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Time of India
17-05-2025
- Entertainment
- Time of India
Anurag Kashyap draws parallels between SS Rajamouli and Bong Joon-ho's global impact
Filmmaker Anurag Kashyap shared his perspective on the current landscape of Indian cinema , drawing an interesting comparison between the growing international acclaim for SS Rajamouli and the global cult following of Korean director Bong Joon-ho. He stated, "With Rajamouli, there is a whole audience of him that's getting built since 'Eega' internationally. That's the same phenomenon with, say, Bong Joon-ho. Bong Joon-ho broke it with 'Parasite', but his best film was 'Memories of Murder'". Kashyap's Prediction of Rajamouli's Global Success Kashyap recalled predicting RRR 's international success prior to its release, saying, "I said it much before 'RRR' released, that 'RRR' will be that film that will break out from India because it was building up." He cited his experiences at international film festivals, where filmmakers from various countries expressed keen interest in Rajamouli, adding, "I've had filmmakers from Belgium, from Switzerland, from across wanting to know more about Rajamouli." He further mentioned filmmakers visiting the sets of 'RRR'", I know two filmmakers who made 'Blood for Dracula' and one more, they came down to Mumbai, and I took permission from Rajamouli and they visited the sets of 'RRR' and spent one week there." Kashyap summarized Rajamouli's international ascent, stating, "He first became big in the filmmaking world with ' Baahubali ', then larger in cinephilia, and with RRR, he reached out to the audience beyond cinephilia and the filmmaking world." Malayalam Cinema as the ' Korean Cinema of the Late 90s' Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Want Lower Bills Without Changing a Thing? elecTrick - Save upto 80% on Power Bill Learn More Undo Anurag Kashyap also lauded the ongoing evolution of Malayalam cinema, drawing a parallel between its current state and the rise of Korean cinema in the late 1990s and early 2000s. He observed, "There's a new Malayalam cinema that I find parallels with Korean cinema, like how Korean cinema was evolving in the late '90s and early 2000s. That's what Malayalam cinema right now." He elaborated on their approach, "They are taking up ideas that are not rooted but making them rooted, like, they are making films that are not their culture, but somehow fostering culture into it or finding culture into it and making it rooted." Citing an example, he said, "When I did a Rifle Club, from the early silent movies to Hunger Games, there was a glimpse of all these influential films. So it's like parts of these films became Rifle Club." Speaking about cinematic knowledge in Kerala, he noted, "Most of the Amal Neerad films are influenced by The Godfather, various stakes of it. So their influences vary from the far-off cinema they've seen from across the world. Cinephilia in Kerala is very high. They are genuinely brokers called Godard and Lenin, and one of them is a filmmaker. So cinephilia is very high and they are trying to find their stories in the subculture." Concerns Regarding Tamil Cinema and Observations on Telugu and Kannada Cinema In contrast, he expressed concern about Tamil cinema, saying, "Whereas Tamil, they mostly see blockbuster cult films. They are just borrowing from there, they are just dotting the big director blockbuster cult films. They are not watching films made in languages they are not familiar with or not been big at a festival, or have not been Oscar-nominated." On Telugu cinema, Kashyap acknowledged its distinct direction, stating, "They are creating their mythology. They are expanding, or borrowing, rehashing, or repeating their mythological world." As for Kannada cinema, Anurag admitted to limited recent exposure, "The last very, very good Kannada film I saw was 'Rama Rama Re…' and then Natesh Hegde's 'Pedro'. I have not seen a lot of Kannada films recently." Check out our list of the latest Hindi , English , Tamil , Telugu , Malayalam , and Kannada movies . Don't miss our picks for the best Hindi movies , best Tamil movies, and best Telugu films .
Indian Express
16-05-2025
- Entertainment
- Indian Express
Lovely movie review: Stellar visuals can't save Dileesh Karunakaran and Mathew Thomas' thinly written 3D fantasy
Lovely movie review: A movie about a housefly and a human being who establish communication and eventually share an adorable bond. As soon as one hears this logline, it's almost impossible not to assume that we're talking about director SS Rajamouli's blockbuster Telugu fantasy actioner Eega (2012). But no, this actually forms the crux of director Dileesh Karunakaran's (formerly known as Dileesh Nair) 3D fantasy film Lovely, with Mathew Thomas in the lead. Unlike Eega, which blended action and romance too — featuring the male protagonist (Nani) reincarnated as a housefly to avenge his death and protect his lover (Samantha) from the villain (Kiccha Sudeepa) — Lovely is envisioned as a feel-good drama. While the Eega (fly) in the Rajamouli directorial was, in essence, a human being at heart, Lovely is, as Mathew Thomas mentioned during one of his interviews, 'a cute, next-door kind of (actual) housefly'. However, even though the movie is conceived as a feel-good story, does it actually leave the audience feeling good after watching it? Yep, that's the question. Soon after joining the Kerala State Electricity Board (KSEB) as an LD Clerk through compassionate appointment, following the death of his father while in service, Bonny Baby (Mathew) finds himself embroiled in controversy after he mistakenly offers a packet of condoms to a female stranger. He is soon booked under Section 354 and remanded to judicial custody, after which he is lodged in the sub-jail. During his heartbroken days there, Bonny meets a fly, and to the shock of both, he can understand what she's saying. Though sceptical at first, Bonny gradually grows emotionally attached to the fun-loving, bubbly fly, whom he names Lovely — his only solace in the loneliness of prison. While his family works from the outside to secure his bail, Bonny and Lovely become close friends, and she even reveals why she has never attempted to leave the jail and live in the outside world. However, Bonny is eventually released on bail, severing their bond and leaving him devastated. Will they find their way back to each other? That forms the remainder of the story. Lovely is, simply put, one of those films where nearly every member of the technical crew has done an excellent job, but their efforts are ultimately wasted due to subpar writing. While Dileesh is also credited as the writer of Lovely, it's hard not to question why he's listed in that role for a film where the writing feels almost nonexistent. Or was it the makers' way of emphasising that no one but him was responsible for this wafer-thin narrative, where a string of pointless scenes are stitched together in the editing room despite them clearly lacking any cohesive flow? What's unfortunate is that, regardless of the efforts of others, not a single moment in Lovely stands out for its writing, and the contrived dialogues only make matters worse. From the very beginning, we're presented with scenes that not only fail to gel with one another but also make no effort to engage viewers or draw them into the story or its characters. The film even fails to make us care about Bonny, which prevents any emotional investment in him, his dreams of migrating to a 'top-tier' country like Canada or his reality of taking up a government job here out of necessity. Even when he lands in trouble, the lack of emotional depth and the poor character development leave the audience detached, wondering why we should care at all. Even after the arrival of Lovely and with a zillion possibilities to elevate the script, Dileesh delivers only silly, outdated and painfully undercooked scenes, one after the other. In fact, this also makes us question how and why Bonny and Lovely became so close in the first place. Not only are their conversations too plain, but beyond the initial 'wow' factor that he could have felt while meeting a talking fly, the film offers nothing meaningful to justify Bonny finding a best friend in Lovely. From lectures on arapaima fish, Canada, and the characteristics of houseflies to the age-old 'Gandhi also went to prison' joke, random characters appearing out of nowhere, and already established ones being completely neglected, the script only worsens as the movie progresses. As if hammering the final nail into the script's coffin, Dileesh even includes a sickening sequence towards the end in which Bonny contemplates molesting the woman who filed the complaint against him, just so he can return to jail and meet the housefly again. Although Dileesh's vision as a director — a role he returns to after over a decade since Tamaar Padaar (2014) — isn't quite as poor as his writing, he makes a significant misstep right at the beginning that severely detracts from the viewing experience. Instead of leaving the events open to interpretation as fantasy, the film opens with an unnecessary disclaimer, 'you are about to enter someone else's dream,' and this gratuitous explanation nips any sense of intrigue in the bud. As the film unfolds, even though whimsical, fantastical and dreamy sequences like the song 'Bubble Poomottukal' showcase flashes of his imaginative vision, the execution of the more mundane and dramatic moments falls miserably flat, undermining the entire narrative. If there's anything as clueless and misguided as Dileesh's writing, it's Mathew's performance. His portrayal of Bonny's lost-in-thought, dissociative moments makes one wonder whether he was attempting something unconventional that backfired or if he simply chose not to act. Even during his supposedly 'adorable' chats with Lovely, his performance feels stiff and artificial. The rest of the cast fares no better, with none of the performances standing out. Nonetheless, Sivaangi Krishnakumar's voice acting for the fly is commendable, even though the dialogues are weak. Despite the film's innumerable narrative flaws, the technical crew deserves immense credit for their exceptional work. Director Aashiq Abu, as a cinematographer, delivers outstanding and jaw-dropping visuals. Equally impressive is CGI director Aneesh Kutti's work and Kiran Das' editing elevates the visuals significantly. Not just that the fly appears believable, but the way it's integrated into the frames, making us almost sense its presence without any jarring or dizzying camera movements, is no small feat, especially for a 3D film. In fact, the makers could have easily made Lovely a 2D film and it would still have offered the same visual experience, thanks to the strength of the technical craftsmanship. Vishnu Vijay and Bijibal's music is also good, but unfortunately, it isn't enough to compensate for the film's narrative shortcomings. Lovely movie cast: Mathew Thomas, Manoj K Jayan, Aswathy Manoharan Lovely movie director: Dileesh Karunakaran Lovely movie rating: 1.5 star Anandu Suresh is a Senior sub-editor at Indian Express Online. He specialises in Malayalam cinema, but doesn't limit himself to it and explores various aspects of the art form. He also pens a column titled Cinema Anatomy, where he delves extensively into the diverse layers and dimensions of cinema, aiming to uncover deeper meanings and foster continuous discourse. Anandu previously worked with The New Indian Express' news desk in Hyderabad, Telangana. You can follow him on Twitter @anandu_suresh_ and write (or send movie recommendations) to him at ... Read More
Indian Express
13-05-2025
- Entertainment
- Indian Express
Mathew Thomas says there is no connection between SS Rajamouli's Eega and his film Lovely: ‘The fly in that film had a hero vibe'
Actor Mathew Thomas is gearing up for the release of his film Lovely, which is scheduled to hit the big screen on May 16. The story centers on Mathew's character and a talking housefly, drawing comparisons to SS Rajamouli's 2012 film Eega. However, in a recent interview, the actor clarified that Lovely is different from Eega. In an interview with Onmanorama, Mathew said, 'It's definitely a different kind of movie. A housefly that talks, the conversations between my character and the fly, their bond, it's a lot of fun. It's a lighthearted, feel-good film.' Also Read | Mathew Thomas responds to criticism of his 'overacting' in Bromance: 'When I approached the character of Binto…' Following the release of Lovely's trailer, the film has drawn comparisons to SS Rajamouli's Eega, starring Nani, Sudeep, and Samantha Ruth Prabhu. However, Mathew Thomas clarified that the similarities end with the presence of a housefly.'There is absolutely no connection between Eega and Lovely. Eega was more of an action-thriller. The fly in that film had a hero vibe. Ours is nothing like that. The housefly in Lovely is literally called Lovely—and like the name suggests, she's sweet, a bit mischievous, and just… lovely,' he said. Also Read | Not Baahubali, Eega is SS Rajamouli's perfect film On the work front, Mathew Thomas also has Udumbanchola Vision in the pipeline. Speaking about the film, which is expected to release in June, Mathew said, 'The movie won't disappoint anyone. It features a lot of different moments. Hence, it won't be easy to predict how the movie is going to unfold. You can rest assured that Udumbanchola Vision will offer an exciting, edge-of-the-seat experience.'
News18
10-05-2025
- Entertainment
- News18
HIT 3 Beats Eega, Becomes Nani's Second Biggest Box Office Hit Worldwide
Last Updated: Nani's HIT: The Third Case, directed by Sailesh Kolanu, has surpassed Eega's lifetime gross, becoming his second highest-grossing film globally after Dasara. Nani's latest crime thriller HIT: The Third Case is proving to be a solid winner at the box office. Directed by Sailesh Kolanu, the film has officially surpassed the lifetime worldwide gross of Eega (2012), making it Nani's second highest-grossing film globally after Dasara. HIT 3, which released on May 1, continues the popular Homicide Intervention Team franchise and stars Nani alongside KGF actress Srinidhi Shetty. The gripping storyline and strong word-of-mouth have helped the film maintain steady collections, both domestically and overseas. While Dasara remains Nani's biggest hit to date, on Day 9, HIT: The Third Case edged past Eega, a landmark film in his career directed by S.S. Rajamouli. It is Nani's 4th film to cross the Rs 100 crore milestone globally. On its ninth day in theatres, HIT: The Third Case collected an estimated ₹1.77 crore in India, bringing its net domestic total to ₹65.27 crore, according to Sacnilk. With taxes included, the film's gross collection in India has reached approximately ₹77.01 crore. While the movie has seen a dip in overseas earnings, its international gross currently stands at around ₹24 crore. HIT The Third Case also features Surya Srinivas, Rao Ramesh, Nepoleon, Komalee Prasad, and several others in pivotal roles. The HIT franchise kicked off in 2020 with HIT: The First Case, starring Vishwak Sen and Ruhani Sharma. The second installment, HIT: The Second Case, released in 2022, brought in Adivi Sesh and Meenakshi Chaudhary in the lead roles. First Published: May 10, 2025, 15:10 IST
Time of India
30-04-2025
- Entertainment
- Time of India
HIT The Third Case: How much does Nani's Telugu action thriller need to collect to be declared a hit? Trade analyst reveals
Nani is gearing up for the release of HIT The Third Case, slated to open in theatres on May 1. The action thriller has created a great deal of buzz in the industry as it features the Eega star in the role of a no-nonsense cop. The flick has been shot on a controlled budget, which makes it a safe venture for the makers. In fact, HIT The Third Case needs to collect less than the final worldwide gross of Saripodhaa Sanivaaram to emerge as a commercial success. HIT The Third Case needs to collect Rs 80 crore to be a success HIT The Third Case is set to premiere in theatres on May 1, and it promises to be a treat for Nani's ardent fans. The film is the third instalment of this franchise. It is expected to be 'bigger and better' than the previous films of the saga. According to Ramesh Bala, a trade analyst, the film needs to gross Rs 80 crore or more worldwide to become a 'clean hit'. 'I think its budget is around Rs 40 crore, and this includes Nani's fee. Going by this, HIT The Third Case needs to earn Rs 80 crore globally to emerge as a clean hit,' he told Indiatimes. Given Nani's star power, the third HIT film has the potential to reach this figure. Saripodhaa Sanivaaram, his last release, earned Rs 100 crore in its full run. The upcoming film is expected to benefit from the franchise's popularity and the goodwill Nani enjoys with the audience. About HIT The Third Case HIT The Third Case is an action thriller directed by Sailesh Kolanu. The film centres on a cop who has no sympathy for criminals as he feels they should either be killed or arrested. The film features Nani, Srinidhi Shetty, and Rao Ramesh in the lead. Its music is composed by Mickey J Meyer.
