home bollywood movie review

#Home (2021) Movie Review: Dazzling Digital World and the Disconnected E-Hemispheres of Modern Man 

Rojin Thomas’ “#Home,” released in 2021, is a relatable and light-hearted story that showcases how the technologically illiterate father, Oliver Twist (Indrans), struggles hard to bridge the gap between his sons, who are immersed in the world of social media and smartphones. The importance of family ties, humane assets, the journey of self-discovery, an empathetic attitude, and mastering the mysteries of smartphones are narrated in an endearing and humorous manner. This is not just the reel life of Oliver Twist and his family but the real-life story of many residing within the same home, yet disconnected from each other and drifting apart to their own e-hemispheres of life.

The middle-aged father, Oliver Twist, struggles to make sense of the fast-changing world. He notices that his eldest son, Anthony (Sreenath Bhasi), is very fond of interacting with people on the phone instead of talking to someone beside him. Anthony faces writer’s block and digital addiction that impedes his ability to complete the script of his upcoming film, or perhaps it’s utter laziness.  Oliver’s nomophobic son exhibits a strong sense of revulsion when he’s pushed to speak directly with another human being next to him. Anthony represents the young generation who values digital relations more than anything else. They are unable to value the worth of a person close to them. They place online relationships on a pedestal.

Oliver is the digitally unsavvy father of two indifferent sons:  Antony Oliver Twist, a film director with one super hit, currently struggling with his second script; Charles (Naslen K Gafoor), the younger son who is a social media geek creating YouTube vlogs for anything and everything around him. Oliver has retired from his obsolete video cassette business and shifted his passion to his organic terrace garden.  Oliver also cares for his ailing father and does the household chores willingly.  Oliver’s wife, Kuttiyamma (Manju), is a typical sharp-tongued housewife whose nursing proficiency helps give great care to all in the family, especially Oliver’s father.

Oliver spends a lot of time with his childhood and dearest friend, Suryan, who stands with him in all the crests and troughs of life. Oliver feels free to confide his emotional agonies and the indifferent-cum-insulting behavior of Anthony to Suryan. “# Home” brings forth the challenging actuality of the present day, where everyone remains connected but living in their digital cocoon, clinging to their personal gadgets. This is a heart-warming family drama where social media turns out to be the villain, affecting the relationship between a father and his son.

Anthony, who had success with his debut film, is leading a disorderly existence as he is striving hard to finish the climax of his second film. Baby, the film producer, grows impatient as Anthony is unable to finish the script. The producer asks him to write the last act from the same place where he wrote his successful debut, i.e., home. Antony has a deadline of seven days. Antony’s relationship with his girlfriend, Priya (Deepa Thomas), also does not run smoothly, as he is least bothered by her emotional requirements. They express their hidden and unheard feelings to each other in the form of ‘emotional athyachar’ through Instagram stories.

Oliver, a beginner in the social media world, learns new things from many, including his younger son. Oliver tells Kuttiyamma that the problem between Anthony and Priya is some ‘emotional achar’ that both of them are unaware of. While interacting with a mobile phone shopkeeper, Oliver mispronounces Instagram as ‘installment.’ He frankly admits his ignorance and has a willing and affirmative mindset to learn the nuances of the online world from others. When Oliver asks Charles to teach him how to use WhatsApp and Facebook and how to pay bills, Charles impatiently tells him: Papa, you have come with one year’s syllabus to be taught. Oliver resembles many fathers of the present day who approach their children with a notebook to clarify their doubts and jot down the tips to be remembered for future use.

“#Home” beautifully captures the ironies of the highly connected world and the dying culture of person-to-person interaction. The film, which is written and directed by Rojin Thomas, speaks the truth of the present times. It puts in perspective how technology has brought the world closer and, at the same time, driven us away from the people who matter to us the most. The characters and their interpersonal dynamics possess a lived-in feel, especially Indrans, who has an extraordinary sense of presence.

The film talks in detail about the new-age parenting challenges. It also reflects on how technology is reshaping lives in every conceivable way, especially the way people interact with their surroundings. “#Home” will make one analyze the importance and consideration the present generation bestows upon relationships. Despite all the humiliations showered on him by his sons, Oliver is ready to do anything for them. He willingly consults a psychologist to bring changes in his life. He does not feel anything wrong in taking the advice of an expert to better his life. It does bring changes in his entire personality. The film acknowledges the importance of mental health in day-to-day life and why our mental peace should not be overlooked.

Anthony undergoes a sea change into ‘something rich and strange’ towards the close of the film. His rebellious nature gets a reformation, and he willingly accepts his flaws, thereby posting a note on social media in his handwriting with mistakes and overwriting. Anthony was so worried about his personality being evaluated by others. Hence, he wished to project a perfect version of himself far apart from his true self. He accepts all his frailties and pronounces, ‘I am always imperfect at my Home.’ Anthony views life afresh with all his imperfections. He ascertains that home is the only place where people are loved and cared for selflessly, irrespective of the dramas they do daily to fit into society.

Rojin Thomas has succeeded in deciphering the diverse shades of human relations. The movie shares a boundless message with an outstanding climax. “#Home” is fundamentally a tale of acceptance. One must accept one’s family with its simplicity. The family members need not be extraordinary people or superhumans to feel proud of them. A person has to be accepted and acknowledged by the way they are. Home is the right place for that, and the renowned poet, Robert Frost’s quote remains true in this context: “Home is the place where, when you have to go there, they have to take you in” (Frost,1).

#Home (2021) is a must-watch for those who feel and sense the imperfectly perfect versions of their own selves at home.

Read More: 25 Greatest Malayalam Movies of All Time

#home (2021) movie links: imdb , wikipedia , letterboxd #home (2021) movie cast: indrans, sreenath bhasi, naslen k. gafoor, deepa thomas, johny antony, manju pillai, kainakary thankaraj #home (2021) movie genre: drama, family | runtime: 2h 38m, where to watch home, trending right now.

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‘#Home’ Malayalam movie review: A relatable, light-hearted tale

Despite the avoidable flab, director rojin thomas’ film stands on the strength of its performances, especially that of indrans.

Updated - August 19, 2021 12:29 pm IST

Published - August 19, 2021 12:21 pm IST

A still from ‘#Home’

Changing with the times is not something which comes naturally to everyone. Oliver Twist (Indrans), the protagonist of #Home , is someone who has gone through that struggle more than once in his life. In a short flashback, the script tells us how he once used to run one of the most sought-after video cassette lending libraries in town. The era of video cassettes passed, and he was left behind, longingly looking at the old cassettes stacked up in his attic.

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In the present day, Oliver finds an almost unbridgeable gap between him and his sons, who are lost in their smartphones and drowned in social media, a world which is alien to him, as it is for many of his generation. Yet, the gap is more than one of technology. He yearns especially for the approval and care of his elder son Antony (Sreenath Bhasi), a writer-director caught in a rut after his successful debut film. Oliver’s wife Kuttiyamma (Manju Pillai) seems to understand the inner workings of his mind, but there is only so much she can do, while getting caught in her own daily struggles in the household.

• Director: Rojin Thomas
• Cast: Indrans, Sreenath Bhasi, Naslan.K.Gafoor, Manju Pillai
• Storyline: A humble but technologically-challenged old man tries constantly to keep up the closeness with his two sons, who are hooked to social media like other millennials

Rojin Thomas, who had a promising directorial debut with Philips and the Monkey Pen , and had a forgettable second film, seems to have recaptured some of the magic of his debut in #Home . More than a part of that magic is owing to the presence of Indrans, who has delivered a nuanced, heartfelt performance. From the scenes depicting his struggles with the smartphone — portraying effectively an entire generation’s struggles with technology which came late into their lives — to the ones of him hiding his feelings from the eyes of his family, Indrans makes Oliver relatable and endearing. Even without the ‘extraordinary’ back story. Oliver is made extraordinary by Indrans’ portrayal of the ordinary man.

The mood is kept light all through, with even the emotional scenes getting that treatment, with Oliver’s friend Suryan (Johny Antony) and younger son Charles (Naslan.K.Gafoor) injecting some dose of humour. Where the film falters a little is in trying to say too many things, from mental health to smartphone addiction, which contributes to the runtime of 160 minutes. Some more work at the editing table would have made it a much better film than it is currently.

Not to forget the fact that the script says the same things about the nature of Oliver and his son’s relationship in different ways, though it works at times in capturing the ever-changing shades of that relationship. The script also treats the relationship between Antony and his girlfriend Priya, which is toxic both ways, as somewhat normal.

Despite the avoidable flab, #Home is a relatable, light-hearted tale that stands on the strength of its performances.

#Home is currently streaming on Amazon Prime Video

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Home Movie Review: Heartwarming Tale Of Relationships That Provides A Touch Of Positivity!

Home , the Malayalam feel-good family drama which features Indrans, Sreenath Bhasi, and Manju Pillai, in the lead roles, has finally released on Amazon Prime Video. The project, which is directed by Rojin Thomas, had garnered the attention of viewers with its beautiful trailer. Home is bankrolled by Vijay Babu under the banner Friday Film House. Home

Did the multi-starrer impress the audience? Read the Home movie review here, to know...

What's Yay:

Performances

Technical Aspects

Oliver Twist's (Indrans), family consists of his wife Kuttiyamma (Manju Pillai), his aging father (Kainakari Thankaraj), and sons Antony (Sreenath Bhasi) and Charles (Naslen K Gafoor). Antony, who is a one-film-old director, is struggling to finish his second script. He prefers staying in the city but returns home only to get rid of his creative block. Charles, on the other hand, is a vlogger. The movie focuses on technology-challenged Oliver's struggles to keep up with his tech-savvy sons.

Script And Direction

Rojin Thomas, the young director who rose to fame with the popular films Philips And The Monkey Pen and Jo And The Boy , is back to film-making with Home . The director has succeeded in narrating a simple yet relatable storyline effectively, thus creating a completely feel-good and positive movie experience. The excellent casting deserves a special mention.

The well-written, well-conceived scenes (especially the scenes involving Oliver and his family) and dialogues make Home instantly relatable. A special kudos to the writer-director for touching on some highly relevant topics including mental health. The narrative is constructed in the most simplistic manner without throwing many twists or surprises, which makes the film an uncomplicated watch. But still, Home succeeds in leaving an impression on the viewers.

But the same positive aspects can also be coined as the negative aspects of the film. The highly predictable narrative, along with the excess duration, make it difficult for the viewers to watch the film in one stretch. Also, the film tends to get preachy towards its climax, thus diluting the overall impact. However, Home definitely provides a much-needed touch of positivity, amidst these tough times.

Indrans, the senior actor wins hearts yet again with his amazing performance as the father who longs for his son's acceptance. The actor has portrayed the unconditional love, helplessness, and innocence of his character with absolute ease. Manju Pillai, who plays Kuttiyamma, once again reminds us that she is an extremely underrated talent, with her impeccable performance.

Sreenath Bhasi has played the flawed-yet-relatable Antony to near perfection. The rest of the star cast, including Naslen K Gafoor, Kainakari Thankaraj, Maniyanpilla Raju, KPAC Lalitha, Johny Antony, Vijay Babu, and others, are good in their respective roles.

Neil D' Cunha, the cinematographer has done a great job with the visuals, that has set the perfect backdrop for the feel-good family drama. Rahul Subrahmanian has scored with a beautiful background score, but the songs are forgettable.

Home is a heartwarming tale of relationships, that provides a much-needed touch of positivity. If you are ready to tolerate the excess duration, this multi-starrer is a perfect watch for this Onam season.

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Review Of #Home, On Amazon Prime Video: An Unremarkable Family Portrait Made Passable By The Performances And A Feeling Of Déjà Vu

Director: Rojin Thomas Cast: Indrans, Sreenath Bhasi , Vijay Babu, Manju Pillai, Neslin, Kainakary Thankaraj, KPAC Lalitha Language: Malayalam

Oliver Twist (Indrans), the Pixar character-like father in #Home, is an anachronism in every sense of the word. He once ran a successful video cassette library which had to be shut down because he couldn't keep up with changing times. He now lives in a big, modern house made of glass and metal but that's the creativity of his son, an architect, who has now detoured to filmmaking. Oliver's home office is filled with hundreds of these cassettes along with equally outdated things like a broken gramophone, a boom box and a landline telephone. Placed within the context of this modern house, we see the alienation Oliver feels in a world that has left him far behind. Like in his professional life, he struggles to keep up with his family too as they change faster than he can.   

His older son Antony (Sreenath Bhasi) is the architect-turned filmmaker while his younger brother is trying his luck at another kind of beast—Youtube. Add to this list Oliver's father, who once worked as a stenographer, and the film shows us how technology shaped the careers of three generations of the same family. The generational difference we see among them also gives us a very timely reminder—that all our jobs will one day become obsolete.

Using technology as the talking point, #Home pushes us deep into a father-son story that a lot of us will relate to. We feel this in the way Oliver struggles to switch from the front camera to the back camera when he's asked to click a picture. We've also seen older family members using notebooks to learn functions on the smartphone like it's a course that needs revision. But what's most evident is the way Antony reacts to his father when he asks Antony the simplest of questions. Antony has time to share his opinions on Facebook but he struggles to hold a five-minute conversation with his father. He gets annoyed at the simplest of things and we see him go through writer's block where he's being unfair to his work and his family.  

But #Home isn't the usual cautionary tale that blames technology for everything that's wrong with millennials, when seen through the eyes of a boomer. Instead it uses the father-son story to give us two varying viewpoints and two contrasting arguments in the same technology debate. Through Oliver, we see how technology can make one's life easy, especially as one gets older. But through Antony, we see the other extreme of what social media can do to the creative mind. Between constant comparisons and ego trips, the film reminds us that we all need to press the 'home' button every once in a while. 

Most of what the film speaks about are topics we already know, told in a manner we've already seen before. But the performances make sure there's an emotion we connect to or a joke that never lets the film become too big for its shoes. The brightly-lit world with cheery music gives us the feeling that we're in a Hallmark store where nothing can go wrong. The problems feel manageable and we never get the sense that something big is at stake. 

These are all solid qualities for a happy family drama set inside the walls of this home. But with too many strands and too many ideas, the film loses the focus with which the first hour played out. From Oliver's tryst with technology, the film has to then make room to accommodate Antony's troubled creative process, his financial issues, a brewing class conflict between Antony and his girlfriend's family and also Oliver's feeling that his life is nothing but ordinary. 

Add to this an angle about a psychologist lecturing us on the issues of technology and we get a flabby movie that does not justify its two hour forty minute runtime. Still, driven by the performances, we could still have been left with a sweet film with a "good heart" except that its ending feels too much like a déjà vu for it to matter. We see traces of Kadha Parayumbol here and the way this portion is written feels too predictable to leave us with a surprise. And for a film with so many lovely moments, one wonders why we get another tired stereotype of the nagging, whiny girlfriend who keeps bugging her boyfriend. Other than to see the character as a social media age update of Urvasi's character in Midhunam , the character feels too out of place in such a film. 

Thanks to the severely heartwarming performances of Indrans and Manju Pillai, who plays his wife, we get a film that's always watchable, even if it has nothing new to offer. And for a film about changing technology, #Home is a film that appeals to the most primitive part of our hearts.

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Movie Review | Home, where emotions have no bridles

As a tale packed with loads of warmth, Home sails smoothly leaving enough room to feel, think, fret and rejoice. Written and directed by Rojin Thomas, Home depicts the tight and loose chords of family ties.

The title suggests the milieu where the drama has been pitched in. A father, mother, their grown-up sons and an ailing grandpa make the home. The father, Oliver Twist -- a Dickensian inspiration -- is a grounded and timid human soul overwhelmed by the technological advances around him.

Meanwhile, the elder son Antony Oliver Twist, a film director who has delivered a hit in his debut movie, is a victim of his own image trap. He has to deal with a spasmodic love relation, a nagging but good at heart film producer and a looming threat of financial liabilities.

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The younger son, a happy-go-lucky social media geek, is loud in expressing his feelings and maintains the 'cheer' factor in the family. Kuttiyamma, the mother, represents the anxious guardian in any household busy juggling with the chores and charting her plans for the future of her children.

The drama dwells on this filial fabric for most of the time until it veers into a different premise. The dialogues go overboard at times, but find the grip soon and chugs ahead engagingly. There are several comic gags mostly ingrained right inside the storyline, making timely flourishes.

There are some adjunct tales, latched to main plot, which remain untold, but can be surmised from gestures, adding to the beauty of the narrative. Here, Indrans excels as a man of stories who subtly carries his past without a fuss.

In essence, Home narrates the tale of human emotions pegged at different levels of age, situation, perspective and approach and the longing to breach the mind's borders to find some space. Indrans, Sreenath Bhasi, Manju Pillai and Nalsen K Gafoor excel in their roles.

In addition, noteworthy performance of an array of actors including Johny Antony, Vijay Babu, Srikant Murali, Shaju K S, Maniyan Pilla Raju, Anoop Menon, Kainakary Thankaraj, Deepa Thomas, Priyanka Nair, Asha Arvind, Minon, Ashlin Joseph, KPSC Lalitha lent an arresting momentum to the narrative.

The beautiful songs by Rahul Subrahmanian and brilliant visuals captured by Neil D' Cuncha blend with the emotions to form a mesmerising treat. The movie also deals with various aspects of communication gadgets and the disastrous outcomes of using them without proper knowledge. The scenes pitting the loser in the race against the winner at times make the contrast far too obvious, but the narrative blisters vanish as the bigger saga unfolds.

The story drags on occasionally, leaves gaps and gets predictable, but it has enough stunners as well to get you to the zenith of the drama. Released on Amazon Prime, Home makes for a delightful watch for a thorough entertainment for movie lovers of all groups

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Movie Review | #Home: A beautiful family drama which leaves bittersweet impact

Director Rojin Thomas’s Malayalam film ‘Home’ presents veteran actor Indrans in a role that many parents can relate with. This Malayalam family drama meticulously defines modern-age relationships between parents and their children.

Indrans plays the role of Oliver Twist, a former video cassette shop owner. As his elder son Antony (played by Sreenath Bhasi), comes back home to Thiruvananthapuram to find creative inspiration for his next film, Oliver finds himself facing a ‘generation gap’ between them.

What follows is a bittersweet story of a father learning the ropes of social media and doing other things to find validation and attention of his two sons. The role of younger son Charles is played by Naslen.

Interestingly, the story also brushes over the topic of seeking help for mental health. Something, which otherwise is still not part of family dramas.

Rojin has brought back the charm of his direction with ‘Home’, something that we missed after his directorial debut ‘Philips and the Monkey Pen’. He has translated emotions into every scene beautifully.

However, the story could have been told in a shorter time span too.

Actor Indrans is the star of the movie. He smoothly slides into his character, which makes you forget about the actor and connect strongly with father and his emotions on the screen. His acting leaves you with a mix of emotions and a smile on your face. His simplistic nature and confusion feels so real. Indrans delivers yet another impactful performance that leaves you with an after-effect.

Shreenath Bhasi brings out the emotions of a young, ambitious but lost man very well. Certain scenes make you want to empathise with dilemmas of his character Antony, while others make you angry at him for not understanding his father’s efforts and his journey.

Actress Manju Pillai, who plays Oliver’s wife Kuttiyamma plays her part well of an understanding wife and loving mother. Naslen portrays the younger son’s character convincingly.

Watch ‘Home’ if you like relationship dramas and don’t mind stories that can leave you with a strong emotional aftertaste. After a long wait, Malayalam cinema has brought a sorted, beautiful story back home.

–By Yashika Mathur

Other Tags: Home Audience Review, Home Critic Review, Home Film Release Date, Home Film Review, Home Film Reviews, Home Malayalam Movie Review, Home Malayalam Movie Reviews, Home Movie Release Date, Home Movie Review, Home Movie Reviews, Home Public Review, Home Rating, Home Review, Home Review Ratings, Home Reviews

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'Welcome Home' review: A solid chamber drama and an affecting commentary on patriarchy

Two women are held captive in a nondescript house in the middle of nowhere. They are in this situation because of the goodness of their hearts. At one point in their captivity, the women — Anuja (Kashmira Irani) and Neha (Swarda Thigale) — talk about the cowardice of their respective mothers.

Both Anuja and Neha are unhappy about their mothers not standing up for them in the family. Anuja has an overbearing father; Neha, an abusive brother. But over this conversation, they each understand why their mothers behaved that way. We nod our heads too knowing that, at times, surviving can be the most courageous thing to do. It is this survival against insurmountable odds that takes centrestage in the ironically-titled Sony LIV film, Welcome Home.

Written by Ankita Narang and based on a true story, Welcome Home might seem like a gritty chamber drama, but it is also an affecting commentary on patriarchy. What’s most impressive about the film is how well it works as just a survival drama even if one doesn’t understand the subtext. Anuja and Neha are teachers at a government school in Nagpur. They are clubbed together for census duty and visit that ill-fated home where a heavily pregnant Prerna (Tina Bhatia) reveals shocking details about her life in the most chillingly nonchalant way. We see Prerna being controlled by Amma, the matriarch of the house.

We come across Bhola (Boloram Das), a lecherous cook who is clearly up to no good. We are told about Ghanshyam, a mounvrat-holding middle-aged man who is responsible for multiple pregnancies of Prerna. There is an overall sinister vibe to the proceedings, and the teacher duo go down a treacherous path trying to help Prerna out of this misery.

The path has grotesque, bone-crushing violence that is somehow both compelling and squeamish. The violence meted out against the women of Welcome Home isn’t always physical. If two women are held against their will, there is a woman who doesn’t understand free will anymore. Even Anuja and Neha are not exactly aware of what it feels like to be truly independent. Though self-sufficient and employed, each women is forced to act according to the whims of either a brother or a father or a fiance.

Now, is this why both of them risk it all to return to save Prerna? Do they see their own mothers or their own futures in her? The film poses such questions on the ground realities faced by seemingly empowered women. An inappropriate proposition being turned down results in slut-shaming. An earnest plea about a woman’s urge to work and be independent turns into a misogynistic lecture on a woman’s rightful place. So when does a woman actually free herself of the shackles that are enforced upon her at every turn? Even if these questions don’t occur to the audience, it is pretty much guaranteed that they will enjoy this nail-biting thriller.

Another fascinating aspect of Welcome Home is how this isn’t a film where the women are waiting for men to come and rescue them. That doesn’t mean this is an NH 10 where Anushka Sharma takes up the cudgels. In Welcome Home, Anuja feels her mom will be the best person to help her. Neha, even when afraid of what would happen inside the house, is equally worried about how her brother would react to her absence.

During this struggle for survival, we see how ingrained patriarchy is in women. With such disturbing themes, this is a film that could have easily become overwhelming if not for the measured performances. There is a level of poignancy both Kashmira and Swarda bring to their characters who go through a gamut of emotions. The unassuming evilness of Shashi and Boloram unnerves us and makes us hope against hope that nothing happens to Anuja and Neha. Special mention to cinematographer Saee Hope and composer Meghdeep Bose for wonderfully reflecting the fluctuation between calmness and chaos.

While a case can be made against the excessive violence in Welcome Home, it cannot be written off here as just another offshoot of the freedom offered by OTT. The ugly head of patriarchy can come in various ways. It could have a bushy beard. It could have a calm demeanour. It could be propped up on a crutch. It could sport a derisive smile. But, if patriarchy does rear its ugly head at women determined to shape their own futures, then it is okay to cut it right off… and such bloodshed is definitely warranted.

Welcome Home 

Director:  Pushkar Sunil Mahabal Cast: Kashmira Irani, Swarda Thigale,  Boloram Das, Shashi Bhushan, Tina Bhatia Director: Pushkar Sunil Mahabal Out on: Sony LIV

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Kalki 2898 AD (Hindi) movie review: Nag Ashwin offers a chaotic sci-fi epic; stellar 2nd half redeems a dull beginning

Kalki 2898 ad (hindi) movie review: nag ashwin's film is a heady mix of mythology, science, action and fiction that works in parts..

Kalki 2898 AD (Hindi) movie review: Bring a South and North crossover film, and it's enough to get the movie goers excited. Kalki 2898 AD enjoyed all the pre-buzz for its superlative action, VFX, storyline and what not... but the 3-hour long film turns out to be rather chaotic and complicated, and it confuses you more than you can comprehend. (Also Read: Kalki 2898 AD (Telugu) review: Giants Amitabh Bachchan, Kamal Haasan overshadow Prabhas, Deepika Padukone in Ashwin's gutsy epic )

We've seen enough and more 'good vs evil' stories in India cinema, so the basic outline of Kalki 2898 AD is nothing extraordinary. You didn't understand the trailer? Wait till you watch the film, you might just come out of the theatre still feeling the same - not understanding it one bit!

A convoluted plot

Writer-director Nag Ashwin's wild and wicked premise of blending reality with fiction tests your patience. At first, it might look like a great idea to start the film with the climax of Kurukshetra battle where Ashwatthama was cursed by Lord Krishna to live till eternity to understand his mistake yet give him a chance at redemption. But as the story progresses, and more fictional elements take over, you realise how lame it actually is to have such a convoluted plot that it almost becomes impossible to absorb it.

600 years after the Kurukshetra battle, we are taken to an absurd world with three fictional places — Kashi, Complex and Shambala. Each with a purpose. But what's that? We don't know. All that's told to us is that Kashi is the only city that exists and it's ruled by Supreme Yaskin ( Kamal Haasan ), an evil force that operates from Complex (an inverted pyramid hovering over the city). Yaskin wants a serum from a fertile woman.

Here enters an impregnated lab subject SUM-80 aka Sumathi (Deepika Padukone), who escapes from Complex, and bounty hunter Bhairava (Prabhas) is out to catch her along with his AI droid sidekick BU-JZ-1 aka Bujji (voiceover by Keerthy Suresh). He encounters Ashwatthama ( Amitabh Bachchan ) who must protect and rescue Sumathi at all costs, as she is bearing the unborn child, Kalki, the tenth avatar of Hindu god Vishnu, who is believed to have descended to earth to protect the world from evil forces. That's the core of Kalki 2898 AD, but it stretches a little over three hours.

An overdose of action

The first half is an absolute snoozefest with so many dull scenes and mindless action with laser guns that you wonder why on earth are these people fighting. A little more focus on human drama would have been better here. There are characters that come and go, and you can't figure what's unfolding on screen in those action sequences one after the other.

Even as the first half gets over, we don't know what the story is, where it is headed and what are these characters up to. It's the second half that intrigues you and has some exhilarating scenes. The action sequences between Prabhas and indestructible Amitabh Bachchan are brilliantly choreographed and form the highlight of the film. Especially, their face-off in the last 20 minutes helps the film to redeem itself to an extent.

A visual spectacle

A visual spectacle by all means, Kalki is equipped with world-class VFX that doesn't disappoint. With sets mounted on a huge scale, there are spectacular sequences of large structures, mid-air action and robotic characters that add to the sci-fi drama. Kudos to Djordje Stojiljkovic for a brilliant cinematography.

Even when visually, everything is working fine, Kalki suffers from an inconsistent pace, and looks patchy at several places. There are times you are invested in a character or a scene, and the screenplay abruptly shifts to a different track altogether.

Also, there is a series of cameos — Vijay Deverakonda, SS Rajamouli, Mrunal Thakur, Dulquer Salmaan, Ram Gopal Verma, among many others. But you don't care less when the story is so weak and the screenplay, so scattered.

The performances

Prabhas might have been sincere in whatever he does onscreen, but there's no depth or substance in his character arch. Firstly, he gets the most underwhelming entry scene and then to see him do lame comedy and crack jokes that don't land, I felt bad for him. Saaho and Radhe Shyam had already done that damage, Kalki didn't need to again put him in that caricature-ish space.

Deepika is convincing and holds her ground, though she has very little to do in terms of dialogues and action. She is mostly being rescued by someone or the other but her screen presence makes you feel her pain. Kamal Haasan is there for barely two scenes but his prosthetic makeup makes it worth the talk. Trusting the makers when they say Part 2 will have more of him.

Saswata Chatterjee as Commander Manas and Anil George as Counsellor Bani have pivotal roles, but never standout. And it's best to not even discuss about Disha Patani's sidekick role that only added to the boredom in the first half.

Amid all this, it's Amitabh Bachchan's performance that truly bowls you over and leaves a lasting impact. For his age, the kind of rigorous action he does on screen, and that outer exterior of an 8-feel tall man that he walks with, is outstanding.

Filled with references

Nag Ashwin seems to have picked several nuggets from Bollywood, Hollywood and other south language films, and you can't help notice these references. The labs in Complex and Yaskin's serum injecting scenes remind you of Vivek Oberoi's Kaal from Krrish 3. Prabhas pushing a button on his shoe and flying in the air is another version of Hrithik Roshan's Krrish.

Refugees and rebels in Shambala praying collectively to a holy tree instantly paints a visual from Avatar. And a fight sequence with Punjabi song in the background proves that Arjan Vailly hangover from Animal continues.

In a nutshell, Kalki is a heady mix of mythology, science, fiction and action that works in parts, but for most of its runtime, you feel you have been sitting in the theatre for days. All I can say it, if I manage to survive this, you may want to give it a shot only for its scale, visual appeal and watching Amitabh Bachchan pack a punch.

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Hard Home – Movie Review (2/5)

Posted by Karina "ScreamQueen" Adelgaard | Jun 27, 2024 | 3 minutes

HARD HOME is a new revenge thriller that features a serial killer and the woman who has been planning his capture and revenge. The two key characters are better than the movie. Read our full Hard Home movie review here!

HARD HOME is a new thriller about a woman plotting and getting revenge. I love a story with sweet revenge, so it was off to a great start for me. Unfortunately, the flashbacks on a near-constant repeat nearly made me lose my mind.

I was recalling the old DMX hit song with the lyric “Y’all gonna make me lose my mind” as the flashback loop was invoked yet again. Having said that, as a revenge thriller, it has strong moments. And some weak ones… too weak as well.

Continue reading our Hard Home movie review below. Find it on Digital from June 25, 2024.

Simone Kessell is awesome

While there are moments in Hard Home  that feel forced, I loved the way Simone Kessell ( Yellowjackets ) portrayed the lead character. A tough and intelligent woman on a mission.

What I didn’t like was when she did things that I didn’t find believable. You know, the kind of thing that happens  just to keep the story going a bit longer. If this woman had been allowed to be her best self, the movie would’ve been a short film.

Simone Kessell stars in Hard Home as Mary. She’s a mother who turns her house into a high-tech trap. All to catch a serial killer that has ruined her life. The smart house (that she has designed and built) makes for an elaborate trap and revenge.

The film also stars Andrew Howard ( Songbird ), Joseph Milson ( Moon Knight ), Rosie Day ( Howl ), Rachel Adedeji ( R.I.P.D. 2: Rise of the Demand ), Daphne Cheung ( Red Eye ), and Teresa Cendon-Garcia ( Jurassic World Dominion ).

Enough with the flashbacks, please!

To my recollection, I don’t believe I have ever seen a flashback repeated quite as much as in Hard Home . Good Lord, the same few clips of a mother calling her son the devil or “Diablo” (she speaks both Spanish and English to him) are on a loop.

Now, I can understand that we’re meant to understand that the adult man keeps remembering what we see in this flashback. But enough is enough.

When it happened for the third time (each flashback is also repeated whenever it’s shown), I’d had more than enough. Unfortunately, it would continue for the rest of the movie and it nearly drove me mad.

The movie isn’t long, but it could’ve been at least five minutes shorter if we weren’t being force-fed this  same  damn scene over and over and  over  again.

Watch  Hard Home  on Digital

Hard Home is directed by James Bamford, who has been working on more than 150 movies with stunts. This movie also has a great action style, so his stuntwork makes for excellent fight sequences. And brutal moments that are perfect for a revenge story.

Also, this is about getting revenge on a serial killer, so we see flashbacks to other murders as well. James Bamford has directed movies and series before. With the latter, he has directed episodes of Supergirl ,  Arrow , and  Batwoman .

The screenplay comes from Mark Shea Price, and I can’t help but think that a female writer would’ve killed a few of the darlings left in. Or rather, she wouldn’t have written them in the first place, as we’ve seen in the awesome  Revenge (2018) .

If you enjoy a good revenge story, then Simone Kessell delivers. She portrays Mary perfectly as someone fed up with the justice system, who has the knowledge and ability to take matters into her own hands.

Hard Home  is out digitally on June 25, 2024.

Director: James Bamford Writer: Mark Shea Price Cast: Simone Kessell, Andrew Howard, Joseph Milson, Rosie Day, Rachel Adedeji, Daphne Cheung

A mother who is deeply saddened lures her daughter’s killer into her smart home in order to take revenge, and gets involved in a distorted game where life and death are at stake.

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• Hard Home – Movie Review (2/5) - June 27, 2024

About The Author

Karina "ScreamQueen" Adelgaard

I write reviews and recaps on Heaven of Horror. And yes, it does happen that I find myself screaming, when watching a good horror movie. I love psychological horror, survival horror and kick-ass women. Also, I have a huge soft spot for a good horror-comedy. Oh yeah, and I absolutely HATE when animals are harmed in movies, so I will immediately think less of any movie, where animals are harmed for entertainment (even if the animals are just really good actors). Fortunately, horror doesn't use this nearly as much as comedy. And people assume horror lovers are the messed up ones. Go figure!

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Upcoming indian action movie with 94% on rotten tomatoes is one of 2024’s most exciting films.

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Every Action Movie Releasing In 2024

15 most rewatchable western movies of all time, disney's live-action snow white gets major filming update from rachel zegler.

• "Kill" is a boundary-pushing action movie set on a train, captivating audiences with intense fight sequences and a gripping story.
• Critics praise the film's immersive quality, inventive use of space, and brutal action scenes that pay homage to genre classics.
• The movie is a rare collaboration between Indian and Hollywood studios and is set to release in July 2024 with high anticipation and positive reviews.

An upcoming Indian action movie with 94% on Rotten Tomatoes is one of the most exciting films of 2024. Produced by famed Bollywood producer Karan Johar ( Kuch Kuch Hota Hai, Kabhi Khushi Kabhie Gham, and My Name Is Khan) and Apoorva Mehta of Dharma Productions and Academy Award-winning producer Guneet Monga ( The Elephant Whisperers) and Achin Jain of Sikhya Entertainment, the film premiered at the Toronto International Film Festival last year . Recognized as first runner-up for the People's Choice Award: Midnight Madness, this particular project is a thrilling addition to the genre.

2024 has already been an exciting year for action movies. Following in the footsteps of action movies like John Wick , releases such as Monkey Man have helped push new boundaries in the genre, laying the foundations for even more future success. However, while action films have undoubtedly been revitalized in recent years, there is a growing sense of formula to major releases. One 2024 movie promises to challenge this.

Dharma Productions and Sikhya Entertainment previously collaborated on the critically acclaimed 2013 drama film The Lunchbox, which won the Critics' Week Viewers Choice Award at the Cannes Film Festival and was nominated for Best Film Not in the English Language at the 2015 British Academy Film Awards.

2024 may potentially be one of the greatest years for action movies, with intriguing originals and impressive franchise releases on the way.

Kill Is An Action-Packed Movie Set On Board A Train

A romantic escape goes horribly – and thrillingly – wrong.

Directed by Nikhil Nagesh Bhat, Kill has been dubbed the " most violent and goriest film India has ever produced ," according to the trailer. The movie follows an army commando named Amrit (Lakshya) and his newly engaged fiancé, Tulika (Tanya Maniktala), aboard a train bound for New Delhi. Initially, the couple's journey seems to be a romantic escape, but things go awry when a gang of knife-wielding dacoits begins to terrorize the passengers . Amrit's sense of duty is awakened, and he engages in a relentless fight against the thieves, transforming the train into a battleground.

The narrative confines itself to the claustrophobic environment of the train, amplifying the tension and urgency as Amrit combats the increasingly violent criminals to protect his fellow passengers.

Kill is the first Hindi-language genre film of its kind. The narrative confines itself to the claustrophobic environment of the train, amplifying the tension and urgency as Amrit combats the increasingly violent criminals to protect his fellow passengers. Through a rare deal with Lionsgate (via Deadline ) , this is one of the first times an Indian production has partnered with a Hollywood studio on a theatrical release in North America and the UK for a mainstream Hindi-language film. Its cinematic release on July 4, 2024, is therefore especially exciting thanks to its boundary-pushing content and provocative story.

Why Kill’s Reviews Are So Good

Critics praise its relentless action and unabashed commitment to the genre.

Most critics appear mesmerized by Kill 's unabashed commitment to the genre, immersive quality, and inventive use of the train's claustrophobic environment.

Kill's reviews praise its gory, visceral violence, well-choreographed fight sequences, and gripping feel. Among all the movies set on a train , Kill has been likened to Bullet Train, Train to Busan, and Snowpiercer by Peter Debruge of Variety , who praises the film's relentless brutality and graphic action. Most critics appear mesmerized by Kill 's unabashed commitment to the genre, immersive quality, and inventive use of the train's claustrophobic environment. They also appreciate its sincere homage to Indonesian genre classics like The Night Comes for Us and The Raid.

Matt Donato of Slashfilm , for instance , celebrates Kill as a " near-perfect action thriller that's stuck in overdrive," calling it " sublimely savage" and " an action masterclass. " Similarly, Indian independent film critic Sucharita Tyagi commends the film's technical excellence , including the cinematography, editing, set design, and sound work to build tension and craft action sequences within a small, overcrowded train carriage. While some criticized the relatively thin plot, most lauded Kill for excelling as a classic action thriller, successfully combining Bollywood style with the genre's popular excesses.

Kill releases in cinemas on July 4, 2024.

Sources: Variety , Slashfilm , Sucharita Tyagi ,

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Pulkit Mehrotra 51 seconds ago

Amazing film ,,

Rajesh Rajesh 207 2 hours ago

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Anand kumar 5 hours ago

Minaxi vakil 65271 7 hours ago.

In Mahabharat, Ashwathama kills Uttera's son in her womb who was the last of the pndavas. But in this movie, in 2898 AD ,he saves Sumati from the Evil manas.. One has to keep their logic at home when you want to watch a movie. The world will be like the movie in year 2898, then I would say that I m happy living now

Arijit Barat 15 8 hours ago

discussed picture, life me kavi dobara pravsh ka picture nahi dekhna hai, third class acting, or director ko to sannyas le lena chahiye, public ka paisa barbad karne ke liye aisa picture banata hai

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Kalki 2898 AD

A modern-day avatar of Vishnu, a Hindu god, who is believed to have descended to earth to protect the world from evil forces. A modern-day avatar of Vishnu, a Hindu god, who is believed to have descended to earth to protect the world from evil forces. A modern-day avatar of Vishnu, a Hindu god, who is believed to have descended to earth to protect the world from evil forces.

• Amitabh Bachchan
• Kamal Haasan
• 283 User reviews
• 25 Critic reviews

• Ashwatthama

• Supreme Yaskin

• Commander Manas

• Rajan - Bhairava's Landlord

• Counsellor Bani

• All cast & crew
• Production, box office & more at IMDbPro

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Did you know

• Trivia The most expensive Indian film in history.
• Soundtracks Bhairava Anthem (Telugu) Music by Santhosh Narayanan Lyrics by Ramjogayya Sastry Vocals by Deepak Blue & Diljit Dosanjh

User reviews 283

• shyamkrishsai
• Jun 26, 2024
• When was Kalki 2898 AD released? Powered by Alexa
• June 27, 2024 (United States)
• Kalki 2898-AD
• Ramoji Film City, Hyderabad, Telangana, India
• Vyjayanthi Movies
• See more company credits at IMDbPro
• ₹6,000,000,000 (estimated)

Technical specs

• Runtime 3 hours
• IMAX 6-Track
• Dolby Atmos
• Dolby Digital

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