Housefull 5

Housefull 5 Movie

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Director: Tarun Mansukhani
Writers: Tasha Bhamnbra, Sparsh Khetarpal, Tarun Mansukhani

Release Date: June 6 2025

Language: Hindi

Review: Housefull franchise‘s existence is rooted in slapstick comedy, so you walk in knowing what to expect. Akshay Kumar slapping CGI monkeys, girls blatantly objectified and Riteish Deshmukh gobbling a parrot as annoying as the one in ‘Main Prem Ki Diwani Hoon’, don’t surprise you. You snigger at lines like ‘Thokte raho……. Taaliya’, ‘mera popat kabhi nahi uthega’, but overlook the cringe because that’s what the brand is all about. What surprises you is the utter lack of humour, even dirty humour if we may say so in the script and sheer wastage of a zillion actors who are known for their comic timing.Directed by Tarun

 Mansukhani, a far cry from his brand of humour in Dostana, Housefull 5 deserved a script, let alone better writing. In a span of 2 hours, 45 minutes (a bit too long for a whodunnit-comedy), the banal first half is loaded with random songs, pointless arguments, juvenile jibes and loud noise… everything but humour. You desperately miss comic punches. Even Sanjay Dutt and Jackie Shroff’s inclusion as baba and bhidu don’t add up. You feel sorry for these actors reducing themselves to caricatures of their former glory.The film somewhat takes off in the second half but truly sheds its stagnancy only in the climax, a bit too late. This also marks the

 arrival of Nana Patekar. The senior actor, a master of the genre (control Uday… control of Welcome) shows how it’s done. As a dhoti clad interpol chief based in London, rooted in Maharashtra, Patekar is terrific and infuses life into this overloaded, derailed cruise. Sajid Nadiadwala tries to blend comedy with murder mystery through his script and fails at both barring the climax. It’s the last 20 minutes along with Nana’s entry that truly entertain you. This is what you expected Housefull 5 to be… thrilling, unpredictable and funny. Sajid even manages to conceal the identity of the killer till the end, but the humour aspect falls miserably flat.Barring Riteish who manages to entertain, both Abhishek Bachchan and Akshay Kumar get little to play with as far as words are concerned. The women have nothing much to do except for upping the glam quotient and being the butt of several adult jokes. Sonam Bajwa, Fardeen Khan and Dino Morea act sensibly. Shreyas Talpade, Johnny Lever and Chunky Panday are criminally wasted. Talpade just disappears for a major part of the film, but we can’t expect logic here. Can we?

Dragon 2025

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Director: Ashwath Marimuthu
Writers: Ashwath Marimuthu, Pradeep Ranganathan
Release Date: February 21, 2025
Language: Hindi

Dragon Movie Review: Something special about Ashwath Marimuthu's Dragon is how it never judges anyone in the film, neither when its hero makes wrong decisions, nor when a girl decides to reject a proposal or leave a man she deeply loves. Of course, there is a lot of magic happening in Dragon, just like in the director's debut Oh My Kadavule, however, the magic here rather stems from the cinematic liberties that Ashwath makes use of. In simpler words, there are just too many coincidences, and Raghavan (Pradeep Ranganathan) keeps finding easy ways to solve all his problems even when he repeatedly makes careless decisions. Although such coincidences test your patience, the emotional connection you feel with the characters and the spin in the roaring second half make the ride enjoyable.

Raghavan is a typical Tamil hero, who rules the college with his rowdy vibes (Hello Gautham from Sillunu Oru Kaadhal!), doesn't study well, and is ungraduated (we are looking at you, Dhanush from Padikathavan) but besides his stubborn ego and cheating skills, he also happens to live in a world where from his innocent and caring parents and selfless friends to even the college principal or a random stranger — everyone is just too kind and supportive. But what makes this exaggeratedly kind world real is how the characters don’t blindly stand by his side; they advise or chide him before lending a helping hand. And with some tricks up his sleeve, he manages to crack both life and the corporate ladder.

In any other film, all of these would have stuck out like a sore thumb. But Ashwath's magic wand — his interesting writing choices — make this an intriguing outing. For instance, simple choices like deciding to not show the love story of Raghavan and Keerthi (Anupama Parameswaran) until it reaches the verge of breakup and then taking us through their cute romance through a sad song makes even the usual plot line interesting.

Just like in OMK, Raghavan finds an amazing friend and lover in Keerthi (Anupama Parameswaran), who goes out of her way to keep him happy. But Dragon highlights that sometimes a missed chance is a missed chance. From the rainy nights hinting at a change to second chances and college friendships, both frames and characters remind you of the director's debut outing, which works organically for his sophomore venture. Even the famous “Idhu ungallukku sonna puriyaadhu sir” dialogue makes a cameo. Apart from these, you also get hat tips to Premam, Simbu, and other films and actors, adding flavour to the comedy sequences. From roping in VJ Siddhu and Harshath Khan to all the interesting meta references, Ashwath has managed to cater to the youth in all possible ways. Speaking about such references, the film’s other big strength is the small but emotionally loaded dialogues — for example, "Oru thappu panitu easy ah kadantharlaam nu nenaikurom, but adhu thoratite iruku la" — that are written with care.

The casting, too, is simply perfect. Pradeep Ranganathan as Raghavan aka Dragon makes you empathise with him even as he repeatedly makes wrong choices. Anupama as Keerthi too is as expressive as always. Behind all the jokes and silliness the film paints the situations with, there is something deeper to look at. Do we regret our decisions? 

What if we go back to a place we didn't want to be in the first place? Would we live a changed life? And a lot more questions that make the central plot firm and nuanced. The songs and the way they are woven into the narrative is also a great plus to the film.

If you remember well enough, a lot of coincides, magic, and second chances happen in Oh My Kadavule, too but the actual change happens in the characters’ real life, where every action attracts an equal and opposite reaction. In fact, this angle - where the film wanders into even a dreamy land but doesn’t lose touch with reality - is what made OMK relatable, emotional, and special. Retaining the same essence, Ashwath Marimuthu’s second outing is also a fun, emotional, and fully charged ride.

Hit Man Movie

Hit Man 2023 Film

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Director: Richard Linklater
Writers: Richard Linklater, Glen Powell, Skip Hollandsworth
Release date: June 7 2024
Language: English

Review: ‘Hit Man’ is a film that offers nearly two hours of pure entertainment. This quirky romantic comedy, inspired by a magazine article about a man of many talents, captivates with a smart script at its core, telling a simple yet engaging story. Centered around a college professor who also moonlights as a hitman for the New Orleans Police Department, this film makes for an entertaining watch. With a compelling premise, ‘Hit Man’ excels in fleshing out its characters and presents a straightforward, engaging plot. It pays homage to classic noir films about hitmen while blending the right amounts of quirk, comedy, romance, and a touch of sexual tension.

The plot of the film centers on Gary Johnson (Glen Powell), a Sociology and Psychology professor at the University of New Orleans. When he's not busy feeding his cats and teaching students, he works undercover for the local police department. After Jasper (Austin Amelio), a police department employee, is benched for 120 days, Gary steps in his role as a fake hitman, successfully ensuring that those plotting murders are arrested. The story takes a twist when Madison Masters (Adria Arjona) approaches Gary to kill her own husband. After setting the trap and listening to her story, Gary becomes sympathetic and advises her to leave her husband and start anew. However, trouble arises when Madison's husband is found dead. Jasper grows suspicious and decides to investigate further, turning Gary's life upside down.

The most astonishing aspect of this film is that, despite its fantastical and preposterous premise, it maintains a very realistic feel throughout. The screenplay is filled with humorous and witty dialogues, adding an extra layer of charm. While the climax may not be a complete shock, it will still surprise most viewers. ‘Hit Man’ employs a straightforward storytelling format, avoiding unnecessary complications, which enhances its appeal. Once the viewers are hooked in the first few minutes, the film effortlessly maintains its grip on their attention throughout its runtime.

Glen Powell, in the role of Gary Johnson, delivers an impressive performance, carrying the film with his arresting presence and impeccable comic timing. His chemistry with Adria Arjona is fantastic, and their scenes together are a highlight. Powell deserves full credit for portraying a layered character who, through various disguises, convincingly becomes different personas, each distinct from the other. Adria Arjona, as Madison, brings a certain oomph and sexiness to her role, successfully conveying the necessary emotions. Austin Amelio, portraying a suspended cop who is racist and misogynistic, also delivers a credible performance.

Oscar-nominated in 2015 for his direction of ‘Boyhood,’ Richard Linklater excels once again with ‘Hit Man,’ and remains a film that can be enjoyed by all age groups. While this film succeeds as a riveting crime thriller, it also elicits plenty of laughs as a comedy-drama. The classroom scenes where Gary Johnson interacts with his students, discussing human behaviour and interjecting his own experiences, showcase a clever screenplay brought to life by Linklater's skilled direction. This film features great performances, a smart script and thoughtful direction, ensuring two hours of thorough entertainment.

Jumanji The Next Level - 2019 Film

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Director: Jake Kasdan
Writers: Jake Kasdan , Jeff Pinkner, Scott Rosenberg
Release Date: December 13, 2019
Language: English

Jumanji: The Next Level Review: After the adventures of the first film, the gang is making their way through life in the real world. But while Martha, Bethany and Fridge have found their own identities, Spencer is struggling. Since he now lives in New York City, he’s unable to maintain a long-distance relationship with Martha, and they decide to take a break as a couple. Additionally, Spencer has kept the broken Jumanji game and finds himself drawn to it. When his friends discover he has gone back in, they realise they need to return to that dangerous world to save their friend. Only this time, Spencer’s grandfather Eddie (Danny DeVito) and his friend Milo (Danny Glover) are also pulled in.

Lead actors Dwayne Johnson, Jack Black, Kevin Hart, and Karen Gillan quickly find their groove again within the game world. Their chemistry is off the charts and since there’s a new twist with the body-swapping theme this time around, they get to play different personas. Once again, Dwayne Johnson and Kevin Hart make a great pair, playing off each other’s charisma and wit to humorous effect. The new personalities brought in by Danny DeVito and Danny Glover add a whole subplot, which forms the emotional backbone and adds more depth to the story. The older duo shows off their experience, and DeVito steals every scene. Jack Black displays his range in more ways than one, while Karen Gillan revels in the physicality of her performance.

Director Jake Kasdan knows how to elevate the strengths of his cast to great effect, and it shows. But despite the addition of new characters and some new twists in the game, the plot invariably becomes familiar after a while. Additionally, just like the previous instalment, Jumanji suffers from a lacklustre villain. Sure, the focus is predominantly on the group and their hijinks, but the threat of the bad guy never feels real. The plot plays out some similar beats as the previous film, and yet, it manages to get away with it, thanks to the cast. The visual effects are striking, and the set pieces do not disappoint either. While some of the problems of the first film persist, they’ll be hardly noticeable in the end, as the ‘Jumanji’ franchise puts out another entertaining entry with ‘The Next Level’.

Jackpot Full Movie

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Director: Paul Feig
Writers: Rob Yescombe
Release Date: August 15 2024
Language: English

Review: Following The Great Depression of 2026, in the year 2030, an aspiring actor, Katie Kim (Awkafina) moves to LA with hopes of finally living her dream. But soon finds herself in the middle of the 'Grand Lottery' hunt.

During an audition, she mistakenly clicks on her Airbnb host's (Ayden Mayeri) lottery ticket and activates it with her details. Before she can even realise what has happened, Katie wins the lottery which happens to be the biggest yet and finds herself being chased by lottery hunters who want to kill her.

However since the Grand Lottery rules state that she can't be killed with a gun, she finds the moment to make a run for it. And bumps into Noel (John Cena), who has committed himself to protecting those being hunted for the lottery. He asks for a 10% commission as his fee and informs her that her location gets updated to her 'fans' every few minutes by the Grand Lottery's drone. And now they are on the run together.

However at one point, Noel is forced to contact his rival Louis Lewis (Simu Liu) to bail them out of a sticky situation (a hilarious sequence with Machine Gun Kelly playing himself). And while he sends his team to rescue them, Louis Lewis seems to be after the prize money too.

Staying true to it's genre of an action-comedy 'Jackpot' lands the punches and punchlines quite consistently with set action pieces stacked one after the other. However after a while it feels like a repetitive wheel and is exhausting to watch.

With a predictable plot there are no surprises in the storyline but just plenty of twists to keep the narrative running - so it begins to feel like a mash up of preposterous jokes and action scenes on repeat. Some good and some just plain cringe-worthy. However, overall one could even view the theme as a futuristic social commentary where everyone is out to kill someone for the money just because the rules state they can do so.

Awkafina holds up well with her screen presence and comic timing and is good with her action scenes. Simu Liu is a hoot as the evil Louis and John Cena balances the humour and action well. Action choreographer James Young plays to the strengths of each of the actors - Awkafina as the clumsy, inexperienced one yet pulling off the escapes from every tricky situation and Cena as the muscle-man bashing up the baddies.

Overall 'Jackpot' is goofy, at times cringey and unpretentious, not delivering anything more than it promised.

Ghostbusters : Frozen Empire Movie

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Director: Gil Kenan
Writers: Gil Kenan , Jason Reitman, Ivan Reitman
Release Date: March 22, 2024
Language: English

Review: The Ghostbusters franchise is as representative of American pop culture in the 1980s as it gets. However, subsequent sequels have struggled to rekindle the original's magic, and ‘Frozen Empire’ is no different. Set against the backdrop of New York City—a return to the franchise's origins—the film follows the Spengler family's battle against an ancient spirit with ambitions to shackle the city in ice. The narrative's shift back to the bustling streets of New York and the reanimation of the Ghostbusters' firehouse aims to recapture the original's charm. Instead, it underlines the film's inability to establish its own identity. Despite the allure of iconic moments and the return of beloved characters, ‘Frozen Empire’ stumbles, unable to balance its vast ensemble and myriad of subplots.

While it revels in nostalgia, bringing back franchise fan favourites, the film's reliance on these elements feels like a crutch rather than celebrating its heritage. At the heart of the movie’s issues is its script, penned by director Gil Kenan and screenwriter Jason Reitman. The dialogue often falls flat, and the comedic timing, a hallmark of the franchise, is noticeably absent. Not even the usually reliable Paul Rudd can salvage the film's attempts at humour. Meanwhile, fan favourite Bill Murray emerges and exits from scenes without much reason. 

The movie's sprawling cast, each vying for screen time, results in a disjointed narrative, leaving many character arcs feeling rushed or entirely redundant. However, McKenna Grace's portrayal of Phoebe offers a glimmer of hope. Her subplot, involving an unlikely friendship, introduces themes of identity and self-discovery that resonate amidst the chaos. This relationship, though underexplored, hints at the depth and creativity that could have been had the film focused more on character development and less on spectacle.

‘Ghostbusters: Frozen Empire’ is a missed opportunity to reanimate a beloved franchise. While it may momentarily thaw the hearts of die-hard fans with callbacks and cameos, it ultimately leaves audiences yearning for the feel-good factor and wit of the original. Although rich with potential, the film is a mishmash of fan service, underdeveloped characters, and underwhelming humour.

Ricky Full Movie

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Director: Francois Ozon 

Writers: Emmanuele Bernheim, Francois Ozon, Rose Tremain

Release Date: December 16, 2009

Language: French

Review: Parables are stories about other people that help us live our own lives. The problem with the French film “Ricky” is that the lesson of the parable is far from clear, and nobody is likely to encounter this situation in his own life. That would be pretty much impossible. The story begins in gritty realism, ends in pure fantasy and leaves out most of the alphabet as it makes its way from A to Z.

The story begins with Katie , a morose French factory worker who has been abandoned, she thinks, by the man she lives with. We flash back to the beginning and see her living with her peppy 7-year-old daughter Lisa and working in a French chemical factory. There she meets a Spanish worker named Paco , he's warm and attracted, they smile, decide to live together and have a baby.

These events take place in a series of time jumps that are momentarily jolting, but easy enough to follow. Not so easy is what happens to their son Ricky as he grows up. In appearance he seems at first like an outtake from but then when Paco cares for him at home alone, Katie discovers bruises on his shoulders. Paco is enraged to be accused of child beating and stalks out, explaining Katie's opening scene.

These scenes are absorbingly created and well-acted, and we settle in for a French slice of life. I can hardly deal with any more of the film without revealing details. Here goes, after a spoiler warning.

Those aren't bruises, they're the beginning of wings. Yes. Little wings, which at first look so much like poultry parts that Katie tape-measures a turkey wing at the supermarket, just to get an idea. One night, in slo-mo, the wings begin to sprout tiny feathers, which in closeup look like one of those life forms you don't want to make friends with. Soon the little lad has flapped his way to the top of an armoire.

No, he isn't an angel. Maybe more likely the result of his parents working at the chemical factory, although the movie doesn't make that a point. It doesn't much make anything a point. Katie and Lisa are about as amazed as if the child had a lot of hair on its head. You'd think babies with wings were born every day. Later, after Paco rejoins the family, baby Ricky gets a little injury, and the family doctor seems, to me, insufficiently amazed. Surely this is an OMG case?

Because the film is directed by the esteemed,I waited to see where it would take me. At the end, I wasn't sure. The ending has the form of a statement, but not the content of one. Its last half seems to be building to a life lesson, and perhaps the lesson is: “Parents! If you have a baby with wings, don't be this calm about it!”

I couldn't help myself. All during the film, I was distracted by questions of aeronautics. In early scenes, those wings are way too small to allow a healthy baby to fly. Even later, the ratio of wingspan to baby weight seems way off. A scene where Ricky breaks free and flies around a supermarket seems designed for comedy, but doesn't play that way. And what kind of a cockamamie idea is it to hold a press conference and let Ricky fly with only Katie holding a string around his ankle? This is worse than the hot air balloon kid, if there had been one.
The film is bewildering. I don't know what its terms are, and it doesn't match any of mine. I found myself regarding it more and more as an inexplicable curiosity. It's so curiously flat in tone that when a baby grows wings and flies (think about that!), people in the film and in the audience seem to watch with no more than mild interest. “Ricky” makes a good case for lurid melodrama.