Sneha Jaiswal's Blog, page 103
May 4, 2024
Shaitaan Review – Creepy, Linear Black-Magic Thriller
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A couple is looking forward to spending a fun vacation at their farmhouse with their family, but the holiday turns into a hellish experience when an eccentric stranger intrudes into their home and exerts an unsettling satanic hold over their teen daughter Janvi.
Directed by Vikas Bahl, “Shaitaan” is a remake of Krishnadev Yagnik’s Gujarati horror movie “Vash” and features a rather unexacting “good versus evil” tale in the form of an ordinary family fighting for their daughter’s life against a demonic man called Vanraj Kashyap (Madhavan).
Madhavan is theatrically entertaining as the evil Vanraj, who, under the pretense of needing to charge his phone, makes himself comfortable at protagonist Kabir’s (Ajay Devgn) farmhouse. Kabir’s wife Jyoti (Jyotika) senses something off about the man and asks Kabir to make him leave. However, Vanraj refuses to leave, and then proceeds to demonstrate how he has their teen daughter Janvi (Janki Bodiwala also played the same part in “Vash”) under his control. To the couple’s shock, Janvi obeys Vanraj’s every command, behaving like a puppet with no free will, regardless of how bizarre the instructions are. At their wits end, the couple must find a way to save their daughter from the grip of the “Shaitaan” who has entered their home in the form of Vanraj. Will they?
Much like Ajay Devgn’s “Drishyam” movies, “Shaitaan” first establishes the idyllic image of a happy family, only to thrust the parents into an unprecedented situation that threatens their daughter’s life. However, “Shaitaan” is no crime thriller, and is a surprisingly straightforward supernatural-horror tale, but with little scope of eerie moments or surprise scares. Of-course, the makers create some significant suspense over Vanraj’s end-game, yet, they spend too much time in him playing puppet-master with the teen Janvi to break her parents. It’s unsettling to watch, but not scary or spooky enough for the horror genre.
Janki Bodiwala is excellent in portraying a helpless young girl under the vice-grip of a “Shaitaan”, it’s no wonder the creators chose to let her reprise her part. Jyotika feels under-utilized as Janvi’s mother, even though she outshines Ajay Devgn with her subtle, nuanced performance, despite having lesser screen-time. Instead of leaning on the clichéd “dad saves the day” trope for Ajay Devgn fans, the creators should have adjusted the script to give Jyotika’s character more depth, which could’ve made “Shaitaan” feel less formulaic.
The climactic scenes of “Shaitaan” are excessively cinematic, and Vanraj’s end-goal feels exaggerated and formulaic. However, if you’re simply seeking a classic horror film with elements of black magic and a familiar cast, the leads of this movie makes it worth a watch.
Rating: 6 on 10. Stream “Shaitaan” on Netflix.
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May 3, 2024
Unfrosted Review – Nutty & Loaded With Inane References
Sneha Jaiswal (Twitter | Instagram)
Director: Jerry Seinfeld
Writers: Jerry Seinfeld, Spike Feresten, Andy Robin
Set in 1960s America, “Unfrosted” is a satirical parody about the rivalry between food giants Kellogg’s and Post as they vie to create a snack that could revolutionize breakfast habits across the country. Jerry Seinfeld stars as Kellogg’s executive Bob Cabana, who convinces his former colleague Donna (Melissa McCarthy) to ditch her new job at NASA and assist him in devising a winning recipe in the fierce breakfast battle. While Jim Gaffigan plays their boss Edsel Kellogg III, Amy Schumer portrays his next-door rival Marjorie Post, whose firm already has their hands on something that will blow their competition away.
“Unfrosted” is such a nutty, silly film, with so many cameos that I half-expected/hoped Sacha Baron Cohen would make an appearance too, this is totally his kind of gig. But, unfortunately, despite its exaggerations and constant gags, “Unfrosted” never goes fully unhinged with its material, and comes across like a film made for children (it has a PG-13 rating) but with a premise that isn’t exciting. No kid really cares about how pop tarts became America’s favorite breakfast snack. Ironically, the makers are completely aware of this fact, because the movie starts with a scene where Bob Cabana practically forces a kid to listen to the story about pop tarts. So, it’s a self-aware, goofy, absurd comedy, that’s probably out to entertain a very niche audience.
The colorful cinematography and snazzy costumes scream ’60s/’70s energy. Jerry Seinfeld and Melissa McCarthy, as Bob and Donna, look like older corporate versions of Shaggy and Velma from “Scooby-Doo,” the cartoon created in 1969, by the way. And given just how colorful, and wacky the film is, I did feel like maybe an animated version with some magic thrown in could’ve made it more entertaining.
From an international viewer’s point of view, “Unfrosted” can seem ridiculously inane, since it’s packed with countless subtle jokes and references from 1960s America that will be lost on a lot of viewers. Some of the more accessible references include a scene where the Kellogg’s team meets President John F. Kennedy, and the President jokes about living in the doghouse “since you-know-who sang Happy Birthday to me”. He never mentions Marilyn Monroe, but those familiar with her “Happy Birthday Mr. President” performance, which caused a stir in the tabloids, will immediately understand the joke. However, some of the other comical references in the film are as specific and obscure as a scene where a character named Tom Carvel suggests that Kellogg’s name their new product “Kellog’s Puss” and presents Edsel with a cake. This cake is a nod to Carvel’s “Cookie Puss”, an ice-cream cake sold by the company that inspired many jokes and even a song by the Beastie Boys.
With a crisp 90 minute runtime, “Unfrosted” is choppily paced, with some really hilarious moments, but also some very un-funny stretches. It’s like a high-quality SNL sketch, with multiple star guests waltzing in and out of the sets. If you like Netflix offerings like “Death to 2020/2021“, you’d probably enjoy this one too.
Rating: 6 on 10. Stream it on Netflix.
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The Art of War: A Graphic Novel – Review
Sneha Jaiswal (Twitter | Instagram)
“The supreme art of war is to subdue the enemy without fighting.” – Sun Tzu.
“The Art of War” by Sun Tzu is one of the most ancient and influential books on military strategies and tactics, believed to have been written in the 5th century BC. I read its English translated version in college, and it turned out to be a dry read, taking days to finish despite its small size. So when I noticed a graphic novel version by Pete Katz available on Kindle Unlimited, I thought, why not revisit the book in a more entertaining format?
For a reader who sort of knew what to expect, the illustrated version definitely turned out to be more engaging. While the original work reads like a long-winded rule book detailing what a good general should do in times of war, this graphic novel version by Pete Katz presents it in a story format, with an old retired war general called Sifu teaching Sun Tzu’s military treatise to a young boy. Sifu kind of reminded me of Master Shifu from the “Kung Fu Panda” movies, the wise old senior master of Jade Palace, who trains the greatest warriors of ancient China.
The artwork by Pete Katz is the highlight of this graphic novel representation of Sun Tzu’s “Art of War”. Katz’ illustrations are colorful, and look like pencil-sketches blended with water colors, they look like old world paintings, perfectly complimenting the text of the novel. Most pages are rife with pictures of a warriors in different battle positions.
Pete Katz also introduces some excitement into the text by incorporating attacks on Sifu’s village by bandits and then uses this twist to practically illustrate some of Sun Tzu’s advice about how to handle one’s enemies. Much of the text is indeed cryptic, requiring readers to interpret the ancient general’s intent. However, at its core, “The Art of War” emphasizes strategic planning and the meticulous study of one’s enemy, their territory, and the surrounding terrain. It dwells into the various intricacies of warfare, advocating for shrewd tactics and calculated maneuvers to achieve victory on the battlefield.
Rating: 4 on 5. Art of War: A Graphic Novel is available on Kindle Unlimited.
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May 2, 2024
Mary and the Witch’s Flower Review
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Mary is an energetic, cute little redhead who is nervous to start a new school in a new town situated near a lush green forest. With one week left before classes begin, Mary embarks on a wild adventure when she discovers a strange flower that gives her magical powers and a flying broomstick that leads her to a college for witches and wizards. Mistaken for a new student, Mary is welcomed by the principal, until she is discovered to be an imposter, leading to dangerous consequences!
Based on “The Little Broomstick” by Mary Stewart, the animated film “Mary and the Witch’s Flower” (Original title: Meari to majo no hana) from Studio Ponoc has been directed by Hiromasa Yonebayashi, known for his work on several Studio Ghibli films, including directing their 2014 title “When Marnie Was Here”. While “When Marnie Was Here” was a slow, nostalgic tale about two young girls who become best-friends, “Mary and the Witch’s Flower” is a lot fast-paced and filled with fun magical elements.
The 2D animation in “Mary and the Witch’s Flower” (Meari to majo no hana) is beautiful, colorful, bright and engaging from start to finish. It’s a lot better than the choppy, plastic-like 3D animation in the 2020 Ghibli film “Earwig and the Witch”. Mary’s character design is adorable, she is a clumsy but helpful red-haired girl, reminiscent of various beloved animated characters yet possesses a unique charm all her own. Since the story is set against the backdrop of a town nestled by the forest, the animators skillfully craft serene and uplifting scenes amidst nature’s embrace.
“Mary and the Witch’s Flower” focuses on how Mary is mistaken for a witch at a college for magical beings, leading to numerous troubles for the young girl. She meets the principal, an imposing yet curious woman named Madam Mumblechook, and an eccentric professor named Doctor Dee, both of whom harbor dreams of a world ruled by witches and wizards. They think Mary has potential to become a powerful witch, giving the girl a much needed confidence boost. But they aren’t aware that Mary’s power is only temporary, courtesy a rare magical flower.
The primary conflict in the tale revolves around the coveted flower sought after by witches and wizards worldwide. When the flower falls into the wrong hands, it’s up to Mary to prevent the villains from misusing its powers. From starting out as a clumsy girl who cannot get anything right, to flying a witch’s broom like an expert, Mary undergoes a lot of transformation in the tale which is very engaging. Her friendship with two stray cats named Tib and Gib adds an endearing touch to the story.
Magical, whimsical, with plenty of comical and light-hearted moments, all complemented by a subtly pleasing soundtrack, “Mary and the Witch’s Flower” makes for a entertaining visual experience. The film fails to build memorable friendships through it’s tale and doesn’t offer any profound lessons to its viewers. However, it does convey a simple message in its climax – one doesn’t need magic to enjoy life.
Rating: 7 on 10. You can watch it on Netflix.
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The Idea of You Review – Anne and Nicholas Got This
Sneha Jaiswal (Twitter | Instagram)
He’s been a star athlete a few times, Prince Charming in “Cinderella”, The UK’s Prince in “Red, White & Royal Blue”, among other roles tailored for heartthrobs, so it was only a matter of time before Nicholas Galitzine was cast as a British pop singer romancing Hollywood superstar Anne Hathaway.
Based on a book of the same name by Robinne Lee, the 2024 romantic-drama “The Idea of You” follows an unexpected romance between 40-year-old art curator Solène (Anne Hathaway) and 24-year-old Hayes Campbell (Nicholas Galitzine), who is the lead singer of an extremely popular boy band called “August Moon”. The two meet accidentally at Coachella, the music festival, where Solène is chaperoning her teen daughter Izzy (Ella Rubin) and friends.
The plot is rather thin — Solène and Hayes are utterly smitten with each other, but soon her insecurities about their age difference and the intense media scrutiny begin to strain their nascent relationship. Nevertheless, Anne Hathaway and Nicholas Galitzine make a refreshing onscreen duo, with their chemistry as Solène and Hayes sending the temperatures soaring in “The Idea of You”. The actors are charming, cute and sensual in their portrayal of a ‘newly in love’ couple.
Solène’s confidence issues as a single mother on awkward terms with her cheating ex-husband is very believable. The media coverage and harsh headlines over her dating a younger man is a satirically entertaining critique of just how invasive, rabid, and rampaging tabloids can be to women. “Hayes Catches a Cougar,” says one of the many distasteful headlines about Solène. On the other hand, “The Idea of You” makes viewers recognize that women can be sexy, desirable regardless of their age and do not have to settle down for the next available man they meet. Then there’s obviously the subtle dig at societal hypocrisy – how nobody bats an eyelid when a man dates someone decades younger than them, but all hell breaks loose when a woman does the same.
Since Hayes is in a popular boy band, “The Idea of You” features a pretty catchy soundtrack, the kind that’s fun to listen to for a little while but then quickly becomes dated. Like Solène’s daughter says in the movie, “August Moon is so seventh grade”. Nicholas Galitzine belts out some of the romantic tracks in the movie with his impressive singing chops, fitting right into the role of the lead singer.
Unfortunately, despite its nearly two-hour runtime, “The Idea of You” never deeply explores Solène’s romantic connection with Hayes. They are simply portrayed as two attractive individuals gallivanting across Europe and engaging in physical intimacy, with music being their sole shared interest. Although Hayes is described as appreciating art, he shows little genuine interest when visiting Solène’s art gallery. The plot is like a variation of “Fifty Shades of Grey”, where a wealthy, handsome character sweeps away the woman he desires with his lavish lifestyle, except that the woman is a working mother and not a naive lovestruck airhead.
If you’re after a romantic-drama that’s not too heavy and showcases a storybook romance between a mega pop-star and an everyday working mom, “The Idea of You” can prove to be a delightful choice for the weekend.
Rating: 6 on 10. Stream the film on Prime Video.
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May 1, 2024
Heeramandi – Bhansali’s Courtesan Games is Luscious But Tepid
Sneha Jaiswal (Twitter | Instagram)
It’s believed that each grain of rice used in the preparation for Biriyani would be drenched in silver oil in the royal Mughal kitchens as the oil was said to aide digestion and possess aphrodisiac properties. Food history pertaining royal cuisine is filled with such curious trivia, because all it takes is one wrong ingredient to rob a dish off its true essence. It’s certainly true in the case of Sanjay Leela Bhansali’s lavish historical series “Heeramandi: The Diamond Bazaar”, which follows the vibrant lives of Lahore’s courtesans, before India and Pakistan became two independent countries. But we’ll come to its weaker components later.
Before British rulers reduced them to prostitutes, courtesans, known as tawaifs, were held in high regard as professional entertainers who exclusively performed for nobility. They excelled in music, dance, theatre, and poetry, with young boys from noble families often sent to them to learn social etiquette and artistic forms. Spanning eight episodes, Sanjay Leela Bhansali’s “Heeramandi” delves into the gradual erosion of their traditional roles – from respected royal performers to stigmatized sex workers. Although, the major focus of the plot is on the internal politics and power struggle between courtesans for wealthy patrons. The latter half shifts gears to depict how the women of Heeramandi took part in the freedom movement and supported revolutionaries against colonial rule.
Titled “Mallikajaan – The Queen of Heeramandi” episode one unveils the curtain on primary protagonist Mallikajan, an influential courtesan, powerfully portrayed by Manisha Koirala. She is the queen-bee of Heeramandi, her dancers host to the most influential nawabs and nobles in Lahore and beyond. However, rebellion brews in her mansion Shahi Mahal – while her younger sister Waheeda (Sanjeeda Sheikh) schemes for more power and a piece of property under litigation, Mallikajan’s younger daughter Alam (Sharmin Segal) refuses to make her debut as a courtesan and the older daughter Bibbojaan (Aditi Rao Hydari) is a renegade freedom fighter. But bigger troubles arrive for Mallikajan in episode two, titled “Fareedanjaan – The Challenger Returns”, which introduces Fareedan (Sonakshi Sinha), the rightful heir of Shahi Mahal. However, she was sold off by Mallikajan when she was only nine years old, following her mother’s death.
Like most titles directed by Sanjay Leela Bhansali, “Heeramandi” features opulent set pieces, from the glittering dancing mansions of run by the courtesans to the sprawling havelis of the nawabs, and the grand hotels where wealthier characters gather for lavish parties. Viewers might find themselves appreciating the gilded walls of a set piece, or the gorgeous dresses draped by the women of Heeramandi, a lot more than the plot details. The costume designers for the series have knocked it out of the park for this series, delivering dazzling sarees, ghagras, and robes made of rich fabrics like silk and brocade, all complimented with elaborate jewellery that defines oriental luxury. If one needed visual evidence for the phrase “dressed to kill,” a glance at any of the dancers from “Heeramandi” would suffice.
The first four episodes of the series are dominated by a lot of scheming, screaming, and backstabbing among the ranks of the courtesans for more clout. “Heeramandi” begins to feel like a grandly decked ground for fights amongst its female protagonists – everybody has their claws out against someone or the other. It’s only in the latter half that the plot puts more spotlight on the freedom movement and how the women of Heeramandi played their part in the struggle for independence.
Led by an eclectic talented cast, the ladies of “Heeramandi” deliver electrifying performances. Manisha Koirala, who was last in “Shehzada”, is like a Phoenix in this series, she rises from the ashes, and fiercely glows as Mallikajaan, a ruthless madame of Shahi Mahal, who’d go to any lengths to keep her rivals from upstaging her. Sonakshi Sinha’s portrayal of Fareedan packs almost the same power, except that her character is younger and comes across as slightly less unscrupulous as she has no children or siblings to wreak her wrath on. Sanjeeda Sheikh is unhinged and entertaining as Mallika’s egocentric sister Waheeda, who is constantly short-changed in the series. Aditi Rao Hydari is a sight for sore eyes in “Heeramandi” as Bibbo, a beautiful courtesan, and a talented singer, who like the rest of the women in Shahi Mahal, is often made a pawn in the games of her scheming mother Mallikajaan. Aditi Rao Hydari’s Bibbo embodies a delicate duality, on one hand, she is as enchanting as a soft rose petal, captivating her patrons as a courtesan; on the other hand, she emerges as an underground firebrand revolutionary, utilizing her proximity to Nawabs to clandestinely gather intel against the British regime.
And now to that one wrong ingredient I mentioned in the opening of this review – Sharmin Segal as Mallika’s precious daughter Alam is the only member of the cast who just doesn’t fit into the elaborate Heermandi puzzle. Within the first episode, the cracks in her acting become apparent as she has the same expression plastered on her face throughout the bulk of the show, despite being a significant character who undergoes a myriad of experiences. Sifra, the robot played by Kriti Sanon had a wider range of expressions in “Teri Baaton Mein Aisa Uljha Jiya”. It’s a pity because apart from Bibbo, Alam is the only woman in Heeramandi who is devoid of grey/ugly shades and is the kind of character viewers would want to root for. She is shown to be an intelligent, sensitive young woman who aspires to be a poet, and falls in love with a charming Nawab called Tajdar (Taha Shah Badussha), who is also a revolutionary. While Taha Shah Badussha portrays a charming young nawab who falls for Alam with finesse, their pivotal romantic subplot loses its impact due to Sharmin’s mediocre acting. And as if her acting wasn’t bland enough, her character’s story also takes a dumb turn from episode five onward.
A lot of characters who have briefer cameos deserved more screen space in “Heeramandi.” Richa Chaddha, for instance, only has a small role in the series, but she is fantastic as Lajjo, a courtesan hopelessly in love with a nawab who scorns her, leading her to drown her sorrows in drinking, heartache, and madness. Pratibha Ranta, who played Pushpa Raani in “Laapata Ladies”, has an almost blink-and-miss role as Waheeda’s daughter, but she shines in the few seconds she gets to grace the screen.
Needless to say, all the women in “Heeramandi” run the show, while the male characters are nothing but cogs in the wheels. Shekhar Suman has a small but intriguing role as an aging Nawab, a loyal patron of Mallikajan. Perhaps one of the most hilarious scenes in the series belongs to him, where he’s so intoxicated that he imagines he’s engaging in amorous activities with a courtesan, when he’s merely fumbling against the confines of his carriage.
Despite some great performances and gorgeous cinematography, the pace and execution of Heeramandi’s plot is choppy. One of the surprise disappointments of this series was the forgettable soundtrack – even though a lot of the episodes feature song and dance, none of them come close to the magic Sanjay Leela Bhansali created with the tracks in “Devdas”. The women maybe draped in the finest silks, and blindingly beautiful jewellery, but their music doesn’t have an aching soul, nor a seductive rhythm. Sure, the tracks are quite nice, but you’d expect something more than just “nice” from a historical drama of this scale and budget. In-fact, after a point, the sad sitar sounds accompanying sombre moments become annoying, and dilute a scene, instead of enhancing its emotion.
“Heeramandi” feels like two different movies mashed together: one about the games courtesans play to outwit each other and attract the wealthiest patrons to their mansions, and another about how these talented women were more than just performing artists; they were revolutionaries who dreamed of freedom and laid down their lives for their nation’s independence. These two starkly different themes are blended awkwardly, and all the glittering sets aren’t blinding enough to see through the script’s flaws. Regardless, “Heeramandi” makes for an entertaining one-time-watch, especially for Sanjay Leela Bhansali’s fans.
Rating: 6 on 10. You can stream “Heeramandi” on Netflix.
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April 30, 2024
DeAr Review – Snoozy RomCom On Snoring
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Written and directed by Anand Ravichandran, the 2024 romantic-comedy “DeAr” is essentially about the trials of newly married couple Arjun (G.V. Prakash Kumar) and Deepika (Aishwarya Rajesh), who realize they aren’t very compatible in bed, because Arjun is a light sleeper and Deepika has an incurable snoring problem! It’s a fun premise, with lots of comic potential, and even though “DeAr” does have a few laughs here and there, there isn’t enough material in the script to sustain viewer interest, and this should’ve been a half-an-hour short film.
The very first fifteen minutes of “DeAr” set out to test a viewer’s tolerance to outdated story tropes – it starts with Arjun’s sister-in-law practically playing slave to her domineering husband, who needs her to do every little errand for him, from bringing him coffee, to putting away his things in the right place, to picking his shirt from the floor the second after he drops it. It was surprising that he didn’t ask her to open the bathroom door for him. Next, we meet another woman, Deepika’s mother, who complains about how she needs to do everything around the house for everybody. But the worst is this – Arjun is bullied into an arranged marriage, even though all he asks for is some time to find a job, so that he is “settled” before he gets married.
While some of the problematic issues in the script are addressed over the course of the film’s 2 hour 12 minute runtime, it doesn’t iron out its choppy pace and uninteresting story progression. And since there’s not much to explore with just the “snoring” problem, the creators start pivoting the story to other issues, like bringing in Arjun’s estranged father in the picture for some emotional brownie points.
G.V. Prakash Kumar and Aishwarya Rajesh do have cute onscreen chemistry in the sparsely spread romantic moments of “DeAr”. It’s got a fun soundtrack and the song-dance number that plays during Arjun and Deepika’s wedding is one of the most entertaining moments in the film. Overall, this film is a bit of a missed opportunity at giving viewers a breezy, light-hearted comedy about the trials and tribulations of a young couple. It packs a optimistic message in the climax, which is far too generic, but ends with a funny little moment. Watch the film if you are a fan of the lead actors.
“DeAr” is available to stream on Netflix.
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Parliament of Rooks Issue #5 Review
Sneha Jaiswal (Twitter | Instagram)
The dark gothic artwork in the final issue of “Parliament of Rooks” by Abigail Jill Harding is absolutely fantastic and makes the comic-book series completely worth following. Titled “A Season in Hell,” the finale, true to its chapter title, unfolds largely in the bloodied annals of hell. Protagonist Darius Ravenscar embarks on a journey to this infernal realm to confront the antagonist Maphas and rescue his lover Seraphina. So, the primary conflict revolves around whether Ravenscar can defeat the king of Hell and rescue Seraphina, who is supposed to be a powerful ‘moon maiden’, from his clutches.
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Chapter 5 of “Parliament of Rooks” feels like it would fit right into Neil Gaiman’s “Sandman” universe. It’s just as dark, mystical, and delves into similar themes such as death, mortality, and identity. From being an ordinary human architect, Darius is thrown into the grips of a severe existential crisis when he finds himself transformed into a grotesque creature from hell who can parley with supernatural beings.
Darius’ seemingly impossible love story with Seraphina comes full circle in this edition as readers finally learn what truly transpired in the past. There’s a surprise sub-plot which also reveals why his mother struck such a cruel bargain with the devil – to turn her own child into something infernal. The creators however shouldn’t have begun the first issue by showing Seraphina on her deathbed, as it eliminates any suspense for the rest of the tale; we’re assured that both protagonists survive until the very end. Nevertheless, “Parliament of Rooks” is essentially a dark, forbidden fantasy romance between two lovers from different worlds.
This chapter is filled with epic battle scenes that are filled with angst, pain, blood, remorse and vengeance. Abigail Jill Harding’s black-and-white artwork with the usual dash of red splattered through the pages will keep you hooked to the story until the very end.
Rating: 5 on 5. “Parliament of Rooks” is also on Kindle Unlimited.
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April 29, 2024
OMG 2 Review – The Gods Must Be Nosy
Sneha Jaiswal (Twitter | Instagram)
The 2012 film “OMG: Oh My God” was a rib-tickling, witty court drama about an ordinary shopkeeper taking God to court when his shop is destroyed in an earthquake and his insurance company refuses to compensate him, citing the tragedy as an “act of God.” The movie entertainingly challenged blind faith and self-styled Godmen/Godwomen. Amit Rai endeavors to recreate cinematic magic with his 2023 sequel “OMG 2,” which prominently features religion as one of its central elements. However, its primary theme is entirely different: the Indian education curriculum.
Written and directed by Amit Rai, “OMG 2” stars Pankaj Tripathi as protagonist Kanti Sharan Mudgal, an ardent devotee of Lord Shiva who owns a small shop outside a major temple. Kanti finds his devotion tested when his son Vivek Mudgal (Aarush Varma) is expelled from school over an embarrassing viral video which shows him masturbating in the school’s washroom by bullies. While Kanti initially blames his son, he soon realizes that the problem lies with the school. He decides to take legal action against the administration for failing his son, following the advice of a wise stranger (Akshay Kumar plays an unnamed messenger of Lord Shiva). This leads to an unexpected, amusing court drama, which captures the media’s attention and sparks a nationwide debate on whether sex education should be a part of the curriculum.
While a linear chronological sequence typically serves as an effective storytelling method, “OMG 2” might have benefited from a more dynamic timeline. The initial half-hour isn’t as comedic or entertaining as one would expect from an “Oh My God” sequel. The pace is slow, there’s serious and excessive focus on Vivek Mudgal’s ordeal, while the kid is practically forgotten in the latter half of the film. Instead of starting off with how Vivek was expelled, “OMG 2” could’ve started with witty court exchanges and then revealed the root of the problem in a flashback.
With a 2 hour 36 minute runtime, “OMG 2” earnestly becomes engrossing only in the last 90 minutes, when Kanti Sharan Mudgal stands by his son and starts to legally fight his case against the school, demanding that they take him back. Yami Gautam plays the confident, fierce Kamini Maheshwari, the lawyer defending the school, while Pawan Malhotra is pretty entertaining as the judge presiding over the peculiar case. Pankaj Tripathi is comfortable in his own skin as Kanti, a small-town North-Indian man, who is devoted to his family and God. Akshay Kumar as Lord Shiva’s messenger is like a hippie on a spiritual trip to India, doling out cryptic advice to Kanti. While their scenes are quite fun, the fact that Kanti needs divine intervention to solve his problems doesn’t sell convincingly in the tale. But you need a star like Akshay Kumar to draw the audience. So that’s that.
Given that it tackles a taboo subject in Indian households—sex and masturbation—”OMG 2″ cleverly draws from ancient Indian texts and heritage to underscore the significance of sex education in schools. While the court drama is undoubtedly exaggerated and theatrical, it’s like a classic play – meant to be over-the-top yet carrying a potent message. One wishes there could have been more father-son scenes between Kanti and Vivek, or at least just one scene where they talk things out, since, admittedly, as acknowledged by the movie itself, the school can’t be solely responsible for educating children on sensitive topics. “OMG 2” definitely misses out on creating a pivotal cinematic moment featuring a father having a compassionate conversation with his son. What starts out as a private matter soon becomes overshadowed by public perception, leaving the Mudgal family lost in the background.
The climax is reminiscent of the 2012 original, yet it comes as a total surprise as it doesn’t significantly impact the plot and merely serves as a callback or nod to the Paresh Rawal film. Overall, “OMG 2” is an entertaining addition to the “Oh My God” universe.
You can stream the film on Netflix.
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Gingerbread Girl – Graphic Novel Review
Sneha Jaiswal (Twitter | Instagram)
One night, multiple narrators—from the young and indecisive protagonist Annah Billips to pigeons, magicians, dogs, and convenience store employees—several beings take turns to guide readers through Annah’s life and her peculiar theories. Or theory. Annah believes her father, a mad scientist, removed a tiny sliver of her brain and created a sister, a twin who is always with her through thick and thin until she decides to vanish. Is this twin real? Or is it just Annah’s deluded way of coping with her parents’ ugly divorce, which occurred at the same time she claims her twin was created.
Yeah, that’s one hell of an interesting premise for “Gingerbread Girl” by Paul Tobeen and Colleen Coover. The graphic novel begins with a fun scene where Annah is getting ready for a date, but she has promised to spend the evening with two different people, whoever knocks on her door first, gets to take her around. Thanks to her freckles, Annah feels a little like the female version of Archie Andrews, from the popular teen comics, you know the teenager who cannot decide between Betty and Veronica. But Archie comes from the 1940s, so he doesn’t have childhood trauma or mental health issues, or confusion over his sexual identity. Annah comes with all that, and more.
The artwork by Colleen Coover is what keeps “Gingerbread Girl” fun for most parts, it’s cute, with clean lines and the character illustrations are adorable. However, the “pass-the-parcel” narration style, where the narrator keeps changing, was only comically entertaining the first few instances and then the novelty quickly wanes to become annoying.
“Gingerbread Girl” unfurls over the course of a single night, as Annah finds herself on a date with Chili, a gorgeous gal with a bouncy afro. This condensed timeframe adds excitement to the story, yet also leaves one wishing for a bit more depth to capture additional nuances. Unlike a Shakespearean epic where myriad events unfold within 24 hours, here it’s merely different narrators pondering the reality of Annah’s sister, a question whose answer is pretty evident.
Overall, it’s probably a decent one-time read over how childhood trauma can really make someone go cuckoo and develop attachment issues. Annah struggles to maintain long-term relationships, often using her sister as an excuse, citing the need to locate her lost sibling. The notion of the “missing sister” metaphorically represents Annah’s own fractured childhood, as she remains unable to move past the painful events involving her parents’ divorce. So the question isn’t whether Annah’s sister exists, but if Annah can exist without having to hold on to the fantasy of a “mad scientist father” tampering with her head. But of course, that’s never answered.
Rating: 3 on 5. “Gingerbread Girl” is also on Kindle Unlimited.
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