Choo Mantar(3 / 5)

Choo Mantar offers a playful spin on the supernatural genre, even if it’s not the ultimate horror thrill one might expect that audiences of all ages can enjoy

Choo Mantar is a film that refuses to be neatly categorised, effortlessly blending comedy, horror, and just the right amount of absurdity. With a sense of quirky humour and supernatural intrigue, the film tells the story of Dynamo (Sharan), the head of a company named Choo Mantar and Co, which he runs alongside a motley crew of eccentric characters: RJ (Chikkanna), Akanksha (Aditi Prabhudeva), and Nakul (Kiran Chandrashekar). Together, they find themselves embroiled in an unsettling yet hilarious ghost story.

Director: Navaneeth Cast: Sharan, Chikkanna, Aditi Prabhudeva, Meghana Gaonkar, Prabhu Mundkur, Rajani Bharadwaj, and Kiran Chandrashekar

The film’s plot takes flight when Dynamo and his team arrive at what appears to be an ordinary company, only to uncover extraordinary twists. Dynamo, whose real name is Gautam, enters with a signature sound—the jingling of his bicycle bell—which immediately sets the tone for the film: a lighthearted romp through the supernatural. The plot deepens as the team dives deep into “Operation Kamali,” where spooky yet comedic moments contribute to the film’s oddball charm. The title track, ‘Choo Mantar’, captures much of the film’s essence, as the characters, in their light-hearted banter, explore the dualities of negative and positive energy. The presence of Sharan and Chikkanna, along with their dynamic, shines through, with the balance between humour and the supernatural elements. This blend offers a mix of laughs alongside some eerie moments.

As the story unfolds, Dynamo is called to investigate the ancient, haunted Morgan House in Nainital, rumoured to be one of the ten most haunted places in the world. This is where the film introduces a more serious supernatural element. However, there’s a twist: Dynamo’s mission is to not only uncover the haunted house’s secrets but also discover a hidden treasure within its eerie walls. The mystery behind the ghost hunters’ obsession with the treasure unfolds over time, adding an interesting touch.

Meanwhile, the narrative takes an unexpected detour to London, where Victor D Costa (Srinivas Prabhu), whose health is mysteriously linked to Morgan House, sends his family—including his son Alex D Costa (Prabhu Mundkur), wife Catherine (Meghana Goankar), and their young daughter—on a journey to the infamous property in India. Their journey to Nainital is fraught with eerie occurrences, such as taxi drivers refusing to take them near the house and unsettling encounters with a local police officer (Dharma). As the family experiences supernatural disturbances, Clara, their daughter, becomes affected by the house’s sinister energy, although the true nature of the haunting reveals a shocking twist, all linking the family’s tragic past to the house’s dark history and leaving Clara as the only survivor.

In a cinematic sleight of hand, Choo Mantar navigates through three timelines: 1945, where the house’s dark history unfolds with the ruthless George Morgan; 2004, where a ghost hunter attempts to solve the mystery; and 2024, where Dynamo uncovers the truth. This time-jumping narrative provides additional layers of complexity, peeling back the layers of the haunting and its origins.

Director Navaneeth offers a unique take on the supernatural genre, blending horror with light-hearted absurdity. At its core, Choo Mantar explores themes of family, history, and the supernatural. While the film never takes itself too seriously, it strikes an engaging balance, revelling in its own oddities while offering genuinely creepy moments that keep the audience invested. The haunted house becomes a central character in the story, adding weight to the film’s eerie atmosphere.

That being said, Choo Mantar remains a moderate cinematic experience. While the film’s suspense and plot twists offer intrigue, it doesn’t always deliver the full-fledged horror experience some might expect. Still, it compensates with its witty humour, quirky characters, and a surprising plot that keeps the viewer guessing. Sharan’s performance—irrespective of the genre or character—effortlessly blends humour with the necessary gravitas required for horror. Director Navaneeth, who blends horror with humour, ensures Sharan’s comedic style remains intact while infusing enough supernatural intrigue to keep things fresh. Sharan’s combination with Chikkanna is a key highlight for fans. Aditi Prabhudeva and Meghana Goankar add unexpected twists to their roles, and Prabhu Mundkur and Kiran Chandrashekar, Rajani Bharadwaj, and even the blink-and-miss role of music director Gurukiran support the story with their respective performances.

The film’s sound design, led by award-winning Resul Pookutty, elevates the atmosphere, making the horror sequences more effective, while the cinematography by Anup Kattukaran heightens the suspenseful moments. The music by Avinash Basutkar complements the tone, adding to the film’s technical finesse with a last-minute stunt brought by Ravi Varma. Furthermore, the spiritual elements in the story—culminating in a climactic moment where the statue of Hanuman and the echo of the Chalisa emerge as a saviour—infuse a unique spiritual vibe into the end.

Although the film doesn’t always succeed in its attempt to be a conventional horror, it makes up for this with its offbeat humour, quirky characters, and unexpected twists. The fusion of supernatural mystery, comedy, and family drama ensures Choo Mantar remains entertaining. It’s a film that doesn’t shy away from blending genres and having fun with its premise, making it an eerie and comedic ride.

PS: Despite its ups and downs, Choo Mantar remains a decent watch, hinting at more to come—especially as the makers tease a potential sequel, with the voice of Vishnuvarshan, who was part of the classic Aptarakshaka, expanding the horror universe into a new dimension.

News Credits: Cinema Express

Synopsis

The lack of narrative fluidity and context undermines the attempt to narrate an important chapter in Indian history.

Emergency(2.5 / 5)

Emergency Movie Review : The retelling of a defining era marred by a disjointed narrative

Story: Set against the backdrop of the Emergency imposed in 1975, the political drama delves into the pivotal incidents during the leadership of India’s then-Prime Minister, Indira Gandhi (Kangana Ranaut).

Review: The Emergency (1975–1977) remains one of the most significant and dreadful political events in India’s history, with a profound impact on the nation. Director and lead actor Kangana Ranaut attempts to recreate this tumultuous chapter of history on the big screen with Emergency.

Written by Ranaut (story), Ritesh Shah (screenplay and dialogues), and Tanvi Kesari Pasumarthy, the movie draws inspiration from Coomi Kapoor’s book The Emergency and Jaiyanth Sinha’s Priyadarshini. The narrative starts in 1929 and spans four decades, covering India’s Independence, the Indo-China War and Assam crisis in 1962, Indira Gandhi’s rise to power, and the Indo-Pak war of 1971. However, the screenplay doesn’t flow; it seems like moments of history have been strung together into scenes. Be forewarned, some scenes are overly graphic and sensationalised, particularly those depicting wartime atrocities against women and infants.

While the film aims to capture pivotal moments from Indira Gandhi’s regime, it often fails to provide sufficient background or context for key events and characters, such as Pupul Jayakar (Mahima Chaudhary), a close confidante of Gandhi, leaving audiences struggling to connect the dots. Even the portrayal of the Emergency—the film’s central focus—feels abrupt, as does the depiction of other critical events like the massacre of Bangabandhu Sheikh Mujibur Rahman and his family.

Emergency does deliver some powerful moments. One of the standout scenes is Indira Gandhi’s confrontation with US President Richard Nixon ahead of the Indo-Pak War in 1971. Her emphatic retort, “You have weaponry, we have courage,” is a highlight, followed by the meticulously crafted war sequence, for which cinematographer Tetsuo Nagata deserves credit.

The music complements the narrative’s tone, with Singhasan Khaali Karo (Udit Narayan, Nakash Aziz, Nakul Abhyankar) offering an anthemic vibe and Ae Meri Jaan (Arko featuring Hariharan) standing out as a powerful composition.

As Indira Gandhi, Kangana Ranaut excels in the second half, particularly in scenes after the Emergency is lifted, her meeting with philosopher J Krishnamurti (Avijit Dutt), and her visit to Bihar’s Belchi village on an elephant at the age of 60.

Anupam Kher is effective as Jaiprakash Narayan. Shreyas Talpade’s portrayal of Atal Bihari Vajpayee, while serviceable, isn’t convincing. Milind Soman stands out in his brief role as Field Marshal Sam Manekshaw, and Vishak Nair’s menacing Sanjay Gandhi leaves a lasting impression. Mahima Chaudhary, as Pupul Jayakar, brings gravitas to her role.

Emergency is hindered by its overly dramatised approach and one-dimensional portrayals. The lack of narrative fluidity and context undermines the attempt to narrate an important chapter in Indian history. However, the movie has its share of impactful sequences.

News Credits: Cinema Express

Sankranthiki Vasthunam(3 / 5)

Anil Ravipudi packs his latest entertainer with almost too many gags, and yet manages to sail through with his irreverence, aided by great performances from the entire cast

For a straightforward mainstream entertainer, Anil Ravipudi’s Sankranthiki Vasthunam has several flashback sequences in the first half that constantly jolt us in and out of the story. In one of them, we see how Raju (Venkatesh) and Bhagyalakshmi (Aishwarya Rajesh) meet and instantly hit it off. As the two actors hit impeccable comic timing, with their characters exchanging rhythmic sweet nothings, we realise that the true charm of the latest Venkatesh starrer lies in its ludicrous, over-the-top lunacy—you either buy into it or you don’t. Thankfully, Anil sells the madness of his latest entertainer with impressive ease.

There is an interesting premise in Sankranthiki Vasthunam. Meenakshi (Meenaakshi Chaudhary), a police officer and Raju’s ex-girlfriend, seeks him after six years for a high-stakes mission. The only catch: Raju now is a doting husband to an innocent yet possessive Bhagyalakshmi, who is too afraid of losing her husband to his old flame. Anil Ravipudi blends this quirky love triangle with a farcical rescue mission plot, aiming for nothing but relentless fun.

Cast

Venkatesh, Aishwarya Rajesh, Meenaakshi Chaudhary

Director

Anil Ravipudi

This is not a film that can be judged on the grounds of realism or logic—and fortunately, Anil is in great command of his material. The plot barely moves in the first hour, being strung together with a series of delightfully absurd gags and sequences, driven entirely by the banter between its many characters—and it lands, purely because of the actors here.

How long can the writer-director seamlessly integrate the love triangle thread into the central comic caper premise, you wonder as the film veers into the second half. However, Anil Ravipudi keeps dialling up the madness with each gag (including a hilarious Kalki 2898 AD reference), pushing his characters against the walls as they dig deeper into their unhinged side, creating graver problems for Raju and bigger laughs for the audience. Everyone in this universe, from the dumb cop figure (a fabulous Upendra Limaye) to the menacing gangsters, has a goofiness to them that is consistent with the narrative tonality. Gladly, each and every cast member is in fine form here, be it VTV Ganesh, Babloo Prithviraj, VK Naresh or child artist Revanth, who delivers some of the biggest laughs as a foul-mouthed boy and the apple of his father’s eye.

There comes a point in the second half when the barrage of silly gags almost gets exhausting. Fortunately, Anil Ravipudi sails through despite the occasional sense of overdose. Though the climax again leaves a weird taste in the mouth (who needed a sermon about respecting your teachers in a film like this?), your first instinct is to let it slide, considering how rewarding the film has been so far and how out of place this subplot appears in context to the rest of the events.

Aishwarya Rajesh deserves special accolades for how she embraces Bhagyashree’s childlike quirks without making her a caricature. Meenaakshi Chaudhary has an impressive screen presence and is efficient with the material at hand, holding her ground while sharing the stage with Aishwarya and Venkatesh. Meanwhile, Venkatesh pulls off the henpecked yet doting husband act just as effectively as the angsty force of deconstruction in the final act.

Again, what’s commendable about the film is how it uses Venkatesh’s persona to propel the storytelling. The screenplay somehow keeps Venkatesh under the spotlight and on the ringside at once, letting him casually embue the proceedings with his affable presence even as the supporting cast drives the show. While the film never mentions Raju’s age, it alludes to the element of age gap in both of his romantic relationships. A little later, the story also makes a clever use of the actor’s off-screen age, questioning Raju’s virility as a potential hero figure. After all these years out of service, Raju, we are told, might not be as ferocious and strong as everyone expected him to be, and is now forced to rely on his brain than brawn to complete the mission.

And yet, the film turns the tables on us in the pre-climactic action sequence, as a pent-up Raju unleashes his wrath on a bunch of bad guys, resulting in a hysterical sequence loaded with kicks, punches and chuckles. Of course, if one attempts to scratch the surface, there is a lot to unpack here in terms of subliminal messaging, what with Raju beating the hell out of the villain’s henchmen while simultaneously venting out his frustration to the two women in his lives. In a film that barely takes itself seriously, do we really have to see, albeit in a light-hearted fashion, the hero vehemently prove himself as the victim and the women as the ‘irrational’ kind?

But then again, it depends on you if you want to judge this film from that lens. For everyone else who merely wants to have a few hearty laughs, Sankranthiki Vasthunam offers them in plenty.

News Credits: Cinema Express

Synopsis

An enjoyable, if unremarkable, popcorn flick that’s worth a watch for fans of the leads and those craving an easygoing action-comedy.

Back in Action(3 / 5)

Back in Action Review : A moderately enjoyable action-comedy

Story: The quiet lives of Matt (Foxx) and Emily (Diaz), former CIA operatives turned suburban parents with two children, are disrupted when their spy past comes back to haunt them.

Review: Back in Action marks Cameron Diaz’s long-awaited return to acting after nearly a decade away. Pairing her with Jamie Foxx, her co-star from Annie and Any Given Sunday, the film highlights their strong on-screen chemistry. While their performances bring a sense of fun and charm, the movie doesn’t quite rise above its predictable premise and well-trodden genre conventions. What begins as a playful family drama quickly shifts gears into an over-the-top action adventure, complete with international chases, fight scenes, and an implausible plot revolving around a stolen “master key” that could threaten global security. The opening sequence sets the tone with a high-octane flashback featuring plane crashes and midair combat, but the excitement fizzles as the story becomes increasingly formulaic.

The film’s strongest asset is its cast. Diaz shines as Emily, bringing both energy and comedic timing to her role. It’s clear that she’s relishing her return to the screen, and her playful banter with Foxx is one of the movie’s highlights. Foxx, ever charismatic, balances the humour and physicality required of his role, though his character often feels like a rehash of similar action-comedy leads. Glenn Close adds a touch of class and humour as Emily’s estranged mother, Ginny, a retired MI6 agent with her own secrets. Her scenes, particularly those involving her eccentric younger boyfriend Nigel (Jamie Demetriou), lean into slapstick but are nonetheless entertaining.

Director Seth Gordon (Horrible Bosses) keeps the film moving briskly, with one action sequence after another, from suburban car chases to elaborate fights set in London landmarks. These scenes are undeniably fun but lack originality, and the reliance on retro pop hits during the action montages grows repetitive. While the humour occasionally lands—especially in moments where the couple’s spy skills surprise their kids—much of it feels forced or predictable. Watching the children come into their own during moments of crisis adds a layer of charm, though their character arcs are fairly shallow.

While it occasionally delivers witty dialogue and clever moments, the narrative relies too heavily on clichés and lacks the sharpness needed to elevate it above mediocrity. The stakes never feel exceptionally high, and the final act dissolves into a predictable series of twists and resolutions that fail to surprise. In many ways, the movie feels like a throwback to early-2000s action comedies—fun but largely forgettable. Its blend of nostalgia and family-friendly humour will likely appeal to audiences looking for light entertainment, but it doesn’t bring anything new to the table. Diaz and Foxx do their best to infuse life into the material, but even their undeniable charm can’t fully compensate for the film’s lack of originality.

News Credits: Times of India