, Matala Mantrikudu Trivikram overburdens his audiences with heavy dialogues, filled with puns, alliteration and rhyme. There is a scene where the lead characters converse at a café and I cannot imagine any normal couple conversing in the language that they use. Like in his previous dud, 'Agnyathavaasi', Trivikram overdoes the same trademark dialogues to the extent that it becomes a painful bore! The mood of the movie is set in a very gritty and serious space like Trivikram’s blockbuster ‘Athadu’ or the more recent action drama ‘Rangasthalam’. But, ASVR is not engaging or gripping like either of them. The lack of depth in the characters, along with the over-bearing dialogues, clubbed with a run time of 2 hours and 45 minutes, seem like an extremely tiresome experience.

The only saving grace here are the performances. Almost every actor cast in the main and supporting roles, gets the Rayalaseema accent on point. While most of the supporting actors are decent in their roles, a praise-worthy performance comes from Jagapathi Babu, as the main antagonist. Playing a rugged and rustic version of his character from Rangasthalam, Jagapathi Babu uses his menacing eyes and evil face to create a gruesome villain and delivers well. Pooja Hegde, apart from looking pretty and complimenting Junior NTR well, gets some cute moments amid choppy dialogue delivery. Sunil, making a comeback as the sidekick, is utterly wasted, as he neither gets to do comedy nor drama. But, it is Junior NTR, who plays Veera Raghava with such conviction, that you try to remain invested in this otherwise insipid tale. Being able to pull off a mass character with élan is no mean feat, and he is charismatic at that. Using a calm and restrained demeanor, reminiscent of Mahesh Babu from Athadu, his hard-work and efforts are clearly visible in his performance. Unfortunately, he is let down by poor writing, screenplay and dialogues.

From ‘Nuvve Kavali’ to as recently as ‘A Aa’, Trivikram has always been known for his brilliant dialogues, with some of the finest gems in movies like ‘Nuvvu Naaku Nachavu’, ‘Manmadhudu’ and ‘Jalsa’. Watching ASVR reminded me of Srinu Vaitla’s ‘Aagadu’ – another director known for his witty one-liners, who bored his audiences to death with an overdose of bland dialogues. Not sure if it is Trivikram’s complacency or lack of vision, but ASVR looked like a tale from a tired and disinterested story-teller. Trust me, I seem as disinterested in writing this review as he seemed to be while making this movie.

My Rating – 2/5 | Grade - C (Meh! Probably a Rental!)
-An Honest Movie Review by Anurag Rao (@The Filmy Basti!)

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