A.R.M (Ajayante Randam Moshanam)

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Director: Jithin Lal

Writer: Sujith Nambiar

Stars: Tovino Thomas, Mohanlal, Basil Joseph

A.R.M Ajayante Randam Moshanam Movie Review

Ajayante Randam Moshanam aka ARM features Malayalam actor Tovino Thomas in triple roles. Directed by Jithin Laal and written by Sujith Nambiar, the film generated significant interest through its posters and trailer. But has ARM lived up to everyone’s expectations? Let’s find out!

The story begins with Kunji Kelu (Tovino Thomas), an exceptional warrior, whois granted the opportunity to request for a special gift from the king. He asks for a deity crafted from a unique rock that fell from a meteorite and struck their village, Haripuram. The story then shifts to Maniyan (Tovino Thomas), a clever thief who is accused of stealing the deity.

Maniyan's actions have lasting repercussions on his lineage. His grandson Ajayan (Tovino Thomas), is now suspected of every crime that occurs in the village. Ajayan aces the challenge of clearing his name and leading a dignified life while combating caste discrimination.

Ajayante Randam Moshanam aka ARM has a simple plot that chronicles over three generations. The story is elevated by a grand production value, which serves its purpose now and then. The visual effects and production design show great promise and make us intrigued. However, the film falters in execution.

ARM suffers from predictability. From the moment we are introduced to the special deity and the king’s reaction to Kunji Kelu's request, we know that the idol is fake. The plot then follows Maniyan and Ajayan’s quest to retrieve the original idol. While there is enough scope to create several impactful moments, the film doesn’t fully explore them. For example, when Maniyan steals the idol from the temple and stands on the roof, you are supposed to hoot for him and feel goosebumps. However, the intended impact falls short.

What the film gets right is its politics. It addresses the rampant caste discrimination in the village and puts forth important questions. Ajayan, Maniyan, their lineage and people belonging to a certain caste are not allowed inside the temple. The film is replete with solid dialogues that question this practice and seek to end this practice.

Tovino Thomas shines in triple roles and has shouldered the film. All three characters are distinct, and the variations help the audience in resonating with the three characters. Basil Joseph, yet again, proves that he is one of the best performers. Harish Uthaman, Krithi Shetty, Aju Varghese and several others played their parts well.

Composer Dhibu Ninan Thomas’s songs are soothing to the ears. In some instances, they evoke emotions directly rather than relying on the clever use of silence.

ARM intriguingly blends folklore and action. However, the screenplay has some shortcomings that prevent it from fully conveying the intended message.

Alien: Romulus (2024) Dual Audio [Hindi & ENG] HDTS

Alien: Romulus (2024) Dual Audio [Hindi & ENG] HDTS

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Director: Fede Alvarez

Writers: Fede AlvarezRodo SayaguesDan O'Bannon

Stars: Cailee SpaenyDavid JonssonArchie Renaux

Alien: Romulus (2024) Dual Audio [Hindi & ENG] HDTS Review

ROMULUS may have founded Rome but, as they say, Rome wasn’t built in a day. The Alien franchise too has certainly sweated its way here, nearly 50 years after Sigourney Weaver’s Ellen Ripey first encountered extraterrestrial form in the iconic 1979 film. There have been ups and downs, but those messy, hungry, hunting aliens have not shown any loss of appetite.

It all comes down to our appetite then, for similar mayhem. With Ridley Scott, the OG director of the OG film, in the producer’s chair, Alien: Romulus certainly grabs our attention. Director Alvarez, who is also the co-writer and is a surprise choice for this big-ticket reboot that has names like Scott and James Cameron associated with it, preps the setting nicely. There is a conscious call to move away from the mid-career protagonists of the earlier films to boys and girls in their 20s this time, with the child-like Spaeny leading the pack.

However, Alien: Romulus succumbs eventually to that commonest of crimes: where a bark will do, it bites; where teeth will do, it snarls; where one big monster is enough, it has thousands; and where one scene of a creature crawling its way out of a human conveys the point, it has two.

There is kill, and then there is overkill.

Still, when it begins, Alien: Romulus has promise. Rain (Spaeny) and the android whom she considers her brother, Andy (Jonsson), inhabit a dreary, dusty, dark planet called Jackson where the corporates who run the show are working them to death. Humans are assigned bunk-like quarters, provided assembly-line food and warned against diseases, before being thrown into their assignments to fulfill their required work hours. When anyone meets those hours, the company simply changes the rules.

Rain, who dreams of returning to a planet where she can at least see a sun, realises this even as she is still mourning her parents who died of diseases caught working in mines, and looking after Andy who doesn’t have the social skills needed to survive such a place.

The desolation of Jackson is striking, its dingy market milling with worn, weary crowds reminiscent of Blade Runner.

But, soon enough – with surprisingly no one in the ever-watchful company noticing – Rain and Andy have taken off into space with her group of friends to try and dock onto a decommissioned spaceship they have discovered is floating overhead. The idea is to use the spaceship to travel to a planet where the sun shines – and much more, one presumes.
If you have seen any of the previous eight Alien films – including sequels, prequels and mid-quels – you will know what likely awaits humankind on a mysteriously deserted spaceship.

Again, Alvarez takes his sweet time getting there, and it is a welcome suspense. You may wonder how the youths engaged in jobs like farming and mining on their planet are so well-versed in the whereabouts of a spaceship, but who knows? Maybe it is one of the bonuses of living on a distant planet in the distant future.

Both the vessel on which Rain and the others take off and the spaceship where they dock are rundown, rusted, barely lit vehicles, carrying the whiff of Jackson with them. They are also a maze. Somehow, the group has no difficulty with that, and it also keeps the audience off-kilter, wondering what to expect next.

But then the aliens come, and then they keep coming and coming, grabbing faces, slobbering acid, wandering corridors. Spaeny has too slender shoulders to carry the film on her own, though she is not bad, while there is only so much Jonsson can do when expected to act robot-like or dumb (he is no Michael Fassbender to pull off Alice: Prometheus or Covenant). The others are mostly mere fodder, which is fairly obvious from the start.

The most stomach-curdling aspect of the film does not even involve aliens, of any kind, including those born from the combined DNA of humans and them. It is the film’s decision to resurrect an actor from the first Alien. Not only is the actor now deceased, the film uses him in a manner that is, suffice to say, less than elegant.

 

Bhairavakona New Released Hindi Dubbed Movie 2024

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Director: Vi Anand
Writer: Vi Anand
Stars: Sundeep Kishan Varsha Bollamma Kavya Thapar

Ooru Peru Bhairavakona

Review: What happens when the veil between the natural and supernatural thins to a whisper? Ooru Peru Bhairavakona, directed by the imaginative VI Anand and starring Sundeep Kishan, Varsha Bollamma, and Kavya Thapar, delves into this enigmatic question. This supernatural fantasy thriller, woven around the esoteric Garuda Purana, promises a journey filled with mystique, peril, and unforeseen turns.

VI Anand's vision crafts a visual banquet, albeit marred by narrative inconsistencies. Yet, the film stands as a testament to the director's unfettered creativity, painting Bhairavakona with broad, immersive strokes of fantasy and fear.

The ensemble cast, led by Sundeep Kishan's intense portrayal of Basawa, brings depth and dynamism to the screenplay. Kishan, continuing his streak of eclectic roles, encapsulates Basawa's complexity with poise. Varsha Bollamma as Bhoomi and Kavya Thapar as Geetha complement this with performances that resonate, though Thapar's character leaves us yearning for a richer backstory. The comedic interludes, courtesy of Harsha Chemudu and Vennela Kishore, inject much-needed comic relief, crafting moments of laughter amidst the looming dread. Ravi Shankar as Rajappa delivers a notable performance with shades of grey.

Technically, the film is a marvel. Shekar Chandra's haunting score amplifies the eerie ambience, while Raj Thota's cinematography aptly captures the dual beauty and menace of Bhairavakona. The synergy of music, visuals, and editing fuse to fabricate a world that is as entrancing as it is unnerving. However, an occasionally overpowering score does obscure dialogue, reminding us of the delicate balance between sound and silence.

Ooru Peru Bhairavakona embarks on an ambitious cinematic voyage, charting a course through the mystical with flair and visual splendour. Though its narrative sails through turbulent waters, the film's performances and technical prowess save the day.

In an era where the supernatural genre often treads familiar paths, VI Anand and his crew venture into less chartered territories, offering a spectacle that is partly thought-provoking and thrilling. Watch it for its performances and impressive technical craftsmanship.