aswathama movie review 2023

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Aswathama movie review: Naga Shaurya’s action thriller is engaging, but needed a better ending

Aswathama does have a lot going in its favour. It sticks to what it wants to say without meandering too much.

Language: Telugu

The premise of Naga Shaurya’s latest action thriller, Aswathama , is quite unsettling, especially when you think about its eerie similarities to a real-life incident which rocked Hyderabad a few months ago.

Although the story, written by Shaurya, is not exactly inspired from the same incident, the emotional undercurrent throughout the film, where family members panicking over the disappearance of young women, and people looking for answers when there are none, captures the fears and anger quite well.

Directed by Ramana Teja, Aswathama is an engaging action thriller, which will keep you on the edge of your seat. However, there is also an inherent problem with the story. It does not find a great twist to end the story on a high.

The film follows the journey of Ganaa (Shaurya), who returns to India for his sister’s engagement. However, soon, he realises that something bad has happened to her, which leads him to trace the culprits. What shocks him even more, in the course of his investigation, is his sister is not the lone victim. The rest of the story is about how Ganaa connects the dots to find out why scores of young women have been disappearing for no reason, and why, when they wake up, they find themselves in a hospital.

The biggest strength of the film is the sense of urgency which it creates soon after the protagonist, Ganaa, is introduced. Teja, the director, hardly gives us enough time to get familiar with the characters. And before we know it, Ganaa is racing through the streets in Vizag to find out who had been harassing his sister, and also uncover the suspense behind why she does not remember anything.

It is not just the narrative that keeps you at the edge of the seat but also a major credit for that goes to Shaurya. After playing a series of roles where he played the boy-next-door, the actor has reinvented himself as an action hero, and the transformation works quite well. More than the writing, it is the way and the pace at which the scenes unfold that make you invest emotionally in the story. Editor Garry, who had earlier worked on Goodachari, Evaru, and Kshanam , does not let you sit back even for a moment, especially in the first half of the film. Ghibran’s background score is thrilling to say the least.

And then, there is Jishnu Sengupta, who keeps the film together in the latter half with his cold-hearted approach to play the role. There is a scene in particular, where he invites a bunch of people for lunch at his house. The way Jishnu pulled off that scene is fascinating. His character is insane and a psychopath in every sense, but he looks and behaves like a true gentleman. Maybe, that is what makes his performance so memorable. Advertisement

Newcomer Sargun Kaur, who played Shaurya’s sister, is a good find. She is delivers a noteworthy performance in her brief but important role. Mehreen, who plays Shaurya’s romantic interest, fits the role of a young woman who is caught in a tricky situation.

Yet, there are a bunch of glaring problems with the film, especially in the second half. After a superb first half, the moment the suspense is revealed, it leaves you with a lot more questions than answers. The villain’s backstory, in particular, seems meek in the larger scheme of things. It does not explain why he continues doing what he does even after all those years.

Perhaps, nothing else in the story is as disappointing as the  climax itself. After all those twists and turns, where we are rooting for the hero, the way he figures out the culprit is quite bland. And quite frankly, by the time the film ends, you do not quite feel the same high which the film leaves you with at its interval point.

For all its flaws, Aswathama does have a lot going in its favour. It sticks to what it wants to say without meandering too much. If only it had found a better way to end the story, and not reveal its suspense in such a simple manner!

Rating: ***

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The gore and depravity might get a little too much for some.

Aswathama Movie Review: An ambitious tale pulled off well for the most part!

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meenakshinagireddy 44 190 days ago

Very nice movie

raghu6300386775 raghu 113 905 days ago

Applicable attempt with loaded action .

Oruganti Thejaswi 34 1296 days ago

super movie! i like it. nagasourya you are awesome.... handsome guy.

stylish sreekanth 1313 days ago

Crime thriller,good movie

Depuri Karthik Karthik 1313 days ago

Movie line &amp; content superb <br/>Shaurya performance awesome

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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.
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The Immortal Ashwatthama

Release date: 2024, the immortal ashwatthama movie.

Vicky Kaushal

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• Aswathama preview: Will Naga Shaurya's film live up to the hype?

Aswathama preview: Will Naga Shaurya's film live up to the hype?

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• తెలుగు

Aswathama Review: An Okayish Thriller

Movie: Aswathama Rating: 2.5/5 Banner: Ira Creations Cast: Naga Shaurya, Mehreen, Posani, Jisshu Sengupta, Harish Uttaman, and others Story: Naga Shaurya Music: Sricharan Pakala Background music: Ghibran Cinematography: Manoj Reddy  Editor: Garry BH  Action: Anbariv  Producer: Usha Mulpuri Directed by: Ramana Teja Release date: Jan 31, 2020

“Aswathama” is Naga Shaurya’s first film as a scriptwriter and the young actor has also invested time and effort to build six-pack abs to portray the character in this film. So, he went all his out to promote this movie and create a buzz around it.

Let’s find out whether it meets the expectations.

Story: Gana (Naga Shaurya) returns from the USA to Vizag to attend his sister Priya’s engagement ceremony. A day after her engagement, she tries to commit suicide but Gana saves her.

He comes to know that she’s pregnant but she’s not aware of how did it happen, who did this.

Her would-be (Prince) is understanding and gets it aborted. Several other such cases in the city keep happening and Ghana decides to solve the mystery and catch the culprit.

More shocking turn of events unfurls as he investigates further.

Artistes’ Performances: Naga Shaurya has done a good job as a responsible brother. Naga Shaurya is convincing in his action avatar.

But the one who steals the show and makes this thriller watchable is Bengali actor Jisshu Sengupta. His casting has made a huge difference to this predictable character. He is suave as a doctor at the same time is cruel as a psycho.

Newcomer Kaur as sister and Harish Uttaman are okay. Other actors including Mehreen have not added any value. 

Technical Excellence: The background score and sound design are the main highlights among the technical output. Action stunts (by Anbariv) are designed well, simple but effective. The film has decent technical and production values. 

Highlights: Villain’s role Some gripping moments

Drawback: Starting scenes and romantic thread Logic-less moments Lack of motive for the villain's cruelty

Analysis In the recent past, several Telugu thrillers hit the screens which were made sincerely without much deviating from the central point.

Bellamkonda’s “Rakshasudu” was one such gripping thriller. Naga Shaurya “Aswathama” is designed in the same mould.

Naga Shaurya had written the basic script while the director and another writer had taken the credits for the screenplay.

The basic point - using a banned medicine, a doctor makes young women unconscious then impregnates them - sounds a little bizarre.

This film works when you are okay with the central point of a psycho making girls pregnant by raping them when they were unconscious.

If you disgust with this thought, it doesn’t appeal. But, as a thriller, this is fairly engaging as it holds the interest. 

The film slips whenever family sequences come and heroine Mehreen appears. They are lousy scenes. Plus, the film lacks effectiveness in the final portion as we don't find the motive for the villain. Also, the second half lacks the tension that was built up in the first half.

Once the villain is revealed, proceedings have become slower and also foreseeable. But the ‘father’ angle has saved it from predictability. But the thrilling factor goes missing here. In Bellamkonda's "Rakshasudu", finding the villain was so thrilling. That is missing here. 

The entire final sequences are saved by Bengali actor Jisshu Sengupta. However, there are many gory sequences and excessive violence. Some close shots of a rape victim with a camera zooming in on her chest should have been avoided.

On the whole, ‘Aswathama’ is an okay thriller with some gripping moments. It could have been better more care was taken in final portions.

Bottom-line: Hit and Miss

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Aswathama Review

• Music Review

'Aswathama', starring Naga Shaurya in the lead, hit the screens this Friday.  Here is our review of the crime-thriller.

Gana (Naga Shaurya) is a doting brother of his sister Priya (Shagun Kaur).  Much to his shock, he finds her attempting suicide just days before her wedding.  Priya was forcibly raped and impregnated by an unknown assaulter when she was in an unconscious state.  Left with no clue, Gana now seeks to chase the villain by cracking one clue at a time.  When a VIP's daughter becomes a victim, things turn more ominous.  

How does Gana accomplish his mission?  Can he pay back the psychopathic beast in the same coin?

'Aswathama' falls in the category of crime-thrillers where the hero is a vigilante who is also a victim's relative and the villain is a psychopath with a scary mindset.  True to the genre, director Ramana Teja keeps the proceedings intact, without letting the gravitas vanish in the name of entertainment.  Like in some of the recent well-made thrillers, this film avoids the temptation of forced comedy moments and rom-com sequences.

The script tantalizes the audience before revealing the identity of the rapist.  The big reveal would have been terrific had the villain (Jisshu Sengupta) been familiar to the Telugu audience.  Nevertheless, the seasoned actor (who has delivered a number of critically-acclaimed performances in other languages) epitomizes the evil character he plays.  

The last 20 minutes of the film pack in a spine-chilling flashback that attempts to give a glimpse of how the villain's devilish persona has been shaping up over the years.  The film wants us to believe that he is sickening to the core because he was sickening always.  And if not vanquished, he will continue to be the pure evil that he was and is.  

Naga Shaurya's heroism is understated.  Some vigilantes don't have to be exceptional.  Gana is one such guy.  For someone who has played soft roles so far, Shaurya does his act well.  The scene where he tells Mehreen that some things can't be shared with even parents and girlfriend stands out.  

It doesn't take much time for the film to get to the task of narrating the actual story.  A quick duet visits us early on, only to give way to the actual plot.  

Ghibran's BGM is an asset.  Anbariv's action choreography could have been better.  Manojh Reddy's cinematography passes muster.  

Everything said, 'Aswathama' is also stuffed with convenient writing.  When a bigshot has suffered a terrible loss because of the villain, you expect the whole system to be there to crack the case.  The vigilante here is a one-man army, but why does he have to be on his own?  Like in last year's 'Arjun Suravaram', the system here goes on a holiday just so that the hero can walk away with UNESCO's Best Compulsive Saviour Award (don't Google it!).  

There is this unintentionally funny scene where the hero has to crack a character's password.  He looks for clues.  Since her room is full of her mother's pics, he thinks the password must be the mother's name.  By this logic, Amit Shah's Gmail password has to be CAANRC370 and Rahul Gandhi's must be Bangkokkok.  Just saying.

The hero makes the heroine dangerously chase a dangerous man and, minutes later, has the gall to say, "Rush out from the place.  I don't want to put you in trouble'.  Seriously?  The villain becomes foolhardy all of a sudden, just to coincide with the hero's hurried mission to nab him.

Just because it's a crime-thriller where the romantic track can be given a stepmotherly treatment, it doesn't mean you have the hero pay a relaxed tribute to the cigarette without having the basic romantic courtesy to meet the girl he has been in love with after stepping into India after years, that too a GF who can suffocate him with a flood of kisses.  The sister-brother sentiment is so cliched that the bro expectedly arrives late and the sis expectedly feigns anger.  The actress who has played the sister gives skin-deep expressions.  

'Aswathama' comes with a fairly engaging screenplay.  The premise is engrossing enough.  The proceedings become substantial in the climax.  With smarter writing, the loose ends could have been done away with. 

అశ్వథామ మూవీ రివ్యూ తెలుగులో చదవండి

Rating: 3 / 5.0

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Release date : January 31, 2020

123telugu.com Rating : 3/5

Starring :  Naga Shaurya, Mehreen Pirzada, Prince, Posani Krishna Murali

Director :  Ramana Teja

Producers :  Usha Mulpuri

Music Director :  Sricharan Pakala

Cinematographer :  Manojh Reddy

Editers : Garry BH

Ashwathama is a film that needs to click at any cost as Naga Shourya is going through a dull phase. The film has released today and let’s see whether it lives up to all the hype or not.

Gana(Naga Shourya) returns to India for his sister’s engagement. Right when the function is going to take place, his sister attempts to kill herself. Gana saves her and shockingly finds out that she is pregnant and the father to her child is unknown. A helpless Shourya starts investigating this case and finally nabs the culprit. How does he do all this forms the rest of the story.

Plus Points:

Naga Shourya makes a terrific transformation from a lover boy to an action hero. His screen presence, body language, and performance in fights and emotional scenes is very good. He looks macho in an action avatar and proves that he can carry an entire action film on his shoulders. All his scenes with his sister are pretty good.

Mehreen does not have much to do but plays a good supporting role. The action episodes and interval bang is the biggest highlight and sets up the interval bang perfectly. Prince was effective in his small role and so were other cast of the film.

The first half has adrenaline pumping moments and they have been handled quite well. One of the biggest highlights of the film is the Bengali actor Jisshu Sen Gupta. He is on another level and brings a scary effect to the proceedings. The way he is brought into the film and the manner in which Jisshu performs is very good.

Special mention to the action choreography which is spot on and has been executed well. BGM by Ghibran is top notch and elevates the proceedings quite well. The family emotions are decent.

Minus Points:

So much tension is created in the first half about who is behind the crime and this twist is revealed right after the interval. Things could have been prolonged a bit to keep the suspense intact. Because of this, the rest of the film becomes predictable.

Also, after facing so much tension to find the villain in the first half, the hero finds him with just a small clue in the last fifteen minutes which looks a bit over the top.

The second half has good moments of the villain but the hero-villain face off is just hurried up on the audience and things are ended in a jiffy. Some more investigation scenes and action episodes would have made matters even special.

Technical Aspects:

Music by Sri Charan is just okay as some hit songs could have made matters better. The camera work is quite impressive as Vizag, action sequences and investigation scenes have been showcased quite well.

Dialogues are good and so was the production design. The film has a rich feel as the makers have not compromised on the making. Story by Naga Shourya is pretty good as he has kept the logics intact and his script also has a good emotional angle.

Coming to the director Ramana Teja, he makes a good debut and has made the film on a sensible note. The good part is that he did not deviate with the story line much. If he had handled the film well in the second half with crisp narration, things could have been quite impressive.

On the whole, Ashwathama is an emotional thriller with a riveting first half. Naga Shourya leads from the front and is superb in his action avatar. But the film bogs down in the second half with predictable scenes and hurried up climax. However, that does not mean the film becomes dull. It has some well packaged thrills and ends up as a decent watch this weekend.

Reviewed by 123telugu Team

Click Here For Telugu Review

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2020, Action, 2h 2m

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Aswathama   photos.

Genre: Action

Original Language: Telugu

Director: Ramana Teja

Producer: Usha Mulpuri

Writer: Naga Shaurya , Phanindra Bikkina , Ramana Teja

Release Date (Theaters): Jan 31, 2020  limited

Box Office (Gross USA): $151.9K

Runtime: 2h 2m

Distributor: Self Distributed

Production Co: Ira Creations

Cast & Crew

Naga Shaurya

Mehreen Pirzada

Prince Cecil

Krishna Murali Posani

Jisshu Sengupta

Sargun Kaur Luthra

Aadarsh Balakrishna

Ramana Teja

Screenwriter

Usha Mulpuri

Manojh Reddy

Cinematographer

Film Editing

Sricharan Pakala

Original Music

Kiran Kumar Manne

Art Director

Phanindra Bikkina

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Aswathama Movie Review

Article by Satya B Published by GulteDesk --> Published on: 3:47 pm, 31 January 2020 | Updated on 12:28 am, 4 May 2020

2 Hrs 13 M   |   Thriller   |   2020-01-31

Cast - Naga Shaurya, Mehreen, Jisshu Sen Gupta and others

Director - Ramana Teja

Producer - Usha Mulpuri

Banner - Ira Creations

Music - Sricharan Pakala

Naga Shaurya turned writer for his latest home production Ashwathama. It is a thriller that is reminiscent of last year’s release Rakshasudu. Shaurya does his best but it turns out to be a film that only works in parts. What’s It About? Gana (Shaurya) is in search of a serial sex offender who operates anonymously. Gana’s sister is one of his victims and he is hell bent in finding the invisible villain. The film is about how Gana gets to the monster. Performances: Naga Shaurya has tried action for the first time and he is convincing in this new avatar. Mehreen has a very limited role. Jisshu Sen Gupta steals the show with his effective portrayal of a psychotic doctor. None of the remaining star cast got noteworthy characters. Technicalities: Ramana Teja’s direction is uneven as he shines in some sequences and looks amateurish in others. A tightly woven screenplay is a must for films like this and Ashwathama’s screenplay seems half baked. Songs are needless and not even one song is worth listening to again. Background score by Ghibran is very good. Camera work is also good considering the limited budget. Action scenes are shot well. Editing is okay. Production values are neat. Thumbs Up: Tense moments Jisshu Sen performance Thumbs Down: Uneven Screenplay Weak Climax No Motive For Villain Analysis: Ashwathama is a different film for Naga Shaurya who usually does romantic entertainers. However, it doesn’t offer much freshness concept wise. It closely resembles Bellamkonda Srinivas’s Rakshasudu, which is a superior thriller in every aspect. Naga Shaurya, who penned the story for Ashwathama has incorporated contemporary elements like sexual violence against women and also did some research regarding how the crime is operated. Hero has a strong motive to go after the villain, but he uses brawn than brain in his investigation. Logic goes for a toss in this entire search mission. However, the anonimity of the villain holds the interest and make it partly engaging in the first half. The villain is shown post intermission with a gruesome scene that makes you cringe in your seats. Raping a corpse in a mortuary is a disgusting intro to his character. One would expect a strong motive for him to act like a monster. Proper explanation is not given to his psychotic behavior. While he operates his crime with so much care, the protagonist finds him very easily once his character is revealed. This is where Ashwathama falls flat as the protagonist is hardly challenged in his pursuit of finding the bad guy. The screenplay writers should have taken a cue from Tamil filmmakers that are doing fabulous job in making tense thrillers out of similar concepts. Ashwathama is an okay thriller that has a few engaging moments and a solid performance from Jisshusen, but doesn’t have enough to keep you engaged all the time. It is a movie that suits for home viewing than thetarical experience. Verdict:  Ashwathama falls flat

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• 6 OTTplay Rating
• 2 Hr 11 Min

Gana returns to his hometown of Visakhapatnam from the US for his sister Priya's marriage but is shocked to find her attempting suicide, as he learns that she is pregnant but is doesn't know the identity of who impregnated her. Gana explains this predicament to her fiancé Ravi, who is understanding of the situation, and helps Priya get an abortion — promising to keep this a secret. Gana compels Priya to move on and forget about the past, and she gets happily married. Following the marriage, Gana violently interrogates men who have troubled Priya in the past, who aren't responsible for the impregnation; but uncovers a series of crimes against women. Directed by the debutant Ramana Teja, Aswathama is a Telugu action-thriller film starring Naga Shourya in the lead role, who also provides the story of the film. The film also features performances from Jisshu Sengupta, Mehreen Pirzada, Sargun Kaur Luthra, Harish Uthaman, Prince Cecil, and Jayaprakash among others. With songs from Sricharan Pakala and a score from Ghibran, the film has been produced by Usha Mulpuri under the banner of Ira Creations.

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Aswathama (2020)

Original title: అశ్వథామ.

Streaming in:

We checked for updates on 248 streaming services on April 12, 2024 at 12:27:50 PM. Something wrong? Let us know!

Aswathama streaming: where to watch online?

Currently you are able to watch "Aswathama" streaming on Sun Nxt.

After learning his sister has been mysteriously impregnated, Gana sets out to hunt down the culprit as he discovers similar cases in the city.

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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.

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

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Civil War review – Alex Garland’s delirious dive into divided US society

Fratricidal warfare has exploded in North America, and war photographers including Lee (Kirsten Dunst) are eager to capture the money shot in this violent action thriller

W riter-director Alex Garland stages a spectacular if evasively apolitical “civil war” in this futurist-dystopian action thriller, involving hundreds of extras lying on the road next to upturned blackened cars with CGI-mutilated buildings in the smoky distance. The film’s fence-sitting reluctance to name any of the issues that might actually result in a civil war arguably means that the film can be enjoyed by the widest possible audience base. But the whole thing does finally snap into shape for a Call of Duty melee in the heart of American democracy, an ugly denouement possibly riffing on the January 6 Capitol attack, in which something seems to be clearly at stake and which (belatedly) gives us a glimpse of believable horror and delirium.

The scene is an America whose evident but unspecified divisions have exploded into open fratricidal warfare. The states of Texas and California are now ruled by the rebellious secessionists, the Western Forces, or WF, making massive advances on Washington DC, a situation about which the president ( Nick Offerman ) is in denial, making delusional TV addresses about how well he’s doing.

A group of photojournalists now plans to make the terrifyingly dangerous journey in a press SUV behind WF lines, possibly hoping to tag along with their advance on the capital, each secretly dreaming of the ultimate money shot: the capture or execution of the commander-in-chief. Veteran war photographer Lee is played by Kirsten Dunst with a permanently sorrowful and disapproving schoolteacherly expression of dismay; her buddy is Reuters reporter Joel (Wagner Moura) who is a warfare-adrenaline junkie, euphoric after each scary shoot up. (“Holy fuckin’ shit! What a fuckin’ rush!”) Ageing veteran Sammy (Stephen McKinley Henderson) is a New York Times reporter, the voice of wisdom. Just-out-of-college newbie Jessie, played by Cailee Spaeny, cheekily sweet-talks Joel into letting her ride along in their grownups’ car and almost overnight turns from a callow student into a cool wiseacre. They have conversations, in the time honoured manner of fictional war journalists, about subjects like whether journalism makes a difference and what they would be prepared to photograph – but weirdly don’t talk about what has caused this civil war.

It is clearly a reasonably diverse group, although it is this very diversity that gives us an easier task of guessing which of them is going to make a self-sacrificial gesture of courage to save the others. For their journey, Garland gives them freaky and surreal episodes and encounters, underscored by interesting and emphatic musical choices that mimic their dissociative trauma, although sometimes these episodes will be suddenly curtailed. At one stage they’re pinned down by a sniper in an abandoned outdoor play area with Christmas music bizarrely playing … the next thing we know they’re safely back in the car. How? It’s a strange, violent dream of disorder, drained of ideological meaning.

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Spy x Family Code: White

After receiving an order to be replaced in Operation Strix, Loid decides to help Anya win a cooking competition at Eden Academy, by making the director's favorite meal in order to prevent hi... Read all After receiving an order to be replaced in Operation Strix, Loid decides to help Anya win a cooking competition at Eden Academy, by making the director's favorite meal in order to prevent his replacement. After receiving an order to be replaced in Operation Strix, Loid decides to help Anya win a cooking competition at Eden Academy, by making the director's favorite meal in order to prevent his replacement.

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Screen Rant

One of 2023's best anime movies is now on netflix.

Suzume was one of the best anime films to come out of 2023, and as of early April, Netflix has become one of the few sites to stream it.

• Suzume is now streaming on Netflix.
• Suzume impresses with stunning visuals and engaging storytelling, exemplifying Makoto Shinkai's signature emotional and thematic depth.
• The film's availability on Netflix reflects the platform's improved approach to handling relevant anime content, further solidifying its reputation.

Netflix easily has one of the biggest anime libraries around, especially for movies. They’re often the exclusive home for big and small titles alike, and even when they share titles with other services, Netflix’s accessibility often makes them one of the best streaming services for anime fans from every generation to find something they'll enjoy watching.

Netflix has always had a great library of anime movies, and that now includes one of the biggest anime films of 2023: Makoto Shinkai’s Suzume . Suzume was met with widespread critical acclaim, even winning Best Film at the 8th Crunchyroll Anime Awards, and as of April 5, Netflix is now one of the only places in the world to stream Suzume .

Netflix having a film as good as Suzume is great to see in their growing library of animated features, and it does a lot to show how they’ve grown as an anime service over the years.

Why Suzume Is Such A Great Film

Directed by makoto shinkai.

The biggest reason why it’s so exciting for Suzume to be on Netflix is simply that it’s a great film, whether the person watching the movie is interested in anime. For starters, as is always the case with Makoto Shinkai’s films, Suzume features incredible music, animation, and overall cinematography from start to finish , and with it being Shinkai’s latest film, the visuals and direction are, naturally, the best of Shinkai’s work, yet. It’s a masterpiece purely from a visual aspect, so anyone looking for pure spectacle is sure to get a lot out of it.

What truly sells Suzume as a film, of course, is its fantastic story. Just like Makoto Shinkai’s previous work, Suzume succeeds at telling an emotionally resonant story with an engaging and well-developed cast , and its specific themes of overcoming tragedy by framing it around the 2011 Tohoku earthquake serve to enhance that writing even further. Suzume might not be the strongest of Makoto Shinkai’s films, but the quality of its writing cannot be understated, and when coupled with its incredible direction, it’s still a great film that any fan of his work should watch.

Suzume Review: Makoto Shinkai's Latest Film Has Serious Heart

Suzume being on netflix is a great sign for the service.

Something else worth noting about Suzume coming to Netflix is how it’s another sign of Netflix improving how it handles anime. A common criticism of Netflix is how slow they are to add non-original content, with many shows and movies not making their way to Netflix until well after the community has moved on to something else. A year after its release, however, Suzume is still a very relevant film, so the film being added to the service so quickly shows that Netflix has learned to start adding anime when it's still relevant , which is exactly how a streaming site should handle content of any kind.

This improvement in how Netflix handles anime can be seen in other areas, as well. In addition to Netflix recently having added many popular anime like Black Clover and My Hero Academia , Netflix has finally gotten into the habit of simulcasting anime instead of releasing all episodes at once, so it’s clear that Netflix is taking strides to become a much better anime streaming service . Netflix becoming one of the only homes for a great film like Suzume while it’s still popular only further cements that idea, and with any luck, more content of its quality is on the horizon.

Watch On Netflix

The third film from writer/director Makoto Shinkai, Suzume, is an animated action-adventure fantasy film that revolves around seventeen-year-old high school student Suzume Iwato. Suzume, who has the power to see supernatural beings and events, discovers that strange doors keep opening across Japan that will inevitably lead to the world's doom. Joined by a mysterious young man, Suzume will embark on a journey to close the doors and save her home.