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হিন্দি সিনেমা (Hindi Movies), বলিউড সিনেমা (Bollywood Films), বাংলা সিনেমা (Bengali Movie), বাংলাদেশি মুভি (Bangladesh Films), তেলুগু সিনেমা (Telugu Films), তামিল সিনেমা (Tamil Films), কন্নড় সিনেমা (Kannada Movie), হলিউড সিনেমা (Hollywood Movies) সব ধরনের সিনেমার রিভিউ এই সময় ডিজিটালে। ফিল্ম রিভিউ সেকশনে মিলছে ছবির সমালোচনা। একপাক্ষিক বা গোটা গল্প বলে দেওয়া নয়, যুক্তি দিয়ে পুঙ্খানুপুঙ্খ বিশ্লেষণ পাঠকদের কাছে পৌঁছে দেওয়াই লক্ষ্য এই সময় ডিজিটালের। বড় পর্দার পাশাপাশি ওটিটিতে মুক্তি পাওয়া ওয়েব সিরিজ (Web Series) ও সিনেমার দিকেও নজর রয়েছে। নেটফ্লিক্স (Netflix), অ্যামাজন প্রাইম ভিডিয়ো (Amazon Prime Video), Zee5 (জি ফাইভ), জিও সিনেমা (Jio Cinema), সনি লিভ (SonyLIV), হটস্টার (Hotstar), হইচই (Hoichoi), আড্ডাটাইমস (Adda Times), ক্লিক (Klikk) প্ল্যাটফর্মের যাবতীয় কনটেন্টের মনোজ্ঞ সমালোচনা থাকছে এই সময় ডিজিটালের ফিল্ম রিভিউ বিভাগে। শাহরুখ খানের মুভি (Shah Rukh Khan New Movie), সলমান খানের সিনেমা (Salman Khan Films), আল্লু অর্জুনের সিনেমা (Allu Arjun Movies), বিজয় সেতুপতির সিনেমা (Vijay Sethupathi New Movie), আবির চ্যাটার্জি সিনেমা (Abir Chatterjee Movies), কৌশিক গাঙ্গুলি মুভি (Kaushik Ganguly Films) সহ সব তারকাদের ছবির সমালোচনার জন্য দেখুন এই সময় ডিজিটাল ।

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'Guruvayoor Ambalanadayil' Review: Prithviraj's film is fun and hilarious in parts

Director vipin das' 'guruvayoor ambalanadayil', starring prithviraj sukumaran and basil joseph, is an engaging comedy drama in parts. the second half of the film feels stretched, says our review..

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• 'Guruvayoor Ambalanadayil' released in theatres on May 16
• Directed by Vipin Das, the film features Prithviraj Sukumaran and Basil Joseph in lead roles
• The film is a passable entertainer, which is engaging in parts

Release Date: 16 May, 2024

Director Vipin Das' 2022 film, 'Jaya Jaya Jaya Hey', was a breath of fresh air. The Basil Joseph and Darshana Rajendran-starrer presented a thoughtful black comedy. Now, the director has teamed up with Prithviraj Sukumaran and Basil Joseph for 'Guruvayoor Ambalanadayil', another comedy-drama set around a wedding. Will it live up to 'Jaya Jaya Jaya Hey'? Let's find out!

Vinu Ramachandran (Basil Joseph), working in the Middle East, is engaged to Anjali (Anaswara Rajan). It has been five years since his breakup with Parvathy (Nikhila Vimal), yet he still hasn't moved on. His brother-in-law Anand (played by Prithviraj Sukumaran), who is also a friend and confidant, helps him overcome his feelings. However, Anand is also not leading a perfectly happy life as he is temporarily separated from his wife.

And this time, Vinu takes it upon himself to bring some happiness into Anand's life. But, things go haywire when Vinu and Anand meet in person as there's another person who connects them both. This causes a rift in their relationship and whether Vinu goes ahead with his wedding to Anjali or not forms the story.

Just as the trailer promised, Vipin Das' ''Guruvayoor Ambalanadayil' has a distinct humour which the audience will get used to in the first half an hour. As we get warmed up to Vinu and Anand, we are left wanting more of their conversation, which will leave you laughing. Vinu and Anand's conversations are so organic and hilarious that they make up for a spectacular first half. The director builds up the story in a brilliant fashion with all the twists and turns coming through at perfect intervals.

The film's second half is what brings down 'Guruvayoor Ambalanadayil' after its perfectly crafted first half. The conflict following the intermission becomes wafer-thin. And the filmmaker introduces multiple characters leading up to a chaotic end, which is the wedding of Vinu and Anjali. While the sequence is executed tastefully, it fails to make a significant impact, partly due to the repetitive comedy and some unfunny sequences that fall short of the first half's standard.

It is Basil Joseph who plays the underconfident hero, shouldering this movie. His minute expressions effortlessly propel the story forward. Additionally, it's refreshing to see Prithviraj Sukumaran in a comedic role, which works to some extent. While Nikhila Vimal's character is integral to the story, she is moved like a pawn rather than possessing solid agency. Anaswara Rajan doesn't have much to do in the film, as the focus remains on Vinu and Anand, but her performance is adequate.

The two songs, composed by Ankit Menon, act as a speed breaker in an already crisp movie.

'Guruvayoor Ambalanadayil' is a passable entertainer that has several moments that will have you laughing along with some shortcomings. 2.5 out of 5 stars for 'Guruvayoor Ambalanadayil'. Published By: K Janani Published On: May 16, 2024 ALSO READ | 'Guruvayoorambala Nadayil' teaser: Prithviraj, Basil Joseph promise quirky rom-com

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• ‘Three Kilometers To The End Of The World’ Review: Emanuel Parvu’s Drama An Expansive Tale Of Corruption And Lies – Cannes Film Festival 

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Nothing in a small village, however, happens in isolation. The beating has points of connection with so many aspects of community life and its power brokers – the police chief on the brink of retirement, the local property king whose sons do the bashing and to whom Dragoi owes a sum of money he has no hope of pulling together, the priest whose authority derives from the faithful and the fearful – that Parvu’s film becomes something like an emotional map of the community. 

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Instead of roads and houses, it shows where friendship, mutual support and favors exchanged have rotted into the muck of corruption. Instead of landmarks, it shows the culture’s stress points. As the story progresses, Adi himself becomes the still center of a swirl of forces that act together – as they would have done in so many other circumstances — to ensure justice will never be done.

Parvu is careful to show the complexity of these people as well as of their weave of betrayals, mistakes and wrongdoing. Even Zentov (Richard Bovnoczki), to whom bribes and threats are everyday calling cards, lashes out hard only because he knows his sons face prison time. He wants to protect them, as he tells Dragoi; doesn’t he also want to protect his son? The local priest (Adrian Titieni), who presides over a scene of forced exorcism that is truly sickening, clearly believes his own justification for his petty authority: that he should be trusted in the same way people trust doctors. 

The actors bring to these portraits the naturalistic ease combined with intensity that is a hallmark of Romanian New Wave cinema, each one a whole person with their own reasons. Zentov and his confederates may be villains, but not the kind who wear capes: It is villainy submerged in normality.

The story is set in the Danube delta, where sunsets are vast and it is possible to go anywhere else only by boat. A widescreen format leaves room to show this expanse of wetlands in all its glory; there is no music, but a constant susurration of wind in the trees and bushes, sometimes accompanied by the ripple of water in the reeds at the water’s edge, provides a perfect soundtrack, the rustling of leaves a calm presence that can also feel frenetic when amplified. Adi texts the boy he met at the disco – a text revealed when his father forces him to open up his phone – to say he feels as if he is suffocating. Yet this is a place, as Parvu shows us, where there should be so much room to breathe. If they could just look about them, they might all be free.

Title:  Three Kilometers to the End of the World Festival:  Cannes (Competition) Director-screenwriter:  Emanuel Parvu Cast:  Bogdan Dumitrache, Ciprian Chiujdea, Laura Vasily Sales agent:  Memento Running time:  1 hr 45 min

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‘oh, canada’ review: richard gere, jacob elordi and uma thurman in paul schrader’s feeble inquiry into mortality.

An acclaimed American documentarian who relocated North as a Vietnam draft refugee attempts to set the record straight in one final interview.

By David Rooney

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Chief Film Critic

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It’s hard to warm to the central performance by Richard Gere as Leonard Fife, a documentary filmmaker famed for his exposés of subjects including Agent Orange, sexual abuse in the clergy and illegal seal-hunting. Rising from his death bed in Montreal in the final stages of terminal cancer, Leonard agrees to be filmed in an interview conducted by the couple he sardonically describes as “Mr. & Mrs. Ken Burns of Canada.”

That would be Malcolm (Michael Imperioli) and Rene (Caroline Dhavernas), both of whom were Leonard’s students, as was his much younger wife, Emma ( Uma Thurman ). Increasingly irascible and fading fast, Leonard insists that Emma be present throughout, as if confessing the falsehoods and failings of his life to her is the most important part of the exercise.

The wife is not much of a role, and Thurman can’t give her anything more than a sustained note of tremulous concern, aside from the occasional moment of anger or impatience when Emma feels her husband is being pushed beyond the limits of his fragile health.

With a sparse head of white bristles, a face half-covered with stubble and blotchy skin that shows the ravages of the disease eating away at the character, Leonard is clearly suffering. But Gere just plays his tetchiness; he’s a collection of tics and twitches and grimaces rather than a fully inhabited character that we’re compelled to care about.

While Leonard obviously is intended to be a complex figure with an abrasive edge, neither the man nor the supposed revelations he dredges up from the past offer much in the way of enlightenment or catharsis. It doesn’t help that he’s often stuck with banal dialogue or overripe voiceover (“She smells like desire itself.”)

As Leonard mulls over recollections that may or may not be entirely true, the film shifts somewhat randomly between color and black-and-white, and changes up aspect ratios from Malcolm’s tightly framed “Interrotron” shot to a more expansive view of the past. (Andrew Wonder was the cinematographer.) Those interludes from the late ‘60s and ‘70s are nicely enhanced by delicate indie folk songs written and performed by Matthew Houck, who records as Phosphorescent.

The tricks of memory are also suggested by double-casting Thurman as the depressed wife of a Vermont painter buddy, with whom Leonard has desultory sex after receiving bad news about the family he has left behind in Virginia.

How much of his past is previously known to Emma is ambiguous; often she attempts to stop the interview, insisting that her husband is inventing things that didn’t happen, that his mind can no longer distinguish between truth and fiction.

Schrader weaves together fragments of Leonard’s life non-chronologically, including an argument with his parents at 18 when he informs them he’s dropping out of college to go to Cuba. We witness a decisive moment when he and his wife Alicia (Kristine Froseth), who’s pregnant with their second child, are about to move to Vermont, where he has a teaching job. A very insistent offer from her wealthy father (Peter Hans Benson) to take over the family pharmaceutical business threatens to stymie that plan. There’s also an earlier wife, Amy (Penelope Mitchell), married in what hindsight suggests was a moment of youthful impulsiveness.

All of this remains curiously inert and uninvolving in Oh, Canada , which at 95 minutes seems too hurried to layer much drama into Leonard’s purging or much pathos into Emma’s discovery of his secrets. Schrader adds a characteristically pungent stab of deceit (with shades of his 2002 feature, Auto Focus ) via Malcolm’s unethical actions once Emma gets her way and halts the interview. But even that isn’t enough to imbue the story with real consequence.

What a shame that a writer-director of Schrader’s stature returns to the Cannes competition for the first time since 1988 with such a minor entry in his estimable filmography.

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