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‘Yaathisai’ movie review: An impressive period drama made with conviction

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‘Yaathisai’ movie review: An impressive period drama made with conviction

Coincidence or not, Yaathisai, the most recent Tamil interval movie with an all-new forged, will draw comparisons with Mani Ratnam’s magnum opus Ponniyin Selvan – 2 because the latter is gearing up for launch only a week after the previous’s; they’re each interval dramas, with a fictional twist on historical past, on famed Tamil kingdoms. However the similarities between these two cease there, and Yaathisai, directed by Dharani Rasendran, is a movie with sufficient gravitas and distinction to face tall by itself. On one hand, it does generally lack the finesse of a Mani Ratnam movie, nevertheless it’s additionally rather more grounded, brutal, and uncooked in its type, and, in that sense, might be likened extra to an Indian model of Zack Snyder’s 300 than the rest — you learn that proper!

From the phrase go, there are fairly just a few surficial errors that Yaathisai needs you to look past, just like the distracting CGI blood, theatrical dialogue supply from just a few actors, and the simple staging of some scenes. And, though commendable for the try, it does take a couple of minutes to get used to some characters speaking in Seventh-century Tamil (including the subtitles here’s a win). However past these preliminary halts, what awaits a affected person viewer is really spectacular.

Yaathisai (Tamil)

Director: Dharani Rasendran

Solid: Shakti Mithran, Seyon, Guru Somasundaram, Subatra Robert, Rajalakshmi

Runtime: 121 minutes

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Storyline: Kodhi, a hot-blooded warrior from the Einar clan, goes on an inconceivable mission to defeat the Pandiyan king Ranadheeran to recapture the Chola fort

All through its runtime, Yaathisai takes itself very significantly and the author means enterprise proper from the way in which he begins to relate his story. An previous man from the Einar clan begins to inform the story of how 15 years prior, Kodhi (Seyon), a younger hot-blooded man from their clan, took on the mighty Pandiyan king Ranadheeran (Shakti Mithran), who defeated the huge coalition military of the Cheras and Cholas. And he tells this to the son of Ranadheeran who they’ve held captive. Notice that it’s not the story instructed to a son about his father — which is often the case — and it’s not a narrative a couple of king taking up one other. Fearing demise throughout the Nice Chera-Pandiya battle, a number of surviving Chola clans took refuge within the dense forests, helplessly dwelling as ‘searching nomads,’ as one places it. Yaathisai is the story of an underdog soldier from a lower-rung Chola clan, comprising mere a whole bunch in quantity, aspiring to defeat a Pandiyan monarch ruling from the fort of the defeated Cholas. The world of Yaathisai, because the previous man goes on to relate, then grows and grows.

Essentially the most staggeringly spectacular feat of the movie is how this beginner director and an inexperienced crew have pulled off a interval movie of this scale. Take the 2 huge motion sequences to assist this; one occurs when Kodhi first meets Ranadheeran and the second, a surprising sequence, entails the conflict between the Einar Clan and the Perumpalli Clan. Aside from the well-choreographed motion involving a whole bunch of stuntmen, they’re additionally up shut and brutal, placing us proper in the midst of the gore-fest, a lot so that you simply wince regardless of the occasional annoyance of the CGI-manufactured blood and wounds.

A nonetheless from ‘Yaathisai’
| Photograph Credit score:
Saregama Tamil/YouTube

The units, when not achieved utilizing graphics, are good, the appearing for probably the most half does the job, and there’s sufficient to carry your consideration all through — the most important being that there hasn’t been a movie like this in Tamil (some may name it an Aayirathil Oruvan on medication). However all that doesn’t essentially translate to an ideal film-watching expertise for there’s something amateurish throwing you off once in a while.

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The largest problem is the enhancing; it does get a bit uneasy to see a movie that refuses to let its frames, even when shot fairly properly, breathe a little bit. The sense of urgency within the narration might have eased down a bit. Alternatively, a sequence involving a human sacrifice (that includes Guru Somasundram in a cameo) is stretched past a degree for an impact that this movie didn’t want. The music within the movie, although very distinctly made, is usually too distracting. Although the cinematography is neatly achieved, the irregular grading is a turn-off; it seems to be extremely saturated in some locations, making the parts that look pure appear duller, and the color tones preserve altering.

ALSO READ: Sasikumar takes the again seat in ‘Ayothi’ and lets humanity save the day

What the poor enhancing and the distracting music actually spoils is the readability within the storytelling, particularly contemplating that after a degree, the screenplay struggles to maneuver all the burden it boasted of carrying initially. Kodhi’s quest to ascend the throne has sufficient causes however we don’t dig deep sufficient to essentially care and take a look at him as something greater than a vengeful man changed into a mad, lustful beast. Ranadheeran, in the meantime, will get to spell out who he’s, apparently, whereas consummating his marriage and explaining to his new spouse that she means little or no on this political sport performed by males. Additionally, the movie isn’t clear sufficient in its makes an attempt at exhibiting the perils confronted by ladies on this sport of males, and we’re requested to attend for the sequel to get our solutions about an intriguing subplot, that includes Rajalakshmi as Devaradiyar, which is supposed to discover that theme.

However for all these points, this can be a movie that the long run can look again on positively, as a commendable try by an all-new forged. Above all, that is coming from a younger, one-film-old director who has a robust voice and, like Kodhi, the vigour to ascend to the highest, pulling off one thing actually spectacular in Yaathisai with a variety of conviction.

Yaathisai is scheduled to launch in theatres this Friday

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‘Carry-On’ movie review: It’s fight or flight for Taron Egerton

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‘Carry-On’ movie review: It’s fight or flight for Taron Egerton

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.

Carry-On (English)

Director: Jaume Collet-Serra

Cast: Taron Egerton, Sofia Carson, Danielle Deadwyler, Jason Bateman

Runtime: 119 minutes

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Storyline: A young Transportation Security Administration officer has to outsmart a mysterious traveller who blackmails him into allowing a dangerous package onboard a flight on Christmas Eve 

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’ 

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

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KCR Movie Review

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KCR Movie Review

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.

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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.

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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.

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Movie Review: A Tale Trapped at “The Crossroads,” Never Going Anywhere

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Movie Review: A Tale Trapped at “The Crossroads,” Never Going Anywhere

“The Crossroads” is the sort of movie you get when you park two attractive but bland young actors on a modestly scenic piece of real estate and take romance pretty much off the table.

A stunningly dull chat-a-thon of silences, evasive question-and-answer conversations, abrupt, contrived arguments, literary name dropping and cliched third act “diagnoses” explaining much of what’s come before, it’s as good an argument as any against “keeping things simple,” tuning out the outside world and such.

You’d die of boredom.

Emily Coupe arrives at the titular filling station/convenience store/diner on the border between Arizona and New Mexico, jumps out of a car with her backpack, guitar, torn tight jeans and pink hair extensions, only to be “rescued” by “a cowboy” played by Nick Ballard.

“Star” is her name. She wants to be a singer-songwriter. But she’s fled LA, heading for “Dubuque.” Not that she gives this away any time soon.

Logan isn’t especially friendly, but he offers her a lift in his ancient Ford pickup, talks about “weather comin’” (We can see the skies. Nope.) and takes her to his remote farmhouse.

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Don’t get your hopes up. This isn’t a horror movie.

Star is closed-off, working out some things. Logan is shut-down, dealing with his own issues. The script has them spend 95 minutes doling out even the tiniest hint of information about their names, their backgrounds, the time setting we’re dealing with and the problems they’re struggling to overcome.

Director Douglas A. Raine and screenwriter Ginia Desmond break that fundamental convenant they’re honor bound to take with the audience. Tell us what your movie is about, tell us who the characters are and don’t bore us to death waiting around for something — ANYthing — to happen.

Only somebody who thinks leaving LA for Dubuque is a fun idea could conjure up a leading lady dense enough to say “A clothesline? I’ve never used one.” Even if you haven’t, honey, there’s no danged sense admitting it.

Only a “cowboy” who hides his rodeo trophies in haystacks, who actually farms “hemp” now (not that we see “work” of any sort) when he isn’t reading “The Invisible Man” (H.G. Wells, 1897), with the Quran and select works of Carl Jung on his DIY bookshelves, could offer up this as a comeback.

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“You’ll have to figure it out.”

Rating: profanity, adult subject matter

Cast: Nick Ballard, Emily Coupe

Credits: Directed by Douglas A. Raine, scripted by Ginia Desmond. A Desktop Entertainment release on FreeVee, Amazon Prime, etc.

Running time: 1:35

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About Roger Moore

Movie Critic, formerly with McClatchy-Tribune News Service, Orlando Sentinel, published in Spin Magazine, The World and now published here, Orlando Magazine, Autoweek Magazine

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