A still from ‘Carry-On’ 
| Photo Credit: Netflix

If you are one of those die-hard cinephiles who believe Die Hard is a Christmas film (along with the first two Home Alone flicks), then Netflix’s latest offering may very well make it to that coveted list of yours. Jaume Collet-Serra, the mastermind behind some simple yet efficient nail-biting action thrillers is back and while he’s not teaming up with Liam Neeson this time, he’s got an efficient Taron Egerton and a cast-against-the-grain Jason Bateman facing it off in Carry-On.

Exactly a decade after Non-Stop, Collet-Serra is back with another aviation thriller. In Carry-On, a young Transportation Security Administration (TSA) officer named Ethan Kopek (Taron Egerton) with enough emotional baggage of his own, tries to work up his ranks at the Los Angeles International Airport where his pregnant girlfriend, Nora (Sofia Carson) also works. When he finally gets approval from his supervisor, Phil Sarkowski (Dean Norris) to manage a baggage-scanning lane, hell is served on a conveyor belt to Ethan. A mysterious traveller, with an accomplice to execute his kill order, blackmails Ethan to allow a specific carry-on luggage pass through the scanner. Without knowing what the package is and the level of destruction it could bring, Ethan has to circumvent constant surveillance and stop the parcel from affecting anyone in this cat-and-mouse game.

The film’s title itself is a wordplay — apart from meaning the piece of luggage one gets to personally take inside a flight and it also doubles as what Ethan is expected to do with his job despite the major turn of events. This simple yet effective ploy is what Collet-Serra utilises and what keeps the wafer-thin one-liner not just afloat, but flying high, is a testemant to the deft screenplay. The film wastes no time introducing its lead characters and throws us bang in the middle of the action. With some clever exposition, we learn more about them as the story progresses and the characters get to squeeze more details out of each other.

Egerton pulls off a convincing performance as a man whose life goes for a toss after answering a single phone call. Unlike the indestructible force that is Bruce Willis’ John McClane, Egerton’s Ethan is no superhero who uses his brawn to take challenges head-on. Instead, the character starts by employing simpler tricks to attract the attention of his peers — such as using his smartwatch to communicate once he loses possession of his phone — and when the odds stack up against him, he takes it upon himself to save the day.

A still from ‘Carry-On’ 
| Photo Credit:
Netflix

Concurrently, there’s also Elena Cole, an LAPD detective, who connects a double homicide to Ethan’s aborted 911 call. But apart from being in a high-speed car sequence featuring the most factitious-looking CG work, the parallel track adds very little except to tie a few loose ends. It’s Bateman’s nameless mercenary character that comes as a surprise package (pun intended) and the actor pulls off the antagonist with so much suave, leaving us only wishing to see more of him in such off-beat roles.

The film has its fair share of loopholes and the creative liberties taken by the makers feel evident, but Carry-On is not a film you watch for factual accuracies. In fact, the film is packaged well enough to make us ponder its issues only after the pertaining scene is long gone and that by itself is a commendable feat. After getting sidetracked by helming films like Jungle Cruise and Black Adam, Collet-Serra is back in his zone and boy, he thrives in it. Carry-On is sure to remind its audience of the mindless actioners from the ‘90s which worked purely thanks to their value for popcorn entertainment and while it might not make you go ‘Yippee-Ki-Yay’, it’ll surely leave you on cloud nine.

Carry-On is currently streaming on Netflix

More films shepherded by directors who grew up outside of the U.S. may be getting nominated for best picture these days, but those that go on to win the coveted Oscar tend to be, like last year’s “Oppenheimer,” led by helmers from English-speaking countries: In the past 50 years, there have been only eight that were not. And of those, there’s only one best picture winner — Bong Joon Ho’s “Parasite” — where the majority of the film is in a language other than English.

Three contenders from non-English-speaking countries have a shot at joining that rarefied group this awards season, though two of their films are in English: “Conclave,” a papal drama from German filmmaker Edward Berger; “The Substance,” a very Hollywood tale from French filmmaker Coralie Fargeat; and “Emilia Pérez,” a Spanish-language film set in Mexico but filmed in France by Jacques Audiard. “The Substance” is leading the trio at the box office so far, its $56.4-million global tally well below “Parasite” but No. 6 on this select list, ahead of $37.9 million for “Conclave” and $8.8 million for Netflix-streamed “Emilia Pérez.”

In time-honored tradition, some of the international directors on this list made their Oscar-winning films in Hollywood. Respective countries of origin are noted for all.

KCR, a political drama set against a Telangana backdrop, features comedian-turned-actor Rakesh in the lead role. Known for his appearances in the popular TV show Jabardasth, Rakesh not only stars as the protagonist but also produces the film under his home banner. Directed by Garudavega Anji, the movie released in theaters on November 22 and is now streaming on Aha. Despite its ambitious concept, KCR struggles to deliver a gripping experience.

Plot
The story begins in Rangabai Tanda, a village in Kesavaravupally, Warangal district. The protagonist, Keshavachandra Ramavath (Rakesh), is a middle-class youth who idolizes Telangana Chief Minister K. Chandrashekar Rao (KCR). His unwavering admiration earns him the nickname “Chota KCR.” Keshava is romantically pursued by Manju (Ananya Krishnan), a girl from the same village, who dreams of marrying him.

However, Keshava’s joy over his village’s agricultural prosperity is short-lived when he learns that their land is marked for acquisition to construct a ring road. Shocked and determined to protect his community, Keshava refuses his arranged marriage with Manju and instead declares that he will marry a city girl. During a heated family discussion, he challenges his elders, vowing to bring KCR himself to his wedding or cancel it altogether.

The second half chronicles Keshava’s journey to Hyderabad to fulfill this promise. What happens next? Does Keshava succeed in inviting KCR to his wedding? The answers form the crux of the narrative.

Analysis
The story unfolds during two key periods: the time leading up to the formation of Telangana and its aftermath. It highlights the struggles of K. Chandrashekar Rao (KCR) in achieving statehood and his subsequent governance. The first half focuses on the protagonist’s deep admiration for KCR, while the second half revolves around his determination to invite the leader to his wedding, setting the stage for his journey to the city.

The director ensures that equal importance is given to the roles of both the hero and heroine, as well as their families. The integration of the village as a significant element in the story is commendable. However, the characterization falters as the hero, initially portrayed as a proud and content village youth, suddenly declares his preference for a city girl and urban life, creating inconsistencies in his arc.

The comedy scenes involving the hero and his friends fail to land effectively, feeling forced and uninspired. While the film attempts to convey emotional depth, many sequences come across as overacted, especially those featuring Rakesh. Furthermore, the minor characters, portraying villagers, lack impactful performances, leaving the narrative underwhelming.

Although Rakesh’s intent in crafting the content is evident, the lack of thorough preparation and rushed execution diminishes the film’s overall potential.

Performances
Rakesh: As both actor and producer, Rakesh demonstrates sincerity, but his comedic strengths don’t translate well into this film. Emotional scenes feel overacted, detracting from the film’s impact.
Ananya Krishnan: Delivers a decent performance as Manju but is limited by her character’s development.
Supporting Cast: Notable names like Thanikella Bharani and Thagubothu Ramesh make brief appearances but fail to elevate the narrative.

Technical Aspects
Direction: Garudavega Anji captures the rural essence of Telangana through impressive visuals but struggles to weave a compelling story.
Music: Charan Arjun’s compositions and background score are average, lacking memorable tunes.
Cinematography: Rural settings are beautifully depicted, thanks to Anji’s expertise behind the camera.
Editing: Madhu ensures a decent pace, but the screenplay limits the overall experience.

Verdict
KCR aims to tell a heartfelt story about a village youth’s passion for his community and hero-worship for KCR. While the intent is commendable, the execution falls short in connecting with audiences. The narrative lacks the emotional depth and comedic charm necessary to make it engaging. With better writing and stronger characterization, this film could have been more impactful.