brahmastra movie review tamil

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Brahmastra Review: மார்வெலுக்கு டஃப் கொடுத்ததா? இல்லை மண்ணைக் கவ்வியதா? பிரம்மாஸ்திரம் விமர்சனம்!

Rating: 3.0 /5

நடிகர்கள்: ரன்பீர் கபூர், ஆலியா பட், அமிதாப் பச்சன், நாகார்ஜுனா, ஷாருக்கான், மெளனி ராய் இசை: ப்ரீதம் இயக்கம்: அயன் முகர்ஜி

சென்னை: இந்திய புராண கதைகளை மையமாக வைத்து ஹாலிவுட்டில் சூப்பர் ஹீரோ படங்கள் உருவாகி வந்த நிலையில், இந்து மதத்தின் புராண கதைகளை வைத்துக் கொண்டு உருவாக்கப்பட்டுள்ள படம் தான் இந்த பிரம்மாஸ்திரம்.

இயக்குநர் முகர்ஜி இந்த படத்துக்காக 10 ஆண்டுகள் உழைத்தேன் என சொல்வதும், 5 ஆண்டுகளாக ஷூட்டிங் செய்ததும் எந்தளவுக்கு பலன் கொடுத்தது என்பதை பாக்ஸ் ஆபிஸ் தான் முடிவு செய்யும்.

பிரம்மாண்டங்கள் நிறைந்து காணபட்டாலும் அதற்கான திரைக்கதை மற்றும் அழுத்தமான கதை இருக்கிறதா? என தேடிப் பார்த்தால் எங்கேயும் காணவில்லை என்று தான் சொல்ல வேண்டும்.

அவெஞ்சர்ஸ் இன்ஃபினிட்டி வார் படத்தில் தானோஸுக்கு அத்தனை சக்தி கல் கிடைத்ததும் உலக மக்கள் தொகையில் பாதியை ஒரு சொடுக்கில் காலி செய்வது போல, ரயா தி லாஸ்ட் டிராகன் அனிமேஷன் படத்தில் எப்படி உடைந்து போன டிராகன் சக்தியின் ஒவ்வொரு துண்டையும் ஒன்றாக ஒட்ட வைத்து சூறாவளியை அழிக்கின்றனரோ அதே போன்ற ஒரு கதை தான் பிரம்மாஸ்திரம் படத்தின் கதையும்.

ஹீரோவே ஒரு அக்னி அஸ்திரம்

டிஜே ஷிவாவாக ஜாலியான பையனாக இருந்து வரும் ரன்பீர் கபூர் இஷா எனும் ஆலியா பட்டை பார்த்த மாத்திரத்திலேயே காதலில் விழ, அவனுக்குள் இருக்கும் அந்த அக்னி சக்தி வெளிப்படுகிறது. அதன் பின்னர், தனக்கு என்ன நடக்கிறது என்பதை தெரிந்து கொள்ள நாயகன் எடுக்கும் முயற்சியும், தீய சக்திகளிடம் இருந்து தன்னையும் தனது காதலியையும் அந்த பிரம்மாஸ்திரத்தையும் எப்படி காப்பாற்றினார் என்பதை 2.50 நிமிடம் சொல்லி உள்ளனர். (இது முதல் பாகம் தான்)

மிரட்டலான கார் சேஸிங்

ஷிவா ஷிவா என மூச்சுக்கு 300 முறை ஆலியா பட் கொடுக்கும் லவ் டார்ச்சர்களை பார்த்து முதல் பாகத்தில் அனைவரும் வெளியே இடைவேளைக்கு முன்பே இண்டர்வெல் விட கிளம்பி விட்டனர். ஆனால், அவர்களை மீண்டும் சீட்டுக்கு கொண்டு வருவதே இடை வேளைக்கு முன்பு வரும் அந்த மிரட்டலான கார் சேஸிங் சீன் தான். ஹாலிவுட் படங்களுக்கு இணையாக அப்படியொரு காட்சி படம் பார்க்க சென்றவர்களுக்கு மிகப்பெரிய ஆறுதலாக அமைந்துள்ளது. (வாண்டா) மெளனி ராய் ரன்பீர் கபூரையும் ஆலிய பட்டையும் துரத்த அங்கிருந்து தப்பித்து இமய மலையில் உள்ள அமிதாப் பச்சனிடம் வந்து தஞ்சம் அடைவதோடு ஃபர்ஸ்ட் ஹாஃப் முடிகிறது.

அஸ்திரங்களின் லெக்சர்

அமிதாப் பச்சன் அஸ்திரங்கள் என்றால் என்ன, ஒவ்வொரு அஸ்திரத்துக்கும் என்ன சக்தி, நீயே ஒரு அக்னி அஸ்திரம் தான். உடைந்து 3 துண்டுகளாக ஒவ்வொரு இடத்தில் பாதுகாத்து வைக்கப்பட்டிருக்கும் அந்த 3 பாகங்களையும் ஒன்றாக இணைத்து விட்டால் பிரம்மாஸ்திரம் ஆக்டிவேட் ஆகிவிடும். அதன் பின்னர் ஒட்டுமொத்த உலகத்தையே ஜுனூன் (மெளனி ராய்க்கு இந்த படத்தில் கொடுக்கப்பட்டுள்ள கதாபாத்திரம்) அழித்து விடுவாள் என பெரிய லெக்சரே கொடுத்து ஒரு வழியாக்கி விடுகிறார்.

ஷாருக்கான் குறைவான நேரமே வந்தாலும் அவரது காட்சிகள் படத்திற்கு ரசிகர்களை வரவழைக்கும். நாக சைதன்யாவுக்கு அமீர்கான் படத்தில் கொடுத்த கதாபாத்திரத்தை விட காளை சக்தியுடன் மிரட்டலாக எதிரிகளை பந்தாடும் நாகர்ஜுனாவின் போர்ஷன் மிரட்டுகிறது. பிரம்மாஸ்திரத்தை விட உலகில் பெரிய அஸ்திரம் காதல் தான் என்கிற கரு நன்றாகவே உள்ளது. முதல் பாகத்தில் ஷிவா உள்ள நிலையில், இரண்டாம் பாகத்தில் தேவ் ஆக அஜய் தேவ்கன் வரப் போகிறாரா? சல்மான் கான் வரப்போகிறாரா? என்கிற கேள்விகள் ரசிகர்களை சற்றே ஈர்க்கின்றன. இசையமைப்பாளர் ப்ரீத்தமின் பின்னணி இசை சூப்பர். மார்வெல் படங்களுடன் போட்டி போடும் அளவுக்கு VFX மிரட்டலாகவே உள்ளது. சில சர்ப்ரைஸ் கேமியோக்களும் உள்ளன.

ஆனால், இயக்குநர் எங்கே சறுக்குகிறார் என்று பார்த்தால், திரைக்கதை மற்றும் வசனங்களை எழுதும் இடத்தில் தான். பல ஹாலிவுட் படங்களில் பார்த்த விஷயங்களை நம்ம ஊர் மைதாலஜியுடன் சேர்த்து சொல்கிறேன் என மொக்கைப் போட்டுள்ளார். குழந்தைகளையாவது படம் கவரும் என்று பார்த்தால், காதல் காட்சிகளை வைத்து ரம்பம் போட்டுள்ளார். தேவா தேவா என்கிற ஒரு பாடலை தவிர மற்ற பாடல்களை தூக்கி இருக்கலாம். சில சூப்பரான காட்சிகள் இருந்தாலும், ஒட்டுமொத்த படத்தையும் காப்பாற்ற அது உதவவில்லை. கோப்ரா படத்தை போல 20 நிமிடத்தை கட் செய்தால் கொஞ்சம் தப்பிக்கும்!

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BRAHMASTRA: PART ONE – SHIVA MOVIE REVIEW CLICK TO RATE THE MOVIE

Brahmastra Part One: Shiva is a fantasy action drama, and is the first installment of the Astraverse Trilogy directed by Ayan Mukherjee. The film is bankrolled by Star Studios, Dharma Productions, Prime Focus and Starlight Pictures. It has Ranbir Kapoor and Alia Bhatt in the lead roles while Amitabh Bachchan, Mouni Roy, Nagarjuna, Dimple Kapadia and others play supporting roles. Shah Rukh Khan has also played a cameo role as scientist Mohan.

Shiva (Ranbir Kapoor) is a DJ who plays at clubs. During Dussehra festival celebrations he meets Isha (Alia Bhatt), and falls in love at first sight. At the same time, he also gets strange visuals at regular intervals and they turn out to be true. He sets out on a journey to discover what causes these dreams and his strange connection with fire. What does all this have to do with Brahmastra, the most powerful Astra in the Universe? Watch the film to find out.

After starting with an animation that describes the history of Brahmastra, director Ayan Mukherjee wastes no time in introducing us to the lead pair and getting into their romantic arc. And it is this part of the story that keeps us most invested. The chemistry between the duo is fantastic and extremely natural.

The supporting cast also come together to shoulder the entire film rather than just banking on the leads. Amitabh Bachchan and Mouni Roy get meaty roles and Mouni Roy shines well as the menacing Junoon.

The songs by Pritam add a lot of weight to the romance, especially Kesariya. Now these songs don't just come across as templates that have to be ticked. They have elements that aid the fantasy part as well. For instance, when Shiva and Isha visit a temple in the song Kesariya, he casually restrains from going near the puja pyre, while Alia comes in contact with the pyre. Later it's revealed that Shiva can control fire and didn't want Isha to know about this.

However when the film moves into the fantasy zone, the writing becomes weak and shallow. There is no emotional core to most of these portions. Director Ayan Mukherjee is known for solid dramas like Wake up Sid, and Yeh Jawaani Hai Deewani. Coming out of the comfort zone and making a film like this is difficult and deserves applause but the end result is mixed.

One of the biggest saving grace of the fantasy portions are the visuals. They look grand and the colours used make these fantasy elements believable. The climax fight sequences are superbly choreographed, with the VFX serving as a perfect topping. Special props to the make-up artists as well.

Overall, the film is technically grand but needed more flesh in certain areas. The film ends with a lead to the second part, but it is not a cliffhanger per se. Brahmastra Part One: Shiva is definitely not a bad film, but could have been better.

BEHINDWOODS REVIEW BOARD RATING

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REVIEW RATING EXPLANATION

பிரேக்கிங் சினிமா செய்திகள், திரை விமர்சனம், பாடல் விமர்சனம், ஃபோட்டோ கேலரி, பாக்ஸ் ஆபிஸ் செய்திகள், ஸ்லைடு ஷோ, போன்ற பல்வேறு சுவாரஸியமான தகவல்களை தமிழில் படிக்க இங்கு கிளிக் செய்யவும்      

BRAHMASTRA: PART ONE – SHIVA RELATED CAST PHOTOS

Amitabh Bachchan

Ranbir Kapoor

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Brahmastra: Part One – Shiva (aka) Brahmastra: Part One

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Brahmastra Part One: Shiva

A DJ with superpowers and his ladylove embark on a mission to protect the Brahmastra, a weapon of enormous energy, from dark forces closing in on them. A DJ with superpowers and his ladylove embark on a mission to protect the Brahmastra, a weapon of enormous energy, from dark forces closing in on them. A DJ with superpowers and his ladylove embark on a mission to protect the Brahmastra, a weapon of enormous energy, from dark forces closing in on them.

• Ayan Mukerji
• Hussain Dalal
• Amitabh Bachchan
• Ranbir Kapoor
• 1.9K User reviews
• 32 Critic reviews
• 57 Metascore
• 37 wins & 41 nominations

Top cast 38

• Anish Shetty

• Mohan Bhargav

• Savitri Devi

• Tiger - Shiva's Friend

• Ali - Shiva's Friend

• Shaina - Isha's Cousin
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• Production, box office & more at IMDbPro

Burning Questions With Alia Bhatt and Ranbir Kapoor

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• Trivia The film was announced in 2014, at that time it was slated to release on Christmas 2016.After multiple delays it's release date was further pushed to Independence weekend 2019,then further to Christmas 2019,then Summer 2020 and then also further pushed to 4th December 2020.Due to Corona Virus Outbreak in India it was further pushed away.Now it has been claiming that it will release on 9th September 2022.Thus making it one of the most delayed films in indian cinema.
• Connections Features Agneepath (2012)
• Soundtracks Kesariya (Hindi) Music by Pritam Chakraborty Lyrics by Amitabh Bhattacharya Performed by Arijit Singh

User reviews 1.9K

• aniketrtsimdb
• Sep 8, 2022
• How long is Brahmastra Part One: Shiva? Powered by Alexa
• September 9, 2022 (United States)
• United Kingdom
• United States
• Sikkim, India
• Dharma Productions
• Double Negative (DNEG)
• Prime Focus Studios
• See more company credits at IMDbPro
• ₹4,100,000,000 (estimated)
• Sep 11, 2022
• $50,164,785

Technical specs

• Runtime 2 hours 47 minutes
• Dolby Atmos
• IMAX 6-Track
• Dolby Surround 7.1
• Dolby Digital
• 2.39:1 (IMAX 3D)
• 2.39:1 (Standard Version)

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பிரம்மாண்டமான 'பிரம்மாஸ்திரா' படம் எப்படி இருக்கு.?: பாலிவுட் சினிமாவை காப்பாற்றியதா.?

ரன்வீர் கபூர் நடிப்பில் உருவாகியுள்ள 'பிரம்மாஸ்திரம்' படம் ரசிகர்கள் மத்தியில் கலவையான விமர்சனங்களை பெற்று வருகிறது..

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Brahmāstra Part One: Shiva

Where to watch.

Watch Brahmāstra Part One: Shiva with a subscription on Disney+, Hulu.

What to Know

Ambitious yet uneven, Brahmastra Part One: Shiva offers definite pleasures for Bollywood fans, although the incessant spectacle may ultimately overwhelm many viewers.

The story's far-fetched and the dialogue is nothing special, but Brahmastra Part One: Shiva 's action and visual effects make it easy to get swept up anyway.

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Brahmastra (Part One: Shiva)

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Frequently Asked Questions (FAQs) About Brahmastra (Part One: Shiva)

In this Brahmastra (Part One: Shiva) film, Ranbir Kapoor , Alia Bhatt played the primary leads.

The Brahmastra (Part One: Shiva) was released in theaters on 09 Sep 2022.

The Brahmastra (Part One: Shiva) was directed by Ayan Mukerji

Movies like Meiyazhagan , Viduthalai Part 2 , Andhagan and others in a similar vein had the same genre but quite different stories.

The Brahmastra (Part One: Shiva) had a runtime of 167 minutes.

The soundtracks and background music were composed by Pritam Chakraborty, Simon Franglen for the movie Brahmastra (Part One: Shiva).

The cinematography for Brahmastra (Part One: Shiva) was shot by Pankaj Kumar, V Manikandan, Patrick Duroux, Sudeep Chatterjee, Vikash Nowlakha .

The movie Brahmastra (Part One: Shiva) belonged to the Adventure,Fantasy, genre.

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Brahmastra Review: Ranbir Kapoor Anchors The Action In Ambitious And Entertaining Fantasy

Brahmastra review: on the acting front, ranbir and alia achieve the impossible - they ensure that shiva and isha are always believable even as the goings-on around them are beyond fantastic..

Cast: Ranbir Kapoor, Alia Bhatt, Amitabh Bachchan, Nagarjuna, Mouni Roy

Director: Ayan Mukerji

Rating: 3 stars (out of 5)

The relentless action that explodes on the screen accompanied by blinding fireworks and a high-decibel background score is a key part of the nearly three-hour-long Brahmastra Part One: Shiva . It isn't the pyrotechnics, however, that define the film that kicks off Bollywood's first proposed superhero trilogy. Its sweep, scale, style and swathes of originality do.

That is not to say that the astraverse (a universe of weapons drawn from the elements and the natural world) created in Brahmastra Part One: Shiva is likely to give Marvel's multiverse a run for its money. Or even that this film is an epitome of perfection. Parts of it do go a tad awry. Others are somewhat enervating, given the film's full-tilt, unbridled approach to the genre.

Brahmastra takes the devices of the superhero flick as we know them and stirs them up in a way that isn't entirely potboiler-style derivative, which is quite a feat given that it is primarily intent on rustling up a maximalist universe where everything is designed to dazzle the audience into willing submission.

Writer-director Ayan Mukerji couches the overlong adventure fantasy in an engaging, if a touch facile, love story between a DJ and the strong-willed, free-spirited girl who he falls in love with at first sight while whipping up a musical frenzy at a Mumbai Durga Puja pandal.

Their blossoming romance and the fire-hurling power that the boy possesses propels the two lovers down the path of duty and places them in situations from where they can go in only one fraught direction. The adventure takes them to the holy city of Varanasi and to the Himalayas, where time seems to stand still. But the duo has no time to pause and wonder what on earth is going on.

The Brahmastra saga is steeped in ancient Indian mythology, but the film expertly skirts around overt religiosity while stressing on the core concept of a timeless war between roshni (light) and andhera (darkness), between selfless sacrifice and righteousness on one side and personal ambition and destruction on the other.

Hindu religious festivities - Durga Puja, Dussehra, Kali Puja and Diwali, which is the time around which the film is set - dominate the first half hour of the film. That apart, the play on Shiva and Parvati - Isha is one of Durga's names - is obvious, but one character rechristens the male protagonist 'Dragon', perhaps a nod to Norse and Viking mythology with an eye on universalizing a story rooted in Bharatvarsh.

The young couple's mission is to stop the machinations of the forces of darkness that are looking to take control of the world by grabbing the three pieces of the brahmastra - a weapon of mass destruction that has survived for eons under the watch of Lord Brahma, the God of astras, and his human designates and has been inactive for three decades - and making them whole again and unleashing mayhem.

In the astraverse, the three pieces of the brahmastra are guarded by a trio of men - a scientist, an artist and a mystic - all of whom exist in the here and now as individuals who seem ordinary enough until they begin to reveal the hidden, distinct and elemental powers that they have been granted.

In the long-drawn out battle royale that ensues, the hero, Shiva (Ranbir Kapoor), has to first grasp the dimensions of his destiny as a saviour of mankind before he can embark upon an all-out confrontation with Junoon, the Queen of Darkness (Mouni Roy).

The young man is assailed by doubts and reservations. But what lies in store for him is preordained and, as it transpires, there is no turning back him. He is aided by his beloved Isha (Alia Bhatt), a woman who isn't given to playing second fiddle, and a homilies-spouting Guru (Amitabh Bachchan), who dwells in an ashram in the Himalayas where he grooms the next generation of defenders of the light.

A couple of other veteran superstars, one from Mumbai (whose identity shall stay unrevealed), the other from down South (Nagarjuna Akkineni), make appearances as principal figures in inexplicable and unsettling visions that Shiva has as he struggles to find an answer to the question that Isha repeatedly poses to him: Tum ho kaun (who are you)?

While Shiva does not volunteer too much information himself, detailed and verbose explanations are provided especially in the second half by the all-knowing Guru. These passages tend to slow down the film. But once the exposition is out of the way, Brahmastra hurtles along towards the all-important climactic clash between Shiva and Junoon, who is guided by a shadowy evil being.

Some of the background information pertaining to the grand role that has been thrust upon Shiva is overly complex and rambling, which might ironically enthuse many in the audience to watch the movie more than once.

Brahmastra Part One: Shiva is a high-octane blend of generic Hollywood conventions and predictable Bollywood tics, of technical razzmatazz and emotional traction. In the matter of the latter, the presence of the newlywed Ranbir Kapoor and Alia Bhatt adds a real, tangible edge to the onscreen romance between Shiva and Isha, a union of equals despite the fact that one is a superhero and the other a mere mortal.

The most striking aspect of Brahmastra is its firm eschewal of the kind of hypermasculinity that films of this nature usually perpetuate. With Ranbir Kapoor anchoring the action and the screenplay steering clear of the peddling of unbridled machismo, what we have is a male protagonist who willingly cedes ground to the woman in his life.

In fact, the man, by his own admission, owes a great deal to his mother - a backstory that is alluded to here, but is held back for subsequent instalments of the trilogy.

In one scene, Shiva describes a job at hand as meri zimmedari (my responsibility). Isha corrects him promptly - it's humaari zimmedari (our responsibility), she says.

In another scene early in the film, Shiva says to Isha that he has no surname because he does not know who his father is. In the same breath, he reveals that he plans to adopt the surname of his wife. Here is a superhero who is 'super' in more ways than one.

Brahmastra Part One: Shiva is a spectacular production that benefits immensely from the VFX done by DNEG. The crucial action scenes, even as they strain credibility, throb with life and deliver their share of excitement.

The story plays out in recognizable spaces - in an orphanage, an artist's atelier, a hermit's home - in a marked departure from Hollywood's heightened and divorced-from-reality superhero movie template.

On the acting front, Ranbir and Alia achieve the impossible: they ensure that Shiva and Isha are always believable even as the goings-on around them are beyond fantastic. Mouni Roy, playing the arch-villainess who is out to wrest the brahmastra and wreak havoc on mankind, carries the daunting weight of the role without wilting.

Brahmastra Part One: Shiva , ambitious and entertaining, has the makings of a blockbuster of the sort that Bollywood has been desperately seeking for a while.

• Cast Ranbir Kapoor, Alia Bhatt, Amitabh Bachchan, Nagarjuna, Mouni Roy
• Director Ayan Mukerji

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Brahmāstra: Part One – Shiva on Disney+ Hotstar Review: Ranbir Kapoor and Alia Bhatt’s Fantasy Adventure is an Over-Engineered Misfire

Director : Ayan Mukherji Writer : Ayan Mukherji, Hussain Dalal Cast : Ranbir Kapoor, Alia Bhatt, Amitabh Bachchan, Nagarjuna, Mouni Roy

It’s hard to pinpoint precisely where  Brahmāstra: Part One – Shiva  goes wrong. The possibilities are endless. It could be the kitchen-sink syndrome – where a movie clubs you with so much body that it hopes you’re too wonky to notice its vacant voice. Maybe you won’t notice the wooden performances. Or the deafening score. Or the distinctly poor dialogue. Or the flat and blurry 3D. Or every other frame resembling a burnt strip of polaroid film. If a fantasy movie repeatedly yells that love is the greatest weapon in (Hindu) mythology, maybe you won’t notice that it has no heart. That its romance plays out like a glitchy algorithm. That it has the flimsiest meet-cute in (Hindi) cinema. That the heroine calls her hero by name only 373 times in total. That when he confides in her about his “strange relationship with fire,” she gets upset as if Fire is the name of his secret mistress. That aforementioned meet-cute features a moment where rich girl literally weeps in awe because poor orphan boy is not sad: “How are you so positive despite such a difficult life?” Like I said, the possibilities are endless. And maybe you’re too shell-shocked to notice them all. Marvel’s been doing it for years. No reason why  Brahmāstra  can’t do it better. 

But it’s not hard to pinpoint  why  this film goes wrong. It’s not unusual, especially for stories steeped in scale and religious scripture.  Brahmāstra  is so caught up in its conceptualisation and myth-building – which, on paper, is kind of fascinating – that it forgets to behave like a film. The writing is so excited by the world it designs that the script bible doubles up as the final draft. An entire stage of filmmaking – one that involves fleshing out the elaborate skeleton with some colour (not the reds and blues) and personality – seems to be missing. All the elements – the characters, the way they speak, the voiceovers, the themes, the soundscape, the exposition dumps, even the visual crescendos – feel like temporary fillers for a future version that never arrives. The result is an admittedly solid Amar Chitra Katha comic but a painfully inert movie: The panels look pasted onto the screen without any alterations in depth, energy and form. When literature is seen, as opposed to read, it needs to resemble language. But that doesn’t happen here, and faces become surrogates for plot movement; speech is reduced to thought bubbles. Nothing else can explain the perplexing lack of chemistry between the two leads. It’s almost as if  Ranbir Kapoor  and  Alia Bhatt  were instructed to read the lines knowing that emotions, like everything else, would be added in post-production. It takes some doing to make actors of their calibre mess up a narrative of passion. Particularly one that, at its core, is (again) about a Ranbir Kapoor hero finding his true calling through love. But  Brahmāstra  is no ordinary misfire.

Saffron overtones notwithstanding, the premise of this film is ambitious if mostly familiar. There’s a bit of Harry Potter , a bit of The Da Vinci Code (I was going to say “Indianized Dan Brown” but Dan is already Brown), and a sprinkle of every superhero origin story ever made. A Mumbai-based DJ named Shiva (Kapoor) discovers that he is somehow connected to a supernatural universe, the ‘Astraverse,’ where dark forces are hunting down the protectors of three pieces of the Brahmāstra, an imperious weapon capable of mass destruction. Shiva is plagued by flashes of a scientist – who possesses the Vanarāstra (powers of a divine Monkey) – being attacked by three villains named Junoon (Mouni Roy; the only one who got the memo), Raftaar and Zor. Shiva realizes that they will next go after an artist, who possesses the Nandiāstra (strength of a thousand bulls) and the second piece of the Brahmāstra (which, on a good day, looks like a giant Oreo cookie). Before he sets out to warn the artist, he finds the time to fall for a girl named Isha (Bhatt) at many Dussehra parties, who in turn decides to tag along with all the asexual agency of a SoBo student trying to ace her social involvement programme. Together, the two fend off the baddies and reach the Himalayas, the ashram of an ancient Guru ( Amitabh Bachchan ), to discover Shiva’s dormant identity as the Agniastra. 

If you look really hard, you might see the germ of a full-blooded big-screen experience. Writer-director Ayan Mukerji has the framework in place, but fails at a fundamental screenplay and design level. The movie opens with what feels like an endless assault of songs introducing Shiva as a carefree drifter. Kapoor is a great dancer, but his hips can’t lie beyond a point. Shiva’s flirting with Isha is cringey at best, where he hesitates to invite her to his Diwali party because she’s rich ( Titanic is not a nice metaphor to invoke). He’s promptly revealed to be an orphan who lives with a group of kids. The Mr. India ode aside, this detail does nothing for the movie itself; the kids cease to exist the second Shiva begins his journey. Isha has friends and family, but they’re as dispensable as the orphans. Once he starts to get violent flashes of the Astraverse, the craft of the film collapses – Shiva’s seizures and the incoherent cross-cutting make it appear like he’s turned on rather than haunted. Isha exists not as a lover so much as a human Alexa; her only job is to robotically ask him questions and follow him around and make sure he’s fine. Which is just as well, because it is soon noted that she is the “button” that turns on Shiva and his ability to control his fiery…weapon. The main baddie, Junoon, works for a higher force; the scenes alluding to this are visually jarring, bringing to mind the womb from Tumbbad in unflattering ways. There’s also a problem of names – the scientist in the opening scene is addressed as Scientist, the artist as Artist, the baddies as “killers,” almost as if the dialogue were designed for toddlers. Or, like I said earlier, reference tracks that never get updated. 

The execution is just as awkward. So many scenes are staged impassively, with no reading of big and small moments – like the time Shiva senses a faraway Isha in danger, calls her frantically, and she answers after falling off a rooftop with the calm of someone pillow-talking in bed (“How did you know?” she asks). Her superpower seems to be that her reactions are never in sync with the magnitude of an incident. Then there’s the verbose buildup to the song Deva Deva, where the Guru is virtually incomprehensible in his exchange with Shiva about the link between love and fire. He says ten things instead of two, before the ‘training montage’ of Shiva features the only bit of levity in a film so conscious of its own stature. Clunky exposition is always par for the course in fantasy epics, but it feels like the characters here are treating each other as the fourth wall. 

All of this might have passed if the action sequences of Brahmāstra were audacious enough. Tamil and Telugu filmmakers have made an art out of hiding glib setups and murky politics behind inventive set pieces and narrative velocity. But Brahmāstra lacks that pop. The virginal spirit of the script extends to the choreography of these scenes, most of which mistake volume for dramatic effect. Some of the symbolism is pretty neat, the visual effects in isolation aren’t bad, but the imagination features touches like question-mark-shaped fire emerging from a lighter when Shiva expresses curiosity about his past. The vanilla action is a larger symptom of how the story is conceived – as a cocktail of modern characters and ancient powers. Unlike the Baahubali films or RRR (2022), mythology is the default palette in a contemporary setting. So you have bullets and guns puncturing the scale of implausibility. There’s a lengthy chase across the mountains but it’s in trucks and cars. There’s a journey, but it’s aided by GPS. You have a supernatural showdown in a Delhi penthouse. You have Gods dueling in emoji mode. You have many trials by literal fire, and cellphones connecting soulmates. I get the point behind the hybrid of technology and myth, science and religion, but it prevents the grandeur from committing to a single tone. It’s a generic fusion of Western style and Eastern substance, neither of which can go bonkers. That’s not to say a period setting would have solved things at a drawing board level. But even the modern-day foreground in Brahmāstra is devoid of belonging and identity – like a foreign interpretation of Indian legend.

As a Bollywood enthusiast, I’m conditioned to root for the rare mega-budget fantasy title. I look forward to a screening with first-date jitters: Will this finally be the one? I go in with hope, despite being armed with the knowledge that thinking big in Hindi cinema is too often sacrificed at the altar of thinking wide. The thrill of pure creation for a movie-loving nation is too often reframed as a quest to appease disparate Hindi-speaking cultures. It took me all of fifteen minutes to gather that Brahmāstra does one under the guise of the other. And I spent the next 150 minutes hearing it speak, wondering why it’s striving to impress me instead of being authentic to itself. I wanted to interrupt and tell it to loosen up a little, relax, but our date was a one-way street; it was a socially acceptable medium to impress everyone else in the vicinity as well. All I could do was pick at my food and slyly remark – at the risk of sounding like a culinary cliche – that the dish “lacked the main ingredient of love”. But the veiled dig fell on deaf ears. And once the date was over, it was my ears that were ringing. Maybe next time, the hopeless romantic in me thinks. Maybe the next one will weep in awe when it sees me so positive in the face of persistent heartbreak. The possibilities, after all, are endless. 

This story was first published on September 9th, 2022.

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Brahmastra Part One: Shiva Movie Review : Ranbir Kapoor and Alia Bhatt starrer superhero adventure plays with fire

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Jaya 275 days ago

The best part of this movie is it's grafics and vfx which have a high budget and have reached it's expectoins but as story it was a average movie

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Super story

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this movie is blockbuster

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My life worst movie and please don't waste innocent people time

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One of the best Bollywood movie till date. Highly recommended

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Brahmastra movie review: Ranbir Kapoor and Alia Bhatt light the screen on fire, Part-2 can't come sooner

Brahmastra movie review: ranbir kapoor and alia bhatt are electric in this ayan mukerji spectacle. the film is a treat for long-waiting fans of hindi cinema..

There's light, there's fire, there are some superheroes who wield unique astras which were born from the Brahm-Shakti that possesses energies found in elements of nature like Jal (water) Āstra, Pawan (wind) Āstra, Agney (fire) Āstra, and animal and plants. Above all, there's the most powerful astra, Brahmastra, a supernatural celestial weapon that's said to be able to destroy the universe, which was broken into three pieces to save it from the dark forces. And then there's Ranbir Kapoor and Alia Bhatt creating sparks on screen with their real-to-reel chemistry. (Also read: Brahmastra release live updates: Review, premiere pics from Ranbir Kapoor, Alia Bhatt film)

Brahmastra: Part One - Shiva is a love story at the core, but it soon takes form of a fight between the good and the evil when the energies that rule this universe take control. Brahmastra is like watching a video game. Written and directed by Ayan Mukerji, Brahmastra is a heady blend of Hindu mythology and sci-fi elements that serve as the backdrop of a love story which is unusual to say the least.

Shiva (Ranbir Kapoor) is a DJ who falls for Isha (Alia Bhatt) at first sight and as their romance blossoms, his quest to find the reason behind his strange connection with fire becomes even stronger. His visions about destruction become clearer and unaware that he is destined to awaken the Brahmāstra, his path crosses with Guru ji (Amitabh Bachchan), the leader of the Brahmānsh, a secret society of sages who harness the Brahm-Shakti. Meanwhile, Junoon (Mouni Roy), the queen of dark forces, must find the fractured pieces of Brahmastra and bring her evil plans to fruition.

Brahmastra starts as your regular, conventional boy meets girl love saga, but it wastes no time in building the actual premise which is letting Shiva get on a journey together to find his ultimate purpose. With an overcomplicated screenplay, Brahmastra does get a bit convoluted at times but gets back on track soon enough too. Mukerji, who spent almost eight years to come out with the final film, clearly has gone overboard with certain aspects, but thankfully, it never reaches a point that it starts to bother and distract.

At 2 hours 45 minutes, the film seems a bit stretched, especially in the first half, and 20-25 minutes could have been easily chopped off at the editing table. While I liked the build of Shiva and Isha's romance in the first half, it didn't need to be stretched beyond a point. The second half takes off on a high note with flashback into Shiva's life and the whole mystery of Brahmastra and there are some really spectacular portions that leave you awestruck. While the story of Brahmastra was never really meant to be simple, it's the magic of VFX (all made in India), treatment of the astras, and grandeur of everything surrounding the characters that make it a visual spectacle and truly a cinematic experience to be enjoyed on the big screen.

Brahmastra has a serious tone for most part but I liked how dialogues by Hussain Dalal infuse subtle humour at some places that doesn't look odd even in the most intense scene or a fight. And talking of fighting scenes, the action choreography is next level and on par with some of the best we see in films like RRR and Baahubali. No, I'm not attempting to compare Brahmastra with SS Rajamouli's cinematic excellence but let's give credit where it's due.

Making Brahmastra even more special are Alia and Ranbir - the souls of the film. Ranbir has put his best foot forward imbibing Shiva's qualities and make them his own and he does add his boyish charm into the character even in the most intense scenes. Alia looks pretty convincing as Isha and remains an integral force to drive Shiva's actions. She delivers a restrained performance and never loses her ground. Together, Ranbir and Alia look endearing on screen.

Nagarjuna Akkineni as artist Anish Shetty, and a member of the Brahmānsh, who wields the Nandi Astra, is an extremely powerful casting. His lines and screen presence adds so much more gravitas to the script. Only thing I wish is that makers gave Akkineni a bit more screentime. Amitabh Bachchan as Guru Ji reminded me of his Narayan Shanker from Mohabbatein, though he's less strict and more fun in this one.

Mouni Roy as the only antagonist in Brahmastra is good only to a point when she doesn't overact and starts to look a tad too over-the-top in parts. From her appearance, attire to makeup, there's something about Junoon that just doesn't fit in. Oh, there's also another veteran actor, a member of Brahmansh, who has been given exactly two dialogues and has been royally wasted in this ensemble cast. I mean, come on, are you telling in this whole Astraverse, there was nothing better she could do than to fly a plane and just be there doing nothing?

Lastly, the music of Brahmastra is just average. Kesariya, for one, has been played more number of times that required in the last two months that there's no novelty left when you actually watch it in the actual film. Deva Deva is pleasant but you focus more on the visual choreography with Ranbir enjoying his playtime with fire as the song plays in background. And Dance Ka Bhoot is just a missable track that doesn't stay with you for long.

Watch Brahmastra because it's not every day that Bollywood churns out a film on this grand scale, with top-class VFX and creates a mystical universe that we only see in the West or closer home in the south film industry. And given that it's a planned trilogy, you'd be already left craving for a part two sooner.

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Brahmastra Review: Amitabh, Ranbir, Alia Starrer Is Blockbuster Material, But…

The special effects, the indigenising and owing of genre conventions, and through alia and ranbir's performances, 'brahmastra' deserves its due respect and place in indian cinematic history..

Ayan Mukerji

Ranbir Kapoor Alia Bhatt Mouni Roy Amitabh Bachchan Nagarjuna Shah Rukh Khan

New Delhi: 'Brahmastra' starring Alia Bhatt, Ranbir Kapoor, Mouni Roy, Amitabh Bachchan, Nagarjuna, Shah Rukh Khan creates and sets a new benchmark for the fantasy-adventure genre in Indian filmmaking. Ayan Mukerji manages to create a wondrous spectacle by mixing genres and influences from the Western( particularly, American) and Indian canon and mythology.

'Brahmastra' opens in the typical fashion of most films of such genre through an animated backstory. The story begins with the voiceover of Amitabh Bachchan who introduces the Astraverse to audiences. He also narrates the film in retrospect in most parts. From the very beginning, the 3D visuals of the animation up until the title card of the film shows up is meant to wow audiences and create a sense of awe, done very much with the help of a grandiose background score that befits the genre.

PS: Slight spoilers ahead

Ranbir Kapoor as an uninitiated puzzle of the Astraverse is introduced. Shah Rukh Khan's narrative is interlaced with that of Ranbir who plays Shiva, a good-at-heart romantic Bollywood hero who is also a DJ. 

Because the monumental task rests on the shoulders of SRK and Ranbir to give and set a sort of fantastical background in a real-world in relatable context, 'Brahmastra' takes some time to settle in. The film is slightly disoriented at least for the first 45-minutes until it settles into a much assured and confident pace which also shows through the syntax of Alia and Ranbir's performances.

Shah Rukh Khan ( as Scientist Mohan) manifesting the power of Vanarastra through himself is grand and almost sets the tone of the epic spectacle to follow. Every time a character manifests the power of his astra, a well-intentioned background score heightens the effect. The visual effects of the astras and their power are also a sight to behold. 

This very visual composition complimented by the music tends to take away your attention from the poorly-written dialogue in most parts. In some cases, it actually feels like the English language has been literally translated into Hindi dialogue and it just doesn't land.

Ayan also makes use of metaphors and binaries like light and darkness, anger-forgiveness quite literally which also render into the colour palette and the texture of the film. Frames get darkened when Mouni Roy( Junoon) who plays the negative character enters them, as they get brightened when Shiva and Isha( Alia) and the other good characters are part of them.

Sequentially, Brahmastra is very well-constructed. You can literally feel and see the effort put in nailing each of the sequences right. 

Ranbir Kapoor's intro song 'Dance Ka Bhoot' for instance is unnaturally long, epic and grand in every way. It has hundreds of background dancers, detailing of another kind( elements like women playing drums sitting in a circular structure on top of which Ranbir dances etc.) and is a perfectly-choreographed number which could have been reduced by significant minutes in the film at least.

As we move to Alia and Ranbir's character meeting and the typical syntax of Bolly-rom-com of 'love at first sight' happening, the dialogue and scenes just don't land. In some parts, the writing does work and some defenses of the privileges of the rich are spoken of or some bitter-sweet real moments felt ( like, 'Ameer huin, nakli nahi', or 'baap nahi to naam nahi'), but again, as mentioned earlier, these work in sequences.

One interesting scene is when Ranbir breaks into 'Chikni Chameli' and Alia accompanies him right at the hook step moment. It also brings to mind another kind of moment, like a take from Ranbir's personal history, in 'Yeh Jawani Hai Deewani' when Deepika had expressed her feelings for Ranbir's character in the film.

The undercutting of the main narrative with subplots is another commendable feature in 'Brahmastra.Ranbir's narrative being undercut with that of SRK's adds an organic flow to the film also gives us a great performance by its lead star and lends some depth to an otherwise flat storyline.

Ranbir is a great performer and to act most of the film with no tangible objects and visual scenarios to rely on in a first-of-a-kind Hindi fantasy film deserves a special mention.

Likewise, Alia Bhatt is the perfect co-star for Ranbir who even at some moments manages to steal scenes from him.

Mouni Roy's character for the most part looks like an off-shoot of her 'Naagin' role, but her easy-toned-down deep villainy serves the purpose of the film.

Shah Rukh Khan and Nagarjuna's characters are barely introduced almost like teasers into a full-fledged film. Perhaps, as audiences, we can expect to see more of them and their backstories in other parts of 'Brahmastra'.

This one mentionable sequence is when under Mouni as Junoon's dark power, SRK as Mohan is struggling, there is a moment when he resists her power to reveal the hidden truths about Brahmansh( the secret do-gooder society of people who are responsible for protecting Earth, Brahmastra). There is a very dramatic almost TV-soap-like moment when Amitabh Bachchan ( guruji)'s face is about to be revealed but not shown. That happens a few times to make you realize the experiment with a form that the filmmaker is attempting.

Likewise, in the post-interval film, when the catastrophe strikes the Ashram, the theatre screen goes blank multiple times, a very ‘Endgame’ like move, but honed and polished in a way that this another experimentation with film as a form deserves a mention.

The action sequences of 'Brahmastra' are also well-written, shot and executed.

The design suits the genre and the aesthetic and isn't overdone.  However, the dialogue and some patchy sequences in the screenplay which were meant to relate tend to alienate the audience, especially the cringy-love confessions between Alia and Ranbir's characters.

In terms of the arch, 'Brahmastra' works in the typical fashion. A rise and catalyst in the first half and then the backgrounder and initiation into the second half until the climax at the end. 

The first half of 'Brahmastra' closes with Shiva saving Isha and using his Agni astra to do so. The background score which accompanies the sequence is great as is his manifestation of that power. Visually, it's a memorable sequence. Likewise in the long climax, just before Junoon punctures Shiva's manifestation of Agni with Jal, the VFX is so grand and almost sublime, that it stands out completely.

The post-interval film is slightly stretchy and over-the-top. It opens with a baby crying as his house is on fire. Another angle added to a rather simple and straightforward film that over utilizes the metaphor of love, its purity and all that it can achieve.

The breaking into 'Deva' Deva' like 'Kesariya' is done organically but again it just doesn't fit so well. At a point, when Ranbir is seen jamming to the track as flares of fire surround him as the camera does the arc shot, you really want it to stop.

This could also be because of the promotions and over-selling of the film with so much footage out there before the release that it does take away a sense of raw pleasure of the first time watching the film, at least that happened for me.

However, the stunning cinematography and composition in 'Deva Deva' and like most of 'Brahmastra' tends to take your eyes and attention away from even its minutest flaws.

For instance; a thought does tend to come for a film which has been promoted along the lines of deeply original 'Indian film' rooted in its culture, etc. Could 'Brahmastra' have been more rooted had it been shot in the country? Perhaps, as audiences we are not aware of the logistical calculations and the particular aesthetic the makers wanted to achieve, but 'Brahmastra' could have been more rooted had it been majorly shot in India.

The climax of the film, for instance, also looks and feels a little off. The overextended and exploited love metaphor which gets activated by the love Shiva feels for Isha makes the entire premise a little silly. But, the visual grandeur of 'Brahmatsra' overshadows everything.

And, like a thorough filmmaker, as Ayan closes all threads and structurally resolves everything in the film leaving enough loopholes and unanswered questions for its sequel, 'Brahmastra' is a must-watch one-of-a-kind-astraverse universe film.

There is so much hard work put into 'Brahmastra'. Particularly the special effects, the mixing- indigenising and owing of genre conventions, and through Alia and Ranbir's performances for which 'Brahmastra' deserves its due respect and place in Indian cinematic history.

PS: The reviewer can be slightly biased towards Ranbir Kapoor films.

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‘Brahmāstra Part One: Shiva’ Review: Ranbir Kapoor and Alia Bhatt Carry This Bollywood Superhero Spectacular

A young man and woman fall in love just as he begins to unlock his destiny, guiding the pair on an action-fueled collision course with nefarious forces hell-bent on mass destruction.

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The most powerful weapon of the Gods, the Brahmāstra, has been dormant for three decades. The last time it was awakened, it caused chaos across the globe. To protect the world, the Brahmānsh split it into three pieces, scattered around India, guarded by key leaders. On the same night that poor, humble DJ Shiva ( Ranbir Kapoor ) meets the love of his life, quick-witted beauty Isha ( Alia Bhatt ), he begins to be plagued by mysterious, debilitating visions that impede his budding romance. A dark force, led by Junoon (Mouni Roy) is seeking to unite the fractured pieces and achieve world domination and mass destruction. As these visions grow more intense, our budding hero must answer the call, embarking on an adventure with Isha to uncover his destiny.

Character development doesn’t follow the traditional hero’s journey arc. Rather, the film uses that model as the departure point for a unique twist on the expected, innovating and updating it. It’s an enlightened way to include Isha’s agency and arc, which runs complementary to Shiva’s. The pair are archetypal heroes who are fundamentally good, kind souls with heartwarming values that reflect narrative themes of sacrifice, truth and love. These character qualities are always at the forefront of the action, even before the supernatural elements occur. Orchestrating this subtly is a feat given the film’s bombastic, over-the-top nature.

Leads Kapoor and Bhatt have an excess of charm and style that leaps off the screen and grabs your heart. Kapoor’s charisma elevates the material’s sporadically hokey dialogue. Bhatt is luminescent, playing both spitfire and sweetheart with gusto and grace. They are at their most endearing when vulnerable. During a few sequences, whether they’re running over rooftops during fireworks or being sprinkled with marigold petals in a musical number, we can practically spot the dynamic duo falling head over heels for real — since we in the audience are rooting for the real-life newlywed couple.

Casting titans of Indian Cinema as the Brahmāstra pieces’ guardians (towering talents like Amitabh Bachchan, Nagarjuna Akkineni and a gigantic Bollywood superstar who’d be a spoiler to reveal) is a shrewd move, as it gives the ensuing action added gravitas, while gifting the audience with gleeful grins. Sequences that thrive on special effects, showing these men locked in a battle of muscular wit and grit, deliver on the promise of blockbuster fun. Stunt choreography on the whole is lively, naturally including superhero landings for a few folks, but could stand to be infused with more originality.

With a soundtrack including a range of ballads and bops, and score from Pritam Chakraborty that would be celebrated at any nightclub, the film’s soundscape feels emotionally expansive and immersive. Mukerji’s vision for character-driven action is appealing on a multitude of levels, as are the scale and scope of the Astraverse’s future, which crystalizes by the film’s end.

Reviewed at AMC Burbank 16, Burbank, Sept. 7, 2022. Running time: 165 MIN.

• Production: (India) A Walt Disney Studios Motion Pictures release of a Magic Wand Films production, in association with Star Studios, Dharma Prods., Prime Focus, Starlight Pictures. Producers: Marijke Desouza, Karan Johar, Ranbir Kapoor, Namit Malhotra, Ayan Mukerji.
• Crew: Director: Ayan Mukerji. Screenplay: Ayan Mukerji. Camera: Pankaj Kumar, Sudeep Chatterjee, Patrick Duroux, Manikandan, Vikash Nowlakha. Editor: Prakash Kurup. Music: Pritam Chakraborty.
• With: Ranbir Kapoor, Alia Bhatt, Amitabh Bachchan, Nagarjuna Akkineni, Mouni Roy.

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70th National Film Awards Recognised Movies To Watch: Kantara, Brahmastra: Part One And More

By Mashable India

21 August 2024

Aparajito (Bengali)

The film follows aparajito ray, a young filmmaker and the challenges he faces while working on feature films. , vaalvi (marathi), the film follows aniket who wants to kill his wife avani with his girlfriend after she refuses to give him a divorce but nothing goes as planned., ponniyin selvan: i (tamil), taking place in the chola empire the film explores the tales of the princes and who will lead the throne the conspiracies for the successor.  , uunchai (hindi), led by amitabh bachchan the film follows a group of old aged friends who decide to climb everest in the memory of their friend who passed away., brahmāstra: part one – shiva (hindi), known for its vfx and ambitious plotline, the film explores indian mythology in a modern-day aspect and uncovers the story of a hero destined to save the world., kantara (kannada), the film became one of the biggest kannada releases of the decade. it explores the story of a small tribe and the hero that saves the day., aattam (malayalam), the story follows a group of actors in a play. after a practice when one of the girls is groped a meeting is set up to discuss the culprit's expulsion but more damaging secrets are uncovered.  .

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Brahmastra Part 1: Shiva (Tamil)

BRAHMĀSTRA – the Trilogy, is a 3-part film franchise and the beginning of India’s first original universe – the Astraverse. It is a new original cinematic universe inspired by deeply rooted concepts and tales in Indian mythology but set in the modern world, with epic storytelling of fantasy, adventure, good vs evil, love and hope; all told using cutting edge technology and never-seen-before visual spectacles.

Brahmāstra: Part One Shiva Review

Average Ratings: 3.28/5 Score: 89% Positive Reviews Counted:10 Positive:8 Neutral:1 Negative:1

Ratings: Positive Sentiment  Review By: Komal Nahta Site: Zee ETC Bollywood Business

Ayan Mukerjis direction is splendid. He has made a unique film for the Hindi film-going audience and has complemented the high-on-visual-effects drama with a heart-touching story, juxtaposing both beautifully. His narration is remarkable. On the whole, Brahmastra: Part One Shiva is a super-duper hit. It will do phenomenal business at the box-office and will also take Indian cinema several notches higher on the international map as far as visual effects are concerned.

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Ratings: 2/5  Review By: Taran Adarsh Site: Twitter

Brahmāstra is a king-sized disappointment€¦ High on VFX, low on content second half nosedives€¦ Brahmāstra couldve been a game changer, but, alas, its a missed opportunity€¦ All gloss, no soul.

Ratings: Neutral Sentiment  Review By: Anupama Chopra  Site: Youtube

Brahmastra starts at a high note with an action scene and a major cameo however the constant explaination flatten out the Storytelling. What is consistently good in Brahamstra is the VFX as the 3D and special effects are staggering. As Rajamouli taught us that for dazzling action and spectacle to work it must be rooted in grand emotion which is missing here.  Will I be in line for part 2 Absolutely but I hope in the next film Ayan constructs his vast fantasy on stronger scaffolding For it to become as groundbreaking as MCU the script needs to be as sparkling as the special effects.

Ratings: 3.5/5 Review By: Rachana Site: Times Of India

The line between great and good lies in a believable, character-led story that emotionally engages you. The most imaginative worlds created by cinemas geniuses eventually rely on the writing to keep everything else glued perfectly in their places. With all its pluses, nothing makes up for the emotional deficits that Brahmastra suffers. If that had been paid more attention to, it would have gone a long way in making the proceedings more praise-worthy.

Ratings: 4/5  Review By: Umesh Site: Koimoi

All said and done, Brahmastra has pro-level VFX bundled with enough mythology to keep things interesting. It contains everything that the best-looking Indian film should have with some obvious flaws.

Ratings: 3.5/5  Review By: Sonal Site: Zee News

The plot is special as Shiva and Isha’s story takes the centre stage in an innovative way. However, there are a few places where you feel the lag and to add to the misery it gets confusing too. ‘Brahmāstra Part One: Shiva’ is a wholesome family entertainer which will surely compel you to draw a comparison with Hollywood’s Marvel series. But, Yes! For the first time in Bollywood, the makers have tried something different and bigger on that scale.

Ratings: 3.5/5  Review By: Russell Site: BollywoodLife

The visual treat alone is worth the prove of admission for Brahmastra twice over. The dialogues and romance could’ve been streamlined, but the fantasy world and folklore that draw you in are enough to ensure that hardly anybody should walk out of the theatre saying that they didn’t have a good time. I’m going with 3.5 out of 5 stars.

Ratings: 3.5/5 Review By: Tushar Site: India Today

At a time when Hollywood titles like Lord of the Rings and House of the Dragon are dominating the visual effects space, Brahmastra is a gentle reminder that India too isnt behind in the VFX game and has some of the best work in this genre. Ayans message of love defeating darkness and despair couldnt come at a better time! Brahmastra Part One: Shiva is a visual feast worth your time. Dont skip this one.

Ratings: 3/5  Review By: Saibal Site: NDTV

Brahmastra Part One: Shiva is a spectacular production that benefits immensely from the VFX done by DNEG. The crucial action scenes, even as they strain credibility, throb with life and deliver their share of excitement.Brahmastra Part One: Shiva, ambitious and entertaining, has the makings of a blockbuster of the sort that Bollywood has been desperately seeking for a while.

Ratings: Positive Sentiment  Review By: Courtney Site: Variety

This isnt the usual formula for a romantic comedy, nor is it typical for Indian cinema, which roots itself in ancient mysticism and mythology. Yet thats what makes writer-director Ayan Mukerjis sprawling epic €œBrahmāstra Part One: Shiva€ special and innovative. He smashes up genre conventions as Western cinematic influences readily comingle with pure Bollywood razzle-dazzle. And though the story is occasionally overcomplicated and the spectacle excites and exhausts in equal measure (as even Marvel movies do), its a wildly entertaining jump start to a planned trilogy touted as Bollywoods first original cinematic universe, the €œAstraverse.€

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Brahmāstra: Part One Shiva Story:

Shiva, a DJ learns about his strange connection with the element of fire, and also holds the power to awaken the Brahmāstra, a supernatural weapon that is said to be able to destroy the universe, capable of destroying creation and vanquishing all beings. On the other hand, Junoon, the queen of dark forces is also on a quest to get hold of the Brahmāstra. How does Shiva thwart and vanquishes Junoon’s intentions, and also learning about Brahmāstra forms the crux of the plot.

Brahmāstra: Part One Shiva Release Date:

September 9, 2022 ( India) straight to Theaters

Brahmāstra: Part One Shiva Cast:

Amitabh Bachchan Ranbir Kapoor Alia Bhatt Mouni Roy Nagarjuna Akkineni

Brahmāstra: Part One Shiva Director: 

Ayan Mukerji

Brahmāstra: Part One Shiva Producer: 

Karan Johar Apoorva Mehta Namit Malhotra Ranbir Kapoor Marijke Desouza Ayan Mukerji

Brahmāstra: Part One Shiva Production Companies:

Star Studios Dharma Productions Prime Focus Starlight Pictures

Brahmāstra: Part One Shiva Distribution Companies:

Star Studios (India) Walt Disney Studios Motion Pictures

Brahmāstra: Part One Shiva Run Time: 

2 Hour 47 Minutes (167 minutes)

Read More About Celebs: Salman Khan  |  Shahrukh Khan  | Aamir Khan  |  Ranbir Kapoor     Hrithik Roshan  |  Akshay Kumar

Rajeev Masand , Taran Adarsh, Komal Nahta , Anupama Chopra Reviews are awaited for this movie

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தமிழில் உள்ள நுணுக்கங்கள்

Thangalaan Review: பாய்ந்தாரா பா.ரஞ்சித்? சீறினாராக சியான் விக்ரம்? தாங்குமா தங்கலான்? ‘நச்’ விமர்சனம் இதோ!

Thangalaan Review: பா.ரஞ்சித், தன்னுடைய வழக்கமான நிலத்திற்கான போர், மாட்டு இறைச்சி பிரச்சாரம், புத்தர் கோட்பாடு என அனைத்தையும் கொண்டு வந்து விட்டார். கிஷோரின் தங்கலான் உலகத்தை கேமரா கண்கள் கன கச்சிதமாக படம் பிடித்து இருக்கிறது.

Thangalaan Review: இயக்குநர் பா ரஞ்சித் இயக்கத்தில் நடிகர் விக்ரம், நடிகை பார்வதி, நடிகை மாளவிகா மோகனன், பசுபதி உள்ளிட்ட பல நட்சத்திரங்கள் நடித்து, இன்று வெளியாகி இருக்கும் திரைப்படம் தங்கலான். இந்தத் திரைப்படத்திற்கு பிரபல இசையமைப்பாளரான ஜி வி பிரகாஷ் குமார் இசையமைத்திருக்கிறார்.

தங்கலான் சொல்லும் கதை என்ன?

வட ஆற்காடு வேப்பூர் கிராமத்தில் தங்கலான் முனி (விக்ரம்) தன்னுடையை மனைவி கங்கம்மா, ( பார்வதி) குழந்தைகள் மற்றும் தன் சனத்தோடு, தனக்கான நிலத்தில் பயிர் செய்து நிம்மதியாக வாழ்ந்து வருகிறான். இதனை பார்த்து பொறுக்காத ஊர் மிராசு, சூழ்ச்சி செய்து, அவனையும் அவனது மகன்களையும் பண்ணை அடிமையாக பணி அமர்த்துகிறார். இதற்கிடையே வரும் ஆங்கில துரை கிளவ்ன் (டேனியல்) அந்தக் காட்டில் இருக்கும் தங்கத்தை எடுக்க ஊராரின் உதவியை கேட்கிறார். மிராசின் அடிமையாக இருப்பதை விட, துரைக்கு உதவி செய்து கூலி வாங்கி, ரோஷத்தோடு வாழ நினைக்கிறான் தங்கலான். இதனையடுத்து அவனுடைய மகன் அசோகன் மற்றும் ராமானுஜம் வழியில் அந்தனன் ( பசுபதி) உள்ளிட்டோர் செல்கின்றனர்.

ஒரு கட்டத்தில் அவனுடன் ஊராரும் சேர்ந்து கொள்கின்றனர். ஆனால், அங்கிருக்கும் தங்கத்தை தன் உயிராக பாதுகாத்து நிற்கின்றனர் ஆரத்தியும் ( மாளவிகா) அவனது குழுவும். பொன்னை நெருங்க வரும் நபர்களின் உயிர்களை காவு வாங்கும் அவர்களை மீறி, இறுதியில் தங்கலான் குழு தங்கத்தை எடுத்தார்களா? இல்லையா? அதன் பின்னர் என்ன ஆனது என்பது படத்தின் கதை.

தங்கலான் முனி கதாபாத்திரத்திற்கு தன்னுடைய உடல், பொருள், ஆவி என வழக்கம் போல, தன்னை மொத்தமாக கொடுத்து இருக்கிறார் விக்ரம். தங்கலானை அடக்கும் ராணியாகவும், அன்பை அரட்டுத்தனமாக காட்டுபவளாகவும் கங்கம்மா கதாபாத்திரத்தில் மிரட்டி இருக்கிறார் நடிகை பார்வதி . அவளுக்கும், தங்கலானுக்கும் இடையே நடக்கும் ரொமான்ஸ் அழகோ அழகு.

கதாபாத்திரங்களின் கச்சித தேர்வு

பொன்னை பாதுகாக்கும் ஆரத்தியாக மாளவிகா. ஆக்ஷனில் அதகளம் செய்திருக்கும் அவரின் கடின உழைப்புக்கு தனி பாராட்டுகள். ராமானுஜம் வழியில் வந்த அந்தணன் கதாபாத்திரத்தில் பசுபதி தன்னுடைய நடிப்பின் முதிர்ச்சியை காண்பித்து இருக்கிறார். இதர கதாபாத்திரங்களும் கவனம் ஈர்க்கின்றன.

சார்பட்டா பரம்பரை படத்தில் தன்னுடைய திரை கிராப்டின் மூலம் வட சென்னை பாக்சிக்கின் உலகத்தை கண் முன்னே நிறுத்திய பா. ரஞ்சித் , தங்கலானில் கோலார் தங்கவயலில் ஆங்கிலேயர் ஆட்சி காலத்தில் அவர்களுக்கு தங்கத்தை எடுக்க உதவிய மக்களின் உலகத்தை கண் முன்னே நிறுத்தி இருக்கிறார். விக்ரமுடைய நடிப்புத்தீனிக்கு முற்றிலுமாக வேறொரு பரிணாம களத்தை அமைத்து கொடுத்து அவரை நடிப்பில் தங்கலானை மின்ன வைத்திருக்கிறார்

மிரட்டியிருக்கும் ஜீ.வி.பிரகாஷ்

நடிகர்களுக்கான அலங்காரம், ஒப்பனை, ஆக்ஷன் என எல்லாவற்றிலும் முழுக்க முழுக்க உண்மைத் தன்மையை கொண்டு வர முயன்று இருக்கிறார். வசனங்கள் கவனம் ஈர்க்கின்றன. ஒரு அட்வென்சர் கதைக்கான களத்தையும், மாயா ஜாலத்தையும் திரைக்கதையில் கொண்டு வந்திருக்கும் பா.ரஞ்சித், தன்னுடைய வழக்கமான நிலத்திற்கான போர், மாட்டு இறைச்சி பிரச்சாரம், புத்தர் கோட்பாடு என அனைத்தையும் கொண்டு வந்து விட்டார். கிஷோரின் தங்கலான் உலகத்தை கேமரா கண்கள் கன கச்சிதமாக படம் பிடித்து இருக்கிறது. ஜிவி பிரகாஷ் குமார் தன்னுடைய இசையால் படத்தை மொத்தமாக தாங்கி நின்று மிரட்டி இருக்கிறார்.

இவையனைத்தும் படத்தின் பலமாக இருந்தாலும், திரைக்கதையில் அவ்வப்போது குறைபட்டு நிற்கும் திரைக்கதை சுவாரசியமின்மை நமக்கு சோர்வை தருகின்றன. அந்த சோர்வு நம் கண்களை அவ்வப்போது திரையில் இருந்து விலக வைக்கின்றன. அது படத்தின் பலவீனமாக வும் மாறி இருக்கிறது. அவை களைய பட்டிருந்தால் தங்கலான் பொன்னாய் மின்னி இருப்பான்.

சினிமா செய்திகள் உடனுக்குடன் உங்களுக்கு கிடைக்க இந்துஸ்தான் டைம்ஸ் தமிழ் உடன் இணைந்திருங்கள். மேலும் எங்களை சமூகவலைதளங்கள் வாயிலாகவும் பின்தொடரலாம்.

தொடர்புடையை செய்திகள்