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Colour Photo is a 2020 Indian Telugu-language period romantic drama film directed by debutant Sandeep Raj. Produced by Amrutha Productions and Loukya Entertainment, the film stars Suhas in his first lead role, along with Chandini Chowdary, and Sunil.[1] The music was composed by Kaala Bhairava, marking his second film as composer after Mathu Vadalara. The film is set in Machilipatnam, Andhra Pradesh in the mid-1990s and is said to be the story of a "below-average guy".[2][3][4]The film premiered on aha on 23 October 2020. The project includes many debutants who previously worked on short films, including the director of the film, Sandeep Raj.[5] The film was shot completely in Machilipatnam, Vijayawada and the surrounding areas in Andhra Pradesh.[6] At the 68th National Film Awards, it won the Best Feature Film in Telugu.[7]
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Hridayam (transl. Heart) is a 2022 Indian Malayalam-language coming-of-age romantic drama film written and directed by Vineeth Sreenivasan. It was produced by Visakh Subramaniam under Merryland Cinemas and co-produced by Noble Babu Thomas under Big Bang Entertainments. The film stars Pranav Mohanlal, Kalyani Priyadarshan and Darshana Rajendran. The film's songs and background score was composed by Hesham Abdul Wahab.[3]
[4]Hridayam marks the return of Merryland Studio, one of the earliest film studios in Kerala, into film production. The film reintroduced once obsolete audio cassettes and limited edition vinyl records in India. Principal photography began in February 2020, after taking a break with the surge of COVID-19 pandemic in India, filming was concluded in March 2021. The film was shot at KCG College of Technology in Chennai, where Vineeth, his wife Divya and his friend and actor Aju Varghese studied, and in Palakkad, Kochi, and Andhra Pradesh.
Hridayam was released in theatres worldwide on 21 January 2022.[5] It received generally positive reviews from critics. The film grossed over ₹50 crore (US$5.8 million) worldwide, becoming the 3rd highest grossing Malayalam film of the year.[2] The film won two Kerala State Film Awards, including Best Film with Popular Appeal and Aesthetic Value.[6]
Rewind - Hindi
Karthik falls for Shanthi at first sight in a lift. After impressing her, fate takes an unexpected turn. In a bid to win her back, Karthik travels through time to alter events. But does he succeed in his quest for love?
The film follows five women who, after losing loved ones in a brutal bank heist, team up with a struggling crime novelist to hunt the killer. As secrets unravel, they find healing, justice, and unexpected redemption in their quest for revenge.
The film was released on Thursday, 13 September 2019, after being pushed back from its originally scheduled date of 31 August 2019. It received positive responses from both audiences and critics. The film was a commercial success at the box office. It also marked the last film where Mohan Cherukuri (CVM) was involved with Mythri Movie Makers, and it was Priyanka's first lead role and her Telugu debut.
Lubber Pandhu Review:
In a country like India where cricket is an emotion, there’s no dearth of films on the beloved sport. From biopics on some of the best players the game has seen, to using cricket as a backdrop for a heart-warming underdog drama, several iterations of the game have been explored. Now with Lubber Pandhu, director Tamizharasan Pachamuthu sheds light on the rubber ball cricket tournament culture prevalent in the deep pockets of Tamil Nadu, and intricately weaves an intriguing narrative around it.Some films blow your mind with a distinct story set in a completely new backdrop while others narrate a simple, straightforward story but work thanks to the way its elements come together; Lubber Pandhu is a textbook example of the latter. In the film, Anbu (Harish Kalyan) is a small-town guy and a gifted bowler who crosses paths with Poomalai a.k.a. Gethu (Attakathi Dinesh), an older, much-revered batsman. A series of unfortunate incidents trigger their egos and their on-field rivalry spills into their personal lives... only for it to hit a crescendo when they learn that Anbu is in a relationship with Gethu’s daughter Durga (Sanjana Krishnamoorthy).Films on ego and interpersonal relationships seem to be working well for Harish. He ended last year with a bang thanks to Parking, where his character faced off against a fellow tenant, played by the veteran MS Bhaskar. In this film, his rivalry is with Attakathi Dinesh who is fresh off the success of the underrated J Baby which was also, incidentally, about family and interpersonal relationships. While the premise might sound similar to Blue Star which came out earlier this year, Lubber Pandhu dwells deep into the intricacies of relationships and how egos can effect them. The fact that both films also hold a mirror to how deep-rooted caste-based discrimination is in our society in a subtle manner, is the cherry atop the cake.Both the lead characters are not particularly challenging roles, though Harish and Dinesh pull them off quite well; the reason boils down to how their characters have been sketched. Anbu and Gethu are two men belonging to two different generations but that’s about all the distinctions they have. Both would do anything for their one true love, value friendship, are players with egos as massive as their talents, and, of course, love cricket more than anything else.Director Tamizharasan does a splendid job of characterising and, as the film progresses, humanising Anbu and Gethu’s tryst with a myriad of emotions. Anbu, as his name suggests, is the first to wave the white flag while Gethu, as you might have guessed, is the harder nut to crack. Speaking of names, Yashoda (played by an impressive Swasika) has to turn into a mother figure for her husband Gethu who prioritises his game over the betterment of his family. For a film on a sport between testosterone-powered men, Lubber Pandhu pleasantly surprises you with how well the women characters are written.
While the romantic portions between Anbu and his girlfriend Durga (Sanjana Krishnamoorthy) are written with enough care to not slacken the flow of the film, it’s the matured romance between Yashoda and Gethu that is most memorable. This works predominantly because of the love-hate relationship they share, along with an additional layer brought in by the fact that they belong to two different castes. Lubber Pandhu also showcases the men to be impetuous creatures while the women — who face the brunt of their male counterparts’ actions — are more level-headed and keep things from falling apart. But arguably the best part of the film is how it never villainises any of its characters or romanticises their flaws; it shows them to be a product of their circumstances, and how all it takes is one right call to get into the good books of their family members.
Tamizharasan introduces us to the world of rubber ball cricket, and its impact on the lives of its players, complete with their quirks; there’s even a scene where a bride signs an agreement at her wedding reception that she would let her husband play cricket with his friends! Be it the introduction songs they play every time a star player walks into the pavilion — it’s Vijayakanth hits for Gethu, and Vijay for Anbu — or how Gethu uses his handkerchief as a bat handle grip, the attention to detailing turns us from theatrical watchers to stadium spectators. A personal favourite is how the film defines two particular timelines with how much a rubber ball costs in that specific year.
And boy, the cricket match portions are a treat to watch! The director spins a googly with these sequences as he goes against the grains of usual cricket film tropes. Tamizharasan subverts expectations at crucial moments and these nuggets of little wins lets us ignore the film’s snags such as a forced female empowerment trope surrounding a player, that feels unnecessary. As with every Tamil film on cricket, there’s ample scope for humour thanks to the colloquial game commentary, but Lubber Pandhu takes it up a notch with the characters played by Bala Saravanan and Jenson Dhivakar. The film also does a wonderful job when it comes to managing its secondary characters and the one played by Kaali Venkat could very well become a fan-favourite.
With several arcs weaved together seamlessly — including the caste oppression angle to which Tamizharasan gives a profound resolution — the filmmaker makes his mark as a talent to watch out for. Lubber Pandhu is a breath of fresh air and a refreshing addition to the ever-growing list of films on cricket; so much so that we can call it a whole new ballgame.
Performances play a key role in this tragic love story. Let’s start with senior actor Siddique, who is an integral part of Qalb.
His appearance as Calpo’s dad makes a mark. The relationship between father and son is portrayed well. Though the police station scenes are cliched, Siddique is effortless in those sequences.
Ashiq delivers a subtle performance as the abusive father of Thumbi. In the end, when he cries, we don’t feel pity for him.
Neha Nazneen Shakil, as Thumbi, is good. But some of her scenes, especially towards the end, need more energy and emotions.
Ranjith Sajeev, as Calpo, gets a good screen space as the protagonist. This is his second movie after Mike, and the actor is here to stay. He is impressive, especially in the theatre fight sequence.
Lena, as Thumbi’s mother Sauda, is decent. Her expressions of fear and despair as the helpless mother who regains her strength at a particular point leave a mark on audiences.
About Trisha On The Rocks
Trisha On The Rocks, directed by Krishnadev Yagnik, offers a mix of charming moments and missed opportunities. The film stars Janki Bodiwala as Trisha and Ravi Gohil as Vishal, who both bring lively energy to their roles. Their chemistry is believable, and their interactions are often amusing and sweet.
Janki Bodiwala does a great job portraying Trisha, a spirited and fun-loving character. Ravi Gohil complements her well as the easygoing Vishal. Their romance, though predictable, has some genuinely cute and funny moments that will make audiences smile.
However, the film's plot feels somewhat clichéd and lacks depth. The story of two people from different backgrounds finding love is a familiar trope, and Trisha On The Rocks doesn't offer much new to this well-worn narrative. Some scenes feel repetitive, and the storyline could have benefited from more originality and unexpected twists.
Hiten Kumar provides solid support, adding a touch of warmth and humour to the film. His performance helps round out the cast and adds an extra layer to the story.
The direction by Krishnadev Yagnik is competent, though it sometimes struggles with pacing. While the film maintains a light and enjoyable tone, it occasionally drags, and some comedic moments fall flat.
The cinematography and music are adequate, supporting the film's overall cheerful atmosphere. However, they don't particularly stand out or elevate the movie.
Overall, Trisha On The Rocks is an enjoyable but not groundbreaking romantic-comedy. It has its charming moments and will appeal to fans of the genre looking for a light-hearted watch. With its likeable cast and a few entertaining scenes, it earns a solid, if not spectacular, rating.
Trisha On The Rocks, directed by Krishnadev Yagnik, offers a mix of charming moments and missed opportunities. The film stars Janki Bodiwala as Trisha and Ravi Gohil as Vishal, who both bring lively energy to their roles. Their chemistry is believable, and their interactions are often amusing and sweet.
Janki Bodiwala does a great job portraying Trisha, a spirited and fun-loving character. Ravi Gohil complements her well as the easygoing Vishal. Their romance, though predictable, has some genuinely cute and funny moments that will make audiences smile.
However, the film's plot feels somewhat clichéd and lacks depth. The story of two people from different backgrounds finding love is a familiar trope, and Trisha On The Rocks doesn't offer much new to this well-worn narrative. Some scenes feel repetitive, and the storyline could have benefited from more originality and unexpected twists.
Hiten Kumar provides solid support, adding a touch of warmth and humour to the film. His performance helps round out the cast and adds an extra layer to the story.
The direction by Krishnadev Yagnik is competent, though it sometimes struggles with pacing. While the film maintains a light and enjoyable tone, it occasionally drags, and some comedic moments fall flat.
The cinematography and music are adequate, supporting the film's overall cheerful atmosphere. However, they don't particularly stand out or elevate the movie.
Overall, Trisha On The Rocks is an enjoyable but not groundbreaking romantic-comedy. It has its charming moments and will appeal to fans of the genre looking for a light-hearted watch. With its likeable cast and a few entertaining scenes, it earns a solid, if not spectacular, rating.
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Court – State vs A Nobody Movie Review: In mainstream Indian cinema, which is defined by over-the-top ‘elevation scenes’, heroic protagonists and music cues that spoon-feed the audience, legal dramas largely follow a template. It gets complicated when the legal drama also has an important message to tell.Gone are the days when these films would revolve around a case. Now, they feel compelled to deliver lessons on morality with enough legalese to impress, but never alienate the viewer. This is probably why a film like Pink was slightly modified in its Tamil version, Nerkonda Paarvai, and altered beyond recognition in the Telugu-language remake, Vakeel Saab.
Table No.21
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Story: A couple takes on the challenge to play a game of Truth or Die. 8 questions, 8 tasks, 8 answers, with rapid fire rounds too. Even one lie and it’s a death call.
Movie Review: A Table for two, please? With a stunning view of the Fiji islands, the finest champagne, exclusive service and a lavish 8-course meal. And guess what? It costs absolutely nothing. Now, before you growl with greed, let’s see what’s on the menu – blood and bravado, love and lies, truth and treachery, money and mind-games. Vivaan (Rajeev Khandelwal) and Siya (Tena Desae), a middle-class couple win a free trip to the exotic Fiji Islands. Soon, this freebie of an affair turns into a reality show for 8 million viewers on the internet. The couple is invited by one Mr.Khan (Paresh Rawal) who’s a quiz-master and ‘not a terrorist’, to Table No. 21 - A live game show where 8 questions are asked, followed by a daunting task. All they have to do is bare (at times bleed) their hearts and say nothing but sach and walk home with the prize money of 21 crores. The rules are simple: Say one lie and be ready to die and once you are on the hot-seat, there’s no turning back. The heavenly island turns into a Hell-home, and the couple is torn between a web of lies, truth and shocking reality. Of course, this ‘Crorepati’ game unlike the real one, needs no recap of your GG (read: general gyan), or a ‘lifeline’ to save the day.
Movie Review: A Table for two, please? With a stunning view of the Fiji islands, the finest champagne, exclusive service and a lavish 8-course meal. And guess what? It costs absolutely nothing. Now, before you growl with greed, let’s see what’s on the menu – blood and bravado, love and lies, truth and treachery, money and mind-games. Vivaan (Rajeev Khandelwal) and Siya (Tena Desae), a middle-class couple win a free trip to the exotic Fiji Islands. Soon, this freebie of an affair turns into a reality show for 8 million viewers on the internet. The couple is invited by one Mr.Khan (Paresh Rawal) who’s a quiz-master and ‘not a terrorist’, to Table No. 21 - A live game show where 8 questions are asked, followed by a daunting task. All they have to do is bare (at times bleed) their hearts and say nothing but sach and walk home with the prize money of 21 crores. The rules are simple: Say one lie and be ready to die and once you are on the hot-seat, there’s no turning back. The heavenly island turns into a Hell-home, and the couple is torn between a web of lies, truth and shocking reality. Of course, this ‘Crorepati’ game unlike the real one, needs no recap of your GG (read: general gyan), or a ‘lifeline’ to save the day.
Dragon (2025 film)
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Dragon Movie Synopsis: When Raghavan has 48 arrears to clear, he decides to take a shortcut to success. It takes him far, but doesn’t last long. Will he find a way back, or is a second chance just around the corner?
Dragon Movie Review: Something special about Ashwath Marimuthu's Dragon is how it never judges anyone in the film, neither when its hero makes wrong decisions, nor when a girl decides to reject a proposal or leave a man she deeply loves. Of course, there is a lot of magic happening in Dragon, just like in the director's debut Oh My Kadavule, however, the magic here rather stems from the cinematic liberties that Ashwath makes use of. In simpler words, there are just too many coincidences, and Raghavan (Pradeep Ranganathan) keeps finding easy ways to solve all his problems even when he repeatedly makes careless decisions. Although such coincidences test your patience, the emotional connection you feel with the characters and the spin in the roaring second half make the ride enjoyable.
Raghavan is a typical Tamil hero, who rules the college with his rowdy vibes (Hello Gautham from Sillunu Oru Kaadhal!), doesn't study well, and is ungraduated (we are looking at you, Dhanush from Padikathavan) but besides his stubborn ego and cheating skills, he also happens to live in a world where from his innocent and caring parents and selfless friends to even the college principal or a random stranger — everyone is just too kind and supportive. But what makes this exaggeratedly kind world real is how the characters don’t blindly stand by his side; they advise or chide him before lending a helping hand. And with some tricks up his sleeve, he manages to crack both life and the corporate ladder.
In any other film, all of these would have stuck out like a sore thumb. But Ashwath's magic wand — his interesting writing choices — make this an intriguing outing. For instance, simple choices like deciding to not show the love story of Raghavan and Keerthi (Anupama Parameswaran) until it reaches the verge of breakup and then taking us through their cute romance through a sad song makes even the usual plot line interesting.
Just like in OMK, Raghavan finds an amazing friend and lover in Keerthi (Anupama Parameswaran), who goes out of her way to keep him happy. But Dragon highlights that sometimes a missed chance is a missed chance. From the rainy nights hinting at a change to second chances and college friendships, both frames and characters remind you of the director's debut outing, which works organically for his sophomore venture. Even the famous “Idhu ungallukku sonna puriyaadhu sir” dialogue makes a cameo. Apart from these, you also get hat tips to Premam, Simbu, and other films and actors, adding flavour to the comedy sequences. From roping in VJ Siddhu and Harshath Khan to all the interesting meta references, Ashwath has managed to cater to the youth in all possible ways. Speaking about such references, the film’s other big strength is the small but emotionally loaded dialogues — for example, "Oru thappu panitu easy ah kadantharlaam nu nenaikurom, but adhu thoratite iruku la" — that are written with care.
The casting, too, is simply perfect. Pradeep Ranganathan as Raghavan aka Dragon makes you empathise with him even as he repeatedly makes wrong choices. Anupama as Keerthi too is as expressive as always. Behind all the jokes and silliness the film paints the situations with, there is something deeper to look at. Do we regret our decisions? What if we go back to a place we didn't want to be in the first place? Would we live a changed life? And a lot more questions that make the central plot firm and nuanced. The songs and the way they are woven into the narrative is also a great plus to the film.
If you remember well enough, a lot of coincides, magic, and second chances happen in Oh My Kadavule, too but the actual change happens in the characters’ real life, where every action attracts an equal and opposite reaction. In fact, this angle - where the film wanders into even a dreamy land but doesn’t lose touch with reality - is what made OMK relatable, emotional, and special. Retaining the same essence, Ashwath Marimuthu’s second outing is also a fun, emotional, and fully charged ride.
