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Telugu Movie Reviews
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Mirchi is yet another film whose story is woven around a done-to-death theme of Telugu cinema. It tells the message that true heroism lies in making peace with one's venom-spewing, blood-curdling enemy, thereby becoming the man with gutsy heart that every village which has been reeling under bloody battles badly needs.
If you watch Kadali with a silent mind, it is sure to immerse you in the spiritual ocean at a few places. Without setting forth to break new ground, Mani Ratnam delivers a film with invaluable moments of a rare kind. Whether or not most of them recognize today, Kadali will sure be seen (say, after 10 years) as one of the finest masterpieces of Mani.
Ongolu Gittha is a kind of film which should have been made for the Tamil audience, and dubbed later into Telugu after it did modest business in the state of TN (but even then, it would not have connected to us). To be fair to Bhaskar, he does leave his mark at places, but overall, the film is a letdown.
Viswaroopam comes with not just Hollywoodish feel but also its idiom. This is not to say that the assessment of terrorism is "rooted in pop culture framework", but the cinematic idiom of this spy thriller film smacks of that tradition. For those of you who liked Kamal Hassan's heart-rending treatment of the protagonist's moments of grief in 'Hey Ram', this movie does give a sense of deja vu at s
It is said that if the characterizations and the reactions of characters are apt, half the battle is won. Unfortunately, most films are found wanting on this front. Shatruvu falls in this category. Also, the director (NSR Prasad) has set forth with a clichéd point and written a taut screenplay around it.
If Mahesh Babu seems to be the most important star, be it in terms of the screen time or the number of lines he gets to speak, it is Venkatesh who takes a lion's share in SVSC's story. It is around Peddodu that Srikanth Addala weaves a drama full of modest emotional highs and lilting moments.
Junior NTR, somewhere in an Andhra town, comes across as a naive, happy-going, rustic guy who swears everlasting allegiance to Nasser. Least do we know that he has a fearsome flashback where he became the reigning super don-cum-aam admi's deity when he was in Kerala.
The absence of visionary leadership at the helm has ensured that there is an unacknowledged policy that promotes talented youth flock to the US, thereby putting our dream of becoming a knowledge power in jeopardy.
It is not often that we see a fledgling filmmaker leave his directorial mark radically different from his previous outing with his very second film. Anish Kuravilla (he has added Yohan as the middle name) shows a flair for intelligent treatment of his otherwise already-heard storyline with panache.
When will our filmmakers realize that even the dreamiest of socio-fantasy flicks need to have a semblance of logic? Comedy defying sense is not utterly detestable in a film mainly meant for the front-benchers, but when parody dominates the story, the genre (socio-fantasy in this case) itself starts looking less and less consequential.
Generally speaking, if most Telugu filmmakers may be said to write the songs and fights situations first and then the rest of the story, and most Kannada filmmakers may be said to watch Telugu (or even Tamil and Mallu movies) and then write a story, some characteristically realistic (but not always necessarily intelligent) Tamil filmmakers of our day seem to write the climax first and then start c
Mithunam is a one-of-its-kind film. At one point, it seems very earthy; and at another, it feels beautifully surreal. It is uplifting now, heart-tugging now, mature now, innocent now, unpretentious now, poetic now, simple (but not plain) now.
Saarocharu's story did not deserve to be made into a feature film. Instead, Parusuram should have actually thought of starting an irreverent website targeted at unmarried girls and asked them this question: If a guy, almost a stranger with whom you fell in love 24 hours ago, narrates an imaginary story of his marriage and divorce, only to say after some time that he concocted the story to test yo
As Yamaho Yama completes, it is sure to seem like an accidental socio-fantasy film. The hero, at some point in the story, falls in love with Swapna (Parvathi Milton), who is loved and lusted by Jinda, a bloodthirsty villain. Now Jinda is greater than Obul Reddy (Prakash Raj's character in Okkadu) because this erstwhile vagabond committed a series of political murders and soaked himself in factioni
If you discover Yeto Vellipoyindi Manasu to be your-kind-of-film, you will find it almost flawless; otherwise, if you are someone who loves a Puri Jagannadh-type filmmaking, you will not like the fact that Nani doesn't overpower the heroine (by slapping or shouting like hell) every time she is fickle or pig-headed.