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‘HER: Chapter 1’ movie review: Ruhani Sharma holds her own in this taut police procedural

Director sreedhar swaraghav’s telugu cop drama ‘her: chapter 1’ could have been way smarter, but scores with its earnest approach and a dependable ruhani sharma.

Updated - July 21, 2023 01:38 pm IST

Published - July 21, 2023 12:44 pm IST

Ruhani Sharma as ACP Archana Prasad in director Sreedhar Swaraghav’s Telugu cop drama ‘HER: Chapter 1’ | Photo Credit: Special Arrangement

Early on in the Telugu cop drama HER: Chapter 1 , written and directed by newcomer Sreedhar Swaraghav, we are privy to a day in the life of Archana Prasad (Ruhani Sharma), an assistant commissioner of police. She is poised and stoic as she goes about her work. The look in her eyes indicates scars from the past. A mug of coffee to start her day and an occasional cup of tea when she is at work, keep her going. Soon, while investigating a double murder case, she asks one of her deputies to invite a few people connected to the case for a cup of tea. We know where things are headed — fingerprints, forensics, the works. Yet, when the penny drops in a smart pre-interval sequence and the protagonist revels with a glint in her eyes, the payoff is worth it. Moments like these stand out.

Sreedhar presents a film that is genre-specific and does not waver from its principal story of investigating a double murder crime incident, occasionally giving us a peep into Archana’s life. She has lost a loved one in a shootout that went haywire and has faced suspension. She has to prove herself all over again. 

Stepping away from HER , I was reminded of HIT: The First Case in which Ruhani was cast as a forensics officer but her role was essentially that of a romantic interest of the protagonist cop, played by Vishwak Sen, who has to solve a tricky crime while battling post-traumatic stress disorder. In HER , Ruhani does the heavy lifting and we see snatches of the stressful incident from the past shadowing her actions. Long after her debut film Chi la Sow , Ruhani gets an author-backed role and makes the best of it. The writing does not give us enough to understand her psyche or that of the suspects. Probably her backstory has been saved for the next chapter, but revealing a little more wouldn’t have hurt. 

HER: Chapter 1 (Telugu)

HER has a crisp run time of an hour and 43 minutes and wastes no time in frivolities. It weaves in humour through the character of cop Nataraj (Jeevan Kumar is excellent with his poker-faced delivery of lines that brighten up the tense, grim atmosphere). Romance is also skilfully woven into the story and there are the usual subplots of the protagonist having to rise above limitations and also having to be mindful of politics within the system. The last hour navigates all these threads, solving a few mysteries and opening the door for new puzzles to be addressed.

Where HER falters is in the initial portions where every move of the characters is spelt out more than necessary. Even the simplest of tasks are explained. Pavan’s music that stays on cue and Vishnu Besi’s camera that captures the urgency of the unsettling crime situations help smoothen out some of the rough edges. Adequate support also comes in from actors Vikas Vashista, Pradeep Rudra, Abhignya, Padmaja and Ravi Varma, among others. 

An appreciable aspect of HER is that it doesn’t make a hue and cry about having a female cop at the centre of the action. It does not glorify her but acknowledges that she is good at her job and is game for challenges. After a crucial reveal towards the end, when someone character assassinates a woman, Ruhani asks why the men involved in the incident are never judged on similar parameters. It happens matter of factly but the impact registers. Well played.

HER: Chapter 1 is not the smartest cop drama out there, but is earnest and has the potential to be sharper in its next edition.

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Telangana / The Hindu Cinema Plus / Telugu cinema

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Release Date : July 21, 2023

123telugu.com Rating : 2.5/5

Starring: Ruhani Sharma, Vikas Vashista, Sanjay Swaroop, Pradeep Rudra, Vinod Varma, Jeevan, Ravi Varma

Director: Sreedhar Swaraghav

Producers: RaghuSankuratri and Deepa Sankuratri

Music Director: Pavan

Cinematographer: Vishnu Besi

Editor: Chanakya Reddy Toorupu

Related Links : Trailer

HER Chapter 1, starring Ruhani Sharma in the lead role, is an investigative thriller directed by Sreedhar Swaraghav. The movie has hit the screens today, and let’s see how it is.

Near the outskirts of Hyderabad, the Police find the dead bodies of Vishal Pasupuleti and Swathi. Archana Prasad (Ruhani Sharma), who is back from her six-month suspension, is given the responsibility of cracking the case. Very soon, Archana finds out that Vishal and Swathi are engaged in an extramarital affair. Also, the weapon used for the murders of Swathi and Vishal has a personal connection with Archana. What is it? Who killed Vishal and Swathi? Did Archana solve the murder mystery? This forms part of the crux of the story.

Plus Points:

It was good to see Ruhani Sharma in an author-backed role, and the actress gave her cent percent effort to the film. Her looks, body language, and expressions were spot on. The young actress performed with aplomb in all the scenes, and with HER, Ruhani proved that she could pull off any role.

Jeevan’s comedy timing was good, and he evoked laughs in a few scenes. Especially a small comedy track featuring him and Chitram Seenu came out well. Compared to the first half, the second half has a few engaging moments.

The interval block is designed nicely, and it raises curiosity as to what happens next. The movie is just about 100 minutes, and the editing is crisp. Sanjay Swaroop, Pradeep Rudra, Vinod Varma, and Ravi Varma pass muster.

Minus Points:

HER is just another regular investigative thriller that fails to offer anything new. It lacks the essential thrilling elements that are expected of an ideal crime thriller. The investigative portions are routine and bland, failing to create excitement. Though the second half has a few decent portions, they are again short-lived.

The very reason why the murders are committed disappoints immensely. Also, the manner in which it is revealed is not good. The movie doesn’t have proper emotions too. The love track featuring Ruhani and Vikas Vashista is not good. A better depiction of the romantic track could have given the required emotional depth to the film.

The movie has a sequel, too, but the first part doesn’t create enough interest to wait for the second installment. Very little is shown about the antagonist in HER Chapter 1. The ending is bad and doesn’t have a strong hook point.

Technical Aspects:

Pavan’s background score is okay. Vishnu Besi’s cinematography is neat, and especially the action block that happens in the Karnataka region is shot well. The editing is good. The production values are fine.

Coming to the director, Sreedhar Swaraghav, he handled the second half slightly better than the first hour. The interval block was decent, but the first half was not that great. It seemed he reserved more content for the sequel. Better investigative portions could have enhanced the film’s range. Sreedhar extracted solid performance from Ruhani Sharma, though.

On the whole, HER Chapter 1 is a regular investigative thriller that has some decent moments here and there. A few portions of the second half raise interest, but the main twist is a bit predictable. Also, the film lacks emotional depth. HER only succeeds in showing the other side of Ruhani Sharma, but it doesn’t offer anything new.

123telugu.com Rating: 2.5/5

Reviewed by 123telugu Team

Click Here For Telugu Review

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‘Here After’ Review: A Child Returns From Death’s Door in Uninspired Supernatural Drama

Veteran producer Robert Salerno’s directorial bow has Connie Britton as a perplexed mother in a wobbly mix of undercooked horror elements and redemption sentimentality.

By Dennis Harvey

Dennis Harvey

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Many movies have dealt with the agonized grief that follows a child’s death. More than a few, notably “Pet Sematary” and its ilk, have dealt with the … er, awkwardness when said child unnaturally comes back to life, or at least un-death. Smoothly crafted but uninspired “ Here After ” tries to have it both ways, playing that resurrection for horror-adjacent creepiness that never quite goes anywhere, then pivoting to a sentimental mix of sacrifice and redemption similar to “faith-based entertainment” without quite making the commitment. 

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Britton plays Claire, who teaches English-language literature at a Catholic school where teenage daughter Robin (Freya Hannan-Mills), a piano prodigy, is a student. They’ve stayed in Rome presumably to remain near the girl’s father Luca (Giovanni Cirfiera), though he’s moved on to start a new family with his second wife (Syama Rayner), a source of some tight-lipped resentment for ex-spouse Claire. Teased in occasional flashbacks, the cause of their divorce is not fully revealed until late going here.

It is to him that Claire eventually spills a long, rambling monologue explaining the circumstances that ended her marriage, and may have left an angry spirit out to avenge itself — or to seek healing reconciliation. A watery climax involving a prior, second fatal traffic accident provides that opportunity. But the supernatural elements here make little sense, despite the metaphysical mishmash characters occasionally ponder out loud. In the end, one conclusion to be drawn (if any) is that Claire is somehow being punished for the moral crime of breaking up the family unit, even though it’s clear that Luca wasn’t much of a husband or father. 

The result is at once convoluted and simplistic, half-heartedly using horror tropes as a means of working toward a rather confused notion of forgiveness. We’re led to expect terrifying deeds from the resuscitated Robin, but nothing much happens in that realm, leaving Hannan-Mills stuck striking a series of pasty-faced, hollow-eyed, “demonic” expressions that ultimately just feel like a ruse. 

Britton is a dependable actor more than capable of rising to a meaty opportunity. Yet while this story is entirely from Claire’s point of view, her role is primarily a reactive one, responding to situations that aren’t particularly well-developed or credible. There’s not much she or the competent support cast can do to sell this scenario, which might’ve had greater impact had Salerno taken a more heightened, idiosyncratic directorial approach. Instead, he realizes the script with a tasteful efficiency and not much else, while production designer Luca Merlini’s elegant settings, DP Bartosz Nalazek’s handsome cinematography and other contributions do more to muffle than build sinister atmospherics. Fabrizio Mancinelli’s string-driven original score does more to achieve a desired urgency in the targeted intersection of grief and tension. 

Reviewed online, Sept. 11, 2024. MPA Rating: PG-13. Running time: 93 MIN.

• Production: (Italy-U.S.) A Paramount Pictures release of a Claro, Fenix Entertainment production, in association with Artina Films, Hopscotch Pictures. Producers: Robert Salerno, Naomi Despres, Sukee Chew, Christopher Tricarico. Executive producers: John F. Lyons, Henry Pincus, Sarah Conradt. Co-producers: Raffaello Vignoli, Melissa Kimbler. 
• Crew: Director: Robert Salerno. Screenplay: Sarah Conradt. Camera: Bartosz Nalazek. Editor: John F. Lyons. Music: Fabrizio Mancinelli.
• With: Connie Britton, Freya Hannan-Mills, Giovanni Cirfiera, Tommaso Basili, Alessandro Riceci, Andrea Bruschi, Babetida Sadjo, Syama Rayner, Carlotta Proietti, Alessandro Bressanello, Lollo Franco. (English, Italian dialogue)

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‘the last showgirl’ review: pamela anderson mines pathos as an abruptly unanchored las vegas performer in gia coppola’s mood piece.

Jamie Lee Curtis and Kiernan Shipka also star in this peek behind the sequins, feathers and neon at the lives of women once their dreams dissolve.

By David Rooney

David Rooney

Chief Film Critic

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'the killer's game' review: dave bautista charms in an enjoyably violent but otherwise creaky action-comedy, tiff halts screenings of 'russians at war' after threats to safety, the last showgirl.

First seen rolling up for a dance audition in a jaunty cap whose crystal beading seems a calculated bid to draw attention away from her age, Shelly is a 30-year veteran of a spangly revue called Le Razzle Dazzle , the last survivor on the Vegas Strip of a yesteryear entertainment quaintly described as a “tits and feathers show.” But that steady job is about to be yanked out from under her as the revue goes the way of the dinosaur, to be replaced by a sexy burlesque circus.

Even though she’s been shuffled to the back of the stage, surrounded by dancers decades younger, Shelly’s identity has remained inextricably intertwined with the show. She goes into a tailspin when stage manager Eddie ( Dave Bautista ), with whom she has a personal history, drops the bombshell that they are closing in two weeks.

Even more dismissive is Shelly’s college-age daughter Hannah (Billie Lourd). She finally accepts her mother’s invitation to see the revue in its closing days, calling it lame trash and dismantling Shelly’s delusional claims of historical significance by belittling it as “a nudie show.”

It’s a sign of how deep Shelly’s personal investment in Le Razzle Dazzle runs that she storms out of her dressing room and risks landing back at square one in her efforts to mend fences with Hannah, who resents her mother’s choice to parade around in rhinestones every night instead of being a stable presence in her daughter’s life.

A different perspective on women aging out of work for which “sexy and young” are the chief requirements comes from Shelly’s old friend Annette ( Jamie Lee Curtis ), a former showgirl now serving cocktails on the casino floor and losing shifts to fresher faces. Annette has seen it all, providing loud, world-weary commentary while sucking down margaritas. But when she, like Jodie, turns to Shelly for help, the latter is too caught up in her existential crisis to have time for them.

Both Annette as a character and Curtis’ pantomime take on her jolt us out of a movie Coppola has clearly conceived as a soulful, sensitive alternative to gaudy screen depictions of similar milieus, like Showgirls and Burlesque . Even the gutsiness of a staff locker room scene in which Curtis refuses to conceal what a near-naked 65-year-old body looks like makes the actress’ no-vanity performance into its own kind of vanity gimmick.

The movie is on steadier ground when it stays close to Shelly, inevitably inching into meta territory as it finds the overlap between the showgirl’s glory days fading into obsolescence and Anderson’s transition of late away from the Baywatch babe to the makeup-free candor of a late-50s woman unwilling to be a slave to unrealistic standards for female beauty.

If the breathy Marilyn voice and constant, nervous verbal diarrhea wear thin at times, Anderson’s transformative performance is undeniably affecting, offering illuminating insights into both the character and the actress playing her, who has had to struggle to be taken seriously. This role should mark a turning point on that front.

Coppola’s cousin Jason Schwartzman makes a brief appearance as a director pushed to brutal honesty when Shelly gets hysterical, demanding to know why her audition (to Pat Benatar’s “Shadows of the Night”) was “not what we’re looking for.”

Even if The Last Showgirl feels slender overall, more consistently attentive to aesthetics and atmosphere than psychological profundity, there’s moving empathy in its portrait of Shelly and women like her, their sense of self crumbling as they become cruelly devalued.

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'Radhe Shyam' Review: Mystic Astro-Love

Movie: Radhe Shyam Rating: 2.75/5 Banner: UV Creations Cast: Prabhas, Pooja Hegde, Krishnam Raju, Bhagyashree, Sachin Khedekar, Kunal Roy Kapur, Priyadarsi, Jagapathi Babu, Murli Sharma, Riddhi Kumar, Sasha Chettri, and others. Music: Justin Prabhakaran Cinematography: Manoj Paramahamsa Production designer: R Raveendar Editor: Kotagiri Venkateswara Rao Sound: Resul Pookutty Producers: Vamsi, Pramod and Praseedha Written and Directed by: Radha Krishna Kumar Release Date: March 11, 2022

Prabhas is one of India’s biggest superstars. With his tall and handsome looks, he has already proved that he can effortlessly switch from action roles to romantic characters.

After an action film like “Saaho”, Prabhas has now come up with a pure romantic tale. “Radhe Shyam” has been aggressively promoted as a romantic thriller, and the film’s promotions have generated tremendous hype.

Let’s find out its merits and demerits.

Story: The story is set in the mid-1970s. Vikramaditya (Prabhas), the Einstein of palmistry, falls in love with Prerana (Pooja Hegde) at first sight. She works as a doctor in Rome. Vikramaditya can predict the future. He never gets it wrong.

Such a renowned palmist is in love with a girl, who as per doctors, might not live long. She is suffering from an incurable tumor.

What will be the fate of their love story? Can fate be changed?

Artistes’ Performances: The best part of the film is Prabhas looking at his dashing best. He is handsome and classy. His screen presence is fabulous. There are no fights in the film, but he gets a couple of emotional moments to showcase his performance skills.

Pooja Hegde is so beautiful. As Prerana, she is ravishing and fits the character well. She looks fresh as a daisy. 

Krishnam Raju as a blind astrology guru brings gravitas. Jagapathi Babu, though a short role, made some impact. 

Bhagya Shree also made her good screen presence but the emotional connect with the protagonist is not established much.

Purpose of Kunal Kapoor's character is not served at all. 

Sachin Khedekar as Pooja’s uncle is the only noticeable actor among scores of actors, who get nothing much to do than stand for scenes.

Technical Excellence: The striking part is Manoj’s cinematography besides production design. Art Director Ravinder has created some stunning sets.

Justin Prabhakaran’s music is a weak thread to this visually alluring movie. “Ee Raathale” and “Nagumomu” have worked better on audio but they fail to create the same impact with video. Better songs would have made a lot of difference.

Thaman’s background score helped the film to the best. 

Highlights: Lavish visuals Grand production design/values Prabhas and Pooja Hegde’s looks Some poetic moments

Drawback: Weak songs  No multiple dimensions  

Analysis The much-hyped Prabhas starrer “Radhe Shyam” is an out-and-out love story. There are no fights. There’s no villain in this love story either, other than fate. The conflict also arises from destiny, not from humans. In a way, the love story doesn’t follow a regular formula. 

We have seen several films based on the concept of reincarnation. Now this is a love story set in the backdrop of palmistry and astrology. That's the point of difference with regard to novelty. 

The let down in this heavy budget film is not giving room for seasoned actors to perform.  Bhagyashree is shown as Prabhas’s mother and also a classical dancer. Apart from getting three or four scenes, she gets nothing in the story. The purpose of her presence in this story is not established. There is a character played by Kunal Roy Kapoor who also appears in two scenes. Priyadarshi does appear as one of the many doctors.

Not developing proper characterizations to all these characters shows a thumsdown to the director. 

Not to say that the movie is bereft of interesting moments. The conversation between Prabhas and Krishnam Raju about palmistry and astrology, and the episode involving Riddhi Kumar and the train sequence hold our interest. Pooja Hegde finding the twist is also another beautiful moment.

For any love story, the songs pump in life. Right from Geetanjali and Sakhi of Manirathnam to the recent Love Story of Sekhar Kammula, songs play a crucial role in making the love stories touch the hearts and souls of the audience. 

“Radhe Shyam” ends up with miserably ordinary songs. 

Plus, the film’s 1970s period setting has no relevance to the main conflict/story. The entire attempt looks pretentious and superficial. It didn't serve the purpose other than shooting up the making budget. 

“Radhe Shyam” is one of the costliest productions in Indian cinema. No wonder the film has stunning visual and production values. But beneath the glossy veneer, the film looks shallow. 

This is only for the multiplex audience but not to the single screens. The masses hardly connect to this astro-based love. Making this film with a pan Indian mass hero like Prabhas may prove wrong commercially. But it is sure that this film may be liked by the audience who hold faith in astrology. In fact, this film scores more points as an astrological film than as a love story.

Bottom line: Thin Love Line

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Tags: Prabhas Radhe Shyam Radhe Shyam Review Radhe Shyam Movie Review Radhe Shyam Rating Radhe Shyam Movie Rating

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Spike Jonze’s “Her” plays like a kind of miracle the first time around. Watching its opening shots of Joaquin Phoenix making an unabashed declaration of eternal love to an unseen soul mate is immediately disarming. The actor is so unaffected, so sincere, so drained of the tortured eccentricity that’s a hallmark of most of the roles that he plays. It’s like falling into a plush comforting embrace. Then one understands that the declaration isn’t his, but something he, or rather, his character, Theodore, does for his job.

As the movie continues, and the viewer learns more of what an ordinary guy Theodore is—he checks his e-mail on the ride home from work, just like pretty much all of us these days—director Jonze, who also wrote the movie’s script, constructs a beguiling cinematic world that also starts to embrace the viewer. The way Theodore’s smart phone and its earpiece work is different from ours, and soon it becomes clear that “Her” is something of a science-fiction film, set in the not-too-distant but distinctly fantastic future. A big part of the movie’s charm is just how thoroughly Jonze has imagined and constructed this future Los Angeles, from its smoggy skies to its glittering skyscrapers to its efficient mass transit system and much more. (There has already been, and there will no doubt be more, think pieces about how Caucasian this future L.A. is. There will likely be few think pieces about how the fashion for high-waisted pants in this future makes life unpleasant for the obese.)

The futuristic premise sets the stage for an unusual love story: one in which Theo, still highly damaged and sensitive over the breakup of his marriage (“I miss you,” a friend tells him in a voice mail message; “Not the sad, mopey you. The old, fun you”), falls in love with the artificially intelligent operating system of his computer. The movie shows this product advertised and, presumably, bought in remarkable quantity, but focuses on Theo’s interaction with his OS, which he gives a female voice. The female voice (portrayed beautifully by Scarlett Johansson ) gives herself the name “ Samantha ” and soon Samantha is reorganizing Theo’s files, making him laugh, and developing something like a human consciousness.

It’s in Theo and Samantha’s initial interaction that “Her” finds its most interesting, and troubling depths. Samantha, being, you know, a computer, has the ability to process data, and a hell of a lot of it, at a higher speed than human Theo. “I can understand how the limited perspective can look to the non-artificial mind,” she playfully observes to Theo. And while Samantha’s programming is designed to make her likable to Theo, her assimilation of humanity’s tics soon have the operating system feeling emotion, or the simulation of it, and while the viewer is being beguiled by the peculiarities and particularities of Theo and Samantha’s growing entanglement, he or she is also living through a crash course on the question of what it means to be human.

In the midst of the heavyosity, Jonze finds occasions for real comedy. At first Theo feels a little odd about his new “girlfriend,” and then finds out that his pal Amy ( Amy Adams ) is getting caught up in a relationship with the OS left behind by her estranged husband. Throughout the movie, while never attempting the sweep of a satire, Jonze drops funny hints about what the existence of artificial intelligence in human society might affect that society. He also gets off some pretty good jokes concerning video games.

But he also creates moments of genuinely upsetting heartbreak, as in Theo’s inability to understand what went wrong with his marriage to Catherine ( Rooney Mara , quite wonderful in what could have been a problematic role) and their continuing inadvertent emotional laceration of each other at their sole “present” meeting in the movie.

This is all laid out with superb craft (the cinematography by Hoyte van Hoytema takes the understated tones he applied to 2011’s “ Tinker Tailor Soldier Spy ” and adds a dreamy creamy quality to them, so that even the smog layering the Shanghai skyline that sometimes stands in for Los Angeles here has a vaguely enchanted quality) and imagination. If there’s a “but,” it’s that the movie can sometimes seem a little too pleased with itself, its sincerity sometimes communicating a slightly holier-than-thou preciosity, like some of those one-page features that so cutely dot the literary magazine “ The Believer .” As in, you know, OF COURSE Theo plays the ukulele. And I’m still torn as to whether the idea of a business specializing in “Beautifully Handwritten Letters’ is cutely twee or repellently cynical or some third thing that I might not find a turnoff. For all that, though, “Her” remains one of the most engaging and genuinely provocative movies you’re likely to see this year, and definitely a challenging but not inapt date movie.

Glenn Kenny

Glenn Kenny was the chief film critic of Premiere magazine for almost half of its existence. He has written for a host of other publications and resides in Brooklyn. Read his answers to our Movie Love Questionnaire here .

• Scarlett Johansson as (voice)
• Joaquin Phoenix as Theodore
• Olivia Wilde as Blind Date
• Portia Doubleday as Isabella
• Amy Adams as Amy
• Rooney Mara as Catherine
• Spike Jonze

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Ginna Review: Routine Attempt

Movie: Ginna Rating: 2.25/5 Banner: Ava Entertainment and 24 Frames Factory Cast: Vishnu Manchu, Sunny Leone, Payal Rajput, Chammak Chandra, Naresh, Vennela Kishore, Sunil, Satyam Rajesh, Raghu Babu, and others  Story-creative producer: Kona Venkat Music: Anup Rubens Cinematography: Chota K Naidu Editor: Chota K Prasad Producers: Vishnu Manchu Directed by: Suryaah Release Date: October 21, 2022

Manchu Vishnu aggressively marketed "Ginna." He even stated that he has decided to only do comedies in the future. He was certain that "Ginna" would provide him with much-needed success.

Let's see if his words are true.

Story: Ginna owns a Tent house in the village of Rangampet. He is struggling financially and has a lot of debt to pay off. Renuka (Sunny Leone), a beautiful and wealthy woman, returns from the United States to this village in search of her estranged uncle (Naresh). Renuka is a mute girl.

Ginna and his girlfriend (Payal Rajput) devise a scheme to steal money from Renuka and pay off his debts. Renuka, much to their surprise, offers to lend Ginna money and reveals that her sole reason for visiting this village is to marry Ginna.

Who exactly is Renuka, and what is her secret? 

Artistes’ Performances: Manchu Vishnu has played a fun character. Aside from the standard songs and fights, he delegates more work to other actors. Sunny Leone plays a girl who has a medical problem. She is a glamorous psychopath. She plays her part well. 

Payal Rajput has little to do. Chammak Chandra and Vennela Kishore act their roles as usual. Sunil makes an appearance in one scene. Naresh is fine.

Technical Excellence: Even though the film is mostly set in a village and some part in a resort, senior cameraman Chota K Naidu ensures that the visuals are grand. Songs by Anup Rubens are adequate. Dialogues are acceptable.

Highlights: A couple of entertaining parts Sunny Leone’s scenes

Drawback: Formulaic plot Outdated humor Predictable narration

Analysis In his career, Manchu Vishnu has had success with comedies (Kona Venkat and G Nageswara Reddy wrote "Dhee" and "Doosukeltha," for example). Following a string of failures, Manchu Vishnu hired writer Kona Venkat to pen the story for him, and "Ginna" happened. Kona Venkat wrote the screenplay in his regular format as in the horror comedy “Geetanjali”. The only difference is, there is no horror or ghost element in “Ginna”. 

The movie begins and ends similarly to Allari Naresh's comedies. The first half of the film focuses on Ginna's tent house problems, his romance with his girlfriend, Raghu Babu's challenges, and so on. When Sunny Leone arrives in the village, the plot twists. Then we get some cheap comedy from Chammak Chandra, who is hired to translate Sunny Leone's mute expressions. He passes lewd remarks at Sunny Leone.

Following lengthy comedy episodes, the ghost begins her act and a flashback occurs, as seen in "Geetanjali." Similarly, after the comedy segment concludes, Sunny Leone begins to murder people. The filmmakers attempted to bring laughs with Chammak Chandra's fears for being a witness to her murderous act. We don't see any spirits, unlike in "Geetanjali." 

Aside from a few comedic moments, the film's narrative is outdated. Suryaa, the new director, lacks the ability to give the clichéd story a modern twist. He directed the film in the style of G Nageswara Reddy.

Even the dialogues lack newness. Sample: “Ginna Ante Poyyi Meeda Karige Venna Kaadura Load Chesina Gun”. 

While Vishnu’s attempt to move to comedies is laudable, he should have invested money and time for new writers who come up with fresh ideas. It’s time he should reinvent himself. 

On the whole, “Ginna” is a clichéd comedy with few redeeming factors. 

Bottom line: Outdated

• 35-Chinna Katha Kaadu Review: Scores Good With Performances
• The GOAT Review: Greatest Weak Drama
• Saripodhaa Sanivaaram Review: Fine Drama With Weak Story

Tags: Ginna Review Ginna Movie Review Ginna Rating Ginna Movie Rating Ginna Telugu Movie Review

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Great Andhra

సినిమాలు తప్ప అన్నీ చేస్తోందిగా...

ఆరోగ్యమే మహాభాగ్యం శీర్షిక కింద రకరకాల వీడియోలు చేస్తోంది. మినిమం గ్యాప్స్ లో ఫొటోషూట్స్ కూడా కానిచ్చేస్తోంది. పికెల్ బాల్ టోర్నమెంట్ కు బ్రాండ్ అంబాసిడర్ గా కూడా వ్యవహరిస్తోంది. Advertisement ఆ మధ్య…

Greatandhra

ఆరోగ్యమే మహాభాగ్యం శీర్షిక కింద రకరకాల వీడియోలు చేస్తోంది. మినిమం గ్యాప్స్ లో ఫొటోషూట్స్ కూడా కానిచ్చేస్తోంది. పికెల్ బాల్ టోర్నమెంట్ కు బ్రాండ్ అంబాసిడర్ గా కూడా వ్యవహరిస్తోంది.

ఆ మధ్య తన వెబ్ సిరీస్ ప్రచారం కూడా చేసింది. మధ్యలో ఓ యాడ్ కూడా పూర్తి చేసింది. ఇన్ని చేస్తున్న సమంత, తన సినిమాల సంగతులు మాత్రం చెప్పడం లేదు.

ఒకప్పట్లా ఆమె మయొసైటిస్ సైడ్ ఎఫెక్టులతో బాధపడడం లేదు. కొద్దిగా ఇబ్బంది ఉన్నప్పటికీ ప్రొఫెషనల్ లైఫ్ ను ఆమె ప్రారంభించింది. ఇందులో భాగంగానే పైన చెప్పుకున్నవన్నీ చేస్తోంది. ఒక్క సినిమాలు తప్ప…?

అయితే ఆమె సీక్రెట్ గా తన సినిమా పూర్తి చేస్తోందని చెబుతున్నారు కొంతమంది. తన 37వ పుట్టినరోజు సందర్భంగా బంగారం టైటిల్ తో, సొంత బ్యానర్ లో నిర్మాతగా సమంత సినిమా ప్రకటించిన సంగతి తెలిసిందే.

ఆ సినిమా షూటింగ్ పై ఆమె ఇప్పటివరకు ఎలాంటి అప్ డేట్ ఇవ్వలేదు. ఈ సినిమాతో పాటు ఆమె ఓ మలయాళం సినిమాకు కూడా కమిటైంది. గౌతమ్ మీనన్ దర్శకత్వంలో వస్తోంది. ఆ సినిమాపై కూడా సమంత ఇప్పటివరకు ఎలాంటి పోస్ట్ పెట్టలేదు.

7 Replies to “సినిమాలు తప్ప అన్నీ చేస్తోందిగా..?”

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ఎవరో సౌందర్య లాంటి వాళ్ళు తప్పు ఎక్కువమంది ఒక్క సినిమా పాపలు . కొంత మందికి కాలం కలిసి ఎదో ఒక పదో పరకో పడటయ్యి. అలా అని ఎప్పుడు సినిమాలు వుండవు గా మరి. ఎదో ఒకటి చేసుకొని బతకాలి.

థియేటర్లో తప్ప అన్నీ ఓటిటిలోనే చూస్తాం

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