Temper movie review.

rating: 3.5/5
Punchline: Intense & Brave
Genre: Action
Type: Stright
Banners: Parameswara Art Productions

Cast: NTR, Kajal Agarwal, Prakash Raj, Kota Srinivas Rao, Tanikella Bharani, Ali, Posani Krishna Murali, Subbaraju, Madhurima, Banerjee, Vennela Kishore, Jayaprakash Reddy, Saptagiri, Kovai Sarala, Rama Prabha, Pavitra Lokesh etc

Story

Daya (NTR) is an orphan kid and he observes that police are the most respected people and they also make a lot of illegal money. On that pretext, he decides to become a cop. Waltair Vasu (Prakash Raj) is a big bad guy and wants a convenient police officer to get his dirty work going. Daya obliges and gets benefited in return. Suddenly something happens which affects Daya personally at a later point of time. The rest of the story is all about how Daya redeemed himself.

Artists Performance

NTR: NTR gives a performance of lifetime. He plays a character that transforms from a bad guy to a responsible man. And there are several phases in it and he has shown slight variations each phase perfectly. Loved his arrogance when he meets Prakash Raj for the first time. His performance in police station fight, court scenes, beach episodes and climax (all scenes in latter part of second half) is extraordinary. His dances movements for Temper title song are his best till date. NTR’s conviction for a 6-pack look which appears for few seconds in a song stands as testament for his hard work.

Others: Kajal Agarwal has a limited role and she did well. Prakash Raj is entertaining in the role of villain. Posani Krishna Murali steals the show with a single expression and excellent characterization (and without using his inevitable word Raja in his dialogues). Vennela Kishore does well as a bakra with flute in a brief role. Tanikella Bharani, Madhurima and Pavitra Lokeshplay vital roles. Jaya Prakash Reddy got another entertaining character.

Technical departments

Story - screenplay - direction: Vakkantham Vamsi has given a powerful story that has the unique element of hero transforming from a bad guy to good guy. The writer has chosen Posani Krishna Murali character as Manasakshi of NTR. The play between these two characters is written well. Puri Jagan’s work in this film is strengthened because the story is given by an outsider. Puri Jagan has written excellent characterization for NTR. NTR is the villain and NTR is the hero in this film. Puri Jagan has shown the redemption of hero character in an emphatic style. The way redeemed NTR corrected his wrongdoings is very powerfully mounted. The climax point of the film is brave and would have failed if there is no emotion in movie. But the climax is effectively handled. There are certain illogical scenes (like why didn’t hero made multiple copies of CD etc). But the intensity and instant gratification in second half makes sure that logics are overlooked. Puri Jagan strikes back after a gap with an emphatic film.

Other departments: Cinematography by Sam K Naidu is good. I personally liked Devuda and Ittage Rechipodam songs on audio. On screen, Temper and Devuda songs are highly entertaining because of right placement. NTR’s superb steps are added attraction for Temper title song. Background score by veteran Mani Sharma is compelling. Puri Jagan’s dialogues are a great asset. He has penned powerful and honest dialogues in addition to his trademark hero characterization dialogues. Editing by SR Sekhar is good. Art direction by Brahma Kadali is neat. Action choreography by Vijay is striking. 


Analysis: Temper is a film about bad guy reforming himself. The episodes of bad guy are entertaining and episodes of good guy are intense. NTR plays the unique role of villain/hero in this film. Puri Jagan has brilliantly used supremely talented NTR to deliver a powerful film in the form of Temper. In spite of some illogical scenes and inconsistencies, Temper is one of the best movies of Puri Jagan and has the best work of NTR. On the trade front, Temper will be a huge hit with serious chances of breaking records. Go and watch it!

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jupiter ascending review

ou can hear Morpheus’ words blaring in your ears the further and further you go into the Wachowski siblings’ latest film, Jupiter Ascending. It takes no more than 10 minutes to realize that the duo responsible for The Matrix swallowed red pills by the handful, like so many Very Cherry Jelly Bellies, and went deeper into Wonderland than ever before, coming out the other side with their weirdest movie yet.

But first, the set-up: Jupiter Ascending begins on Earth, in Russia, as a local woman falls in love with a British astronomer. He dies, but before he does, he impregnates his lover, who leaves Russia in her grief and gives birth to a baby girl somewhere in the middle of the Atlantic Ocean on her way to America.

That girl is Jupiter Jones (Mila Kunis), and when she becomes a young woman, she seems destined for little more than turning dirty toilets into pristine thrones for elite Chicagoans who fancy themselves Cinderella. As it turns out, it’s Jupiter who boasts the Cinderella story, and the claim to a pristine throne. Her fairy grandmother comes in the form of a man-wolf space-outlaw named Caine Wise (Channing Tatum), the glass slipper is her DNA, and her eventual royal prize is nothing less than Earth itself.

Warner Bros. Pictures

Confused yet? Let’s muddy the waters even more: It turns out that the universe is under the thumb of an ancient dynasty known as House Abrasax, and the three children of the family are warring with one another over planets and resources. With their mother dead and gone, each of the three wants to make a play at Earth, currently the crown jewel of the universe with its bountiful population ripe for harvesting. But the eldest son and Earth’s heir, Balem (Eddie Redmayne), finds his claim challenged when he and the other siblings learn of Jupiter Jones. The Earthling has the exact same genetic code as their mother, and as such, she is considered Earth’s rightful queen reincarnated.

As the three Abrasax make their plays for Jupiter with their own various pitches and schemes, Jupiter finds herself caught up in an unfathomable situation beyond the far reaches of our Sun, awestruck by the possibilities of the universe, and falling deeper and deeper still into Caine Wise’s eyes — or at least his abs.

Love their work or loathe it, Wachowski films are always a spectacle, and Jupiter Ascending is no different. Indeed, it’s the Wachowskis at their most lavish, creating vast and detailed worlds populated by humanoids of all shapes and sizes, blended with rabbits and alligators and elephants and other assorted beasts. Robots, too, exist in these worlds, like Intergalactic Advocate Bob, a minor character who features prominently in one of the movie’s best and funniest montages. Alien royals wear ethereal ornaments as testament to their power and class, participating in orgies because they can, lying through their teeth because it’s how they get their jollies.

Warner Bros. Pictures

All the while, rough-and-tumble renegades and mercs slug it out with one another, blasting high-powered lasers, setting off hand grenades that convert hard substances into nothingness, and flying fast and furious at one another in dog fights over the Chicago skyline and in the far reaches of space. Advanced technologies and unique universal currencies further flesh out the culture of these cosmos. Without question, the world the Wachowskis have created here is their most fully realized yet.

But how about the story? It’s… well, it’s confusing, designed by red-pill-poppers for red-pill-poppers. But a certain level of philosophical whimsy, if not outright nonsense, should be expected from any Wachowski effort by now. If The Matrix didn’t convince you of their abstract interests, then their most recent effort, the ambitious and generations-spanning Cloud Atlas, certainly should have done the trick. When you set foot inside the theater for a Wachowski movie, you’re not paying for straightforward anything. Jupiter Ascending fits right at home in their catalogue in that regard.

Love their work or loathe it, Wachowski films are always a spectacle, and Jupiter Ascending is no different.

It also fits into the Wachowski catalogue in terms of questionable acting. Channing Tatum and Mila Kunis take the leads as sharp-eared Caine and wide-eyed Jupiter, and there’s no getting around their celebrity. Tatum’s seasoned space rogue all but screams, “F—k you, science,” while Kunis often acts like nothing more than Jackie Burkhart in space. After a while, both actors settle into their roles a bit more, and their natural tendencies are charming; not unlike the Keanu Reeves of long ago, whose Matrix-era knows-kung-fu delivery now elicits joyful nostalgia more than it does groan-worthy nausea.

If casting for the two leads is somewhat dubious, the exact opposite is true of the main villain, Balem Abrasax. With his pale skin, thin frame, gaunt face, and plump lips, covered head to toe in affluent adornments, Oscar nominee Eddie Redmayne does not feel of this Earth. He walks through his surroundings with lizard-like entitlement, barely breathing out demands and desires, until he goes full Gary Oldman and barks out commands, The Professional-style. (He has more than one “EVERYONE” moment, to say the least.) Redmayne’s Abrasax belongs with another Oldman original, The Fifth Element’s Jean-Baptiste Emanuel Zorg, as one of the great science fiction villains of the last 20 years. He’s basically Space Joffrey. It’s the performance of the movie, without a doubt.

Always perplexing and often even numbing, Jupiter Ascending is a bizarre ride the likes of which are rarely matched. It’s full-blown Wachowski — and that’s very good news for you, if you prefer your pills red over blue.

Shamitabh review: Amitabh Bachchan is a class act in this fun yet flawed film

Ten minutes into Shamitabh, you begin to realize you’re feeling something that seems almost alien – entertainment. You’ll be glad that, after what seems like eons, we have a mainstream commercial movie with a story that’s unique and original, without the tacky underpinnings of the products from the genre. If you’re a Big B fan, the first half ofShamitabh is going to be your LSD.

Daanish, a kid from a village, grows up into a perfectly-cast Dhanush, with dreams of being an actor. Daanish moves to Mumbai and stalks whichever filmmaker he spots, and begins living secretly in a vanity van. When he finally gets a chance to do a screen test, he kills it. The only problem? He’s mute. But this is 2015, and filmmaking now has tools, like dubbing. With these tools, even a tool can be a hero. And as the protagonist mentions, if you’ve got the vocal cords of Amitabh Bachchan, even a dog can be star. So when Daanish comes across Amitabh Sinha (Amitabh Bachchan), a washed up drunkard with a glorious baritone, the collaboration reeks of superstardom. Daanish plus Amitabh becomeShamitabh.

There is also a ton of stupidity in the movie, like the eyeroll-inducing, Finnish sci fi technology behind getting Amitabh’s voice in Daanish’s throat. Other contrivances include a random assistant director (an awkward Akshara Haasan) who rescues Daanish from being thrown out of Film City for stalking, puts him on a screen test, sends him to Finland, and convinces her director to cast him in his film as the star (twice). Talk about luck by chance. There’s also an unintentionally hilarious subplot of a tabloid reporter who realizes the discrepancy in Shamitabh’s voice and travels to Finland as an investigative reporter and then blackmails Shamitabh. Not to mention the hundred thousand product placements crammed into nearly every frame of the film.

If you were disappointed by the endings of Paa and Cheeni Kum, prepare to face something similar. During the closing minutes it becomes clear that Balki doesn’t know what point to make, so he just abruptly gives up and the credits roll, leaving you with a mixed bag of emotions.

Fortunately you’ll still remember the one thing that kept the film going – Bachchan’s performance. Such style and elegance is seldom seen in cinema. Even when he’s lying in the dirt, blabbering with a sozzled face, Bachchan is a class act. And it’s great to see him play a character instead of his own French bearded self. Amitabh points out that he’s the larger part of the name Shamitabh, and Big B is pretty much the only significant and memorable part of the film. This might as well have been called ShaMetabh.