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Khatarnak

A pair of sexy legs, street-smart dialogs, and some pitiable comedy doesn't make a movie worth watching. Add another pretty bomb to the equation. Does anything change? Nothing. Khatarnak fails miserably. It will definitely attract some crowd as Raviteja is an established mass hero and Illeana is the current heartthrob with two mega hits to her credit: Devadasu and Pokiri. But the fact is that Khatarnak is a big dud. Neither Ankita's item song nor Raviteja's over action help.

People with a very low IQ, may enjoy the movie for the dumb jokes that form the major part of the first half. There is no need to dissect the movie into halves and analyze it. The movie in total is a big let down and whichever part or scene of the movie you take in isolation it does not deserve any appreciation.

As each scene rolls Amma Rajsekhar reminds relentlessly that you are watching a drama about nothing. Venumadhav, Dharmavarapu, Ali, and Brahmanandam are present in the movie. But the director takes credit for making their roles utterly lifeless.

As far as originality is concerned, the parts of the movie where the villain does a manic dance after each killing, is lifted from an English movie, including the music. The story is very vague, the villain character unquestionably boring, and the songs lack the power to move a single finger.

Raviteja over does his street-smart acting. Illeana bares (not completely of course) herself at the drop of a hat. Photography in some scenes is pathetic. Not a single character is carved with proper imagination.

Before the tirade against the moviemakers end we express our sympathies for people who had to go to the theatres at 4 AM to book their tickets to watch an insipid drama. The only consolation for them was: the sizzling Illeana.

Time for some joke before we go: Dass (Raviteja) is a street-smart guy whose father is in jail. He is picked up by Biju Menon to join the police force to act as an informer to the villain Suman Setty. So Dass joins 10th class (yes you read it right, Raviteja goes to school) and eventually the police force. From informer he becomes a transformer (whatever that means, ask the director). Instead of helping the villain in his nefarious activities he opposes and finally eliminates the villain.

Director: Amma Rajasekhar
Producer: BVN Prasad
Cast: Ravi Teja, Ileana, Biju Menon. Kota, Prakash Raj, Venu Madhav, Ali, Dharmavarapu, MS Narayana, Suman Setty
Music: Kiravani
Cinematography:Santosh Srinivas
Editing:Kotagiri Venkateswara Rao
Screenplay:M Raja
Story/Writer:Amma Rajasekhar

Adi Lakshmi

Adilakshmi has shades of Ghazni and Aparichitudu and yet is a different kind of movie. Here the main character feigns amnesia and having split personality disorder unlike Ghazni and Adilakshmi where the main characters are supposed to have the disorders. The highlight of the movie is the strong performance of Srikanth. The negative role that Srikanth dons in this movie is powerful and at times the violence involved in the movie is scary. People who would like to avoid movies with violence should not watch this movie.

The violence depicted in Adilakshmi is not the typical hero bashing up hundreds of baddies sometimes in a rainy scene with blunt weapons and resulting in ketchup oozing out. That type of violence makes you laugh because you know that's impossible. But here the violence is the burst of anger in a person with a criminal streak acted almost to realistic perfection by Srikanth. He acts superbly as a possessive film director.

Another strong point of the movie is the songs. Chakri has set the songs to good music. All the numbers are good. Yet another strong point of the movie is Sridevi. She acts as a glamorous film star in the movie. And she is dripping with glamour, no doubt about that.

The story revolves around three characters, a film actress (Sridevi), a film director (Srikanth), and a criminal lawyer. Srikant loves Sridevi since he was a kid and a playmate of her and dreams of marrying her. But Sridevi is not aware of his love for her and treats him as a close friend. A producer tries to rape Sridevi. Srikant happens to be there. He kills the producer. Vadde Naveen who is a criminal lawyer is hired by Sridevi to save Srikanth. Srikanth has a criminal tendency but acts as a very submissive person with a split personality disorder. So he is not punished and medical treatment is advised to him. But soon Vadde Naveen discovers that Srikanth indeed is normal and he committed the crime in full sense.

The plot is good. But possessiveness of Srikanth could have been shown more vividly. There are a few loose ends like Vadde Naveen getting away from an accident scratch free. He climax could have been made more interesting. But then we are not talking of a hit movie here, just an above average movie.

Director: R V Suresh
Producer: Y Suresh
Cast: Srikant, Vadde Naveen, Sridevi, Nutan Prasad, Ali, Shivaji Raj, Prithvi, Ragh Babu, Mallikarjun
Music: Chakri
Cinematography:Bhupati
Screenplay:R V Suresh
Story/Writer:R V Suresh

Pellaina Kottalo

Marriage is an important social institution on which, family, another pivotal social institution bases. A society cannot be thought of without families and for the starting of a family a stable marriage is the first requisite. It is vital that films based on society and family be made from time to time. It is heartening that purely family oriented movies are still being made by serious film makers.

Madan, who has established himself as the story writer of the award winning family themed movie "Aa Naluguru" ventures out to produce "Pelliainakothallo" that has a story penned by him again.

Pelliainakothallo deals with the problems of some modern marriages where hectic lifestyles and increasing economic freedom that results in inflated egos, have given rise to fragility in the marriage bond. Hari (Jagapati Babu) and Laxmi (Priyamani) are two executives working in different call centers. They become husband and wife via the traditional arranged marriage mode. Brain washed by their friends Krishna Bhagwan and Jhansi, both Jagapati Babu and Priyamani are intent on dominating the other to gain an upper hand in the marriage equation from the day one or the first night of their marriage.

Love and attraction for each other is replaced by the eagerness to dominate and avoiding getting dominated. So they live like strangers in a three bed roomed flat, use separate bathrooms, and TV sets as well. All because of their huge egos they do not even sleep with each other. Their job shift schedules do nothing to keep them together.

How their problem is solved is the rest of the story.

Kudos to Madan in striving to make a socially relevant movie! The movie though is not convincing at times, is an above average one. For example, though insightful, the slow and gradual break up as well as the sudden reunion of their relationship is not very convincing. The plot should have dwelt more on their reunion making it an equally gradual process. The nagging feeling that lingers is that the reunion and building of understating between the two should have been shown in greater detail with a lot of romance thrown in.

The good points of the movie are about talking of chemistry between the partners, the depiction of financial freedom of the wife, the strong bond between an old couple and the devaluation of grooms in the marriage market. The act of Sunil marketing Venumadhav as an ageing groom much like cattle marketed in fairs is hilarious and yet has a serious social message. The working of call centers and work related stress is also well depicted.

On the whole, definitely a movie that deserves to be seen.

Director: Madan
Producer: Madan
Cast: Jagapati Babu, Priya Mani, Astha Singhal, Raju Sundaram, Kota, Brahmanandam, Dharmavarapu, Ali, Sunil, MS Narayana, Krishna Bhagawan, Venu Madhav, Giribabu, Kovai Sarala, Jhansi, Sandesh, Madhu, Hema, Rajitha, Geetanjali
Music: Agastya
Editing:Surendra Reddy
Screenplay:Madan

Mayabazar

Mohankrishna Indraganti is a national award winning director and B Satyanarayana is famous for producing a hit movie like Missamma. Both can afford the luxury of experimenting with a socio-fantasy type of a movie. So they try out Mayabazar.

It doesn't matter whether it works out or not. The attempt itself is praiseworthy. Mohankrishna mixes myth with reality. He dares to make the god of wealth ? Kubera to work for a human being and give his daughter in marriage to him. That's very creative. But in doing so Mohankrishna loses perspective and the movie doesn't deliver anything in particular. Was he trying to say that a human being can become like a God and marry the daughter of a Yakhsya? Or was he conveying the fact that even gods plot and plan like lowly human beings and get defeated by human beings of superior qualities? Even if either of it is true then why the title of "Mayabazar"? Only he knows the answer.

While the director may be scratching his head pondering over the reasons for the movie going kaput, there is one person who is having a good time because of Mayabazar. It is ? S P Balsubrahmanyam.

It's a revelation that S P Balasubrahmanyam can give award winning performances in mythological roles. The moment you are out of the theatre after watching Mayabazar the only thing about the movie that comes to your mind is the Kubera character or more precisely S P Balasubrahmanyam who acted as Kubera.

Sure, Bhoomika's ethereal beauty is hard to forget. But she like her co-stars in Mayabazar is overshadowed by the powerful performance of the great singer of south. Facilitated by his large built, S P Balasubramnayam fits into the role easily and seems to be relishing acting as Kubera. The ease with which he performs as the powerful Kubera is unbelievable.

Raja as usual is good. Bhoomika is sensuous in a subdued manner.

Though an average movie, Mayabazar is a family entertainer. It is an attempt to make a fantasy type of movie that brings humans and gods on to the same platform.

Director: Mohankirshna Indraganti
Producer: B Satyanarayana , Rajkishore Khaware
Cast: Raja, Bhoomika Chawla, S P Balasubrahmanyam, Tanikella Bharini, Dharmavarupu Subrahmanyam, Ali, L B Sriram, Duvassi Mohan, Gundu Sudarshan, Raja Sridhar, Uttej, Jayalalitha, Bangalore Padma
Music: KM Radhakrishna
Cinematography:Chota K Naidu
Editing:Nagireddi
Screenplay:Mohan Krishna Indraganti
Story/Writer:Jayakumar
Art Direction:Suresh

Sainikudu

The high dose of pre release publicity of Sainikudu has nothing to do with its debacle. Many well-publicized movies have become hits too, like Devadasu. The blame squarely lies on two factors: the stupendous success of Pokiri that raised the hopes of people's expectation of Mahesh Babu's movies and the inferior quality of the movie Sainikudu itself. People still have scenes from Pokiri fresh in their minds. So obviously comparisons would be made and Sainikudu is way behind. Moreover not only Sainikudu doesn't measure up to Pokiri at all, it does not even count as an average movie, the technical extravaganza involved in the movie notwithstanding.

Sainikudu is an unending and boring saga of a do-gooder student ? Siddharth (Mahesh Babu). Be it flood or distribution of relief supplies to flood victims Siddharth reaches out with a helping hand. The Good Samaritan encounters conflict from Pappu Yadav (Irfan Khan), a criminal turned politician. They square off for an election where Siddharth's friend (Ajay) contests against Pappu Yadav. Then Siddharth gets booked in a case that's planned by Mondi Naani ( Prakash Raj), the cousin of Pappu Yadav. Seeking vengeance Siddharth kidnaps Vara(Trisha), Pappu's would be wife, from the marriage dais. And the rest of the story is as common as potatoes in the vegetable market, there is nothing new, seasonal or even out of place.

Irfan Khan looks like a toothless tiger with his voice dubbed and his character getting subdued by the hero's from the very beginning. He never looks formidable and it is only a foregone conclusion that he would be vanquished. The romance and witty exchanges between Trisha and Mahesh Babu are stale. The plot loses reasoning many times. The only good thing about the movie is the flood scene that is shot to perfection.

Mahesh Babu and Trisha act well in whatever scenes they have been asked to. Mahesh Babu's clipped and short dialogue delivery is becoming his trademark and its working for him.

It is sad for the producer that so much of money invested in the movie and technical work has not yielded the desired result.

Too much of a good thing is also bad. It is good that the success streak of Mahesh Babu takes a break with Sainikudu. Even though he is well grounded, Sainukudu will remind him for some time to come that princes have to wait before being declared kings and his coronation ceremony is still away, though not far off.

Director: Gunasekhar
Producer: C Aswini Dutt
Cast: Mahesh Babu, Trisha, Irfan Khan, Prakash Raj, Kota Srinivasa Rao, Ajay, Ravi Verma, Dharmavarapu Subramanyam, Kamna Jethmalini
Music: Harris Jairaj
Cinematography:Balasubramanyam
Editing:Srikara Prasad
Screenplay:Paruchuri Brothers
Story/Writer:Gunasekhar
Art Direction:Suresh

Bhagyalakshmi Bumper Draw

Unlike "Yevari Gola Wadadi" that had all the comedians of the Telugu film industry acting in it, "Bhagyalaxmi Bumper Draw" has 25 comedians attempting to create a decent comedy. A straight copy of Priyadarshan's "Malamal Weekly", BBD comes with a change here and an addition there to suit the Telugu audience. It has the desired effect and people who might not have watched a movie like Malamal Weekly ever are getting a chance to enjoy a laugh fest.

The story is exactly the same as Malamal Weekly. Bullebbai (Rajendra Prasad) is a lottery agent in the village Chinnoru. Nobody in the village knows how to claim a lottery except him. And he comes to know that a lottery sold through him has won the bumper prize. He traces the winner. It's Yesudas (Ali), a drunkard who dies with excitement upon knowing that he has won the bumper draw. But just when Bullebai wanted to grab the ticket from dead Yesudas, a milkman (Tanikella Bharini) of the village comes know of Bullebai's intentions.

Slowly the whole village knows about the winning of the lottery and wants to have a share of it. Thus begins the unashamed chase of money that leads to telling a thousand lies, cover-ups and bedlam. Somewhere during this the love of two village youngsters Rishi and farzana is required to be sacrificed.

BBD is a good mixture of comedy, romance, and what-happens-next kind of stuff. Nidhiprasad is a great filmmaker in this genre and his last comedy movie "Andaru Dongale, Dorikite" was a run away hit. Rajendra prasad is the man for the role. He gets back a chance to play a role, for which he was so popular, after many years.

Mumaith Khan of Pokiri fame has been drawn in to do an item song. Rishi of 'A Film by Arvind' does a good job and so do the all the comedians.

Despite being in good hands the dialogs of the movie lack punch and the situations do not whip up frenzy. The movie runs on the strength of romance and good story for some part. In the second half it's a bit like a riot. At times the movie gets a bit serious.

Though BBD may be received well in all centers it may not draw a bumper crowd.



Director: Nidhi Prasad
Producer: Raju, Praveen and Shyam Sundar
Cast: Rajendra Prasad, Rishi, Farzana, Kiran Rathod, Tanikella Bharani, Brahmanandam, Venu Madhav, Nagababu, Ali, Krishna Bhagawan, MS Narayana, LB Sriram, Kondavalasa, Benarjee, Mallikharjuna Rao, Ram Jagan, Kadambari Kiran Kumar, Adam, Kovai Sarala, Abhinaya Sri, Seema,Bhuvaneswari
Music: Chakri
Editing:Shankar
Screenplay:LB Sriram

Gopi - Goda Meda Pilli

The ribaldry that is needlessly included in the end of the movie "Gopi - Goda meda pilli" is something that is completely unnecessary and offends the viewer. This part takes away all the good work done in the entire movie. Freedom of expression allows a moviemaker to show what he likes, the censor board passes it and people retain the option to accept it or reject it. And the public rejects "Gopi".

The director is a confused man who begins the movie with the great Indian mantra that hails mother, father, teacher and the guest as Gods but shows a much revered goddess falling prey to human charms. Perhaps he has never understood the meaning of the word God.

Allari Naresh is a very choosy guy when it comes to selecting a bride for him. None match his level of expectation till he meets Gowri Mumjal. He loves not only Gowri but her entire family. Much to the relief of his father, Tanikela Bharini and mother Hema, he declares his intention of marrying Gowri Mumjal.

The wedding date is fixed fast. But just three days from the wedding day he gets a call for a job interview from Bangalore. He decides to go for the interview, bags the job with his charm and starts his journey back to home, by his boss's car, to be present for his own wedding. On the way he meets Monica Jodi (Aarti Chabria), a dreaded terrorist. He falls for her beauty without realizing her true identity. Aarti tries to use him as human bomb while he dreams of dumping Gowri Mumjal and marrying Aarti Chabria. Naresh informs his parents about the intention of canceling the marriage with Gowri mumjal.

Balwant Chaddha (Jagapati Babu) is the CBI officer in charge of the operation of capturing the terrorist and her accomplice. He intervenes at the right time to rescue Naresh from the clutches of Aarti. Freed from Aarti, Naresh goes to the marriage venue. But instead of him, it is Vadde Naveen who is getting ready to marry Gowri. Vadde Naveen is the boy arranged by Naresh's parents to marry Gowri. Naresh realizes his mistake and apologizes. All promptly forgive him and he marries Gowri.

The makers of movie can do well to cut away the ending part of the last scene like the makers of 'Boss' curtailed its second half after going by the public response. Then may be it will have a chance.

Director: Janardhan Maharishi
Producer: Polliseti Rambabu, Palli Kesava Rao
Cast: Allari Naresh, Gowri Mumjal, Aarti Chabria, Jagapati Babu, Vadde Naveen, Tanikela Bharini, Venu Madhav, Ali, Hema, Geeta Sigh
Music: Koti
Cinematography:V Srinivasa Reddy

Chakri

The first thing that strikes the viewer while watching Chakri is that the camera work is amateurish. While the movie makes a promising start, it is a big let down in the second half. The first half indicates that the director knows his job as the movie rises above the average mark for its sensible story and logical progression. It also gives out a good message, "every problem comes with a solution".

But the second half indicates the creativity bankruptcy of the director as the movie treads the same beaten path of suicide. Do not know why still our filmmakers stick to this morbid concept of suicide. It was a concept that had the desired effects in the 1970s and 80s. But it is still continued to be projected in the movies as if it is a hallowed social phenomenon. No wonder that Telugu film heroines are so prone to attempt or commit suicide.

The worst thing is showing suicide doesn't work. The youth of today do not identify themselves with the character when the movie takes such a depressing turn. Movies featuring monkeys, snakes, dogs and elephants worked in the 1970-90. It will hardly work if such films are made now. Agreed that it's a phenomenon that needs attention. Then it helps to make movies like Hope where the problem is dealt head on. There is no point in showing it in every other movie where the characters are shown committing suicide for flimsy reasons like failure in love.

How can a director claim to be creative when he cannot think of any other way but an accident, a suicide and an operation theatre to make an impact? Does anyone have the creativity and the talents to do a well-researched movie on the farmers' suicide that's happening with regular interval? The fact that not a single movie has been made so far, no director has the talent to show the factors underlying this gory concept. Can it be called art when it doesn't reflect life truly?

Coming back to Chakri, it fails on other grounds as well. The hero (Vadde Naveen) is the son of a pehelwan. He is very good at beating up rowdies. He goes to London. Everybody thinks that he has gone there to get a good job, but in truth he is there to rescue his lover Poonam from the clutches of her captor-cum-suitor. The reasons for Poonam becoming a captive are also very illogical. The villain character is very crudely cut.

Anyways, it's a hugely disappointing movie except for the good acting of Vadde Naveen.

Director: Jitendar
Producer: Acharan Reddy
Cast: Vadde Naveen, Punam Segar, Sunitha, Abhinayasri, Tanikella Bharani, Srinivasa Reddy, Rajesh, Bharat, Melkote, Juttu Radhakrishna
Music: Lalith Suresh

Nuvve

You should avoid watching this movie if suicides depress you.

As long as movies will have suicides, accidents and operation theatre scenes as turning points in the plots they will not be popular with the viewers. People mostly want to have a good time at the theatres. They will be glad to avoid such scenes. When you force it on them, they are bound to reject it. The lighter and more positive the movie, the better is the chance to fare well at the box office. Nuvvu Vastannante Nennu Vaddantana, Andala Ramudu and Bommarillu are perfect examples.

The only good thing that we can talk about the movie Nuvve is: Samragni. This gorgeous belle has got the looks and also is talented in acting. Though Nuvve is not based on her solely, still she manages to steal the show. Short dresses, beaches and the story make her job easier in doing this. She may not rule the industry exactly but she is definitely going to be around for some years. Good for all.

Nuvve has a unique story that shows the negative shades of a heroine. Anita (Samragni) is the daughter of the house owner in Hyderabad where Srinu's (Dhanush) friends are staying. Srinu joins his friends and bags a job within a week. His innocent nature is exploited by all including Anita. But soon she starts loving him. Anita's mother comes to know about their love and agrees to get them married. She is a shrewd and calculative lady who gives her consent for the marriage because Srinu is good and innocent, earns well, has no bad habits and as an orphan he is likely to stay with the in-laws.

Then Anita meets Rana (Ravi Varma), a rich businessman. Rana likes Anita's proficiency and her beauty. He proposes to her. Anita agrees to marry him like a typical greedy middle class girl. She ruthlessly buries Srinu's love under a pile of dreams about riches and status. Srinu boy commits suicide (sic). This opens the door to hell for Anita. The usher to hell is a car driver ? Shafi.

As mentioned earlier the plot has the staple-depressing factor like suicide as a major turning point. The movie is aimed at the youth. The young people of today as it is are saddled with their own set of problems and they want something that's easy on the mind. Fights are all right because it stands for the defiance of the hero but not suicide, it's the sign of weakness ? a fatal one at that.

Those who want to watch the movie should remember that life is precious. Suicide is never a solution for life's problems. If one Anita is gone another Sunita may take her place, but for that we need to stay alive.

The movie Nuvve has not much to offer. Our advice: Do not watch it.


Director: Gopichand
Producer: Lakshmi Reddy Edamkanti, Srinivas Reddy
Cast: Samragni, Ravi Varma, Shafi, Dhanush, Chitram Srinu, Satya, Hema, Venumadhav
Music: Asirwad
Cinematography:Chota K Naidu
Screenplay:Ramesh Gopi
Story/Writer:Gopichand

Manasu Palike Mouna Ragam

"Manasu Palike Mauna Ragam" is a decent movie loaded with good messages. The songs of MPMR are a real treat.

The central theme of the movie is about pre-marital sex. It's a little preachy, but in truth it reflects the glaring gap between the values of Indians raised in the west and those that are raised in India. Despite the BPOs mushrooming, the core values of Indian girls remain unchanged. Pre-marital sex is anathema to most of them. Marriage is still the most important thing in a girl's life. Not a surprise, as 75% of India lives in villages.

Sneha belongs to a rich family. She loses her entire family in tsunami (it's tolerable actually, better than a car accident). She takes shelter with the priest of the village. Sarath Babu hails from the same village. He has made it big in the city. He comes to the village along with his wife to invite the village deity, as per custom, for his daughter's marriage. There he comes to know about Sneha's misfortune and decides to take her along with them. She joins them as a domestic help, but ultimately becomes their daughter-in-law. That's the story.

MPMR is a heroine-oriented movie. Sneha is the main character. She has been depicted as a simple, hard working and cultured girl. She has strong Indian values. And she is very attractive also. The hero's character is not shown as a way ward kind of guy. But he is shown as a person who believes pre marital sex is good to know about compatibility of partners. This is a western concept where pre marital sex is not a big issue. So naturally the heroine is against it. And she wins in the end.

Sneha fits the role perfectly. She acts superbly. The director deserves appreciation for cutting out unnecessary melodrama. Sartath Babu and Chandana (acting as his wife) have done a fantastic job. Chandana's acting is worth mentioning here. The director has aptly studied the equation between employers and domestic employees. There are many comic situations involving them in the movie. Though a debutant, director Nagabhusan has directed like a professional.

Debutant Vikramaditya's acting needs a lot of improvement. Had it been any other established hero the movie would have ruled the box office.

MPMR is a must see movie for Telugu people living abroad. It will put them in touch with their culture, undoubtedly.


Director: Nagabhushan
Producer: Deva Kumar Reddy
Cast: Sneha, Vikramaditya, Sarath Babu, Chandana, Aiswarya, LB Sriram, Suman Setty, Ramesh Khanna, Pandu
Music: KM Radha Krishnan
Lyrics: Veturi
Cinematography:Bharani K Dharan
Screenplay:Nagabhushan
Story/Writer:Nagabhushan
Art Direction:Suresh

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