Movie Reviews
35-Chinna Katha Kaadu Telugu Movie Review
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Movie Name : 35-Chinna Katha Kaadu
Release Date : September 06, 2024
123telugu.com Rating : 3.25/5
Starring : Nivetha Thomas, Priyadarshi, Vishwadev Rachakonda, Gautami, Bhagyaraj, Krishna Teja
Director : Nanda Kishore Emani
Producers : Srujan Yarabolu, Siddharth Rallapalli
Music Director: Vivek Sagar
Cinematographer: Niketh Bommi
Editor: T C Prasanna
Related Links : Trailer
Actress Nivetha Thomas’ latest movie, 35-Chinna Katha Kaadu, hit theaters today. Read our review to see how the film holds up and whether it’s worth watching.
Story:
Set in the scenic town of Tirupathi, 35-Chinna Katha Kaadu tells the story of Saraswathi (Nivetha Thomas), a happy middle-class woman who lives peacefully with her husband, Satya Prasad (Vishwadev Rachakonda), and their two sons, Arun (Arundev Pothula) and Varun (Abhay Shankar). However, their peace is disturbed when Arun starts having trouble with mathematics. He asks unusual questions about the subject, and his strict Maths teacher, Chanakya Varma (Priyadarshi), judges students based only on their grades. Upset by Arun’s poor performance, Chanakya calls him “zero,” which worries his parents. Saraswathi decides to help her son improve his math skills. Will she succeed? What is Arun really thinking? And does Chanakya end up helping Arun? The film answers these questions.
Plus Points:
In today’s world, it’s rare to find a movie that the entire family can enjoy together. 35-Chinna Katha Kaadu is one such film – it is clean, family-friendly, and doesn’t rely on cuss words or love tracks to tell its story. It’s a film that can be watched by people of all ages without discomfort.
The performances are top-notch. Nivetha Thomas shines as Saraswathi, with her heartfelt expressions and emotions. She once again proves that she is a nice performer.
Arundev Pothula, who plays Arun, also does a wonderful job, bringing depth to his character. Vishwadev Rachakonda, in the role of the father, delivers a solid performance as well.
Priyadarshi’s portrayal of the strict teacher Chanakya is also memorable and adds a lot to the film. The supporting cast plays their roles well, staying true to the story.
The comedy scenes involving Arun and other students are entertaining. The dialogues are thoughtful and add meaning to the film. Vivek Sagar’s music is another highlight. The background score blends beautifully with the story, and the songs fit well into the scenes without feeling forced.
Minus Points:
One downside is that the promotional campaigns revealed much of the plot beforehand, leaving little suspense. The story is simple, focusing on how students are often judged based on their grades and how important it is for parents to support their children in shaping a bright future. While the message is relevant, the film lacks the emotional highs or twists that could keep the audience on the edge of their seats.
The film feels slow in both halves. While it’s not boring, it could have been more engaging with a faster pace. The character of Gautami had potential for more screen time, which could have added depth to the story. Additionally, the emotional bond between Saraswathi and Arun could have been explored further to add more drama.
Technical Aspects:
Nanda Kishore Emani, as both writer and director, does a commendable job, though he could have made the narration more engaging. If he continues to choose meaningful scripts, he has a promising future in the Telugu film industry.
Niketh Bommi Reddy’s cinematography brings vibrant visuals to the screen, making the film a treat to watch. Vivek Sagar’s music elevates several scenes, and the background score and songs enhance the overall feel of the film.
The editing is decent, though a few more cuts could have improved the pacing. The production values are good, giving the film a polished look.
Verdict:
On the whole, 35-Chinna Katha Kaadu is a feel-good family drama that parents and children should watch together. The performances by Nivetha Thomas, Arundev Pothula, and Priyadarshi, and the music by Vivek Sagar are the film’s strengths. On the flip side, the movie feels slow at places, and the emotional depth could have been improved. However, it still manages to deliver a nice message about the importance of parental support in a child’s education. If you’re looking for a clean, heartwarming family drama, this movie is worth watching. Don’t miss out – book your tickets and enjoy a film that will leave you with a smile.
123telugu.com Rating: 3.25/5
Reviewed by 123telugu Team
Click Here For Telugu Review
TAGS: 35 movie review, 35 review and ratings, 35 telugu movie review, 35-Chinna Katha Kaadu Telugu Movie Rating, 35-Chinna Katha Kaadu Telugu Movie Review, 35-Chinna Katha Kaadu Telugu Movie Review and Rating, Bhagyaraj, Gautami, Krishna Teja, Nivetha Thomas, Priyadarshi, Vishwadev Rachakonda
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Movie Reviews
Joker: Folie à Deux – Joaquin Phoenix, Lady Gaga in musical sequel
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4/5 stars
Joaquin Phoenix returns to the role that won him an Oscar and gave him the biggest hit of his career in Joker: Folie à Deux.
Director Todd Phillips takes the brave decision to turn this into a Hollywood musical. Yes, you read that right: Phoenix’s Arthur Fleck sings old standards, the clown turning crooner.
The film begins with an old-school, Warner Brothers-style cartoon, loosely replaying events as Arthur’s Joker persona shot dead TV interviewer Murray Franklin live on air.
Now incarcerated in Arkham Asylum, this deranged loner is awaiting to see if he will stand trial. Near-silent in the beginning, Arthur only brightens when a prison guard (Brendan Gleeson) admits him to a music class.
“We use music to make us whole,” says the teacher. And it’s here where he meets his soulmate, Lee Quinzel (Lady Gaga).
An arsonist whose mother had her committed to Arkham, Quinzel is familiar to all DC Comics fans as Harley Quinn, the character known as the Joker’s paramour.
Movie Reviews
The GOAT Review: USA Premiere Report
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First Half Report:
Plot- or presentation-wise until the pre-interval, there aren’t any exciting moments or action sequences that provide a high. Vijay is terrific in a couple of emotional scenes. The interval twist is interesting and raises the bar for the second half.
GOAT starts with an action sequence in Kenya and quickly shifts to Delhi, followed by a song featuring Vijay’s energetic dances alongside Prabhu Deva. Stay tuned for the first half report.
Vijay’s film, written and directed by Venkat Prabhu, who delivered the blockbuster Maanaadu and the disastrous Custody with Naga Chaitanya, is now ready with his big star film GOAT (The Greatest of All Time). This film comes at a crucial juncture for Vijay as he steps into politics, and it will be interesting to see how director Venkat Prabhu has made the best use of this significant opportunity.
Cast: Thalapathy Vijay, Prashanth, Prabhudeva, Mohan, Jayaram, Sneha, Laila, Ajmal Amir, Meenakshi Chaudhary, Parvati Nair, Vaibhav, Yogi Babu, Premgi Amaren, Yugendran Vasudevan and Akilan.
Written & Directed by Venkat Prabhu
Music : Yuvan Shankar Raja
Director of Photography : Siddhartha Nuni
Editor : Venkat Raajen
Banner : AGS Entertainment (P) Ltd
Producers : Kalpathi S Aghoram, Kalpathi S Ganesh, Kalpathi S Suresh
U.S. Distributor: Alerion (USA), Hamsini Entertainment Ltd
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Movie Reviews
‘2073’ Review: Samantha Morton Leads Asif Kapadia’s Bold but Bleak Docu-Fiction Hybrid About Future Crisis
![‘2073’ Review: Samantha Morton Leads Asif Kapadia’s Bold but Bleak Docu-Fiction Hybrid About Future Crisis ‘2073’ Review: Samantha Morton Leads Asif Kapadia’s Bold but Bleak Docu-Fiction Hybrid About Future Crisis](https://www.hollywoodreporter.com/wp-content/uploads/2024/08/2073-H-2024.jpg?w=1296&h=730&crop=1)
2073, writer-director Asif Kapadia’s sui generis feature, is nothing if not ambitious. It offers viewers a numbingly bleak vision of the future 51 years from now, illustrated by a fictional framing device starring Samantha Morton, then explains how things got/will get that bad through actual recent archival footage and original interviews with an assortment of thinkers, journalists and activists. By comparison, George Orwell’s classic dystopian novel 1984 looks as jolly as a Peppa Pig picture book.
You can’t help but admire Kapadia’s commitment to feel-bad cinema, his refusal to end on any false note of hope. It’s all part of a deliberate strategy, according to an interview in the film’s press notes, to motivate the audience to do something, anything, to stop all this happening. But given how sinister the forces sowing the seeds of our future destruction are — rising autocracy, unregulated technology and looming climate catastrophe — some might wonder if watching this might cause more people to feel even more helpless, freezing them like dodos startled in the glaring lamplight of invading hunters. Those who might be able to put aside despair and absorb this strictly as a work of persuasive rhetoric will be impressed with its intellectual scope, the economy of the storytelling in its fictional narrative, the bravura editing and visual panache as it builds a world full of dust, detritus and debased morals.
2073
The Bottom Line Watch the world burn.
Venue: Venice Film Festival (Out of Competition)
Cast: Samantha Morton, Naomi Ackie, Hector Hewer
Director: Asif Kapadia
Screenwriters: Asif Kapadia, Tony Grisoni
1 hour 22 minutes
In the movie’s present, the year 2073, a woman known only as Ghost (Morton) lives deep in the subterranean levels of what was once a shopping mall in or near San Francisco but is now a squatter’s camp. Aboveground, the atmosphere is just about breathable in the arid climate, but surveillance cameras everywhere invigilate everyone’s every move. This is now a police state where people are suddenly “disappeared.” Traumatized by events from her childhood — particularly the disappearance of her own mother, and all the suffering since — Ghost is selectively mute. But her voiceover acts as a guide to recent history as she explores forbidden spots on the surface, like libraries or rooms full of taxidermy and redwood tree trunk slices that visually echo the natural history museum in Chris Marker’s La Jetée, a clear touchstone here.
When the film shifts into micro slivers of archival footage (montaged together by editors Chris King and Sylvie Landra) to explain how, for instance, the global rise in autocracies made this future possible, it makes for a somewhat awkward narrational adjustment. Interviewees like Nobel Prize-winning Filipino journalist Maria Ressa or Indian investigative reporter Rana Ayyub speak as if addressing someone just offscreen, Kapadia or a surrogate presumably, as in a more conventional doc. Some contributors are heard only in voiceover, such as pundits Anne Applebaum, George Monbiot and Ben Rhodes, pitching in with pithy observations that barely have a chance to reverberate before we’re on to the next thing.
Whereas many doom-docs of late tend to focus on just one bad thing happening in the world, like the climate crisis (An Inconvenient Truth), the unregulated rise of social media and dodgy but legal tech (The Social Dilemma, The Great Hack), or stupid evil billionaires and AI (acres of YouTube shorts), 2073 tries to pull them all together. It’s hard to argue that these issues aren’t indeed interrelated, but the film never slows down enough to draw out the connections clearly for the slower viewers in the back row. That makes the final triumph of a repressive state apparatus feel as inevitable as the predictable martyrdom of Ghost — a fate foretold in some of the clips spliced in from Morton’s earlier movies, including Minority Report, as if they were part of Ghost’s backstory.
In that latter movie, Morton played a “pre-cog” who could see crimes as yet uncommitted. But as with the prophetic Cassandra of ancient Troy, to see the future is a kind of curse if no one believes what you say. One can only wish that 2073 will at least help a few people reconsider how they vote, how they consume and where it’s all going, but our hopes are thin.
Full credits
Venue: Venice Film Festival (Out of Competition)
Cast: Samantha Morton, Naomi Ackie, Hector Hewer
Production companies: Lafcadia Productions
Director: Asif Kapadia
Screenwriter: Asif Kapadia, Tony Grisoni
Producers: George Chignell, Asif Kapadia
Executive producers: Farhana Bhula, Chris King, Ollie Madden, Dana O’Keefe, Dan O’Meara, Tom Quinn, Emily Sellinger, Eric Sloss, John Sloss, Nicole Stott, Emily Thomas
Director of photography: Bradford Young
Production designer: Robin Brown
Costume designer: Verity May Lane
Editors: Chris King, Sylvie Landra
Music: Antonio Pinto
Casting: Shaheen Baig
Sales: Neon Rated
1 hour 22 minutes
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