Coolie – Big Names, Bigger Disappointment

When you hear Lokesh Kanagaraj + Rajinikanth, you expect fireworks. Add Nagarjuna, Upendra, and Anirudh to the mix, and it should be a box-office storm. Instead, Coolie feels like a damp sparkler—bright for a second, then gone.

The core problem? Weak writing and worse casting. Nagarjuna as a villain never convinces—his role is so flat, you forget he’s supposed to be dangerous. No one in the cast matches Rajini’s screen presence, making every “hero vs villain” moment feel one-sided from the start.

The plot is a mess. A customs officer who’s also a smuggler’s son, shady backstories that don’t connect, villains whose “business” is never clear, and a laughably bad electrocution-chair scene straight out of a TV crime show.

Multi-starrer magic? Nope. Upendra’s “Khaleesha” is a wasted cameo, and even surprise names can’t save the sinking ship. Anirudh’s BGM throws everything at you, but instead of goosebumps, you get noise fatigue.

When a script falls apart, the audience starts asking “why” about everything—and here, there are plenty of whys. I don’t want to directly compare this to their previous works, but Jailer had everything a commercial flick needs. Coolie had none of it. Lokesh didn’t bring the same lessons from Vikram, where even with the hero appearing 30–40 minutes in, the excitement stayed high. Here, there’s no excitement—halfway through, you still don’t know what you’re watching

The only moment worth remembering is the flashback with vintage Rajini—it’s the one scene that makes you smile and think, “There’s my Superstar.”

Coolie teaches a harsh truth: when you make a movie just to tick business boxes, you might fill seats on day one, but you won’t win hearts.

Verdict: Skip the film. Play the Monica song instead—you’ll have a better time. Or Go for Rajni’s show throughout and dont judge.

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PADMAVAT(I) – A CINEMATIC MASTER PIECE. BUT AN UNNECESSARY SUBJECT

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*This is not a review of the film

After a long round of controversy in the field, Padmaavat releases to a raving response from the audience. To sum up the film, Padmaavat is a cinematic master piece. A lot of talk about the performances of the main lead, Ranvir as Alaudin Khilji, Deepika as Princess Padmavati and Shahid Kapoor as Ratan Singh but for me the highlight of the film however is its screenwriting. Let’s face it Padmaavat has a climax which most knew and the plot was a give away in the trailer but then every scene amazes you which makes you eager for a what-next movement? Sanjay Leela Bhansali once again proves his mettle with his writing. Sanjay Leela Bhansali is not just a fantastic director, writer and musician but yes, Bhansali is a great feeler. A writer-director must be able to feel emotions in real life order to project them on the screen. In fact most of his films serve as inspiration for many prospective writers- directors. A film should be able to evoke the emotions in you and make you feel numb in your throat and one can only do that if one were to be emotionally tuned in reality.
Sanjay leela Bhansali is an artistic legend undoubtedly but the big question is, is the subject important today. No! This is not a Karni-sena sympathising write-up. In fact Karni Sena have messed it up by not drawing political mileage out of this. Padmaavat is a pride of the Rajputs.
Take for instance, a scene, where in a war sequence the Khilji’s kill a fighting Rajput warrior, the warrior continues to fight despite being beheaded. For me Padmaavat is a true portrayal of the valour and courage of Rajput. But the truth is, in the process, the film might have the potentiality to stir up a communal clash. It’s a known fact that India was ruled by the Mughal and associate rulers for over 400 years and that they have plundered wealth, land and women. But that’s how the aspirations were back then. The problem with Padmaavat is it resurfaces the villain who haunted us many years back which only creates more hatred for the indirect descendants who have nothing to do with it now.
Padmaavat although a master piece is just not what the doctor ordered for the society now at this juncture. A film is not just a canvas for entertainment but also is a stimulant for many. Like, a film like Bombay showed how meaningless riots are and how it’s extremely important to have harmony. And that served as a stimulant for many instilling sense in the otherwise extreme mentality. As Osho rightly says, it’s easy to hate than to love as hatred is natural. A film or a piece of art shouldn’t directly or indirectly create hatred but stimulate positivity or at least boldly speak of the missing link in the society. But to retell a supposedly fantasy tale which villainies a section of the society indirectly is damage to the society and demeaning to a legendary thinker-artist- film maker who has so much to offer to us.

Let the politicians engage in dividing us, at least as non-politicians let us be aware that only in harmony there can be holistic and individual progress and development. And trust me, only that will bring food to the table and peace to the mind.
Padmaavat is cinematically awesome but socially awful.

– “Shanky” Shankar  

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Arjun Reddy

“Arjun Reddy” is a powerful film that explores the complex emotions of its lead character, Arjun, with captivating performances by Vijay Devarakonda and supporting cast. The film, directed by Sandeep Reddy Vanga, showcases excellent character development and storytelling. The characters are brilliantly crafted and are depicted with such realism that the audience is drawn into the world of the film.

Vijay Devarakonda delivers a standout performance as Arjun, effectively conveying the character’s pain, prejudice, sorrow, happiness, anger, love, and other emotions. The director’s ability to create a relatable character that audiences can connect with is remarkable.

The film’s romantic scenes are tastefully shot, showing the pure hearted love of the protagonist without any vulgarity. The film’s background score is intense and perfectly matches the performance of the lead character, elevating the impact of the film’s emotional scenes.

Another noteworthy character in the film is Arjun’s friend Shiva, who serves as a source of stability and sensibility for Arjun. The dialogue in the film is well-timed and adds to the overall impact of the film.

In conclusion, “Arjun Reddy” is a must-see film for fans of powerful storytelling and captivating performances. The film’s realistic depictions of emotions, combined with excellent direction, dialogue, and background score, make for a truly memorable cinematic experience.

Thats all for now , signing off at 2:36 AM , but will surely write about this more.

PS: Vijay Deverakonda has created a new name for himself in Telugu cinema with his performance; and kudos to the director and his guts to make a film like Arjun Reddy.

I don’t know why the reviewers display so much misery that even ratings are given like 3.5, 3.75, 3.25

Give a full-hearted 5 to films that are over the top.

Arjun Reddy- 5/5

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Janatha Garage

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Janatha Garage is a refreshing change from recent Telugu films, delivering a powerful and well-crafted script with standout performances from the lead actors. The film, directed by Koratala Siva, skillfully manages to steer clear of sentimental and emotional excess, instead focusing on character development and motivation. The protagonists, Anand (NTR Jr) and Satyam (Mohan Lal), are driven by the goal of helping people, which provides a clear and compelling narrative throughout the film.

The script is tight, avoiding unnecessary subplots or deviations from the central theme, and the characters are depicted with great care and attention to detail. NTR Jr’s performance as Anand is a standout, as he takes on a role far from his typical over-the-top, star-image portrayals. The background score is also noteworthy, adding to the intensity and impact of the film’s dramatic moments.

The film concludes with a satisfying and impactful final scene, which leaves the audience with a powerful message about the importance of helping others. Janatha Garage is a must-watch for anyone looking for a well-made film with memorable characters and a powerful narrative.

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