Chamkila’s story is that of a lower-caste man rising from poverty, an “ordinary man” who knew the power of delivering what his peers sought.
ACP Avinash Verma (Manoj Bajpayee) and his SCU are called upon by the Commissioner of Police to investigate a mass shoot-out at the Night Owl Bar in Mumbai. Layers begin to peel at something bigger, deeper, and darker at play.
Freddy and Rocky, two expert soldiers, are court-martialed and expelled from the Army for insubordination. The reasons behind their dismissal are murky and only become clear later in the movie. Meanwhile, Freddy is seen working in an oil mine in a desert, and Rocky is depicted fighting a fire and saving a trapped cat in Delhi.
The titular “monkey man” is a persona of gritty underground fighting embraced by Dev Patel’s character, an unnamed man from the slums who conceals his identity with an ape mask and engages in underground brawls. His backstory, revealed through flashbacks, connects deeply with religious narratives, drawing inspiration from his mother’s (played by Adithi Kalkunte) tales of Hanuman, the monkey-like demigod from the Hindu epic, the Ramayana.
The unique appeal of Soumendra and Abhishek Yadav’s screenplay stems from its departure from conventional school drama clichés, offering instead a gripping narrative. The script skillfully juxtaposes the lives of affluent and underprivileged students—the former possessing every advantage but lacking motivation and the latter driven to excel despite facing substantial barriers. A notable thread in the story is the universal challenge of parental expectations.
Crew is propelled by three determined women who aren’t afraid to challenge the status quo for their own benefit. Yet, they do not overtly preach empowerment or gender equality; instead, they embody these principles through their actions and achievements. Their battle is twofold: against the airline they work for, which has failed to pay them for six months, and against the circumstances of their own lives.
ACP Avinash Verma (Manoj Bajpayee) and his SCU are called upon by the Commissioner of Police to investigate a mass shoot-out at the Night Owl Bar in Mumbai. Layers begin to peel at something bigger, deeper, and darker at play.
Freddy and Rocky, two expert soldiers, are court-martialed and expelled from the Army for insubordination. The reasons behind their dismissal are murky and only become clear later in the movie. Meanwhile, Freddy is seen working in an oil mine in a desert, and Rocky is depicted fighting a fire and saving a trapped cat in Delhi.
The titular “monkey man” is a persona of gritty underground fighting embraced by Dev Patel’s character, an unnamed man from the slums who conceals his identity with an ape mask and engages in underground brawls. His backstory, revealed through flashbacks, connects deeply with religious narratives, drawing inspiration from his mother’s (played by Adithi Kalkunte) tales of Hanuman, the monkey-like demigod from the Hindu epic, the Ramayana.
The unique appeal of Soumendra and Abhishek Yadav’s screenplay stems from its departure from conventional school drama clichés, offering instead a gripping narrative. The script skillfully juxtaposes the lives of affluent and underprivileged students—the former possessing every advantage but lacking motivation and the latter driven to excel despite facing substantial barriers. A notable thread in the story is the universal challenge of parental expectations.
Crew is propelled by three determined women who aren’t afraid to challenge the status quo for their own benefit. Yet, they do not overtly preach empowerment or gender equality; instead, they embody these principles through their actions and achievements. Their battle is twofold: against the airline they work for, which has failed to pay them for six months, and against the circumstances of their own lives.
The film stars Sara Ali Khan as a khadi-wearing freedom fighter challenging the British Empire. “Ae Watan Mere Watan” succeeds in presenting an obscure yet significant story from India’s fight for independence without succumbing to exaggeration.
Just days before the election, the serene atmosphere of a posh Delhi club is shattered by the sudden death of a muscular Zumba instructor, initially dismissed as an unfortunate gym mishap. However, a seasoned detective, known for his unorthodox investigative approach, senses mischief and embarks on a quest to uncover the hidden layers of the case.
Despite any leniency viewers might extend, or their affinity for Sidharth Malhotra, “Yodha” struggles to maintain coherence, veering erratically from one narrative hiccup to the next. The film toys with the laws of aviation to an absurd degree, suggesting passenger planes can be easily manipulated by its characters, a notion that stretches believability to its limits.
The film does acknowledge Vajpayee’s critiques of Congress and his respect for Nehru, offering moments of ideological reflection reminiscent of a less polarized era. Yet, it remains a missed opportunity to delve deeper into the nuances of Vajpayee’s legacy, ultimately providing a surface-level recounting of his contributions and challenges.
Shaitaan, directed by Vikas Bahl, blends these elements with an excessive dose of supernatural themes, diluting its impact and rendering it somewhat hollow. The presence of an unwelcome visitor (R Madhavan) at a secluded farmhouse, with intentions obscured by dubious mystical practices, feels like a retread of dated narratives rather than a fresh horror proposition.
Loh Kiwan’s poignant tale resonates, particularly when the focus remains on his struggles and quest for identity amidst adversity, rendering the film a compelling and emotionally resonant experience.
“Article 370” is a significant achievement in Indian cinema, offering a compelling, nuanced, and balanced exploration of a complex issue. It stands out for its factual approach, exceptional performances, and the sensitivity with which it handles a delicate subject matter.
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