Movie Reviews
Butta Bomma Movie Review: A romantic tale that turns dramatic and uncovers a facade
Evaluate: Butta Bomma is a Telugu remake of the critically acclaimed movie Kappela and stays true to the unique narrative for essentially the most half. Showcasing village life and its nuances, the movie appeals to 1’s senses. The plot revolves round Satya, a younger woman from the quaint village of Duddikonda in Araku Valley; she leads a somewhat easy and delightful life – her father works in a rice mill, her mom does tailoring at residence, has a school-going sister, Lakshmi is her shut buddy and Chinni, an area wealthy man needs to marry her. The narrative that’s near actuality makes the story relatable and plausible. On a regular basis conversations in a middle-class family, the ambitions of a younger woman, and the way others within the village understand and react are nicely offered. On a fateful day, a incorrect dial modifications Satya’s life, and regularly, she falls in love with this unseen man, Murali, an autorickshaw driver from Nellimarla. This relationship which is predicated on telephone calls, might have been extra natural. It wanted a greater screenplay in sure sections. Within the second half, the film goes via a dramatic flip of occasions exposing the horrible fact of human trafficking. The film ends on a thought-provoking observe delivering a message about being smarter when coping with unknown folks, particularly on-line. Whereas the film impresses as an total product, the identical might have been proven in a shorter time, particularly the primary half.
Anikha Surendran as a village woman, impresses along with her appearing and appears. Newcomer Surya Vashistta turned out to be a charmer and did a commendable job. He’s a promising actor to look out for. Arjun Das, as an unemployed, determined, short-tempered but smart particular person, elevated the drama within the second half together with his physique language and baritone voice. Navya Swamy did her job nicely along with her restricted display screen time. Different actors, too, chimed in and did their greatest.
Directed by Shouree Chandrashekhar T Ramesh, the movie has dialogues by Ganesh Ravuri, music by Gopi Sundar, cinematography by Vamsi Patchipulusu and modifying by Navin Nooli.
Total, it’s a easy romantic story which later turns dramatic, exposing the human trafficking facade. The gorgeous locale, tasty cinematography, and spectacular performances make it an honest watch, even for many who watched the Malayalam unique.
Movie Reviews
Movie review: 'The Fall Guy'
‘The Fall Guy’ movie showcases a storyline focused on a stunt man, played by Ryan Gosling, trying to get back his film director ex, played by Emily Blunt. Film Critic Felix Albuerne Jr. joins LiveNOW from FOX to talk about the latest.
Movie Reviews
Movie Review | Ryan Gosling shines in sloppy slice of summer fun
Surely, Elísabet Ronaldsdóttir has had easier gigs.
Watching “The Fall Guy” — the big-screen take on the 1980s TV fave about a Hollywood stuntman who worked on the side as a bounty hunter that this week kicks off the summer movie season — you can’t help but think of its editor.
“The Fall Guy” is many things: an homage to the show; a romance; a vehicle for stars Ryan Gosling and Emily Blunt; a large-scale action flick; and a love letter to stunt performers — those who do the dangerous work or, as the movie suggests early on, get to do “the cool stuff.”
It is big, and it is messy, but Ronaldsdóttir has helped mold it into something that, while lumpy and misshapen, is more entertaining than not.
This isn’t her first cinematic rodeo with director David Leitch, having collaborated with him on hit movies including such winners as 2017’s “Atomic Blonde” and 2018’s “Deadpool 2,” so she surely knew what she was signing up for.
It is, of course, entirely fitting that Leitch sat in the director’s chair for “The Fall Guy,” as he once was a stuntman himself. Famously, he was Brad Pitt’s stunt double on 1999’s “Fight Club.”
Here, the stuntman is Gosling’s Colt Seaver, the movie borrowing the name of Lee Majors’ hero from the TV series, which ran from 1981 to ’86.
When we meet Colt, he’s at the top of his game, specializing in being the stunt double for Hollywood megastar Tom Ryder (Aaron Taylor-Johnson, Leitch’s “Bullet Train”). On the set of a big movie — Leitch and another frequent collaborator, director of photography Jonathan Sela, appear to take great pleasure in showing off the scale of such a shoot with a couple of elaborate shots — Colt is about to perform a huge fall.
On the way up to his starting point, he flirts via walkie-talkie with camera operator Jody Moreno (Blunt), the two talking about how, after the movie wraps, they could grab a couple of swimsuits — or, as a Brit such as herself would say, “swimming costumes” — hit a beach somewhere and enjoy a few margaritas, as well as the bad decisions to which they lead.
The fall goes badly.
Eighteen months later, Colt, perhaps more psychologically damaged than physically so, is out of the stunt game, making a living by parking cars for a Mexican restaurant. And, having long ago pushed away a caring Jody, he is a walking pile of regret.
When old producer friend Gail Meyer (Hannah Waddingham of “Ted Lasso”) calls, asking him to be a last-minute fill-in on a set in Sydney, Australia, he declines. She then tells him it’s for Jody’s directorial debut and that his old flame requested him.
He says he’ll need an aisle seat.
Upon arriving at the shoot and set to do a car stunt known as a cannon roll, he complains about the sand on which he’ll be driving on — it’s, um, not dense enough — to another old pal, stunt coordinator Dan Tucker (Winston Duke of “Black Panther”), who coaxes him into the car.
The stunt goes well, save for Colt destroying a camera tracking his car, but Jody is shocked to learn he is behind the wheel. She did NOT, in fact, request him.
Unable to kick him off the project, she instead sets him on fire repeatedly for one scene. Between these hot takes, her frustration via bullhorn over what happened in their relationship under the thinly veiled guise of talking about the lead characters in her epic science-fiction romance flick, “Metalstorm.’
At the end of the day, Colt gets into a truck, cranks a Taylor Swift song, thinks about their time together and cries — at least until Jody catches him. They talk, and while it’s clear feelings still exist between them, they agree to keep things very “profesh.”
Colt soon has bigger problems than Jody, as Gail has secretly recruited him to find the movie’s missing star, the aforementioned Tom Ryder. She convinces Colt that to save Jodie’s movie, the cops must be kept out of it, and he agrees to take on the task.
From here, “The Fall Guy” keeps things really loose, Leitch and writer Drew Pearce (“Iron Man 3,” Leitch’s “Fast & Furious Presents: Hobbs & Shaw”) prioritizing action and gags over clear storytelling. (Hey, it’s now summer at the movies — what did you expect?)
As Colt works to uncover the mystery of Tom’s disappearance, Gosling does a lot of the heavy lifting to keep “The Fall Guy” from falling apart. He brings some leftover “Ken”-ergy from the cultural event that was last year’s “Barbie,” for which he earned a well-deserved nomination for the Academy Award for Best Supporting Actor. He nails every important line read with great Kenfidence, er, confidence.
One of the movie’s issues is that Jody becomes a glorified background player, not the best use of the talents of Blunt, a four-time Oscar nominee including for her work in the other half 2023’s “Barbenheimer” phenomenon, “Oppenheimer.” “The Fall Guy” would have benefited from a setup that gave more time with its leads together. (One of the movie’s many meta moments has them talking via split-screen as Jody talks about its potential use in her movie, Leitch deciding to educate us on that filmmaking choice and others.)
So, OK, “The Fall Guy” leaves you wanting a bit more, but it succeeds as a two-hour excuse to shove buttery popcorn into your mouth.
And those hoping for a nod to the show beyond the initial offering of closing credits, which feature the “Unknown Stuntman” theme song from the show, should stick around for an extra treat.
Yes, “The Fall Guy” makes a bit of a mess of things, but it sure has fun doing it.
“The Fall Guy” is rated PG-13 for action and violence, drug content and some strong language. Runtime: 2 hours, 6 minutes.
Movie Reviews
The Fall Guy review: The Ryanaissance continues, while Emily Blunt shines in this screwball comedy
In cinemas; Cert 12A
Colt Seavers (Ryan Gosling) was the best stuntman in the business before a nasty accident derailed his career. There is always a way back and, after a tetchy film producer reaches out, Colt agrees to dust off his jumpsuit for a big-budget sci-fi epic directed by his ex-girlfriend, Jody Moreno (Emily Blunt).
An awkward situation, and it gets weirder: the film’s leading man, Tom Ryder (Aaron Taylor-Johnson) is missing, and its producer Gail (Hannah Waddingham) thinks he may have fallen in with the wrong crowd. It’s up to Colt, then, to track him down, save the movie and win back the girl of his dreams.
Loosely inspired by the Lee Majors TV series, The Fall Guy makes a lot of noise, some of it not entirely unpleasant. Come for the fist-fights, the explosions, and the self-aware punchlines; stay for a classy screwball comedy about a broken-hearted filmmaker and her bumbling stunt performer.
The Ryanaissance continues, and Gosling is having the time of his life here. Blunt, meanwhile, is the beating heart of this daft presentation. David Leitch’s film is far too pleased with itself, but our handsome leads make it work.
Three stars
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