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The film works only in fits and starts. Watch it for the twist in the tale in the end and some goosebumps in the beginning.

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• This film marks the first collaboration of uncle-nephew duo Anil Kapoor and Arjun Kapoor. Arjun is the son of Anil’s brother Boney Kapoor. Share
• This film marks the first collaboration of uncle-nephew duo Anil Kapoor and Arjun Kapoor. Arjun is the son of Anil’s brother Boney Kapoor.
• This is the second time Arjun Kapoor is playing a double role, the first being Aurangzeb (2013).
• The song ‘Yamma yamma’ from ‘Shaan’ is sampled in the song ‘Partywali Night' for the film.

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• రివ్యూ: ఆట్టం.. మలయాళ సస్పెన్స్‌ డ్రామా ఎలా ఉంది?

Aattam Review: రివ్యూ: ఆట్టం.. మలయాళ సస్పెన్స్‌ డ్రామా ఎలా ఉంది?

వినయ్‌, కళాభవన్‌ షాజాన్‌, జరీన్‌ షిహబ్‌ కీలక పాత్రల్లో నటించిన ‘ఆట్టం’ ఎలా ఉంది?

Aattam movie review; చిత్రం: ఆట్టం; నటీనటులు: వినయ్‌, కళాభవన్‌ షాజాన్‌, జరీన్‌ షిహబ్‌ తదితరులు; సంగీతం: బసిల్‌ సీజే; ఎడిటింగ్‌: మహేశ్‌ భువనేంద్‌; సినిమాటోగ్రఫీ: అనిరుధ్‌ అనీష్‌; నిర్మాత: డాక్టర్‌ అజిత్‌ జాయ్‌; రచన, దర్శకత్వం: ఆనంద్‌ ఎకర్షి; స్ట్రీమింగ్‌ వేదిక: అమెజాన్‌ ప్రైమ్‌

ఎప్పటికప్పుడు వైవిధ్యమైన కథలతో సినీ ప్రేక్షకులను అలరిస్తోంది మలయాళ చిత్ర పరిశ్రమ. అక్కడ అగ్ర కథానాయకులు సైతం ప్రయోగాలు చేసేందుకు ఇష్టపడతారు. అలాంటి కోవలోనే రూపొందిన విభిన్న కథా చిత్రం ‘ఆట్టం’. ఈ ఏడాది జనవరిలో ప్రేక్షకుల ముందుకువచ్చిన ఈ చిత్రం (Aattam movie review) అమెజాన్‌ ప్రైమ్‌లో స్ట్రీమింగ్‌ అవుతోంది. మరి ఈ మూవీ కథేంటి? ఎలా ఉంది?

కథేంటంటే: కేరళలో ఓ నాటక బృందం అది. అందులో 12మంది నటులు. ఒక్కరే నటీమణి. అందరూ మధ్యతరగతి వారే. ఒక్కొక్కరూ ఒక్కో పని చేసుకుంటూ అవకాశం ఉన్నప్పుడల్లా వివిధ వేదికలపై తమ నాటకాన్ని ప్రదర్శిస్తూ ఉంటారు. ఈ బృందం ప్రదర్శించే నాటికలో వినయ్‌ (వినయ్‌ ఫోర్ట్‌), అంజలి (జరీన్‌ షిబాబ్‌),  హరి (కళాభవన్‌ షాజాన్‌)లు కీలక పాత్రధారులు. ముఖ్యంగా సినిమా నటుడు అయిన హరికి ఈ నాటకంలో కాస్త అధిక ప్రాధాన్యం ఉంటుంది. అయితే, ఇది వినయ్‌కు నచ్చదు. ఒకరోజు ఈ బృందం వేసిన నాటకానికి ముగ్ధులైన ఓ విదేశీ జంట తమ రిసార్ట్‌లో వాళ్లకు ఆతిథ్యం ఇస్తుంది. అందరూ మద్యం పార్టీలో మునిగి తేలుతారు. బాగా పొద్దుపోయాక, ఎవరికి కేటాయించిన గదుల్లోకి వాళ్లు వెళ్లి నిద్రపోతారు. అంజలి కిటికీ పక్కన నిద్ర పోతుంది. అర్ధరాత్రి సమయంలో ఒక వ్యక్తి అంజలి నిద్రపోతున్న కిటికీ పక్కకు వచ్చి అందులోనుంచి చేయి పెట్టి ఆమెతో అసభ్యంగా ప్రవర్తించి పారిపోతాడు. ఈ 12 మందిలో ఆమెతో అలా తప్పుగా వ్యవహరించిన వ్యక్తి ఎవరు? అంజలి ఈ విషయాన్ని ఎలా బయటపెట్టింది? చివరకు ఆ చెత్త పని చేసిన వ్యక్తిని గుర్తించారా? తెలియాలంటే సినిమా చూడాల్సిందే!

ఎలా ఉందంటే:  మానవ జీవితం ఒక వైకుంఠపాళి. కోరికలు, అవసరాలు, ఆశలు అనే నిచ్చెనలను ఎక్కేందుకు ప్రతీ జీవి తహతహలాడిపోతుంది. ‘కాల’ సర్పాలు ఎదురైతే వాటి నుంచి తప్పించుకునేందుకు ఎదుటి వ్యక్తిని బలి పశువును చేయడమే ఎక్కువమందికి తెలుసు. ఈ క్రమంలో పరిస్థితులను బట్టి వ్యక్తులకు ఇచ్చే గౌరవం, విలువలు మారిపోతాయి. ‘బాగున్నప్పుడు లెక్కలు మాట్లాడి.. కష్టాల్లో ఉన్నప్పుడు విలువలు మాట్లాడే’ వారే ఎక్కువ. అందుకు దృశ్య రూపమే ‘ఆట్టం’. అంజలితో సహా 12మంది నాటకం వేసేందుకు సిద్ధమవుతున్న సన్నివేశంతో సినిమాను ప్రారంభించిన దర్శకుడు అసలు పాయింట్‌కు రావడానికి కాస్త సమయం తీసుకున్నాడు. విదేశీ జంట వీళ్లందరినీ ఆతిథ్యానికి ఆహ్వానించడం, సరదాగా గడపటం ఇలా కథాగమనం నెమ్మదిగా సాగుతుంది. 12మందిలో ఒక వ్యక్తి అంజలితో అసభ్యంగా ప్రవర్తించాడన్న విషయం తెలియడంతో అసలు కథ పట్టాలెక్కుతుంది. ఆ చెత్త పని చేసిన వ్యక్తి ఎవరో తెలుసుకునేందుకు అందరూ సహ నటుడు అయిన మదన్‌ ఇంటికి వెళ్లడం, ఈ చర్యకు సినిమా నటుడైన హరిని బాధ్యుడిని చేసే క్రమంలో అతడిని ఒక్కొక్కరూ ఒక్కోలా మాట్లాడే తీరును దర్శకుడు నేటి వాస్తవ పరిస్థితులకు అన్వయిస్తూ తీర్చిదిద్దిన విధానం బాగుంది. ఒక వ్యక్తి మనకు నచ్చకపోతే, అతడు ఏం చేసినా మంచిగా కనిపించదు. సగటు మానవ స్వభావమే ఇలా ఉంటుందని చూపించిన తీరు ఆకట్టుకుంటుంది.

నాటక బృందం నుంచి హరిని బయటకు పంపేందుకు తీర్మానం చేసే క్రమంలో పలువురి వ్యవహారశైలి భిన్నంగా ఉండటంతో వారిపైనా ప్రేక్షకుడికి అనుమానం కలిగేలా ఆసక్తిగా కథనాన్ని నడిపాడు దర్శకుడు. కథ ముందుకు నడిచే కొద్దీ, ఎవరు ఆ పని చేశారో ఊహించడం మరింత కష్టమైపోతుంటుంది. ఇక్కడే ఊహించని ట్విస్ట్‌ ఇచ్చాడు దర్శకుడు. అనుకోకుండా మదన్‌ ఇంటికి హరి రావడం, తనకున్న పరిచయాలతో నాటక బృందాన్ని ఇంగ్లాండ్‌ తీసుకెళ్తానని చెప్పడంతో అప్పటివరకూ దుర్మార్గుడిగా కనిపించిన అతడు అందరికీ మంచివాడిలా కనిపిస్తాడు.  ఆ బృందంలోని ప్రతీ మనిషిలోనూ విదేశాలకు వెళ్లాలన్న ఆశ పుడుతుంది. అంజలిని పిలిచి సయోధ్య కుదిర్చేందుకు యత్నించే ప్రయత్నాలు చూస్తే మనుషుల్లో ఉండే నిలకడలేనితనం తేటతెల్లం అవుతుంది. అంజలి వచ్చిన తర్వాత తప్పెవరిది అని కనుక్కొనే ప్రయత్నంలో ప్రతిఒక్కరూ ఎదుటి వ్యక్తి తప్పులను ఎంచేందుకు ప్రయత్నిస్తాడు తప్ప, అసలు అంజలి పడిన వేదనను ఎవరూ అర్థం చేసుకోరు.  పైగా పార్టీలో మద్యం తాగినందుకు అంజలిది కూడా తప్పేనని తీర్మానించడం మానవ నైజానికి పరాకాష్ట. క్లైమాక్స్‌లో మరొక ట్విస్ట్‌తో ముగించిన తీరు బాగుంది.

ఎవరెలా చేశారంటే: ‘ఆట్టం’లో ఒక్కరు కూడా మనకు తెలిసిన నటులు కాదు. కానీ, ఆ పాత్రల్లో వాళ్లను తప్ప వేరొకరిని ఊహించుకోలేం. ప్రతిఒక్కరూ జీవించారు. సాంకేతికంగా సినిమా బాగుంది. చాలా సన్నివేశాలను సహజత్వానికి దగ్గరగా తీశారు. చాలా చిన్న కాన్సెప్ట్‌ను ఎంచుకుని మనిషి నైజాన్ని దర్శకుడు ఆవిష్కరించిన తీరు బాగుంది. కానీ, అసలు పాయింట్‌కు రావడానికి కాస్త సమయం తీసుకోవడం, కథాగమనం కాస్త నెమ్మదిగా సాగడం మినహాయిస్తే చివరి వరకూ ఆసక్తిగా మూవీని నడిపించడంలో దర్శకుడు విజయం సాధించాడు. కుటుంబంతో కలిసి చూడొచ్చా: ప్రస్తుతం అమెజాన్‌ ప్రైమ్‌లో కేవలం మలయాళ భాషలో, ఇంగ్లీష్ సబ్‌టైటిల్స్‌తో ఈ మూవీ అందుబాటులో ఉంది. ఎలాంటి అభ్యంతరకర సన్నివేశాలూ లేవు.

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గమనిక: ఈనాడు.నెట్‌లో కనిపించే వ్యాపార ప్రకటనలు వివిధ దేశాల్లోని వ్యాపారస్తులు, సంస్థల నుంచి వస్తాయి. కొన్ని ప్రకటనలు పాఠకుల అభిరుచిననుసరించి కృత్రిమ మేధస్సుతో పంపబడతాయి. పాఠకులు తగిన జాగ్రత్త వహించి, ఉత్పత్తులు లేదా సేవల గురించి సముచిత విచారణ చేసి కొనుగోలు చేయాలి. ఆయా ఉత్పత్తులు / సేవల నాణ్యత లేదా లోపాలకు ఈనాడు యాజమాన్యం బాధ్యత వహించదు. ఈ విషయంలో ఉత్తర ప్రత్యుత్తరాలకి తావు లేదు.

రివ్యూ: మై డియర్‌ దొంగ.. అభినవ్‌ గోమఠం నటించిన సినిమా ఎలా ఉందంటే?

రివ్యూ: సైరెన్‌.. జయం రవి, కీర్తి సురేశ్‌ యాక్షన్‌ థ్రిల్లర్‌ ఎలా ఉంది?

రివ్యూ: పారిజాత పర్వం.. క్రైమ్‌ కామెడీ థ్రిల్లర్‌ ఎలా ఉంది?

రివ్యూ: డియర్‌.. భార్య గురకపెట్టే కాన్సెప్ట్‌తో రూపొందిన ఈ మూవీ మెప్పించిందా?

రివ్యూ: శ్రీ రంగ‌నీతులు.. సుహాస్‌, కార్తీక్‌ రత్నంల కొత్త మూవీ మెప్పించిందా?

రివ్యూ: బ‌డే మియా ఛోటే మియా.. అక్షయ్‌, టైగర్‌ ష్రాఫ్‌ నటించిన యాక్షన్‌ థ్రిల్లర్‌ ఎలా ఉంది?

రివ్యూ: గీతాంజలి మళ్ళీ వచ్చింది.. హారర్‌ కామెడీ థ్రిల్లర్‌ ఎలా ఉంది?

రివ్యూ: లవ్‌గురు.. విజయ్‌ ఆంటోనీ మూవీ ఎలా ఉంది?

రివ్యూ: మైదాన్‌.. అజయ్‌ దేవ్‌గణ్‌ కీలక పాత్రలో నటించిన స్పోర్ట్స్‌ డ్రామా మెప్పించిందా?

రివ్యూ: ప్రాజెక్ట్‌-Z.. సందీప్‌ కిషన్‌, లావణ్య త్రిపాఠి సైన్స్‌ ఫిక్షన్‌ థ్రిల్లర్‌ ఎలా ఉంది?

రివ్యూ: మంజుమ్మ‌ల్ బాయ్స్‌.. మలయాళ సూపర్‌హిట్‌ తెలుగులో ఎలా ఉంది?

రివ్యూ: ఫ్యామిలీస్టార్‌.. విజయ్‌ దేవరకొండ ఖాతాలో హిట్‌ పడిందా?

రివ్యూ: టిల్లు స్క్వేర్‌.. సిద్ధు, అనుపమ జోడీ మేజిక్‌ చేసిందా?

రివ్యూ: ఆడుజీవితం: ది గోట్‌లైఫ్‌.. పృథ్వీరాజ్‌ సుకుమారన్‌ సర్వైవల్‌ థ్రిల్లర్‌ ఎలా ఉంది?

Om Bhim Bush Review; రివ్యూ: ఓం భీమ్ బుష్‌.. కామెడీ ఎంటర్‌టైనర్‌ అలరించిందా?

ThulasiVanam Review: రివ్యూ: తులసీవనం: మిడిల్‌క్లాస్‌ కుర్రాడి బయోపిక్‌

Abraham Ozler review: రివ్యూ: అబ్రహాం ఓజ్లర్‌.. మలయాళ క్రైమ్‌ థ్రిల్లర్‌ ఎలా ఉంది?

Save The Tigers 2 Review: రివ్యూ: సేవ్‌ ది టైగర్స్‌ సీజన్‌ 2.. నవ్వులు రిపీట్‌ అయ్యాయా?

Sharathulu Varthisthai Review: రివ్యూ: షరతులు వర్తిస్తాయి.. సినిమా ఎలా ఉందంటే?

Yodha Review: రివ్యూ: యోధ.. యాక్షన్‌ థ్రిల్లర్‌ మెప్పించిందా?

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Paarijatha Parvam X Review: Chaitanya Rao, Sunil, & Harsha Chemudu's Action Drama Hits Screens Amid Slow Buzz

Paarijatha Parvam X Review Ratings: The latest action comedy-drama starring Sunil, Chaitanya Rao, Harsha Chemudu, and Shraddha Das, titled 'Paarijatha Parvam,' hit the screens amid decent expectations on April 19. Written and directed by Santosh Kambhampati, the movie's trailer generated slow hype owing to its cast and premise.

Paarijatha Parvam Synopsis

Two gangs are after one person and are desperate to kidnap him. Things go haywire as it leads to the unfolding of a huge conspiracy.

Paarijatha Parvam Story

Seenu (Sunil) wants to become an actor and arrives in Hyderabad from Bhimavaram. He fails and gets employed in a bar in Krishna Nagar; in hopes of meeting industry directors. He meets Parvati (Shraddha Das) who aspires to become a choreographer and dances in the bar for money. One day, in a severe altercation with the bar's owner over Parvati, Seenu kills him; thereby becoming Bar Seenu. He resorts to settlements later on.

Chaitanya (Chaitanya) comes into the picture and he creates a story based on the life of Bar Seenu. But when producer Shetty (Srikanth Iyengar) ridicules Chaitanya's idea to cast his friend Harsha (Harsha Chemudu), he decides to kidnap Shetty's wife to make money for his film. Chaos ensues as Seenu and Parvati also try to kidnap Shetty's wife.

Paarijatha Parvam X Review

Enthusiastic movie lovers, who got to watch the first-day first show of this comedy-drama have taken to their social media accounts to express their opinion about the Paarijatha Parvam movie. Their posts make for a mini-review of sorts, for the other Tollywood film buffs to understand what to expect from this multi-star film. Below are some of the interesting tweets you should go through.

#Parijathaparvamreview #parijathaparvam స్టోరీ లైన్ చూసుకుంటే impressive గానే ఉంది. కానీ దానిని ప్రేక్షకులను ఆకట్టుకునే విధంగా తీయడంలోనే దర్శకుడు #Santoshkambhampati ఫెయిల్ అయ్యాడు. ఒక సినిమా తీయడం కోసం డబ్బుల్లేక #Srinivasiyyangar భార్య @surekhavani12 ని కిడ్నాప్ చేయాలనీ… pic.twitter.com/rtriOgxQRp — Bhaskar Killi (@killi_bhaskar) April 19, 2024

#parijathaparvam #shraddhadas #vivaharsha #Sunil #chaitanyakrishna pic.twitter.com/dTGNvE2Orb — Saketh Udayagiri (@Saketh1993) April 18, 2024

Paarijatha Parvam Cast

This movie stars Chaitanya Rao Madali as Chaitanya, Sunil as Bar Seenu, Harsha Chemudu as Harsha, Surekha Vani as Surekha, Malavika Satheesan as Apeksha, Sameer as Prathap, Srikanth Iyengar as Shetty, and Shraddha Das as Parvati played the key roles in the movie.

Paarijatha Parvam Crew

Written and directed by Santosh Kambhampati, the movie was produced by Mahidhar Reddy and Devesh under the Vanamali Creations banner. Sasank Vupputuri worked as the editor; Ree composed the film's entire background score and music. Bala Saraswathi cranked the camera.

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Scrooge was granted visions of Christmas Past and Christmas Future, and reformed his life. What happens to Adam Sandler in "Click" is like what happened to Scrooge, except with a lot more Christmases. He needs more than one lesson and he gets more than one lesson. Way more.

In " Being There ," the hero Chance has spent all of his life watching television. When he wanders out to freedom and is threatened on the street, he clicks a TV remote control to get another channel. In "Click," Sandler plays Michael, an architect who is given a universal remote that's truly Universal. With it, he can take control of his life: freeze a scene, fast-forward, reverse, mute the sound, select the chapters of his choice and even witness his parents at the moment of his conception (that's, of course, in the "Making of" documentary).

The movie is being sold as a comedy, but you know what? This isn't funny. Yes, there are some laughs, as when he finds he can turn the dog's barking up and down, or play around with the settings for hue and contrast, or when he discovers the picture-in-picture feature that allows him to watch the ballgame no matter what else is going on around him. But the movie essentially involves a workaholic who uses the universal remote to skip over all the bad stuff in his life and discovers in the process that he is missing life itself. Take away the gimmick of the universal remote, and this is what a lot of us do, and it's sad.

It's not just sad, it's brutal. There's an undercurrent of cold, detached cruelty in the way Michael uses the magical device. He turns off the volume during an argument with his wife. He fast-forwards through a boring family dinner, and later through foreplay. He skips ahead to avoid a bad cold. He jumps to the chapter where he gets a promotion. Eventually, he realizes the family dog has died and been replaced by another, his kids have grown up, his wife is married to someone else, and he weighs 400 pounds. It happened while he wasn't paying attention.

Like many other Sandler movies, this one lingers studiously over bodily functions. After losing enormous amount of weight, for example, Michael plays with a big flap of loose skin around his stomach, plopping it up and down long after any possible audience curiosity has been satisfied. During an argument with his boss ( David Hasselhoff ), he freeze-frames the boss, jumps on his desk and farts. When he puts his boss back on "play," the boss inexplicably decides his secretary has put feces in his salad. Anyone who can't tell poop from lettuce doesn't deserve to be a senior partner. They teach you that in business school.

Michael is surrounded by patient and saintly people. His wife, Donna ( Kate Beckinsale ), loves him but despairs of reaching him. She has that standard wifely role of complaining when he has to work late and can't be at the swimming meet/Fourth of July party, etc. Michael's parents ( Henry Winkler and Julie Kavner ) are sweet and loving but kvetch too much and talk too slowly, so Michael zaps right through the time he has remaining with them.

I am not sure if this story device could possibly have been made funny. It could have been elevated into a metaphysical adventure, as in " Eternal Sunshine of the Spotless Mind ," or made to generate a series of paradoxes, as in " Being John Malkovich ," but "Click" stays resolutely at Level 1 -- the tiresome explication of the basic premise. Once we get the idea, there are no more surprises, only variations on the first one.

The movie does have some wit about its product placement. The plot is set in motion when Michael goes out late at night to buy a universal remote and only one store is open: Bed, Bath and Beyond. As a retail store name, this has always reminded me of the final subtitle in Kubrick's "2001," which was "Jupiter and Beyond the Infinite." Beyond the infinite. That's a fair piece. In the store Michael enters, Bed and Bath are easy to find, but Beyond is behind a mysterious door at the end of a very long corridor, where a man named Morty ( Christopher Walken ) makes him a gift of the universal remote. If they make "Click 2," I want it to be about Morty.

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.

Click (2006)

Rated PG-13 for language, crude and sex related humor and some drug references

107 minutes

Adam Sandler as Michael Newman

Christopher Walken as Morty

Kate Beckinsale as Donna Newman

David Hasselhoff as Mr. Ammer

Sean Astin as Bill

Rachel Dratch as Alice/Alan

Henry Winkler as Ted Newman

Julie Kavner as Trudy Newman

Directed by

• Frank Coraci
• Steve Koren
• Mark O'Keefe

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Tenant Movie Review : A slow-burning thriller with a subtle message

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must watch for every parent and collage goers

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Rebel Moon – Part Two: The Scargiver review – Zack Snyder’s bombastically fun sequel

The divisive director’s sci-fi follow-up is both original and derivative and will be unlikely to convert anyone, but there’s something charming about its sincerity

I s there a contemporary Hollywood film-maker who better epitomizes the modern commerce-v-art quagmire than Zack Snyder ? Snyder has an instantly recognizable style and a deathless dedication to his singular vision; he also, at the behest of various studios, volunteers to think almost entirely in terms of franchises, comic books and self-conscious myth-making – whether he’s trying to interrogate those myths or just build them up so he can smash them down with maximum mayhem.

Rebel Moon, his sci-fi/fantasy franchise for Netflix, pulls both sides of his career to further extremes. It’s a multimillion-dollar two-parter (for now) that’s technically original and highly derivative, with Snyder’s fanboy obsessions taken so far around the bend that they become niche again. Even his hordes of online fans don’t seem to care that much about it. Rebel Moon – Part 2: The Scargiver, following last year’s A Child of Fire kickoff, is supposed to be an explosive finale. But with expanded R-rated cuts of both movies definitely on the way, and ideas rattling around in Snyder’s brain for even more sequels, the whole project feels like one long, never-ending middle.

And yet: maybe this accidental middle ground is exactly what Snyder needs. Structurally, The Scargiver is no one’s idea of a proper stand-alone movie, or even a normal sequel. The first film followed the recruitment efforts of Kora (Sofia Boutella), an ex-soldier whose idyllic life on the humble farming moon Veldt is interrupted by Imperial – er, Imperium forces demanding all of their crops. Kora and Gunnar (Michiel Huisman) set out to find warriors willing to help defend Veldt; by making his failed Star Wars pitch without Lucasfilm, Snyder cut out the middleman on his Seven Samurai ripoff.

Though A Child of Fire ended by kinda-sorta killing off main Imperium bad guy Atticus Noble (Ed Skrein) in a pre-emptive skirmish, he was quickly revived, so that The Scargiver can basically function as Climactic Battle: The Movie. Kora and Gunnar, along with their recruits Nemesis (Doona Bae), Titus (Djimon Hounsou) and Tarak (Staz Nair), return to Veldt and rally the citizens to defend themselves against Noble and the Imperium forces. That’s pretty much the whole movie.

This means almost all of The Scargiver is set on and above Veldt, a disappointing change from the gleeful planet-hopping of the first film. Here, instead of various sequences of nabbing warriors from various Star Wars-y worlds, there’s a single extended scene where the warriors trade backstory secrets, featuring some flashbacks that go off-world, plus a longer one revealing more about Kora’s checkered past. That’s all part of the protracted calm before the laser-blasting storm; during this early section, Snyder also includes a farming montage as only the director of 300 could. When these rebels reap their harvest of grain, they reap hard.

The comparably quieter moments all lead into an extended battle sequence that fuses last-stand westerns with a cartoon version of first world war trench warfare, and brings to mind overloaded early-2000s digital-cinema spectacles like Attack of the Clones or The Matrix Revolutions. (If that makes you shudder, subtract one star from this review’s rating. If you couldn’t stand A Child of Fire, might as well subtract two or three.) Snyder favors barrages over set pieces, and character design (which is often delightful) over character development (which is typically minimal); the nuances of human relationships elude him. He even has trouble with human-robot relationships; Jimmy, the mechanical man voiced by Anthony Hopkins , is still lurking around grappling with his sense of self. This leaves Boutella, a muscular and graceful presence, to sell Kora’s regrets, determination and self-lacerating fury with the kind of physical expressiveness that would be equally at home in silent movies and fantastical motion-capture.

Lucky as Snyder is to have her, the whole movie doesn’t rest on Boutella. There’s also a deranged zeal to Snyder’s muchness. If he’s going to bust out the kind of floating/falling giant airship over-favored by Kevin Feige in half a dozen Marvel movies, at least he stages a terrific sliding-objects fight during the fall. If he’s going to knock off his own versions of lightsabers, they’re going to look sharper and deadlier. If he’s going to utilize his newest favorite directorial party trick – focus so shallow that only a minority of any given image looks sharp at a time – he’s going to do it with the utmost commitment, even when it’s nonsensical (as in establishing shots).

Rebel Moon almost certainly didn’t need to be two multiple-cut movies. It probably could have gotten by as zero. But as a playground for Snyder’s favorite bits of speed-ramping, shallow-focusing and pulp thievery, it’s harmless, sometimes pleasingly weird fun. (That said, the first part is better and weirder.) The large-scale pointlessness feels more soothing than his past insistence on attempting to translate Watchmen into a big-screen epic, or make Superman into a tortured soul. Even Rebel Moon’s shameless attempts at serialization – The Scargiver essentially ends with another extended sequel tease, this time for a movie that stands a decent chance of never happening – feel freeing, because they excuse Snyder from the uncomfortable business of staging an apocalyptic showdown, or, worse, imparting a mournful philosophy. The whole bludgeoning enterprise is so daftly sincere, you could almost call it sweet.

Rebel Moon Part 2: The Scargiver is out now on Netflix

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After a group of criminals kidnap the ballerina daughter of a powerful underworld figure, they retreat to an isolated mansion, unaware that they're locked inside with no normal little girl. After a group of criminals kidnap the ballerina daughter of a powerful underworld figure, they retreat to an isolated mansion, unaware that they're locked inside with no normal little girl. After a group of criminals kidnap the ballerina daughter of a powerful underworld figure, they retreat to an isolated mansion, unaware that they're locked inside with no normal little girl.

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• Goofs Unless Abigail had recently gone on a murder binge of truly epic proportions, it would be impossible for all the dozens of bodies at the pool that Sammy falls into, to be all so fresh, and for all of them to be seemingly in the same state of decomposition specifically if they have been sitting in a pool of water.

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Critic’s Pick

‘Civil War’ Review: We Have Met the Enemy and It Is Us. Again.

In Alex Garland’s tough new movie, a group of journalists led by Kirsten Dunst, as a photographer, travels a United States at war with itself.

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‘Civil War’ | Anatomy of a Scene

The writer and director alex garland narrates a sequence from his film..

“My name is Alex Garland and I’m the writer director of ‘Civil War’. So this particular clip is roughly around the halfway point of the movie and it’s these four journalists and they’re trying to get, in a very circuitous route, from New York to DC, and encountering various obstacles on the way. And this is one of those obstacles. What they find themselves stuck in is a battle between two snipers. And they are close to one of the snipers and the other sniper is somewhere unseen, but presumably in a large house that sits over a field and a hill. It’s a surrealist exchange and it’s surrounded by some very surrealist imagery, which is they’re, in broad daylight in broad sunshine, there’s no indication that we’re anywhere near winter in the filming. In fact, you can kind of tell it’s summer. But they’re surrounded by Christmas decorations. And in some ways, the Christmas decorations speak of a country, which is in disrepair, however silly it sounds. If you haven’t put away your Christmas decorations, clearly something isn’t going right.” “What’s going on?” “Someone in that house, they’re stuck. We’re stuck.” “And there’s a bit of imagery. It felt like it hit the right note. But the interesting thing about that imagery was that it was not production designed. We didn’t create it. We actually literally found it. We were driving along and we saw all of these Christmas decorations, basically exactly as they are in the film. They were about 100 yards away, just piled up by the side of the road. And it turned out, it was a guy who’d put on a winter wonderland festival. People had not dug his winter wonderland festival, and he’d gone bankrupt. And he had decided just to leave everything just strewn around on a farmer’s field, who was then absolutely furious. So in a way, there’s a loose parallel, which is the same implication that exists within the film exists within real life.” “You don’t understand a word I say. Yo. What’s over there in that house?” “Someone shooting.” “It’s to do with the fact that when things get extreme, the reasons why things got extreme no longer become relevant and the knife edge of the problem is all that really remains relevant. So it doesn’t actually matter, as it were, in this context, what side they’re fighting for or what the other person’s fighting for. It’s just reduced to a survival.”

By Manohla Dargis

A blunt, gut-twisting work of speculative fiction, “Civil War” opens with the United States at war with itself — literally, not just rhetorically. In Washington, D.C., the president is holed up in the White House; in a spookily depopulated New York, desperate people wait for water rations. It’s the near-future, and rooftop snipers, suicide bombers and wild-eyed randos are in the fight while an opposition faction with a two-star flag called the Western Forces, comprising Texas and California — as I said, this is speculative fiction — is leading the charge against what remains of the federal government. If you’re feeling triggered, you aren’t alone.

It’s mourning again in America, and it’s mesmerizingly, horribly gripping. Filled with bullets, consuming fires and terrific actors like Kirsten Dunst running for cover, the movie is a what-if nightmare stoked by memories of Jan. 6. As in what if the visions of some rioters had been realized, what if the nation was again broken by Civil War, what if the democratic experiment called America had come undone? If that sounds harrowing, you’re right. It’s one thing when a movie taps into childish fears with monsters under the bed; you’re eager to see what happens because you know how it will end (until the sequel). Adult fears are another matter.

In “Civil War,” the British filmmaker Alex Garland explores the unbearable if not the unthinkable, something he likes to do. A pop cultural savant, he made a splashy zeitgeist-ready debut with his 1996 best seller “The Beach,” a novel about a paradise that proves deadly, an evergreen metaphor for life and the basis for a silly film . That things in the world are not what they seem, and are often far worse, is a theme that Garland has continued pursuing in other dark fantasies, first as a screenwriter (“ 28 Days Later ”), and then as a writer-director (“ Ex Machina ”). His résumé is populated with zombies, clones and aliens, though reliably it is his outwardly ordinary characters you need to keep a closer watch on.

By the time “Civil War” opens, the fight has been raging for an undisclosed period yet long enough to have hollowed out cities and people’s faces alike. It’s unclear as to why the war started or who fired the first shot. Garland does scatter some hints; in one ugly scene, a militia type played by a jolting, scarily effective Jesse Plemons asks captives “what kind of American” they are. Yet whatever divisions preceded the conflict are left to your imagination, at least partly because Garland assumes you’ve been paying attention to recent events. Instead, he presents an outwardly and largely post-ideological landscape in which debates over policies, politics and American exceptionalism have been rendered moot by war.

‘Civil War’ Is Designed to Disturb You

One thing that remains familiar amid these ruins is the movie’s old-fashioned faith in journalism. Dunst, who’s sensational, plays Lee, a war photographer who works for Reuters alongside her friend, a reporter, Joel (the charismatic Wagner Moura). They’re in New York when you meet them, milling through a crowd anxiously waiting for water rations next to a protected tanker. It’s a fraught scene; the restless crowd is edging into mob panic, and Lee, camera in hand, is on high alert. As Garland’s own camera and Joel skitter about, Lee carves a path through the chaos, as if she knows exactly where she needs to be — and then a bomb goes off. By the time it does, an aspiring photojournalist, Jessie (Cailee Spaeny), is also in the mix.

The streamlined, insistently intimate story takes shape once Lee, Joel, Jessie and a veteran reporter, Sammy (Stephen McKinley Henderson), pile into a van and head to Washington. Joel and Lee are hoping to interview the president (Nick Offerman), and Sammy and Jessie are riding along largely so that Garland can make the trip more interesting. Sammy serves as a stabilizing force (Henderson fills the van with humanizing warmth), while Jessie plays the eager upstart Lee takes under her resentful wing. It’s a tidily balanced sampling that the actors, with Garland’s banter and via some cozy downtime, turn into flesh-and-blood personalities, people whose vulnerability feeds the escalating tension with each mile.

As the miles and hours pass, Garland adds diversions and hurdles, including a pair of playful colleagues, Tony and Bohai (Nelson Lee and Evan Lai), and some spooky dudes guarding a gas station. Garland shrewdly exploits the tense emptiness of the land, turning strangers into potential threats and pretty country roads into ominously ambiguous byways. Smartly, he also recurrently focuses on Lee’s face, a heartbreakingly hard mask that Dunst lets slip brilliantly. As the journey continues, Garland further sketches in the bigger picture — the dollar is near-worthless, the F.B.I. is gone — but for the most part, he focuses on his travelers and the engulfing violence, the smoke and the tracer fire that they often don’t notice until they do.

Despite some much-needed lulls (for you, for the narrative rhythm), “Civil War” is unremittingly brutal or at least it feels that way. Many contemporary thrillers are far more overtly gruesome than this one, partly because violence is one way unimaginative directors can put a distinctive spin on otherwise interchangeable material: Cue the artful fountains of arterial spray. Part of what makes the carnage here feel incessant and palpably realistic is that Garland, whose visual approach is generally unfussy, doesn’t embellish the violence, turning it into an ornament of his virtuosity. Instead, the violence is direct, at times shockingly casual and unsettling, so much so that its unpleasantness almost comes as a surprise.

If the violence feels more intense than in a typical genre shoot ’em up, it’s also because, I think, with “Civil War,” Garland has made the movie that’s long been workshopped in American political discourse and in mass culture, and which entered wider circulation on Jan. 6. The raw power of Garland’s vision unquestionably owes much to the vivid scenes that beamed across the world that day when rioters, some wearing T-shirts emblazoned with “ MAGA civil war ,” swarmed the Capitol. Even so, watching this movie, I also flashed on other times in which Americans have relitigated the Civil War directly and not, on the screen and in the streets.

Movies have played a role in that relitigation for more than a century, at times grotesquely. Two of the most famous films in history — D.W. Griffith’s 1915 racist epic “The Birth of a Nation” (which became a Ku Klux Klan recruitment tool) and the romantic 1939 melodrama “Gone With the Wind” — are monuments to white supremacy and the myth of the Southern Lost Cause. Both were critical and popular hits. In the decades since, filmmakers have returned to the Civil War era to tell other stories in films like “Glory,” “Lincoln” and “Django Unchained” that in addressing the American past inevitably engage with its present.

There are no lofty or reassuring speeches in “Civil War,” and the movie doesn’t speak to the better angels of our nature the way so many films try to. Hollywood’s longstanding, deeply American imperative for happy endings maintains an iron grip on movies, even in ostensibly independent productions. There’s no such possibility for that in “Civil War.” The very premise of Garland’s movie means that — no matter what happens when or if Lee and the rest reach Washington — a happy ending is impossible, which makes this very tough going. Rarely have I seen a movie that made me so acutely uncomfortable or watched an actor’s face that, like Dunst’s, expressed a nation’s soul-sickness so vividly that it felt like an X-ray.

Civil War Rated R for war violence and mass death. Running time: 1 hour 49 minutes. In theaters.

An earlier version of this review misidentified an organization in the Civil War in the movie. It is the Western Forces, not the Western Front.

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Manohla Dargis is the chief film critic for The Times. More about Manohla Dargis

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Release Date : October 13, 2023

123telugu.com Rating : 2/5

Starring: Srikanth Gurram, Priyanka Sharma, Avinash Yelandur

Director: Muthyala Meher Deepak

Producer: Srikanth Kandragula

Music Director: Ajay Arasada

Cinematographer: S. Vamsi Srinivas

Editor: S. Vamsi Srinivas

Related Links : Trailer

Tantiram: Tales of Sivakasi Chapter 1, starring Srikanth Gurram and Priyanka Sharma in the lead roles, has hit the screens today. Muthyala Meher Deepak directed this film. Let’s see how it is.

A guy named Vijay narrates a story to his friends while having alcohol. He tells them the story of Baalachandran (Srikanth Gurram), who runs a factory manufacturing crackers. Baalachandran hates women since his mother eloped when he was a kid. Baalachandran marries a beautiful lady named Alagini (Priyanka Sharma) at his father’s request, but he keeps hating her. A supernatural entity, Jinn (Genie), changes his life completely. How did that happen? This is the crux of the film.

Plus Points:

The movie starts in an interesting manner by depicting the mythological story of why Ahalya turned into a stone. We are given a neat intro about who genies really are, which initially creates interest.

There are only two central characters in the film, and both Priyanka Sharma and Srikanth Gurram did a decent job. The movie has exquisite visuals that are easy on the eye. Avinash Yelandur is fine in his short role.

Minus Points:

The makers considered reserving the whole content exclusively for the second part, leaving many questions unanswered. The mystery behind the genie shown in the first part isn’t revealed, and it is sure to disappoint the audience.

As a result, Chapter 1 has a wafer-thin story that doesn’t require 100 minutes of narration. There was absolutely no need to drag this simple story for so long, and the movie tests the patience levels.

Instead, the makers could have told the entire story in one part since there isn’t enough meat in Chapter 1 content-wise. One can easily predict the climax twist, and things became even worse with a dull and snail-paced screenplay.

Technical Aspects:

Ajay Arasada’s songs are passable, while the background score is good. S. Vamsi Srinivas did a fine job with the cinematography, but his editing was bad. It feels like watching a lengthy film even though it is less than 2 hours. The production values are neat.

Muthyala Meher Deepak’s idea to make a film on this fantasy subject isn’t bad, but it is really a wrong decision to divide this movie into two parts as this first instalment is left with very little content.

On the whole, Tantirum Chapter 1 promises a lot during the first few minutes, but it ends up being an unengaging fantasy drama. Srikanth Gurram and Priyanka Sharma did a decent job. The decision to split this story into two parts is a very bad idea, and hence, this first instalment is a tiresome watch. The slow screenplay and lack of thrilling moments are the other main drawbacks.

123telugu.com Rating: 2/5

Reviewed by 123telugu Team

Click Here For Telugu Review

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