SYNCCINEMA

M iddle Class Melodies – Comedy and Drama are cooked up in delicious proportions which work for all. A new style of film-making and subject has incepted into the South Indian Films – maybe thanks to   Lijo Jose Pellisery . The Rustic Rumble with Exuberant actions of a Community of people is a genre on its own, (  Angamaly Diaries, Ee Ma Yau, Jallikattu, Palasa 1978, Falaknuma Das etc. ). Middle-Class Melodies  conversely   is less Rustic, suaver and desexualized ( in a good manner ) treatment of a subject on a similar note - Only to make it for a “ Family Watch”. ( though, at the climax there is a frenzy myriad of twists like in UMUR )   The Director  Vinoth Anantharaju’s  classily envisioned scenes are shot in a  Dil Raju  colour palette   ( though not produced by him ), with people swearing just occasionally and emotional sludges being replaced by free-flowing character-driven arcs. This is the biggest plus point, as the title itself suggests that it’s a story of/about us. We d

Maa Vintha Gadha Vinuma - The Gen Z Romantic Drama shoulders on a balance of relevance and satire. Siddharth Jonnalagadla, the writer, brings out interesting and quirky conversations from his writing style and treatment of this genre. In a recent interview, he said that he would always prefer to keep the dialogues surreal and life-like rather being very archetypical and filmy.  T hat works. It works beyond just the dialogue, but even to the narrative. So well, that a “Strange” tale which never irks us beyond a limit when put out as bullet points of timeline ends being much more than flat. Sidhu understands the mentality and status quo of the Smartphone-youth of being Impulsive, Quickly taking decisions, having a #YOLO tattooed at heart, and the most important of all is obsession in their life with Social media. He knows a screw up won’t take much time to have an i(r)conic response in the form of memes, tweets, youtube views, WhatsApp shares, tik-tok ( shit it’s banned ) reels and you k

S oorarai Pottru / A kaasam Nee Haddura – Mounts up sky high respect and has a special place in the heart by unveiling one touching sequence after another. Sudha Kongara is one of the directors who has a very potent and strong voice for her stories and characters. “The Troops of Rebellion” could just be the title for it if she ever makes crossovers for those characters. She sets apart from her tone of dealing with the same story, same conflict and same closure with a sassy as well as spicy interaction among her characters. This film is no different, but, a more matured Writing ( Script and Screen ), Directing. The cohesive nature of the crafts, mainly – fantastic cinematography by Niketh Bommi, subtle music by G.V.Prakash and balanced edit by Sathish Suriya indicate the all-round distinction, ultimately contributing to the big picture.   We for sure have the rebels here, not just 2 ( like in  Irudhi Sutturu /Guru ) or 3, but around 6 to 7 who let themselves in and out of the plot. Th

M iss India - From Setting and Music to Characters and Conflicts, the movie amuses in resurfacing the Tolly tropes we have gone past last decade. There’s a scene in the midway before the interval when Manasa Samyukhta ( Keerthy Suresh ) attends an interview for a job she doesn’t wish to do. Luckily, she stumbles upon her new confidant as her Interviewer and the rest could never go wrong for her in getting the job. Even the Interviewer says so, that he knows personally how talented and overqualified she is, so it would be a waste of time to even interview her. But, Samyukhta, firstly accepting the statements given, still insists on having a “Select to Suit” basis for her job by taking her only if she performs satisfactorily. Fair Enough right? What’s   Electrifying!  as the interviewer would say eventually for the standing answer she gives on a rhetoric question “ You have seen 3 men along with you sitting outside for this job. What makes you feel superior or rather indifferent as a w