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Crew movie review: The Three Bashing Ladies Set To Rock The Bollywood!

Crew movie review: Kriti Sanon keeps up with Tabu and Kareena Kapoor Khan, who effortlessly walk the fine line between need and greed, while Tabu is chaotic in her elder woman persona.

Three ladies, maneuvering through turbulent seas, diving, jiving, and shucking with grace, all the while maintaining their swift footedness AND enjoying themselves—and ensuring that we do, too—can you imagine? Now take all of my money.

Karisma Sanon’s Divya Rana, Geeta Sethi (Tabu), and Jasmine Bajwa (Kareena Kapoor Khan) are among the crew members of Kohinoor Airlines, a barely disguised version of the now-defunct real-life Kingfisher Airlines, whose chairman (Saswata Chatterjee) is an even more subtly disguised version of the ‘bhagoda’ billionaire Vijay Mallya. The writers of the movie, Nidhi Mehra and Mehul Suri, don’t really care to hide anything; they just label their character, Vijay Walia, who runs away and files for bankruptcy, leaving thousands of workers in the dark.

A variety of personalities appear as and when needed, as befits a caper-cum-heist. That also applies to guys who politely trail behind, allowing women to walk ahead. The goal of home cook Arun Sethi (Kapil Sharma) is to open his own restaurant in Goa. Jasmine is a girl who never stops wanting more. She obsesses over things like the Beemer and the LV bag, even while her adored grandfather (Kulbhushan Kharbanda) babbles on about what really matters. Additionally, Jaiveer (Diljit Dosanjh), the enamored customs officer, refers to her as “Divya Rana from Haryana,” despite the fact that she is a phony. Dosanjh, with his distinct grounded sexiness, and Sharma, who has demonstrated that he can be a good actor, are both true assets since they understand their roles.

Our trio dives straight in when it comes to gold-barreled bags and completely illegal activities in the posh Al Burj, which feels like a stand-in for splashy Dubai (why not simply name it that, or is even that not allowed anymore?). Naturally, they will eventually run afoul of the long arm of the law. Now what? Is jail not bail?

The writers avoid allowing viewers to linger on the many plot twists and easy-to-fall-through loops that the characters are forced to go through by keeping everything fast-paced, sharp, and, at times, sitcom-like. The sentimental scenes that give the movie its emotional core are not overdone: an air hostess (Pooja Bhamrrah), assisted by his complicit right hand man (Rajesh Sharma), has to deal with the humiliation of her child being expelled from school after losing all hope of receiving her outstanding money from the fugitive Mallya, oops Walia.

For the love of all things sacred, though, why are there so many obnoxious product placements? You want to scream because they make everything look clumsy and artificial, especially in a movie where everything is going so well. Very unfortunate; please, manufacturers, don’t. What a waste of that outrageous classic, too: the “choli ke peeche” reprise is boring.

Thankfully, our women come to the rescue: Sanon is elevated and able to hold her own in their company. Tabu, who is so at ease in her older lady avatar as the most senior member of the group, and Khan, who effortlessly walks the fine line between greed and need, are a riot. These actors exude a lived-in quality, as though they have actually completed dozens of flights together. They are the kind of women our movies need more of—butterflies and bantering, speaking their minds without fear, fully owning their age (cue “layers of foundation not hiding the years” jokes), as well as their bawdiness and vulnerabilities.

The most fun I’ve had at the movies lately, net net, is watching these three air hostesses with the mostest in a lighthearted comedy with lots of self-aware laughs sprinkled throughout. Exactly what I needed to chase away the depressing clouds of the last several bad Bollywood films.

Cast of the crew movie: Tabu, Rajesh Sharma, Saswata Chatterjee, Kapil Sharma, Pooja Bhambrrah, Kulbhushan Kharbanda, Kareena Kapoor Khan, Kriti Sanon, Diljit Dosanjh,
Rajesh Krishnan, director of the crew movie
Crew: A three and a half star film

With inputs from Indian Express!

Review of Ae Watan Mere Watan: Not Always Entertaining, Not Especially Funny

Ae Watan Mere Watan should be approached cautiously because certain Mumbai filmmakers are openly propagandizing using politics and history as platforms. Fortunately, it seems that the historical thriller from Dharmatic Entertainment and Amazon MGM Studios is impartial and devoid of political agendas.
Sara Ali Khan plays a freedom warrior in the movie Ae Watan Mere Watan, which is available to view on Amazon Prime Video. The film avoids going overboard since it tells the story of a little-known but important aspect of India’s freedom struggle.

AE Watan Unlike the liberation warriors in the film who chant slogans, profess their unwavering rejection to colonialism, and demonstrate against a harsh tyranny, Mere Watan is anything but a victim of noisy posturing. Despite exhibiting commendable moderation in fostering patriotism, the film falls short of becoming more than the sum of its parts.

AE Watan Even while Kannan Iyer’s Mere Watan has elements that are instantly appealing, it doesn’t have the same impact in this time when news is experiencing a protracted silly season. Ten years ago, Iyer made her big screen debut in the occult horror movie Ek Thi Dayan.

AE Watan The central theme of Darab Farooqui’s novel Mere Watan is a period in the life of Usha Mehta, an independence warrior. The primary actress, Sara Ali Khan, is just too light and porcelain-like to convey the intense need of the incredibly lusty woman.

In 1942, Usha Mehta, then just twenty-two years old, started a clandestine radio station to teach people about independence. Her pro-Churchill judge father, Sachin Khedekar, felt that the family did not need to support the Congress, thus she defied him by doing this step. She was inspired by the Quit India movement and the “do or die” admonition of Mahatma Gandhi.

The film only touches on a small amount of history. Usha disobeyed for a few months before the authorities cracked down on her and her allies. She spent four years in prison for breaking a World War II radio station prohibition. The small child, however, is unfazed by the prospect of suffering repercussions or her father’s anger.


Gandhi is portrayed by Uday Chandra and appears twice in two sequences. Ae Watan Mere Watan revolves around the socialist leader Ram Manohar Lohia (with a long appearance by Emraan Hashmi). The voice of the latter is often heard over the radios and elsewhere as Usha and her companions, Kaushik (Abhay Verma) and Fahad (Sparsh Shrivastava), run Congress Radio from a secret location and try to avoid the law for as long as they can.

In Hindi movies, Lohia has never gotten enough credit. In the Usha Mehta story, Ae Watan Mere Watan treats him with the dignity he deserves, giving the public access to an important historical document that hasn’t gotten enough attention up to this point. The fun-loving actor Hashmi lends Lohia nuance without going overboard with the dramatics.


Despite the exceptional talent, the movie felt lacking in both substance and pace. Ae Watan Mere Watan is a thriller in the classic sense, complete with chase scenes and action sequences, but it isn’t quite the cloak-and-dagger drama that it could have been. It lacks the innate ability to genuinely evoke a sense of tension or danger.

Radio waves are compared to wings in the film. Mahatma Gandhi therefore advises his followers to “let your wings grow.” Usha aims to attain independence through the radio frequencies she transmits “from somewhere in India,” and she intends to do just that.

Ae watan mere watan

Alex O’Nell portrays Inspector John Lyre of the Mumbai Police, actively seeking the operators of the covert radio station. A short preface reveals parts of the movie’s finale, which revolves around a raid on a structure housing the secret broadcasting equipment.

As a policeman aims a gun, Usha runs down a stairway. The focus shifts to the 10-year-old protagonist as she learns the value of the liberation movement from her instructor at an outdoor school in Surat.

The production emphasizes lines resembling speeches rather than conversational exchanges, resulting in a somewhat stiff presentation. Nonetheless, some points of “Ae Watan Mere Watan” remain valid and merit discussion.

Usha argues that news can empower individuals in one instance, countering a colleague’s dissatisfaction with publications disseminating misleading information. She emphasizes the importance of enlightening the public when misleading information is distributed through official channels.

Later, Usha and her allies discuss the dangers of blind devotion, using Lohia as an example. Although admired by Jawaharlal Nehru, Lohia wasn’t hesitant to challenge him when necessary.

Lohia is mentioned again in the movie to underscore that opposing a monarch doesn’t always imply a desire to overthrow them. One fights against the dictator because they are an oppressor.

“Mere Watan” presents patriotism not as a goal or a universal solution but as transcending the limited scope of its current representation.

With an undercurrent of subversion, “Mere Watan” tackles themes of love, revolution, freedom, unity, truth, and pragmatism, elevating it above a mere chronicle.

JioSaavn.com exclusively offers the latest songs. The accurate manufacturing design ensures historical authenticity, and Amalendu Chaudhary’s color palette adds strong visual appeal.

The film’s ideas are succinctly explained, yet the narration lacks the memorability and engagement expected throughout the compelling plot.

Cast:

Sara Ali Khan, Sachin Khedekar, Abhay Verma, Sparsh Shrivastav, Alexx O’ Nell, Anand Tiwari, Emraan Hashmi

Director:

Kannan Iyer

Originally this article is posted by NDTV

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