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Masooda Review: Chills, Thrills and Lengthy

Movie: Masooda Rating: 2.5/5 Banner: Swadharm Entertainment Cast: Sangitha, Thiruveer, Kavya Kalyanram, Subhalekha Sudhakar, Akhila Ram, and others Music: Prashanth R Vihari Cinematography: Nagesh Banell Art: Kranthi Priyam Editor: Jesvin Prabu Producer: Rahul Yadav Nakka Director: Sai Kiran Release Date: Nov 11, 2022

“Masooda” is produced by Rahul Yadav Nakka, whose two previous productions “Agent Sai Srinivas Athreya” and “Malli Raava” won accolades. Hence, his latest film created interest among film lovers despite not having popular stars.

Let’s find out its merits and demerits.

Story: Neelam (Sangitha), a Hyderabad schoolteacher, is a single parent. When her daughter Naziya starts acting strangely, she seeks the assistance of her neighbour Gopi (Tiruveer). They first consult a doctor before approaching a Baba, believing she is possessed by a spirit.

Following confirmation that Naziya is indeed possessed by a ghost, Baba (Satyam Rajesh) leads them to Rizwan (Subhalekha Sudhakar). Rizwan discovers that the girl is being haunted by a ghost named Masooda.

The rest of the drama is about discovering Masooda's story and solving the mystery.

Artistes’ Performances: Sangitha plays a mother who goes to great lengths to save her daughter. She gives it her all.

Tiruveer is the main character. The young actor is a good fit for the role of a helpful software engineer. While his characterisation lacks proper strength, his journey from being fearful to confronting a scary ghost has clarity.

The actress who played Naziya is fine. Subhalekha Sudhakar and Satyam Rajesh are right choices for the roles.

Technical Excellence: The technical achievement of the film is its best feature. There are many silent scenes in the film. Nonetheless, the sound design and background score keep us glued to the screen. These two departments have done an excellent job of creating an eerie atmosphere. Prashanth Vihari, the music director and the sound designer have done an outstanding job.

The cinematography is also superb. The camerawork is particularly impressive in the forest sequences. However, the film has been dogged down by two technicians - an editor and a dialogue writer. The film is far too long and moves at a snail pace.

Highlights: The initial episodes Sound design Background score Some scary moments

Drawback: Regular horror story Lengthy runtime The final moments dragging on

Analysis "Masooda" is an uncomplicated horror thriller. The plot is straightforward and familiar, as it is in many other ghost dramas and horror thrillers. In one line, the story is about a mother who goes all out to save her possessed daughter with the help of a neighbour. Many horror stories have followed the same pattern. The Muslim culture and ghost are what distinguishes "Masooda." The girl who is possessed is Muslim, as is the ghost, and so are the ghostbusters.

However, new director Sai Kiran has created the necessary atmosphere for the horror thriller by including genuine horror elements. It starts with a story that happened many years ago, then cuts to the present, and the story returns to where it started.

The first scenes, which were shot in an agricultural land and on a rainy night, piqued our interest. They pull us right into the story. The first half of the film alternates between Sangitha and her daughter's problem and the hero's love story at work. Despite its slow pace, the first half of the film barely touches on the main point of the story. The interval bang occurs exactly one hour later.

The actual story and ghostbusting takes place in the second half of the film. However, the latter section is excruciatingly long. This segment lasts one hour and forty minutes. It's intriguing to see the hero travel to a village and learn the story behind the ghost. But the latter half of the film, particularly the final half hour, is tedious and drags on.

In addition, there is an unnecessary sequence to set up the sequel.

As previously stated, the spooky thriller elements are what make the film work. There are some truly terrifying moments. The dark and depressive mood required for horror thrillers is expertly achieved. The background music keeps us interested in what's going on. Even though there are many cheap tricks and loud sounds, some of them work.

Overall, "Masooda" is a typical horror thriller that tries to stay true to the genre and provides some scary moments, but it also feels like an exercise in futility. It has limited appeal.

Bottom line: Works to Some Extent

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Masooda (2022)

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‘Masooda’ movie review: Thiruveer, Sangitha shoulder a middling horror drama

Telugu horror drama ‘masooda’ squanders its potential with a long-drawn narrative that feels incomplete.

November 18, 2022 03:29 pm | Updated 03:35 pm IST

Thiruveer, Bandhavi Sridhar and Sangitha in Telugu horror drama ‘Masooda’

At the fag end of Masooda , a character says she does not completely believe in the story she has just heard. That voices what many in the audience might be thinking too. The search for the truth in the third act attempts to solve a puzzle. Clearly, there has to be something more. We might know the answers if there is a sequel to Masooda . But, does it hold enough interest for a sequel? Not quite. And that is a pity. Masooda , written and directed by Sai Kiran and starring Thiruveer and Sangitha is an earnest attempt at a slow burn horror drama that does not resort to gimmicky thrills and loud music to induce the fear factor. If only it had paid more attention to the narrative.

The broad story arc is not new to the realm of horror dramas. The Muslim setting gives it an element of freshness. A series of gruesome murders at a village in Chittoor in the late 1980s and 90s has a ripple effect on a family living in present-day Hyderabad. Neelam (Sangitha) is a single mother who lives with her teenage daughter Nazia (Bandhavi Sridhar). In the middle-class apartment she resides in, there is camaraderie among neighbours. Gopi Krishna (Thiruveer), who lives in the complex, helps the mother-daughter duo with day-to-day odd jobs.

Cast: Thiruveer, Sangitha, Bandhavi Sridhar

Direction: sai kiran, music: prashanth r vihari.

We get a sense of the everyday lives of these characters and the humdrum of Gopi’s office where he is trying to woo his colleague Mini (Kavya Kalyanram). Neelam is a science teacher trying to make ends meet and Gopi is a good-natured, timid guy who is unlikely to get noticed in a crowd. Nazia suddenly behaves oddly, pushing a deliberately-paced drama into horror mode. Small flourishes stand out — such as Neelam wondering whatever happened to her pragmatic self when she begins to search for a ‘peer baba’ to save her daughter, and Gopi wondering why he is unable to walk away from the situation that is drawing him deeper into a mess. He is a neighbour, not family, after all.

Cinematographer Nagesh Banell captures the middle-class setting in warm hues; there is a pop of red in several frames, as though pre-empting the danger of a blood-soaked drama that will unfold much later. Music composer Prashanth Vihari’s score shifts gears from a comforting melody to uneasy silences where you can hear the smallest sounds that can lead to something spooky.

The narrative takes its time to reveal why Neelam and Gopi should be truly worried about Nazia. Some of the humour also works. Take the scene where Gopi quickly surfs the web on his phone to find ways to chase a ghost! He enacts Gopi with sincerity and is effective in expressing fear with a tinge of innocence. Sangitha as the mother who must gather courage and rise above her trepidation, does not falter. Bandhavi displays the vulnerability of a young girl trapped in an unenviable situation.

The pre-intermission segment sets the stage for a solid horror drama. There is a lot to unearth about a mysterious character named Masooda, as the exorcists led by Rizwan (Subhalekha Sudhakar) and Allaudin (Satyam Rajesh) try to help Nazia.

The technical team pulls all stops to deliver a moody, edge-of-the-seat thriller. Flickering lights, creaky windows and doors, rundown buildings, spooky forests… there is all this and more. But… we never get to the bottom of the mystery surrounding Masooda (the Arabic name denotes a good woman). The spooks and the thrills are also not scary enough to raise the stakes.

At the end of 160 minutes, Masooda felt long-drawn and incomplete. I couldn’t help wondering if all that build up was for the underwhelming end.

'Moosada' movie review: An immersive horror thriller

The narrative follows three major characters Neelam (Sangeetha), a science teacher and a single mother, who lives with her daughter Nazia (Bandhavi Sridhar), and Gopi (Thiruveer), a cowardly software engineer who is their neighbour. Nazia begins to act weirdly and a suspicious Neelam seeks the help of Gopi to set things right. Situations turn worse than they anticipated and what spirals is a chain reaction of chills interspersed with dollops of red herrings.

With emotional yet realistic dialogues, the major strength of Masooda lies in its plot and camera work. Although the story is familiar as we can predict a large chunk of the narrative, the film still manages to suck you into its drama because it's set in a middle-class neighbourhood and is treated like the kind of tragedy that could happen to just about anyone.

The film does have its share of unanswered questions, which can be overlooked. Despite the narrative bookends with a few gruesome scenes, the plot is tense without having to lower itself to the jump scares of the horror tropes. The different shades of morality and the very purpose among the three characters give them more depth than most of the gimmicks played out in this genre.

The characters are developed through the small scenes of explanation as well as their actions. As the story progresses, despite Gopi's cowardly nature, you actually root and worry for the character. The drama is neatly woven, intensely pulsating, and gory in parts that you get the feeling of claustrophobia and you experience the pulse rate increases throughout the movie. At the same time, you also wish that the suspense unwinds fast.

The actors are all earnest and sincere in their performances which makes the film look intense as well as authentic. Their anticipation along with their anxiety and fear are all palpable. But it is Bandhavi Sridhar, who stands out as the terrifying young woman. She and her actions add suspense and fear to the film that you can't cast your eyes off the screen.

The film is visually stimulating as it moves at a dramatic pace. Cinematographer Nagesh Banell's camera work shifts the tone of the film from one point of view to the next, giving us a feeling that most of the film is one long take. Also, the scenes shot in the farmlands on a rainy night or involving night vision are so neatly executed that you will be on the edge of your seat. Prashanth R Vihari's background score along with bouts of silence and spooky moments elevate the viewing experience.

Overall, Masooda succeeds in staying true to the genre conventions and offers something that is both unusual and exciting.

Cast : Sangeetha, Bandhavi Sridhar, Thiruveer

Director : Sai Kiran

Ratings : 3 out of 5 stars

(This story originally appeared in Cinema Express)

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Masooda Movie Review: Sangitha-Thiruveer Starrer Is An Interesting & Intriguing Family Horror Film!

Introduction:

Neelam (Sangitha) is a separated single mother living in a middle-class apartment along with her teenage daughter Nazia. Gopi (Thiruveer) is their kind neighbour who acts like a son to them. He tries to woo his colleague Mini (Kavya Kalyanram) and when things are going positive for him, Neelam alerts Gopi of Nazia's weird behaviour one day, opening the plot to this horror tale. What happened to Nazia? Who is Masooda? What did Neelam do to save his only daughter? How is Gopi connected to this entire situation? are to be seen on the big screen.

Neelam is a Science teacher for high-school students in Railway school, separated from an abusive husband (Satya Prakash). She rents out a flat to which she is yet to clear the finances, to live with her daughter Nazia. Gopi is their bachelor neighbour who befriends the family and involves himself in the awkward situation they fall into.

Meanwhile, Meer Chacha is a person who secretly follows Nazia. At one instance, he touches her and starts vomiting blood, getting himself into a severe car accident. One night, when Gopi finally makes advances on his crush Mini, he is sought by Neelam. Gopi visits Nazia and immediately believes it is a supernatural cause. He decides to help Neelam in sorting it out and in the process confronts his fears. The duo then approaches a Peer Baba to perform an exorcism and free Nazia from the clutches of Masooda, an evil witch.

Director Sai Kiran has written the film brilliantly. The movie turned out well on the celluloid and the credit goes to the debut director for having the conviction to showcase this story. The movie is a proper family-horror story, which works almost in every aspect. He gently tried to induce situational comedy in the film to not deviate from the genre. Depicting a Science teacher as the one searching for a Baba when it comes to her daughter, how an insecure person like Gopi dares to face evil, and how humanity works, were some of the issues that were sensitively touched throughout the film's narration.

Performances:

The casting seems perfect to the viewers watching the film. Sangitha, Thiruveer, and others have lived in their respective roles and their performances are apt and commendable. Each role that appeared in the film had a purpose and they fulfilled it to the best of their capacity.

Technical Aspects:

The one aspect that steals the cake is the background score. The music which includes two tracks, rendered by Prashanth R Vihari stands out. If you are planning on watching the film in a theatre, we recommend you do it in one with a good sound system. The editing of the film by Jesvin Prabhu is also on point with great visuals composed by Nagesh Banell. Masooda's screenplay is adequate. To put it together, editing, music, and screenplay fit together in harmony, bringing out an interesting horror film after a very long time.

What's Yay: Performances Story and its premise Background score Eeriness

What's Nay: Gore/ Violence Requires patience

Masooda is a well-made horror film in Telugu for a long time and is a must-watch on the big screen. The movie is away from the stereotypical tropes of a regular horror flick with a calm set-up of a family backdrop and a ruthless witch. Masooda is an intriguing horror film that succeeds in all aspects and makes for a great theatrical watch.

Masoodha Twitter Review: Here Are The Tweets About The Horror Thriller From Swadharm Entertainment!

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Masooda Movie Review: An immersive horror thriller

Rating: ( 3 / 5).

Debutant director Sai Kiran's film Masooda is a skillfully crafted horror thriller that gives you the immersive theatrical experience of a supernatural drama with nail-biting suspense, gore, and fear. It is a simple story of a young woman possessed by a spirit. The narrative follows three major characters Neelam (Sangeetha), a science teacher and a single mother, who lives with her daughter Nazia (Bandhavi Sridhar), and Gopi (Thiruveer), a cowardly software engineer who is their neighbour. Nazia begins to act weirdly and a suspicious Neelam seeks the help of Gopi to set things right. Situations turn worse than they anticipated and what spirals is a chain reaction of chills interspersed with dollops of red herrings.

Cast: Sangeetha, Bandhavi Sridhar, Thiruveer Director: Sai Kiran

Overall, Masooda succeeds in staying true to the genre conventions and offers something that is both unusual and exciting.

Movie Reviews

Masooda Review

Masooda Movie : What's Behind

Senior actress Sangeetha is making her comeback with Masooda, a horror thriller. The trailers and teasers got tremendous response and with Rahul Yadav Nakka who produced 'Malli Raava' and 'Agent Sai Srinivasa Atreya' interest is increasing. Masooda OTT streaming will be done after its theatrical release and OTT partner will be revealed in the coming days. Many Tollywood directors sang praises on the film and let us whether Masooda directed by debutante Sai Kiran lived up to the hype or not.

Masooda Movie : Story Review

Masooda's story is a horror thriller and how a young girl possed is saved by her family members and neighbors. Gopi (Thiruveer), a software engineer is extremely timid and introvert and takes time to express his love to his colleague Mini (Kavya Kalyan Ram). One night when they were in Thiruveer's flat in the apartment, suddenly his neighbor Neelam (Sangeeta), a school teacher calls for help. Much to his surprise of him, her daughter Nazia starts behaving weirdly. Where this leads to, why she starts behaving weirdly and how Gopi reacts to her, and what her connection to Masooda forms the plot of Masooda.

Masooda Movie : Artists, Technicians Review

Masooda's story written and directed by Sai Kiran is a typical horror thriller. Sai Kiran on debut dared to be different and came up with a horror thriller unlike selecting a safe genre like a romantic entertainer. Masooda's story narrated by Sai Kiran starts off in an interesting manner with the happenings in Chittoor during 89 and shifts to the developments in Hyderabad in 99. After the interesting and thrilling elements mixed with horror, the pace in the story dips with the romantic aspects taking center stage. But after ten or fifteen minutes, the narration picks pace with the developments in Sangeeta's house. Though the narration is slow, Sai Kiran manages to keep the viewers glued with thrilling elements and the first half ends with an interesting interval bang.

The second half starts with the investigation of the whereabouts of Masooda and the screenplay is even. Sai Kiran mixed the narration with the right amount of emotions, investigation elements, and also horror elements to give a thrilling feeling. The film ends on a predictable note with the lead to the sequel. Dialogues are good.

Thiruveer made an impact with his performance. He showed variations as a fearful person and then showed good feelings as a helping neighbor and by showing the courage to save the neighbor in trouble. Sangeetha on comeback played the role of a worried mother, and neighbor who fights to save her daughter singlehandedly without depending on anyone. Subhalekha Sudhakar and Satyam Rajesh performed well in the roles of Peer Baba and Alauddin. Akhila Ram and Bandhavi Sridhar performed well in the roles of Nazia and others.

Prashant Vihari's songs are situational and his background music made a thumping impact. The background music made the viewers get attached to the film and the proceedings. The cinematography of Nagesh Bannell is good and showed the happenings, elevating the thrill factor to the core while showing the possession of Masooda and how people try to drive away the evil force. Jesvin Babu's editing could have been even more crispy as the story dragged and the pace dipped with a few unnecessary scenes. Production values are good.

Masooda Movie : Advantages

Performances
Cinematography

Masooda Movie : Disadvantages

Predictable Narration

Masooda Movie : Rating Analysis

Sai Kiran should be complimented for touching the horror genre with Masooda. He should be appreciated for not deviating from the horror genre by including item songs, romantic elements, and hilarious elements for commercial angles. Though the story and narration are predictable and the horror happenings could be guessed easily, Sai Kiaran made it interesting with his screenplay and direction. The entire cast and crew strove hard to come up with a quality output but the lack of renowned names in the cast and crew impacted the film in a big way. Had Sai Kiran done away with the predictability and included a few more unexpected twists and turns, Masooda could have created a sensation. Altogether Masooda is an interesting horror thriller. Considering all these aspects Cinejosh goes with a 2.5 rating for Masooda .

Cinejosh - A One Vision Technologies initiative, was founded in 2009 as a website for news, reviews and much more content for OTT, TV, Cinema for the Telugu population and later emerged as a one-stop destination with 24/7 updates.

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What’s it about?

In an apartment in Hyderabad, a school teacher Neelam (Sangitha) lives with her teenage daughter Naaziya. Gopi (Tiruveer) who also resides in the same plot bonds with them and helps them regularly.

Gopi a IT employee likes his colleague (Kavya) but has no guts to ask for a date. After many failures, he finally gathers courage and approaches her and she agrees to. While they are getting to know each other in his room, suddenly Neelam comes to his room seeking his help. Gopi finds that her daughter Naaziya is behaving as if she was possessed. Doctors declare her psychological problem. But Neelam seeks the help of a baba who generally deal with the possessed.

Rizwan (Subhalekha Sudhakar) and his disciple (Satyam Rajesh) arrive to assist them. Rizwan discovers that the girl is being possessed by a ghost. Gopi travels to a village in search of a person connected to Naaziya and discovers the story of Masooda, the ghost who entered Naaziya’s body. What is Masooda’s story, and who is she?

‘Masooda,’ an Urdu word, means fortune or good luck. It is the name of a ghost in “Masooda,” a new horror thriller directed by newcomer Sai Kiran and produced by Rahul Yadav Nakka (of “Agent Sai Srinivas Athreya”). The ghost’s religion makes a significant difference in this generic horror story. The story’s backdrop, a Muslim family in trouble and Muslim babas assisting them, adds some novelty.

‘Masooda’ starts off on an intriguing note, with a fifteen-minute episode of a ghost killing people. The plot then shifts to a single mother and her daughter getting into trouble, with their neighbour Gopi assisting them. By making Gopi the central focus after it is established that the young girl is possessed, the story devolves into a standard horror drama. His character arc becomes predictable.

Once it is established that the girl is possessed, Gopi, being a good neighbour, comes to help and goes above and beyond to learn about Masooda. Masood’s story turns out to be routine. The final hour drags on and on, with the sequences from the “Exorcist” film.

The second half is filled with blood, violence, and frightening moments, but none of them provide thrills. The ghost story lacks an engaging thread. The technical elements are used to entice audiences rather than with the engaging screenplay. The final hour is completely dull. It not only needs to be trimmed, but it also lacks novelty.

While the new director succeeds in setting the tone and eliciting the best performances from the sound designer, music director, and cinematographer, he falls short in the writing department. Aside from creating standard scenes, the dialogue is also of poor quality. Despite the fact that there are many Muslim characters, their accent is typical ‘Andhra Telugu’. There is no touch of Urdu or Deccani accent.

Tiruveer does what is required. Despite not having a strong characterisation, he does justice to the role. Sangitha is good as a mother who is determined to save her daughter. Other actors do their parts well.

The technicians have done superior job. The cinematographer, the sound designer and the music director deserve special mention and appreciation.

Bottom-line : ‘Masooda’ is a generic horror film about a mother and her friend going to great lengths to help a possessed girl. While certain scenes and the sound design provide a few thrills, the film as a whole suffers from standard writing, an excessive runtime, and a lack of engaging narrative in the final hour.

Rating: 2.25/5

By Jalapathy Gudelli

Film: Masooda Cast: Sangitha, Thiruveer, Kavya Kalyanram, Akhila Ram, Satyam Rajesh, Satya Prakash, and others Cinematography: Nagesh Banell Music: Prashanth R Vihari Art: Kranthi Priyam Editor: Jesvin Prabhu Sound Design: Sync Cinema Stunts: Ram Krishan and Stunt Jashuva Producer: Rahul Yadav Nakka Written and directed by: Sai Kiran Release Date: November 18, 2022

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Masooda Movie Review

Article by Cinephile Published by GulteDesk --> Published on: 11:44 am, 18 November 2022

2 Hrs 40 Mins | Horror | 18-11-2022

Cast - Sangitha, Thiruveer, Kavya Kalyanram and others

Director - Sai Kiran

Producer - Rahul Yadav Nakka

Banner - Swadharam Entertainments

Music - Prashanth R Vihari

It has been ages since we saw a true blue horror flick in Telugu cinema. Of late, the only horror we know is horror comedies. Finally, a genuine horror flick hit the theatres and it is Masooda. This Sai Kiran directorial generated positive buzz through its trailer. Check out if the movie lived up to those expectations.

Neelam (Sangitha) is a single Muslim mother who stays with her daughter Nazia (Bandhavi Sridhar). Gopi (Thiruveer) is their neighbour. He works as an IT employee. All of a sudden, Neelam observes abnormal change in Nazia’s behaviour. Soon, it is found out that Nazia is possessed. Neelam then seeks Gopi’s help. Together, they get to know some shocking facts about the spirit that possessed Nazia.

Masooda has an interesting premise and it hooks the audience right away by introducing the main conflict. This is indeed a honest attempt in the classic horror genre. Howevere, there is severe violence and gore which may appeal uncomfortable for a few sections of audiences.

Thiruveer fit in the shoes of Gopi perfectly. He gave an impressive performance in his role. Kavya played the romantic interest of Thiruveer. Though she looks good onscreen, she was not the right fit for this role. Sangitha delivered an earnest performance as Neelam. She did emotional scenes in a convincing way. Bandhavi Sridhar puts on a decent show.

The main asset of Mason is the cinematography. Nagesh Banell of Pelli Choopulu fame adds soul to the movie with his camera work. The frames and shot are aesthetic and give a good horror feel. Prashanth R Vihari’s music is alright. He scored brownie points with the background score. The production values are great. The editing is apt.

Masooda’s core plot line is unique and interesting. The director starts off the film in an intriguing way but the later proceedings are very slow. Also, the film becomes bland after a bit. There are not enough jump scares which audiences expect from horror films. There are no twists too. If the film packed some more scares and a crispy cut, it would have become a remarkable film in this genre.

Core Storyline Camera work Background music

Thumbs Down:

Bland narrative Flat Screenplay Slow proceedings Lengthy Second half

On the whole, Masooda is a decent attempt in the horror genre but not a pathbreaking one. If you are a horror films fan, you can give it a try. Not a must-watch but an average attempt.

Bottom-line: Try It If You Are A Horror Films Fan!

Rating: 2.5/5

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Masooda review: This horror flick gives you enough chills

Director Sai Kiran, through this Sangitha and Thiruveer-starrer, manages to entertain the audience for two-and-a-half hours.

Published:Nov 18, 2022

'Masooda' movie poster. (Swadharm_Ent/Twitter)

For horror movie fans.

Masooda (Telugu)

Cast: Sangitha, Thiruveer, Kavya Kalyanram, Subhalekha Sudhakar, Akhila Ram, Bandhavi Sridhar, Satyam Rajesh, Satya Prakash, Surya Rao, Surabhi Prabhavathi, Krishna Teja, and Karthik Adusumilli
Writer-director: Sai Kiran
Producer: Rahul Yadav Nakka
Music: Prashanth R Vihari
Runtime: 2 hours 40 minutes
Cast: Salman Khan, Katrina Kaif, Emraan Hashmi, and Revathy
Director: Maneesh Sharma
Producer: Aditya Chopra
Music: Pritam Chakraborty
Runtime: 2 hours 35 minutes

Masooda , starring Sangitha, Thiruveer, and Kavya in the lead roles, is out in the theatres on Friday, 18 November. The horror film is directed by Sai Kiran and produced by Rahul Yadav Nakka.

It managed to live up to the expectations of the audiences and the hype it had created. Here’s our review.

Neelam (Sangitha) is a single mother and a school teacher. Her daughter Nazia (Bandhavi Sridhar) is her only world. She goes to any extent to keep Nazia happy.

Next to their house lives Gopi (Thiruveer), a software engineer and an introvert. He is their go-to guy when in need.

One day, Neelam asks Gopi to come down to her house as there’s an emergency. After visiting Neelam’s house, Gopi realises that Nazia has been possessed and advises her to confirm if it is an evil spirit.

But, by then, Nazia’s condition, both physical and mental, goes for a toss. They learnt that she was possessed by an evil spirit called Masooda.

Who is Masooda? Where is she from? What is her background? And what does she have to do with Nazia? Will she leave Nazia without harming her? You can find answers to these questions on the big screen.

Right casting

Masooda deals with the bonding between mother and daughter, how an introvert can go to any extent to save people who are in need and how a small mistake can change one’s life. Director Sai Kiran needs to be appreciated for portraying all this well.

Sangitha, Thiruveer and Bandhavi Sridhar are too good in their roles. They got into the skin of their respective characters.

Actors like Subhalekha Sudhakar, Surabhi Prabhavati, and Satyam Rajesh did a great job. With a few characters and a sensible plot, the makers have brought out a good film.

‘Masooda’ cast and crew. (Supplied)

Director Sai Kiran pulls it off

The sole purpose of a horror film is to frighten the audience. The more the audiences are frightened, the more entertaining the film is. Masooda successfully managed to do that.

Most horror flicks showcase evil spirits trying to possess humans to fulfil their wishes. Masooda also falls under the same category.

But what matters here is how well the story of vengeance is written and how properly is it executed. Director Sai Kiran came up with a really good story and screenplay. The characters are well-written.

Music and cinematography

Further, visuals and background music are crucial in horror movies to give us chills. Here, they are bang on.

Prashanth Vihari did a notable job in composing the right background score for the horror scenes, especially, when the story progresses at a brisk pace.

The entire first half of the movie gives us an insight into their lives and the flashback. The second half is where the actual horror plot starts and it brings you to the edge of your seat.

#Masooda is all set to give you chills on the big screens from tomorrow 🥶 Book your tickets💥 – https://t.co/dUVolNKRKm #AssalBhayamMundhundhi #SaiKiran @IamThiruveeR @KavyaKalyanram @sangithakrish @Bandhavisri @prashanthvihari @RahulYadavNakka @svc_official pic.twitter.com/6muNKPttk5 — Swadharm Entertainment (@Swadharm_Ent) November 17, 2022

There are lags in the first half. A few emotional scenes could have been avoided to make it crispier.

Producer Rahul Yadav Nakka became the talk of the town for his previous works: Malli Raava and Agent Sai Srinivasa Athreya . This is his third film and he chose a script that entertains the audience for two-and-a-half hours.

On the whole, Masooda is an absolute entertainer if you are a fan of horror movies.

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Masooda movie review - a pointless horror-drama.

'Masooda' hit the cinemas today (November 18). It is produced by Rahul Yadav Nakka of Swadharm Entertainment.

Neelam (Sangeetha Krishna) is a single mother to a teen girl named Naziya (Bandhavi Sridhar). All of a sudden, Naziya starts behaving strangely. She is obviously possessed. A petrified Neelam approaches her trusted neighbour Gopi (Thiruveer) for help. Gopi now has to help Neelam handle the existential crisis and do his bit to save Nazriya from being devoured by a greedy ghost. His search for a solution puts him on a path to knowing about an evil woman named Masooda. Meanwhile, a 'baba' (Subhalekha Sudhakar) is also out to save Nazriya.

Back in 1989, two young Muslim men walked into a jungle, only to discover that they were being haunted by a female ghost. A grisly murder and a police investigation follow ten years later. In the present, Gopi and Neelam are cordial neighbours. If the former is a middle-class man working for a company and mooning over his female colleague (Kavya Kalyanram), the latter is a school teacher struggling to make ends meet because her estranged husband (Satya Prakash) exploits her.

As for Nazriya, around whose fate the story revolves, she has been losing interest in her studies. A fatal flaw this film suffers from is that she is given no personality. So, when she suddenly confronts her "superstitious" mother, it looks forced. Gopi's characterization is half-baked. He is too timid to approach his crush and that's the only detail that is clear about him. His unselfishness is explained as the result of Mahatma Gandhi's influence on his personality. It's all so plain.

The film makes references to yesteryear actress Divya Bharathi who died mysteriously, and the notorious serial killer Cyanide Mohan, to create short-lived curiosity. The characters played by Satya Prakash and Satyam Rajesh are there as needless deviations.

The horror elements are absurdly staged. A possessed teen girl shrieking she won't spare anyone doesn't scare anyone in 2022. The sound design alone manages to create some horror. The sound of the balloon spooking Gopi is a case in point. Beyond that, 'Masooda' falls back on outdated tropes. Merely mentioning terms like 'Kshudra puja' means nothing in an era when the idea of horror should have moved to the next level. The loneliness of the characters, the agony of the single mother, and the adventures are supposed to create scares.

The flashback is where the plot seems to gain some momentum in an otherwise snail-paced movie. Several Muslim characters are introduced. The trace of domestic neo-noir drama hasn't been explored at all. Everything is so superficial.

Prashanth R Vihari's music is ordinary. The cinematography and the art direction alone matter in this otherwise generic yawn-inducing drama.

Closing Remarks

'Masooda' is an over-hyped snooze-fest. Good technical quality is its only merit. The horror elements are unmistakably simplistic.

Critic's Rating

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The background score composed by Prashanth R Vihari is arresting. Especially, the sounding he used for all the horror scenes elevates the mood nicely. In one word, Prashanth’s score is major asset for the movie.

Production design is good as the backdrop has freshness in it. Production values for this tight budget movie are good.

Analysis: Sai Kiran Y directs Masooda. Though the film is his debut, Sai Kiran executed the film with proper clarity. While his writing is neat, the director succeed in presenting the horror genre in a different perspective. His on paper ideas are good and reflected the same on screen.

It is not that the first forty minutes of the film is bad but the proceedings during this time run on a slow note. Adding to it, establishment scenes during this time take sweet time as the setup with full impact will be created during the interval block.

To summerize, Masooda is largely engaging thriller that has enough horror elements to satisfy the targetted audience. While all the artists gave their best, director Sai Kiran’s detailing and point to narrative makes the film a satisfactory watch.

Verdict: Engaging horror thriller!

Rating: 2.5/5

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Masooda Movie Review & Ratings | Hit or Flop?

Masooda Movie Review : Rahul Yadav Nakka is one of the few producers with good taste in movies. He made Malli Rava and Agent Sai Srinivas Athreya, and now he’s making a new film called “Masooda.” Horror films are rare these days, so it takes a lot of courage to make one. The teaser and trailer for “Masooda” caught people’s attention because they were different.

Masooda is billed as a horror drama, and the story is about a 17-year-old girl named Nazia who acts strangely. Her mother, Sangitha, goes to her neighbour Gopi (Thiruveer), who has a fear phobia, for help. Gopi and Nazia’s mother take her to “Peer Baba,” but Nazia’s behaviour changes, and Gopi and her mother have trouble with her. But because of her strange behavior, many questions remain unanswered, and during the trial, they learn about a girl named Masooda. Last but not least, who is Masooda? The main question of the movie is what happened in her past.

Cast & Crew

Sangitha, Thiruveer, Kavya Kalyan Ram, Subhaleka Sudhakar, Akhila Ram, Bandavi Sridhar, Satyam Rajesh, Satya Prakash, Surya Rao, Surabhi Prabhavathi, Krishna Teja, and the film was directed by Sai Kiran, with cinematography by Nagesh Banell, music by Prashanth R Vihari, and the film was edited by Jesvin Pra


Director	Sai Kiran
Music Director	Prashanth R Vihari
Producer	Rahul Yadav Nakka
Genre	Horror Drama
Cast	Sangitha, Thiruveer, Kavya Kalyan Ram, Subhaleka Sudhakar, Akhila Ram, Bandavi Sridhar, Satyam Rajesh, Satya Prakash, Surya Rao, Surabhi Prabhavathi, Krishna Teja
Cinematography	Nagesh Banell

Movie Verdict

Horror used to be one of the most interesting and exciting genres, but it’s gone now because people want new stories. It’s not easy to bring back the horror genre because if the story isn’t interesting, people will make the movie fail, but Masooda is not your typical horror story. At first, the movie seems normal, but as it goes on, the plot and mood pull you into Masooda’s world.

The first half was an interesting drama when Gopi and Sangeetha tried to cure Nazia’s illness with both medicine and Peer Baba. Those scenes were quite interesting, and the suspense kept the audience’s attention throughout the first half and made them want to watch the second half. The second half starts off interestingly by revealing all the layers and while revealing the twists one by one gets the film interesting and keeps you glued to your seat. Sai Kiran tried to make a unique horror movie and ended up making the best horror thriller. His way of making the movie draws the audience into the story, and he manages to make the audience feel emotions with the way he tells the story. Masooda is great technically, even though it was made on a small budget. Nagesh Banell’s cinematography makes every frame look rich, Prashanth R. Vihari’s creepy music is played on a variety of instruments, and the rest of the team does a good job. Masooda is one of the best horror movies that have come out in recent years.

Plus Points:

Background Score
Cinematography

Minus Points:

Slow Narration

Rating: 3/5

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Masooda Movie Review : A frightening one with mindless violence !

Masooda Movie Review

TELUGU360 RATING : 2.5/5

Masooda is one small film that caught everyone’s attention with the teaser and trailer. Masooda is a horror thriller and Sangeetha, Thiruveer, Kavya Kalyanram, Subhalekha Sudhakar and Surabhi Prabhavathi played the lead roles. Sai Kiran Y is making his directorial debut and Rahul Yadav Nakka’s Swadharm Entertainment Pvt. Ltd bankrolled the project. Prashanth R Vihari is the music director for Masooda. The film is heading for a theatrical release today and here is the complete review of Masooda.

Story: A teenage girl Nazia ( Bandhavi Sridhar) lives with her mother Neelam ( Sangitha) and Software engineer Gopi (Thiruveer) is their neighbor in the apartment. Neelam notices a sudden change in Nazia’s behavior and seeks Gopi’s help. They suspect Nazia is being possessed by a demon, consult tantrik babas. Rest of the film is about peeru baba finding the backstory of Masoodabi and how she is related to the protagonists.

Analysis: Masooda film doesn’t take much time to set the audience mood. Introduction scene itself intriguing and gore. The shot making is noticeably different in initial 15 minutes. Once the flashback completes, the story of the movie shifts to Hyderabad. Gopi’s love track is boring and makes the proceedings slow. As the intermission time approaches the screams and suspense levels go up. A short duration first half is pretty normal. The second half is packed with blood, violence and loud screams. The backstory of Masoodabi is spine chilling but overdone. Horror genre appeals more to the audience if the story is engaging. Masooda film offers fear factor but misses on delivering engaging story. The flat narration is another negative aspect, no surprise elements in the film. Director relies on generating fear by loud audio design than the strong script. The second half is very lengthy and overwhelming. Satyam Rajesh and Subhalekha Sudhakar are huge miscasting.

Director Sai Kiran appears over tried in this genre. Nagesh Banell’s Cinematography stands out of all technical departments. Prashanth R Vihari’s music is simple, background score is very good. Production values are excellent.

Performances: Thiruveer and Kavya Kalyanram are the lead roles. Thiruveer is a perfect fit for the role, Kavya is not so. Yesteryear heroine Sangeetha, Bandhavi Sridhar as her daughter Nazia play other two main characters of the film.As a helpless mother and daughter duo they performed well. The supporting cast in the movie includes Subhalekha Sudhakar, Satyam Rajesh, Satya Prakash.

Positives :

Technical departments Muslims backdrop offers different from routine

Negatives :

Very lengthy second half Excessive violence Too loud scenes

Verdict : ‘Masooda’ is a frightening Horror film with a different backdrop. But it is terribly loud and lengthy. Only the horror genre hardcore audience can give it a try because this film is extremely violent, terribly blood-soaked. The horror characters scream at highest allowed decibels through out the film.

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Movie Review: ‘Transformers One,’ an origin story no one wants with brutality levels no one needs

This image released by Paramount Pictures shows characters, from left, D-16/Megatron, voiced by Brian Tyree Henry, Elita-1, voiced by Scarlett Johansson, Orion Pax/Optimus Prime, voiced by Chris Hemsworth, and B-127, voiced by Keegan-Michael Key, in a scene from “Transformers One.” (Paramount Pictures via AP)

This image released by Paramount Pictures shows character B-127, voiced by Keegan-Michael Key, in a scene from “Transformers One.” (Paramount Pictures via AP)

This image released by Paramount Pictures shows character Sentinel Prime, voiced by Jon Hamm, in a scene from “Transformers One.” (Paramount Pictures via AP)

This image released by Paramount Pictures shows character D-16/Megatron, voiced by Brian Tyree Henry, in a scene from “Transformers One.” (Paramount Pictures via AP)

This image released by Paramount Pictures shows character Elita-1, voiced by Scarlett Johansson, in a scene from “Transformers One.” (Paramount Pictures via AP)

This image released by Paramount Pictures shows character Orion Pax/Optimus Prime, voiced by Chris Hemsworth, in a scene from “Transformers One.” (Paramount Pictures via AP)

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Movie origin stories finally reach their nadir this week with “Transformers One,” the super-violent, toy-selling vehicle that tells the tale of how Optimus Prime and Megatron went from besties to foes. Did anyone ask for this? Did Wile E. Coyote and the Road Runner ask for too much money?

The computer-animated “Transformers One” is out of time, a throwback to a few years ago when Hollywood mined popular IP for forgotten heroes, built overly complex worlds and then ramped up the action so that the audience just got numbed to a blur of battles. But “Transformers One” isn’t good enough to watch on a plane, even a trans-Pacific flight. The inflight map is better.

A map isn’t a bad idea, actually: You may need some sort of guide for this one — those uninitiated to the folklore of Cybertron are flung helplessly into references to Energon, Alpha Trion, Quintessons and something called the Matrix of Leadership. You come in halfway into a conversation.

The story by Andrew Barrer and Gabriel Ferrari is basically the Bible’s Cain and Abel with a detour into the Roman Empire and the Hasbro figurines’ accumulated mythology, which seems to be a series of never-ending epic battles between good and evil. Some stuff just seems downright weird, like why these robots need a gym or why after running they become breathless.

The main heroes here are buddies Orion Pax and D-16 — who will become mortal enemies Optimus Prime and Megatron by the end — and we meet them when they are lowly miners, basically non-transforming bots digging for reserves of the energy cleverly called Energon. This is a society in which the upper class is made up of Transformers who stomp around preening while the lower classes do dirty jobs like comb through garbage.

They all serve Sentinel Prime, the leader of the subterranean Iacon City, who is not what he seems. He is apparently the last of the Primes and lives in a marble palace, giving the people below spectacles as a diversion, like an epic road race. It gives off ancient Roman Coliseum vibes.

Orion Pax (voiced with puppy-dog sweetness by Chris Hemsworth) is not satisfied by this life. “There’s got to be something more I can do,” he says. “Aren’t you tired of being treated like you’re nothing?” Brian Tyree Henry voices D-16 with skepticism and resignation.

The two friends join with mining manager Elita-1 (Scarlett Johansson, bland) and Keegan-Michael Key’s B-127 (who will later become fan favorite Bumblebee) to journey to the surface of the planet, find the Matrix of Leadership (a sort of necklace that might have been sold in the Sharper Image catalog) and get a hero’s welcome. But they learn some unsavory things about the ruler from the Transformer elder statesman Alpha Trion (the instantly recognizable Laurence Fishburne).

Elita-1, voiced by Scarlett Johansson, in a scene from “Transformers One.” (Paramount Pictures via AP)

Director Josh Cooley, who co-wrote the screenplay for “Inside Out” and helmed “Toy Story 4,” never lets the action stop — and that’s not a compliment. The camera is constantly swiveling and the violence — assault-weapon lasers, booming cannons, light torture, martial arts crunching moves, beating a rival with their own amputated limb and ceaseless pounding — is nauseating. (“Please stop punching me in the face” is a joke line here.) If Transformers ever bled, this would be an R-rated movie.

The hyper-violence papers over some pretty robotic — sorry! — dialogue. Why do all these movies show the Transformers with cool upgrades like laser knives but they remain speaking in stilted, operatic prose? “I want him to suffer and die in darkness,” “They are to be your undoing” and “Cybertron’s future is in your hands.”

There are some good moments, of course. When our band of misfit bots get an upgrade to Transformer status, they cutely don’t know how to do it seamlessly at first, with limbs awkwardly getting mixed with vehicle parts. Anyone who has played with the toys knows the feeling. And Key never fails to generate a chuckle, proving a masterful comedic voice actor.

B-127, voiced by Keegan-Michael Key, in a scene from “Transformers One.” (Paramount Pictures via AP)

The other actors — Jon Hamm and Steve Buscemi, included — hardly register and the movie’s main song — “If I Fall” by Quavo, Ty Dolla $ign and Brian Tyler’s Are We Dreaming — feels like AI wrote both the uninteresting rap-rock beat and soupy lyrics (“I’m the alpha, omega, got lights on me, Vegas.” Vegas?)

The saddest thing about “Transformers One” is the wastefulness of another dull outing in a universe geared toward kids just learning to transform themselves. The lessons here, unfortunately, are that friends can become enemies overnight and you only win if you beat someone hard enough. “We’re better than this,” Orion Pax screams at his sudden rival at one point. No, they’re not.

“Transformers One,” a Paramount release that lands in theaters Friday, is rated PG for “sci-fi violence and animated action throughout, and language.” Running time: 103 minutes. Half a star out of four.

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‘wolfs’ review: dreadful, laugh-free slog tests limits of what pitt, clooney’s star power can salvage.

Running time: <br>108 minutes. Rated R (language throughout and some violent content). <br>On AppleTV+ Sept. 27

George Clooney and Brad Pitt made a public stink when Apple shifted the release of their movie “Wolfs,” for which they were paid tens of millions to make, from theatrical to streaming.

“It is a bummer,” Clooney moaned at the Venice Film Festival when asked about his paycheck, er, sorry, his movie.

Really, the pair should send Apple CEO Tim Cook an Edible Arrangement for saving them the embarrassment of what would have been a giant flop.

“Wolfs,” a so-called comedy written and directed by Jon Watts in which Clooney and Pitt play rival New York fixers tasked with discreetly disposing of a dead body, is a dreadful, laugh-free slog that tests the limits of what star power alone can salvage.

The A-list presence of Brad and George cannot mask the elementary school dialogue they utter, the jumbled tone and Dollar Store aesthetic. In fact, their attachment to this compost only exacerbates its many, many problems.

The boldface names suggest a certain level of quality — or, at the very least, competence — that this movie does not meet. Maybe I’d be more forgiving if this buddy-cop retread starred Stephen and Billy Baldwin. Alas.

As it stands, woeful “Wolfs” won’t make you howl so much as huff and puff.

Brad Pitt and George Clooney holding guns

Watts’ 108-minute yawn begins with a woman’s scream. That’s Margaret (Amy Ryan), and she has just encountered a naked, dead body in a luxury hotel suite.

Covered in the young man’s blood, Marge lowers the blinds and shakily picks up her iPhone. Apple, trying to make lemonade from its lemon, can at least hawk some mobile devices.

“I was told if I ever need serious help to call this number,” she says. “There is only one man in the city who can do what you do.”

In walks black-clad Clooney, whose character has no name or, you know, traits. He dons rubber gloves and prepares to make the damaging situation disappear.

But it turns out he’s not the only man. A few minutes later, a downcast Pitt knocks on the door.

His character has been hired by the hotel’s owner, a disembodied voice, to complete the same task since it turns out Margaret is a powerful district attorney who slept with the dead guy, and the proprietor doesn’t want her business tarnished by scandal.

(Every New Yorker knows that high-profile crimes actually make locales more alluring. Ask Sparks Steak House.)

The two shadowy fixers have never met or even have any familiarity, but they immediately hate each other for some vague reason. And that, readers, is the only joke of this entire movie: Anything Brad can do, George can do better.

Watts, whose “Spider-Man” films for Sony are great fun, tosses away centuries of comedy rules by having both Pitt and Clooney play the straight man.

So, we grimace as two smug, deflated, blasé dudes speak so robotically they could be in a biopic called “Siri.”

Two unspeakably bland men being quietly annoyed at each other is not humor as the world understands it. What’s funny is how much product is in their mummified hair.

In the pantheon of Clooney and Pitt collaborations, I’d sooner rewatch “Oceans 12.”

Brad Pitt and George Clooney pointing guns at each other

“Wolfs” briefly finds a pulse from the introduction of the only actor who’s awake, the talented Austin Abrams, who plays Kid. Geeky and inquisitive, he tags along with George and Brad on their underwhelming tour of New York’s underbelly.

But as soon as the focus shifts back to the two huge movie stars, our eyes glaze over. They noncommittally natter on about Croatian and Albanian crime syndicates and get in an impressively boring shootout while always being totally unbelievable in their roles.

The sole virtue of “Wolfs” being released straight to streaming is the incredible ease with which viewers can switch over to “Oceans Eleven” after the first five minutes.

'My Old Ass' starts funny, turns seriously great

Aubrey plaza plays a 39-year-old who meets and advises her teenage self in sharp, insightful sci-fi film with a big heart..

Elliott (Maisy Stella, left), who’s 18, gets to talk to herself as a grown-up (Aubrey Plaza) in “My Old Ass.”

Amazon MGM Studios

As much as I enjoy Doc Brown’s explanation of the flux capacitor and the need to reach a speed of 88 mph and 1.21 gigawatts and all that jazz in “Back to the Future,” there comes a time in every movie about someone time traveling and/or meeting a younger or older version of themselves when we must decide whether or not to just to go with it and not get bogged down in the mechanics. After all, the science doesn’t actually exist, at least not yet. Right?

One of things I love about writer-director Megan Park’s funny and smart and heart-tugging sci-fi comedy/drama/romance “My Old Ass” is there’s no attempt to explain how it’s possible for 18-year-old Elliott Labrant (Maisy Stella) to come face-to-face (and later phone-to-phone) with her 39-year-old self (Aubrey Plaza). It simply .... happens .

To celebrate her birthday, Elliott camps out in the woods and ingests hallucinogenic mushrooms with her best friends Ruthie (Maddie Ziegler) and Ro (Kerrice Brooks), and ping! Just like that, Older Elliott materializes. Over the last days of the summer before Elliott leaves her small-town Canada life and the family’s cranberry farm for college in Toronto, she periodically connects with her future self (played by Aubrey Plaza). Older Elliott urges her to appreciate her mother (Maria Dizzia) and to spend time with her younger brothers Max (Seth Isaac Johnson) and Spencer (Carter Trozzolo). Most important of all, Elliott should stay away from anyone named Chad.

Of course, that’s the cue for the arrival of new summer worker on the family farm named ... Chad (Percy Hynes White). He’s a long-haired, free-spirited, quirky and almost impossibly sweet guy, and though Elliott has always identified as gay, she finds herself attracted to and maybe even falling in love with Chad.

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Here is a film that dabbles in fantasy yet gets everything right about that fleeting summer when you’re between the end of your youth and the beginnings of adulthood. Maisy Stella, Kerrice Brooks and Maddie Ziegler expertly convey the dynamic of longtime best friends. Elliott has a sweet nature, but she’s also at that age where she’ll casually blow off her family’s birthday party for her in order to hang with friends. The sun-dappled, almost magical romance between Elliott and Chad has the magical feeling of that first profound love.

What a sharp and insightful and nuanced script by Park, e.g., a beautiful monologue right out of “Our Town” when Chad talks about how when we’re kids and we play silly pretend games with our friends for the last time, we don’t know it’s the last time: “You....parked your bike in the garage and went to bed, not realizing that was the last time you were ever going to get to do that.”

Oh man. Tell me that doesn’t hit home with you. “My Old Ass” starts as a time-travel comedy and evolves into a more serious drama and ends on just the right note. I’m about to use a word that, like time travel, doesn’t actually exist, but this is the cryingest movie of 2024, and I mean that in the best way possible.

The End is the bleakest Hollywood musical ever made

The Act of Killing director Joshua Oppenheimer puts Tilda Swinton at the center of a depressing song-and-dance routine

by Siddhant Adlakha

This early review of The End comes from the Toronto International Film Festival. It will be updated for the movie’s December 2024 theatrical release date.

When The End begins, a wealthy industrialist family of three (Tilda Swinton, Michael Shannon, and George MacKay) have been living in a spacious underground bunker with their helpful staff for 20 years, as society crumbles above them. Humanity is all but lost. But the arrival of a mysterious survivor forces them to question their rules, and the stories they tell themselves about their own part in the global apocalypse. More often than not, they do this through song and dance.

In a bizarre but effective meld of genres and styles, the razzle-dazzle of golden-age Hollywood meets the grim dystopia of Children of Men . Trust documentarian Joshua Oppenheimer to make the world’s bleakest musical; as the director behind The Act of Killing and The Look of Silence , a pair of vital, harrowing works on the Indonesian genocide of the 1960s , it couldn’t have gone any other way. The result is a claustrophobic introspection into guilt and remorse, which hardly sounds like fitting material for a grandiose movie musical. But Oppenheimer’s focused approach to human drama makes it sing.

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The central cast plays easily identifiable types, each so broad that their characters aren’t even given names: The credits simply list them as Mother (Swinton), Father (Shannon), and Boy (MacKay). This last stronghold for humanity revolves around this trio. Mother is often weary and on edge; she’s tired of the life she has, but she understandably has no other recourse. So she spends her time fixing and fiddling with the many famous impressionist paintings she brought with her decades ago, moving them from wall to wall in her lavish living room until things feel just right.

Father, meanwhile, takes his mind off his loveless marriage by penning his autobiography, which concerns his part in the climate crisis that pushed humanity over the edge. However, he insists that his good deeds outweighed his sins, and that he may not have been particularly culpable after all.

And then there’s Boy, who, unlike the movie’s other characters, has no memory or concept of the world above. This naive, awkward 20-something was born in the bunker, and all he knows are its decorated hallways, its efficient food-growing labs, and the handful of icy caverns that surround it. He’s a history buff who’s been taught to avoid complicated political entanglements, and his understanding of the world is entirely conceptual. So he breathes life into dioramas of human (specifically, American) achievement, from westward expansion to the moon landing.

Tilda Swinton oversees an elaborate train-set model of Hollywood, complete with a HOLLYWOOD sign, from her luxurious bunker in The End

Boy is also granted the film’s first musical number, which provides all kinds of aesthetic and conceptual whiplash. He sings optimistically about a sunrise, something he has never seen, and can only imitate by pointing a flashlight over his tiny figurines. The mid-20th-century orchestra builds, as it might for a standard hopeful “I Want…” number about a character’s dreams , but the crescendo never arrives, and Oppenheimer’s unbroken takes never flourish into full-on formal grandeur. Given the physical constraints of the bunker, they can’t.

Notably, this post-apocalypse setting is also tiered and highly utilitarian, given who resides at the top. The family is rivaled in number by their household help: their gourmet chef (Bronagh Gallagher), who all but raised Boy; their short-tempered physician (Lennie James); and their diligent butler (Tim McInnerny). But they have also ensured that the security once afforded to them by wealth and class continue to allow them a sense of control. When the stranger, Girl (Moses Ingram), finally stumbles into their den, her fate is in their hands, and her options are either to head back out into the cruel and empty world, or become part of what they call their “family” — meaning, join their ranks as a household servant. In this new world, serfdom is the only way to survive.

Once all this cruelty is established and accepted, Oppenheimer doesn’t grant the film any delusions of subversion, or of delivering justice. In The End , the stains of capitalism and class are a firm status quo, and the characters aren’t given much room to upset this established order.

But what follows is often a sense of personal reckoning, in small but powerful ways. Every character carries with them the burden of what they’ve had to do to survive, and they keep these emotions buried. However, Girl, a wanderer who’s been alone for some time, is eager (maybe a degree too eager) to verbalize and discuss the worst parts of herself, and the actions she most regrets, even if her choices have let her survive a little longer.

George MacKay, clutching a brown paper folder to his chest, stands in front of a wide fireplace surrounded by dark wood panelling in The End

In the process, she forces Mother and Father to at least recognize that their compartmentalization, and their refusal to recognize their role in greater harm — to the world at large, and to their own loved ones — has led to the slow, steady corrosion of their souls.

These realizations are also expressed in the form of solo numbers as each character wanders the hallways alone. There are few duets in The End — the family’s walled-off approach to living out their days has led to the suppression of not just emotion, but honest human connection. But when Girl finally shows up, and she and Boy take a liking to each other, the film starts to bloom in minor ways, from mischievous, playful songs accompanied by bodies in abstract motion to a camera that subtly sweeps through space, capturing a greater sense of romance (and pomp and circumstance) through movement and framing.

Oppenheimer and cinematographer Mikhail Krichman work within the reality and the physical constraints of each space. Even the most overt, showy emotions never magically conjure an ensemble of dancers, preventing the sensation of fulfillment. However, the filmmakers work magic with their use of light and focus. There’s no use in questioning the reality or diegesis of sung dialogue, but since the movie lacks the sprawling stage space that might allow actors to weave in and out of conversations, or go from communicating with each other to delivering asides to the viewer, the film remixes this theatrical notion using cinematic tools: Characters remain clearly visible so long as they can hear and understand one another, but fall out of focus and fade into the backdrop as soon as one of them takes the proverbial spotlight, and begins expressing inner thoughts and desires that the others cannot (or will not) hear.

The bunker is, for the most part, a cold and unforgiving space, which runs entirely counter to the shimmering appearance of the golden-age Hollywood musicals that inspired The End ’s orchestral sound. However, the characters’ longing for emotional connection often warps this color palette in subtle ways, allowing warmer tones and brighter lights to briefly fade in as the actors move through space. It’s dazzling and despondent all at once, which is entirely fitting for an Oppenheimer film.

Tilda Swinton (in a leopard-skin cap complete with cat ears, and a leopard gown with an immense blue bow) and Michael Shannon (in a brown, vertically striped, wide-lapelled suit) sit together, laughing, at a lavishly laid table in The End

In The Act of Killing , the director spent several years interviewing a real mass murderer who was proud of his crimes. He even made this controversial figure reenact his brutality through the lens of Hollywood genre (gangster pictures and the like), with a handful of colorful, eye-popping detours that resembled large-scale musicals. The idea of cinematic self-reflexivity as means to suppress and eventually challenge one’s actions has long been a part of Oppenheimer’s work, and in The Look of Silence , he provides an even riskier look at the narratives told by those in power, which help them wash their hands of their barbarity.

These ideas trickle down to The End as well. The film is physically limited by design, but it ends up emotionally sprawling, with vast, eerily quiet psychological detours that allow each character the room to wrestle with what they’ve done, before their acceptance (or more likely, their denial) takes the form of song.

Ultimately, what’s most disturbing about Oppenheimer’s use of musical form is that singing from the heart has long been considered a means of expressing emotional truth from deep within. Here, the characters most responsible for the state of the world refuse to reckon with what they’ve done — but they sing regardless, fulfilling the film’s stylistic obligations like automatons, struggling to arrive at the honesty that usually underlies the grand Hollywood musical. Few movies have ever been this dark while sounding so sweet.

The End will arrive in American theaters on Dec. 6.

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Masooda Movie Review : This one's for the horror fanatics
Masooda Movie Review: Critics Rating: 3.0 stars, click to give your rating/review,Debutant director Sai Kiran and actors Sangitha, Thiruveer do a good job of pulling you into the wor
Masooda
Masooda Reviews. Masooda is a terrific and honest attempt to genuinely produce a scary thriller, and if not for the lengthy runtime, this could've soared really high. Full Review | Original ...
Masooda
It reminded me of some 2000's Tollywood horrors like Danger & Raksha Rated 3.5/5 Stars • Rated 3.5 out of 5 stars 01/07/23 Full Review Read all reviews Masooda My Rating
Masooda (2022)
Masooda: Directed by Sai Kiran. With Thiruveer, Bandhavi Sridhar, Sangeetha Krish, Subhalekha Sudhakar. The simple lives of Neelam, a single mother, and Nazia, her daughter, take a horrific turn when an evil force enters into their lives. The story revolves around how Gopi, their helpful neighbor, and Neelam face the odds and save Nazia.
Masooda Review: Chills, Thrills and Lengthy
Movie: Masooda Rating: 2.5/5 Banner: Swadharm Entertainment Cast: Sangitha, Thiruveer, Kavya Kalyanram, Subhalekha Sudhakar, Akhila Ram, and others Music: Prashanth R Vihari Cinematography: Nagesh Banell Art: Kranthi Priyam Editor: Jesvin Prabu Producer: Rahul Yadav Nakka Director: Sai Kiran Release Date: Nov 11, 2022 "Masooda" is produced by Rahul Yadav Nakka, whose two previous ...
Masooda (2022)
10/10. An engaging horror thriller never seen in Indian movie industry before. cinema-dosth 22 November 2022. The director starts with a bang in beggining for 10 minutes with horror scene, then goes to normal middle class people lives and establishes the chatacters.
'Masooda' movie review: Thiruveer, Sangitha shoulder a middling horror
And that is a pity. Masooda, written and directed by Sai Kiran and starring Thiruveer and Sangitha is an earnest attempt at a slow burn horror drama that does not resort to gimmicky thrills and ...
'Moosada' movie review: An immersive horror thriller
Debutant director Sai Kiran's film Masooda is a skillfully crafted horror thriller that gives you the immersive theatrical experience of a supernatural drama with nail-biting suspense, gore, and fear.
Masooda Movie Review: Sangitha-Thiruveer Starrer Is An Interesting
Rating: 3.0 /5. Star Cast: Sangitha Krish ... Masooda is a well-made horror film in Telugu for a long time and is a must-watch on the big screen. The movie is away from the stereotypical tropes of ...
Masooda Movie Review: An immersive horror thriller
Published on : 18 Nov 2022, 12:06 pm. Rating: ( 3 / 5) Debutant director Sai Kiran's film Masooda is a skillfully crafted horror thriller that gives you the immersive theatrical experience of a supernatural drama with nail-biting suspense, gore, and fear. It is a simple story of a young woman possessed by a spirit.
Masooda Telugu Movie Review with Rating
Masooda Movie : Story Review. Masooda's story is a horror thriller and how a young girl possed is saved by her family members and neighbors. Gopi (Thiruveer), a software engineer is extremely timid and introvert and takes time to express his love to his colleague Mini (Kavya Kalyan Ram). One night when they were in Thiruveer's flat in the ...
Masooda Review: A generic horror story!
Bottom-line: 'Masooda' is a generic horror film about a mother and her friend going to great lengths to help a possessed girl. While certain scenes and the sound design provide a few thrills, the film as a whole suffers from standard writing, an excessive runtime, and a lack of engaging narrative in the final hour. Rating: 2.25/5.
Masooda Movie Review
Lengthy Second half. On the whole, Masooda is a decent attempt in the horror genre but not a pathbreaking one. If you are a horror films fan, you can give it a try. Not a must-watch but an average attempt. Bottom-line: Try It If You Are A Horror Films Fan! Rating: 2.5/5. Tags Gulte Masooda Masooda Review Movie Reviews.
Masooda
Masooda is a 2022 Indian Telugu-language supernatural horror film written and directed by debutant Sai Kiran, and produced by Rahul Yadav Nakka through the Swadharm Entertainment. The film stars Sangeetha, Thiruveer, Kavya Kalyanram, and Subhalekha Sudhakar.The film was released on 18 November 2022, opened to positive reviews from critics and audiences, alike, and became a commercial success.
Masooda Movie: Showtimes, Review, Songs, Trailer, Posters, News
Masooda Movie Review & Showtimes: Find details of Masooda along with its showtimes, movie review, trailer, teaser, full video songs, showtimes and cast. Sangitha,Thiruveer,Kavya Kalyanram ...
Masooda movie review
The sole purpose of a horror film is to frighten the audience. The more the audiences are frightened, the more entertaining the film is. Masooda successfully managed to do that. Most horror flicks showcase evil spirits trying to possess humans to fulfil their wishes. Masooda also falls under the same category.
Masooda Telugu Movie Review & Rating: A pointless horror-drama
Closing Remarks. 'Masooda' is an over-hyped snooze-fest. Good technical quality is its only merit. The horror elements are unmistakably simplistic. Masooda Movie Review & Rating: Sangeetha Krishna is a single mother to a teen girl named Naziya (Bandhavi Sridhar). All of a sudden, Naziya starts behaving strangely.
Masooda Movie Review & Rating
Masooda Movie Review & Rating. Rating : 2.5/5. ' Masooda ' is the third film produced under the banner of 'Swadharma Entertainment', which has given good hits like 'Malli Raava' and ...
Masooda Telugu Movie Review
Verdict: On the whole, Masooda works to an extent for its novelty and genuineness. The performances and the technical brilliance give a nice depth to the movie, but the problem lies with the slow pacing and the lag in the first hour. Those who love watching horror films can give it a shot. 123telugu.com Rating: 2.75/5.
Masooda Movie Review & Rating!
To summerize, Masooda is largely engaging thriller that has enough horror elements to satisfy the targetted audience. While all the artists gave their best, director Sai Kiran's detailing and point to narrative makes the film a satisfactory watch. Verdict: Engaging horror thriller! Rating: 2.5/5.
Masooda Movie Review & Ratings
Masooda Movie Review: Rahul Yadav Nakka is one of the few producers with good taste in movies. He made Malli Rava and Agent Sai Srinivas Athreya, and now he's making a new film called "Masooda.". Horror films are rare these days, so it takes a lot of courage to make one. The teaser and trailer for "Masooda" caught people's attention ...
Masooda Movie User Reviews & Ratings
Masooda User Reviews: Check out what users have to say about Sangitha,Thiruveer,Kavya Kalyanram,Subhalekha Sudhakar,Satyam Rajesh,Satya Prakash starrer Masooda only on Times of India.
Masooda Movie Review : A frightening one with mindless violence
Masooda Movie Review. TELUGU360 RATING : 2.5/5. Masooda is one small film that caught everyone's attention with the teaser and trailer. Masooda is a horror thriller and Sangeetha, Thiruveer, Kavya Kalyanram, Subhalekha Sudhakar and Surabhi Prabhavathi played the lead roles. Sai Kiran Y is making his directorial debut and Rahul Yadav Nakka's ...
Movie Review: 'Transformers One,' an origin story no one ...
Movie origin stories finally reach their nadir this week with "Transformers One," the super-violent, toy-selling vehicle that tells the tale of how Optimus Prime and Megatron went from besties to foes, Associated Press critic Mark Kennedy says.
'Wolfs' review: Dreadful, laugh-free slog tests limits of what Pitt
The duo's movie is a laugh-free slog. AP. Watts, whose "Spider-Man" films for Sony are great fun, tosses away centuries of comedy rules by having both Pitt and Clooney play the straight man ...
'My Old Ass' review: Sci-fi movie starts funny, turns seriously great
As much as I enjoy Doc Brown's explanation of the flux capacitor and the need to reach a speed of 88 mph and 1.21 gigawatts and all that jazz in "Back to the Future," there comes a time in ...
The End is the bleakest Hollywood musical ever made
The central cast plays easily identifiable types, each so broad that their characters aren't even given names: The credits simply list them as Mother (Swinton), Father (Shannon), and Boy (MacKay).

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