cs_rahul_prasad
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Madhav Mishra (Super Brilliant Pankaj Tripathi) appears in Criminal Justice: A Family Matter, the fourth season of the legal thriller, playing once again a lawyer with a conscience, a sharp mind and a wiseass attitude. The series is based on the BBC show created by Peter Moffat, and the first two seasons of Criminal Justice had used plot lines from the original. It later branched off into its own, retaining the Lincoln Lawyer-like maverick as its lead.
In the fourth season, with Rohan Sippy returning as director, he is now a lawyer with the reputation of never losing a case, and is sought after by corporate law firms as well as rich clients. Knowing how courts work in our country, the legal aspects of the series go into the realm of happily-ever-after fairy tales but Mishra's cheery optimism and his flirty relationship with his wife, Ratna (Khushboo Atre) -- the two have worked out their marital problems but Mishra has not been able to shake off Ratna's brother Deep (Aatm Prakash Mishra), an eager but inept assistant.
His other assistant is Shivani Mathur (Barkha Singh), daughter of a courtroom rival from the past, Mandira Mathur (Mita Vashisht). Also returning to give Mishra some professional headache is the returning of ambitious Lekha Agastya (Shweta Basu Prasad), who works with the public prosecutor's office, which is swankier than what a real one would be in India.
The new case that Mishra takes up is that of murder. A well known surgeon Raj Nagpal (Mohammed Zeeshan Ayyub) is found holding the blood-soaked body of his girlfriend, Roshni Saluja (Asha Negi), by the family maid, Kamala (Amruta Sant). His estranged wife, Anju (Surveen Chawla) lives next door, and she hires Mishra for the defence. The Nagpal's have a teenage daughter, Ira (Khushi Bhardwaj), who suffers from Asperger's Syndrome, and needs special care.
Raj's mother (Sohaila Kapur) is the other member of the family. A party for Ira gives neighbours reason to gossip about the wife-lover arrangement and a bitter fight between Raj and Roshni offers the cops a reason to view him as a prime suspect.
The case is assigned to cop Gauri Karmarkar (Kalyanee Mulay), and it would have been an open-and-shut matter, but for the missing murder weapon.
Over eight, slow-paced episodes, the murder and motives are fleshed out, other characters introduced and red herrings liberally strewn around. Some of the additions (with half a dozen writers working it) -- like Gauri's marital problems or Roshni's weeping mother - do not add much to the story, and just hold up the flow.
Mentioning more of the plot would mean giving out spoilers but Mishra asks a very crucial question in the end, the answer to which is not convincing at all, particularly since court cases in India go on for years.
Madhav and his team act more like investigators than lawyers but still, the show inevitably picks up when the court scenes arrive.
Watching Tripathi, Vashisht and Prasad go at the witnesses and mock each other is a joy. Although, which murder case without a celebrity quotient would make it to national TV news, and who are the crowds shouting for justice outside the court ?
The cast of this season is the top reason to watch Criminal Justice.
Pankaj Tripathi's Madhav Mishra -- innately decent and consistently witty -- is one of the most entertaining characters created for an Indian Web series, and the actor, showing no signs of ennui, plays him with relish.
In the fourth season, with Rohan Sippy returning as director, he is now a lawyer with the reputation of never losing a case, and is sought after by corporate law firms as well as rich clients. Knowing how courts work in our country, the legal aspects of the series go into the realm of happily-ever-after fairy tales but Mishra's cheery optimism and his flirty relationship with his wife, Ratna (Khushboo Atre) -- the two have worked out their marital problems but Mishra has not been able to shake off Ratna's brother Deep (Aatm Prakash Mishra), an eager but inept assistant.
His other assistant is Shivani Mathur (Barkha Singh), daughter of a courtroom rival from the past, Mandira Mathur (Mita Vashisht). Also returning to give Mishra some professional headache is the returning of ambitious Lekha Agastya (Shweta Basu Prasad), who works with the public prosecutor's office, which is swankier than what a real one would be in India.
The new case that Mishra takes up is that of murder. A well known surgeon Raj Nagpal (Mohammed Zeeshan Ayyub) is found holding the blood-soaked body of his girlfriend, Roshni Saluja (Asha Negi), by the family maid, Kamala (Amruta Sant). His estranged wife, Anju (Surveen Chawla) lives next door, and she hires Mishra for the defence. The Nagpal's have a teenage daughter, Ira (Khushi Bhardwaj), who suffers from Asperger's Syndrome, and needs special care.
Raj's mother (Sohaila Kapur) is the other member of the family. A party for Ira gives neighbours reason to gossip about the wife-lover arrangement and a bitter fight between Raj and Roshni offers the cops a reason to view him as a prime suspect.
The case is assigned to cop Gauri Karmarkar (Kalyanee Mulay), and it would have been an open-and-shut matter, but for the missing murder weapon.
Over eight, slow-paced episodes, the murder and motives are fleshed out, other characters introduced and red herrings liberally strewn around. Some of the additions (with half a dozen writers working it) -- like Gauri's marital problems or Roshni's weeping mother - do not add much to the story, and just hold up the flow.
Mentioning more of the plot would mean giving out spoilers but Mishra asks a very crucial question in the end, the answer to which is not convincing at all, particularly since court cases in India go on for years.
Madhav and his team act more like investigators than lawyers but still, the show inevitably picks up when the court scenes arrive.
Watching Tripathi, Vashisht and Prasad go at the witnesses and mock each other is a joy. Although, which murder case without a celebrity quotient would make it to national TV news, and who are the crowds shouting for justice outside the court ?
The cast of this season is the top reason to watch Criminal Justice.
Pankaj Tripathi's Madhav Mishra -- innately decent and consistently witty -- is one of the most entertaining characters created for an Indian Web series, and the actor, showing no signs of ennui, plays him with relish.
Gerard Butler returns as Secret Service Agent Mike Banning (Butler) in London Has Fallen, the sequel to Olympus Has Fallen, which dealt with similar calamities involving the White House. Only this time, Banning has to protect the US head of state when he attends the funeral of the British prime Minister.
A lavish wedding party gets underway in Lahore, Pakistan. But the father of this bride is Aamir Barkawi (Aboutboul), a lethal arms dealer and one of the most wanted men in the world. A drone strike swiftly kills members of the wedding - including Barkawi's daughter - but he escapes serious injury, and he and his sons vow vengeance.
Two years later in Washington, D. C., Mike Banning and his wife Leah (Mitchell), their marriage stronger than ever, eagerly await the imminent arrival of their first child. Having remained the Secret Service Agent assigned to Asher, Banning is always on alert. When the British Prime Minster dies unexpectedly, Banning knows it is his duty to prep with Secret Service Director Lynne Jacobs (Bassett) for them to accompany the President to the state funeral at St Paul's Cathedral in London. With every powerful world leader set to attend, the funeral should be the most protected event on Earth. Yet within moments of arriving, heads of government are assassinated and London landmarks are attacked. Asher, Banning, and Jacobs are ambushed and retreat amidst a hail of gunfire and explosives. The devastated British capital goes into lockdown.
The London police and armed forces realize that they have been compromised, with all communications being intercepted. Banning, as expected, goes off the grid and under the radar to stay one step ahead of what he learns are relentless operatives deployed by Barkawi, who have infiltrated the city through the careful plotting of Barkawi and his son Kamran (Zuaiter).
Expect every action film cliché to be thrown in. Also, you might wonder what the heck Gerard Butler is doing with his career. But that said, it is clear that he knows his niche. Clearly, this one's for die hard Butler fans.
A lavish wedding party gets underway in Lahore, Pakistan. But the father of this bride is Aamir Barkawi (Aboutboul), a lethal arms dealer and one of the most wanted men in the world. A drone strike swiftly kills members of the wedding - including Barkawi's daughter - but he escapes serious injury, and he and his sons vow vengeance.
Two years later in Washington, D. C., Mike Banning and his wife Leah (Mitchell), their marriage stronger than ever, eagerly await the imminent arrival of their first child. Having remained the Secret Service Agent assigned to Asher, Banning is always on alert. When the British Prime Minster dies unexpectedly, Banning knows it is his duty to prep with Secret Service Director Lynne Jacobs (Bassett) for them to accompany the President to the state funeral at St Paul's Cathedral in London. With every powerful world leader set to attend, the funeral should be the most protected event on Earth. Yet within moments of arriving, heads of government are assassinated and London landmarks are attacked. Asher, Banning, and Jacobs are ambushed and retreat amidst a hail of gunfire and explosives. The devastated British capital goes into lockdown.
The London police and armed forces realize that they have been compromised, with all communications being intercepted. Banning, as expected, goes off the grid and under the radar to stay one step ahead of what he learns are relentless operatives deployed by Barkawi, who have infiltrated the city through the careful plotting of Barkawi and his son Kamran (Zuaiter).
Expect every action film cliché to be thrown in. Also, you might wonder what the heck Gerard Butler is doing with his career. But that said, it is clear that he knows his niche. Clearly, this one's for die hard Butler fans.
Director Zack Snyder and co-writer/producer Christopher Nolan have made their careers out of exposing the dark, vulnerable recesses of superhero psyches. Snyder's brilliant take on Alan Moore's Watchmen turned what was considered to be un-filmable material into a contemporary classic. And Christopher Nolan, as we all know, has been anointed the god of superhero films owing to his Dark Knight trilogy. So, these two would have to have been the perfect combination for the task at hand - of rooting the red-caped superhero with a substantial story of origin and at the same time reboot the franchise. And to their credit, the duo stamps this film with their signature themes. The problem is the superficial, humourless manner in which they go about doing it.
The most interesting part of this film are the opening 15 minutes where Nolan and Snyder take their time to establish the socio-political dynamics on planet Krypton that lead to newborn Kal-El being shipped off to planet Earth. With Krypton about to be destroyed, Jor-El (Russell Crowe) steals the genetic code of Krypton and weaves it into Kal's genes before shipping him off, in the process foiling the plans of Krypton's military commander Zod (Michael Shannon). Zod vows revenge with a very Balaji-serial like, "I will find him" before being punished by the leaders of Krypton. So far so good. However, once the action moves to Earth, it all gets repetitive and tiresome.
An adult Kal (Henry Cavill) leads an anonymous life drifting from one odd job to another because his Earth-father Jonathan Kent (Kevin Costner) has drilled into him that Earthlings are not ready for him and his superpowers. In flashbacks woven between SFX-heavy sets where Kal rescues humans from accidents and calamities, we are given a glimpse into Kal's childhood years. This is where we see a touch of Nolan, as Kal's Earth-mother Martha (Diane Lane) and Jonathan help Kal adapt to Earth's environment and help him hone his powers.
While all this may sound exciting on paper, Man Of Steel fails to do justice to the well-intentioned storyline. The sermonizing from two dads, the over-emphasized Christ-equivalences, the fatigued background score and the unoriginal action sequences all make for an exhausting and boring narrative. There is no place for sense of humour in the proceedings. While subtle touches like Kal-El never being referred to as Superman the explanation of the 'S' symbol (which would undoubtedly delight comic fans), it is all lost in the zipping from one fight sequence to another. The acting is uniformly pedestrian, the special effects patchy and the 3D more hindering than enhancing.
On the whole, your reaction to Man of Steel will depend on how much you are willing to forgive. And despite the Snyder-Nolan collaboration, it does demand a lot of forgiving. Despite the depth it strives for, Man of Steel unfortunately comes across as superficial, shallow and as it hurls towards the climax. Disappointing.
The most interesting part of this film are the opening 15 minutes where Nolan and Snyder take their time to establish the socio-political dynamics on planet Krypton that lead to newborn Kal-El being shipped off to planet Earth. With Krypton about to be destroyed, Jor-El (Russell Crowe) steals the genetic code of Krypton and weaves it into Kal's genes before shipping him off, in the process foiling the plans of Krypton's military commander Zod (Michael Shannon). Zod vows revenge with a very Balaji-serial like, "I will find him" before being punished by the leaders of Krypton. So far so good. However, once the action moves to Earth, it all gets repetitive and tiresome.
An adult Kal (Henry Cavill) leads an anonymous life drifting from one odd job to another because his Earth-father Jonathan Kent (Kevin Costner) has drilled into him that Earthlings are not ready for him and his superpowers. In flashbacks woven between SFX-heavy sets where Kal rescues humans from accidents and calamities, we are given a glimpse into Kal's childhood years. This is where we see a touch of Nolan, as Kal's Earth-mother Martha (Diane Lane) and Jonathan help Kal adapt to Earth's environment and help him hone his powers.
While all this may sound exciting on paper, Man Of Steel fails to do justice to the well-intentioned storyline. The sermonizing from two dads, the over-emphasized Christ-equivalences, the fatigued background score and the unoriginal action sequences all make for an exhausting and boring narrative. There is no place for sense of humour in the proceedings. While subtle touches like Kal-El never being referred to as Superman the explanation of the 'S' symbol (which would undoubtedly delight comic fans), it is all lost in the zipping from one fight sequence to another. The acting is uniformly pedestrian, the special effects patchy and the 3D more hindering than enhancing.
On the whole, your reaction to Man of Steel will depend on how much you are willing to forgive. And despite the Snyder-Nolan collaboration, it does demand a lot of forgiving. Despite the depth it strives for, Man of Steel unfortunately comes across as superficial, shallow and as it hurls towards the climax. Disappointing.