Story: Sai (Dharma), a wealthy orphan whose life spirals into alcoholism following the demise of his parents. His days are consumed by drinking and unruly behaviour, often leading to altercations and run-ins with the law, from which his uncle (Srikanth Iyengar) frequently rescues him. An accidental encounter with Bhagi (Aishwarya Sharma), a disciplined medical student and firm believer in naturopathy, ignites a one-sided love affair. Despite Bhagi’s initial disinterest and feigned affection out of fear, Sai’s relentless pursuit challenges both their lives, culminating in a narrative that explores themes of love, addiction, and personal transformation.

Review: Drinker Sai attempts to blend a youthful love story with a cautionary tale about the perils of alcoholism. Dharma delivers a commendable performance as Sai, embodying the character’s descent into addiction with a natural ease and handling emotional scenes adeptly. Aishwarya Sharma, in her debut role as Bhagi, brings a refreshing presence to the screen, portraying her character’s conflict with conviction. The film’s music, composed by Sri Vasanth, offers pleasant melodies, though their placement within the narrative occasionally disrupts the pacing. Prashanth Ankireddy’s cinematography captures the essence of the story well, contributing to the film’s overall visual appeal.

However, the film is hindered by a predictable storyline and a screenplay that lacks the necessary depth to fully engage the audience. The narrative’s pacing suffers from filler scenes that add little value, and the second half, in particular, feels protracted with unnecessary subplots. The depiction of certain characters and situations, especially involving junior artistes, raises questions about the film’s sensitivity and awareness. While the movie aims to deliver a social message, the execution is marred by clichéd dialogues and a lack of subtlety.

In conclusion, Drinker Sai presents a familiar tale with earnest performances but falters in its storytelling and execution. The film may resonate with audiences seeking a message-oriented drama, but it falls short of offering a fresh cinematic experience.

Throughout his career, Bad Bunny has collaborated with some big acts: Drake, J Balvin, Rosalía, Cardi B and more.

But to make “Debí Tirar Más Fotos” his “most Puerto Rican album ever,” he enlisted the help of Puerto Rico’s rising talent: students from Escuela Libre de Música (Los Sobrinos), RaiNao, Chuwi, Omar Courtz, Dei V and Los Pleneros de la Cresta.

He’s made a concerted effort to spotlight these acts, whether it be inviting Los Sobrinos and Los Pleneros de la Cresta on “The Tonight Show Starring Jimmy Fallon,” or performing alongside Chuwi at his surprise concert in Río Piedras.

The homegrown acts chimed in on what this collaboration means for them and Puerto Rico.

RaiNao

Up-and-comer RaiNao added sultry top notes to the synth-dembow of “Perfumito Nuevo.”

Originally from Santurce, RaiNao, whose name is Naomi Ramírez, is a skilled saxophonist and composer with a fixation on hyperpop, reggaeton, R&B, dancehall and more.

“I connected a lot [to ‘Debí Tirar Más Fotos’] when listening to it,” said RaiNao.

“Puerto Rico has something that inevitably and beautifully sneaks in and stays with us. That magic is our meeting point and the creative force that brought us together for this album,” she added.

As an alumna of Escuela Libre de Música, the 31-year old was most excited to learn that students participated in the making of the album.

“Listening to the album transported me to a Friday dance band in the school lobby, so yes, it did make me remember vivid and well-valued experiences, sounds and images of my life and my country,” she said.

Chuwi

Sweetening the beachy air in “Weltita” are the soothing vocals of Chuwi, an indie quartet that packs a soft but powerful punch.

Made up of siblings Wilfredo “Willy” Aldarondo, Lorén Aldarondo, Wester Aldarondo, and friend Adrián López, the young band formed during the COVID-19 pandemic in the coastal city of Isabela. The group’s soulful sound, a mix of indie, jazz and tropical fusion, caught the attention of Bad Bunny, who, according to the musicians, added some of their songs to his playlists while homesick in L.A.

“He made his own playlist of what was playing in Puerto Rico, just to feel at home, and he told us he had a couple of our songs,” said Lorén Aldarondo.

During their jam session with Bad Bunny, the group was able to ad-lib an element unique to their hometown: the tale of Jacinto, a farmer who is dragged by his cow into a ocean blowhole, famously known as Jacinto’s pit cave.

“He told us to disrupt the song with whatever we wanted and left the room, literally,” said Lorén. “We started thinking, ‘What is playa to us?’”

At times, Chuwi’s discography ropes in sociopolitical commentary on topics such as the displacement of local Puerto Ricans.

“I feel like our generation is feeling these problems more deeply. We can’t buy houses … and we can’t find the jobs we studied for, and the dream was you can stay here and find a job,” said Lorén. “It’s not even social problems; it’s just real life to us.”

“The fact that Bad Bunny is highlighting not only our struggles but also our cultural beauty is really beyond awesome, and I’m honored that he thought of us and saw us compatible for this album,” she added.

Omar Courtz

Adding edge to the reggaeton-trap song “Veldá” is newcomer Omar Courtz, also known as “Ousi” to fans.

Hailing from Carolina, Omar Courtz, whose real name is Joshua Omar Medina Cortés, has toggled his singing style between reggaeton, trap R&B and house music. He was inspired to launch his music career after attending Bad Bunny’s “X 100pre” concert at the Choliseo in San Juan.

“That was the day I decided to pursue my dream of being an artist and making music,” writes Omar Courtz. “It was like seeing myself in a mirror while he sang onstage. It was a confirmation that you can be a big star with a new sound and with our music and our lyrics.”

The album’s salsa tracks, such as “Baile Inolvidable” and “La Mudanza,” are among his favorites, songs he regards as instant classics that will rank among popular records by Héctor Lavoe and Frankie Ruiz.

“On top of doing this album with his island in mind, I feel full of pride. It’s almost as if he taught the world who Puerto Rico is, how rich it is in culture, how beautiful our people are and everything we can give musically,” said Omar Courtz.

Next for Omar Courtz are two sold-out debut concerts at the Choliseo, where he first got the idea to pursue his talents.

Dei V

Kicking off the sensual trap song “Veldá” with his rumbling deep vocals is Dei V.

Born David Gerardo Rivera Juarbe in Carolina, Dei V was raised between the island and New York City, which heavily influenced his interest in reggaeton, pop and hip-hop.

“Puerto Rico is where my first smiles, my childhood, my first falls, my first mistakes, my first achievements [were]. Puerto Rico was everything,” writes Dei V.

“Growing up and really being part of that, and then having this gift from Bad Bunny to the people, it feels good to be able to contribute a grain of sand,” he added.

Bad Bunny’s festive themes in “Debí Tirar Más Fotos” remind him of holidays with his relatives, “all those beautiful moments with my family that we got together, ate lechon.” Even if he had not been part of the album, Dei V says he would have felt proud of it.

“I respect Bad Bunny a lot. I take it as an example, always giving respect to your country … he who does not love his country does not love his mother. … this was super special,” said Dei V.

Los Pleneros de la Cresta

Sprinkling in a heavy dose of sazón are Los Pleneros de la Cresta on the party plena “Café con Ron,” who also add in chorus vocals to “Baile Inolvidable” and “La Mudanza.”

Formed in 2013 by brothers Joseph Ocasio Rivera, Joshuan Ocasio Rivera, Jeyluix Ocasio Rivera and family friend Josue Roman Figueroa, Los Pleneros de la Cresta hope to preserve Puerto Rico’s rich culture of plena — traditional folk songs backed by a güiro, accordion and panderetas (handheld drums).

The band first came in contact with Bad Bunny last year while performing at the Festival de la Esperanza in San Juan. Joseph Ocasio Rivera, the group’s director, bravely suggested that he was ready to collaborate on a plena with the trap-reggaeton singer.

To his surprise, Bad Bunny revealed he was already working on something and was looking to tap them for a collaboration.

“I was speechless, because we didn’t realize that he was following our music or looking for us,” said Joseph. “One of our objectives, internationally, is to be respected and visible in the music industry,” said Joseph.

The instrumental contributions of students from Escuela Libre de Música, who have dubbed themselves “Los Sobrinos,” is a source of pride for Joseph. Both groups interrupted Jimmy Fallon’s monologue on the “The Tonight Show” on Jan. 13, when Bad Bunny co-hosted the show.

Joseph notes that many schools are at risk of closure due to the island’s ongoing economic crisis, and those that remain open seldom teach the traditional musicology of bomba, plena, danza, mazurca.

“What Benito did as a project was fortify and open opportunities, not just for us but for our ancestors, teachers and all Puerto Rican people seeking to preserve our rich cultural heritage,” said Joseph.

Julia Garner, from left, Christopher Abbott, and Matilda Firth in a scene from ‘Wolf Man’
| Photo Credit: AP

After the astounding success ofThe Invisible Man, director Leigh Whannell is back to reboot another of Universal Pictures’ most iconic horror titles. While The Invisible Man turned out to be the outing that could have revived the Dark Universe which was shot down after the failure of The Mummy, the filmmaker’s latest film Wolf Man shows why the chances of getting that universe are darker than the films it could have.

In the latest iteration of Wolf Man, after getting a “closure” on his father’s sudden disappearance along with the keys to his childhood home, Blake (Christopher Abbott) decides to make a trip out of it to save his strained marriage with Charlotte (Julia Garner). Along with their child Ginger (Matilda Firth), the couple drives to the middle of nowhere when they get attacked by a mysterious creature similar to what Blake had seen 30 years ago. When one of them gets infected while escaping from the monster, the barricaded safehouse turns into a trap.

The problem with tried-and-tested stories and the tropes they come with is the sense of redundancy and predictability, and that’s what Wolf Man suffers from. Like the 1941 original film, Wolf Man is the story of a damned person whose transformation into a nefarious creature comes with the emotional pain of turning into a nightmare for their own kin. Despite the wafer-thin plot, it’s the performances of Abbott and Garner that keep the film afloat. This is what makes drastic turns like one character taking over the wheel when they were operating from the back for most of the film’s run time, look not too ridiculous.

After a neat prologue that sets the stage for an intriguing story, the film takes a slump. The fact that the story banks on body horror rather than scares does not work in its favour either. But opting for prosthetics and practical effects instead of CG makes for some fascinating, old school gore-show and they come as a welcome respite in this horror film that dearly needs more horror.

Of course, there are specs of intelligent writing that lift its head like a werewolf on a full moon day — like the cool POV shots of the infected as they descend into madness. But what overpowers them are the predictable aspects of the film complete with its clichés such as one character being a writer and the child saying “I wanna go home” after escaping from the clutches of death. Not to mention the banality of being a ‘cabin in the woods’ film along with its usual tropes such as the inability to communicate with the outside world.

Wolf Man, in a way, tries to honour the legacy of the original film by sticking to practical effects. But with a simple and formulaic plot, there’s little good that performances can do.Wolf Man comes short of giving us anything worth sinking our teeth into.

Wolf Man is currently running in theatres