Martin, starring Kannada star Dhruva Sarja in a dual role, hit the screens on October 11, 2024, under the direction of A.P. Arjun. Featuring Vaibhavi Shandilya as the female lead, with music by Mani Sharma and Ravi Basrur, the film offers a mix of intense action and emotional drama. However, despite its grand production values and high-energy sequences, the film struggles to deliver a cohesive and engaging narrative.

Now available for streaming on Amazon Prime Video from November 15, Martin is an ambitious attempt at blending action and thrills but leaves the audience with mixed feelings due to its underwhelming storytelling.

Plot Overview
The story begins in Pakistan, where Arjun (Dhruva Sarja), injured during a gangster conflict, finds himself hospitalized. Under mysterious orders from an unidentified figure in New York, he is injected with a drug that erases his memory. As he realizes he’s in danger, Arjun escapes and slowly uncovers fragments of his past.

Through a series of encounters, Arjun learns that his real name is Arjun and he hails from India. He sets out to meet Regina, a young woman whose address he obtains. However, upon reaching her home, he discovers she has been murdered. Regina’s cryptic clues lead Arjun to learn about his nemesis, Martin (also played by Dhruva Sarja). When Arjun contacts a mysterious number, he understands that his mission to capture Martin has brought him to Pakistan.

As the story unfolds, Arjun returns to India with plans to save his friends Parashuram and Vivek, as well as his fiancée Preethi (Vaibhavi Shandilya). But his path is fraught with dangers from Martin and a villain named Mustaq. How Arjun confronts Martin, uncovers Mustaq’s motives, and navigates the chaotic circumstances forms the crux of the narrative.

Analysis
Martin marks Dhruva Sarja’s foray into dual roles, with the first half focusing on one character and the second half introducing the other. While the premise of a gangster-versus-navy officer conflict involving illicit arms worth ₹12,000 crores has potential, the execution falls short.

Strengths
High Production Values: The film boasts grand visuals, including tanks, helicopters, and large-scale action set pieces, which are visually impressive.
Dhruva Sarja’s Presence: Known for his mass appeal, Dhruva Sarja brings a commanding screen presence, but the lack of depth in his characters hinders emotional engagement.

Weaknesses
Complex Narrative: The film’s non-linear storytelling, filled with flashbacks, leaves the audience confused and disconnected.
One-Dimensional Characters: Both the hero and the villain lack emotional depth, making their confrontations feel hollow.
Overloaded Action: Excessive fight scenes, chases, and explosions dilute the narrative, causing fatigue rather than excitement.
Inadequate Supporting Roles: The absence of strong supporting characters diminishes the impact of the story.
Underwhelming Music: Despite big names like Mani Sharma and Ravi Basrur, the music and background score fail to leave a lasting impression.
The film’s pacing suffers due to prolonged action sequences and insufficient focus on building a strong narrative backbone.

Performances
Dhruva Sarja: While his dual roles showcase his versatility, the lack of compelling character arcs limits his performance.
Vaibhavi Shandilya: Has minimal scope to shine, as the film sidelines romance and emotional subplots in favor of action.
Supporting Cast: Achyuth Kumar and Anveshi Jain are underutilized, with no memorable moments to contribute to the story.

Technical Aspects
Cinematography: Sathya Hegde captures the action sequences effectively, but the lack of strong narrative visuals diminishes its impact.
Editing: The film’s runtime could have been trimmed significantly, particularly the overlong action scenes.
Direction: A.P. Arjun’s attempt to create a high-stakes thriller is commendable, but the lack of clarity in storytelling undermines the film’s potential.

Verdict
Martin aims to be a thrilling action spectacle but is marred by a convoluted plot, excessive action, and underwhelming emotional depth. While fans of Dhruva Sarja may enjoy his powerful screen presence, the film fails to connect with a broader audience due to its lack of cohesion.

The last time we saw anything Wizard of Oz related on the cinematic stage was more than a decade ago, with Sam Raimi’s often overlooked prequel effort, ‘Oz the Great and Powerful’. What folks have managed to remember about that one, they usually recall between groans and mumble through palmed faces.

That was a film that was, and still is, criticized for lackluster special effects, a suspect cast, and an adhesion to a corny tone that bled into the film’s visuals, as well as impacted the screenplay. Raimi, in accordance with his cinematic character, preferred kinetic camera movements and sharp colors and lighting over other such worries about tonal cohesion and character, at least in that instance.

What’s become odd in retrospect, factoring in the release of the topic at hand, ‘Wicked’, is that the new film struggles with the same issue in a slightly different way. Sure, Wicked’s computer generated elements are cleaner, and much glossier, than anything the world of Oz had to offer in 2013.

But the new film doesn’t just utilize those effects — it relies on them. Wicked has become yet another unintentional bastion for slapping CGI on every single scene, and every little thing. Impressive practical sets here are washed out with brown and grey digital overlays; the sunshine has lost the colorful aura which defines it, and the moon emits only a flat blue hue.

Where is the true middle ground for bringing Oz to life on the visual front, then? That still isn’t clear, but in the case of the newer film, we’ve taken a step in the right direction with many new merits.

The razzle-dazzle that’s Jon M. Chu’s bread and butter is on glorious display in “Wicked,” the big-screen version of the beloved Broadway musical.  

When it’s all about the spectacle of big, splashy production numbers, this prequel to “The Wizard of Oz” is thrilling, whether we’re in Munchkinland, the Emerald City or the campus of Shiz University, where a young Wicked Witch of the West and Glinda the Good Witch of the North first cross paths. As we’ve seen from the director’s previous films including “Crazy Rich Asians” and “In the Heights,” Chu is uniquely adept at presenting an enormous song-and-dance extravaganza without getting lost in it. His sense of pacing and perspective draw us in and center us within the swirling fantasy. 

It helps greatly that he has deeply talented stars in Cynthia Erivo and Ariana Grande: magnetic multi-hyphenates who can meet every physical and emotional challenge of these iconic characters. Following in the footsteps of Idina Menzel and Kristin Chenoweth would seem like a daunting task, but Erivo and Grande bring their own vocal power and dramatic interpretation to the roles of Elphaba and Glinda, respectively. You truly feel the friendship between these opposites, particularly in one beautiful, wordless dance sequence where they forge their unlikely bond, which is moving in its understatement. That’s the foundation of this story, so it’s crucial that we know their connection is true for its destruction to be meaningful. 

Far less effective is the way Chu, working from a script by Winnie Holzman and Dana Fox, based on the novel by Gregory Maguire, wedges in the movie’s heavier themes of authoritarianism. Yes, they are baked into the story: We know from watching 1939’s “The Wizard of Oz” countless times that the wizard is a con artist who rules by fear. His deception is literally one of smoke and mirrors. That’s all in the source material of the “Wicked” stage production, as well, for which Holzman wrote the book and Stephen Schwartz wrote the music and lyrics. Here, in film form, the tone swings awkwardly between upbeat wonder and dark oppression. This is a world in which minorities are hunted, placed in cages and prevented from speaking, where a charismatic leader (a playfully evil Jeff Goldblum) persecutes a woman of color. It is not subtle, and it feels all-too relevant to our times, despite originating decades ago. It also drags down the energy of this epic tale. 

And yet, overstuffed as the film is at 2 hours and 40 minutes, this is only part one: “Wicked” ends where the intermission occurs in the stage show, with part two coming in November 2025. It’s a lot to ask of an audience. Still, people who love this story and these characters will be delighted, and there’s much here for people who aren’t familiar with the musical but are looking for a cinematic escape around the holidays. 

“Wicked” begins with Grande’s Glinda descending majestically into Munchkinland to inform her enthusiastic fans that the rumors are true: The witch really is dead. Then it flashes back to how she and the green-hued Elphaba (the Wicked Witch’s first name) became unlikely allies in college. Elphaba has always been bullied and ostracized because of the color of her skin; Glinda—or Galinda, as she’s known at this point—is a pretty, pampered mean girl who’s always gotten her way. (Bowen Yang is a hoot as one of her loyal sycophants.) 

But once they’re forced to room together, they eventually realize, to their surprise, that they genuinely see each other in a way no one ever has before. Galinda’s makeover anthem “Popular”—one of the most popular songs from the show—is among the film’s highlights, and a great example of the technical prowess “Wicked” offers. The costume design from Paul Tazewell (“West Side Story”) and production design from longtime Christopher Nolan collaborator Nathan Crowley are exquisite throughout but especially here. Alice Brooks’ cinematography is consistently wondrous, but her use of hot pink lighting as Galinda’s at the height of her power is really evocative.  

Chu’s usual choreographer, Christopher Scott, delivers again with vibrant, inspired moves, particularly in the elaborate “Dancing Through Life,” which takes place in the school’s rotating, multilevel library. “Bridgerton” star Jonathan Bailey gets a chance to show off his musical theater background here, and he’s terrifically charming as the glib Prince Fiyero, the object of both Elphaba and Galinda’s romantic interests. Michelle Yeoh brings elegance and just a hint of danger to her role as Madame Morrible, the university’s sorcery professor. And Peter Dinklage lends gravitas as the resonant voice of Dr. Dillamond, a goat instructor who, like other talking animals in Oz, finds himself increasingly in peril. 

But it’s that connection between Erivo and Grande that gives the film its emotional heft. Erivo does do much with her eyes to convey Elphaba’s sadness and loneliness and, eventually, her hope and determination. There’s a directness about her screen presence that’s immediate and engaging, and of course she can sing the hell out of these demanding songs. Grande meets her note for note and once again displays her comic chops, but it’s the little choices that make her portrayal of the perfect Galinda feel human: a jerky perkiness that’s slightly dorky. The blonde tresses and array of pink dresses scream confidence, but deep down she’s a try-hard whose desire to be liked is her driving motivation. 

As undeniably crowd-pleasing as “Wicked” is in its big moments, these smaller and more intimate details are just as magical.