rahul_prasad_01
Joined Jun 2019
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Salakaar directed by Faruk Kabir is out on JioHotstar. In 1978, Adhir Dayal (Naveen Kasturia) joins the Indian Embassy in Pakistan disguised as a cultural attache. Adhir reports to a buffoonish ambassador (Asif Ali Beg) who is a disgrace to the Indian Foreign Service. Adhir's real boss is in Delhi, to whom he sends reports about Pakistan's new leader Zia Ullah (Mukesh Rishi). The dictator is building a nuclear bomb to counter India's own nuclear test in 1974.
The programme, codenamed Project Kahuta, is apparently Pakistan's worst-kept secret, revealed over drinks to Adhir by a disgruntled scientist. Adhir easily collects information on Project Kahuta, even standing right in front of the nuclear plant without being detected. In 2025, undercover agent Mariam (Mouni Roy) is carrying on with the rogue Pakistani Colonel Ashfaq Ullah (Surya Sharma). Ashfaq is too busy peering down Miriam's decolletage to wonder why this very glam woman prefers spectacles to contact lenses. After Miriam learns about the existence of a new bomb, Adhir (now played by Purnendu Bhattacharya) leaps back into the game.
Salakaar claims to be inspired by actual events. But the show is too dumbed-down, amateurish and contrived to be credible. The five-episode series doesn't give any real sense of how espionage is conducted or how officials and leaders in both countries behave.
The show's smartest idea is to cast Naveen Kasturia as Adhir, the salakaar, or consultant, who turns out to be a genius in regulation suits and spectacles. Kasturia has the seriousness and substance to play an unassuming backroom operative. But making Adhir one up on 007 is as preposterous as showing Zia to be clueless about the goings-on under his nose. The lyrics of a song in the closing credits admiringly call Adhir "salakaar, superstar and mere yaar" (my buddy).
Mukesh Rishi's Zia is modelled on his fanatical namesake. Although Rishi is over the top, he reveals shades of canniness in his dealings with Adhir. Surya Sharma as the Zia wannabe and Ashwath Bhatt as one of Zia's cruel factotums are mainly there to speak bad Urdu and fulminate about India. Only Naveen Kasturia survives the carnage, giving a fleeting indication of how brains trump brawn, even if the actual outcome was vastly different from the fiction peddled by the show.
The programme, codenamed Project Kahuta, is apparently Pakistan's worst-kept secret, revealed over drinks to Adhir by a disgruntled scientist. Adhir easily collects information on Project Kahuta, even standing right in front of the nuclear plant without being detected. In 2025, undercover agent Mariam (Mouni Roy) is carrying on with the rogue Pakistani Colonel Ashfaq Ullah (Surya Sharma). Ashfaq is too busy peering down Miriam's decolletage to wonder why this very glam woman prefers spectacles to contact lenses. After Miriam learns about the existence of a new bomb, Adhir (now played by Purnendu Bhattacharya) leaps back into the game.
Salakaar claims to be inspired by actual events. But the show is too dumbed-down, amateurish and contrived to be credible. The five-episode series doesn't give any real sense of how espionage is conducted or how officials and leaders in both countries behave.
The show's smartest idea is to cast Naveen Kasturia as Adhir, the salakaar, or consultant, who turns out to be a genius in regulation suits and spectacles. Kasturia has the seriousness and substance to play an unassuming backroom operative. But making Adhir one up on 007 is as preposterous as showing Zia to be clueless about the goings-on under his nose. The lyrics of a song in the closing credits admiringly call Adhir "salakaar, superstar and mere yaar" (my buddy).
Mukesh Rishi's Zia is modelled on his fanatical namesake. Although Rishi is over the top, he reveals shades of canniness in his dealings with Adhir. Surya Sharma as the Zia wannabe and Ashwath Bhatt as one of Zia's cruel factotums are mainly there to speak bad Urdu and fulminate about India. Only Naveen Kasturia survives the carnage, giving a fleeting indication of how brains trump brawn, even if the actual outcome was vastly different from the fiction peddled by the show.
After a young Sikh boy goes missing in a British town, a Muslim teen is looked upon as the prime suspect. Given the religious violence in the region, the investigation faces ample roadblocks. Jas (Kareena Kapoor Khan), a 40-something stoic detective, haunted by the loss of her own child is assigned the case. She chooses to get too busy to grieve and deep dives into the investigation that not only reopens personal wounds but also has the potential to spark communal discord within immigrants.
British police procedurals like Happy Valley, Broadchurch, Blue Lights have set the benchmark quite high. Kate Winslet starrer Mare of Easttown followed their footsteps to give us an impeccable masterclass in female-led detective dramas that revolved around personal trauma and professional upheaval. They went beyond the standard realm of crime thrillers to decode human behaviour, relationships and its warped doings in everyday life.
The Buckingham Murders has clearly taken pointers from its celebrated predecessors. There's this eerie silence and darkness that engulf Hansal Mehta's police procedural-crime drama. There is no attempt to lighten up the atmosphere or dial down the paranoia. The slow burn crime drama retains the grit and unpredictability but lacks the nervous energy and tension that are integral to this genre. Somewhere, the intent of making a larger point, be it political, religious, social, sexuality or gender driven, overshadows the murder case at hand. This makes the interrogation seem stagnant and bleak.
Sleepy English towns make for great murder mysteries, but the characters don't feel like they inhabit the spaces they are shown to live in. Sonam Kapoor starrer 'Blind' faced a similar issue.
Despite a middling narrative, the film unfolds as an interesting character study on unresolved grief and repressed anger. Jas' reluctance to confront her psychological state and get on with her life is well captured. A scene between Jas and her father stays with you. Her tragic backstory lends an edge to the proceedings along with alleged suspects and plot twists. Performances and an unapologetic climax also work in the film's favour.
Though known for her commercial success, Kareena can be subtle, nuanced and understated. Glimpses of this were visible in Udta Punjab, Jaane Jaan and Talaash. A de-glam Bebo weaponises her silence amid the chaos as she seeks closure in solving the case. She hasn't done anything like this before and this is a welcome change. Chef Ranveer Brar and Ash Tandon also play significant roles convincingly.
This may not be an edge-of-your-seat, hard-hitting crime thriller as you expect it to be, but its understanding and expression of grief, isolation and repressed anger is noteworthy. Also, you won't be able to guess the killer till the end. If that's what you are looking for, this film succeeds. You just wish the build up was more chilling and captivating.
British police procedurals like Happy Valley, Broadchurch, Blue Lights have set the benchmark quite high. Kate Winslet starrer Mare of Easttown followed their footsteps to give us an impeccable masterclass in female-led detective dramas that revolved around personal trauma and professional upheaval. They went beyond the standard realm of crime thrillers to decode human behaviour, relationships and its warped doings in everyday life.
The Buckingham Murders has clearly taken pointers from its celebrated predecessors. There's this eerie silence and darkness that engulf Hansal Mehta's police procedural-crime drama. There is no attempt to lighten up the atmosphere or dial down the paranoia. The slow burn crime drama retains the grit and unpredictability but lacks the nervous energy and tension that are integral to this genre. Somewhere, the intent of making a larger point, be it political, religious, social, sexuality or gender driven, overshadows the murder case at hand. This makes the interrogation seem stagnant and bleak.
Sleepy English towns make for great murder mysteries, but the characters don't feel like they inhabit the spaces they are shown to live in. Sonam Kapoor starrer 'Blind' faced a similar issue.
Despite a middling narrative, the film unfolds as an interesting character study on unresolved grief and repressed anger. Jas' reluctance to confront her psychological state and get on with her life is well captured. A scene between Jas and her father stays with you. Her tragic backstory lends an edge to the proceedings along with alleged suspects and plot twists. Performances and an unapologetic climax also work in the film's favour.
Though known for her commercial success, Kareena can be subtle, nuanced and understated. Glimpses of this were visible in Udta Punjab, Jaane Jaan and Talaash. A de-glam Bebo weaponises her silence amid the chaos as she seeks closure in solving the case. She hasn't done anything like this before and this is a welcome change. Chef Ranveer Brar and Ash Tandon also play significant roles convincingly.
This may not be an edge-of-your-seat, hard-hitting crime thriller as you expect it to be, but its understanding and expression of grief, isolation and repressed anger is noteworthy. Also, you won't be able to guess the killer till the end. If that's what you are looking for, this film succeeds. You just wish the build up was more chilling and captivating.
In the era of situationships and breadcrumbing, when most love stories are too complicated for their own good, director Nipun Dharmadhikari's romantic comedy comes as a breath of fresh air. The latest entry in the Ishq Vishk (2003) franchise is about three childhood best friends: Raghav (Rohit Saraf), Sanya (Pashmina Roshan), and Sahir (Jibraan Khan). Sanya and Sahir's on-again, off-again relationship constantly drags Raghav into the drama. When the couple breaks up simultaneously with Raghav and Riya (Naila Grrewal), Raghav and Sanya find themselves in a rebound romance. But will this 'ishq vishk' fling mess up their lifelong friendship ?
Packed with laughs, the first half shows Raghav hilariously juggling his friendships and new fling. From Raghav stealing Sahir's dog to him going on a 'haunting trip' with Sanya, the delightful sequences are thoroughly entertaining. Written by Vaishali Naik, Vinay Chhawal, and Ketan Pedgaonkar, the movie is also a window to modern love: Raghav believes relationships are baggage-free transactions, justifying his rebound with Sanya. The narrative also touches upon how familial ties complicate romantic relationships. For example, Sanya's broken home makes her confrontational, often causing friction with Sahir, as he is pressured by his iron-fisted and abusive father, causing their break-up. The film advocates for self-discovery and finding happiness beyond romantic entanglement.
The film's pace slows down in the second half as the group's complicated relationships become repetitive. The initial premise of Raghav attempting to mirror his story in his film's script does not land. Some plot points, like Riya's lingering jealousy towards the trio's bond, aren't fully fleshed out. Although well-choreographed, slick, and foot-tapping, the songs break the narrative flow in the latter half. Rochak Kohli's melodious Rehmat, and the remakes of Chot Dil Pe Lagi and Ishq Vishk Pyaar Vyaar make for a good soundtrack.
Rohit Saraf steals the show with his impeccable comedic timing and effortless delivery. He seamlessly breaks the fourth wall, captivating viewers with his character's journey. Pashmina Roshan is impactful in the role of a troubled and immature young girl who blames her immaturity on her broken family. Jibraan Khan also performs ably, and Naila Grrewal delivers a serviceable performance in her limited role.
Ishq VIshk Rebound is a film for Gen Z. While older viewers might not fully connect with its portrayal of modern love, the humour, engaging performances, and entertainment value make it a decent one-time watch.
Packed with laughs, the first half shows Raghav hilariously juggling his friendships and new fling. From Raghav stealing Sahir's dog to him going on a 'haunting trip' with Sanya, the delightful sequences are thoroughly entertaining. Written by Vaishali Naik, Vinay Chhawal, and Ketan Pedgaonkar, the movie is also a window to modern love: Raghav believes relationships are baggage-free transactions, justifying his rebound with Sanya. The narrative also touches upon how familial ties complicate romantic relationships. For example, Sanya's broken home makes her confrontational, often causing friction with Sahir, as he is pressured by his iron-fisted and abusive father, causing their break-up. The film advocates for self-discovery and finding happiness beyond romantic entanglement.
The film's pace slows down in the second half as the group's complicated relationships become repetitive. The initial premise of Raghav attempting to mirror his story in his film's script does not land. Some plot points, like Riya's lingering jealousy towards the trio's bond, aren't fully fleshed out. Although well-choreographed, slick, and foot-tapping, the songs break the narrative flow in the latter half. Rochak Kohli's melodious Rehmat, and the remakes of Chot Dil Pe Lagi and Ishq Vishk Pyaar Vyaar make for a good soundtrack.
Rohit Saraf steals the show with his impeccable comedic timing and effortless delivery. He seamlessly breaks the fourth wall, captivating viewers with his character's journey. Pashmina Roshan is impactful in the role of a troubled and immature young girl who blames her immaturity on her broken family. Jibraan Khan also performs ably, and Naila Grrewal delivers a serviceable performance in her limited role.
Ishq VIshk Rebound is a film for Gen Z. While older viewers might not fully connect with its portrayal of modern love, the humour, engaging performances, and entertainment value make it a decent one-time watch.