‘Kedarnath’: Politics of love
The opening credits, the overarching imagery of Shiva, breathtaking aerial shots of the Kedarnath yatra and panoramic views of the shrine framed against the snow capped, majestic mountains. Kedarnath starts off with the promise of being a modern, hypnotic celebration of religion. But it quickly gets down to separating individual faith and belief from organised religion.
‘Next Enti?’: When Sanju met Tammy
Had Next Enti? been written and narrated better, it could have been a refreshing departure from the regular potboilers. As Tammy says ‘more real and not cinematic’. But the way it is, it’s a yawn. The silver lining is the background score by Leon James and Tamannaah giving it her best and speaking her own lines.
‘Kavacham’: Masala-laden armour
Kavacham takes the formula of half a dozen songs and fights seriously and there’s no escaping them. The film feels like a long showreel for Bellamkonda Sai Sreenivas. The larger kidnap drama perks up things a wee bit, even though it’s easy to predict the identity of the perpetrator.
‘Subrahmanyapuram’: Lacklustre narration
The romantic track is half-baked, making one wish there were some stimulating conversations regarding the research and the search for ‘God’, which would have lent credence to the story. The only interesting part in the film is the interval scene that compels you to sit through the next half. The last 15 minutes that reveal the reason for the mysterious deaths serve only to make us wish for a better climax.
‘Mortal Engines’: Cookie-cutter start to fantasy franchise
Based on the first in a series of four YA novels by Philip Reeve, Mortal Engines follows the journey of Hester Shaw (Hera Hilmar), who seeks to avenge the murder of her mother. She is fierce and determined yet vulnerable to traumas of the past.
