Movie Reviews |

Vikram | Movie Review

Vikram

Kamal Haasan is one of India’s best actors. But lately, his movies, similar to his personal life, seem too self-focused. Does Vikram stand out?

Scripted and directed by Lokesh Kanagaraj (part of his cinematic universe), Vikram starts with the murders of a couple of NCB members and an ordinary man, Karnan. Amar (Fahadh Faasil), a black-ops squad/sleeper cell commander is pulled in to investigate, and soon realises that the murders are related to missing drug containers owned by Sandhanam (Vijay Sethupathi), a local cartel leader and a ruthless man. It all comes down to who’s Karnan and how Vikram (Haasan) is connected to the all of this.

In the first half, Lokesh focuses on establishing the characters of Amar and Sandhanam, while the entire second half is about the triangular conflict between Vikram, Amar and Santhanam. While things might seem a little confusing, Lokesh holds our interest thanks to the crisp screenplay in parts. However, some episodes involving Sandhanam and his abilities after getting stoned are ridiculous and even funny. I also thought the interval bang was not well executed; c’mon, there’s one guy and 100’s of goons and police, but not a single gun? There are a quite a few illogical sequences like these in the film.

Kamal Haasan plays his age but looks sophisticated and stylish. He has a paunch in the first song, and I was like, whoa. But even with it, he delivers sleek action sequences in the second half. Fahadh Faasil carries the entire first half by himself and does a fantastic job. Vijay Sethupathi looks menacing, but I thought his character was not well scripted. Narain continues his part from Kaithi as Inspector Bejoy and is decent. Suriya impresses with his act as the antagonist (future films) in the climax. The rest of the cast is alright.

Music by Anirudh Ravichander is groovy and makes an impact on screen. The title track and the music pieces (Once upon a time & Wasted) are well used as background score. Editing by Philomin Raj is mediocre at best; films of this kind need to be sharp, but he fails miserably. The cinematography by Girish Gangadharan is top-notch. The action sequences are well choreographed.

Is it worth your time and money?:If you like action and slick films, Vikram is your cup of tea. But at the same time, the screenplay might be too much to handle at times for a regular moviegoer. Also, there are references to Kaithi/Khaidi, so it might be a little difficult for you to follow if you haven’t watched it.

Worth mention: Kamal Haasan and Fahadh Fasil’s act.

Acting: 8.5/10
Story-Screenplay-Direction: 7/10
Technical Aspects: 8/10

Verdict: 8/10

PS: It would be great if Lokesh could combine Dilli and Vikram’s characters in the next film with Rolex as the villain, rather than making two separate sequels.

Lightyear | Movie Review

Lightyear

Toy Story series happens to be one of my favourite movie series to date, and I was excited when Lightyear was announced. But the excitement died soon once the trailer was out. Unlike the Buzz in the Toy Story series, I thought that this Buzz didn’t have the warmth and lacked the nostalgic touch you’d expect; and I felt the same even after watching the movie.

Nowhere connected to the Toy Story but for the small write-up in the titles, Lightyear tells the origin story of Buzz Lightyear and his adventures as a Space Ranger. Scripted by Matthew Aldrich, Jason Headley & Angus MacLane, and directed by MacLane (who co-directed the mediocre Finding Dory in the past), Lightyear doesn’t feel like a Pixar film. Yes, the animation and graphics are great, and the movie does follow the Pixar theme of a character venturing out into the world and learning to appreciate his friends and family. Still, the emotions and core crux of connecting with the audience were amiss in this one. At the end of the movie, all I felt was, okay, that was just another one, but that’s not what you’d expect from a Pixar film, right? (oh wait, none of their movies in the recent past have felt like that! ). The confusing timeline aspect was also too much to handle (imagine having to explain that to my 3-year-old!).

Chris Evans does his best to pour life into Buzz and make the character his own, but bottom line, he’s no Tim Allen. The rest of the voice cast is alright.

Music by Michael Giacchino is okay. Editing by Anthony J. Greenberg could have been better for even at 107 minutes, the movie seemed long.

Is it worth your time and money?: Skip this one in the theatres and wait for it on Disney+.

Worth mention: Fun episodes involving Sox.

Acting: 8/10
Story-Screenplay-Direction: 6/10
Technical Aspects: 8.5/10

Verdict: 7.5/10

Major | Movie Review

major

I’ve heard good things about Major and was excited to watch this movie. However, I wasn’t much impressed. I believe that it is tough to make a biopic on a war hero, and while Adivi Sesh (script and screenplay) does his homework and comes up with a good film, too much cinematic liberty makes this just an average film for me. Maybe I would have better connected if it were a regular film.

Direction by Sashi Kiran Tikka is mediocre. The Taj siege sequence could have been better handled, for there was pretend and over-the-top action. I am sure there were some brave acts inside the hotel during the siege, but all the team did was make it look larger than life rather than making it real for the hostages and the soldiers. A more nuanced approach would have worked wonders! The woman being “alone” episode also doesn’t add any value to the film.

Adivi Sesh puts in all his mettle to look and be like Major and does a good job. Prakash Raj and Revathi are aptly cast and do their parts well. Revathi is brilliant in the last episode. Saiee Manjrekar and Sobhita Dhulipala are alright. Murali Sharma’s act could have been toned down.

Music and background score by Sricharan Pakala is effective. At about 2 hours, editing by Vinay Kumar Sirigineedi and Kodati Pavan Kalyan is good. The cinematography by Vamsi Patchipulusu is average

Is it worth your time and money?: Major isn’t a bad movie; if anything, it’s a good action movie. But when you add the tag of it being a biopic, it doesn’t work. I am sure Sandeep Unnikrishnan did more courageous stuff than what is showcased in the movie. But, Sesh and the director make his sacrifice for the nation look more commercial and action-oriented rather than making it real and connectable. Also, too much sentiment and cinema/drama dilute the effect.

Worth mention: Adivi Sesh’s act as Maj. Sandeep.

Acting: 8/10
Story-Screenplay-Direction: 6/10
Technical Aspects: 7.5/10

Verdict: 7/10

Ante Sundaraniki | Movie Review

Ante Sundaraniki

First things first, I like Nani. He usually picks sensible subjects, but of late, it seems like he too is taking the formulaic route. Post Jersey, none of his movies made an impact, apart from maybe Shyam Singha Roy (which I thought was a decent watch). Come Ante Sundaraniki, he’s back at his favourite genre, and I was eagerly waiting to see if he still has the charm to woo the audience as he did for, say Ala Modalindi or Bhale Bhale Magadivoy.

Scripted and directed by Vivek Athreya, Ante Sundaraniki tells the story of Sundar, a confused Hindu guy from an orthodox Brahmin family, and Leela, a strong girl from a Christian family. As you’d expect, they fall in love, and Sundar conceives a plan with some significant lies to convince their families for the wedding.

It’s more or less a simple story, but Vivek has handled the subject with a lot of maturity; the film is bold and addresses many unspoken topics, such as choice of pregnancy, infertility, etc., while never trying to be preachy. Every character is very well written and makes an impact on screen. Coming from similar family background, I could relate to most of the content. I loved how Vivek (I’m guessing from his own experiences) showcased the rawness of a Telugu Brahmin household (including the cuss words). There are a couple of illogical sequences, but he has integrated them so seamlessly into the comedic narrative that you don’t tend to delve so much into them. Thanks to the non-linear narrative, the screenplay is compelling and keeps you engrossed all through.

It’s a cakewalk for Nani, and he excels as Sundar. His expressions while conversing with his manager are priceless. Nazriya, a Malayalee actress famous amongst the Teluguites because of Bangalore Days, compliments Nani in every frame. She’s charming, relatable, and fits into the role with ease. Dubbing for herself added value. It’s a meaty role for veteran Naresh, and he does a fantastic job as the orthodox father (he reminded me a lot of the old Naresh from Jandhyala movies). Rohini is apt as the mother and does a commendable job in the final act. Nadhiya and Azhagam Perumal are alright as Leela’s parents. Prudhvi gets a good show after a long time as Sundar’s uncle. Harsha Vardhan is perfect as Sundar’s manager, and the cameos by Rahul Ramakrishna and Anupama Parameswaran are effective. The child artists who played young Sundar and Leela are excellent.

Music by Vivek Sagar is decent. I liked the fact that the songs are blended into the background score. The choreography for the first song with the child artist is worth mentioning. No qualms with the cinematography by Niketh Bommi. Editing by Ravi Teja Girijala could have been crisp, for the movie seemed a little too long. Production values by Mythri Movie Makers are good.

Is it worth your time and money?: I loved the movie, and so did my better half. Ante Sundaraniki is a neat and clean romcom. However, not all might appreciate the overarching message, for I know that we still have people in our society who don’t look beyond caste, religion, superstitions, and other social issues. If you aren’t one such soul, enjoy the movie!

Worth mention: The beautiful chemistry between Nani and Nazriya (would you believe if I said there’s absolutely no intimacy between the lead pair but still it still makes an impact?), and effective storytelling.

Acting: 8.5/10
Story-Screenplay-Direction: 8.5/10
Technical Aspects: 8/10

Verdict: 8.5/10

Top Gun: Maverick | Movie Review

Top Gun

Top Gun, released a month after I was born 36 years ago, is considered a cult classic and remains relevant in pop culture decades after its release. Though it is an aviation-themed drama, the stylish, action-packed sequences and some of the most amazing aerial footage make it one of Tom Cruise’s best films. Does the sequel have enough meat in comparison?

Top Gun: Maverick takes off more or less where Top Gun ended. A few months after serving as a trainer at the Top Gun academy, Maverick (Cruise) moves into different roles within the Navy, not lasting at any of them for long. Thirty years down the line, thanks to Iceman (Kilmer), he gets an opportunity to train the best of the best Top Gun fighter pilots for a special/deadly mission. Part of the pilot group is Rooster (Teller), son of Maverick’s best friend Goose (from the first film). There’s tension between Maverick and Rooster, and the rest of the film is about how they succeed working together.

Scripted by Peter Craig and Justin Marks, the storyline is similar to the predecessor but stronger and sans the drama. Director Joseph Kosinski handles the relationship between Maverick and Rooster, and the banter between the Top Gun candidates in a suitable manner. Rooster and Hangman (Powell) remind you of Maverick and Iceman from the first film. The subtle romantic thread between Maverick and Penny (who didn’t make an appearance but was just mentioned in Top Gun) and the climax stood out for me personally. The screenplay by Ehren Kruger, Eric Warren Singer and Christopher McQuarrie is alright. I, however, felt that the pace of the film was a bit slow at times, especially in the parts where there was a wee bit of drama.

Tom Cruise, what can be said about this guy! Though age shows in a couple of frames, he looks dashing as ever (I’d be lying if I said I wasn’t smitten by him while watching the movie). Miles Teller has a vital role, and he delivers. Jennifer Connelly is good as Penny, and so are Jon Hamm and Monica Barbaro. Glen Powell makes an impression. Ed Harris and Val Kilmer make cameos.

On the music front, the Top Gun Anthem and Danger Zone reused from the original make an impact, and so does I Ain’t Worried by One Republic. I thought the sound mixing could have been better, especially for the film’s first few minutes (including the main titles). Editing by Eddie Hamilton could have been tight. The cinematography by Claudio Miranda is exceptional. The electrifying aerial shots are very well choreographed.

Is it worth your time and money?: A big yes. Top Gun: Maverick is a well-executed film that, in many ways, is better than its predecessor. Tom Cruise holds the fort (like in most of his movies) and ensures you are in for a ride! Watch it in IMAX or at least a big screen for the best experience.

Worth mention: Cruise’s charm and the spectacularly shot aerial sequences.

Acting: 8.5/10
Story-Screenplay-Direction: 8/10
Technical Aspects: 8.5/10

Verdict: 8.5/10

Mimi | Movie Review

Mimi Poster

Director Laxman Utekar’s previous film Lukka Chuppi was a decent flick and the trailer of Mimi looks promising. But does the movie live up to its expectations?

Scripted and screen-written by Utekar and Rohan Shankar, Mimi, a loose remake of the 2011 Marathi film Mala Aai Vhhaychy! (which was remade in Telugu as Welcome Obama in 2013), tells you the story of a young damsel from Rajasthan, wanting to make it big in Mumbai. In want of quick money, coordinated by a local taxi driver Bhanu, she agrees to be a surrogate mother of an American couple. Few months into the pregnancy, the couple backtracks when they get to know that the unborn child might have Down Syndrome. The rest of the story is about how she handles the situation, and whether she gives up on the child.

Utekar does a good job handling the subject, infusing humor in most of the scenes. However, the reasoning for the doctor revealing that the child might have a disability, knowing that they might change their decision, seemed contrived and unconvincing. Also, Mimi’s parent’s reaction when they get to know about the pregnancy could have been better showcased. They are super upset in the first instance, and the scene turns comic when Mimi lies that Bhanu is the father. Some of the dialogues are well-written and impactful.

Kriti Sanon gets a meaty role, and she excels playing Mimi. She should be commended for taking up such a challenging role. Manoj Pahwa and Supriya Pathak are alright as her parents, but their characters could have been more powerful. The showstopper however is Pankaj Tripathi. With perfect yet subtle comic timing, this is one of his best performances.

Music by A. R. Rehman is not the best, but passable. I liked “Hututu” song in particular. The background score was a little uneven though. The cinematography by Akash Agarwal, and editing by Manish Pradhan are good. A little over 2 hours, the film’s length is just about perfect.

Is it worth your time and money?: It’s a good watch, yes. After Pagglait, Netflix has another good film under their belt.

Worth mention: Pankaj Tripathi is at his best!

Acting: 8.5/10
Story-Screenplay-Direction: 7/10
Technical Aspects: 8/10

Verdict: 8/10

PS: I liked the fact that they set up the story in 2013 when foreign surrogacy was still legal in India (banned later in 2015).

I also came across a few comments on social media that the film showcases Down Syndrome in a bad light. I agree to disagree on that point for I thought that the entire episode was dealt with maturely. Yes, they still showed it as a disability, but Mimi rejects the idea of abortion and decides to carry the child to term. If anything, the American couple is shown as small-minded fold who return for the child when they realize that he’s alright. 🤬

Narappa | Movie Review

Naarappa Poster

Quite a few Telugu movies were released on OTT in the recent past but none made an impact. After a lot of delays, Narappa was confirmed to release on Amazon Prime, which airs the original Asuran as well. Risky move? Let’s find out.

A remake of the 2019 Tamil film Asuran, which in itself is influenced by the real-life Kilvenmani massacre that occurred in Tamil Nadu in 1968, Narappa narrates the story of a poor farmer and his family in the 1980s, and their tussles with the local landlord resulting in Narappa’s younger son murdering the landlord. Narappa, who is looked upon as a spineless loser by his son, flees with him into the forest to protect him. Rest of the story is about Narappa’s hot-blooded past, and how he saves his son.

I watched Asuran first before starting Narappa, and I felt that I was watching the same movie again, for it is a frame-to-frame replica of the original. Except for one fight, every scene is literally a cut-copy-paste. The sets, background characters, most of the locations, down to the minute little detail. I’ve seen quite a few remakes, but this one seemed extreme.

Asuran vs. Narappa

The only difference I observed is in the climax fight, the original version has the village elders disapproving the son being hurt, which is missing in the Telugu version. That apart, same to same. Srikanth Addala, the credited director of the Telugu version, didn’t even attempt to showcase the storyline as per his point of view. I understand that Vetrimaaran wrote the screenplay for both versions, but how difficult is it to make the movie yours? Addala didn’t even do a good job replicating the emotions for the punch was missing.

Comparison apart, I honestly didn’t feel that the story that appalling in the first case. The concept of the elder son rebelling against the landlord was sure to result in him being killed; it’s like he’s asking for it.

It is more or less a cakewalk for Venkatesh, and he apes Dhanush in every shot. What I fail to understand is why he didn’t make the character his own. Priyamani is okay, but her dubbing in the slang seemed a little off. Ammu Abhirami and Aadukalam Naren are the two actors who reprise their roles from the original and do justice. Ammu Abhirami, however, looked odd romancing Venkatesh onscreen given their age difference. Newcomer Rakhi, who played Narappa’s younger son, does a commendable job. The rest of the cast is alright.

Mani Sharma is credited as the music director and G. V. Prakash Kumar is thanked in the title credits, but I thought it should have been otherwise for the music and background score is more or less the same as the original (but for the only different song is “Ooo Narappa”). The title score is good. Art work by Gandhi Nadikudikar in the flashback episodes could have been better. It’s regular business for cinematographer Shyam K. Naidu and editor Marthand K. Venkatesh for they just had to copy the original with no uniqueness. The Telugu version is about 15 minutes longer than the original, I wonder why?🤔

Is it worth your time and money?: If you’ve watched Asuran, then it doesn’t make sense at all. If you are a non-gulti, then watch the original and give this one a miss. If you are a telugite, then watch it at you’re leisure. It’s not a bad film, but I wish it had some originality to it. I rest my case.

Worth mention: The original?

Acting: 7/10
Story-Screenplay-Direction: 6/10
Technical Aspects: 7.5/10

Verdict: 6.5/10

Toofan | Movie Review

We’ve seen quite a few sports dramas release in the recent past, and from the first looks of it, Farhan Akhtar and Rakeysh Omprakash Mehra’s Toofan looked very similar to Salman Khan’s Sultan. Their last collaboration, Bhaag Milkha Bhaag was a sports drama as well, but it was a biography of the great Milkha Singh, which gave it the edge. But this time around, all we get is a boring drama.

Written by Anjum Rajabali, Toofan is a potpourri of Hollywood and Bollywood movies. He basically picked the storyline from the Rocky franchise and put it the mixer with some tadka. Right from the word go, it gives you the feeling that you’ve already seen this somewhere. And the feeling doesn’t end even after a wrenching 2 hour 40 minute drag.

As you’ve seen in the trailer, Aziz Ali is an extortionist, who discovers boxing overnight after watching a few videos of Muhammad Ali on YouTube, and becomes and becomes a state champion after 5 fights (wish life were so easy!). Supporting him through this journey are his doctor cum love interest Ananya Prabhu, and a khadoos coach Nana Prabhu (Wait, are they related?). You know what happens next; add an orphanage, some bigotry, love jihad, ban for 5 years, a daughter, a death, a comeback, an erstwhile opponent who becomes an evil boxing federation official, some melodrama, and a final bout with a maniac on steroids. Did I divulge too much?

It felt like Mehra and Akhtar were bored out of their minds and decided to rehash Bhaag Milkha Bhaag just for the heck of it. The training montage, the background score, the acting, the direction, all the same. Every time I heard “Toofan” in the background, “Zinda” was playing in my head. Okay, maybe this one has a different storyline, but it’s so god damn predictable and stereotypical. The unnecessary and illogical twists don’t help. It’s such lousy writing that they couldn’t even find a good reason to kill one of the characters (stampede on a Railway station, really?). Direction by Mehra is meh, screenplay by Rajabali is mediocre, and some of the dialogues by Vijay Maurya are, how to say this, uncalled for. Enough said.

Akhtar, as you’d expect, puts in all his effort to become a lean boxer, not once but twice. He’s good, but there’s nothing new in his acting. Paresh Rawal looks odd as a boxing coach, but is at home playing a bigoted character. Hussain Dalal is alright, Vijay Raaz and Supriya Pathak are wasted. Mrunal Thakur is probably the only saving grace. With a meaty role as Ananya, she does justice. The kid is good.

Music by Shankar Ehsaan Loy is decent. The title track, (if you forget its similarities to “Zinda”) is good, Purvaiya is neat. Todun Taak composed by Dub Sharma is groovy. All songs in the movie play in the background but for “Star hai tu” seemed odd on screen as the voices didn’t fit, especially with Akhtar. Cinematography by Jay Oza is neat. The boxing fights are well choreographed but don’t have any oomph factor associated with them. Editing by Meghna Manchanda Sen could have been better. There was no need for this movie to stretch for an eternity.

Is it worth your time and money?: As I said before, Toofan happens to be a potpourri of a dozen or so movies and offers nothing new. Sports dramas are to create an adrenaline rush that makes you root for the protagonist. But here, forget rush, you know the result of the fights even before they start. You may watch it at your leisure given that it’s on Prime, but I’ve given you enough head’s up, so don’t blame me later.

Worth mention: Mrunal Thakur?

Acting: 7.5/10
Story-Screenplay-Direction: 6.5/10
Technical Aspects: 7/10

Verdict: 6.5/10

Baahubali – The Conclusion | Movie Review

Baahubali - The Conclusion

Before reading my review of Baahubali – The Conclusion, I’d suggest you read my review of Baahubali – The Beginning

I called Baahubali – The Beginning a half-baked biscuit. Having watched it more than a couple of times in the last two years, I might have eased a bit towards the movie, but I’d still say it could have been so much more. Tell you what, remove the first half of The Beginning, with the folk love story, and we had a winner. Alas!

Come Baahubali – The Conclusion, thankfully we’re done establishing the characters, and seem to have better grip on the script, which helps us delve right into the story. The result – an epic conclusion.

Rajamouli’s “conclusion” starts off right where it ended in the first film, with Kattappa reliving the tale of how Amarendra Baahubali and Bhallala Deva fight off the Kalakeyas, and Amarendra being appointed as the king by Sivagami. Before he takes oath, our soon to be king and Kattappa take off on a kingdom tour, to understand the well-being of the people. On this journey, they run into Devasana, a beautiful fiery damsel, princess of one of the small nearby kingdoms. Amarendra sneaks into their kingdom as a nobody, and soon we have love blossoming. Bhallala interferes, one thing leads to another, and we have the interval bang.

Rajamouli succeeds to keep the entire first half gripping without losing out on the entertainment factor. The grandeur is all there, the visuals are great (barring a couple of terrible graphic blunders), and here is the director we all know about. The second half finally reveals why Kattappa killed Baahubali (#WKKB). While this is for all the obvious reasons and an easy guess for most, Rajamouli showcases it beautifully, intertwining it with some tear-jerking emotions. We’re back to the present day, and like in the first part, the story drags a bit before ending with a clichéd yet perfect climax. Screenplay is near perfect, and overall, a grand conclusion to years of efforts from Rajamouli and team; an epic saga, but for its minor flaws, could easily be touted as a masterpiece! Don’t get me wrong, the movie has its share of noticeable flaws, but the overall big picture douses them.

Prabhas excels as Amarendra. He couldn’t have asked for a better characterization, and he performs to the T. While I was not so happy with his looks and performance as Mahendra (Shivudu) in the first part, he ensures that he showcases subtle yet matured variation for this character. Anushka is gorgeous as the feisty princess. Who cares if they’ve digitally sculpted her when she looks so damn beautiful on-screen? And man, everyone knows that she can act. Rana has a limited screen presence, but he makes his presence felt in every aspect with a commendable job. Sathya Raj is very good, while Ramya Krishna and Nassar do justice to their roles. Subba Raju surprises with his cameo. Tamanna, who? Rest of the cast have improved their act.

On technical front, there is tremendous improvement when compared to The Beginning. Music and background score by Keeravani is better. And unlike the first film, almost all the songs are interlinked into the movie. I personally loved the title track and its use as background score. Cinematography by Senthil Kumar is spectacular, as expected. Special mention to the action sequences – they are all perfectly shot. The graphics are better, but a few make you cringe for they looked like scenes from an animation movie. Editing by K V Rao is perfect barring one shot during the climax sequence. Sets are grande, and production values are excellent.

Bottom line.. wait, did Rajamouli and team happen to read my review for Baahubali – The Beginning? They seemed to have improved or even bettered on almost every aspect I’ve highlighted. The story-telling is impeccable, and yes, now we are definitely a part of world cinema. World, look at us! 🙂

“It’s disheartening to see a director who took this path falling back and taking the easy road.”

Rajamouli, I take back my words. You’ve walked the tough road, and succeeded!

Is it worth your time and money?: Oh yes. I can proudly say that Baahubali – The Conclusion is one of the finest works in recent time. Watch it not just for the grandeur but for the amazingly perfect storytelling.

Efforts are channelled in the right direction, and Baahubali is now an epic.

Worth mention: Direction, storytelling, visuals and production values.
Acting: 8.5/10
Story-Screenplay-Direction: 9/10
Technical Aspects: 8.5/10

Verdict: 8.5/10 + 0.5 for Rajamouli

Now we all know why Kattappa killed Baahubali. 🙂

PS: I believe a bigger chunk of people loved the first movie better, but this is the winner for me!

Dear Zindagi | Movie Review

dear-zindagi

Four years after her directorial debut, Gauri Shinde is back with what looks like another feel good film. The trailers looked promising, but does Dear Zindagi live up to the expectations? Let’s find out!

Kaira, aka Koko, is a mid-twenties hipster who is struggling with almost everything in her zindagi. Her career as a cinematographer is in doldrums mainly because of her commitment issues with the director of her dream film, her land lord kicks her out from her apartment in Mumbai cos she’s a single girl, and she isn’t happy about moving to her home town Goa because of unresolved issues with her parents. They might not seem like a lot for a commoner, but Koko is burdened by these issues in her zindagi. She unwillingly moves to Goa where she bumps into a dimakh ka doctor (psychiatrist) Jahangir Khan. Though reluctant at first, she opens up to the doctor. With lines like “don’t let the past blackmail your present to ruin a beautiful future” he makes her realise how petty she’s being, and voila, becomes happy with her zindagi.

Gauri tries her best to keep the feeling up-beat but fails on more than one occasion. The first half is vibrant yet dramatic, for everyone on-screen is trying too hard to fit into their roles. The film eases a bit in the second half, but the uncannily long therapy sessions make you feel like you’re sitting in therapy. Her intention of making you feel like that there is always more to life starts to lose charm, and you start yawning (some folks, in fact, left the theatre). Barring these slips, screenplay and direction are alright.

Alia shines as the protagonist. She gives her best performance till date when she opens up in the latter half of the movie. Shah Rukh looks mature and fits the bill perfectly. Thankfully, unlike himself, he’s very subtle. Ira Dubey and Yashaswini Dayama are good as Koko’s friends. On the downside, her parents seemed artificial, primarily because of their pitiable characterisations.

Music by Amit Trivedi is peppy with “Love you Zindagi” making a mark. Background score, or the lack of it, should have been better dealt with. The silence during therapy sessions was traumatising. Cinematography by Laxman Utekar is neat while editor Hemanti Sarkar was too lenient with the final cut.

Is it worth your time and money?: Dear Zindagi barely makes the cut as a feel-good film. For some, it will sure seem like a lecture. Nevertheless, the performances by lead cast make it a onetime watch.

Worth mention: Alia’s performance in the second half.

Acting: 8/10
Story-Screenplay-Direction: 7/10
Technical Aspects: 7/10

Verdict: 7.5/10