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Deadpool & Wolverine (2024)Rating - 4/5As we all know, Marvel Studios has been going through a tough time currently with...
26/07/2024

Deadpool & Wolverine (2024)

Rating - 4/5

As we all know, Marvel Studios has been going through a tough time currently with their most recent releases, Ant-Man and the Wasp: Quantumania (2023) and The Marvels (2023) turning out to be box office disappointments, hence, to say there is a lot riding on the third Deadpool adventure, both critically and financially, is an obvious statement. Especially, considering both the Ryan Reynolds led previous escapades made a little more than a collective of $1.5 million at the worldwide box office and earned widespread acclaim from both audiences and critics alike. To make things more exciting, Disney's acquisition of 21st Century Fox in 2019, allowed the official introduction of that studio’s X-Men characters, Deadpool included, to the Marvel Cinematic Universe. And to start off the excitement, they even brought back Hugh Jackman to reprise his role as Logan/Wolverine, a character he has portrayed across ten installments of the X-Men film franchise until he retired in 2017. By uniting two widely popular characters, one of whom slyly points out every trope and archly articulates every criticism of the franchise’s direction post-"Endgame," the film promised unabashed entertainment, and on that front – it truly and completely delivers. With several in-jokes and shenanigans being guaranteed, this Marvel film is designed to leave you surprised and screaming in excitement. Directed by Shawn Levy (Real Steel, Free Guy), who co-wrote the film with Ryan Reynolds, Rhett Reese, Paul Wernick, and Zeb Wells, this film is a love letter to all the fans, particularly those of the pre-MCU era. It's a zany, nostalgic joyride that flings open doors for future madness and satisfies fans of both characters, as well as attract new audiences with its humor and action. The story once again follows Wade Wilson (Ryan Reynolds), who six years after the events of the last film and a failed attempt to join the Avengers, has given up on the alter-ego of Deadpool and now lives a normal life, working as a used car salesman alongside his pal Peter (Rob Delaney). Spending most of his time with his friends and loved ones, including his now former fiancée, Vanessa (Morena Baccarin). That is until he is plucked from his civilian life by agents of the Time Variance Authority (TVA) and brought to Mr. Paradox (Matthew Macfadyen), who informs him that his timeline is being degraded due to the absence of Wolverine (Hugh Jackman), an anchor entity, and offers him a place on Earth-616. But instead of simply accepting his world’s fate, Wade, after once again donning the Deadpool suit, begins hops from reality to reality in order to find a version of Wolverine that will fight with him to save his world from destruction. Eventually settling on a bitter, booze-guzzling Logan, who is deemed as the worst Wolverine, but are then dumped into the Void, an inter-dimensional dumping ground ruled over by psychic psycho Cassandra Nova (Emma Corrin), the twisted sister of Professor Charles Xavier, who was pushed into the dimension even before birth. Right from the first moments, director Shawn Levy picks up the tone established in the predecessors and confidently runs with it. There are quips, sight gags, and meta-references aplenty, so much so that there’s inherent re-watch value to catch it all. And, most importantly, the world’s penchant for blood, guts, cussing, and all-round non-PG mayhem remains intact. Yes, the plot is less concerned with plot than packing the maximum number of s*x jokes, pop culture references, and Easter eggs it can into its 128-minute runtime. Whereas most Marvel films benefit from watching other films or shows of the franchise to keep up, this one instead asks viewers to be familiar with Disney’s acquisition of Fox and its associated IP, like X-Men and Fantastic Four. Amid swirling cameos and references, the film’s strongest suit is it’s meta-writing. The jokes are relentless, as one would expect out of Deadpool, and this MCU film relies heavily on this. The action sequences too are a visual spectacle, with choreography that showcases each character's unique fighting style. Director Levy has a lot of experience creating fun entertaining films, mostly for kids, so it is a surprise that he does gore so very well. It is never cruel though, but it goes over the line several times, completing the outrageous things characters say left and right. Surprisingly, the film also offers a significant emotional depth. The exploration of themes such as redemption, friendship, and the cost of immortality adds layers to the narrative, making it more than just a typical superhero film. Mainly giving redemption arcs to the two pivotal men in a way where one finds family and accepts his X-Men status. It is a good twist because they both have been running from tags forever. Sure, there are many loopholes to the story and the film continues the franchises' underwhelming villain problem, however, director Shawn Levy is certain to never let the giddiness, goofiness, sarcasm and wit take a backseat even at the cost of the plot. However, the film's greatest strength lies in the chemistry between Ryan Reynolds and Hugh Jackman, who reprise their roles with such ease and familiarity that it feels like a reunion of old friends. Their banter is sharp, witty, and perfectly timed, providing a constant stream of laughter amidst the chaos. Reynolds, continues to prove that giving himself this role was the best decision of his career, as his antics fit the character perfectly. He is just hilarious and his stream of consciousness comedy is very effective, and he also can bring it home when it comes to the more sentinel parts of the films. Meanwhile, seeing Hugh Jackman back in the role that made him famous feels just right, especially now that his suit is more comic accurate, and that his acting just nails the character effortlessly. The film makes a case for him to continue to play the role even as he gets older. At this point, it almost impossible to think of another actor who could do the character justice. In supporting turns, Matthew Macfadyen and Emma Corrin play their roles effectively, while in smaller roles, Dafne Keen, Aaron Stanford, Morena Baccarin, Rob Delaney, Leslie Uggams, Karan Soni, Stefan Kapicic, Brianna Hildebrand and Shioli Kutsuna serve their due time. On the whole, 'Deadpool & Wolverine' is a perfect blend of humor, high-octane action, heartwarming moments, and cameo-driven treats that entertains and lives up to the hype. , , , , , , ,

Reunion (2024) Rating -1/5Thanks to the massive critical and commercial success of Knives Out (2019), whodunit murder my...
24/07/2024

Reunion (2024)

Rating -1/5

Thanks to the massive critical and commercial success of Knives Out (2019), whodunit murder mysteries, a particularly favorite genre of mine, have become popular again. With the equation of demand and supply working hard to match up to that level with varied results. This latest from director Chris Nelson (The Perfect Date) too arranges the set up as expected by placing a handful of characters in a remote location, and the murder of one of them letting loose a scramble for secrets and accusations, forcing the commencement of the hunt for clues concerning the true assailant. But while the film tries to stand out with a slack comedic approach to the mystery, unfortunately, the script from Jake Emanuel and Willie Block struggles with originality. Mainly as the film's concept bears a striking resemblance to widely praised season 1 of the Apple TV+ comedy thriller series "The Afterparty", which also revolves around a high school reunion murder mystery and the death of its brash host. A similarity which diminishes the impact of the film's plot twists and comedic elements. Yes, some of the jokes and character dynamics work, but for the most part we can’t overcome the stale feeling that this is a lukewarm attempt at both being a comedy and murder mystery that offers little in the way of being fresh. To make matters worse, its ex*****on stands as a prime example of missed potential and lazy direction. Instead of a tightly directed tale of suspicion, the feature is more improvisational in nature, forcing its talented cast to play with the weirdness and rising concerns of their unlikable characters. Sure, considering the onslaught of uninspired murder mysteries we have been getting on all sorts of audio and video mediums, one could definitely do worse than this one, as there is nothing particularly terrible about the production, and remains at least watchable throughout. However, the forgettable nature of the script and enactment all but ensures it will be soon be forgotten. The story follows best friends Ray Hammond (Lil Rel Howery) and local police officer Evan West (Billy Magnussen), who are heading to the twenty-year reunion of the Ridgeview High School class of 2001, hosted at the opulent home of Mathew Danbury (Chace Crawford), their former classmate who is now a successful hedge fund manager, despite an incoming snowstorm. Evan and Ray are soon joined by Jasmine Park (Jamie Chung), a reporter; Amanda Tanner (Nina Dobrev), an ambitious politician; Mr. Theodore Buckley (Michael Hitchcock), their former teacher; Megan Cooper (Cassandra Blair), Ray’s high school ex-girlfriend; and Vivian Chase (Jillian Bell), who was labeled in high school as a future cat lady. The party is a success, bringing together people who haven’t seen one another in years, while Evan receives a chance to get a little closer to Jasmine, his crush. But after a night of heavy drinking, a small number of guests remain, and they’re confronted with Mathew’s dead body, who seems to be have been shot sometime during the early morning. Snowed in and lacking cell reception, the gang works to figure out what happened, realizing that the perpetrator is one of them. Right from the beginning, the film recycles many of the tropes you might expect from the genre. It introduces the various personalities and starts to reveal the bubbling resentments among the former school mates. Some have gone on to big success, others are struggling to get their lives in order and one is a weird creepy type. The whole mess with murder doesn’t arrive until the feature’s second half. And once it kicks in, things don’t improve by much, as it simply goes through the motions of spotlighting potential suspects before wrapping it all up. Mainly since the writing is uninspired and formulaic, and the dialogue forced and unnatural, everything feels more like an exposition dump than a genuine conversation, making it difficult to invest in their plights. Moreover, the film's comedic moments are hit or miss, largely dependent on the actors' ability to carry the improvisation. While there are some genuinely funny scenes, others fall flat, highlighting the need for a stronger script to support the improvisational style. Perhaps the most glaring flaw of the film is its cast of unlikable characters. Each one is a cliché. These characters are so steeped in their stereotypes that they never transcend them, resulting in a group that is anything but endearing. Indeed, the revelation of the killer’s identity in a surprise, thanks to its clever design, but the reasoning behind everything turns out to be quite lackluster. Performances wise, Lil Rel Howery brings his usual humor with a touch of desperation, while the ever charming Billy Magnussen surprisingly seems to be struggling with his poorly written role. Jillian Bell is her usual quirky and weird self, Jamie Chung is likable as always, Nina Dobrev is solid, Cassandra Blair is watchable, and Michael Hitchcock manages to be a scene stealer. Chase Crawford, who has proved his comedy chops in the Prime Video satire superhero series "The Boys", is left here with a mostly shallow character to embody. He does what he can to make the wealthy Matthew a slightly sleazy but still charismatic type. On the whole, 'Reunion' is a tedious whodunit marred by poor writing and unlikable characters. , , , , , , , , ,

Thelma (2024)Rating - 4/5While it might seem like she has been around forever, it is hard to believe that June Squibb's ...
22/07/2024

Thelma (2024)

Rating - 4/5

While it might seem like she has been around forever, it is hard to believe that June Squibb's first film role was in the Woody Allen directed romantic comedy Alice (1990) at the age of 62. Since then, she has put together a remarkable career that includes several stage, television and films appearances, which include the likes of The Age of Innocence (1993), In & Out (1997), Meet Joe Black (1998), About Schmidt (2002), Far from Heaven (2002), and Blow the Man Down (2019). Even earning herself an Oscar nomination for her supporting role in Nebraska (2013). However, what makes her latest appearance special is that at the age of 94, Squibb finally gets to play her first leading role, that too as the year’s least likely action hero, winning us over once again with her charm and determination. Helmed by first-time writer-director-editor Josh Margolin, the film is a hilarious retelling of a true story of how his (currently) 105-year-old grandmother tracked down the men who scammed her and got her money back. Working as a low-stakes mission casual caper, the resulting feature is quite entertaining and, quite fittingly, appropriate for most ages as it does a pretty good job in blending comedic and dramatic elements together into a narrative with good humor, fun characters and interesting dynamics. Yes, it isn't perfect, but stands as a testament to the boundless potential of June Squibb, who is phenomenal and heartbreaking at the same time here. And paired with Margolin's direction, the film successfully tackles themes of aging, agency, and family with such grace and authenticity that it manages to stand freshly apart from other action-comedy flicks. The story follows Thelma Post (June Squibb), a 93-year-old who lives a comfortable senior life of computer games, pill box organizers, crocheting and the evening news at a Los Angeles condo. Widowed two years prior, she’s on the precipice of independence, one fall or forgotten keys away from full-time care. Leaving her daughter Gail (Parker Posey), and son-in-law Alan (Clark Gregg), always scanning for signs of her decline; only her beloved grandson Danny (Fred Hechinger), a lost twenty something who is struggling with independence of a different variety, engages with her as a full person, though he too over-presumes her handicaps. However, her contentment is thrown into disarray when she falls victim to a typical elder scam. A panicked voice on the phone pretending to be her grandson, calls from a prison cell; he needs $10,000 in cash to be bailed out. She sends the money to a P.O. Box, only to be informed that Danny is perfectly healthy and that she’s been duped. But when the local police inform that they can't help due to it being an analog scam, and her family brushes off the incident as a chaotic if funny indicator of her vulnerability, Thelma being the ever resourceful grandmother finds the address where she sent the cash and embarks on a stealth journey to retrieve it. Joined by a kind-of-friend, Ben (Richard Roundtree), a stolen gun, and a two-seat scooter, Thelma is determined to prove that strong will knows no age. Despite this being his debut, director Josh Margolin has a firm hand on the whimsical adventure as Thelma tracks down the crooks while keeping her dignity and avoiding the clichés of the old-folks drama. He gives her no heroic speeches but rather shows by using mostly her point of view a human being of sweet, even temper not ready to give in to the grim reaper. We know she's already had a brain tumor, sepsis, edema, hip replacement, double mastectomy, and valve replacement, but we also know she's a survivor, leaving her family less able to handle her aging's infirmity than she. After all, her spirit animal is the Mission: Impossible series. Unlike what one would believe, this is not your typical action flick, instead of sending Thelma and Ben on chases sequences or action scenes, it finds ways to make the story tense by showing how dangerous this seemingly simple journey for Thelma can be. The film's greatest strength lies in the film's ability to balance humor with heartfelt moments. The comedy aspect of the film arises naturally from the characters and situations, allowing the audience to laugh alongside Thelma rather than at her. This kind of inclusive approach to humor is what makes the film so endearing and relatable, Thelma's antics are not just funny, but also a celebration of her agency and vitality, serving as a poignant reminder that life doesn't stop at a certain age. One of my favorite scenes being the scooter chase in the nursing home. It is such a creative and entertaining sequence. At its core, the film is about life in one’s very sunset years, something we don’t see nearly enough on screen. The experience of a fall is scary and devastating and potentially quest-ending; the process of getting on a bed genuinely fraught, which director Margolin, cinematographer David Bolen and sound designer Nathan Ruyle effectively and convincingly dress up in the visual and sonic language of an action flick. Collecting the ten grand that is rightfully hers is about more than the money; it’s an extreme assertion of her independence in an increasingly dependent world. If you’ve been around defiant seniors, there’s no scene more familiar than the two or three times Thelma removes her medic-alert bracelet as soon as her family members are out of the picture. Although minor, the weakest part of the unexpected action film is the very linear premise. There are no major twists or turns, and the highest point of the story feels a little anticlimactic. This should be taken with a grain of salt though because these don’t take away from the overall enjoyment of the story. Performance wise, June Squibb brings in yet another humane turn that is both funny and commanding as you’d expect. In his final role, Richard Roundtree, who passed away in October 2023, leaves behind his incredible acting career with a character that is a warm, confident, and wise. The two share a very fun chemistry. Fred Hechinger brings in yet another charismatic and endearing that continues to prove he has a bright future ahead. Parker Posey and Clark Gregg too seem to be having fun as well, though they're saddled with fairly one dimensional roles. In smaller roles, Malcolm McDowell, Nicole Byer, Quinn Beswick, Coral Peña, Aidan Fiske and Bunny Levine are effective. On the whole, 'Thelma' is a delightful, winsome lighthearted caper that stands out as one of the most entertaining and heartfelt films in recent years. , , , , , ,

Young Woman and the Sea (2024)Rating - 3.5/5Believe it or not, but there was a time when Walt Disney Pictures was more t...
21/07/2024

Young Woman and the Sea (2024)

Rating - 3.5/5

Believe it or not, but there was a time when Walt Disney Pictures was more than a studio that produced animated features, or live action reboots of their animated films, and had a pretty solid track record of also making sports films that were inspiring, moving and entertaining. With films like Remember the Titans (2000), Miracle (2004), Million Dollar Arm (2014) and McFarland, USA (2015), being among the few standouts that easily come to mind. True stories designed for the whole family to enjoy. Now, thanks to the efforts of producer Jerry Bruckheimer, the mega-studio has brought to screen the truly inspiring saga of Gertrude "Trudy" Ederle, an American competitive swimmer who became the first woman to swim across the English Channel despite all odds. Yes, it don’t stray too far from the traditional genre format, but despite the narrative being filled with Disney tropes and emotions, it still makes for an emotional, crowd-pleasing ride that is backed by a solid atmosphere, gorgeous camerawork and strong performances that helped in keeping the tides high. Based on the 2009 non-fiction book "Young Woman and the Sea: How Trudy Ederle Conquered the English Channel and Inspired the World" by Glenn Stout, here, director Joachim Rønning (Pirates of the Caribbean: Dead Men Tell No Tales) and writer Jeff Nathanson (Catch Me If You Can, The Terminal), ensure that it is impossible to not root for Trudy, and purpose the whole experience to tug at the heartstrings and invoke strong emotional reactions with some intense swimming sequences. Anchored by Daisy Ridley’s commanding lead performance, the film works perfectly as an empowering, compelling, and noble tribute to female athletes, laying the foundation for future U.S. Olympic Gold Medalists. The story initially follows a young Trudy (Olive Abercrombie), who despite contrasting and then surviving measles, is determined to learn swimming. While German butcher father Henry Ederle (Kim Bodnia), forbids her from swimming mainly because, at the time, swimming was just for boys, and also because Trudy’s illness had affected her hearing, leaving her susceptible to infections. Yet, she stays persistent and ends up going out into the Atlantic Ocean off the shores of New York City under supervision, finding support for herself and her sister Meg (Lily Aspel) from her mother, Gertrude Derle (Jeanette Hain) who pushes to pursue their talents. Years later, both Trudy (Daisy Ridley) and Meg (Tilda Cobham-Hervey) still have a passion for swimming with Meg being more of an advanced swimmer at the time, landing under the training of Charlotte (Sian Clifford), the swimming trainer at the Women's Swimming Association (WSA) in America. However soon enough it is Trudy who is breaking records at every swim meet. She eventually goes to the Olympics backed by some corporate sponsorship from reluctant sports agent James Sullivan (Glenn Fleshler), who is an opportunist once he notices Trudy’s swimming is starting to gain traction in the press. Sadly, by not winning the gold, Trudy and her teammates lose both funding and sponsorship, forcing her to return to normal life and join her father’s butcher shop, as he sets her up for an arranged marriage. But with an urge to swim more, inspired by Bill Burgess (Stephen Graham), who successfully swam the English Channel, Trudy ends up taking up the challenge and decides to embark on the impossible. Indeed, watching Trudy overcome challenges with a mix of natural talent, dedicated hard work and will to succeed, despite various setbacks, keeps us invested. It helps that on top of crowd pleasing moments of athletic success, the film also makes her a likable, bold character to root for. Sure, her portrayal feels resolutely old-fashioned, in both tone and in pace, after all she was an uncomplicated figure by most standards, a plucky underdog who took on the world without much in the way of a messy personal life. Hence, in order to keep things interesting, director Joachim Rønning finds nuance and complexity in the forces arrayed against her, framing it as a broadly inspiring parable of female striving and triumph. As one might expect, being a Jerry Bruckheimer production, known famously for backing the Beverly Hills Cop, Top Gun, Bad Boys, Pirates of the Caribbean, and National Treasure franchises, the film looks magnificent, with Oscar Faura's excellent cinematography both above and below the waves, brilliant production design from Nora Takacs Ekberg, and a sweeping score by Amelia Warner. Understandably, the 129 minute run time that sometimes gets swept astray by currents of family drama might make the proceedings feel heavy, but it is Trudy’s plucky determination and can-do energy carries the whole thing along. Performances wise, Daisy Ridley proves to be an excellent lead and deserves a lot of credit for making Trudy a character to cheer for. For the film to work, we needed to be fully emotionally invested in Trudy's struggles and triumphs, and Ridley has no trouble getting those emotions across. It’s the type of energetic, charming and fearless turn that powers sports films like this. She is also backed by an excellent supporting cast that includes the likes of Stephen Graham, Kim Bodnia, Jeanette Hain, Tilda Cobham-Hervey, Sian Clifford, Glenn Fleshler, Alexander Karim and Christopher Eccleston. On the whole, 'Young Woman and the Sea' is an emotional and inspirational true story that is both poignantly and grippingly told. , , , , , , , , , ,

Bad Newz (2024)Rating - 2.5/5The year 2019 saw the release of Dharma Productions' Good Newwz, a hilarious comedy revolvi...
20/07/2024

Bad Newz (2024)

Rating - 2.5/5

The year 2019 saw the release of Dharma Productions' Good Newwz, a hilarious comedy revolving around an IVF mix-up which resulted in two men mistakenly impregnating each other’s wives. Now five years later, with a new creative team and fresh cast, we have another pregnancy story, this time revolving around heteropaternal superfecundation, a reproductive process in which twin children are born to the same mother, but from different biological fathers. Supposedly, inspired by true events. But while the Raj Mehta directorial scored on all fronts with a strong script and the superb comic timing of Akshay Kumar and Diljit Dosanjh, this Anand Tiwari (Maja Ma, Love per Square Foot) directed spiritual sequel is more of a hit-and-miss-entertainer. Though the truly novel premise and the hilarious rivalry between Vicky Kaushal and Ammy Virk elevate the proceedings, it’s sappy and over the top ex*****on hampers the overall result, especially when the plot takes familiar turns and stretches in the second half. Leaving one wishing that the film should have just stuck to the plot's endearing silliness and just embraced a natural culmination, without veering into unnecessary tracks. Even the soundtrack, whose catchy tunes send the film's hype into overdrive in the last few weeks prior release, surprisingly disrupt the narrative flow due to their awkward placements. Nevertheless, the witty dialogues and Vicky Kaushal's spot-on comedic timing ensure you're consistently entertained. The story follows Saloni Bagga (Triptii Dimri), a highly motivated chef in Delhi, whose biggest goal in life is to earn a Meraki star for herself and the restaurant that employs her. Though, she has no plans to settle down, at a glitzy Punjabi mixers party, Saloni ends up falling for Akhil Chadha (Vicky Kaushal), a loud, brash, self-involved and silly chaap restaurant owner. While she initially rejects Akhil’s advances to focus on her career, his boisterous charm does its wonders and soon the two are married. But, it doesn't take long for Saloni to realize that her husband is too tied to his mother (Sheeba Chaddha) and doesn’t really get the concept of personal space. And when she loses her beloved job after a few skirmishes, she ends up asking for a divorce. To grieve and repair from the death of her relationship, Saloni moves and starts working at a hotel in Mussoorie, where she meets its kind-hearted owner, Gurbir (Ammy Virk), who is everything Akhil is not, and grows close to him. On the night of their supposed wedding anniversary, upon finding out that Akhil has moved on, in a fit of drunken jealousy, Saloni ends up forcing Gurbir into a one-night stand. However, Akhil too arrives the same night at Mussoorie, asking for her forgiveness, hoping to reconcile, and the two end up sleeping together. Six weeks later, she is pregnant and that hers' is a rare case of heteropaternal superfecundation, i.e., both Akhil and Gurbir are fathers to Saloni’s unborn twins. The rest of the film is all about the one-upmanship between the two men who want to play father and one sulking mother-to-be who must decide their fate. This is an interesting, never-before-explored plot for a Hindi film. But, it takes over an hour to reach this point, and before that, we're subjected to a failing marital drama and the most contrived of one-night two-stands. The plot might not surprise you, but the film shines in its outrageous humor. While the script and screenplay remain on uneven ground, director Anand Tiwari and writers Ish*ta Moitra and Tarun Dudeja pepper the narrative with humor situations and one-liners, ensuring you are chuckling throughout. Everything is designed for laughs, even at the expense of the central theme. Everything happens at a breakneck speed and it works till it doesn’t. The problem arrives when the film runs out of pop-culture references to hide behind and is forced to stand on its feet. While their most recent release, Kill (2024), discarded everything what classified as a Dharma Production film, this one follows the template to the t, at times too closely. In the sense, it is dotted with Punjabi songs, designed with a gaudy aesthetic and unfolds with one self-referencing after another. Most surprisingly, the popular songs, which were expected to be a relief from all the ludicrousness that was unfolding on screen, end up working as working as mostly hiccups in an already patchy screenplay. To its credit, writers Ish*ta Moitra and Tarun Dudeja sidesteps the misogyny that such a setting provokes. None of the two men shame Saloni, her parents don’t get involved till much later and it appears that she has the agency to take the call about her pregnancy and who the father should be. It also rejects possessive men, patriarchal rules, and foregrounds women’s dreams, desires and ambitions beyond family, husband, and child. It mainly helps that the film is anchored by Vicky Kaushal who channels his inner Govinda to deliver a highly energetic performance that showcases his comic timing. If you haven't yet been impressed by his acting prowess yet, his aptitude for comedy might change your mind. Punjabi superstar Ammy Virk is winsome and brings overall credibility to his character portrayal. A start contrast to Kaushal’s loud flamboyance, it's this mismatch that makes the war between the two fun to watch. Triptii Dimri balances the light and emotional portions beautifully while adding glamour to the proceedings. After seeing her in darker and serious roles in Laila Majnu (2018), Bulbbul (2020), Qala (2022) and Animal (2023), at first, it feels a little odd to see her in such space, yet, she eases herself well into the mold, shining the most in the serious portions. In supporting roles, Neha Dhupia and Sheeba Chaddha are underutilized, while Ananya Panday and Neha Sharma appear in decent cameos. On the whole, 'Bad Newz' is a hit-and-miss-entertainer bolstered by a delightful Vicky Kaushal. , , , , , , ,

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A Crossroad Deal | Web Series | S01E04| Riot Play Films

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