Top 10 Indian movies in 2023.
“Jawan,” which translates to “Soldier” in Hindi, is the much anticipated return of Bollywood actor Shah Rukh Khan. It is a toned-down action-adventure film about a well-meaning terrorist and his mercenaries who kidnap girls and hold them hostage.
Khan made a big appearance in the mediocre mythofantastic superhero movie “Brahmastra Part One: Shiva” a year ago, which marked the start of his comeback. Then, in January, he took the box office by storm playing the lead in the frantic spy thriller “Pathaan,” the latest film in the Yash Raj filmography. If nothing else, “Jawan” will likely please Khan’s devoted followers as well as some casual watchers because he’s now playing the hits with a little more conviction and polish.
Red Chillies Entertainment, the production business owned by the actor and his wife Gauri Khan, produced “Jawan,” so it’s not surprise that the film’s standard mood swings and artificial plot are well-worn and skillfully handled. Given that it is a Shah Rukh Khan project, some preconceived notions about it already exist.. Nevertheless, “Jawan”‘s creators go too far in their attempt to persuade viewers that we don’t truly understand Khan’s enigmatic antihero, who, following an exaggerated yet thrilling flashback action scene, kidnaps a train full of commuters.
Wearing a silly bald cap that he quickly removes, Khan’s character—later revealed to be Azad, the warden of a women’s prison—appear to be putting to death a woman wearing a burqa. In character, Khan yells at the infuriatingly demanding negotiator Narmada (Nayanthara) that he ask the Agriculture Minister to return the absurd loans that the starving farmers have taken out, or else more people will die.
Although the plot and set pieces of “Jawan” are often well-known and ultimately uninteresting, they move so fast that they almost lose their significance. A few of the plot twists are likewise very obvious. As Azad courted Narmada, Seeza Saroj Mehta’s ten-year-old daughter Suji is enchanted by him. He uncovers the corruption of numerous government officials and combats their malfeasance with a few violent, well-publicized protests. In front of the terrified commuters, Azad does an odd little soft-shuffle while speaking for the general public. He proudly and laboriously asserts that he is a good man battling the real enemy, which is the public servants who do not serve the nation.
Through a complex and agreeably ridiculous subplot, the story of Narmada and Azad is connected to the opening sequence of the film, which takes place thirty years ago in an unnamed village that may or may not be Tibet (somewhere near “India’s border,” harassed by Asian soldiers in white star-studded green caps). If you’ve seen any of Shah Rukh Khan’s earlier movies, the way these two subplots come together won’t exactly surprise you, but you could still be satisfied with it. This pivotal storyline point reframes Azad’s narrative to demonstrate that, in contrast to all previous instances, this one is personal. It naturally dominates the latter part of the narrative.
This time, Vijay Sethupathi plays the cunning guns dealer Kalee, who is ferociously violent. You also won’t really be ruining anything if you watch the opening credits and witness a major Bollywood personality make an unexpected cameo. Additionally, watch out for Deepika Padukone and Khan performing a duet dance. They seem to get along well, perhaps because they both know they don’t really need to compete with each other for the audience’s affections just yet. Oh, and some of the battle scenes are maximalist show-stoppers, even though they are badly directed and overly edited. Yes, rote and boisterous, but never boring.
The main reason “Jawan” doesn’t live up to what Khan has already achieved is that the screenwriters of the movie seemed to have included every masala-style plotline they could find. However, “Jawan” is different from Khan’s previous two comeback path stops because its writers are more adept at negotiating its numerous sharp bends and twists. Bravo to director Atlee and his creative team. Atlee was formerly an assistant director and is best known for his work on the Rajinikanth film “Enthiran” and its sequel “2.0.”
Most notably, Khan appears more at ease in “Jawan” than he did in previous years, swaying slowly between his array of gestures and positions. When he puts on a slow-motion heel to sulk at fans or fellow actors, he still pulls off a wonderful Blue Steel moment. He appears especially at ease in simple musical numbers. Shah Rukh Khan is still a superstar, sweetheart, and “Jawan” utilizes him to the extent that his admirers might wish.
Later in the film, Khan even looks excellent giving a cheesy but passionate speech. Khan’s portrayal of Azad serves as a reminder that, despite our best efforts, you and I, the apathetic populace, have not always made wise decisions when choosing public servants. While the creators of “Jawan” may have chosen to take greater chances, their efforts are nonetheless commendable given that India will hold general elections the following year.we updated Top 10 Indian movies in 2023 in this article.
The latest Bollywood spy action film, “Pathaan,” debuted nationwide this past weekend in the United States and earned an astounding $9.5 million. it’s precisely what “RRR” accomplished on its first weekend of release in the United States almost a year ago. Of course, it was before to “RRR” being a crossover cultural phenomenon, receiving praise and prominence in American media that Indian films hardly ever receive.
There won’t be anything similar happen to “Pathaan.” The new film is a vast, hilly jumble of pulp that arbitrarily piles one genre on top of another, far more akin to Bollywood than the Telegu-language “RRR” was. The film is primarily held together by the dynamic visual energy and the iconic quality of its stars, John Abraham as the sociopath villain with an 80s Beverly Hills coif and Shah Rukh Khan as a kind of James Bond meets Jason Bourne meets Jason Statham meets Fabio.
Bollywood films had an indisputable exoticism for decades, at least while they were released in this country. They frequently reinterpreted Hollywood genres, most famously the musical, adding their own rhythm, taste, and spiciness. When Baz Luhrmann directed “Moulin Rouge!,” he drew inspiration from the rapture of Bollywood. Other films with inspirational plots that carved out their own nationalistic identities included “Dangal” (2016), a wrestling epic rooted in the rising mores of girl power, and “Lagaan” (2001), a transporting three-hour and forty-five-minute class-war operetta about a cricket match (it was the last Indian film before “RRR” to be nominated for an Academy Award).
But something has changed in Bollywood in the last several years. The action movie “Pathaan” isn’t so much the pinnacle of Indian action films as it is a synthesis of decades’ worth of global mega-pulp genres: the intricate double crosses and daring stunts of the “Mission: Impossible” and “Bourne” franchises, the balletics of action cinema from Hong Kong, the time-stands-still hypnotics of Sergio Leone, the defiantly outrageous vehicular madness of the “Fast and Furious” films, and the sensual, body-bodies-bodies party atmosphere of a chic tequila commercial. All of these elements are combined in “Pathaan,” sealed with the question of who’s the biggest badass? One of the hallmarks of the YRF Spy Universe, of which this movie is the most recent part, is mano-a-mano obsession.
The dialogue of “Pathaan” characters sometimes resembles movie advertisements (“Be rich. Be strong. may turn into a corpse. Even though “Pathaan” isn’t a musical, the music that plays during the action sequences is an intense constant—that EDM Bollywood throb—that elevates even ordinary bouts to a maximum rush. They are pictured looking like model-gods. Khan portrays the main role, a veteran RAW agent who went undercover and was thought to be dead, until he appears in an early scene, battered and bloody, chained to a torturer’s chair. Khan’s appearance resembles an even more ripped and sleeker Adam Driver in a man-bun. Then, in the first of what must be the movie’s twenty-odd spinning, crunching, gravity-defying action scenes, he frees himself and vanquishes his captors. This is the kind of film
His goal is to apprehend Jim (Abraham), an agent gone rogue who is in charge of Outfit X, a global terror group that murders people for financial gain. The plot of “Pathaan” defies logic and zigzags all over the world and everywhere else. I wouldn’t even attempt to describe it. The pop fetishization of power (bullet power, fire power, 12-pack ab power) and the film’s enthusiastic genre-hopping are its only true points of logic. It’s one thing to be a heist movie, another to be a human superhero with machine wings, and now it’s a contagion thriller with Jim threatening to unleash the power of Raktjeeb, a killer virus that makes COVID-19 look like the common cold. How does it benefit Jim?
Although this seems like a formula for enjoyment, “Pathaan” has a strung-together structure and a stop-and-go beat that get old quickly. (A lot of pulp for two and a half hours of frenzied derivative pulp.) The action includes a vehicle pursuit throughout Dubai, a motorcycle chase on ice, and a hand-to-hand battle between Pathaan and Jim that is so intense that the wooden house they are fighting in begins to fall off the stilts of the mountain they are situated on. “RRR” was a work of high classical perfection next to “Pathaan,” but it was by no means a model of restraint (and some critics salivated over its overdone fairy-tale). Having said that, I’m happy that Indian movies are starting to.
The protagonist of the movie claims that blood is thicker than water. Family safety and unity are sacred, regardless of how dysfunctional the relationships may be. It even seems to be promoting the idea that dysfunctional is preferable to broken.Godfather-style storyteller and filmmaker Sandeep Reddy Vanga, well-known for his provocative remarks and ideas, honors the alpha male once more in this 3 hours and 21 minute long narrative filled with severe slaughter, testosterone, and overt misogyny.
Following his father’s shooting, Vijay assumes responsibility for the situation and identifies himself as the “man of the house.” He promises his father that he will protect their family’s legacy and steel empire, but not before getting even.He has a busy love life in spite of his rage and father difficulties. He entices Geetanjali (Rashmika Mandanna) with his inappropriate, unpredictable humor and toxic masculine attributes. Don’t address me as bhaiyya. You don’t have my brotherly affections. After praising her bountiful hips, he takes her away in his private jet for some high-altitude dom/sub lovemaking, much like Christian Grey. He then says, “You were the bottom, you didn’t have to do much.” Since she already overlooks his other transgressions, he even expects her to overlook his adultery. After an injury, he questions women’s right to complain about period pain, saying, “Aap log mahinay ke chaar din pad badalne par bolte ho, main din mein chaar baar pad badal raha hu.”
Pop culture has a history of elevating bad males. There is always something appealing about those who don’t follow the rules. Vanga goes a little too far in romanticizing this. Even though as a viewer his views on violence and women deeply unnerve you, as a filmmaker he is free to have such preferences in a protagonist. The story’s lack of purpose is the larger problem. His enraged, gun-wielding young man comes across as a causeless rebel.
If a character is cocky, flawed, and troublesome and has a compelling enough cause to excuse, if not explain, the mayhem, then it is worth celebrating. Without Vijay, Animal becomes a meaningless family story with lots of swag and little substance.
What’s stoking his inner wrath and fire? The conflict between the father and son, which is the main plot point, is not addressed. Apart from Ranbir, the other characters—including Bobby Deol and the incredibly gifted Anil Kapoor—are hardly given any screen time and are reduced to quiet props. Bobby appears scary and AK is great in the combative parts, but they both have very little screen time. Women are puppets who submit to males. The meaning of the movie is easier to understand than Mandanna’s Hindi language.Although the action is interrupted, it is skillfully shot. The fury of Troy’s famous Hector-Achilles hand-to-hand battle scene is evident in the Ranbir-Bobby fight scene. The soundtrack and background score complement the movie’s tone nicely.
The success and skill of Ranbir Kapoor are crucial to “Animal.” The highlights of the movie are his unparalleled intensity and sheer sex appeal. One of the best performers of this generation, his blood-stained eyes smoldering with anger, traps you in his disturbed psyche. His unrestrained ability to inhabit the role he portrays astounds, mesmerizes, and pulls you in with every shot. This insane figure is given a dangerously unpredictable element by RK, who excels at it, particularly in that pivotal scene that resembles Vaastav.
Joaquin Phoenix, Ranbir Kapoor may be, but Animal is no Joker. The entire film may have consisted of a conversation between the father and his child.
4. Gadar 2
Anil Sharma attempts to replicate the heartfelt patriotism and familial love during times of conflict in his sequel to Gadar: Ek Prem Katha, which released 22 years ago and generated a tsunami at the box office. It goes so far as to favor secularism strongly. “Christians ka hai, Sikhon ka hai, Hindustaniyon ka hai, Hindustan Musalmanon ka hai.”
A strong premise is what the movie is missing. In the first film, viewers were struck by the sentiment resulting from the deaths and the harsh consequences of the split. Despite the thought-provoking conversations, the cross-border love story and survival saga had a strong emotional core that made you want to hug it. The sequel finds it difficult to evoke strong feelings in you. With slow-motion combat sequences and film-like dialogue, Gadar 2 attempts to capitalize on nostalgia without having a cohesive narrative or point of interest.
Ashraf Ali (Amrish Puri), Sakeena’s father, is no longer with us. General Hamid Iqbal of the Pakistani Army, who brutally beheads people for demonstrating their allegiance to the Bhagavad Gita over the Quran, becomes Tara Singh’s new adversary. Given India’s involvement in East Pakistan (now Bangladesh), a war is imminent in 1971, and Iqbal wants retribution for both the present and the past. When Tara’s son crosses the border to look for his father, he is apprehended and tortured in Pakistan. This forces Tara to do for his son what he did so many years ago. The son’s romantic relationship with Muskaan (Simrat Kaur) in Pakistan seems utterly pointless and unneeded. The sequel has a convoluted plot that drags on for more than two hours, making it seem like an overdone remake.
Sunny Deol and the music in the movie are its redeeming qualities. The film’s high point is Mithoon’s rendition of Uttam Singh’s exquisite tune “Udd jaa Kaale Kaava,” which is once again sung by Udit Narayan. More feelings of nostalgia and emotion are evoked by it than by the entire movie combined.
Sunny Deol is a sweet and real person. His commanding appearance and profound conversations still have an effect. Tara desires an education for his son Charanjeet (played by Utkarsh Sharma) to prevent him from becoming a truck driver as well. His love and concern for his child seem genuine. Of course, the renowned hand pump sequence from the first movie is also included in this one for fans of that movie.Ameesha Patel is a homebody who spends much of her time crying over the men in her life returning home. Even though he has a few key parts, Utkarsh Sharma doesn’t have the necessary screen presence for this action drama.
The characters in Gadar 2 lack the depth necessary to elicit strong feelings from you or keep your interest for an extended period of time. This is not to say that the film is poorly constructed. Fans of Sunny Deol will be pleased to see that the actor has returned to his former glory and has that unmistakable roar in the movie.
The conventional but enjoyable Indian adaptation of “A History of Violence,” “Leo,” is both what it seems and what it isn’t. You won’t be disappointed if you’re anticipating a boisterous, bloody, and intense action musical about a coffee shop owner who must protect his family from a crazed drug dealer who believes our family man is truly a horrible former gangster. Everything else about “Leo” is business as usual, particularly if you see it for Tamil-speaking star Vijay, as many ticket holders did on opening day.
Vijay’s recent action flicks have also served as grand exhibitions for the lead actor with the chipmunk-cheeked appearance. Former child actor Vijay (“Beast,” “Varisu”) still lacks range, but he isn’t actually in need of it. He is an action star who looks good using his feet, fists, and various mallets and swords to take down large groups of tough guys. (Arivumani and Abumani, better known by their stage moniker “Anbariv,” are credited with organizing the movie’s “Action” as action choreographers and stunt coordinators.)
Every time Vijay attempts to develop Parthiban, the café owner and animal rescuer, into a complex character, he appears less at ease, but this just heightens the drama surrounding his character’s identity struggle. Reunited with “Master” writer/director Lokesh Kanagaraj, Vijay asserts his all-around skills once more, demonstrating his ability to punch drug dealer Antony Das (Sanjay Dutt) into a Land Rover, lead a warehouse full of extras in a (mostly fine) dance number, and subdue a computer-generated hyena.
Vijay is a well-known and captivating marquee star, so it’s not surprising that he has the ability to adopt any mood, style, or position. Even still, it is remarkable to watch Vijay, who manages to look perpetually young despite the skunk streaks in his meticulously styled beard, portray a man who objects to the fact that he is a killer anytime he is reminded of it. Even a catchy tune implies that “Mr. Leo Das is a badass” on a couple of occasions. And for whom, in Vijay’s opinion, is he lying?
Fortunately, Parthiban doesn’t have to be credible to be much more than a setting for grandiose special effects. In persona, Vijay comes across as a devoted but fatherly husband to Sathya (Trisha) and a stern but loving father to pouty preteen Mathi (Iyal) and courteous teenager Siddharth (Mathew Thomas). According to certain incidental information, Parthiban is known in the town of Theog as “an ordinary person, yeah, just a peace lovin’ soul,” to quote a song. Even more believable is Vijay’s ability to eliminate waves upon waves of violent bad guys with seeming efficiency. These bad guys either think Parthiban is truly Leo Das, Antony’s estranged son, or are oblivious to who they are dealing with.
The fact that “Leo” is already so well-known, with its broad appeal and campy storyline, contributes much to its endearing quality. This lacks the satirical edge found in the film adaptation of “A History of Violence.” However, it is to be anticipated in a vehicle for a star who, in 1995’s love drama “Pasumpon,” dances to the tunes of “Thanmani Pookkun” as his character seeks to win over his young daughter. Prabhu is a Tamil icon. Another scene features music from the 2005 Vijay crime film “Thirupaachi,” which is comparatively contemporary and further suggests the cinematic heritage of “Leo.”
You most likely already know Vijay’s abilities if you already know him. He brings this up in “Leo” during battle sequences, when the majority of the moves are scripted and constructed with equal energy. Every time Parthiban bemoans or protests that he couldn’t possibly be Leo, Vijay also subtly teases the audience’s expectations. No matter how many times that music is played, don’t listen to it because—how could you ever question that face?
Like many action stars, Vijay’s presence defies expectations of normalcy and creates its own world. In a voiceover, he says that in order to be more convincing to other people, he (Parthiban) must first believe in himself. That’s the nature of this kind of film, whose rambling pace may still try the patience of those who merely want to watch Vijay stab a hyena and maybe also ogle Antony Das, Sanjay Dutt, as he sacrifices a goat at his shrine that resembles a Satan, complete with a giant statue of a bird of prey and a pentacle. If you’ve already made an investment, everything is possible.
At times, particularly when Parthiban/Leo’s emotional outbursts need to elevate a scene to a new level of emotional intensity, Vijay’s portrayal seems a bit too forced. However, nonchalance isn’t Vijay’s style. Even as he dispatches a few more unremarkable villains with a casualty consistent with his nature, he gets too attached. The main reason to watch “Leo” is to watch Vijay flaunt himself in between cameos from celebrities, car flips, and animal assaults. And even if “Leo” falls short of your expectations, it may still provide you with just what you require.
The events of Salaar: Part 1-Ceasefire, which is directed by Prashanth Neel, take place in Khansar’s rural and politically heated surroundings. With Prabhas in the role of Deva and Prithviraj Sukumaran as Vardharaja, this action-packed movie largely relies on drama in addition to flair and action. It is set against a backdrop of intrigue and revolt. The dystopian metropolis of Khansar has been painstakingly crafted by Prashanth, who has established a plethora of people and a tale that spans from 1747 to the present. The empire is reminiscent of Black Panther, with 101 unique tribes grouped into three divisions: Doralu (council members) and Kaparlu (heads of clans).
A guy of few words, Prabhas stuns in action scenes and delivers powerful speech, making the movie a feast for his die-hard admirers. Prashanth takes every chance to enhance Deva, also known as Salaar, and he does so expertly, giving his protagonist an almost mythical appearance. In order to set up the character of Deva and set the stage for what comes next, the screenplay takes its sweet time in the first half.
When narrating this futuristic society and its characters, Prashanth Neel employs a unique approach that leans more toward foreign film. The director uses a gloomy color scheme, much like in the KGF series. Instead of conventional dance sequences or love ballads, the movie relies on situational anthems performed by schoolchildren in the first half and Mahara tribal children in the second, which heighten the drama. The film delves into the intricacies of political maneuvers and personal allegiances, examining issues of power, loyalty, treachery, and the right to leadership. It provides an engaging reflection on power conflicts.
Prabhas portrays Deva in a performance that is both obedient and riveting, fusing intense emotional depth with sheer might. The way he portrayed Salaar demonstrates his ability to strike a balance between raw anger and nuanced emotional nuances. As Vardha, Prithviraj Sukumaran captures the naiveté and tenacity of a youthful heir entangled in a political maelstrom while also retaining his own geopolitical calculations. His captivating performance gives the story another level of depth. Prithviraj’s character grows more and more courageous and strong as the movie goes on. Although she only appears in a few scenes in the second half and the majority of the first, Shruti Haasan’s portrayal of Aadhya adds a sense of balance.
As Raja Mannar, Jagapathi Babu gives a strong performance; Bobby Simha, Tinnu Anand, Easwari Rao, and others add a great deal to the story’s complexity. The narrative is enhanced by the supporting cast, which includes Jhansi, Saptagiri, Prudhvi Raj, John Vijay, Madhu Guruswamy, Sriya Reddy, and Mime Gopi.
The audience is fully drawn into the drama and tension of the city thanks to the photography, which perfectly reflects Khansar’s turbulent environment. The soundtrack by Ravi Basrur enhances the mood of the movie by bringing out the emotional effect of some sequences and matching the tone of the movie. While the first half cannot be regarded to have as sharp editing as the second. The visual attractiveness of the film is greatly enhanced by the superb special effects.
There is a good deal of murder and violence in the movie, which might be too graphic for some viewers. The drama and atmosphere of suspense are the main themes of the multi-layered first half. It’s possible that viewers hoping for a lot of humor, action, and masala will be let down. It does, however, receive excellent marks for drama and action, with a hint of humor added by the way certain people express themselves or deliver lines.
Former jailer Tiger Muthuvel Pandiyan (Rajinikanth) is now a family man. He shops for vegetables at the neighborhood market, makes YouTube videos with his grandson, and helps out around the house. Police officer Vasanth Ravi, the son of Muthuvel, disappears while trying to apprehend a group of idol thieves. When Muthuvel’s wife Ramya Krishnan learns of his passing, she places the responsibility for this catastrophe on his upstanding upbringing. Broken-hearted, Muthuvel sets out to exact revenge for his son’s passing.
The two hours and forty minutes take some time to come into its own. The pace takes more than forty minutes to increase. This Rajnikanth film lacks the cathartic experience that comes with a mass introduction scene, in contrast to all of his other films. At this point, it turns into a Nelson film. However, the second half’s mass scenes and interval block make up for it. Director Nelson, whose most recent feature film was Beast, comes back with his trademark style of filmmaking, which has a first half full of nuanced, dark humor. Actually, the first half is saved by the lighthearted banter between Rajinikanth and Yogi Babu.. The tale gets off in the second half with a number of big scenes, particularly when it travels back in time to reveal a peek of Muthuvel’s past. However, the momentum soon wanes and the film ultimately leads to a dramatic, although somewhat dull, and unsatisfying finale.
The movie lacks logic, just like a number of previous Rajinikanth films. In Tamil, the native tongue, and for viewers who have seen Nelson’s other movies, the dark humor is a hit. However, as it isn’t for everyone, the gags might be mistranslated into other languages (the movie has been released in five).
Star value is increased with cameos by actors like Tamannaah Bhatia, Jackie Shroff, Mohanlal, Shivarajkumar, Sunil, and Kishore. Await the much-needed drama and intensity at the conclusion, starring Shivarajkumar and Mohanlal.
Rajnikanth is a superstar now, not a hero, and this movie portrays him as such. Nothing more than enough of whistle-worthy Rajini-ism is shown to fans. The spectator is left to infer that the father and son are very close, even though the father-son bond—which is really the story’s heart—is barely mentioned. There’s not a single instance of feeling between the two. Seeing a gifted actor like Ramya Krishnan in the movie with little to say or emotion is disheartening. Vasanth Ravi maintains the same expression the entire movie. Vinayakan’s bloodshot eyes make a striking display. The background music by composer Anirudh Ravichander enhances the movie; the songs, however, are merely mediocre.In the 1999 movie Padayappa, Neelambari, also known as Ramya Krishnan, informs Rajini, “Vayasanalum un style’um azhagum unna vittu pogala” (Even though you have aged, your style and charm has not left you), following an intensive display of power play. We can still confidently state the same thing about Rajini in jail after 24 years. But maybe that won’t be enough to keep this movie alive.
8. Tiger 3
The spy universe of YRF is continued in “Tiger 3,” which sticks to the tried-and-true plot of a highly determined terrorist harboring a completely misguided sense of patriotism. Director Maneesh Sharma uses the biography of Shridhar Raghavan as a canvas to create a fast-paced action drama that interweaves themes of responsibility, selflessness, and patriotism. Fans of Bhai may celebrate as he appears rejuvenated and back to his best. He goes all out, pulling off daredevil feats that not only defy logic but also death and gravity. Still, it’s an incredible visual extravaganza.
Plot twists and continual thrills abound throughout the story, many of them expected but nevertheless enjoyable. The grandiose cinematography of Anay Goswamy masterfully conveys the scope of this international espionage tale, which deftly traverses Europe, Russia, Istanbul, India, and Pakistan.
Emraan Hashmi is excellent in the role, despite the fact that his portrayal of the nasty antagonist Aatish is quite cliched and unconvincing. Although the movie relies heavily on well-known espionage genre tropes, influenced by popular Bollywood films as well as Hollywood productions, it makes sure that there are plenty of heart-pounding action scenes. Katrina Kaif, the movie’s primary actress, has a well-defined character arc this time around, complete with a plausible history, a compelling motive, and context. With ease, Katrina plays an action-packed part and delivers some major butt. She does a great job in her towel fight scene with Asian American actress Michelle Lee.
Despite its formulaic plot and heavy reliance on tired espionage film clichés, “Tiger 3” successfully strikes a fine balance between celebrating patriotism and going overboard. The story is expertly integrated with Shahrukh Khan’s well timed debut as Pathaan. No question, it will resonate with fans of both Khans.
This time, Pritam’s music isn’t able to make a lasting impression.. The narrative often portrays Pakistan as the constant enemy, unable to delve into nuanced causes and complex geopolitical realities. The dialogues don’t have enough impact to have devotees of Bhai continually cheer and offer seetis. Like its eerie background score (by Tanuj Tiku), “Tiger 3” makes extensive use of visual effects, but frequently falls short of the necessary level of expertise. Many shortcomings are compensated for by the fast pacing and tense editing by Rameshwar S. Bhagat.
A sick Manu (Taapsee Pannu) realizes that the only person who can assist her in returning to India in pursuit of better opportunities is Hardayal Singh Dhillon, also known as Hardy.
Hardy traveled to the isolated Punjabi village of Laltu twenty-five years ago in quest of the person who had saved his life. Rather, he met a trio of friends—Manu (Taapsee Pannu), Buggu (Vikram Kochchar), and Balli (Anil Grover)—whose only goal was to travel to the UK in order to pursue a better life. The three devoted individuals attempt every trick in the book to obtain an immigrant visa, falling for con artists along the way, from studying wrestling to faking degrees and marriages. In the end, they make the decision to study English in order to obtain a student visa. They encounter Sukhi (Vicky Kaushal) here, who is frantic to go to London for personal reasons. “Birmingham, here I come” becomes into their catchphrase.
But when they are told they are not granted a visa, everything goes horribly wrong. Brokenhearted by the course of events, Hardy decides to create a way for his new pals to get to the faraway places they so much desire to visit. They decide to travel the “donkey” (also known as the “Dunki”) route, which is used by illegal immigrants as a means of transportation. It’s a turbulent voyage full with difficulties and obstacles.The story of “Dunki” is a poignant one, combining romance, friendship, heartbreaking, and heartwarming moments in one cohesive narrative. The touching tale of Manu and Hardy’s love travels from Laltu to London and back. In typical Hirani fashion, there are also enough of satirical jokes mixed in with comedy to make for an enjoyable ride in addition to the film’s powerful message. Even so, the humor is occasionally shaky and the perspective on the matter is oversimplified. The epic story (Abhijat Joshi, Rajkumar Hirani, Kanika Dhillon) not only transcends boundaries and places, but it also advances in time by twenty-five years.
The movie “Dunki” is about unmet expectations and pursuing goals that are outside of one’s means and comfort zone. the conviction that entering a first-world nation is all about having access to a promising future and the will to use all means necessary to get there. At one point, Manu says, “London jana hain, pound mein kamana hain”.
They avoid bullets, put their lives in danger, and more as the movie travels across continents and shifting scenery, only to discover that their ideal destination isn’t as glamorous as they had thought. Their idealistic state belies the realities of being an undocumented immigrant, exhibiting a naiveté. However, be ready for some heartfelt parts as the screenplay is filled with some powerful emotional moments. Additionally, it includes a fair share of confusing passages, awkward turns, and an antique appeal that can turn off certain people.
Following two consecutive massive hits, Jawan and Pathaan, Shah Rukh Khan’s “Dunki” is expected to be even more successful. Moreover, it’s the first time Rajkumar Hirani and Khan have collaborated. With ‘Dunki,’ Hirani gives us a wholesome Shah Rukh Khan, breaking out from the action-hero persona he wore in his first two films of the year. He’s charming, amorous, humorous, and capable of pulling off some mean action sequences. There are allusions to some of Khan’s most famous film scenes as well as meta references.
Shah Rukh Khan is amazing as the stylish, younger Hardy; his charisma will easily take you off your feet. And here he is, 25 years later, as charming as ever as the salt-and-pepper Hardayal. Vicky Kaushal, who plays Sukhi in a special appearance, dazzles with a powerful portrayal as the character’s unfiltered emotions. Taapsee Pannu gives a dynamic performance that sparkles. Both Vikram Kochchar and Anil Grover give excellent performances.
Excellent background music and cinematography (Muraleedharan C.K., Manush Nandan, Amit Roy) are featured.Pritam’s score for “Dunki” is excellent at highlighting each emotion; it’s possible to argue that the composer created the best Hindi film soundtrack of the year. The soundtrack of the film leaves an enduring impression on you, whether it is through the mischievous and endearing song “Lutt Putt Gaya” (Arijit Singh, Swanand Kirkire, IP Singh), the introspective Nikle The Kabhi (Sonu Nigam, Javed Akhtar), the intensely romantic Oh Maahi (Arijit Singh, Irshad Kamil), the energetic Banda (Diljit Dosanjh, Amitabh Bhattacharya), or the moving songs Main tera rasta dekhunga (Shadab Faridi, Altamash Faridi, Amitabh Bhattacharya) and Chal Ve Watna (Javed Ali, Varun Grover).
It’s no easy effort to convey the nation’s most beloved good vs evil story, which is as old as the hills, to a modern audience without being dated. Novel storytelling may be the sole thing that sets content apart when it considers the needs of different generations. Raut rides high on action-adventure over ethos in an attempt to appeal to a younger audience, going the Marvel route.
The story doesn’t take long to introduce the characters, Ram’s aura (Prabhas as Raghav), or the events that led to his banishment from Ayodhya (vanvas). It centers on Ravan (Saif Ali Khan) kidnapping Sita (Kriti Sanon as Janaki) and the heroic Ram vs. Ravan fight that ensued to save her. In the movie, the terrifying, towering Ravan and his immortality square up against Ram’s valiant army, which includes Lakshman, Hanuman, Sugriv, and their vanar sena. In the fight scenes, the famous Avengers formation is recreated, fending off a greater army of CGI rakshasas led by Ravan. The second half, which is devoted to the conflict, makes up for the first half, which was a little boring and lacked the excitement and sense of urgency that the plot required.
Raut finds it difficult to maintain coherence and balance between the epic tale and its superhero-verse adaptation. The dialogue falls short of what one would expect from epic heroes of this caliber. The characters’ erratic switching between “Adharma ka vidhvansa” and “tere baap ki jalegi and tu marega” seems implausible. In the first part, the narrator seems uninteresting. It lacks the emotional weight that one would anticipate from an epic story such as the Ramayana. There’s not enough of a sense of character investment.
In this audacious yet somber adaptation of an epic tale, Saif Ali Khan’s unbeatable Ravan embodies the vitality of the main character. Although Prabhas, who is masterfully spoken by Sharad Kelkar, continues to play Ram in a heroic manner, Saif steals the show with his cunning manners and enormous height gain. Tanhaji: The Unsung Warrior demonstrated his skill for portraying gloomy and hallucinogenic characters, and in this film, he sets the standard even further. The songs by Ajay-Atul and the background score and music by Sanchit and Ankit Balhara greatly enhance Saif’s terrifying portrayal of Ravan. Saif Ali Khan owns Adipurush, and Raut is able to establish the character on a grand scale.
The visual appeal and visual effects are acceptable, but not outstanding. The 3D seems like a superfluous add-on. After three hours, you wish the focus of the story had been more on the personalities and qualities that made the beloved characters stand out rather than how much of the story relied on special effects. Even with the dramatic build-up, you don’t feel happy, satisfied, or victorious at the end. This is an honest try, but its ambition to handle a narrative this big overpowers it a little.