the ghost movie review

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The thing about ghost stories is that they usually have such limited imaginations. If a spirit were indeed able to exist in two realms at the same time - to occupy the spirit world while still involving itself in our designs here in the material universe - wouldn't it be aghast with glory and wonder? Wouldn't it transcend the pathetic little concerns of daily life? To put it another way: If you could live in the mind of God, would you still be telling your wife she's wearing the T-shirt you spilled the margarita on? "Ghost" is no worse an offender than most ghost movies, I suppose. It assumes that even after death we devote most of our attention to unfinished business here on Earth, and that danger to a loved one is more important to a ghost than the infinity it now inhabits. Such ideas are a comfort to us. We like to picture our dear ones up there on a cloud, eternally "looking down" on us, so devoted that they would rather see what we're cooking for dinner than have a chat with Aristotle or Elvis.

In "Ghost," Patrick Swayze plays an investment counselor who is killed by a mugger one night, but remains on the scene in his spirit form to observe as his lover ( Demi Moore ) weeps and mourns and then attempts to piece her life together. Swayze has an important piece of information he needs to get to her: His death was not an act of random urban violence, but a contract murder. He was about to stumble across a multimillion-dollar scheme to launder drug money, and that's why he was murdered. Now Moore is in danger.

This plot takes place in the world of upscale Manhattan yuppies. Swayze and Moore inhabit a loft apartment so luxurious that he must be making a fortune at his job (or maybe she's doing well with her art pottery business). That's why, after Swayze's death, Moore doesn't believe it when a self-appointed psychic (Whoopi Goodberg) contacts her with messages from beyond the grave. What's amazing is that Goldberg really is able to hear every word Swayze says to her - even though she has no previous record of genuine psychic powers.

That's how we get around to the description of the T-shirt with the margarita stains. Swayze has to feed Goldberg so much personal information that Moore is forced to believe that the communications are genuine. This he does to a fault. One of the irritations of "Ghost" is that the Moore character is such a slow study. Over and over again, Goldberg tells her things only her lover could possibly have known, and over and over again, Moore disbelieves her - she trusts the villain, instead. We are treading here on the edge of the Idiot Plot.

"Ghost" does, however, make a nice mixture of horror and humor, especially in the scenes involving Goldberg and her sisters (Gail Boggs and Armelia McQueen). The film's biggest puzzlement involves the exact status of Swayze's spiritual sojourn in this world.

Is he in heaven's holding pattern? Must he protect his lover before he can ascend that tunnel of light into the sky? What about his ability to interact with the physical world? At first he walks right through everything, but later, after tutelege from his fellow dead, he learns simple parlor tricks - like picking up a penny - and of course by the end of the movie he is able to beat the hell out of the bad guy.

The movie's single best scene - one that does touch the poignancy of the human belief in life after death - comes when Swayze is able to take over Goldberg's body, to use her physical presence as an instrument for caressing the woman that he loves. (In strict logic, this should involve us seeing Goldberg kissing Moore, but of course the movie compromises and shows us Swayze holding her - too bad, because the logical version would actually have been more spiritual and moving.) Then there is the obligatory action climax, necessary in all mass-market entertainments these days, and a particularly ridiculous visitation from the demons of hell.

"Ghost" contains some nice ideas, and occasionally, for whole moments at a time, succeeds in evoking the mysteries that it toys with.

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

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Film credits.

Ghost (1990)

Rated PG-13

128 minutes

Patrick Swayze as Sam Wheat

Demi Moore as Molly Jensen

Tony Goldwyn as Carl Brunner

Louise Gail Boggs as Oda Mae's Sister

Vincent Schiavelli as Subway

Whoopi Goldberg as Oda Mae Brown

Rick Aviles as Willie Lopez

Clara Armelia McQueen as Oda Mae's Sister

Directed by

• Jerry Zucker

Produced by

• Lisa Weinstein
• Bruce Joel Rubin
• Walter Murch

Photography by

• Adam Greenberg
• Maurice Jarre

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The Ghost Movie Review : Nagarjuna and Sonal Chauhan shine in this half-baked film

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Users' Reviews

Refrain from posting comments that are obscene, defamatory or inflammatory, and do not indulge in personal attacks, name calling or inciting hatred against any community. Help us delete comments that do not follow these guidelines by marking them offensive . Let's work together to keep the conversation civil.

moses jay 3 366 days ago

Rishitborra 63 387 days ago.

Felt like watched a parody of John wick (2014). And cringe worthy climax...

Suhas Jinka 180 409 days ago

best movie but no much thriller and gud climax

deepu rockzz 5 454 days ago

Best action film ever

Karthi User 488 days ago

Strictly for action movie lovers. No strong story line. Screenplay was good. Cinematography is nice. Nagarjuna’s show from beginning to end. Simran and Anikha gets crucial roles but doesn’t create the emotional impact. Action scenes are top notch. If you are an action movie lover, give this a try. For others, one time watchable..

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The Ghost movie review: Some never-seen-before slick action makes this predictable Nagarjuna-starrer engaging watch

The ghost movie review: nagarjuna's action thriller has a predictable plot but is salvaged by some never-seen-before action sequences and the actor's charisma..

Filmmaker Praveen Sattaru truly established himself as a filmmaker with great action sensibilities when he made PSV Garuda Vega a few years ago. The film gave a new lease of life to yesteryear star Rajasekhar, who turned out to be a revelation in a project that truly felt international in spite of its limited budget. With his latest outing, The Ghost, Sattaru pushes the boundaries to present a slick action-thriller that’s largely engaging, despite a very predictable plot. If not for anything, you could just watch the film to see how handsome Nagarjuna looks while wielding the Yakuza sword. It’s a sight to cherish. Also read: GodFather movie review: Chiranjeevi's charisma makes this thriller enjoyable

Nagarjuna plays Vikram, a former Interpol agent with anger issues. When his recklessness ends up costing the life of a young boy on a rescue mission in Dubai, the guilt eats him up and he decides to fix it by taking on the underworld. The story quickly cuts to five years later and we are introduced to Vikram’s sister Anu ( Gul Panag ), who reaches out to him after 20 years. The call takes him to Ooty where the siblings put their bitter past behind them. Anu informs Vikram about the life threats she’s been receiving and she doesn’t want anything to happen to her daughter. As Vikram takes charge of protecting the family, he crosses paths with some men from his past in Dubai. What happened five years ago in Dubai when Vikram swore to clean up the underworld and why he’s called The Ghost forms the crux of the story.

The Ghost delivers what the promos promised, which is slick action with a lot of bloodshed. The attempt to make an ultraviolent action film without dumbing down its impact for the masses deserves special praise. Sattaru takes a very predictable plot and shifts all his focus on delivering solid action stretches. The film takes its own time to take-off, quite literally, but the pay-off is worth the wait. The film does take inspiration from Hollywood blockbusters like Taken and John Wick but never tries to mimic what these films achieved in terms of action.

Nagarjuna is cool as a cucumber in the role of a former agent turned mean killing machine. He uses his charisma effortlessly to make every frame look stylish on screen. Sonal Chauhan gets a meaty part and has quite a few scenes where she gets to flaunt her action skills. The film works to a large extent because it presents action like never seen before in Telugu cinema. The climactic fight in a church with a yakuza sword and a Gatling gun is easily the film’s biggest highlight that’s worth every buck.

Director: Praveen Sattaru

Cast: Nagarjuna, Sonal Chauhan, Anikha Surendran, and Gul Panag.

• Sonal Chauhan

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The ghost (2022), common sense media reviewers.

Overlong epic action movie is extremely violent.

A Lot or a Little?

What you will—and won't—find in this movie.

Indian movie set in India, Dubai, and Maldives, fe

Extremely violent action movie. Stylized action mo

Kissing, touching between romantic partners. Gratu

Strong language throughout, including "f--k." Also

Character mentions Pizza Hut by name.

Teens shown drinking and smoking from hookahs at p

Parents need to know that The Ghost is a 2022 Indian action movie in which a former Interpol officer goes to war against criminals who are trying to kidnap his sister and her daughter. It's a two-hour-and-18-minute epic action movie with constant stylized violence. Fighting with sniper rifles, assault rifles,…

Diverse Representations

Indian movie set in India, Dubai, and Maldives, features Indian actors playing the lead and supporting roles.

Did we miss something on diversity? Suggest an update.

Violence & Scariness

Extremely violent action movie. Stylized action movie violence throughout. Constant fighting with assault weapons, sniper rifles, guns, knives, swords, punches, kicks. Characters shot and killed at point-blank range; blood splatters. A child is shot and killed. In a flashback scene, a young boy is nearly killed by a man wielding a bloody sickle. A teen girl and her teen friends are kidnapped after being drugged at a party -- the villain suggests selling her to sex traffickers instead of killing her. A car is run off the road and explodes.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

Kissing, touching between romantic partners. Gratuitous scenes of the female lead relaxing on a yacht while wearing a swimsuit.

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Strong language throughout, including "f--k." Also: "pr--k," "a--hole," "s--t," "damn," "crap," "hell," "wanker."

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Products & Purchases

Drinking, drugs & smoking.

Teens shown drinking and smoking from hookahs at parties and nightclubs -- wine and shots. Teens are given bottles of cola that are laced with hallucinogens that make them drowsy, resulting in them being kidnapped. Lead character shown binge-drinking whiskey. A villian snort cocaine. Cigar smoking. Talk of teen daughter's cigarette smoking.

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Parents Need to Know

Parents need to know that The Ghost is a 2022 Indian action movie in which a former Interpol officer goes to war against criminals who are trying to kidnap his sister and her daughter. It's a two-hour-and-18-minute epic action movie with constant stylized violence. Fighting with sniper rifles, assault rifles, guns, swords, knives, punches, kicks. Characters are shot and killed at close range, stabbed, and decapitated. A young boy is killed during a hostage standoff. During a flashback scene, a young boy is nearly killed by a man wielding a bloody sickle. Teen girls are drugged and taken prisoner, with the lead teen girl almost sold to sex traffickers. Villains use cocaine. Teens are shown drinking shots and wine and smoking from hookahs. The lead character binge-drinks whiskey. Cigarette smoking. Cigar smoking. Strong language throughout, including "f--k." In Telugu, with English subtitles. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

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What's the Story?

In THE GHOST , Vikram (Nagarjuna Akkineni) and Priya (Sonal Chauhan) are romantic partners who also work together as Interpol agents. But when a hostage standoff results in the death of a child, a distraught Vikram decides to leave his life behind in the hopes of destroying the criminal underworld that thrives on kidnapping the children of wealthy family members. Five years into his disappearance, he receives a call from Anu (Gul Panag), his sister from when he was adopted by an officer in the aftermath of his parents getting killed during the Hindu-Muslim riots of the 1980s. Anu has been receiving death threats and ultimatums from unknown sources and her security detail and the police are unable to help her. These threats are also being directed at Anu's teen daughter Aditi -- whose spoiled and entitled behavior is causing problems. As Vikram works to protect Anu and Aditi, he learns that the men behind the threats are the same he has been pursuing all this time, and as he fights desperately to stop them, he also finds help from a source from his past.

Is It Any Good?

This is an action movie that is way too long and way too violent. The Ghost is an Indian movie that clocks in at two hours and 18 minutes, and it could easily be 45minutes less than this without sacrificing any important story points. There's an excess and bombast to this that's so over the top and obnoxious, even Michael Bay would blush at it. Killing, shooting, stabbing, decapitation, blood, and explosions. This movie "has it all," but what it doesn't really have is a worthwhile story.

It's a lot of excess for what amounts to a run-of-the-mill action movie story about a hero trying to make things right after a tragic incident during a hostage standoff. After that, it's more or less a story of said hero going after the villains and taking them down, one at a time, with each battle more detailed and "satisfying" than the one that preceded it. There are side stories and story threads that do little except make a long movie even longer. The result is too much of everything, resulting in over two hours of not much.

Talk to Your Kids About ...

Families can talk about action movies like The Ghost . How was it similar to and different from other action movies you've seen?

This movie has a ton of violence. How does the violence compare to that in other action movies, and how much of it was really necessary for the story?

If you could edit this movie, what parts would you cut? Why?

Movie Details

• On DVD or streaming : November 1, 2022
• Cast : Nagarjuna Akkineni , Sonal Chauhan , Gul Panag
• Director : Praveen Sattaru
• Studio : Netflix
• Genre : Action/Adventure
• Run time : 138 minutes
• MPAA rating : NR
• Last updated : May 19, 2023

Did we miss something on diversity?

Research shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new "Diverse Representations" section to our reviews that will be rolling out on an ongoing basis. You can help us help kids by suggesting a diversity update.

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Ghost review – Patrick Swayze's immortal meditation on love and grief

Three decades on, this weepie classic retains an innocence and earnestness that makes it as delightfully comforting as ever

V eteran producer-screenwriter Bruce Joel Rubin created a comfort-food weepie classic with his gem Ghost, the story of a murdered young man who sticks around as a ghost to watch over his grieving artist girlfriend. It is now rereleased in UK cinemas for the 30-year anniversary. This is a film that for its global army of fans attained a new level of sadness when its star, Patrick Swayze , died of pancreatic cancer in 2009 at the age of 57.

Rubin’s script is a lethally effective tragicomic fantasy. Ghost looks more Spielbergian every time I watch it, and Rubin must surely have hoped that the man himself might have been interested in directing – he has candidly admitted to being disconcerted when the studio put comedy specialist Jerry Zucker at the helm. But that choice was inspired. Zucker is a genius at spoofing certain genres in the service of deadpan gags; with Ghost he proved himself a master craftsman, knowing how to tell the story well and play it absolutely straight while also delivering the comedy where necessary.

Swayze plays hardworking young Manhattan banker Sam and Demi Moore plays his girlfriend Molly, who specialises in ceramic pots (which gives us one of the most loved and satirised set-pieces in modern movie history: Molly sensuously shaping clay as Sam embraces her from behind and the Righteous Brothers’ Unchained Melody plays on the jukebox, in the improbably vast bohemian apartment they are somehow able to afford). It all feels so weirdly innocent and romantic that there isn’t even really any smuttiness in the image of the pot rising under her caress. But one night, walking home after seeing a performance of Macbeth (an important ghost play), Sam and Molly are attacked by a mugger.

Perhaps it is uncool to admit this, but for me it was always a stunningly powerful coup de cinéma moment when Sam desperately chases after the retreating mugger following the attack, then walks back to see if Molly is all right, and is astonished by what he sees. In fact, the whole movie has that unselfconscious potency and force, advancing without a hint of irony the vision of good people going up to paradise and bad folks dragged away by dark demons to perdition.

Whoopi Goldberg is superb as the scam medium and fortune teller Oda Mae Brown, who has been ripping off grieving relatives for years and now discovers that she has indeed got the gift. Her presence triangulates the relationship with comedy.

Tony Goldwyn (grandson of legendary mogul Samuel Goldwyn) is also good as the creepy and duplicitous best friend Carl. It is a terrific scene when Carl comes round to Molly’s apartment to take advantage of her emotional vulnerability and put the moves on her – with ghostly Sam there in the room, seething with impotent protective rage.

Through a weird quirk of fate, Anthony Minghella’s film Truly, Madly, Deeply was released that same year: “the “British Ghost, with Alan Rickman as the dead partner who returns to help the grieving Juliet Stevenson. It is a very different film (she is immediately aware of his presence) and perhaps unfairly mocked as a luvvie-earnest exercise in British right-on-ness. But both, in their own ways, take the idea of grief seriously. (Though I remember when I first watched Ghost simply not being able to believe that Sam would not return, that it was all a mistake and we might somehow find out that he had been put on life-support system in hospital in a persistent vegetative state. But no.)

Watching it again now, you might feel the yuppie-skulduggery theme is a bit dated – and ghostly Sam (or anyone else) should have been telling Molly to change the locks at her apartment. But Swayze has a robust charm and Moore gives it her all, despite being on the verge of being upstaged at all times by Goldberg and Swayze. There’s an ectoplasm of goofy Hollywood magic.

Ghost is rereleased in the UK on 14 February.

• Romance films
• Drama films
• Patrick Swayze
• Whoopi Goldberg

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The Ghost Movie Review

Article by Nanda Gopal Published by GulteDesk --> Published on: 5:09 pm, 5 October 2022

2 Hrs 18 Mins   |   Action   |   05-08-2022

Cast - Nagarjuna, Sonal Chauhan, Gul Panag, Anikha Surendran, Manish Chaudhari Others

Director - Praveen Sattaru

Producer - Suniel Narang, Puskur Ram Mohan Rao, Sharrath Marar

Banner - SV Cinemas, North Star Entertainment

Music - Mark K. Robin, Bharatt-Saurabh

After doing an author-backed role in Brahmastra, Nagarjuna returns to the lead role with The Ghost for which he teamed up with director Praveen Sattaru. The film promises to be an action thriller laced with family emotions. His previous attempts – Officer and Wild Dog – weren’t fruitful enough. Did Nagarjuna deliver this time around?

Vikram (Nagarjuna) is an interpol officer who wiped out the underworld mafia in Dubai. He is called The Ghost by the crime syndicate. After getting retired, he learns that his closed ones in India are in danger. Anu (Gul Panag) and her daughter Aditi (Aniksha Surendran) are important to Vikram since he was raised by Anu’s father (Jayaprakash). Vikram is on a mission to save Anu and Aditi who’re chased by their rivals for their company Nair group. Did he save them? Did he find the culprits?

Performances:

Nagarjuna is not new to cop roles. But his role Vikram in The Ghost is different from his previous ones. Nag carries off the film on his shoulders. It is his show. He does the action scenes with ease. Sonal Chauhan as Preeti is alright despite limited on-screen presence. She is glamourous and also fights goons when the protagonist needed. Vikram and Preeti’s relationship look unconvincing where she disappeared initially and later lands up in the latter half. Gul Panag as Nagarjuna’s estranged sister gets noticed with her acting. Aniksha Surendran gets meaty role as the film revolves around her character and she does justice to her part. Manish Chaudhari as villain leaves no impact. He looked weak. Srikanth Iyengar gets another typical role. Ravi Varma is okay. Praveen got good cast on board but he couldn’t offer roles with depth.

Technicalities:

The Ghost gets decent marks with the writing. Though nostalgic, the best part of the writing is it doesn’t deviate from the main story. Yet the film suffers with its execution. Director Praveen Sattaru offers not fully developed film. He couldn’t go deep enough that is required for such RAW films. Cinematography and background score elevate the film. Production values are rich. The action episodes are lavishly shot. The Goa song should be scissored mercilessly since it obstructs the flow.

Nagarjuna Stylish Elements

Thumbs Down

Predictable Story Lack Of High Moments Climax

First things first, Nagarjuna’s The Ghost is not novel in terms of its plot. In fact, it has several nostalgic moments where it reminds us some erstwhile RAW/cop films. From characters to body language to their characterisations, there is typecast and cliches. Yet, the film has subtle treatment that makes it sustain for large part. On the surface, Praveen Sattaru’s idea of The Ghost seems pretty decent. But it failed in the execution. The film lacked high moments. Barring some gunfire scenes, it has no appealing action blocks either.

The problem with The Ghost is in its first half where it is all hastily set-up for the bigger challenge, but when it does, it turns out to be ordinary, nothing exceptional. It is all predictable. Vikram has a haunted past involving mental trauma. But it doesn’t add any value to the film despite the backstory. There is a dialogue of Nag in the film where he says he wouldn’t had reached the stage hadn’t his father took his profession personally. As the story progresses and dots get connected, it gets better.

It is the second half where the real story lies in. There are moments that saved the film. Particularly, there is honesty in Vikram’s motive and operation. He is fighting for a cause and he has personal connection. The film manages to sail through, thanks to Nagarjuna. The liberties are taken – Vikram lands up in saving Aditi in Goa and also none of the bullets fired at Vikram and Aditi touch them whereas goons drop like flies. Scenes like these make one disconnect and expect superior thinking, writing.

The film is full of guns, goons, glamour and gunfire. But no, not all the films that boast action episodes, merciless gunfire and wastage of bullets would become Yash’s KGF 2 or Kamal Haasan’s Vikram. Director Praveen Sattaru comes up with very average and okayish film. The climax is routine. Having said all the above, The Ghost is nothing but old wine in new bottle. It falls short of expectations.

Bottom line: High Style, Low Substance !

Rating: 2.5/5

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Release Date : October 05, 2022

123telugu.com Rating : 2.75/5

Starring: Akkineni Nagarjuna, Sonal Chauhan, Gul panag, Anikha Surendran,Manish Chaudhari, Ravi Varma, Shrikanth Iyyangar, Bilal Hossein

Director: Praveen Sattaru

Producers: Suniel Narang, Puskur Ram Mohan Rao, Sharrath Marar

Music Director : Mark k Robin

Cinematography : Mukesh G

Editor : Dharmendra Kakarala

Related Links : Trailer

King Nagarjuna is best known for his experimental and unique kind of films. He has always given his best when it comes to bringing new genre films to Tollywood. This time, he has joined hands with the stylish filmmaker Praveen Sattaru for an action thriller, The Ghost. The film hit the screens today on the eve of Dussehra. Let’s see how it is.

Vikram (Nagarjuna) is an Interpol officer who works along with his love interest Priya (Sonal Chauhan) in Dubai. While everything is going fine in his professional life, one incident disturbs Vikram mentally and he leaves Priya. One fine day, he receives a call from Anu (Gul Panag) stating a concern over her daughter Aditi’s life and she asks Vikram to solve the problem. Who is this Anu? Why did she seek the help of Vikram? Who is causing a threat to Anu and Aditi? Watch the film to know the answers.

Plus Points:

Nagarjuna is one of the very few actors who doesn’t shy away from doing different kinds of roles. He has proved this multiple times in his career. With The Ghost, the actor has once again shown his stamina. His performance as Vikram is one of the biggest assets of the film and the veteran actor carried the film on his shoulders from start to end.

The action sequences composed in this film are one of the best in recent times and definitely they deserve a special mention. They look stylish and give us goosebump moments. Also kudos to Nagarjuna for doing such risky stunts convincingly. The film is completely filled with many such terrific action scenes and this makes us glued to the screens.

Sonal Chauhan isn’t just restricted to the glamour element but her role has a good scope. Her efforts are visible in the action part and the actress did a fine job and impresses. The rest of the cast like Anika Surendran, Gul Panag, Ravi Varma, and Srikanth Iyengar did their part well.

Minus Points:

While the film is just so brilliant with the action part, the drama and the story isn’t that great and brings down the staggering impact created by fights. The emotional angle looks artificial and a bit forced and this does not connect us with the film that well.

The villain’s characterization is pretty weak in The Ghost. A solid villain was very much needed especially when the protagonist is going all guns blazing. Sadly, that doesn’t happen here. So we would get a feeling that the hero’s job is being done without much struggle.

The story gets predictable after a point in the latter hour and the screenplay from thereon doesn’t get any better to make the proceedings interesting. There are some mind-boggling scenes in between but the way they are placed doesn’t add much value.

Technical Aspects:

Bharatt-Saurabh’s music is decent in songs but when it comes to the background score by Mark K Robin, he did a fantastic job. The BGM in a few action blocks raises the curiosity and adds value. The cinematography by Mukesh G is extraordinary. Few frames are on the lines of Hollywood films and his work added huge depth to this action thriller.

The production values are staggering and the makers spent highly on the film to make it look elegant. As mentioned earlier, the action choreographers are the major assets and add the required depth besides giving adrenaline rush moments.

Coming to director Praveen Sattaru, he partly succeeded with The Ghost. While he was superb at handling the fight scenes, the core emotional part took a back seat. Had he taken more care on this part, things would have been a lot better. Also, his narrative isn’t that gripping in the latter hour which takes the film down.

On the whole, The Ghost is a partly engaging action thriller. Nagarjuna’s scintillating performance backed up by some world-class fight scenes are its strength. On the flip side, the lack of proper emotional scenes, weak antagonist, and predictable storyline make it a passable watch this weekend. If you love watching action flicks, give this film a shot but lower your expectations.

123telugu.com Rating: 2.75/5

Reviewed by 123telugu Team

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The Ghost Reviews

Praveen Sattaru’s action-drama, starring Nagarjuna, is a case of multiple misfires from point-blank range, and there’s very little to take back.

Full Review | Nov 17, 2023

This movie "has it all," but what it doesn't really have is a worthwhile story.

Full Review | Original Score: 2/5 | Nov 15, 2022

• Movie Reviews

The Ghost Review

What's Behind

King Nagarjuna is gearing up to show the power of his stunts as an Interpol agent in The Ghost. Nagarjuna is following the sentiment and releasing the film on October 5, the same day when he scored a hit with Ram Gopal Varma's Shiva which turned out to be a cult classic. The film directed by Praveen Sattaru stars Sonal Chauhan as the female lead. Let us find out whether Nagarjuna gave goosebumps to all as The Ghost.

Story Review

The Ghost story revolves Nagarjuna add the Ghost and how he takes on the underworld Mafia. Vikram ( Nagarjuna), am Interpol agent gets surprised when his sister Anu ( Gul Panag) calls him after many years. He decides to meet his sister, much against the wishes of this colleague, lover Priya( Sonal Chauhan). This results in interesting twists and turns and lands the lives of everyone in danger. 

To unravel the mysteries of The Ghost and how it is connected to his niece Aditi (Anika Surendran), Pankaj  Nair ( Ravi Varma) enjoy The Ghost on the big screen. 

Artists, Technicians Review

Story of the Ghost readied by Praveen Sattatu is to show Nagarjuna in an action avatar. He starts the proceedings with action sequences setting the tone for the narration. Just like in PSV Garuda Vega he generates interest by unraveling each and every twist accordingly. He blended the action sequences with the right kind of emotions. The interval bang is well designed and it paves way for the second half. In the second half Nagarjuna goes all out to seek revenge and the climax blasts the minds of all. Praveen Sattatu's story is interesting and exciting and it is treat to Akkineni fans and action movie lovers. 

Nagarjuna who late has been doing feel-good romantic and family entertainers, deviated and came up with an  out and out action entertainer. He excelled in intense action and stunt scenes composed by the stunt choreographers. He showed good emotions while trying to save his sister and nice. Nagarjuna as usual looked slim and fit to play the role of an Interpol agent. 

Sonal Chauhan played the second fiddle to Nagarjuna and even she performed breathtaking stunts. Gul Panag got the important role of Nagarjuna's sister and she did well in her emotions. Aneka Surendran played the role of Nagarjuna's niece and she looked bubbly. Others like Ravi Varma, Srikanth Iyengar performed according to their  roles.

Songs of Bharatt-Saurabh didn't make an impact. Mark Robin however with his background music maintained the intensity. Dialogues are ok and Dharmendra Kakarala's editing could have been far better. Production values are good. 

• Action sequences
• Cinematography

Disadvantages

• Missing emotions
• Wafer thin story

Rating Analysis

Altogether,  Praveen Sattaru thrilled Akkineni fans by showing Nagarjuna in a completely different way. None would have expected such transformation from Nagarjuna. The film has everything action movie lovers expect along with the emotions. However few may put off as the film lacks connectivity. Had Praveen Sattaru fine-tuned the story and script and added few twists and turns, along with few impactful emotions, The Ghost would have made a powerful impact. Considering all these elements, cinejosh goes with a 2.75 rating for The Ghost.

Cinejosh - A One Vision Technologies initiative, was founded in 2009 as a website for news, reviews and much more content for OTT, TV, Cinema for the Telugu population and later emerged as a one-stop destination with 24/7 updates.

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The Ghost Review: Nothing To Boast

Movie: The Ghost Rating: 2/5 Banner: Sree Venkateswara Cinemas LLP Cast: Nagarjuna, Sonal Chauhan, Gul Panag, Anikha Surendran, Manish Chaudhari, Ravi Varma, Srikanth Iyengar, Bilal Hossein and others  Music: Bharatt-Saurabh, Mark K Robin Director of Photography: Mukesh G Editor: Dharmendra kakarala Action: Dinesh Subbarayan, Kecha Producers: Suniel Narang, Puskur Ram Mohan Rao, Sharrath Marar Written and directed by: Praveen Sattaru Release Date: October 5, 2022

Nagarjuna Akkineni and director Praveen Sattaru have teamed up for the first time. The film’s trailer and teasers created a lot of interest.

Let’s find out its merits and demerits.

Story: After a failed mission, Interpol officers Vikram (Nagarjuna) and Priya (Sonal Chauhan) part ways. They also break up their relationship. Vikram also quits his job.

Five years later, he gets a call from his estranged sister Anu (Gul Panag). He heads to Ooty and finds that his sister and his niece (Anikha Surendran) are under threat. 

Vikram agrees to stay there and protect them. Anu is a chairperson of a huge business empire. Another company is trying to take over Anu’s company. Despite his efforts, Anu gets killed in an attack.

Will Vikram protect his niece safely? 

Artistes’ Performances: For senior Nagarjuna, the role is a cakewalk. He has done such roles in the past. All he does in the film is wields swords, blast ammunition, and indulge in shootouts.

Sonal Chauhan appears as an Interpol officer. She does some decent action stunts. Gul Panag plays a typical sister’s role.

Anikha Surendran plays the role of rich brat convincingly. 

Technical Excellence: Mukesh’s cinematography is terrific. More than anyone else, the stunt masters have more work to do in the film, and they excel in their jobs. The background score is apt. Editing lacks sharpness as the lengthy action episodes go on and on. 

Highlights: Initial portions One or two action sequences

Drawback: Clichéd story Dated and artificial sentiment     Series of fights Mindless climax sequence

Analysis We all know that story takes a backseat in action dramas. But when the wafer-thin plot serves as an excuse to flip one action sequence to another, it feels dated. “The Ghost” is one such example. 

Praveen Sattaru who won the name for his slick execution of “PSV Garuda Vega '' wrote a one paragraph story. An Interpol officer who quit the job gets a personal assignment of saving his sister from the enemies. Praveen Sattaru has not developed any worth talking about moments other than this one-line story and filled it with a series of action stunts. 

One action sequence is set in a desert, the other on the busy city roads and the next one in a hill station. Another one is in a house. The next one is in another place. The locations change, and the scenes change, but the crux remains the same: a fight scene. 

No film in recent times has come with a series of action stunts with little to no story. Furthermore, given all the hype around threats that the hero’s sister faces, we expect a strong antagonist who might prove to be more than a match to the hero Nagarjuna, but what we get is a cardboard villain character.

To be fair, the first half of the film at least has some reasoning as it focuses on Nagarjuna’s Interpol days and a brief flashback about his family. The second half is a mess. The climax is excruciatingly bad. 

By adding “KGF”-like machine gun sequences and Kamal Haasan’s Vikram-like fight scenes, Praveen Sattaru has spoiled it further. For a film that also talks about sister and niece, the sentiment scenes are superficial. 

The blame entirely lies on Praveen Sattaru. It is his lame writing that is the villain. 

On the whole, “The Ghost” is another senseless action drama with no effective storytelling. 

Bottom Line:  Frightens the audience

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Tags: The Ghost The Ghost Review The Ghost Movie Review The Ghost Movie Rating The Ghost Rating The Ghost Telugu Movie Review

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• Nagarjuna (Hero)
• Sonal Chauhan (Heroine)
• Praveen Sattaru (Director)
• Suniel Narang (producer)
• Puskur Ram Mohan Rao (producer)
• Sharrath Marar (producer)

Watch Trailer

The ghost is Tollywood action thriller movie written and directed by Praveen Sattaru. The film have a brilliant casting in it Nagarjuna and Sonal Chauhan as main leads while Gul Panag, Anikha Surendran, Manish Chaudhari, Ravi Varma, and Srikanth Lyngar acted in supporting roles. The movie got released on 5th October 2022 worldwide.

The movie open in Dubai, Vikram Naidu (Nagarjuna) is an Interpol officer in Dubai who has anger management issue and nightmares of his mother’s death in riot that happened in 1984 in New Delhi, in his childhood. After many years during a mission to rescue a business man’s son from Indian, along with Priya (Sonal Chauhan) Vikaram’s resoluteness in mission results the boy to get killed. After this accident Vikram builds a guilty complex and eventually becomes wild with temper, this eventually leads to breakup with Priya.

After 5 years, Vikram has retired from Interpol and working as a freelance agent, and often helps Interpol with their missions.

During all this he gets a call from his estrange sister an businesswomen Anupama ‘Anu’ Nair, daughter, who runs business Nair Group after 20 years. Vikram moves to Ooty and he calls his past days in Ooty. Back in his childhood Vikram was saved and adopted by Nagendra Naidu a colonel in the Indian Army, from riots. Vikram and Anu were brought up together in Ooty. Anu and her father got separated when he opposed her relationship with her boyfriend business mogul Ashok Nair. After few days result to this Naidu ‘s health gets serious and on Naidu’s deathbed, Vikram makes a promise to Naidu that he will protect Anu and take care of her.

After meeting Anu in her estate, Vikram gets to know that Anu is getting death threats and fears for her daughter’s Adithi life and can’t truth her personal bodyguard. Giving Adithi’s responsibility to Vikram Anu leaves for a business trip. Vikram starts his investigation, and enquires about Ashok Nair’s family, in the mean while Vikram slowly tries to change Adithi’s behaviour and habits.

On Adithi’s trip to Goa with her friends without Vikram’s knowledge, Adithi and her friends get kidnapped, and Vikram having their location saves them.

The rest of the story filled with power pack action sequence and fights abroad. How will Vikram protect Adithi from threats? will Priya and Vikram gets back together? who is trying to kill Adithi? who is behind this plan? To know all the answers watch the movie on Netflix.

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'Ghost' movie review: Shivarajkumar’s electrifying performance holds the fort in Srini’s multiverse

The terms spin-offs and multiverse are gradually making their mark in Indian cinema, and it is making its presence felt in the Kannada film industry with the introduction of Ghost. This cinematic endeavour, driven by director Srini, is a progressive step forward. More so, the inclusion of Shivarajkumar, who brings with him a strong fan base and an even stronger inclination to experiment, elevates the project.

Undertaking a project of this magnitude comes with its fair share of risks, with outcomes never guaranteed. There are a multitude of factors, including commercial viability, technical prowess, authenticity, and the collaboration of every team member, which must align harmoniously to make it work. Ghost encompasses all the elements that a commercial film requires, but it does so on an ambitious scale, with a focus on plot-driven characters, technical excellence, and a deep respect for cinematic art. It’s a departure from the conventional formula, with the omission of songs, a traditional heroine, and the standard template. The question arises: Has Ghost, without all these, managed to fulfill every aspect of its unique approach, and does it offer more?

Now, let’s delve into the storyline. The film introduces a rare concept in cinema – prison privatisation becomes the central theme of this heist thriller. When former CBI agent Vamana (Prashanth Narayanan) is taken hostage, ACP Chengappa (Jayaram) is called in to resolve the crisis. The mastermind behind this predicament is Dalavayi Muddanna (Shivarajkumar). Known as ‘Big Daddy’ in criminal circles, Dalavayi is a feared underworld kingpin with a history involving Chengappa. The motive behind Dalavayi’s attack on the prison becomes the core mystery that Chengappa must unravel. Why has the prison been hijacked? Why have the inmates become his allies? What is Dalavayi’s new identity? Is he the Ghost? These questions slowly unfurl, gradually exposing the layers of this enigma. The film concludes by hinting at the arrival of Dalavayi’s son in the sequel.

At its outset, Ghost may be perceived as a thrilling action spectacle, particularly in its initial portrayal as a hijacking narrative. The film maintains its focus on action-packed thriller elements, with the heist holding the narrative together. The first half guides viewers through Chengappa’s perspective and sets the stage for a revelation. The puzzle pieces seamlessly fall into place in the second part, delivering a captivating storyline. The film’s thrilling, audacious elements, like the daring prison escape, may seem far-fetched, but they are skillfully executed to stir emotions. Even when a statue (Dr. Rajkumar) unexpectedly helps, questions about believability matter less.

Shivarajkumar’s charismatic portrayal as Dalavayi or what he calls ‘Ghost’ retains his enduring mass appeal with sophistication and grandeur, avoiding unnecessary extravagance. He engages in intense gunplay and delivers powerful dialogues, which is limited in the first half, but his presence on screen remains engaging, which only gets stronger post-intermission.

Jayaram is a valuable addition to the film, playing the role of a CBI officer, and he commands a commendable on-screen presence. His extended duration is justified. Anupam Kher adds a final touch of excellence while his character holds the promise of further development in the sequel. Archana Jois, in the role of a journalist, and Prashanth Narayanan, a former CBI officer, play pivotal roles in connecting the dots of the narrative. Dattanna has a key role to play along with some fresh faces showcasing their talents. The existence of a mouse in the film gets an unusual placement, and it’s something to take note of. Srini’s multiverse, featuring himself as Lawyer Mahesh Das from Birbal, makes a brief appearance, setting the stage for future intrigue.

The film eventually reveals itself as part of Srini’s expanding Cinematic Universe, setting the stage for a potential multi-starrer and opening doors to various cinematic ventures in the future. Ghost also explores technological advancements, including the de-aging of Shivarajkumar, which adds an element of surprise. However, certain loopholes in this de-aged version require correction, especially if it becomes significant in the sequel.

The heist emerges as an ambitious and captivating production that transcends the confines of traditional commercial cinema, also introducing the concept of the multiverse in Kannada cinema. It possesses a distinct voice within the commercial framework and is a testament to its strong technical mastery—Mahendra Simha’s visionary cinematography and Arjun Janya’s evocative music enhance the overall cinematic experience.

In conclusion, Ghost offers thrilling moments, with Shivarajkumar’s exceptional performance, along with the rest of the cast, elevating the viewing experience. It’s unquestionably a film worth watching, and the anticipation of a sequel promises even more excitement.

Cast: Shivarajkumar, Jayaram, Anupam Kher, Dattanna, Prashanth Narayanan, and Archana Jois

Director: Srini

Rating: 3.5/5 stars

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Inspired by the hit song by Michael Martin Murphey, WILDFIRE tells a story of redemption and forgiveness as a young girl releases a dark secret through the friendship she develops with a wil... Read all Inspired by the hit song by Michael Martin Murphey, WILDFIRE tells a story of redemption and forgiveness as a young girl releases a dark secret through the friendship she develops with a wild horse. Inspired by the hit song by Michael Martin Murphey, WILDFIRE tells a story of redemption and forgiveness as a young girl releases a dark secret through the friendship she develops with a wild horse.

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• Trivia Inspired by the hit 1975 song by Michael Martin Murphey - WILDFIRE builds on the premise of a young girl and a mysterious horse by adding in the "Legend of the Cherokee Ghost Horse" - a magical creature that serves as a symbolic bridge to the afterlife. WILDFIRE was shot primarily in and around Tahlequah, Oklahoma, in the heart of the 14-county Cherokee Nation of Eastern Oklahoma. Many scenes were shot on Sparrowhawk Mountain and alongside the Illinois River at the same locations as were utilized for the family film classic, "Where the Red Fern Grows."

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This image released by Sony Pictures shows Glen Powell, left, and Sydney Sweeney in a scene from “Anyone But You.” (Sony via AP)

This image released by Hulu shows Jon Bon Jovi in a scene from the four-part docuseries “Thank You, Good Night: The Bon Jovi Story,” premiering April 26. (Disney/Hulu via AP)

This image released by Hulu shows Richie Sambora in a scene from the four-part docuseries “Thank You, Good Night: The Bon Jovi Story,” premiering April 26. (Disney/Hulu via AP)

This image released by Paramount+ shows the character Knuckles, voiced by Idris Elba, in a scene from the series “Knuckles.” (Paramount Pictures/Sega/Paramount+ via AP)

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The Sydney Sweeney and Glen Powell romantic comedy “Anyone But You” hitting Netflix and an album by Brazil superstar Anitta are some of the new television, movies, music and games headed to a device near you.

Also among the streaming offerings worth your time as selected by The Associated Press’ entertainment journalists : Everyone’s favorite dancing demon doll “M3GAN” comes back to Peacock, a beautiful woman battles hideous beasts in Sony’s video game Stellar Blade, and a documentary detailing Bon Jovi’s early days, rise to fame and breakups and breakdowns.

NEW MOVIES TO STREAM

— The Sydney Sweeney and Glen Powell romantic comedy “Anyone But You” is finally on Netflix starting Tuesday. The movie is about two young singles whose magical one-night stand ends in miscommunication and hurt feelings, and then find themselves both in a small family wedding party and staying in the same house. It’s loosely based on Shakespeare’s “Much Ado About Nothing.” Reviews were mixed and the box office started out tame, but it became a slow burn sleeper hit in theaters, earning more than $218 million worldwide. If you’ve been holding out to see what the fuss was about, now is your low stakes chance (it’s also not a bad plane option, which is where this film critic finally watched it). And afterwards, if you need a rom-com palate cleanser, “You’ve Got Mail” is also currently on Netflix.

— Another stealth box office hit, everyone’s favorite dancing demon doll “M3GAN” is coming back to Peacock starting Wednesday. Is it great cinema? Probably not, but everyone who watches it seems to have a fun time (in spite of themselves). Entertainment Weekly’s Leah Greenblatt wrote in her review that, “This is not the morose, carnage-soaked horror of dank basements and clammy night terrors; most of the movie happens in bright daylight, every maniacal head tilt, ungodly hip swivel, and murder-by-gardening-tool calibrated for screams that end not with a gasp but a giggle. M3GAN came to play, and possibly reboot her motherboard for a sequel. Are you not entertained?”

— Finally, if you’ve exhausted all your “Tortured Poets” analysis, you can pivot to watching a Joe Alwyn movie instead. He stars in Claire Denis’ 2022 romantic thriller “Stars at Noon,” which comes to Hulu on Sunday, April 28. Based on the 1986 Denis Johnson novel, Margaret Qualley plans an American journalist in Nicaragua during COVID-19 who starts an affair with a mysterious British guy, played by Alwyn.

— AP Film Writer Lindsey Bahr

NEW MUSIC TO STREAM

— Shot through the heart, and they’re to blame: Forty years after a bunch of kids from New Jersey got together and formed a great American rock band, a documentary detailing their early days, rise to fame, and best of all — breakups and breakdowns — has arrived. The only Bon Jovi documentary series to feature all members past and present, “Thank You, Goodnight: The Bon Jovi Story” premieres on Hulu Friday, April 26 in the U.S., Star+ in Latin America and Disney+ in all other territories. Binge all four-parts one after the other or dole them out slowly. However you do it, expect to have “Livin’ On A Prayer” stuck in your head for the next week.

— Anitta , arguably Brazil’s most recognizable global pop singer since Astrud Gilberto sang “The Girl From Ipanema” nearly 60 years ago, is preparing to release a new album Friday, April 26. It’s titled “Funk Generation,” her first since the 2022’s “Versions of Me,” and its viral hits “Envolver” and “Girl From Rio” (with its interpolation of the Gilberto classic) made her an international star. She’s long aimed to bring Brazilian sounds to the worldwide music market, and focusing on Brazilian funk is an extension of that desire. “’Funk Generation’ is an album where I celebrate my roots. It’s where I express the power of Rio’s funk in every track its unique, danceable, and sensual beats,” she said in a statement. “It’s a rhythm born in the favelas, where I grew up, and it exudes resistance and art in every community.”

— It is time to give Midwest MCs their flowers: Fresh off a tour opening for Migos rapper Offset , Detroit’s Skilla Baby is preparing to drop a new project on Friday, April 26, “The Coldest.” If his trap earworm “Bae,” with its celebratory, ladies-first lyrics (“Bae, you know you’re fine, don’t you?” in the chorus) and the community-focused “Plate” are a taste of what’s to come, the release is going to be delicious.

— AP Music Writer Maria Sherman

NEW SHOWS TO STREAM

— “The Big Door Prize,” a sweet, silly dramedy about the residents of a small town turned upside down by the arrival of a machine that reveals a person’s true calling, returns for a second season on Apple TV+. Starring Chris O’Dowd as a local high school teacher, “The Big Door Prize” is based on a book by M.O. Walsh and was one of The Associated Press’ TV shows worth watching in 2023. Season two of “The Big Door Prize” debuts Wednesday. Season one is also still available on the streamer.

— Two teen ghost detectives who appear in DC comic books star in their own series called “Dead Boy Detectives.” The story follows Edwin and Charles, two long-dead teens who spend their afterlife still on Earth and investigating paranormal cases. They’re assisted by a living teen named Crystal Palace who is a clairvoyant. “Dead Boy Detectives” also features Lukas Gage in an over-the-top, comedic role of the Cat King. “The Summer I Turned Pretty” actor David Iacono plays a demon. The ghostly investigations begin Thursday on Netflix.

— Idris Elba and Adam Pally reprise their “Sonic the Hedgehog” characters for the new animated series “Knuckles” on Paramount+. Elba plays Knuckles, an Echidna with super strength, who is adjusting after moving to Earth at the end of “Sonic the Hedgehog 2.” Pally is Wade Whipple, a not-so-bright deputy sheriff. “Knuckles” is part of Paramount’s efforts to expand the popular “Sonic” brand. Ben Schwartz and Tika Sumpter also reprise roles from the films. All six-episodes of “Knuckles” stream Friday, April 26.

— Alicia Rancilio

NEW VIDEO GAMES TO PLAY

— Sony’s Stellar Blade takes place on an Earth that’s been mostly abandoned after an invasion by hordes of mysterious monsters called the Naytiba. Enter Eve, a sword- and gun-wielding warrior who has returned to her home planet to help out the few people left, including a scavenger named Adam. The Biblical references pile up — for example, the last city standing is Xion — but the real influence is the popular hack-and-slash epic Bayonetta. If you’ve been craving another flamboyant adventure with a beautiful woman battling hideous beasts, Korean studio Shift Up hopes it’s got you covered. Start swinging Friday, April 26, on PlayStation 5.

— Electronic Arts’ Tales of Kenzera: Zau is less campy and more down to earth. Its protagonist, Zau, aims to become a healer and, maybe, bring his father back from the Land of the Dead. The aspiring shaman has some nifty parkour skills as well as sun and moon masks, which allow him to, respectively, launch spears and manipulate time as he fights evil spirits. Tales of Kenzera is the debut title from Surgent Studios, which was founded by voice actor Abubakar Salim, and he says it was inspired by Bantu folklore as well as his own experience with grief. The journey begins Tuesday on Nintendo Switch, PlayStation 5, Xbox X/S and PC.

— Lou Kesten

Catch up on AP’s entertainment coverage here: https://apnews.com/entertainment.

BLUEY: Episodes 348 and 349: “Ghostbasket” and “The Sign”

"accepting god’s plan".

What You Need To Know:

Miscellaneous Immorality: There is a moment where a single mom, Terriers’ mom, and a divorced dad, Winton’s dad, are shown moving in together although the nature of the relationship is not explained.

More Detail:

The third season of the worldwide sensation BLUEY nears an end with two penultimate episodes, “Ghostbasket,” and “The Sign.” BLUEY takes place in a world of cartoon anthropomorphic dogs and follows the story of the Heeler family. The family consists of the mom Chilli, the dad Bandit, and the two daughters, Bluey and Bingo. Along with the Heelers immediate family, most of their stories also involve the family’s friends and extended family to tell emotionally moving stories for both children and adults alike usually in the form of playing and pretend.

In “Ghostbasket,” Bandit pretends to be a realtor to sell the Heeler home, and Chilli pretends to be a buyer. Bandit in this game has been trying to sell the house for weeks but is constantly thwarted by THE GRANNIES! The Grannies are Bluey and Bingo’s pretend personas of old ladies, which appear in many episodes previously. Bingo becomes Rita who’s hard of hearing and the slower of the two. Bluey becomes Janet, a more direct and gentler nanny who has a tendency to nap in random places. In this episode, the grannies are trying to prevent their house from being sold by pretending that the house is haunted by a ghost basket. However, Chilli discovers it and buys the Grannies’ house. Bandit rejoices until he feels bad for the old ladies, so he scares the customer away. The Grannies thank him, but he says, “I can’t do this forever.” The game seems to end. Then, a FOR SALE sign appears in front of the Heeler’s home, indicating that, outside of the game, Bluey and Bingo’s parents are planning to move.

At 28 minutes, “The Sign” is the longest Bluey episode to date (most episodes are seven minutes long). “The Sign” has two main stories. The first story is Bluey and the rest of her family adjusting to the idea of moving, and the second is the wedding of Rad and Frisky, Bluey’s uncle and godmother, respectively.

In the beginning, Bandit reveals he got a job offer that would pay significantly more but to get it he would have to move his family out of Queensland. Bluey doesn’t take the news well, and she expresses her feelings to her classmates and teacher, Calypso. Calypso tells her a story called “The Farmer,” which has the lesson that everything will turn out how it’s supposed to, a lesson that gets referenced throughout the episode.

At the same time, Frisky, the children’s godmother, is setting up her wedding in Bluey’s Backyard. Bluey is sitting on the porch because she knows that her house just got sold. Muffin, her cousin, tells her if they get rid of the For Sale sign, then the house won’t be for sale. The four Heeler cousins try to get the sign out with the help of Frisky until Frisky gets news that her fiancé, Bluey’s Uncle Rad, was planning on having them move after the wedding, without talking to her. Frisky then declares the wedding off as she drives angrily away.

Bluey tells her mom what happened, and her mom decides to go on a quest to find Frisky, bringing along Bluey, Bingo, and their cousins Muffin and Socks. This leads to a series of misadventures, which eventually leads to Frisky and a reveal that Chilli doesn’t want to move either. At this point, Bluey comes to terms with life and that things will work out the way they are supposed to do.

One of the most satisfying parts of these episodes, especially “The Sign,” is the satisfaction and easter eggs of other previous episodes. For example, there is the return of the children’s grandfather Bob after he seemed to be missing. Chilli’s sister, Brandy, returns, and she is pregnant despite the implication in the episode “Onesies,” that she would not likely have children. Bluey’s friends Winton and the Terriers end up as a family when Winton’s dad and the Terriers’ mom get together. These and a whole bunch more references to earlier episodes happen.

“Ghostbalset” and “The Sign” are well animated, with some of the best background music in a television series. However, what makes the show iconic is the emotional depth that the show is willing to go to while still being appropriate for children.

The two new episodes both teach moral lessons. “Ghostbasket” highlights the treatment of people’s homes and how the elderly should be treated. “The Sign,” however, is all about trusting that things will work out the way for good, that all the decisions everyone makes have unseen consequences both seeming to be good and bad at the same time of happening. This is almost a direct connection to the Christian concept of trusting in God’s plan.

“Ghostbasket” and “The Sign” are a delight for children of all ages, including parents and grandparents.

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The Ghost Movie Review: High on body count, low on originality

Rating: ( 2.5 / 5).

2022 seems to be the year of swashbuckling spies, guns, and dead kids. While watching  The Ghost  it is hard to shake off the memories of  Vikram  and  Beast  in multiple instances. Similarities to one of these films should be leading to enjoyable results, right? Unfortunately, that’s not the case here. Every time we feel the film shows some promise, we are almost immediately given a reality check and told to keep our expectations under control. We keep rooting for the film to go a notch higher but it keeps refusing.

Director: Praveen Sattaru

Cast: Nagarjuna, Sonal Chouhan, Gul Panag, Anikha Surendran

Nagarjuna plays an Interpol officer named Vikram (his first film in 1986 was named Vikram, allow me to remind you) and he is introduced in an Arabian desert, taking down a battalion of a suspicious, unnamed group of militants. He is joined by Priya (Sonal Chouhan) and together they wipe the hell out of the bad guys. They take down the last man and instantaneously begin kissing as the action sequence segues into a romantic montage song that plants information about Vikram’s struggles with trauma and his dear relationship with his adopted family. It is a bit jarring and it assures you to gain momentum. The actual action begins—or you think so—after the song when Vikram and Priya are on a mission to rescue a kid from a bunch of kidnappers. It starts with an uninspiring chase and ends with a tragedy, propelling Vikram to take down the whole underworld. When the film’s title appears, we are brimming with excitement, but the pleasure is only momentary with our curiosity being put to rest almost immediately with a text, ‘5 years later’. What happened to Vikram’s rage and the mission he set out on? We have to wait for that. This, I believe, is the biggest problem with the film: its refusal to focus on the amusement—violence and action—and insistence to meander on a rather generic plotline for an excessive runtime.

We hope to see Vikram hunt down thugs of the underworld in style, but before we get to that, we have to sit through a painfully long and generic set-up that features the protagonist double up as a guardian for his sister-like Anu (Gul Panag) and her reckless daughter Adithi (Anika Surendran). The conflict is not just bad guys after their lives but boardroom politics too. I would be lying if I say I wasn’t reminded of Trivikram’s recent films where the conflict is all about shares and stocks in a company. These portions of the film make you restless to see the action we signed up for.

When the film eventually enters the action zone in the final 35 minutes, it is entertaining, despite lacking inventiveness. The reveal about the origin of Vikram’s sobriquet, 'The Ghost’ is strongly reminiscent of the Babayaga story from  John Wick (2014). It is a concerned father warning his son about the repercussions of the grave mistake the latter has committed in both films. The highly hyped-up Katana sword is put to terrific effect here with dozens of glorious kills in the second half. The final 30 minutes of the film, suffused with bodies, blood, knives and guns, serve as a much-needed departure from the generic-ness that pervaded the set-up and the pay-off is indeed a treat to behold. 

Dharmendra Kakarala’s editing complements the action choreography by Dinesh Subbarayan and Kecha Khamphadkee superbly in the effective flashback sequence, collectively infusing energy into the overall mood. Mukesh G’s choice to punctuate red in an action sequence—featuring a blood red moon—set in a boat with neon lighting, darkness, and silhouettes in other action sequences lend a wonderful style to the whole origin story. The wide image of a hooded man holding a sword in the rain while dozens kneel before him, begging for mercy, is perhaps the best frame in the film. I wish  The Ghost  was actually about… the ghost and less about Vikram and boardroom politics. 

The action sequences are delightfully violent—bodies are chopped into pieces with the sword, a thug is beheaded and then his head is shot, making it explode like a watermelon, and there are countless headshots—and almost rescue the film. However, I wish there was a stronger purpose to the action here. The climactic action sequence, set in a church, is superbly shot but you can’t help but wonder about the futility of the whole sequence. The need for action and violence is barely registered, reducing the sequence to a deliberately crafted set-piece for the sake of spectacle. 

While we naturally accept to suspend our disbelief when we walk into a movie theatre,  The Ghost  expects a tad too much from us, barely trying to care for the reality. Physics is secondary; it is fine if the hero dodges all the hundreds of bullets. Emotions are primary; shouldn’t a person who is raging with sadness and anger at least attempt to take a shot at someone when he is in a position to, instead of waiting for the hero to finish off every man standing? Such glaring direction errors break the interest the film just managed to grab from us.

If there’s someone in the cast who gets the best deal after Nagarjuna, it is Sonal Chouhan, who puts up a surprisingly effective show in the action sequences. She is believable and moreover, not once does her character seek help from the man here. She always saves herself and others. Sad that she couldn't save the whole film though. 

The Ghost  is, in a way, a quintessential revenge drama that’s packaged with the flourishes of a modern-day actioner. To rehash a classic review line—just like the film is a rehash of many films—The Ghost is an old bullet in a new gun. It could have been what  Vikram  was to Kamal Haasan, but ends up being what  Beast  was to Vijay. 

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There’s Really Nothing Else Like The Beast

Léa Seydoux and George MacKay play thwarted lovers over three different lifetimes in The Beast , but I wouldn’t describe Bertrand Bonello’s unsettling feature as a romance. It tries out different genres, from period drama to science fiction, but it’s closest in spirit to a horror movie. This is acknowledged by the opening scene, in which Seydoux steps out onto a green-screen set to enact being threatened by a monster that will be added in post. An off-screen voice guides her through the blocking and directs her to her mark. Can she pretend to be afraid of something that isn’t there? She can, and she does, producing a show of animal panic as an ominous score strikes up and the camera closes in to capture her wild eyes. The power of her fear makes it an eerie sight, even knowing there’s no actual threat — an idea that The Beast echoes and remixes as it leaps from period to period and mode to mode, flinging its characters together in different doomed scenarios.

Seydoux’s character, Gabrielle, is a model and aspiring actor in 2014 Los Angeles, which explains the green screen — she’ll later book a gig on a similar set to shoot a grotesque safety video in which she’s flung around on wires in a simulation of a car accident. In Paris in 1910, Gabrielle is the aristocratic wife of a doll-factory owner, while in the hollowed-out future of 2044, she’s a dissatisfied worker in a world dominated by AI, where professional advancement requires submitting to a procedure that rids you of strong emotions by regressing you through your past lives. That last scenario is, in theory, the film’s present day and the point from which The Beast starts. But there’s a case to be made for each timeline being the dominant one, which keeps a viewer off-balance. The earliest story line is most directly related to the film’s loosely cited source material, the 1903 Henry James novella The Beast in the Jungle , about a man who refuses to marry or allow anyone into his life because he’s convinced that some unspecified doom is coming his way. For me, though, the 2014-set scenes exert the greatest pull, because of a daredevil bold choice: They draw inspiration from a real, and recent, mass shooter.

In each of the entwined segments, Gabrielle encounters MacKay’s character, Louis, and is inexorably drawn to him despite it always leading to her destruction. In 1910, he’s an Englishman she reencounters at a party after meeting him at a dinner years before, and in 2044, he’s another candidate questioning whether the “purification” process is right for him. But in 2014, he’s an incel with violent intentions who stalks Gabrielle back to the sprawling place where she’s house-sitting, representing a direct threat to her life rather than one to her stability or to her heart. The paralyzing fear in James’s book becomes a specifically masculine one in the movie — a fear of vulnerability and getting hurt. In flooded Paris, Louis pursues the now happily married Gabrielle, having been too intimidated to express interest in her when they first met. In the future, where everyone wears gas masks to walk through city streets so desolate that wildlife freely roams, Louis looks like a fellow holdout against the numbing bargain offered by AI but can’t be relied upon to hold strong.

In 2014, he’s channeled his apprehension about rejection into rage, which he expresses in misogynistic video rants that draw from Elliot Rodger. When Gabrielle approaches Louis in the wake of an earthquake that brings everyone outdoors, he’s stiff and unreceptive to her advances, unwilling to accept that she might genuinely be interested. This Louis is significantly more extreme than the others, and The Beast flounders a bit in trying to link the fears holding all three back. But that’s also what’s so engaging about the movie — it overflows with intriguing ideas, even if they aren’t all fully explored. Different elements recur like rhymes: The doll factory in 1910 is mirrored by an animatronic toy that keeps Gabrielle company in 2014 and by the gynoid, played memorably by Saint Omer ’s Guslagie Malanda, assigned to watch over her in 2044. Gabrielle is rejected by a trio of women at a Hollywood Boulevard nightclub in Los Angeles, only for the exact same encounter to happen at a retro disco in the future. There are repeat run-ins with clairvoyants, bodies floating in water, and admiring touches of hands. Throughout all this, Seydoux, an absurdly watchable actor who came close to stealing last month’s Dune: Part Two with only a handful of scenes, shifts seamlessly between corseted melodrama and dystopian sci-fi.

Still, it’s in the period closest to the present day where she’s most impressive. Bonello cribs heavily from David Lynch for the 2014 segment, which is suffused with dreamlike dread as the lonely Gabrielle haunts dance spots and drifts around the fish tank of a mansion she’s been living in, her desire for human connection overcoming her sense of self-preservation. It’s difficult to make a character feel tangible and human while also allowing them to do inexplicable things. But even when Gabrielle is in the grip of forces she seems hopeless to control, Seydoux finds warmth and a kamikaze openness that allows room for hope even amid several existences’ worth of pain. Better to be contradictory and messy and feel too much than to be dully consistent — praise that also applies to The Beast as a whole.

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