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Shamshera is a plodding action drama with the themes of freedom and retribution at its core

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Shamshera is a plodding action drama with the themes of freedom and retribution at its core

Tribal chief Shamshera sacrifices his life in an effort to win his people’s freedom. 25 years later, his son takes up the cause, avenging his father’s death and rescuing his people from the control of the British and communal leaders.

Examining Samshera: Having been driven from his homeland along with his people, Shamshera (Ranbir Kapoor), a tribal leader, is compelled to rob the wealthy, who view themselves as belonging to a higher caste. An Indian commander in the British military named Shudh Singh (Sanjay Dutt) betrays Shamshera and forces his tribe into slavery alongside him. Balli (Ranbir once more) devotes his life to this revolt while Shamshera loses his life attempting to free his tribe from the dual clutches of the British and the high-caste people

The background music and the slick VFX-driven graphics immediately draw you into the imagined universe set in late 19th-century India. The video quickly provides a framework for the tribe’s origins and motivations before delving directly into Shamshera’s narrative. From that moment forward, the movie starts to drag. It continues to be a slow-moving action-drama that features a caste-based conflict, a romantic vengeance story, and a run-in with the British Raj.

You’ll be exhausted at the end of the movie, to say so without giving away too many plot points. The picture drags through the length with a number of small, but noticeable technical hiccups, feeling far too stretched for its paper-thin plot. Despite this, Ranbir Kapoor and Sanjay Dutt continue to be the centre of this drama. The actors give sincere performances despite a mediocre storyline, a weaker writing, and weaker dialogue. Even if he makes a lot of effort to improve a lacklustre script, it is always a pleasure to see Ranbir on film again after a long absence. Sanjay Dutt also does a good job acting menacingly. In fact, each time the performers interact on-screen together, their dialogue

The supporting players in this drama, such as Ronit Bose Roy, Saurabh Shukla, and Iravati Harshe, don’t really add much to the story. If their characteristics had been chosen with greater consideration and care, it would have been very beneficial. It’s unexpected that they have such limited room to manoeuvre. Even Sona, a dancer played by Vaani Kapoor, falls far short in terms of an emotional curve.

The film’s action choreography is excellent, especially in the sequence just before the intermission and in some of the finale.

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The soundtrack to the movie contains certain songs that will stick in your head, such as the song that introduces Balli in the movie or the love ballad that describes Sona and Balli’s relationship. The highlights of the movie are its background music, VFX, and cinematography.
In conclusion, although director and co-writer Karan Malhotra initially seemed to have a magnificent vision, it’s his execution that appears to have let him down. We only wish that it had all been put together more skillfully than what was visible given the scope, the available canvas, and the skills of the makers.

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Movie Review: ‘Am I OK?’ is a charming comedy about friendship that features Dakota Johnson’s endearing genuineness.

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Movie Review: ‘Am I OK?’ is a charming comedy about friendship that features Dakota Johnson’s endearing genuineness.

Naturally, we begin with a veggie burger.

The 30-year-old best friends Lucy and Jane can easily recite Lucy’s usual order at the diner—a veggie burger and sweet potato fries—when they meet again.

Therefore, Jane’s expression shows a hint of hurt when Lucy goes rogue and requests a tomato and spinach omelette late in “Am I Ok?” Even though it was simply a veggie burger, it seems absurd, but to Jane, it represents a comforting, known object that is no longer in her life.

This is Tig Notaro and Stephanie Allynne’s directorial debut, and it’s filled with such lovely, subtle touches that work much better than the sporadic attempts at broad humour that come across as forced or, at the very least, as something else entirely.

Of course, Johnson is the main subject of the lingering camera the entire time, and with good reason—her unwavering genuineness consistently comes through in her roles, even when the material surrounding her occasionally falters.

This is a heartfelt, straightforward story. This is a story about a coming-out, but unlike most coming-out stories we encounter, the protagonist is 32 years old.

The writer of the movie, Lauren Pomerantz, came out when she was 34. This particular narrative is hers. A few strikingly moving scenes reveal how intimately involved she is in the proceedings; one such instance is when Lucy experiences anguish while a straight woman plays with her feelings. It’s among the movie’s most poignant scenes.

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We start at the aforementioned diner after an opening montage that sets up the female friendship at the centre of the film. Jane tells Lucy that she really should meet up with a certain cute male friend who clearly likes her: “Just do it,” she urges. Lucy is unable to give a reason for her refusal.

Jane, the more experienced of the two in terms of her career, is about to undergo a significant upheaval in her life. Her manager gives her the opportunity to go to London and open an office in Los Angeles. Her extremely nice partner is also starting to come around. However, Lucy is devastated by this news, as evidenced by the insincere manner she continues responding, “Wonderful!” when Jane breaks the news to her one evening over drinks.

The two friends end up crying together after drinking a lot of tequila, just like close friends do when they urinate in the bathroom and then later during a sleepover. Lucy admits to Jane that she likes girls there.

Jane is an unwavering source of support. Ever the aspirant, she actually tells Lucy that she will become “the star of the lesbian community.” And she decides to assist her in finding a woman, going so far as to take her out to a gay bar. On the dance floor, though, it’s Jane who ends up kissing a woman. Lucy, ashamed, runs away.

However, Lucy works as a receptionist at a spa where there’s this sensual massage. Lucy is finally brave enough to respond to Brittany’s intense flirtation. She helps Lucy come out of her shell, but the outcome is ultimately depressing. Moreover, Lucy is no longer seeing Jane, who was typically the first person she would call in a heartbreak.

Though this film centres on two friends, you will find yourself most invested in Lucy’s life as you watch the incredibly likeable Johnson manage grief and uncertainty. A last-minute setback to Jane’s carefully thought-out plans for her trip to London seems a little improbable, or perhaps it just feels forced in as if to imply that, well, both ladies have problems.

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Whatever the case, this month has been fantastic for female buddy comedy. While Pamela Adlon’s comedy “Babies” focused heavily on the chaos that comes with childbirth, “Am I OK?” aims for a more tender, poignant tone. It’s satisfying to be back where we started, discussing issues at that restaurant table. The moral of the story is straightforward but reassuring: friendships can endure and grow despite change.

even if an omelette triumphs against a vegetarian burger.

The Motion Picture Association has rated Warner Bros.’ “Am I OK?” R “for language, sexual references, and some drug use.” 86 minutes of running time. An overall rating of 2.5 stars out of 4.

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