dhamaka movie review in hindi

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• Dhamaka Movie Review In Hindi

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Dhamaka movie review: Kartik Aaryan 2.0 delivers intense performance in this gripping thriller

Dhamaka movie review: kartik aaryan is seen in an intense, never-before-seen avatar in ram madhvani's latest thriller..

Dhamaka 's trailer pretty much promised us a Kartik Aaryan 2.0. And the film is indeed Kartik's most challenging performance so far. After being labelled as the monologue king, and having dabbled in romcoms such as Pyaar ka Punchnaama films, Sonu Ke Titu Ki Sweety, Pati Patni Aur woh, Luka Chhupi and so on, Kartik's Arjun Pathak in Dhamaka not only shows his range as an actor but also touches upon a different genre and emotion.

Director Ram Madhvani, who has directed Neerja and series Aarya in the past, creates a world within one room that is full of tension, action, reaction and a sense of urgency. Dhamaka is loosely based on the 2013 Korean film, The Terror Live, and stars Kartik as a broadcast journalist named Arjun Pathak. He was demoted from a prime-time news anchor to an RJ but things change when he scores an exclusive interview with a terrorist who has blown up Mumbai's Sea Link bridge. Arjun Pathak gathers himself to be live on air amid a terror attack and what all goes through his mind while talking to his caller, is what keeps you engaged for 1 hour 43 minutes.

Here, I'd like to mention that film's appropriate length works in its favour. It never loses pace and keeps you on the edge right from the word go. No time is wasted in the build-up--neither for the story nor the characters. The film starts with a romantic song between Arjun Pathak and his wife Saumya (Mrunal Thakur) and cut to the first scene in the newsroom, we are told they are no longer together.

At this point, you'd expect to know the back story or some flashback of what happened, but the hows and the whys are answered organically. The script moves on without staying at one place for too long. Madhvani connects with you with the tensed environment that news anchors and journalists experience while reporting a breaking news from the studio or from the crime scene.

Also read: Sooryavanshi movie review: Akshay Kumar's high-octane action film is your Diwali gift this year

And I loved the dilemma that each character undergoes while doing their bit onscreen-- be it Kartik sitting in the studio and feeling helpless, Amruta Subhash in the control room bossing around, calm yet assertive, or Mrunal Thakur, reporting from bomb blast site and helping hostages, and man on the line, sharing his own ordeal. The portions when Kartik is negotiating with the him and buying time to sort things out give you real chills. However, a little more of Arjun and Saumya's love story could have been shown to add a different dimension to his character.

Madhvani never lets you digress from the present moment and that's the beauty of his storytelling, something that we also saw in Neerja. In the two hours within an airplane, we got to see so many emotions blending into one another and in Dhamaka as well, just one newsroom lets you experience so much under one roof.

For those of you who don't know, Dhamaka, in a way, sets a record of its own for the way the film was shot in 10 days using multiple cameras. The fabulous camera work capturing the intensity of scenes and emotions of characters explains the nitty-gritty and process that Madhvani and the team followed.

Even though Dhamaka isn't a film high on music but it's track Kya Khoya Paaya during the climax, pierces through your heart and stays with you for long, as it beautifully sums up the entire film. If you like thrillers, Dhamaka won't disappoint you and Kartik Aaryan , definitely impresses with his never-seen-before avatar and a convincing performance.

• Kartik Aaryan

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• Dhamaka Movie Review: Kartik Aaryan Surprises, Shocks & Enthralls In Riveting & Watchable Thriller

Dhamaka Movie Review: Kartik Aaryan surprises, shocks & enthralls in riveting & watchable thriller

Ram madhvani's 'dhamaka' cruises in a countdown way. with kartik aaryan in the lead, the film builds up an exciting, jam-packed drama that tells a vital story of a struggling common man, journalism, politics, and how a couple of fateful calls in the midst of an ordinary day turn out to be a scary affair in mumbai..

Poster of Dhamaka featuring Kartik Aaryan

• Movie Name: Dhamaka
• Critics Rating: 3.5 / 5
• Release Date: Nov 11, 2021
• Director: Ram Madhvani
• Genre: Thriller

It wouldn't be wrong to say that Ram Madhvani is a man you can trust when it comes to exploring the best in his actors. Sonam Kapoor starrer Neerja is touted as her career-best performance and Sushmita Sen's web show Aarya is said to be a game-changer for the actress. All of these can be assumed for Kartik Aaryan's Dhamaka too. The film comes across as an opportunity for the actor to fracture the fetters of the whimsical roles that he is identified for. Dhamaka's Arjun Pathak gives him a possibility to explicate to the audience his range as an actor who's fitted for not only reciting long and hilarious monologues but presenting a character that is gritty, tense and has merit. 

Ram Madhvani's 'Dhamaka' cruises in a countdown way. The congenial bustling builds up an exciting, jam-packed drama that tells a vital story of a struggling common man, journalism, politics, and how a couple of fateful calls in the midst of an ordinary day turn out to be a scary affair in Mumbai.

A big shot anchor who's been on top of his game for five years is demoted to be a radio jockey. He discovers he's been rigged with a bomb after a terrorist who blew up the Sea Link calls him up. He is flabbergasted but he sees an opportunity, an exclusive interview that nobody has and which can give him space back. He seizes it to recover his career.

Here, Kartik Aaryan’s character appears to be morally compromised by his judgment to take benefit of the terrorist, but he’s possibly the most naïve here – never sufficiently understanding the outcomes or even contemplating the consequences. He couldn't deem that he could be as used and tricked by his associates, police and the government, who reckon his life even less than he does others. 

A mounting sense of escalation persists throughout Dhamaka. the Sea Link blows up, casualties happen and short timelines imposed by the attacker adds up to the existing tension. And the anxiety gets more critical and agitated as time goes on. Dhamaka succeeds in keeping situations grim and tense, despite a change in the degree of danger. We're regularly warned that innocent are likely to die any moment which kind of instils frustration as to why nothing is happening to save them. I was thumped by the clock near Kartik's desk that keeps reminding of the tickling time we have until the next deadline arrives. It builds to a curiously anarchic climax that we don't expect from a Bollywood film. It's a frightening situation to be in. Your only console is to know that this is just a film.

Retaining the account inside the confines of Arjun Pathak’s radio studio come makeshift newsroom set, Dhamaka succeeds in keeping the narrative taut. Your only escape to the outside world is the newsroom's window and the in-house monitors that update us about the chaos of the attack. Things appear more realistic as the camera steadily moves with handheld techniques. Madhvani deserves credit for holding his ground turf and resisting to step outside of the newsroom to make things more ambitious.

Amit Trivedi's Khoya Paaya is a song that helps build the mood for this triller and a melody that you'd want to hear on quiet evenings. The film also has Prateek Kuhad's Kasoor.

Dhamaka delivers all the kicks and tension one could anticipate from a movie about domestic terrorism. And as good as Kartik Aaryan is in this film, it's certainly the more prominent themes of cynicism and scepticism that makes Dhamka watchable. It is a kind of film that proves a story doesn't need grand scale conspiracy theories when the most explicit example for how the powerful impression the underprivileged is right in front of us.

The flix can be streamed on Netflix.

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Dhamaka Review: नेटफ्लिक्स की एक और कमजोर हिंदी फिल्म, कार्तिक आर्यन को फिर मिला कहानी से धोखा

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कार्तिक आर्यन हिंदी सिनेमा का अनोखा करिश्मा हैं। किसी फिल्मी परिवार से नहीं हैं। करण जौहर और शाहरुख खान जैसे बड़े निर्माताओं की फिल्मों से निकाले जा चुके हैं। कुल 10 साल का करियर है। 11 फिल्में कर चुके हैं। तीन फिल्में सौ करोड़ रुपये से ऊपर का कारोबार कर चुकी हैं। कामयाबी का औसत 50 फीसदी से ज्यादा है। बस उनके आसपास कोई ईमानदार सलाहकार नहीं है। जो भी करीब है, वह बस फायदे की तलाश में है। नतीजा खुद कहानियां तलाशनी पड़ रही हैं। खुद अच्छे निर्देशकों को आवाज देनी पड़ रही है। रोज कुछ न कुछ लोचा निजी जिंदगी में उनकी चलता ही रहता है। फिर भी हिम्मत बाकी है कि प्रयोगधर्मी सिनेमा बनाने की कोशिश में लगे हुए हैं। कोरियाई फिल्म ‘द टेरर लाइव’ को हिंदी में बनाने का आइडिया खुद कार्तिक का है। फिल्म के निर्देशक राम माधवानी को ये बताने में हिचक भी नहीं है कि इस फिल्म की स्क्रिप्ट लेकर खुद कार्तिक उनके पास आए थे।

इस लिहाज से देखें तो फिल्म ‘धमाका’ कार्तिक आर्यन की फिल्म है। राम माधवानी को एक कहानी को एक नए परिवेश में ढालने का मौका दिया गया था लेकिन वह उस पर सौ फीसदी खरे नहीं उतर सके। राम माधवानी की शख्सीयत का अक्स फिल्म ‘धमाका’ में दिखता है। फिल्म सीरियस होने का ढोंग तो खूब करती है लेकिन उसकी फितरत सीरियस रहने की है नहीं। समाचार चैनलों पर ये टिप्पणी करने की कोशिश भी करती है लेकिन समाचार चैनलों का असली तत्व फिल्म परदे पर ला नहीं पाती है। मुंबई की बहुमंजिला इमारत में चलने वाला न्यूज चैनल कितना भी गिरा पड़ा क्यों न हो, उसके संपादक की रीढ़ की हड्डी इतनी लिजलिजी भी नही होगी कि वह अपने पीसीआर में एटीएस के किसी बंदे को प्रोड्यूसर बनकर बैठ जाने दे।

जिन्होंने न्यूज चैनलों में काम किया है, वे जानते हैं कि ऐसे मौकों पर काम कैसे गोली की रफ्तार से होता है। पीसीआर तब वॉर रूम होता है। प्रोड्यूसर का बीपी 150 के ऊपर होना वहां आमबात है और एंकर अगर अर्जुन पाठक जैसा शार्प होता है तो आधे से ज्यादा फैसले खुद लेता है। और, ब्रेकिंग न्यूज। ब्रेकिंग न्यूज अब भी, इतना सब कुछ होने के बाद भी किसी भी न्यूज चैनल का ईमान होती है। गिरा से गिरा एंकर भी उसे रोककर अपनी प्राइमटाइम की एंकरिंग की सौदबाजी नहीं करेगा। राम माधवानी का भी दावा यही है कि ये फिल्म न्यूज चैनलों के बारे में नहीं है। ये एक इंसान का व्यकिगत संघर्ष है जिसमें न्यूज चैनल एक पृष्ठभूमि भर है। अर्जुन के अपनी पत्नी से तलाक के जिक्र से शुरू हुई फिल्म ‘धमाका’ के आखिर में जाकर पता चलता है कि यहां निजी और व्यावसायिक रिश्तों की असल उलझन क्या है।

कथा, पटकथा, निर्देशन, सिनेमैटोग्राफी, संपादन और अभिनय हर विभाग में फिल्म ‘धमाका’ एक कमजोर फिल्म साबित होती है। ये फिल्म बस एक फिल्म बनाने भर के लिए बना दी गई लगती है। फिल्म में कार्तिक को अब तक की सबसे मोटी फीस और फिल्म के सबसे कम समय में शूट हो जाने की चर्चाएं खूब होती रही हैं। लेकिन, फिल्म बनी कैसी है, इसकी चर्चाओं के आगे अब वे सब धूमिल हो जाएंगी। फिल्म का असली सच भी यही होता है। बनने के बाद परदे पर ये सिर्फ सच दिखाती है और वहां किसी तरह का कोई तिकड़मबाजी काम नहीं आती है। कार्तिक को जरूरत है कुछ अच्छी कहानियों की और एक ऐसे मेंटॉर की जो उन्हें सही फिल्में चुनने में मदद कर सके। उनके करियर का अगला ‘धमाका’ भी शायद तभी हो सकेगा।

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Dhamaka movie review: A sincere Kartik Aaryan in Ram Madhvani thriller that isn't explosive, but not exploitative either

Director Ram Madhvani masterfully blends the unrehearsed tension that arises from his natural way of filming with a promising premise on paper to create a taut thriller.

Ram Madhvani is an interesting choice to direct Dhamaka , the Hindi remake of 2013 Korean film The Terror Live because of the subject it broaches. Designed as a comment on the apathetic state of primetime broadcast media, it allows Madhavani to further narrow down the stretch between reality and orchestration, the grey area that has come to be known as his signature style of filmmaking.

While Madhvani insists that he cannot call his modus operandi ‘organic,’ he does allow an atmosphere on set where there is no ‘action’ and ‘cut,’ and the actors are provided enough room to seep into the emotion their characters are undergoing. They are lent a free hand to make the performance, the story, the situation their own, instead of being instructed to adhere wholly to the script.

That is exactly how TV news media should be — and is not. Scripts are furnished, look is designed, tone is outlined, and expressions are manufactured. Of course, there is improv, but even those words are fed into the teleprompter diagonally staring at the news anchor. “Going live in…” is shot as a cue to ‘perform,’ and constant instructions are barked at the anchor through the earpiece that makes it seem like a voice emanating from one’s head.

Madhvani’s style of functioning stands at loggerheads with the area his film is traversing. The chemical reaction should have been either an explosion or a fizzle. But it is somewhere in between, tilting more towards explosion, but not because that is the title of the film.

There’s nothing caps lock about Dhamaka , and there’s certainly no exclamation point at the end. But like his past couple of works, the Sonam Kapoor-starrer hostage thriller Neerja (2016) and Sushmita Sen-starrer Disney+ Hotstar show Aarya (2020), Madhavni excels in drumming up tension, and sustaining it with minor bursts of follow-ups in quick succession.

Aaryan plans Arjun Pathak, a curiously styled news anchor (no, not Arnab Goswami) who works at a media company curiously called TRTV (no, not Republic TV). He has been demoted from the primetime face of the news channel Bharosa 24*7 to just another voice of a radio show called Aaj Ka Topic. His personal life is also in shambles, as his wife and reporter for the same news channel, Saumya (Mrunal Thakur) has sent him a divorce notice.

He gets a chance to scale back the corporate ladder when he receives an anonymous phone call that leads to an explosion on the neighbouring Bandra-Worli Sea Link in Mumbai. He scribbles down ‘Exclusive’ in all caps, and double-underlines it, rather than reporting the suspicious call to the police. He calls his former boss Ankita (Amruta Subhash), who promises to get him back his primetime show in lieu of the explosive breaking news. But the caller is a step ahead as he begins to blackmail Pathak into going against the channel, and closer to the conscience he long abandoned for commercial gains.

The barebones of the plot is dope enough, and co-writers Madhvani and Puneet Sharma do a fair job of adapting it to the Indian context. Besides visual reference, the hierarchy of an Indian newsroom — the class difference between the producers and anchors and the technical aid or ‘IT team,’ is well established. But despite Bharosa 24*7 being a Hindi news channel, the treatment feels more like that of an English one, translated into Hindi.

Irrespective of the language, what remains intact is the lust for drama. To quote the boss who makes the anchor parrot “the three rules” of their company in the film, “An anchor is an actor. An actor wants an audience. The audience wants drama.” The show (or the drama) must go on. And it does go on in Dhamaka , where the script keeps injecting twists and turns — some on point, some unnecessary, some with loopholes — into the proceedings.

But the show goes on. The focus is never on explaining the events. The tone is expository because of the subject, but never the details. It is a relief because that is where the film separates itself from the news media it is critiquing. But there is always a latent expectation from the audience to not ask too many questions about plausibility. Or maybe the makers do not consider them the ‘right’ questions. But for a film that deep dives into drama from the get go, and also swears by it, it’s unable to dissuade the audience from not caring about the various loose ends.

There are bound to be raised eyebrows because even if it’s a metaphorical film, the world seems very real. Once the suspension of disbelief in one compartment is achieved, there is lots to savour.

Madhvani masterfully blends the unrehearsed tension that arises from his natural way of filming with a promising premise on paper to create a taut thriller.

His army of technicians, including Monisha Baldawa with her razor-sharp editing, Manu Anand with his chaotic cinematography, and Manas Choudhury’s piercing sound design, work in tandem with the compact production design to amplify the sights and sounds inside a buzzing newsroom.

Besides Madhvani’s filmmaking and primetime news channels, another pair of unlikely bedfellows is the director and the lead actor. Aaryan is introduced as a romantic hero, with a snapshot showreel of intimate moments with Thakur’s character, set to Prateek Kuhad ’s ‘ Kasoor ,’ in sync with his perception as the face of rom-coms like Luka Chuppi and Love Aaj Kal . But as the film progresses, the walls of the newsroom close in on Aaryan, who is then thrown into the deep recesses of Arjun Pathak’s charcoal grey personality. While Madhvani’s filmmaking style is purported as actor-friendly, it ends up cornering actors to perform. Sonam in Neerja and Sushmita in Aarya , while it’s too soon to claim, have not given better performances since. Aaryan should be applauded for subscribing to Madhvani’s methodical madness despite his stature as an A-list star. But only his subsequent films will tell whether more credit is due Madhvani or Aaryan himself.

But Dhamaka is clearly restricted to a one-man show. All the other characters are deliberately cut into cardboard copies of what they represent. Amruta Subhash is delightfully unrelenting as the news producer obsessed with TRPs; outrageous remarks just drop out of her mouth like casual, verbal hand grenades. Mrunal Thakur is the moral centre of the film but we see her through the rather coloured lens of the protagonist so there is very little to chew on.

There are no faces attributed to the ministers and TV news audience despite their presence looming large over the entire plot. Lack of personification is used as a tool here. “ Mantri ji aa rahe hain ,” is a recurring remark, veiled as constant bouts of false reassurance that politicians dish out. The echoes of the news anchor are reflected by aerial shots of concrete buildings. There are no shots of audience watching TV, which almost suggests primetime newsrooms are creating and peddling salacious stuff in vacuum.

It pinches to see seasoned actors like Vikas Kumar and Vishwajeet Pradhan being given the short end of the stick. They had such meaty parts in Aarya that it feels criminal to see them play to a fraction of their potentials. Yes, blame the economy of screen time in a feature as opposed to a 10-part show. But what Dhamaka could have massively benefited from was to have more poise in its proceedings.

However, as Arjun Pathak puts it in the film, “ Logon ke pas sach dhoondhne, samajhne ka time nahi hai .” That does not ring entirely true for Dhamaka as it does try to probe what it set out for, despite the pace of a thriller. It hits home the hardest in the climax where it reveals itself to be a true-blue cautionary tale more than the glorified story of a fallen hero.

Yes, Dhamaka is hurried, dramatic, and loud, and ends up being like the monster it is trying to kill. But then it is a film, and is supposed to be all that. News, on the other hand, is not.

Dhamaka is streaming on Netflix India.

Rating: ***1/2

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Dhamaka Movies Review: All three Languages Hindi, Malayalam, Telugu and Ravi Teja, Kartik Aaryan, Omar Lulu | Dhamaka Time

Dhamaka Movies: A Comprehensive Overview

The term “Dhamaka” holds a special place in Indian cinema, signifying a movie that promises to deliver high-octane action, thrill, and entertainment. Over the years, there oblige been several films that have appropriate this title, each leaving an indelible mark on the spectators. In this article, we delve into the world of “Dhamaka” movies, exploring their unique characteristics, critical reception, and cultural impact.

Table of Contents

Dhamaka: a kind of its own.

Dhamaka movies are often considered below the action genre, but they encompass a superior range of elements that set them apart from typical achievement glances. While action sequences are a staple, Dhamaka movies often incorporate elements of suspense, drama, and comedy, creating a captivating blend of genres. The layers often revolve everywhere high-stakes situations, where the character faces apparently insurmountable challenges, the calculation to the adrenaline urgency that these movies are known for.

Famous Dhamaka Movies

The “ Dhamaka” moniker has been friendly to several notable films finished the years, each through its own unique flavor and influence. Here are a few examples:

• Dhamaka (2022): A Telugu-language action thriller starring Ravi Teja , Jayaram, and Sreeleela. The film follows the story of Swamy, a dishonest police officer, and Anand, a virtuous journalist, as their lives intertwine in a netting of love, betrayal, and action.
• Dhamaka (2021): A Hindi-language remake of the 2013 South Korean film “The Terror Live.” The film stars Kartik Aaryan as a journalist who becomes embroiled in a captive situation after questioning a terrorist.

Dhamaka (2020): A Malayalam-language comedy film directed by Omar Lulu. The film revolves around Eyo, a man who experiences erectile dysfunction on his wedding night, leading to a series of hilarious misadventures.

Dhamaka (2022): A Telugu-language action thriller starring Ravi Teja

Dhamaka: A Telugu-Language Action Thriller

In the domain of Telugu film, activity thrill rides hold an exceptional spot, enrapturing crowds with their adrenaline-siphoning successions, unpredictable plots, and magnetic heroes. Dhamaka, which was released in 2022, is evidence of the continuing popularity of this style by providing an exciting and entertaining cinematic experience.

Coordinated by Trinadha Rao Nakkina and created by Individuals Media Production line and Abhishek Agarwal Expressions, Dhamaka stars Ravi Teja, the undisputed ‘Mass Maharaja’ of Telugu film , in a job that exhibits his flexibility and screen presence. Sreeleela, a rising star who adds a touch of freshness and charm to the narrative, and Jayaram, a veteran actor who is known for his powerful performances, are in his company.

Swamy, played by Ravi Teja, is a television anchor who becomes involved in a high-stakes drama. As a prisoner circumstance unfurls during a live transmission, Swamy is compelled to pursue hard choices that will decide the destiny of those included. The film investigates topics of media obligation, moral issues, and the force of narrating.

A Captivating Division with Unpredictable Turns

Dhamaka’s story is a roller bar cloth ride of suspense and intrigue that preserves the audience on the edge of their seats right from the beginning. The film’s screenplay, wrote by Prasanna Kumar Bezawada, is firmly woven, with exciting bends in the road that keep the story flighty and locking in.

The film excels in its ability to seamlessly balance action and drama. The activity groupings are carefully arranged, displaying Ravi Teja’s deftness and trick abilities. The characters ‘ inner conflicts and life-altering decisions during the dramatic moments are equally compelling.

Dhamaka (2021): A Hindi-language remake of the 2013 South Korean film “The Terror Live.” The film stars Kartik Aaryan

Dhamaka: A Hindi Reimagining of “The Terror Live”

Dhamaka (2021) isn’t just another Hindi-language film. It’s a bold reimagining of the critically acclaimed 2013 South Korean thriller, “The Terror Live.” This adaptation, directed by the talented Ram Madhvani, stars the charismatic Kartik Aaryan in a role that pushes him beyond his usual comedic persona.

The film follows Arjun Pathak (Aaryan) , a once-prominent news anchor relegated to the late-night radio show “Dhamaka.” Desperate towards reclaim his lost glory, he treasures himself embroiled popular a high-stakes hostage condition. During an exclusive interview with a masked terrorist, the unthinkable happens – live on air. Thrust into the heart of the action, Arjun must navigate a complex web of deceit, manipulation, and moral dilemmas. His choices obligate pivotal consequences, not just for the hostages nonetheless for himself and his loved ones.

An Edgy Exploration of Media and Morality

Dhamaka transcends the confines of a mere action thriller. Him delves deep into the murky seawaters of television responsibility and the ethics of broadcasting in the age of instant gratification. The film asks crucial questions: How far does a journalist go for a story? When does pursuing the truth become exploitative? Can the media be a force for good or does it ultimately exacerbate the situation?

Aaryan’s Transformation

Kartik Aaryan , known for his comedic timing and lighthearted roles, undergoes a remarkable transformation in Dhamaka. He sheds his usual persona and embraces the intensity of Arjun Pathak, capturing his desperation, internal conflict, and unexpected heroism. His performance is nuanced and powerful, showcasing his dramatic range and proving his potential as a serious actor. A Thrilling and Thought-Provoking Experience

Dhamaka is a film that keeps you arranged the edge of your chair. The pacing is taut, the confusion is palpable, too the twists and turns are unpredictable. But it’s not just roughly the adrenaline rush. The picture leaves you with something to ponder, prompting you to request the role of broadcasting in our lives and the choices we variety in the face of difficulty.

A Must-Watch for Film Enthusiasts

Dhamaka is a compelling watch for anyone who appreciates a well-crafted thriller with something more to offer. It’s a testament to the command of good storytelling and a outstanding illustration of the multi-ethnic influence that cinema can require. If you’re looking for a picture that will interest, enthrall, and leave you intelligent long after the acclaims roll, then Dhamaka is a must-watch.

Dhamaka (2020): A Malayalam-language comedy film directed by Omar Lulu.

Dhamaka: A Malayalam Comedy with a Hilarious Twist

Dhamaka (2020) is not your average Malayalam comedy. It’s a laugh-out-loud riot through a single twist that sets it separately from the break. Directed by the ever-popular Omar Lulu, the film stars Arun Kumar as Eyo, a carefree young man whose life takes an unexpected turn on his wedding night.

A Hilarious Mishap on the Wedding Night

Eyo’s marriage to the beautiful Annie (played by Nikki Galrani) is a joyous occasion, filled with family, friends, and the promise of a happy future. However, their wedding night takes a drastic turn when Eyo discovers he has erectile dysfunction. What follows is a series of hilarious misadventures as Eyo desperately seeks a solution before his secret is revealed.

A Journey of Laughter and Mishaps

Driven by Eyo’s comedic desperation, the film takes us on a wild ride through a series of absurd and hilarious situations. From seeking advice from dubious sources to embarking on disastrous attempts to find a cure, Eyo’s journey is filled with moments of slapstick humor and witty dialogue that will have you laughing out loud.

More Than Just Laughs

Dhamaka , however, offers more than just superficial laughs. It tackles the sensitive topic of sexual dysfunction with a lighthearted touch, encouraging open conversations and promoting understanding. The film similarly explores themes of love, acceptance, and the position of announcement within relationships, adding a film of depth to the comedic description.

Performances that Shine

Arun Kumar delivers a fantastic performance as Eyo, perfectly capturing his character’s naivety, desperation, and ultimately, his resilience. Nikki Galrani complements him effortlessly as the supportive and humorous Annie, and the supporting cast adds to the film’s comedic charm with their exaggerated performances and witty banter.

A Treat for Malayalam Cinema Fans

Dhamaka is a delightful addition to the Malayalam comedy genre. It’s a picture that will authority you entertained, laughing, and possibly even thinking nearby the importance of announcements and empathetic in relationships. If you’re beholding for a lighthearted and comedic film that suggests something more than just jokes, then Dhamaka is definitely cost watching.

Critical Reception and Cultural Impact

Dhamaka movies have generally received mixed reviews from critics, with some praising their action sequences and entertainment value while others criticizing their weak plotlines and lack of character development. However, these movies have consistently found an audience, particularly among fans of action-packed entertainment.

The cultural impact of Dhamaka movies is evident in their popularity and influence on mainstream Indian cinema. The term “Dhamaka” has industrialized synonymous with action-packed, pleasurable movies, and the genre lingers to interest filmmakers and audiences alike.

Conclusions

Dhamaka cinemas represent an exceptional niche in Indian cinema, offering a blur of action, suspense, drama, and joking that has spellbound audiences for years. While they may not always meet the highest critical standards, their popularity and cultural impact are undeniable. As the Indian film industry continues to evolve, Dhamaka movies are sure to remain a staple, providing audiences with high-octane entertainment and adrenaline-fueled experiences.

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Swamy and Anand who look exactly the same, come from different backgrounds. Under dicey circumstances Pranavi, a young and pretty girl falls in love with both of them. How will Swamy and Ana... Read all Swamy and Anand who look exactly the same, come from different backgrounds. Under dicey circumstances Pranavi, a young and pretty girl falls in love with both of them. How will Swamy and Anand solve their problems? Swamy and Anand who look exactly the same, come from different backgrounds. Under dicey circumstances Pranavi, a young and pretty girl falls in love with both of them. How will Swamy and Anand solve their problems?

• Trinadha Rao Nakkina
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• Alternate versions The UK release was cut, the distributor chose to make cuts to scenes of strong violence in order to obtain a 12A classification. An uncut 15 classification was available.
• Soundtracks Jinthaak "Music by": Bheems Ceciroleo "Lyrics by": Shyam Kasarla "Performed by": Bheems Ceciroleo , Mangli "Duration":"3:45"

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rishitborra 63 383 days ago

Maybe a perfect come back for Ravi Teja and movies is nicely blended as a musical comedy...

Swathi Vallabhajosyula 230 449 days ago

A helpful movie for doctors! If they need to inflict pain externally, make the patients see this movie!<br/>Where do I start? Say the cons:<br/>1. &quot;6 days ladki in&quot; concept to too stale; the new trend is &quot;find a girl that needs help, for her to flirt with you and then save her&quot; easy-peasy. <br/>2. The hero gets hit on the back of the head and bleeds like crazy - no bandage, no recovery time, but still had a band-aid on the forehead for a minor scratch. WOW! (the bruises on the neck are still red like fresh ones - he is GOD ����)<br/>3. This was like a &quot;Jabardast Movie.&quot; No dialogue in the script, just punchlines. It's understandable if the hero had a few punchlines, but the entire script had &quot;only punchlines with a salt of proper conversational dialogues&quot; for the hero, heroine, mother, father, sister, villain, and dam, even the comedian (well, this one is an exception) roles! <br/>4. Seriously an outdated pattern - hero entry, fight, song, heroine entry, song, fight, sing, a savior moment, song, fight, prefinal song, grand fight, epic &quot;WOW&quot; revealing twist (I mean, who didn't know the brother was the villain too - dint the extremely non-groomed beard pass the bad-vibe check<br/>?) <br/>5. OH MY GOD, I don't even want to talk about the poor acting of the heroine, but the worst part was an epically failed lip sync and annoying dubbing artist voice ����. <br/>The only pro in this movie: is &quot;open relationships&quot;<br/>From when did people not know how progressive a Telugu movie could be - the heroine dates two guys at the same time, and her mom makes it sound &quot;funny&quot;. WOW ���� (she dint know that it was the same person until much later) Common people what next ENMs (Ethically non-monogamy)? I am impressed &lt;wink wink&gt;

deepu rockzz 5 450 days ago

The movie is entertaining, cuz it's Ravi Teja..��

Mattr 2809 451 days ago

i dont know why these people are rating this movie good. Any movie at the end of the day tells a story. This movie has no story. The story is a mix of Nagarjuna's king movie plus several other similar double role movies with similar plots. The only comedy is the comedy you see in the trailer. Raviteja acting was good but yet times acts retarded, probably thinking it is comedy. The hostile takeover of the company is also a joke. Telugu movies all got this theme in which people just force industrial bigwigs to sign their companies to them by threatening murder etc. Anyway, just one more boring movie from raviteja

Surya Surya 452 days ago

Too good��

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Dhamaka (2021) review – a waste despite having the formula

This review of the Netflix film Dhamaka (2021) does not contain spoilers. 

In every democratic country, the media is considered the fourth pillar of democracy. India is considered the largest democracy in the world. So, it is quite evident that alongside the pillars of the legislature, executive, and judiciary, the media has a fair share of responsibility to hold the roof of democracy. But in the past few years, this pillar loses its strength as it becomes more a representative of the authority than an independent self.

Amidst this concerning issue of the downfall of media, Netflix brings us the film, Dhamaka.  Directed by Ram Madhvani, this film is the official remake of the 2013 Korean film The Terror Live. Because I am not familiar with the Korean version, I watched Dhamaka  with total ignorance of the original. Thus I have high hopes for it, expecting some important issues to be talked about the sensationalized journalism of Indian media within it. But despite having some half-witted sequences of ranting for 104 minutes, Dhamaka has nothing more to offer. As well as in terms of a genre piece (action-thriller), it is not at all convincing.

Revolving around the story of a cynical TV anchor’s attempt to capitalize an alarming call of blasting the Mumbai ‘Sea-Link’ bridge from a caller, the film stars actors like Kartik Aaryan, Mrunal Thakur, Soham Majumdar, Vikas Kumar, and Amruta Subhash. Kartik Aaryan, after all his comic and romantic leads, get his first break to play a serious character as the TV anchor, Arjun Pathak. I haven’t seen much of his work previously, but after watching this film, I have some serious doubts about his acting skills. An actor must have the charisma of taking forward the story with the believability of his acting. In Kartik’s acting, believability is missing in most of the scenes. Though the character is designed in an over-the-top manner, which is rightfully understandable in the context of the subject matter, Kartik is not quite convincing in it for me.

Amruta Subhash as the boss of Arjun is also a waste due to the heavy-handed writing of the character. The character is too one-dimensional with the typical ‘daayan’ (witch in Hindi) kind of aura, who doesn’t care much except her gain of TRPs as a high executive of a renowned news network. But with this wasteful representation of the character, Subhash manages to cover up some of the loopholes. Without her performance, the characterization will be a total disaster.

With Soham Majumdar and Mrunal Thakur, there is nothing much to talk about as they get limited screen time. Soham Majumdar as the caller, Raghubir Mehta, is absent from most of the film’s length. He is mostly playing a role of an invincible man talking on the phone. But the conviction he gives to his work profoundly can be felt after hearing his voice over the phone throughout the movie.

Completed in just about 10 days of shooting and four months of post-production, the hurriedness of the production profoundly can be seen in the whole movie. The sequences are hurriedly designed often too conveniently leads to a lack of believability, the buildup of the suspense is too flat to feel the thrill and excitement. Also, in a platform like Netflix, you will expect a high production value in all aspects, but in reality, that is far from it. The level of VFX is too low to be called the production of an international platform like Netflix. With all these, it shows the lack of care towards it from the creators of this project.

To be honest, I expect a lot from Ram Madhvani in  Dhamaka after his successful web debut with Aarya. But with a lack of effort in creativity, it becomes a waste despite having a good potential story about the present-day context with the formula of remaking.

What did you think of the Netflix film Dhamaka (2021)? Comment below. 

Article by Jonathon Wilson

Jonathon is one of the co-founders of Ready Steady Cut and has been an instrumental part of the team since its inception in 2017. Jonathon has remained involved in all aspects of the site’s operation, mainly dedicated to its content output, remaining one of its primary Entertainment writers while also functioning as our dedicated Commissioning Editor, publishing over 6,500 articles.

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Amar singh chamkila movie review in hindi: जानें कैसी है दिलजीत दोसांझ की अमर सिंह चमकीला, पढ़ें मूवी रिव्यू, amar singh chamkila movie review in hindi: जानें कैसी है दिलजीत दोसांझ और परिणीति चोपड़ा की नेटफ्लिक्स मूवी अमर सिंह चमकीला. पढ़ें मूवी रिव्यू..

Amar Singh Chamkila Review in Hindi: जानें कैसी है अमर सिंह चमकीला

Amar Singh Chamkila Movie Review in Hindi: नेटफ्लिक्स फिल्म 'अमर सिंह चमकीला' रिलीज हो गई है. फिल्म लंबे समय से सुर्खियों में थी. फिल्म में दिलजीत दोसांझ और परिणीति चोपड़ा लीड रोल में हैं जबकि फिल्म का निर्देशन इम्तियाज अली ने किया है. इम्तियाज अली ने पंजाबी सिंगर अमर सिंह चमकीला की जिंदगी को फिल्म में दिखाया है. दिलजीत दोसांझ ने अमर सिंह चमकीला का किरदार निभाया है. जानें कैसी है ओटीटी प्लेटफॉर्म नेटफ्लिक्स की मूवी अमर सिंह चमकीला. पढ़ें मूवी रिव्यू.

अमर सिंह चमकीला की कहानी

यह भी पढ़ें.

कहानी पंजाबी सिंगर अमर सिंह चमकीला की है. पंजाब के ओरिजनल रॉकस्टार कहे जाने वाले अमर सिंह चमकीला ने 20 साल की उम्र में अपने गानों से धूम मचा दी थी. महज 27 साल की उम्र में उनका कत्ल कर दिया गया था. फिल्म में चमकीला की जिंदगी के अहम पड़ावों को दिखाया गया है. इम्तियाज अली ने कहानी को चित्रों और एनिमेशन के जरिये भी दिखाया है. इस तरह से उन्होंने अच्छे से चमकीला की लाइफ को परदे पर उतारा है. हालांकि वह चमकीला की जिदंगी के बारे में कोई नई बात पेश नहीं कर पाते हैं. जितना उन्होंने दिखाया है, वह कहानी उनके चाहने वालों को जरूर पता होगी. इस पंजाबी सिंगर, उनके गाने और कुछ पड़ावों को स्क्रीन पर देखकर अच्छा लगता है. 

अमर सिंह चमकीला का डायरेक्शन

इम्तियाज अली जब वी मेट और रॉकस्टार जैसी फिल्में बना चुके हैं. उनकी पिछली दो फिल्में जब हैरी मेट सेजल और लव आज कल बॉक्स ऑफिस पर कामयाब नहीं हो सकीं. इस बार उन्होंने हाथ ओटीटी पर आजमाया है. उन्होंने विषय अच्छा चुना और उस दौर के पंजाब को अच्छे से परदे पर उकेरा भी. चमकीला की कहानी जितनी उन्हें मिली उसे दिखा दिया. फिल्म की लेंथ थोड़ी कम की जा सकती थी. बाकी सब ठीक-ठाक है. यह इम्तियाज की अच्छी कोशिश है.

अमर सिंह चमकीला में एक्टिंग

दिलजीत दोसांझ ने चमकीला का किरदार निभाया है. वह इस किरदार में गहरे तक उतरे हैं और कैरेक्टर की बारीकियों को भी उन्होंने अच्छे से पकड़ा है. एक्सप्रेशन भी जोरदार है. अमरज्योत के किरदार में परिणीति चोपड़ा ने उनका अच्छा साथ दिया है.

अमर सिंह चमकीला वर्डिक्ट

जो चमकीला के फैन है, जिन्हें चमकीला के गाने पसंद है, जो दिलजीत दोसांझ को शानदार एक्टिंग करते देखना चाहते हैं और जो पंजाब के इस सिंगर के बारे में जानने में दिलचस्पी रखते हैं उनके लिए यह अच्छी फिल्म है. अगर आप चमकीला के बारे में कुछ नया जानने की उम्मीद करते हैं तो निराशा हाथ लग सकती है. कुल मिलाकर इस फिल्म को एक बार जरूर देखा जा सकता है.

रेटिंग: 2.5/5 स्टार ओटीटी: नेटफ्लिक्स डायरेक्शन: इम्तियाज अली कलाकार: दिलजीत दोसांझ और परिणीति चोपड़ा

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‘Silence 2’ Review: Climax, dialogues make Manoj Bajpayee film a missed opportunity

Silence 2 review: manoj bajpayee and prachi desai-starrer 'silence 2: the night owl bar shootout' released on april 16. the film fails to impress as a crime thriller despite its potential, says our review..

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• Manoj Bajpayee returns as ACP Avinash Verma with 'Silence 2'
• Aban Bharucha Deohans is the writer and director
• The film suffers from an unsteady pace and a disappointing climax

Cast & Crew

Manoj Bajpayee

Release Date: 16 Apr, 2024

Manoj Bajpayee and Prachi Desai-starrer ‘Silence 2: The Night Owl Bar Shootout’ isn’t a film with just a long title. With close to 2 hours and 40 minute run-time, the film also veers towards being a dud show with very melodramatic treatment. At the centre of it is ACP Avinash Verma (played by Bajpayee), who reiterates how Amitabh Bachchan says ‘No means no’ in Pink before beating up goons and can play out murder scenes with his vivid imagination.

He is a poet at heart who simply delivers philosophical lines in the middle of an investigation, ponders often and quotes Ghalib. This man, along with his team, is out to catch a killer, who has murdered 10 people in a bar. However, thanks to the hunch that ACP Verma has, he finds out that there is a deeper racket involved.

(SPOILERS AHEAD)

The racket that we are speaking about is a human trafficking racket. With a slow start, the story slowly progresses towards finding the culprit, not just behind the shootout but also the one operating the racket.

At the centre of it is a mad artist, Arjun Chauhan. He is shown as an elusive character who only a few have met. The mystery unfolds, little by little, over the next 160 minutes. While the film picks up pace, it is very sporadic. The pace keeps being unsteady, and the melodramatic treatment does not help the case.

(SPOILERS END)

What is worse is the climax and the revelation of the criminal. What follows is the motive provided. Thanks to the final sequence, it looks like the audience has very successfully wasted their time.

Aban Bharucha Deohans has written and directed ‘Silence 2: The Night Owl Bar Shootout’. The writing could have been much crisper, especially at times when very craftily-made crime thrillers are aplenty. Even as a director, he loses his reign over the film quite a few times. The execution does not help.

Manoj Bajpayee’s ACP Verma feels like Srikanth Tiwari with less quirk. The actor tries to incorporate the swag that he has in the Raj and DK show, but keeps stuck in philosophy. The lines given just make the character farcical at times. He tries to play ACP Verma with sincerity, but the script does not do justice.

Prachi Desai is a wasted opportunity here. The actor, who has spark and talent, doesn’t have much to showcase in the film. It also makes us wonder why makers are not doing justice to her.

There seems to be a poor parody running throughout with dialogues like ‘ kuch toh gadbad hai ’ (something is wrong), reminiscent of ACP Pradyuman from CID or ‘ iss khel ka nirdeshak Arjun Chauhan hai par iss drame ka antim scene hum likhenge ’ (Arjun Chauhan might be the director of the game, but I will write the last scene). There’s also, ‘her life was interrupted by death’ at a very serious point. So, you get the drift of how the film gets unintentionally funny.