Rachcha

Film: Rachcha
Rating: 3/5
Banner: Mega Supergood Films
Cast: Ram Charan Tej, Tamannah, Mukesh Rishi and others
Music: Mani Sharma
Cinematographer: Sameer Reddy
Editing: Gautham Raju
Story, screenplay, direction: Sampath Nandi
Producers: N V Prasad, Paras Jain
Release date: 05/04/2012

Ram Charan Tej is back after a brief hiatus and he has taken a risk of sorts by teaming up with a budding director like Sampath Nandi. Let us see how this has worked.

Story
Betting Raj (Charan) hails from a slum and true to his name, he is known for winning bets. But all the money got from there is used for a good cause. But in truth, he happens to be the son of Suryanarayana (Parthiepan) a big man of Rayapuram village who is killed along with his family. Raj escapes by chance and is brought up by another couple (MS Narayana, Sudharani).

The story takes a turn when his guardian suffers a heartstroke and 20 lakhs is required for operation. In comes James (Ajmal) who keeps losing bets with Raj. He is ready to give the money but the bet is Raj should woo and make Chaitra (Tamannah) say ‘I Love You’ in 30 days. But Chaitra is the daughter of the notorious and powerful Bellary (Mukesh Rishi).

So what happens to the love challenge of Raj? What is his connection with Chaitra? Who is Bellary? All this forms the rest of the story.

Performances
Ram Charan has developed a strong screen presence and he has put full efforts. If only his characterization was strong he would have given a power packed impact. But his fans would be happy with this.

Tamannah gave the required visual feast in songs and her glamour quotient has been on a high. There was not much scope for performance this time but her screen time is good.

Mukesh Rishi was apt for the role. His personality is still intact and he seems to look the same right from the time of ‘Indra’. It is time Mukesh starts using his own voice for dubbing.

Parthiepan and Ajmal were not required given their roles. But since the film is releasing in Tamil the makers seem to have taken them for nativity purpose.

Brahmanandam, Srinivas Reddy, Tagubothu Ramesh, Ali were there for the comedy scenes but it was not that appealing. Kota was usual. M S Narayana was serious this time. Paruchuri Venkateswara Rao was brief. Dev Gill was okay. The others didn’t have much to offer.

Highlights

Charan’s performance and Tamannah’s glamour
Picturization of songs
Production values
Commercial elements
Drawbacks

Outdated storyline
Ordinary script
Overdose dialogues of praising Mega family
Routine formula
No gripping moments
Analysis
Watching the film never makes you feel that you are watching a big ticket venture starring a big hero. It is a story which suits even a B-grade hero.

Given the star image of Charan and the expectations on him and the film, the story was bound to be strong with a strong depth and gripping twists but it is not so. Though the title sounds powerful, it is a routine formula line with no variation. You have the regular half dozen fights, half dozen songs, itsy bitsy comedy scenes, one sentiment which is half baked, a supposedly romantic track which was created only to justify the presence of heroine.

On a whole director Sampath Nandi made a sheer attempt to impress Ram Charan and his family with this movie but not loyal to his story line or acumen.

Comedy by Ali brought some laughs but that failed to sustain with more scenes. Same is the case with Brahmanandam episode and Krishna Bhagawan’s part.

While all that is one side, the dialogues form a crucial aspect for these projects. But here again, Paruchuri Brothers ended up spilling the ink with ‘Self-Dabba’ lines and fingering the Nandamuri clan. Here are few examples:

“Otami ante ento teliyani Genes naadhi” - This will prompt the mega fans to recollect Chiranjeevi’s defeat at Palakollu, disconnecting from the movie for sometime.

“Edho Chuskuni Thodalu Kotte type kaaduraa nenu” –

Listening to the dialogue, the audience started discussing, “The reference to this needs no explanation. Well, it’s like a retort for Balakrishna’s dialogue in Simha referring ‘buradha vamsham’”. That’s how dialogues rubbed wrong side in many ways.

Given their experience, this is not the quality of dialogues expected. On the other hand, it is very natural that the Nandamuri fans will come to watch the movie to check its weight. But due to dialogues like these, it would lead to negative publicity and audience percentage will come down.

The director was careful not to experiment and went blindly following a commercial formula. That has hampered the strength of the script. The production values are of high quality but it is definitely not matching the image of Charan or has that velocity to give a kick to the masses.

At the box office, this will be a treat to the hardcore fans of mega family and it could scrape through as decent grosser but hit is ruled out.

Verdict: Neither Good Nor Dud


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Magadheera

Film: Magadheera
Rating: 4/5
Banner: Geetha Arts
Cast: Ram Charan, Kajal, Dev Gil, Srihari, Surya, Sarath Babu, Sunil, Brahmananadam, Hema, Chiranjeevi, Kim Sharma, Mumaith Khan, Subbaraya Sharma, Rao Ramesh etc
Editing: Kotagiri Venkateswara Rao
Music: Keeravani
Cinematography: Senthil Kumar
Fights: Ram Laxman and Peter Heins
Lyrics: Chandrabose, Keeravani and Bhuvanachandra
Story: V Vijayendra Prasad
Dialogues: M Rathnam
Producer: Allu Aravind
Director: SS Rajamouli
Released On: 31st July 2009

The much awaited ‘Magadheera’ has arrived. It has created huge expectations by the virtue of its posters, trailers and above all the music. Finally let us see if it has reached those expectations.

Story:
Harsha (Ram Charan) is a young man who earns money on bike races and bets. He loves such adventures on two wheelers. He happens to touch the hand of a young girl Indu (Kajal) accidentally and that ‘soul touch’ connects his present to the past.

What’s the past?
That’s 1609 AD when Kalabhaiarava (Ram Charan) was the warrior in Udaigarh who trains the soldiers. The Senadhipathi Randheer (Dev Gil) lusts on Yuvarani Mitravinda (Kajal) but the latter loves Kalabhirava. That results in a huge battle between Randheer and Kalabhairava which puts end for their lives. Sher Khan (Sri Hari), the Muslim invader witnesses the valor and love of Kalabhairava and salutes to him.

They take rebirth as Harsha and Indu. And many characters from the past also come to present with the soul connectivity. But where? What happens to them? How the past life matters for them in present life?

That has to be watched on big screen to experience the marvelous treat along with unleashing those queries.

Performances:
Ram Charan:
He stood as an icon of macho look. He portrayed the 1609 AD role, Kalabhaiarava, with right bearing and voice modulation. Chiranjeevi’s yester year’s voice echoed in the ears of audiences with that modulation of Ram Charan for that character. His dances are spellbinding, especially in ‘Bangaru Kodi petta..’.

Kajal:
She is the right choice and perfect blend. Her elegance is amazing in queen’s role.

Sri Hari:
His portrayal as Muslim warrior Sher Khan is quite wonderful. He added value to the movie on a whole.

Dev Gill:
This Bollywood villain has shared screen in the main antagonist role. He proved perfect particularly in ‘past birth role’.

Others:
Sarath Babu is ok in the role of old king, the father of Yuva Rani Mitravinda.

Rao Ramesh perfectly grooved in the role of Aghora Sadhu with apt gait and voice modulation

Brahmanandam and Hema got wasted

Sunil’s comedy is ok to large extent

Technical departments:
The movie deserves right mention for music, sound effects, graphics, 3D effects, Cinematography and Choreography. What not! Every technical faculty has rightly worked on this film. Director Rajamouli should be appreciated for his guts to bring such a massive film on Telugu screen.

Allu Aravind should be esteemed for his wonderful production values.

Music And Lyrics:
Keeravani and Chandrabose have created wonder with music and lyrics. Every word has aptly grooved into the situation in finest musical form.

Jorse Jorse is like a sheer poetry drawn on a canvass

Naakosom Juttu Peekkunte (written by Keeravani) is hilarious and entertaining

Panchadaara Bomma will be one of lifetime melody hits in Ram Charan’s filmography

Bangaru Kodi petta (penned by Bhuvanachandra) surpassed the older one in choreography

Dheera Dheera is the song that was ever pictured on Indian screen so far

Magadheera…(rolling title song) is innovative and interesting with the dances of Allu Aravind, Keeravani, Rajamouli, Rama Rajamouli, Ali, Sunil, Brahmanandam, Kajal, Kim Sharma, Mumaith Khan, Saloni, BA Raju and every technician worked in the movie

Above all the background music stood as backbone for the movie

Highlights:

Marvelous art work carried to portray Udaigadh city of 1609AD
Battle between Kalabhairava and 100 soldiers of Sher Khan
Wonderful picturization of Dheera Dheera song
Lord Shiva’s statue that brings hysterical feeling
Helicopter and bike stunts of Ram Charan
Disappointments:

Brahmanandam-Hema comedy
Chiranjeevi’s episode
Dialogues in first 44 minutes
Analysis:
“This is our movie-our Telugu movie. This is our pride. This is the creation happened with the cognizance of our Telugu director”…would be the feel of every Telugu film lover while watching this film.

Words wouldn’t suffice to explain the experience of technical extravaganza depicted in this film. It’s just spellbinding. The range of Telugu film has gone to a higher plane with this film. The maker Rajamouli and producer Aravind should be appreciated unconditionally. And kudos would go to the technical team that has kept its brilliance to make this movie a wonder.

Keeping the first 44 minutes away the rest of the movie arrests the audiences completely. The first 44 minutes would literally keep the pulse of audiences down and confused. Pale dialogues, insipid scenes between Brahmanandam and Hema, weak portrayal of Chiranjeevi in a senseless scene would let down the audiences.

The real tempo starts as soon as the completion of the song ‘Naakosam nuvvu juttu peekkunte baagundi..’ The momentum develops with the first horse riding scene of Ram Charan chasing a bus. The interval scene hooks the audiences with lot of enthusiasm for sure. And the audiences can never turn their head and blink eye lid from then till climax.

And the audiences come out from theatre with the experience of a rollercoaster ride, with the sound reverberating in hearts, with a heavy hangover of watching a new facet of Telugu cinema.

The film proves to a historical one with respect to patronage of audiences of all classes.

Rating Judgment: The movie scores 4/5 by the virtue of technical values and adventurous attempt. It would have scored bigger if the first 44 minutes were also dealt well with sensible comedy and treatment.

Verdict: It’s good to watch the film as soon as possible.


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Ice Age: Continental Drift

Scrat the saber-toothed squirrel gets a well-earned promotion from series mascot to plot catalyst in Ice Age: Continental Drift, the anticipated fourth entry in the hugely successful computer-animated franchise.


As Scrat’s star rises, however, the series’ momentum stalls. Faced with the prospect of deviating from the well-trodden tracks of its predecessors, the scriptwriters clearly got cold feet, merely substituting kid-friendly pirates for the kid-friendly dinos of 2009’s Ice Age: Dawn of the Dinosaurs as Manny the woolly mammoth and his prehistoric cohorts embark on yet another epic journey studded with sentimental bromides.
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None of this will matter to the young target audience, who will giggle along with the helter-skelter action sequences and the fusillade of wisecracks and sight gags.
The last of three animated tentpoles to roll out this summer -- after DreamWorks’ Madagascar 3: Europe’s Most Wanted and Pixar’s Brave, Fox’s technically assured 3D offering still can expect a warm reception and successful box office ride.
With the core trio of Manny (Ray Romano), Sid the goofy sloth (a hilarious John Leguizamo) and the tiger Diego (Denis Leary) getting a bit long in the tooth -- it’s nearly 10 years between the first Ice Age and this one -- scriptwriters Michael Berg and Jason Fuchs corral a menagerie of newcomers and shoehorn in several subplots to distract from a musty storyline.
In this go-round, the world literally falls apart as Scrat’s (Chris Wedge) Sisyphean pursuit of his prized acorn results in a seismic shift that tears asunder Earth’s prehistoric supercontinent, Pangea. (The filmmakers have as little regard for geological history as they did for paleontology in the previous installment.)
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Our mismatched heroes are set adrift on a chunk of ice, with Manny separated from his mate Ellie (Queen Latifah) and their now-teenage daughter, Peaches (Keke Palmer, who also sings the end-credits song “We Are”).
They’ve picked up a troublesome stowaway in the form of Sid’s Beverly Hillbillies-like granny (Wanda Sykes), while back on shore, Peaches is trying to keep up with the cool-kid mammoths (hip-hop star Drake, rapper Nicki Minaj and Glee cheerleader Heather Morris) and managing to alienate her best friend, Louis, a molehog voiced by Josh Gad (star of the Broadway hit The Book of Mormon.)
Peter Dinklage voices the best of the new recruits, a simian pirate king with very bad teeth named Captain Gutt. His ragtag crew of high-seas marauders, which includes a love interest for Diego in Shira the white tiger (Jennifer Lopez), join Mother Nature at her crankiest in trying to thwart Manny and company’s journey home.
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It’s familiar, drawn-out shtick, and the humor lacks the subtlety of the first and best Ice Age, but there are some visually inventive high points.
The wordless interludes featuring Scrat as slapstick comedian nonpareil not only generate the biggest laughs but provide little oases of aesthetic delight. And there’s an unsettling journey through the land of the Sirens, where the atmosphere turns dark and weird for just a moment, before Steve Martino (Horton Hears a Who), co-directing with Michael Thurmeier, steers it back into safer waters.
The animation by Fox’s Blue Sky Studios improves with each installment, and here it is vividly rendered, with the design of each prehistoric critter a marvel of state-of-the-art technology down to the last hair.
Opens: Australia, June 25 (Australia); July 13 (U.S.) (20th Century Fox)
Production company: Blue Sky Studios
Cast: Ray Romano, John Leguizamo, Denis Leary, Queen Latifah, Peter Dinklage, Jennifer Lopez, Wanda Sykes, Keke Palmer
Directors: Steve Martino and Michael Thurmeier
Screenwriters: Michael Berg, Jason Fuchs
Executive producers: Chris Wedge, Carlos Saldanha
Producers: John C. Donkin, Lori Forte
Director of photography: Renato Falcao
Music: John Powell
Editors: James Palumbo, David Ian Salter
Rated PG, 94 minutes


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X-Men: First Class Movie

A first-class production that excitingly reenergizes a flagging franchise.

Much as Casino Royale rebooted the James Bond franchise in a fresh and dynamic way, X-Men: First Class injects new blood into a franchise that, for all its profitability, had become blandly anemic. In fact, roughly the first half of this massive and very well cast origins extravaganza is arguably the best hour of Marvel Comics-derived filmmaking among the torrent of it that's cascaded across screens in recent years. Audacious, confident and fueled by youthful energy, this is a surefire summer winner for a wide global audience.
The spectre of Bond actually hovers over this British-flavored production in a number of ways, all of them beneficial: The 1962 setting shot through with Cold War tensions conjures up the political moment at which 007 was born cinematically, the hardware and style harken back to an earlier high-tech era that looks quaintly beguiling today and Michael Fassbender as Erik, the future Magneto, cuts a dashingly ruthless figure that can only have been patterned on Sean Connery in the early Bonds. First Class is comprised of an enormous stew of elements and influences but head chef Matthew Vaughn has stirred things so as to make them not only digestible but quite tasty.
Departing from the backstory of the comics, the new yarn, devised by Sheldon Turner and original X-Men director Bryan Singer and written by Thor co-scenarists Ashley Edward Miller and Zack Stentz along with Jane Goldman and Vaughn, pivots on an alluringly fanciful proposition, that the real events of the Cuban missile crisis had a shadow history involving manipulations by figures whose super powers put those of the U.S. and the U.S.S.R. to shame; it's as if JFK, Khrushchev, Castro, the CIA and the combined armed forces of the East and West were mere puppets doing the bidding of unsuspected Olympian gods, the most spiteful of whom desire nothing less than human extermination.
Not inaptly, then, it all begins (as did Singer's original 2000 X-Men) at Auschwitz, where young Erik, challenged to display his “magnetic” powers, sees his mother gunned down by the heinous camp doctor (Kevin Bacon), an event that dictates all his actions from then on. In the more benign setting of Westchester, New York, two kids, Charles and Raven, exhibit odd characteristics of their own that, nearly two decades later, will put them in the forefront of the mutant movement.
Like the most peripatetic of 1960s globe-hopping thrillers, the early stretch of First Class hardly stays put for more than a moment, jumping all over the world—Geneva, Oxford, Las Vegas, Argentina, Miami, Washington, D.C.--in the service of introducing an enormous number of characters and delineating their unique powers. Under the circumstances, director Vaughn impressively maintains a strong focus dedicated to clarity and dramatic power; while Erik scours the world for stray Nazis (his confrontation with two of them in a tavern on the pampas is an early highlight), Charles (James McAvoy) achieves academic prominence and, with Raven (Jennifer Lawrence), is recruited by the CIA with the eventual aim of assembling a “Division of Mutant Powers.”
Even though a lot of the early material is set-up, it nevertheless develops surprising momentum and tension. The malevolent doctor Erik remembers from the concentration camp now resurfaces as Sebastian Shaw, who has developed an extraordinary capacity to absorb, harness and deploy energy, while his fabulously sexy partner in crime, Emma Frost (January Jones), not only has extreme telepathic ability but possesses an optional indestructible diamond veneer. When Erik tracks them down on board their yacht and seems on the verge of fulfilling his vengeful 18-year quest, his quarry escape in a manner befitting the best of the Bonds.
Once the loner Erik decides to join forces with Charles under the auspices of an offbeat CIA honcho (Oliver Platt) and an adventurous agent (Rose Byrne), the film takes on more the air of a standard-issue Marvel effort as mutant youngsters are trained in hiding to master their unusual powers; they are Hank/Beast (Nicholas Hoult), Alex/Havoc (Lucas Till), Sean/Banshee (Caleb Landry Jones), Armondo/Darwin (Edi Gathegi) and, for a while, Angel (Zoe Kravitz). The problem here is not only familiarity but that, unlike the other characters, these kids seem resolutely 21st century, not early 1960s; one of them even says “whatever.” Another drawback, a likely victim of an overcrowded roster of characters, is that two swarthy henchmen of Shaw's are not even given the benefit of an introduction, much less anything to play.
Still, once Emma Frost penetrates the inner sanctum of the Soviet military and the enormity of Shaw's scheme becomes clear, the film takes off again with a fantastical rendition of an American/Soviet naval confrontation off Cuba trumped by the manipulative antics of battling telepathic mutants on board an ultra-futuristic plane and a stealth submarine.
Vaughn orchestrates the mayhem with a laudable coherence, a task made easier by a charging, churning score by Henry Jackman that, much as that of his mentor Hans Zimmer did in Inception, helps smooth the connections among rapidly changing locations and events. A few of the effects in the climactic section don't quite measure up, but the visual effects by veteran wizard John Dykstra are mostly terrific. Top-drawer contributions are also delivered by production designer Chris Seagers, costume designer Sammy Sheldon and cinematographer John Mathieson.
The cast is almost absurdly easy on the eyes and is most powerful at the top, thanks to the intense Fassbender, who will now need no audition if Daniel Craig decides to give up Bond after another picture or two. McAvoy is forced to spend a bit too much time with his hand to head summoning telepathic signals but nonetheless conveys the intelligence and sobriety required for the future Professor X. Bacon is formidable as the former Nazi who aspires to far greater power than Hitler could ever dream of, while Jones dazzlingly projects the arrogance of maximum beauty and invulnerability. As the naturally blue-skinned, red-haired and yellow-eyed Raven/Mystique, Lawrence is at her most appealing when conveying an ashamed insecurity about her natural looks, which she can conceal with a human facade. A vulgar cameo by a certain hirsute character provides a hearty laugh.
Opens: June 3 (20th Century Fox)
Production: Bad Hat Harry/Donners' Company, Marvel Entertainment, Dune Entertainment
Cast: James McAvoy, Michael Fassbender, Rose Byrne, Jennifer Lawrence, January Jones, Nicholas Hoult, Oliver Platt, Jason Flemyng, Lucas Till, Edi Gathegi, Kevin Bacon, Caleb Landry Jones, Zoe Kravitz, Matt Craven, Alex Gonzalez, Rade Sherbedgia, Glenn Morshower
Director: Matthew Vaughn
Screenwriters: Ashley Edward Miller, Zack Stentz, Jane Goldman, Matthew Vaughn; story, Sheldon Turner, Bryan Singer
Proucers: Lauren Shuler Donner, Bryan Singer, Simon Kinberg, Gregory Goodman
Executive Producers: Stan Lee, Tarquin Pack, Josh McLaglen
Director of Photography: John Mathieson
Production Designer: Chris Seagers
Costume Designer: Sammy Sheldon
Editors: Lee Smith, Eddie Hamilton
Music: Henry Jackman
Visual Effects Designer: John Dykstra
PG-13 rating, 132 minutes


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Avengers

Avengers

release date: May 4, 2012

Tuesday September 25, 2012 (dvd)

genre: Action

running time: 143 min.

director: Joss Whedon

studio: Walt Disney Pictures

producer(s): Kevin Feige

screenplay: Joss Whedon

cast: Robert Downey Jr., Chris Evans, Mark Ruffalo, Chris Hemsworth, Scarlett Johansson, Jeremy Renner, Tom Hiddleston, Stellan Skarsgård, Samuel L. Jackson

When the Tesseract, a cube of pure energy with the power to destroy the Earth, is stolen by the nefarious God of Mischief, Loki (Tom Hiddleston), S.H.I.E.L.D. leader Nick Fury (Samuel L. Jackson) embarks on a daring recruitment effort spanning the globe to assemble a team of the world's most powerful superheroes to get it back.

Captain America (Chris Evans), Iron Man (Robert Downey Jr.), Thor (Chris Hemsworth), Black Widow (Scarlett Johansson), Hawkeye (Jeremy Renner) and The Hulk (Mark Ruffalo) are brought together to stop Loki. But unfortunately, it'll take more than just assembling them to save the world from the brink of destruction. First they'll have to learn to work together as a team, despite their individual struggles—like Captain America learning to adjust to life in the 21st century after being frozen for 70 years, Thor's internal conflict about going up against his evil brother, Loki, and Bruce Banner, who is trying to keep his raging alter ego under control.

Based on the Marvel Comics characters.

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