Bharathi Pradhan

There is a lot going for writer-director Umesh Shukla’s new film that strikes a quirky equation between Mamta Mishra (Divya Khossla Kumar) from the slums and suited-booted Abhishek Verma (Neil Nitin Mukesh). And take it from us, there’s nothing romantic going on between them. But what Mamta is all about doesn’t add up. She’s got a kid and a mother-in-law (Chhaya Kadam) who hits the bottle all the time. She’s got a job at the railways and moonlights as a waiter. And the three stay in a locked up little flat, leading the landlord on a merry chase. Along with writers Siddharth Goel, Jay Master, Deepak Nirman and Himanshu Tripathi, Umesh Shukla’s feel for comedy strikes from the first note. But the story really gets going when suave but sleazy Abhishek Verma who’s late for a meeting with a politician (Zakir Hussain), dumps his car that’s stuck in a traffic snarl, jumps into the metro and loses his mobile phone.

Mirai is no ordinary stick. It’s a divine staff, the use of which baffles rudderless young Super Yodha (Teja Sajja) who must dedicate his life to a mission where the Mirai will work its miracles and help him succeed. Writer-director-cinematographer Karthik Gattamneni goes time-trotting and globe-trotting. Hark back to the times of Emperor Ashoka, glimpse at Lord Rama and Hanuman. Also go futuristic with set action pieces overloaded with VFX. Move from the Himalayas, Varanasi, Morocco, Hyderabad and Japan to hidden temples, the Kumb Mela and faraway islands. The target is simple: Super Yodha must save the nine granths or scriptures from falling into the hands of Mahabir, a dark force (Manchu Manoj who must wear black). He has already misused his tantrik powers and gained even more strength from eight granths. Super Yodha must save the ninth.

Sequences that stun and performances that force a watch: The humiliation of CBI officer Shiva Pandit (Darshan Kumar) in Husseini House, on the orders of a weak-kneed senior (Puneet Issar). Contrast it with an earlier Zanjeer moment when Shiva crisply tells off Husseini’s goon that he hasn’t been given permission to sit. The dining table cool of criminal Sardar Husseini (Saswata Chatterjee) with elegant wife (Madalsa Sharma) playing gracious hostess, the underlying menace palpable. The goonga pagal (Mithun Chakraborty) as his story seeps out, a piercing moment when he helplessly tells Shiva that he can’t talk. Tongue cut off, castrated, yet the fire burns The public lynching of Gandhian Judge Banerjee (Priyanshu Chatterjee) even as he defines equality and justice while Ghulam (Namashi Chakraborty) kicks on mercilessly. The undying spirit of Chaudhry Kaku (Dibyendu Bhattacharya) in his guillotine moment at Noakhali when Ghulam demands, “Bol, Pakistan zindabad”.

A pamphlet from the Kerala Tourism department will mention

• Elephants
• Kalaripayattu
• Boat races
• Coconut trees
• Lungis
• Banana leaf meals
• Mohini Attam

Why director Tushar Jalota needed co-writers Gaurav Mishra and Aarsh Vora to tell the story of billionaire baap ka beta Param Sachdev (Sidharth Malhotra) and Sundari (Janhvi Kapoor) is curious for it doesn’t go beyond the tourism pamphlets of the scenic state. Ah, yes, what the pamphlets miss and Jalota gets is that God’s own country is unwelcoming of guests, calls their shorts chaddis and insists on a lungi. It’s called fun, in Jalota language. In a shrinking world where barriers between the North and the South have come down, alongside tech talk like apps, AI and algorithms, Jalota flies the Punjabi munda to Kerala who gapes at its culture and its people like he’s in a different galaxy. Param has used a new app to find his soulmate and there she is doing the Mohini Attam in her home stay. Soon, Sundari must give him the mandatory dressing down on how Kerala is different from Tamil Nadu like he’s been living in a North Indian cave.

This was the nadir YRF was fast plummeting to when Saiyaara lifted it temporarily. It’s a thud back to Thugs of Hindostan times. Around halftime, the thought was, so far so bad. But it got worse. We’d walked with a wolf, sparred in Japanese, fought an army of samurais, had car to car, bonnet to bonnet confrontations, travelled from Berlin to Delhi to the Somalian seas and the Himalayas, had coffee in Spain, got introduced to forced acronyms like MICE and LDBD, met Kaul (Anil Kapoor), the new RAW chief, saw Luthra (Ashutosh Rana) the old chief die with ‘India First’ on his lips, and we met Kabir (Hrithik Roshan), Vikram (NTR Jr) and Kavya (Kiara Advani) with ‘Aavan jaavan’ playing in the background. But, and it’s a big but, we hadn’t moved from where we’d begun.

There’s a dialogue by hero Neelesh (Siddhant Chaturvedi) to heroine Vidhi (Triptii Dimri) that goes, ‘Gehri neend mein ho.’ It is like being awakened from deep slumber when director Shazia Iqbal brings Hindi-medium, backward caste Neelesh from the ‘Bheem baja dhol band’ into a law college. It is hard-hitting and if you’re prepared for it, there’s enough going on to draw you in. Neelesh has an interview. There are friends who bring him a pair of shoes. A feisty chawl mother (Anubha Fatehpuria) gives him last-minute instructions, “Listen to your head but speak from the heart.” Ansari (Zakir Hussain), the Principal of the law college, who doesn’t want the reservation quota boy to waste time on ‘Jai Bheem’ politics on the campus. Ahirwar, a surname almost like a slur.

Everything about a sardar and Punjabiyat is reinforced. The credits open with the title song and each time ‘Son of Sardaar’ is mentioned, there’s a closeup of Ajay Devgn pointing to his kada. Heavy with many mentions that a sardaar never turns his back on anyone under his protective wing, simple farmer Jassi (Ajay Devgn) steps into the UK and into a role he’s eminently unsuited for. The energy that comes with the title prepares you for rambunctious noise. But what director Vijay Kumar Arora and writers Jagdeep Singh Sidhu and Mohit Jain serve is consistent comedy that doesn’t evoke even a smile. At least 80 per cent of Jassi’s adventures in a foreign land where wife Dimple (Neeru Bajwa) has summoned him only to ask for a divorce and for her share of his property, is like an amusement park without joy rides.

An army man sworn to protect his country at any cost. Even if the cost is his young son’s life. It resembles the premise of the Dilip Kumar-Amitabh Bachchan starrer Shakti (1982), tautly directed by Ramesh Sippy. Dilip Kumar had played uncompromising DCP Ashwini Kumar who wouldn’t negotiate with a gangster even if it meant endangering son Vijay’s life. Vijay, played by Amitabh Bachchan, had grown up resenting his father and had purposefully walked off in the opposite direction – to the world of crime. Travel to a troubled Kashmir in the 90s and transplant the Shakti theme against an Indo-Pak backdrop, with Soumil Shukla and Arun Singh (along with Kausar Munir and Jehan Handa) taking credit for story, screenplay and dialogues. After running to the rescue of his men who’ve walked into a trap, a fierce exchange of fire and much hand-to-hand combat, staunch army man Vijay Menon (Prithviraj Sukumaran) captures dreaded brothers Qaabil (KC Shankar) and Aabil (Rohed Khan). But when his own son Harman (Ronav Parihar) is nabbed, Vijay faces the toughest decision of his life – release the terror brothers who are wreaking havoc in the valley in exchange for his son?