As a one-off set piece in a historical epic, perhaps it works, but for a viewer expecting to get even the simplest of glimpses into war-time strategy, it’s disappointing. The set pieces of this guerilla warfare are more impressive in their execution but appear disjointed because we have no idea of how or why they came to be. And that’s because the film isn’t interested in painting a story, it’s interested in the reverence of a ruler and that doesn’t make for an interesting film. There’s a clear hesitation to actually delve into the life of its subject and that’s why, the more the film tries to tell you this story in its way, the less inclined you are to trust it.
Speaking of Badhaai Do, Pednekar is a breath of fresh air in Mere Husband Ki Biwi. A brilliant actress, she brings an infectious energy to the screen that acts the same way the brief instances of comedy do – it distracts you from the rest. And for this film, that much is enough. She only falters when she tries to push herself to fit the film’s over-the-top tone. But Prabhleen is, hands down, the film’s most intriguing character and it helps that Pednekar does her best to create the empathy for her character that the writing fails to do.
At some point while watching Bade Miyan Chote Miyan, I felt my eyelids getting heavier – had I perhaps not slept enough? That would’ve been my first hypothesis if it was any other film but with this film, the answer was clear – the ‘action entertainer’ was just boring. Honestly, an action film doesn’t always need a lot going for it – the thrill of watching well-crafted action on a big screen is enough for a film to be an enjoyable experience but this film feels like you’re watching the same films you’ve watched before. Not only that, you’re also somehow watching them all at once.
Ishq Vishk Rebound is not a horrible movie – it has some of its better moments. There are times when the dialogues get an unexpected laugh out of you even as they remind you how inconsistent the writing has been. The songs, even though not memorable, are enough to get you tapping your feet to the rhythm (that doesn’t intentionally sound like a Katy Perry lyric I promise you). The camerawork, however, uses way too many close-ups, all the time. It’s one of the reasons why the ‘design’ becomes very obvious – you can almost see the filmmaking happen which isn’t the best look for this particular film.
That is both the film’s win and pitfall. Chopra, with films like Parinda, Khamosh, and 1942: A Love Story, is no stranger to ‘cinema’ and he has the means to simply build a massive set if he so pleases. While the film accurately captures that aspect of his work in 12th Fail, the look into his anxieties about the film feels comparatively superficial. The shift from ‘Nobody believed in this film’ to ‘Director saab will handle it’ doesn’t happen as seamlessly as it should because a nuanced study of the man behind the camera feels absent. While Chopra’s quick wit and Rangarajan Ramabadran’s (aka Ranga) ingenuity are fascinating to watch on screen, you can’t stop seeking something more complex. This documentary doesn’t have place for ‘interviews’; instead it stays in the ‘creative’ as long as possible, with voiceovers leading the audience through the narrative.
Alas, the film’s music is nothing to write home about. The duo, Anurag Kashyap and Amit Trivedi, have earlier created unusual and exceptional soundtracks before but fail to make a mark this time.
In a battle between one generation that believes in ‘Parampara Pratishtha Anushasan’ and another that is trying to make a living in a cutthroat world that could lead to neglect, perhaps there can be no long-term solutions.
Taaza Khabar is a typical rags-to-riches story ending in a life lesson about how undiluted power and money can often lead to ruin. It’s a return to the most basic of Bollywood storytelling which is also the show’s fatal flaw – it doesn’t add anything new to the template. For instance, with the power that Vasya now wields, isn’t there much more good he could be doing? And yet, we only see him deal with this moral question once when it has a direct consequence on his life and on his story. Taaza Khabar is let down by its writing not being as immersive and its story and cast. The writing by Abbas Dalal and Hussain Dalal, who truly brought forth how important dialogues can be to a story with Brahmastra, is much better here but still, rather shoddy in places.
While the show does suffer in pacing towards the end, sometimes spending too long on an arc, Trial By Fire is one of the best examples of telling such a story.
Tu Jhoothi Main Makkaar doesn’t try to be more than it is advertised to be and at first sight; it can even be considered entertaining. However, once you start to peel apart the layers, its flaws are laid bare and one wonders if Bollywood will ever grow out of those tropes.
An Action Hero makes fun of everything it can get its hands on while weaving a story worthy of its strong cast. Jaideep Ahlawat remains an actor who steals the scene every time and Ayushmann is still a star who knows how to keep the audience watching.
Madhavan does an admirable job as Narayanan, moving from one emotion to another seamlessly. He transforms into Narayanan on screen and shines in the film. But his mettle as a director doesn’t match up to his skill as an actor. And who can forget Shah Rukh Khan, who plays himself, in the film? He acts as the catalyst in the film’s narration; asking questions the audience wants answers to and pushing the story forward. As an interviewer talking to Narayanan, SRK’s emotions will inevitably influence yours– a testament to his skill. Several side characters perform like they’re reading off a teleprompter and it undercuts many high-stakes scenes. It’s a film that had to be made but could’ve (and should’ve) been made better. Rocketry is a well-intentioned film and works purely because of the heroic and inspirational protagonist at its helm.
Overall, Comedy Premium League is enjoyable if you skip the unbearable bits and make peace with some of the bits you don't. With that method, you end up with a haphazard comedy special that you might end up enjoying. The Indian comedy scene is often criticised for the lack of women put forward but one finds solace in a show with a great mix of comics, but it could’ve done better with a more condensed format. People might argue that comparing Indian comedy specials to iconic acts like Bo Burnham’s Make Happy, Hasan Minhaj’s Homecoming King, and Hannah Gadsby’s Douglas (take these are recommendations if you must) is unfair; but one thing is clear: maybe it’s time we start.
