just_ashishsingh

Lootere embarks with a flourish of excitement and promise, capturing your interest right from the start. However, the charm quickly diminishes as the series progresses beyond episode three. This decline in appeal is courtesy an overabundance of story elements and a poorly strategized release schedule of one episode per week.

The show's pacing becomes erratic, leaving the narrative feeling disjointed and hard to follow. Instead of focusing on a cohesive plot, the series loses itself in a maze of too many characters and superfluous subplots. One particularly uninteresting storyline involves Vivek Gomber's character's wife and the annoying son as she searches for a boy who is friends with her son. This subplot not only feels unnecessary but also lacks believability, further detracted by the characters' irritating portrayals.

Despite these narrative missteps, the series does boast some strong performances. The acting prowess of the cast, particularly the ever-reliable Rajat Kapoor, shines through, albeit they are let down by a lackluster script that fails to support their talents and is wasted. Vivek Gomber, however, does not seem to fit well in his role, which may be more a reflection of the script's shortcomings than his acting abilities.

By the time episode six rolls around, any initial enthusiasm has turned into exhaustion and annoyance. The momentum necessary to sustain interest in a weekly episodic release just isn't there. The series had the potential to be a gripping heist drama but instead feels like a hijack gone wrong-too many elements pulling in different directions without arriving anywhere satisfying.

"Pippa," stands out as a refreshingly understated entry in a genre typically known for its boisterous patriotism, especially within Bollywood. The film, anchored on the life story of Balram Singh Mehta, delves into the crucial role of the amphibious battle tank-aptly named 'Pippa' (a Punjabi word for a tin can that floats)-in the pivotal battles of 1971. Unlike many of its counterparts, "Pippa" eschews the usual jingoism, opting instead for a more nuanced approach to storytelling.

The narrative, admittedly slow to ignite, eventually finds its footing, drawing the audience into the thick of the action. Ishaan Khatter, portraying the main protagonist Balram Singh Mehta, delivers a remarkably measured performance, striking a balance between intensity and restraint. His portrayal underscores the character's evolution through the tribulations of war, a journey of maturation and transformation that is both compelling and convincing.

Supporting performances add depth to the narrative, with Mrunal Thakur and Soni Razdan offering strong turns as Mehta's sister and mother, respectively. Priyanshu Painyuli, initially rigid in his role as Balram's strict brother Ram, eventually finds his groove, contributing to the film's emotional depth.

Visually, "Pippa" impresses with some stunning tank sequences, showcasing a commendable level of technical prowess. The film's real auditory triumph, however, lies in its music and background score by the legendary A. R. Rahman, whose compositions elevate the film's mood and energy, keeping the "josh" (spirit) high.

A notable surprise is the performance of Kamal Sadanah, who steps into the shoes of the legendary Sam Manekshaw with a finesse that belies his time away from the spotlight. His portrayal adds a layer of authenticity and gravitas to the film.

However, "Pippa" is not without its imperfections. The script shows signs of looseness, particularly in the initial segments, and the VFX, crucial for a war movie, occasionally falls short of expectations, detracting from the film's overall impact.

In conclusion, while "Pippa" may have benefited from a grander release on the big screen, it remains a worthy watch. It tells a story that needed to be told, doing so with a subtlety and sensitivity that sets it apart from typical Bollywood war dramas. Its few flaws aside, "Pippa" is a commendable effort that contributes meaningfully to the Indian war film genre.

Here's a thriller that never grips or thrills. From the first frame to the last this movies is mired in boredom and half away through you just want this to end and whatever little twists that come in the end hardly surprise you.

The story is about this princess played by Sara who is coming home to meet her father after ages and is welcomed by her step mom (Chitrangada) and the manager (Massey). But the father is no where to seen and her quest to figure out where he is begins. There is this distant annoying cousin, a police SP with some jump scare scenes to get your attention but unfortunately neither of the characters and scenes engage with you. And as mentioned above by the time the mystery is solved you hardly bother and just want this stupidity to end. The story and screenplay have no depth and direction is super weak.

Performances wise Massey does well along with Chitrangada who looks stunning in some scenes and emotes well. Sara as the main protagonist is completely bland and has nothing much to offer in this not so well written character.

So overall an avoidable fare ! Thank good they have not chosen the theatre route for this one or perhaps they knew.