Sneha Jaiswal's Blog, page 17

‘Good Boy’ Episode 15 Review: Explosions, Emotions, and One Last Escape

Sneha Jaiswal (Twitter | Instagram)

Okay, it’s time to give some due to actor Jeong Man-Sik who plays minor antagonist Oh Jong-gu, the former coach of ‘Good Boy’ protagonist Dong-ju (Park Bo-gum) and current lackey to primary villain Joo-yeong (Oh Jung-se). Arrogant, corrupt, and scheming, Jong-gu is one of the few characters in this action K-drama who can take on the gold-medalist boxer. His punches are brutal, and actor Man-sik makes them seem deadly as hell.

Recap of ‘Good Boy’ Episode 14

After Han-na (Kim So-hyun) storms Joo-yeong’s hideout guns blazing, Jong-hyeon (Lee Sang-yi), Man-sik (Heo Sung-tae), and Jae-hong (Tae Won-seok) join the fight against the bad guys. Dong-ju, miraculously recovering from his near-fatal injuries, rushes in to back up his team. Together, the small squad takes down a building full of armed goons. Han-na’s live stream of Joo-yeong confessing to his crimes goes viral, forcing both the media and the police to take action and round up the criminals, though, as usual, Joo-yeong manages to slip away.

The rest of the episode follows the team’s renewed attempt to track him down, eventually discovering he’s hiding out at the police commissioner’s office. They hatch a plan to catch him, but unsurprisingly, Joo-yeong outsmarts them again. The episode ends with Oh Jong-gu ambushing Dong-ju and beating him to a pulp.

Episode 15 of ‘Good Boy’

Titled ‘On The Ropes’, the episode opens with a bloodied and disoriented Dong-ju, as his former coach Jong-gu taunts him about his punch-drunk syndrome, giving him a brutal beating and fleeing the scene. Dong-ju is nearly blinded by the injuries and taken to the hospital by Jong-hyeon, who’s already figured out something is wrong with the boxer.

‘Good Boy’ Dong-ju once again recovers in hours (can we just call him ‘Wolverine Oppa’ now?), requesting Jong-hyeon and everyone else to keep his worsening health a secret from his girlfriend Han-na. At this point, the bromance between love rivals Dong-ju and fencer Jong-hyeon is far stronger than his actual romance with Han-na, though the couple does get a few cutesy romantic moments at her apartment.

The primary focus of the episode remains on the team’s effort to track down Joo-yeong and put an end to the ever-escalating saga of violence and crime. Convinced there’s another mole within the Insung police department, the special squad devises a new plan to uncover who’s leaking intel from the inside.

Since this is the penultimate episode of ‘Good Boy’, it packs in a little bit of everything: intense action sequences, car chases, comedic moments, emotional exchanges, and some great teamwork among the cop protagonists. Park Bo-gum as Dong-ju stands out with his ‘never say die’ cheery attitude, melting even the cynical Jong-hyeon.

While Park Bo-gum’s ‘Good Boy’ persona as Dong-ju starts to feel a bit overplayed in the latter half of the series, it’s Lee Sang-yi’s Jong-hyeon who truly wins viewers over with his composed, selfless professionalism. Despite his lingering feelings for ex-girlfriend Han-na, he respectfully accepts her choice to be with Dong-ju and goes out of his way to support the boxer without hesitation. “Don’t smile, I don’t want to get attached to you,” Jong-hyeon tells his rival in one of the softest moments of the show, highlighting their reluctant friendship and brotherhood.

The episode ends with a bang, literally, but no casualties. With Joo-yeong low on cash, cronies, and luck, his empire’s crumbling fast. Honestly, they could’ve ended the show right here, but hey, let’s see what kind of chaos the finale brings.

Watch ‘Good Boy‘ on Prime Video.

Find the writer on Twitter and Instagram for more pop culture chatter.

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Heretic Review: Hugh Grant Is a Cult-Level Creep in Tense Horror Tale

Rating: 4 out of 5.

Sneha Jaiswal (Twitter | Instagram)

This film made me anxious, made me scream, made me jump in my seat, even made me want to pause out of fear (I was watching it alone at 12 am, okay?), and really root for one of the primary characters toward the climax. And even though I didn’t like the ending, ‘Heretic‘ is undoubtedly an entertaining psychological horror-thriller for fans of the genre.

Directed by Scott Beck and Ryan Woods, the film follows two young Mormon missionaries, Sister Barnes (Sophie Thatcher) and Sister Paxton (Chloe East), whose visit to influence an old man, Mr. Reed (Hugh Grant), to join their church turns into a terrifying, nightmarish ordeal.

‘Heretic’ opens with an entertaining conversation between the young missionaries about false and manipulative marketing, a subtly clever way of setting the tone for the primary theme of the story. Sisters Barnes and Paxton then start going door to door to do their work of spreading ‘the lord’s word’. Unfazed by a patter of rain, they knock on Mr. Reed’s door, and the old man invites them in for some blueberry pie, assuring them his wife is at home. He begins an uncomfortable theological debate with the women, and with no sign of a “wife,” the sisters begin to worry about his motives.

Mr Reed attempts to make the sisters question the authenticity of their religion, although, ironically, the more he speaks, the more their doubts grows, but only over his intentions. He tries to demonstrate through pop-culture references how Christianity is a mere rip-off of other religions, lore, cults that pre-dated it. This is re-inforced through a comedic exchange, where at one point Mr Reed says says “With great power comes great responsibility” to which Sister Paxton says ‘Spider-Man’, while Mr. Reed says ‘Voltaire’. Although, perhaps the most entertaining reference in ‘Heretic’ is to Radiohead’s ‘Creep,’ which Mr. Reed claims is actually a plagiarized version of an older hit.

Hugh Grant is Psycho-level iconic as the creepy Mr. Reed in ‘Heretic’, confident in his oratory skills and theological knowledge. He plays the classic wolf in sheep’s clothing, seeming friendly at first and baring his fangs only after he traps the prey. Questioning the sisters’ faith, Mr. Reed sets a simple yet twisted challenge for the women: there are two back doors, one of which will lead them to freedom, but they must choose wisely.

Sophie Thatcher’s Sister Barnes is the more eloquent, bold, argumentative, and perhaps even smarter of the two women, while Chloe East’s Sister Paxton is a lot more timid and malleable. How these women play a dark battle of wits and grit against the scheming, terrifying Mr. Reed forms the primary conflict in the tale. Despite their different personalities, the women are united in their beliefs and support for each other, putting up a brave front against a clearly dangerous man.

While the first half of ‘Heretic’ makes you wonder if the young women are perhaps being overtly paranoid, things take a frighteningly violent turn in the second half. If you’re someone who gets squeamish at the sight of blood, this definitely isn’t the film for you. Like I said at the start, I was screaming in discomfort., despite usually having a high tolerance for gore. What makes ‘Heretic’ especially unsettling is the disturbing power dynamic between the much older Mr. Reed and the younger women, which adds an extra layer of dread to their experience.

Just under two hours long, ‘Heretic’ is tense, eerie, and violent, and keeps the viewer on the edge of their seat until the very end. The last few minutes feel slightly contrived, and deliver a resolution that will divide viewers. I don’t want to give too much away, so if you’re a psychological horror fan, just give this film a go.

Rating: 8 on 10. Watch ‘Heretic’ on Prime Video.

Find the writer on Twitter and Instagram for more pop culture chatter.

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Hishakai Shindo (Depth of Field) Review: Seaside Blues & Heartache

Rating: 4 out of 5.

Sneha Jaiswal (Twitter | Instagram)

Things begin with the crash of a guitar, smashed to pieces, before we meet the protagonist of ‘Depth of Field‘ (Hishakai Shindo), teenager Hayakawa Shuichiro (Usa Takuma), a talented musician who has given up on music after a fallout with a friend. But a growing friendship with Konno Ryohei (Hirano Koshu), a quiet classmate from another section, reawakens Hayakawa’s passion for music and a long-buried ache for love. Will his new feelings remain one-sided?

Directed by Kawasaki Ryo (Zenra Meshi, 25 Ji, Akasaka de), this six-episode teen drama is based on the manga of the same name by Enjo, set against the scenic backdrop of a scenic seaside High-School. The opening episode quickly establishes Hayakawa as the popular kid in school, easygoing, flirtatious, and indulging the attention he gets from girls just to fit in. But the act soon wears him down. Feeling suffocated, he escapes to the school’s off-limits terrace for a breath of fresh air, and that’s where he meets Konno Ryohei, a serious, grounded aspiring photographer who ends up changing Hayakawa’s life.

It took me a couple of episodes of ‘Depth of Field‘ (Hishakai Shindo) to warm up to Hirano Koshu’s portrayal of Konno Ryohei. The character feels almost too perfect, which is exactly what unsettles Hayakawa at first, but along with him, the viewer begins to gravitate towards Konno. He is calm, confident, and carefree, but in a quietly assured way; focused and determined to follow in his photographer father’s footsteps.

In contrast, Hayakawa feels trapped in every part of his life: he’s unsure about his future after high school, has abandoned the music he once loved, and is wrestling with his sexuality, feeling drawn to boys rather than girls. Usa Takuma is a treat to watch as the complex Hayakawa, who can be both surprisingly impulsive and frustratingly cautious, depending on his mood. The onscreen chemistry between Konno Ryohei and Usa Takuma is interesting, although the short duration of the show doesn’t fully explore the deep bond that grows between their characters over the school year.

The cinematography in ‘Depth of Field’ (Hishakai Shindo) bathes the first half in calming rooftop views by the sea, fitting, as that’s where the bond between the protagonists quietly deepens. The soft blue hues of the sky and ocean add a gentle layer of romantic tension, set in contrast with the warmer tones of indoor scenes, where emotional turbulence brews. It’s a subtle yet striking visual metaphor: on the rooftop with Konno, Hayakawa can finally breathe, hum tunes, and be himself. Indoors, though, the walls seem to close in, reflecting his inner conflict. Childhood flashbacks help viewers understand why Hayakawa gives up music, although the child actor that plays the younger Hayakawa looks nothing like the older actor, which was slightly disappointing.

In the second half of ‘Depth of Field‘ (Hishakai Shindo), the story jumps ahead three years to follow Konno and Hayakawa as university students, each pursuing their passions, photography and music respectively, even as matters of the heart continue to slip through their fingers. A few new characters are introduced in the tale, some of whom help push the story forward. Since Konno is a straightforward, serious character, the climactic episode delivers a heartfelt resolution to the romantic conflict, without high-drama or cliches.

Anyone looking for a cinematic, nostalgic, seaside slow-burn Japanese high school romance, like Kimi to Nara Koi wo Shite Mite mo (If It’s With You) or Kimi no Koto Dake Mitai (I Only Want to Keep Looking at You) will love this series. The music theme in the story also gives it a slight Given-like feel. The series could’ve used another episode or even two, but overall, it’s a pretty great one-time watch.

Rating: 8 on 10. ‘Depth of Field’ (Hishakai Shindo) is on GagaOolala.

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‘Versace Softboi’ Short Film Review: 3 Friends and a Stalker…

Sneha Jaiswal (Twitter | Instagram)

Three friends are just chilling, getting high, and watching Yuzuru Hanyu figure skate when one of them realizes her Tinder date is watching her through the apartment window. Their fun night takes a creepy turn thanks to his eerie presence in the short film ‘Versace Softboi’.

Directed by Charlie Gillette and Sarah Metcalf, ‘Versace Sofboi‘ opens with protagonist Alex (Charlie Gillette) flirtatiously texting Sam (Christian Elán Ortiz), a former Versace model who took her out on two dates. Her close friends Em (Wesley Han) and Cleo (Becky Granger) are eager to hear more about the mysterious new fling, until things take a strange turn. Alex becomes convinced that Sam is sitting outside her building, texting her. And well, that’s just creepy, isn’t it?!

Just about 13 minutes long, ‘Versace Sofboi‘ is a quick psychological thriller exploring how the three friends react to the possibility of Alex’s tinder date stalking her. While the sassy Em thinks Alex is probably just being paranoid, Cleo is more co-operative. Although in a touching scene that highlights their close friendship, all the of them sleep huddled together in the hall, just in case the stalker situation gets out of hand. The tone of the film plays like a dark comedy, mixing dating mishaps, online flirting, and the uneasy feeling that something just isn’t right.

The climax ends with an open-ended cliffhanger, leaving the conclusion up to the viewer’s imagination. Christian Elán Ortiz strikes the right balance of charm and creepiness as the potentially psychotic date, while Charlie Gillette’s Alex is relatable to anyone who’s had a promising date spiral into a freak show. Wesley Han is entertaining as the cheeky Em, more interested in getting high and avoiding problems than confronting them. Ultimately, it’s the banter between the trio of friends that stands out as the most enjoyable part of this short film.

You can watch ‘Versace Sofboi‘ on YouTube.

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Dan Da Dan Season 2 Episode 3 Review: Evil Yokai Jiji Vs Okarun!

Sneha Jaiswal (Twitter | Instagram)

Jeez! Jiji has turned into a hulking, shiny, evil Yokai out to kill Momo and Okarun in Dan Da Dan episode 3 of the new season. And the evil Jiji is dripping with ‘hot bad boy’ energy.

Quick Recap of Dan Da Dan Season 2 Episode 2

Thrown deep into the pit of the Mongolian Death Worm’s lair by the creepy Kito family (Jiji, a.k.a. Jin’s landlords), Momo and Okarun buckle under its psychic powers, which drive people to take their own lives. However, Jiji is the only one unaffected by the worm’s influence, so he carries both his friends to safety. But in a twist, Jiji encounters a mysterious supernatural entity dwelling in the worm’s lair, a yokai with a tragic past connected to the town, that cleverly tricks him into becoming its vessel!

Dan Da Dan Season 2 Episode 3

Titled “You Won’t Get Away With This,” this episode of Dan Da Dan is packed with action and entertainment, centering on Okarun’s efforts to help Momo escape the suffocating lair of the Death Worm. The hope is that she can find a rope and come back to rescue both Okarun and Jiji. But things take a wild turn, Jiji, now fully possessed by the ‘evil eye’ yokai, starts tossing poor Okarun around like a football, hell-bent on killing the very people his human self was trying to protect just moments earlier.

Every time the hunky yokai Jiji comes on screen in this episode of ‘Dan Da Dan‘, it feels like you’re watching a different action anime altogether – the whole vibe changes. So while Okarun fights the super-powered Jiji, Momo frantically works on finding a way to save both her friends and defeat the Mongolian Death Worm that’s been devouring people in the town for decades, or maybe even centuries. And just when I was beginning to miss the impish Turbo granny in her smug cat form, she makes a brief fun funny cameo too.

Frenzied in its pacing, the episode gets over in a blink of an eye and features some hilarious moments, including a comically repetitive sequence where Okarun keeps counting loudly while punching Jiji non-stop. Meanwhile, a flashback to a conversation about earthworms between Momo and Jiji as kids gives her a brilliant clue on how to defeat the monsters.

The episode ends with an exciting twist, which hints that the teen trio’s nightmarish ordeal in the new town might be far from over!

Stream Dan Da Dan on Netflix or Crunchyroll.

Find the writer on Twitter and Instagram for more pop culture chatter.

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‘The Song of Achilles’ Review: Honor, Fate, and Love

Rating: 4 out of 5.

Sneha Jaiswal (Twitter | Instagram)

Ah, this is how modern re-imaginings of mythical stories should be: light on the mind through the journey but tugging at the heart towards the climax. Although, for a novel encompassing the ten years of the Trojan War, “The Song of Achilles” by Madeline Miller can feel too swift, and lacking in depth for readers expecting an intense, blood-laden saga of love and war. But I was content to read something that flowed easily, didn’t tax my brain, and was over in less than three days.

‘The Song of Achilles’ is narrated by Patroclus, a Greek prince exiled from his kingdom as a boy and sent to live under the guardianship of King Peleus, ruler of Phthia. There, he meets Achilles, prince of Phthia, son of Peleus and the sea goddess Thetis, destined to become the greatest of all Greek heroes. The novel centers on the deepening bond between Patroclus and Achilles, tracing their childhood friendship as it slowly evolves into a tender romance, much to Thetis’ disapproval.

Unfolding chronologically, ‘The Song of Achilles’ first focuses on Patroclus’ early life as an unloved son of a king, then moves on to his teen years training and living with Achilles at Phthia. While Patroclus initially dislikes Achilles, mostly because he is incredibly good-looking, golden-haired, carefree, and the beloved child of a powerful king, a constant reminder of Patroclus’ own failures as an exile, it is for those very same reasons that he eventually falls passionately in love with the prince. Thetis plays the role of the classic jealous boy mom in the story, constantly trying to pull Achilles away from Patroclus. She knows her son is destined for greatness and sees Patroclus as nothing more than a distraction standing in the way of his glory.

True to its title, ‘The Song of Achilles’ is part love story and part ode to the Greek hero. The second half of the novel focuses on the Trojan War, where the Greeks are led by King Agamemnon of Mycenae against Troy, to reclaim Helen, a celebrated beauty and the wife of Agamemnon’s brother Menelaus, who has been taken away by Paris, the prince of Troy. The novel contains a generous amount of violence, war politics, ego clashes, blood, and battles.

Why Achilles reciprocates Patroclus’ feelings with nearly the same intensity remains something of a mystery, author Madeline Miller never really explains it. That said, it could easily be chalked up to the mere exposure effect, since the two protagonists spends all their free time together when they’re younger, and are portrayed to be of the same age in this retelling.

Throughout the ten years of war, Achilles and Patroclus remain together, sharing the same tent, even though they see the conflict in very different ways. For Achilles, the war is a path to glory, a chance to achieve honor and be remembered as an immortal hero. Patroclus, on the other hand, is repulsed by the violence and spends most of his time serving as a medical aide, trying to save lives rather than take them. The author blends Greek mythology, romance, and tragedy with an ease that makes this a very breezy read.

“Is it sexy?” a friend asked me when I told her about this book.

“Not really! It’s not like the author is cryptic about the romantic relationship between Achilles and Patroclus like older scholars, but it’s not as sexy or steamy as some readers would expect it to be!”

And that’s probably the only problem I had with ‘The Song of Achilles’, the the romance wasn’t passionate enough, although the war days are violent, intense, and engrossing. Madeline Miller’s writing style is fluid, poetic in some parts, and quite simple otherwise. Readers who don’t mind a quick retelling of a Greek legend’s life, will find this to be worth a read.

Rating: 4 on 5 stars.

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ABO Desire Explained: Who’s Who, Power, Passion, and Manipulation

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Introduction What is the ‘ABO’ class systemThe Primary Characters of ‘Desire’Introduction

Chinese series ‘Desire’ is pushing fictional boundaries by becoming the one of the first live-action adaptations of an Omegaverse novel.

This is going to be filled with spoilers but only about the first three episodes of ‘Desire’, to help you understand the plot and character motivations, since quite a few viewers are getting confused over the similar sounding names of characters and small font translations.

What is the ‘ABO’ class system

So, ‘Desire’ is set in a fictional country called ‘P’, in a world where a global pandemic triggered by a virus, changes the biological constituency of humans. Humans begins to exhibit behaviour seen in wolf-packs and can be divided into three sub-class:

Alpha: Dominant, aggressive, territorial, and usually leaders. They can ‘rut’, which is a period in which their libido is higher than usual. In ‘Desire’, there are something called the S-class Alphas, who are a rare, elite, or exceptionally powerful Alphas, a cut above the rest. They also can have enhanced physical or mental abilities.

Beta: Neutral, with low fertility rates. Usually inconsequential working-class people. Betas are usually ignored in fiction books set in the Omegaverse or play really minor roles.

Omega: Submissive, nurturing, highly fertile, both male and females can get pregnant. Instead of a menstrual cycle, they go into ‘heat’, which is when they’re the most fertile, it’s during this period that they emanate pheromones, which is meant to attract mates, but they can use suppressants/external medication to control their heat.

Enigma: There are extremely rare, so rare, they’re almost mythical. But Enigma are superior to Alphas and in the case of ‘Desire’, an Enigma has the power to tame an Alpha and turn them into Omega. They can resist or trigger strong reactions in others, often confusing even S-class Alphas

The Primary Characters of ‘Desire’

Hua Yong (Huang Xing): He’s a striking young illegitimate heir to a successful empire known as ‘X Holdings’, and also a rare Enigma. He’s in love with Sheng Shao You, a powerful business scion known for his preference for wide-eyed, submissive Omegas. But Hua Yong’s dominant personality makes him realize that approaching Shao You as an Enigma wouldn’t work, there’s little chance he’d fit the type Shao You usually falls for. Which is why, in the first episode of ‘Desire’, Hua Yong uses his money and influence to gather all of Shao You’s ex-partners at his sprawling mansion, to find out his crush’s preferences, in order to seduce him.

It seems, Shao You loves beautiful men and women with the ‘damsel in distress’ kind of personality, those who cry easy and seem helpless. So, with help from his friend Shen Wen Lang, Hua Yong poses as a poor, low-ranking Omega interning at Wen Lang’s company, hoping to catch Shao You’s eye. He even goes out of his way to land himself in trouble, just so Shao You can swoop in and feel in control of their budding relationship. Hua Yong is playing the long game to tame his crush for good.

Sheng Shao You (Qiu Ding Jie): Hua Yong’s love interest, Shao You, is a confident and dominant S-class Alpha who owns a leading pharmaceutical company. His longest relationship lasted just six months. Focused on finding a cure for his father’s cancer, he has little time for serious romance and doesn’t mind dating partners who are only after his credit cards. Once he loses interest, he ends things.

Though not particularly drawn to Hua Yong at first, Shao You is still somewhat attracted to him. But when Hua Yong refuses any financial help during a difficult situation, Shao You’s curiosity is sparked, and his interest slowly begins to grow. As he begins to notice Hua Yong seems to be just his type, he starts to desire him more.

Gao Tu (Li Pei En): An Omega pretending to be a Beta due to family baggage and past trauma. Because Omega are highly sought out by aggressive, powerful Alphas, his mother, who is a victim of an abusive relationship, makes Gao Tu hide is Omega identity by using suppressants, so that he isn’t exploited like her. Gao Tu works as the secretary of his college crush Wen Lang, and the latter is quite vocal about hating Omegas, which only leads Gao Tu to further suppress his identity, making him dangerous reliable on medication. This character is in for the most heartbreak in ‘Desire’ when he gets accidentally pregnant with his boss’ child.

Shen Wen Lang (Jiang Heng): Another powerful Alpha and business tycoon, Shen Wen Lang helps Hua Yong in his plan to seduce and trap Shao You. Meanwhile, he also gets suspicious of Gao Tu’s secret identity and the two are the secondary couple in ‘Desire’.

You can watch ‘Desire’ on YouTube, Youku, iQIYI and WeTV.

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‘After the Hunt’ Trailer: Julia Roberts Caught Between Andrew & Ayo

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“All your generation, you’re scared of saying the wrong thing. When did offending someone become the preeminent cardinal sin?” Andrew Garfield’s character throws this sharp jab at Ayo Edebiri’s Maggie Price, a Gen-Z student, setting the tone for the trailer for “After the Hunt”. It’s a solid punch at both the perpetually offended and those too afraid to speak their minds.

And then Julia Roberts lands the knockout. In a tense moment from the trailer, when the student says she’s no longer comfortable having a conversation, Roberts coolly replies, “Not everything is supposed to make you comfortable.” Oof. That one stings…!

Directed by Luca Guadagnino and written by Nora Garrett, ‘After the Hunt‘ follows Julia Roberts as Alma, a charming professor who finds herself in a dilemma when her star student, Maggie Price (Ayo Edebiri), levels serious allegations of misconduct against her colleague Henrik (Andrew Garfield). However, the trailer maintains tight suspense over the credibility of Maggie’s claims, leaving viewers wondering who the real victim is – Maggie or Henrik? Also, how Alma fits in the picture is a bit of a mystery too.

Now this is how a trailer should be, sharp, cryptic, and dark. The ironic turn of tables against Andrew Garfield’s character is brilliant. Henrik begins as the one criticizing the younger generation for being too timid, but in a clever twist, it’s Maggie Price who goes on the fearless offensive against him.

Going by the trailer, ‘After the Hunt’ promises to be an intense drama with a talented ensemble cast. The film will be in theaters in October.

Watch the trailer on YouTube, it’s also embedded below.

Uppu Kappurambu Review: Keerthy Suresh Is The Boss in Burial-Crisis Comedy

Sneha Jaiswal (Twitter | Instagram)

What would you do if your highly superstitious village ran out of burial space, and laying the dead to rest any other way was considered criminally taboo? Keerthy Suresh faces this bizarrely serious dilemma as Apoorva, the newly appointed head of her village, in the Tollywood comedy ‘Uppu Kappurambu‘.

The film, created by Ani I.V. Sasi (director) and Vasanth Maringanti (writer), opens with a quick historical backstory using local wooden dolls to explain why the village of Chitti Jayapuram doesn’t cremate its inhabitants like the neighboring hamlets. Keerthy Suresh is hilariously introduced as a crying mess, playing Apoorva, who watches her father, the village head, being buried by a group of locals led by Chinna (Suhas), the cemetery caretaker. But over the course of this silly-but-fun comedy, the young Apoorva, who has little interest in inheriting her father’s position, becomes a reluctant but reliable village elder.

Apoorva is constantly targeted in humorous ways by the henchmen of Bheemayya (Babu Mohan), a wealthy man who covets her post, and also by Shatru (Madhubabu), the owner of a cinema hall, who try to derail her credibility as a leader. When, at a public meeting, Chinna raises the issue of shrinking burial space, everyone hounds Apoorva for a solution. To make things worse, there are ugly fights over the few lots still left, dividing the village. So, ‘Uppu Kappurambu‘ primarily follows a reluctant Apoorva’s rise to her leadership duties and the comedic antics of the villagers.

Keerthy Suresh is thoroughly entertaining in ‘Uppu Kappurambu’ as the comedic Apoorva, coached by her late father in handling questions to problems in a way which simply postpone the issue at hand and not actually solve them. For instance, he advises her to blame a third country whenever residents complain about the rising prices of food or commodities. But when she is faced with a serious shortage of burial space, it’s a conflict she simply cannot talk her way out of. She turns to Chinna for help, unaware that he is secretly plotting to reserve a lot for his ailing mother, Kondamma (Rameshwari), who wishes to be buried in Chitti Jayapuram.

Refreshingly, there’s no romantic sub-plot in the film, although there is a slight hint of romantic tension between Appoorva and Chinna, which ‘Uppu Kappurambu’ could’ve done without. From going out hunting for burial plots, to tackling superstitious priests, the plot is laden with jokes and gags, most that land, few that don’t.

What really works for ‘Uppu Kappurambu’ is its world-building, packed with quirky lore, oddball superstitions, and rural charm. The first half breezes by with light-hearted humor, lively villagers, and an engaging background score. One of my favorite bits in the movie is when Chinna and his friends go around Chitti Jayapuram, dancing and drawing up a list of those who might die soon, to understand how grave the cemetery problem is (pun intended, obviously).

It is in the final half-hour, things start to drag, and of course, there’s the obligatory speech from a lead character preaching unity and community spirit. ‘Uppu Kappurambu’ may not land any knockout punches, but thanks to its eccentric storyline and goofy but smart female lead, it still delivers an entertaining ride.

Rating: 7 on 10. Watch the film on Prime Video.

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‘Jukebox’ Review: Great Tracks, But Misses A Beat

Rating: 3 out of 5.

Sneha Jaiswal (Twitter | Instagram)

‘Jukebox’ is the kind of kids’ book that is too much for a child reader and too little for an adult. But let me start with the best bit about this graphic novel: it’s got super cute, glossy artwork by Nidhi Chanani, making it an easy, entertaining read one can finish in a sitting.

The plot follows 12-year-old Shaheen, who is drifting apart from her father, a music critic obsessed with vinyl records and often too lost in his own world to notice her interests. But when he suddenly goes missing, a worried Shaheen teams up with her older cousin Naz and heads to his favorite record store in search of clues. There, they stumble upon a magical jukebox that lets them time-travel. The only way to find her father is to play the right record and hope they time-travel to the same place he might be trapped in.

The story execution in ‘Jukebox‘ feels rushed, more like a teaser or a pitch for a larger series where two young girls get to time-travel and meet iconic music artists. But here’s the letdown: if readers know little or nothing about the featured music, the book doesn’t really help them learn much either. It had the potential to be something like Brazen by Pénélope Bagieu, a stunning graphic novel where each chapter dives into the life of a trailblazing woman. Shaheen and Naz could’ve interacted more deeply with the artists they encounter, learning about their struggles, impact, or creative journeys. But because they’re on a time-sensitive mission to find Shaheen’s missing dad, the book barely lingers on anything else.

Even toward the end of ‘Jukebox‘, when the girls complete their mission and are given another shot at time-travel, it feels like a missed opportunity. That second half could’ve been a space to slow down, explore the music and icons in more depth, and give young readers a reason to be curious. But nope, that part gets skipped too. The close sibling bond between Shaheen and Naz however is endearing, and their personalities quite fun.

In the end, ‘Jukebox’ feels too complex for its target audience – middle school readers between 8–12 – who are in no way going to understand all the classic music greats and hits featured in the story. On the other hand, it’s far too simple for older readers (like me). But again, the glossy artwork makes it a fun one-time read, which is why I am going with an extra star for the colorful, expressive illustrations.

Rating: 3 stars on 5.

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