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Ahimsa Review – Himsa For Audience

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Ahimsa Review – Himsa For Audience

BOTTOM LINE
Himsa For Audience

OUR RATING
1.75/5

CENSOR

U/A, 2h 42m


Abhiram-Daggubati-Ahimsa-Telugu-Movie-ReviewWhat Is the Film About?
Raghu (Daggubati Abhiram) is a kind-hearted and ordinary guy whose love of life is Ahalya. She is fierce and advocates violence, whereas Raghu is the exact opposite.

What happens when Raghu faces is pushed to the extreme by the system after a tragic incident shatters his life is the movie’s plot. Did it change his basic nature is the undercurrent theme.

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Performances
Abhiram Daggubati makes his acting debut with Ahimsa. He is moulded as a typical Teja hero in the movie. The character, too, deals with similar emotions. From a soft-spoken guy to a fierce personality, the change forms the arc given to him.

Abhiram has surface-level looks to fit the ‘typical’ director Teja hero personality. There is a fear plastered on his face, and it is exploited to the maximum by Teja. Abhiram is seen mostly with the expression, and then there are additional fear and aggression when necessary. The problem is that other expressions are dominated by the pertinent one. For a debutant, he is okay, but Teja has managed to extract better in the past with his heroes, debut or otherwise.

Geethika, the heroine, tries hard but fails. Her tole is more expressive than the hero, and she goes way overboard with it. The characterisation, particularly the dialogues and actions, don’t help her cause. In the emotional scenes, she is fine, but again they are overdone. In the end, it turns out to be a forgettable fare.


Director-TejaAnalysis
Teja, the veteran director of blockbusters like Nuvvu Nenu and Jayam, directs Ahimsa. At a basic characterisation level, Ahimsa is similar to his past flicks, but here the core theme is related to violence and non-violence, and it is dealt with through the backdrop of a relatable topic and victimhood.

The movie opens with intrigue, but it soon digresses into mundaneness with the romantic track. It wouldn’t be a problem normally, but the over-the-top execution, the acting and the dialogues make one cringe in discomfort. It instantly takes us back to the Nijam days from Teja. Who can forget the ‘Eenadu’ and ‘Andhra Jyothi’ comedy track? Well, we have a companion here.

It would still have been fine if the cringe and over-the-topness were restricted to comedy or romance, but that is not the case here. Every new character that arrives behaves in the same way with loud and over-dramatised action.

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Amidst all the verbal mayhem torturing the senses, there is a core courtroom drama surrounding an issue. The content is contemporary, and we have seen it getting execution in a far gripping way in grounded settings and performances. Here everything is overblown and excessively done. The direction also screams outdatedness. Still, Ahimsa manages to hold the attention briefly.

By the time the courtroom drama ends, the engaging part of the movie also ends. The next direction the narrative takes is where Ahimsa loses the whole plot.

For starters, the time taken to reach the interval portions itself is overstretched. By the time the interval arrives, one gets a feeling of watching an entire movie. But the real ‘himsa’ is only beginning at the time.

The second half offers nothing novel. It is all about the hero and heroine escaping from three different sets of gangs who are after their lives. The ‘Lomdi’ gang among the three are the definition of excess in a script that leads to assault on the senses.

Just when one thinks the movie might end, there is another half an hour with a song in the mix. The final stretch towards the completion is sheer drivel with so much unnecessary violence. Even until the last minute, the director doesn’t waste time in inducing the pain.

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Overall, Ahimsa has two key issues which would have made for an outdated but engaging narrative. However, the outdated and over-the-top execution and mind-numbing second half kill any chances. If you are a fan of the director, skip the movie and save yourself from the pain.


Geethika-Tiwary-Ahimsa-Telugu-Movie-ReviewPerformances by Others Actors
The movie is filled with actors. Everyone goes overboard in their performance, starting from Sadha. She is still fine, considering the impact of the role in the narrative. But, others like Rajat Bedi are highly irritating. Manoj Tiger playing the scheming, devious lawyer is fun, but in a bad way. The rest of the actors, like Ravi Kale, Devi Prasad, Kamal Kamaraju etc., fail to register.


Music-Director-RP-PatnaikMusic and Other Departments?
RP Patnaik works as music director for Teja after a long gap. However, the combo fails to deliver any worthwhile song, although a couple does sound nice on the ear. The background score is effective, even though loud. Sameer Reddy’s cinematography is okay, capturing the rustic and raw settings of the village and forest. The editing is okay. The writing comes with a generous mix of double entendre. A couple of lines register, but overall it’s nothing more than ordinary.


Highlights?
Basic Theme (Violence Vs Non-Violence)

Brief courtroom Drama Stretch

BGM

Drawbacks?
Weak Story

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Second Half

Outdated OTT Execution


Sadha-Ahimsa-Telugu-Movie-ReviewDid I Enjoy It?
No

Will You Recommend It?
No

Ahimsa Movie Review by Mirchi9

Hiring: Political English writer. Email: [email protected] (must submit a sample article)
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Movie Reviews

Bad Newz Movie Review: Vicky Kaushal and Ammy Virk’s hilarious rivalry elevates this laugh riot

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Bad Newz Movie Review: Vicky Kaushal and Ammy Virk’s hilarious rivalry elevates this laugh riot
Story: Saloni Bagga (Triptii Dimri) gets pregnant with twins conceived through a rare phenomenon, heteropaternal superfecundation, which means there are two biological dads. In a hilarious rivalry, the would-be papas compete to win her heart and fatherhood. Whom will she choose?

Review: In the laugh riot that comes after Good Newwz (2019), Saloni Bagga dreams of culinary stardom and resists her mother’s marriage pressure until a whirlwind romance and marriage with Akhil Chaddha (Vicky Kaushal). While she craves career glory, her husband longs for a family, as his carefree attitude creates friction in their relationship. An incident throws her dreams and job into disarray, forcing them to acknowledge their incompatibility. Divorce ensues, and Saloni seeks a fresh start in Mussourie. There, she has a one-night stand with her boss, Gurbir Pannu (Ammy Virk).

Fate throws another curveball: Akhil reappears, and on the same night, things get tangled again. Six weeks later, a bombshell drops—Saloni’s pregnant with twins, and a paternity test reveals both Akhil and Gurbir are fathers! This unexpected twist sets the stage for a side-splitting battle between the two men, each vying for Saloni’s love and a shot at fatherhood.

Two heroes in a comedic duel for the heroine feels like a familiar rom-com setup. The plot might not surprise you, but the film shines in its outrageous humour. While the script and screenplay remain on uneven ground, director Anand Tiwari and writers Tarun Dudeja and Ishita Moitra understand that laughter is the key ingredient. Jokes and one-liners (by Dudeja) pepper the narrative, ensuring you’ll chuckle even after a supposedly serious scene. The film feels light and breezy, with the cast seemingly having a blast themselves.

Highlights include hilarious self-referential jabs at Karan Johar, from Akhil’s (Vicky Kaushal) possessiveness over a Katrina Kaif poster to Gurbir’s deadpan declaration that he’s “no Manmarziyan’s Vicky Kaushal” (referencing another Kaushal rom-com). These playful nods at Bollywood tropes add another layer of amusement and will crack you up.

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The film’s pacing suffers from a rushed first act, as Akhil and Saloni’s romance, marriage, and subsequent split feel underdeveloped. Similarly, Saloni’s fling with Gurbir lacks depth and is unconvincing. While the soundtrack boasts catchy tunes like Raula Raula, Mere Mehboob Mere Sanam, and Jaanam, their rapid-fire placement disrupts the narrative flow. Repetition in comedic situations and a predictable plot further hinder the film, especially in the second half, which feels overstretched.

Vicky Kaushal shines as the self-centred and loud Punjabi who eventually undergoes a satisfying character arc, learning to prioritise Saloni’s dreams. His impeccable comedic timing and energy are matched by Ammy Virk, who holds his own as Gurbir, the other more polished father figure in the chaotic equation. The best scenes are between the duo and their strong chemistry enables the comedy to roll out effectively. Triptii Dimri looks pretty and pulls off emotional scenes but struggles with comedy.

With a hilarious premise and two funny men, this one’s a laugh riot. Even when the plot takes a familiar turn and stretches, the witty dialogues and spot-on comedic timing from the cast ensure you’re consistently entertained.

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Movie Reviews

Movie review – Twisters

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Movie review – Twisters

I’d rush into a tornado to save Glen Powell. Twisters feels like this year’s Top Gun: Maverick, a crowd-pleasing epic theater experience that feels like a throwback summer blockbuster in the coolest of ways. Much like the latter-mentioned legacy sequel, Twisters supersedes its predecessor in just about every way while bolstering new stars and bringing new thrills. 

Twisters follows tornado trackers Kate (Daisy Edgar-Jones) and Javi (Anthony Ramos) who look to test an experimental new tracking system. They come into contact with the charismatic yet reckless Tyler Owens (Glen Powell) and his gang of social-media-driven Tornado wranglers. The film is directed by Lee Isaac Chung, who also directed 2020’s Minari

Powell always thrives in the lovable douchebag role. His character in this movie feels like an evolution of Hangman in Top Gun: Maverick. Side note, Powell would make a good Indiana Jones. A handsome, tall, and gruff nerd who’s likable and charismatic. I especially felt this while watching this year’s Hit Man and Twisters only helped to exemplify it. 

Edgar-Jones shines in her first huge role, bringing loads of heart. The romance between Edgar-Jones and Powell was very push-and-pull in a very fresh way. The characterization in this film also really outdoes its predecessor.

Everyone has much more nuance and depth, reflecting the way movies are made today. I wish Ramos had been given more to do and work with, but he does get some solid emotional beats with Edgar-Jones. It’s also really funny seeing David Cornswet play the exact opposite character of Superman, a corporate shell who doesn’t care about people.

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I already know that country stuff is gonna pop off when this movie gets really popular. But it was a smart market to capitalize on with how popular country music is now. Artists like Beyoncé and Post Malone tapped into the genre and now so has modern Hollywood. 

I attended its premiere in Los Angeles, thanks to 1iota (1IGOATA) for the opportunity. It was so cool to be able to see the premiere set designed to look like it had been through a storm and to get to see all the people who worked on the movie in person. It’s one of those things that reminds you of how cool Hollywood is and can be.

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Film Review: 'Oddity' is a Little Chiller That Shows a Lot of Atmospheric Promise – Awards Radar

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Film Review: 'Oddity' is a Little Chiller That Shows a Lot of Atmospheric Promise – Awards Radar
IFC Films

Dread is a great tool for horror. Even if nothing overtly terrifying is happening on screen, if there’s an element of dread on hand, you’re primed for anything. Horror uses it better than any other genre, so a good genre filmmaker can go to town. Oddity is a solid example of this, as a horror movie bathed in dread. It’s nothing like the recently released Longlegs, but then again, what is? Taken on its own, this is an effective little fright flick.

Oddity is the sort of film that works best as a calling card for its director. Beyond that, the atmosphere on display is worthy of praise. The story itself is a bit on the light side, but it winds up coming together in a pretty interesting way. If you like smaller horror films, then this is one to check out, as it delivers far more than it doesn’t.

IFC Films

One year after Dani (Carolyn Bracken) has been brutally murdered at the home in southwestern Ireland she shared with physician Ted Timmis (Gwilym Lee), the latter is still living there. He claims it’s because it’s close to his job at a nearby psychiatric hospital, though others think there’s more to it than that. Ted’s former patient Olin Boole (Tadhg Murphy) has been pegged with the slaying, though again, not everyone thinks that was the case, especially when Olin was savagely killed shortly thereafter. When Dani’s blind twin sister Darcy (also Bracken) shows up on the one year anniversary of the murder, she startles Ted and his girlfriend Yana (Caroline Menton). Darcy is a medium and has a gift for him, one that he’ll wish she had not brought with her.

From here, the supernatural begins to rear its head. Darcy has a wooden mannequin for Ted, which belonged to her and Dani’s mother. He’s not interested, while Yana is hugely put off by her and the doll, but they want to be polite. The longer Dani is around, and the more trance-like she gets, the more scared Yana gets, eventually with very good reason.

IFC Films

The cast lends an effective seriousness to the proceedings, even if no one here outright blew me away. The main trio of Carolyn Bracken, Gwilym Lee, and Caroline Menton anchor things with a quietness that is almost more befitting a drama. Bracken gets to do some interesting things later in the game, while Menton gets to be effectively frightened, but they’re all in service of their director’s vision. In addition to Tadhg Murphy, the supporting cast includes Jonathan French, Joe Rooney, Steve Wall, and more.

Filmmaker Damian Mc Carthy should have a nice future in horror, given his sense of atmosphere. He utilizes dread and some occasionally gnarly visuals to good effect. His direction is ahead of his writing, as the pacing is a bit slow, but it eventually comes together. Oddity lives up to its name, but it does feel longer than it’s under 100 minute running time. Once Mc Carthy tightens things up a bit, his next work will not just be good again, but almost assuredly great. I’m bullish on his talent, that’s for sure. At a certain point, you’re stressed at the horrific possibilities, which is huge within the genre.

Oddity never ascends to the next level, but as a small fright flick with some strong atmosphere, it works. The sense of dread and potential for terror is there, so when Mc Carthy makes another genre effort, I’ll be there. He’s got the goods.

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SCORE: ★★★

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