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Housefull 4 Reviews

The film hurtles along like a runaway trundler.

Full Review | Original Score: 1/5 | Jul 15, 2020

All-in-all, watch the film if you like watching leave-your-brains-behind kind of comedy. It's three hours of silliness served without pretence. Go without expectations and you'll come out happy.

Full Review | Original Score: 2.5/5 | Oct 25, 2019

Overall, Housefull 4 ends up as a complete mad caper. Which, if you're a fan of the Housefull brand of comedy, might appeal to you. But if you are not, then proceed with caution.

The Akshay Kumar starrer offers nothing that makes sense.

Full Review | Oct 25, 2019

The second-hand embarrassment...

Housefull 4 is quite the comic extravaganza that offers you a heavy dose of laughter this festive season if you can keep your expectations in check.

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Movie Review: Housefull 4

Housefull 4 Devesh Sharma, April 10, 2020

Housefull 4 Movie Review
Times Of India

critic's rating: 2.5/5 The year is 1419. Bala (Akshay Kumar) is a spoilt prince of a kingdom neighbouring Sitamgarh ruled by a womanising King (Ranjeet). The King had three daughters Madhu (Kriti Sanon), Mala (Pooja Hegde) and Meena (Kriti Kharbanda). Bala is expelled out of his kingdom by his father (Parikshit Sahni) due to his bad behaviour. To get his riches back, he plans to marry Madhu. The girls' bodyguard, Dharamputra (Bobby Deol) and dance teacher Bangdu ( Riteish Deshmukh) too become his accomplices in his plan. But on the very day of wedding Gaama (Rana Daggubati) comes to avenge the death of his brother. They're all killed in the resulting skirmish. 600 years later, all get reborn again. Harry (Akshay), Max (Bobby) and Roy (Riteish) run a barbershop in London. They get into debt with the Mafia and to pay that off, seek to seduce the daughters (Kriti, Pooja and Kriti) of a billionaire (Ranjeet). History is repeating itself and only Harry remembers the past -- but the catch is that he suffers from selective amnesia... Housefull 4 is basically a string of situational gags, spoofing everything from Baahubali films, reincarnation dramas, even Ramsay brand of horror. Nawazuddin Siddiqui, for instance, plays an exorcist called Ramsay who mocks his own character from his hit series Sacred Games. Director Farhad Samji has banked heavily on juvenile humour as well. He has gone by the formula that more silly the proceedings, the better. Sauce is used in place of sindoor, bird droppings are considered sacred, a woman who laughs much is called Gigli, a spider is given a mouth-to-mouth treatment... and so on. There's Johnny Lever's drag act too, on top of everything. The male stars too are mocked for being too old for their female co-stars. The good thing is that no one takes themselves seriously. One can see that the actors have enjoyed playing the OTT characters. The film is an ensemble comedy by and large, though Akshay does get slightly more screen time than the others. It's good to see him back doing comedy after all those heavy-duty public service films. Though there are some risque elements in the film. It can still be enjoyed with the whole family. All-in-all, watch the film if you like watching leave-your-brains-behind kind of comedy. It's three hours of silliness served without pretence. Go without expectations and you'll come out happy.

Trailer : Housefull 4

Sreeparna sengupta, october 25, 2019, 4:08 pm ist.

STORY: In 1419, the love stories of three couples are left unfinished owing to a conspiracy. In 2019, reincarnated, they meet again and the romances are rekindled. But this time pairings are mixed up. Can what was done in 1419 be undone in 2019? REVIEW: In its fourth edition the Housefull franchise ensures that it takes its brand of over the top and mindless humour forward. Actually, it's more like the reverse, since it rewinds back six hundred years to the 15th century. But first, it's London of 2019, where Harry (Akshay Kumar) is a hairdresser who alternately has bouts of memory loss and flashes from his past life. Max (Bobby Deol) and Roy (Riteish Deshmukh) are his brothers. Together they hatch a plan to marry Kriti, Neha and Pooja (Kriti Sanon, Kriti Kharbanda and Pooja Hegde respectively), the three daughters of a billionaire, Thakral (Ranjeet), to be able to pay off the loot money of a mafia don Michael that they have misplaced. When the marriage destination is inadvertently fixed as Sitamgarh in India, the couples head there and Harry meets his past life friend Aakhri Pasta (Chunky Pandey) and recalls everything from that time. The three pairs of lovers - Rajkumar Bala Dev Singh (Akshay Kumar) and Princess Madhu (Kriti Sanon), Bangdu Maharaj (Riteish Deshmukh) and Princess Mala (Pooja Hegde), Angrakshak Dharamputra (Bobby Deol, yes the pun is not lost here) and Princess Meena (Kriti Kharbanda) are killed, leaving their love stories unfinished when they get caught up in an evil design to eliminate them. Although, Bala himself is 'shaitaan ka sala' and has laid a trap to marry Mala, so that he can become the king of Sitamgarh. The main hitch now is that, in 2019 the couples are mixed up, and Bala (Akshay Kumar) decides that the pairings must be set right so none of them end up with their sister or brother-in-law from their past life. So with this central plot point in hand, Housefull4 takes off. Of course, this mission to set things 'right' leads to confusions galore and a deluge of characters, who spring in and out of the narrative and from their last life to present life. There is a sprinkling of mindless comic moments owing to the general silliness all around. And a dollop of low- brow, crass humor. A special low point is when Princess Meena pretends to be molested to convince Dharamputra to marry her. Add to that, there are portions that drag and jokes that feel dated. The film's increasingly loud background score (especially in the second half) and the CGI in the period setting leave a lot to be desired. And a running joke on three pigeons named Neil, Nitin and Mukesh that doesn't actually fly. Of the actresses, it is Kriti Sanon who has the most lengthy role and she pulls it off well. Kriti Kharbanda and Pooja Hegde are reduced to being props, owing to their limited screen time. Interestingly, all three are uniformly dressed in the same colors, as if it were a deliberate attempt to not be able to tell them apart. Riteish Deshmukh gets the quirks of his characters well and does manage to pull in some laughs. Manoj Pahwa, Nawazuddin Siddiqui, Rana Daggubatti and Johnny Lever have their oddball parts to play in the film - though some seem just pointless. And yes, Archana Puran Singh pops up often in a photo. But largely, it is Akshay Kumar who has the most fleshed out role and shoulders most of the film. And he definitely shines in most of them getting the comic timing right. Needless to add, don't go looking for logic in Housefull4 (but still, how did the blood on Rana Daggubatti's blue jacket magically disappear in the last scene?). In the last 30 minutes, Kriti repeatedly asks, "Yeh sab kya ho raha hain?" A sentiment that could be echoed by the viewers. Overall, Housefull4 ends up as a complete mad caper. Which, if you're a fan of the Housefull brand of comedy, might appeal to you. But if you are not, then proceed with caution.

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'Housefull 4' movie review: Akshay Kumar steals the show in this problematic comedy of errors

Is there a point expecting logic, sincerity, and political correctness from the Housefull franchise? Haven’t we learnt anything over the past nine years and three films? The latest instalment sticks to the Housefull template of mounting a comedy of errors on a flimsy premise, which is held together by a series of unending gags, irreverent humour, which more than just borders on the offensive, and Akshay Kumar. After a series of nationalistic movies that saw Akshay champion various causes, he returns to a film that has him getting slapped around, kicked in the nether regions, and even unabashedly rolling in shit, literally. If this latter is courtesy a group of pigs in 1419, it is pigeons who do the needful in 2019.

Basically this film is what will happen if SS Rajamouli made Magadheera within the Housefull franchise. Just like Magadheera, Housefull 4 also uses reincarnation and 'sachcha pyaar' to sell us an outlandish story, which begins in London, and for the most part, happens in the princely state of Sitamgarh.

The heroines hardly get to say anything except an exasperated "Shut Up" here and a "Yeh kya ho raha hai?" there, and of course, zero character development. There is the random breaking of fourth wall, misplaced pop culture references in the 14th century, and of course, Dharmendra being referenced while talking about Bobby Deol. But again, what do you expect out of a franchise which perennially aims at the low-hanging fruit? Housefull 4 is a worthy addition to the franchise known for its slapstick humour and below-the-belt jokes. Of what worth this franchise is in the first place is a different question altogether.

Despite a number of cringe-worthy dialogues in the name of humour appearing intermittently in the movie, the one factor that remains consistently sincere and funny is Akshay Kumar. While I am not a big fan of Sundi/Sandy from the previous instalment, both the roles in Housefull 4 give enough for the actor to ply his wares, and he does so with considerable elan. As Harry in the 2019 timeline, Akshay plays a man who forgets things when he hears loud noises, a "London ka Ghajini", and he shoulders the responsibility of the film, almost singlehandedly in the second half.

However, the real show-stealer is Akshay as Rajkumar Bala Dev of Madhavgarh. The actor lets his hair down in the role of a scheming bald prince, whose characterisation is very reminiscent of General Aladeen from The Dictator. Remember the Akshay from films such as Singh is King and Rowdy Rathore? He is back in familiar territory after a prolonged break where he tried to save a lot of things, including the Indian legal system, Indian women, and even the Indian space research.

ALSO READ| 'Housefull 4' shooting did not suffer from #MeToo allegations on Sajid Khan: Bobby Deol

In between all this, there is Rana Daggubati, whose inclusion also brings in the mandatory Baahubali references. Look out for his present-day avatar, where Rana has the most unlikely profession. Such is the randomness of his profession that the only thing more random than that is the presence of Nawazuddin Siddiqui grooving to an item number along with the entire cast of Housefull 4. Such moments of ingenuity and wackiness manage to balance, albeit temporarily, the outrage the film induces otherwise.

Writing credits of the film are shared by six people, and it really does feel like a classic case of too many cooks spoiling the biriyani. However, the actors, including Riteish and Johnny, ably support Akshay in his endeavour to solve all the confusion by incessant hamming, as does the over-the-top staging.

Some might argue that the presence of this franchise is a farce and not the best thing to have happened to Bollywood. Others believe there is a huge market for such mindless entertainers. Some others are of the opinion that comedy is a subjective thing. To be honest, I related to all these opinions at various points of Housefull 4. Are certain dialogues abysmal? Yes. Is the presence of Sajid Khan's name in the credits disheartening? Yes. Did I laugh out loud when they break into Soldier Soldier song in 1491? You bet I did! Did I give a half-smile when they decided to rhyme "Exorcism" with... Sonu Nigam? Definitely. So, that brings me to the most important question that came up after watching Housefull 4. Do we need a Housefull 5? Well, as Akshay repeatedly says in this film... I don't know.

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‘Housefull 4’ movie review: A reincarnation comedy that seems to drag on for a lifetime

Farhad samji directs the latest installment in the franchise..

Housefull 4 travels down the same road of diminishing returns as other comedy franchises ( Golmaal , Masti ). This one, the fourth in the series, actually goes back even further in time to justify its existence. While Golmaal Again (2017) laced its comedy with supernatural elements, Housefull 4 opts for the reincarnation formula, that wonderful scripting contrivance that allows errors made in the previous life to be fixed in this one.

Six hundred years ago, a bald and dissolute prince pretends to fall for the princess of a neighbouring kingdom in order to inherit her wealth. The princess’s sisters also find their true ones in a dancer and a bodyguard. However, a fight engineered by a scheming courtier prevents the wedding from taking place, and everybody perishes.

In the present, Harry (Akshay Kumar), Roy (Riteish Deshmukh) and Max (Bobby Deol) are all set to marry the daughters of an affluent businessman. The men are interested in the women only for money (nobody asks the women why they couldn’t do better for themselves). No tears are shed when Harry realises that the woman for whom he is faking love was actually meant to be his sister-in-law in the previous life. Since the women resemble each other to the extent that they look like triplets and are identically styled too, even viewers might be forgiven for mistaking one for the other.

The first one to remember is Harry, who was Bala in the old days (Bala: get it? Bal: hair). A trio of pooping pigeons nudges Harry/Bala to the light, and the others catch up one by one, just in time for the credits. The gag about recurring Housefull character Aakhri Pasta (Chunky Pandey) and the gender swap that takes place with his wife – Jamie Lever in the past; her real-life father Johnny Lever in the present – would have been funny if it weren’t homophobic. The frequent jokes about limp-wristed men and trans people indicate both the insensitivity and despair of the filmmakers. Why does Deshmkuh’s Roy behave in this way? Because he hasn’t been issued a tender for his gender, it seems.

Housefull 4 is clearly stuck in its own time warp, one in which the aging Akshay Kumar can romance women who look obviously younger, Deshmukh can drudge up the stereotype of the effete dance teacher and veteran villain Ranjeet can be cast as the fountain of virility. When a movie has as its comedy centrepiece a scene revolving around a hijra, you know that the writing team is working the bottom of the gutter.

Housefull 4 was to have been directed by Sajid Khan, but he was dropped from the project after a series of allegations of sexual misconduct. The direction has been credited to Farhad Samji, who is also one of the writers. Fortunately, the material is too flimsy, whether in this avatar or the earlier one, to be truly offensive. The flashbacks threaten to last into our own next lives; the dialogue is uninspired; the grand sets and costumes are so sub- Baahubali that they border on parody. The ultimate sign that the writers have run out of new ways to pack the house: lyrics of popular Hindi songs are converted into dialogue.

Akshay Kumar
Housefull 4 movie review
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Housefull 4 movie review: This Akshay Kumar, Kriti Sanon film is uneven but funny

Housefull 4 movie review: watch it if you are a fan of the franchise and, of course, akshay kumar, who seems to be getting better with age..

Housefull 4 Director - Farhad Samji Cast - Akshay Kumar, Kriti Sanon, Bobby Deol, Riteish Deshmukh, Kriti Kharbanda, Pooja Hegde

Housefull 4 movie review: Akshay Kumar leads an ensemble cast in this comedy caper.

At a time when content is king, an out-and-out comedy like Housefull 4 has its work cut out. Housefull 4, on its part, does a credible job with an all-star cast of Akshay Kumar , Kriti Sanon, Riteish Deshmukh, Bobby Deol, Pooja Hegde and Chunky Pandey, among others. The film, directed by Farhad Samji, manages to tickle your funny bone whilst making sense.

Another plus is that Housefull 4 goes beyond funny as Samji stirs the pot with drama and action. The clear standout is Akshay’s bald king Bala with his idiosyncrasies and a viral signature step.

The film is divided between two eras — 1419 and 2019. Harry (Akshay Kumar), Max (Bobby Deol) and Roy (Riteish Deshmukh) own a barber shop in London and are in debt. To pay off the massive loan, they devise a plan to marry three millionaire sisters. Harry suffers from short-term memory loss on hearing any loud sounds and often has flashbacks of a life he led 600 years ago. Early in Housefull 4, we see Harry visiting Sitamgarh, where it all started and then convincing others that they all have all been reborn.

We are then introduced to the cast’s period avatars -- King Bala (Akshay), Bangdu Maharaj (Riteish) and Dharamputra (Bobby) from 1419. The twist in the tale comes when they realise they are about to marry the wrong girls, and how the past has an impact on their future.

Bollywood is no stranger to reincarnation tales. It has tried the genre often in the past with various degrees of success – while Karz, Karan Arjun and Om Shanti Om achieved cult status, others such as Ek Paheli Leela and Raabta sunk.

The trio of female actors in Housefull 4 is hit-or-miss.

For Housefull 4, it is the comedy that sets it apart. The first half of the film keeps you engaged with its period look and sets mounted on a lavish scale, but the second half is a downer with a weaker narrative. Even if you fast forward the second half all the way to the climax, you would not miss anything.

The dialogues, with a clear emphasis on rhyming, keep the laughs coming. Samji, who has also penned the dialogues, gives us these gems: ‘Aaj mera fast hai, isliye thoda slow maara’, ‘Isne gender ka tender nahi bhara’, Kabootar ka yuck brings good luck’, ‘Maa ka saaya nahi hai aur mundan ke baad sir par chaaya nahi hai’. Housefull 4 also references older films and songs in creative ways to keep you smiling. While Housefull 1, 2, 3 were laughter riots with several lame jokes, Housefull 4 thankfully overcomes that shortcoming with elan.

The film rests on Akshay’s shoulders and he does a commendable job of keeping it going. He perks up the screen with his very presence, giving a fillip to others’ performances too. As Bala, he raises the bar but the underdeveloped character of Harry lets him down.

Riteish Deshmukh and Chunky Pandey, who have such spot-on comic timing, have been under-utlised in the film, with their dialogues often sounding off-track. Bobby Deol looks macho and stands out.

Among the female actors, Kriti Sanon does well – both as a princess and a woman of today. Her namesake, Kriti Kharbanda brings freshness to the screen though her poor dialogue delivery is distracting. Pooja Hegde, who is doing a period role again after her debut Mohenjo Daro, is strictly average. The only scene where she pulls off a joke is when she says ‘In shabdon ko toh sangeet mein pirona chahiye’ in a rather cheeky way.

Rana Daggubati is wasted in a cameo, especially as we have come to expect so much from him after Baahubali. Yesteryear villain Ranjit, senior actor Manoj Pahwa and Johhny Lever are in their element. Amid such an interesting line-up, Sharad Kelkar turns out to be the surprise element, and quite impressive too.

While Housefull 4 music is ordinary, the Ek Chumma song has been beautifully choreographed. Bala – Shaitaan Ka Saala is clearly the highlight with its lame yet catchy lyrics. A qawwali called Badla featuring Rana doesn’t fare any better.

Housefull 4 is quite the comic extravaganza that offers you a heavy dose of laughter this festive season if you can keep your expectations in check. Watch it if you are a fan of Housefull franchise and, of course, Akshay Kumar, who seems to be getting better with age.

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Housefull 4 Movie Review: Akshay Kumar's Diwali Release Left Us Wondering If The Makers Were Joking!

If low-brow humour is your thing, 'housefull 4' might appeal to you. the rest can simply pick up the dvd of the first film to revisit few laughs..

In a scene in the film when Kriti Sanon tries to fight an opponent, Akshay Kumar interrupts and tells her, 'Y eh tumhara kaam nahin ' and takes the sword from her hand. Another sequence has a female protagonist crying false rape and saying, ' Main abla hoon, tabla nahin '. If that isn't enough, one of the dialogues goes like, ' Iss ne gender ka tender nhi bhara ' to explain someone's effeminate behaviour.

Welcome to the world of 'Housefull 4' where cringeworthy dialogues are passed off as humour.

What's Yay: The concept of reincarnation comedy

What's Nay: Some of the borderline offensive and sexist jokes, direction, editing, songs

Popcorn Refill: Whenever the characters break into a song

Iconic moment: None

Harry (Akshay Kumar) works as a barber in a shop named 'Hulk Cut' in London and often experiences flashes from his past life. He and his brothers, Max and Roy (played by Bobby Deol and Riteish Deshmukh respectively) owe a huge amount of money to a gangster after Harry accidentally washes off the gangster's money owing to his bouts of short-term memory loss.

To repay the money, the trio hatch a plan to marry Kriti, Neha and Pooja (Kriti Sanon, Kriti Kharbanda and Pooja Hegde), the three daughters of a billionaire, Thakral (Ranjeet). Things go as planned and everyone heads to Sitamgarh for the wedding.

As soon as they reach the destination, Harry recalls everything from his past life. The film travels back to the year 1419 where Harry was Rajkumar Bala and Kriti was Rajkumari Madhu, his love interest. Max was the royal bodyguard Angrakshak Dharamputra who was in love with Rajkumari Meena (Neha in present life). Nartaki Bangdu Maharaj (Roy) and Rajkumar Mala (Pooja) were a couple.

Owing to an evil conspiracy, the three pair of lovers had failed to complete their love stories and breathed their last. Now in the year 2019, the couples have been reborn. But there's a glitch. The pairings are wrong. Will Harry and his brothers finally get a happy 'ending' for their love story? The rest of the film holds an answer to that.

The 'Housefull' franchise is known for its slapstick laughs. Helmed by Farhad Samji, the fourth film too serves you that. Only if the makers had gone low on the borderline offensive and sexist jokes, this could have been more rib-tickling fun!

The film borrows a few scenes from its previous instalments as well. Strangely, Akshay's Harry reminded me of Johnny Lever's Bhoola act from 'Golmaal'. Also post interval, 'Housefull 4' loses some of its goofiness and the climax looks hurried.

Performances

If you find yourself chuckling at some places, the credit goes to Akshay Kumar. The actor adds some dignity to an obnoxious character like Bala. Riteish Deshmukh who has a terrific comic-timing, too evokes a few laughs. Bobby Deol looks a bit lost in the crowd.

Speaking about the girls, Kriti Sanon gets the meatiest role and performs well. Kriti Kharbanda and Pooja Hegde put up a fair show in their lazily written roles.

While Rana Daggubati impresses in his menacing avatar as Gama, things don't work out the same way when he switches to Pappu Rangeela. Johnny Lever and Chunky Panday impress you in bits and pieces; blame it on the inconsistent writing. Nawazuddin Siddiqui is wasted in his cameo.

Technical Aspects

Sudeep Chaterjee's cinematography works fine with the theme of the film. Rameshwar S. Bhagat's editing looks disjointed at places, making us wonder how much the film was snipped on the editing table.

'Housefull 4' disappoints you big time when it comes to the songs. With absurd lyrics and bland music, they simply add minutes to the run-time of the film.

If low-brow humour is your thing, 'Housefull 4' might appeal to you. The rest can simply pick up the DVD of the first film to revisit a few laughs. I am going with 2.5 stars.

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Housefull 4 Movie Review

Article by Satya B Published by GulteDesk --> Published on: 2:27 pm, 26 October 2019 | Updated on 2:38 pm, 17 April 2020

2Hr 30 Mins | Comedy | 2019-10-26

Cast - Akshay Kumar, Riteish Deshmukh, Bobby Deol, Kriti Sanon, Pooja Hegde, Kriti Karbhanda, Rana Daggubati, Chunkey Panday, Nawazuddin Siddique, Jhonny Lever and Others

Director - Farhad Samji

Producer - Sajid Nadiadwala

Banner - Nadiadwala Grandson Entertainment

Music - Sohail Sen, Farhad Samji, Sand

Housefull 4 is the best example for what they say ‘too many cooks spoil the broth’. Just look at how many people were involved in writing screenplay for it. Farhad Samji has taken over the direction reins from Sajid Khan after the latter faced ‘Me Too’ allegations. We can’t say who is the luckiest among the two. But the unluckiest has to be Farhad Samji, who will now be remembered for being credited as the director for this epic disaster. Critics were always against Housefull series, but the movies had done well as they appealed to common audience. But Housefull 4 takes its audience for granted and offers them stale jokes and gags. Housefull 4 has an interesting premise, but it is turned into a mess because of outlandish writing and unimaginative direction. Even its talented star cast couldn’t save it from ending up as a disaster. Only this movie could make the super talented Nawazuddin Siddique look like a clueless clown. Housefull 4 is the story of three couples and how destiny helps them reunite after 600 years. Three brothers (Akshay, Bobby and Deshmukh) plots a plan to get married to wealthy sisters trio (Sanon, Karbhanda and Pooja ) and they go to Sitamghad for their destination wedding. They come to know that they were reincarnated again after 600 years and are going to be hitched with wrong persons. A comedy of errors begin. Reincarnation has been the favorite theme of Indian filmmakers from decades, but none have made a comedy with this setup. Housefull 4 makers might have seen potential in this idea to set the cash registers ringing. It could have certainly clicked if there is some effort put into the writing. Housefull 4 never raises above the mediocre mark at any point. Beginning of the film has some laughs and it seems okay until the flashback begins. This flashback portion has to be the ace for Housefull 4, but it falls flat on its face because of its crass humor and jokes that never land. Everything seems forced and even the ever reliable Akshay Kumar has been reduced to a prop in some scenes. Thanks to its tacky visual effects, the visual experience becomes even torrid to sit through. The final portions are better compared to the flashback episode, but it will need a lot of patience and strength to survive until that point. Given the previous films in this franchise, one wouldn’t have too many expectations on this one. Especially after watching that ridiculous trailer. But Housefull 4 manages to disappoint even after our expectations were set to bare minimum. Akshay Kumar is good in parts. In fact, he has the most fleshed out character among all and he comes good with his impeccable comedy timing in some scenes. Riteish is a fine actor and he manages to click. Bobby is so-so. Among the female leads, Kriti Sanon gets a better role compared to Pooja and the other Kriti. Rana Daggubati is good in the final portions. Chunky Panday and Jhonny Lever’s over the top comedy makes you cringe in your seats. The less said the better about the remaining characters. Music is pretty average. Background score is very loud. Cinematography is good. Visual effects are unimpressive. Editing is clumsy. The film is made on a very high budget, which is evident in its grand visuals. Director Farhad seems to be lost at times not knowing where to take this and we cannot blame him for it. He has been assigned the job as a replacement director and for that matter even Sajid Khan wouldn’t have been able to get away with this one. It is better to stay away from the theaters playing Housefull 4 as it will spoil the festival mood and make you regret the decision of watching it despite the warning signs.

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Housefull 4

wogma rating: Watch if you have nothing better to do ( ? )

Were it not for the general slapstickiness, the extra half hour, the flippant attitude towards writing women characters, Housefull 4 might’ve worked for the few laughs it brings.

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My rating for every Housefull film has dropped from the previous one, leaving no more room to the south. This could have been good news in the sense that I have seen the worse. But, no one can really guarantee that, can they? Yes, I am that sceptical about Housefull 4 .

I do realise the writing seems to have improved a tad bit. This time, they at least have tried to have some method in the impending chaos. But would it entertain? Still unlikely. The brand of comedy seems more or less the same.

Yeah, I know I sound like this is a chore I am waiting to be done with. Maybe I will work some enthusiasm up by the time I have to step into the theatre. If nothing else, as a challenge worth taking on in the name of cinema.

Housefull 4 releases on 25 October 2019.

- meeta, a part of the audience

A destination wedding in Sitamgadh. Three brothers are getting married to three sisters. For the girls’ dad’s money. But it was all fate’s doing. To understand which, we will have to travel back 600 years. That’s when you realise the three women have to be switched amongst the three men. To be the same couples that they were in an earlier life. Why do the couples have to match across 6 centuries? To show true love is eternal, of course! Why else? To this unexpected effort in the writing department is added, a generous dose of slapstick, the usual casual approach towards non-male characters, some silly humour which works only a few times.

And hey, you get to watch Nawazzudin Siddiqui dance.

When it does work, the gag is repeated often enough to lose most of its effect. Anyway, most of the other jokes, including the play on words, the Hindi film references hardly squiggle a giggle out of you. Then there are instances of pointing out a flaw in the writing and going ahead and doing it anyway. Highlighting its own unoriginal sub-plots, for instance, doesn’t excuse the hack-y writing.

Similarly, the film’s superficial feminism is exposed because the intent is to blind you with large gestures. It has women saving themselves from goons and even protecting a man slow clap , while there is a thick layer of disrespect towards women in the writing. I am not alluding to Thakral’s ( Ranjeet ) yucky leching ( tharkiness ). The only three women in the main cast of over 10 people have no distinctive characters. You wouldn’t be able to tell one from the other. You wonder why Harry ( Akshay Kumar ) wants to get the pairs right across so many lifetimes. They are all the same! The writers couldn’t be bothered to think of names for the girls. Their screen name is the same as their real names. And the names from the ancient times are a play on words and references rather than a writer thinking hard about their characters’ names. To be fair though, so are the men’s names. But at least, Dharam-Putra as Bobby Deol ’s name brought a half-smile.

Maybe this laziness could’ve been ignored as “personal choice of prioritisation”. But when you use false sexual harassment by a woman as a joke, especially given the real-life allegations against ex-crew-members Sajid Khan and Nana Patekar . The misogyny, under all the laughs, is as obvious as it is intentional. Even acid attack victims and use of pepper spray are targetted with a sly “not all men” flavour. The women are unreasonable, and the men misunderstood helpless do-gooders. The jokes around this theme are in bad taste.

And there is this whole confused writing related to an effeminate character who is assumed to be gay and a character who is transgender. These are obviously there to get cheap laughs out of the audience. Me? I get exasperated to the point of numbness and cannot think beyond.

When you see this happening on the screen, you don’t feel like complaining about a woman being announced pregnant the morning after. About maharajas using language that is possibly more suited to a badshah. But then again, the writers must have been sure that they could not be consistent with the language, so it is not really the distinguishing factor between the two time periods in the film.

They use costumes and set designs to make that distinction. That bit is done quite well. With calmer colours and better production values, the visual experience is a much more tolerable one compared to the otherwise loud nature of this franchise.

Highlighting its own unoriginal sub-plots, for instance, doesn’t excuse the hack-y writing.

On that front, while the women in the full-house have the same expressions and similar outfits to wear—across sixty decades—the men get a chance to experiment with their act. Akshay Kumar , in fact, stands out with his distinct personalities in the two periods. And hey, you get to watch Nawazzudin Siddiqui dance. How’s that for novelty?

Speaking of which, I did not expect symbolism in a Housefull film. A sword seems to come out of an effeminate man’s genitalia. So swords replace “manhood”? Intentional or not, within the film’s grammar, it is expected to get you to laugh. Eeky humour it is. Even in use of metaphors, Housefull 4 creeps you out. Sure, it covers some of it under the garb of “spoof”.

I am just glad for the play on words with ‘sa-re-ga-ma’ that I enjoyed. I am glad that I could be done with it in 2.5 hours.

30 reviewers ( ? ) - 2 yays 9 so-so 19 nays

Warning: clicking on "full review" will take you to an external website that could contain spoilers.

Thumbs up, by R.M. Vijayakar, India West : ...Among the actors, special marks go to Riteish Deshmukh, Kriti Sanon, Ranjeet and the 21st century Johny Lever. The rest do the needful. Just like the film for the audience that needs pure entertainment that once in a while.... full review

Thumbs up, by Umesh Punwani, koimoi : ...All said and done, Housefull 4 is unabashed, crazy, insane fun. A proper out-and-out comedy, without a mashup of any other genre, after ages. Perfect festive watch!... full review

So-So, Behindwoods : ...Housefull 4 does have some cheeky humour, like the hilarious movie references and the stretch where Pappu (played by Rana Daggubati) unknowingly threatens the boys with a qawwali song. In the acting department, Ritesh Deshmukh does his best to salvage the film. But these instances are few and far in between and seldom compensates for the sea of generic situations. Overall, Housefull 4 is a forgettable fare that tries to bite off more than it could chew.... full review

So-So, by Devesh Sharma, Filmfare : ...All-in-all, watch the film if you like watching leave-your-brains-behind kind of comedy. It's three hours of silliness served without pretence. Go without expectations and you'll come out happy.... full review

So-So, by Madhuri V, Filmi Beat : ...'Housefull 4' disappoints you big time when it comes to the songs. With absurd lyrics and bland music, they simply add minutes to the run-time of the film.... full review

So-So, by Monika Rawal Kukreja, Hindustan Times : ...Housefull 4 is quite the comic extravaganza that offers you a heavy dose of laughter this festive season if you can keep your expectations in check. Watch it if you are a fan of Housefull franchise and, of course, Akshay Kumar, who seems to be getting better with age.... full review

So-So, by Ambika Sachin, Khaleej Times : ...If you are in the mind for a totally mindless entertainer, set against a majestic backdrop then Housefull 4 could be for you. But if you don't count yourself among those who find the sight of a pigeon pooping on an actor hilarious we advice you to stay out of this 'House'.... full review

So-So, by Karan Singh Chilotreeepa, Movie Talkies : ...The film will definitely will be a Diwali Dhamaka, an entertainer for which you need to keep your brains at home and have a hearty laugh over the film. Taking all these points into consideration, I will give it a rating of 2.5 out of 5 Stars.... full review

So-So, by Namrata Thaker, Rediff : ...Many of the funny scenes will remind you of the comedy from the 1990s. They are crass and will not make you laugh at all. Chunky Pandey, Johnny Lever, Ranjeet and Rana Daggubati have cameos and they do well. Rana is like the desi Khal Drogo and his look is impressive. His role and acting, not much! Johnny Lever does his best but it is frustrating to see him do the same thing again and again. Nawazuddin Siddiqui, also in a cameo, is absolutely amazing. He will remind you of Sacred Games' Gaitonde.... full review

So-So, by Shivani Dixit, Times Now : ...On the whole, watch Housefull 4 for Akshay Kumar, and nothing else.... full review

So-So, by Sreeparna Sengupta,, Times of India : ...Overall, Housefull4 ends up as a complete mad caper. Which, if you're a fan of the Housefull brand of comedy, might appeal to you. But if you are not, then proceed with caution.... full review

Thumbs down, by Bobby Sing, Bobby Talks Cinema.com : ...On a concluding note, you may try watching HOUSEFULL4 on the online portals soon as a time pass, but not in the theaters for a ticket sold at all inflated prices. But then, there are too many good things to watch on the online portals too moving over this silly mess.... full review

Thumbs down, by Subhash K Jha, Bolly Spice : ...House Full 4 is packaged like a Diwali mithai ka dabba layer after layer of temptation that you can’t help binging on. But it finally leaves you sick at the pit of your stomach.... full review

Thumbs down, Bollywood Hungama : ...In fact there’s an in-your-face reference to the film later. However, several sequences are weak and the jokes fall flat. The writing is also to blame but the director should have hidden these shortcomings with his execution. Sadly that doesn’t happen.... full review

Thumbs down, by Pankaj Sabnani, Bollywood Life : ...Housefull 4 had the potential to be a lot better, but with only a few good and funny moments, it turns out to be average at best. There are surely better things to do this Diwali than watching this one. We're going with 2 stars.... full review

Thumbs down, by ARNAB BANERJEE, Deccan Chronicle : ...If you have nothing better to do, and must watch a film, go watch a repeat of your favourite television show, no matter how taxing it may get. Wasting your time, money and energy on a film like Housefull 4 will possibly make you swear to be off cinema for some time at least!... full review

Thumbs down, by Prathyush Parasuramanhyush, Film Companion : ...Housefull 4, of course shouldn’t be dismissed as a cultural product of its time. But when the whole is far less than the sum of its parts, it is time to introspect. You are probably thinking that this movie is not made for critiquing, not meant to be taken seriously. But in saying that aren’t you dismissing the very thing you seek value from?... full review

Thumbs down, by Johnson Thomas, Free Press Journal : ...It’s really hard to care about these three sets of tiresome twosomes. Their antics are wearying and tedious and the direction feels rather heavy-handed. Neither the loud acting, the badly timed slapstick nor the lacklustre helming allows for any relief!... full review

Thumbs down, by Josh, fullhyd.com : ...We admired the fearless matron (mentioned in the first paragraph) wishing she adopted the other gullible children in the hall and dragged us out of the evils of Housefull 4. Because this bunch of willing men in the audience were clapping and hooting when an elderly king sampled a dollop of pig faeces imagining it to be an aphrodisiac. Each single one of us in the hall needed a mother desperately.... full review

Thumbs down, by Vishal Verma, Glamsham.com : ...HOUSEFULL 4 – The reincarnation of the ‘chichora’ Akshay Kumar we never wanted is a snore bore. It’s like being with a group of friends who are having crackling fun with each other doing absurd bizarre things, while you stand aside and keep scratching your head unless you become bald but they refuse to stop.... full review

Thumbs down, by Nairita Mukherjee, india today : ...Sajid Khan was directing Housefull 4 initially but had to be removed after #MeToo allegations surfaced against him. Farhad Samji took the baton post that, took the film to completion.... full review

Thumbs down, by Shubhra Gupta, indian express : ...Akshay Kumar starrer is a failure on all counts.... full review

Thumbs down, by Sonil Dedhia, MiD DAY : ...The actors definitely seem to have had a blast. After his streak of patriotic films, Kumar sleepwalks through this. Deshmukh, blessed with comic timing that never fails, is a treat to watch. Although he puts up a fair act, Deol brings little to the table. Daggubati as the desi Khal Drogo seems to be a miscast, and the three girls, Kriti Sanon, Pooja Hegde and Kriti Kharbanda, merely add to the glam quotient. This Diwali, you'd rather enjoy a house full of guests instead of this film.... full review

Thumbs down, by Vinamra Mathur, MiD DAY : ...I wasn't expecting anything great as that would have been a sin in itself, all I aspired for is a good time.... full review

Thumbs down, by Kunal Guha, Mumbai Mirror : ...Director-dialogue writer Farhad Samji should be pinned for samji should be pinned for summarising a bald, motherless man’s predicament as being deprived of “maa ka saaya and baal ka chaaya”. The sensibility and treatment is analogous to those trashy TV comedies with jarring canned laughter that sometimes even eclipses the punchlines.... full review

Thumbs down, by Saibal Chatterjee, NDTV : ...The misunderstandings that the rigmarole causes are neither funny nor logical. A film so thin has never been so confusing. With little to offer by way of truly effective slapstick, Housefull 4 falls back on the usual complement of Bollywood cross-references.... full review

Thumbs down, by Rohit Vats, News18.com : ...Despite all this, two brilliantly placed things in script cracked me up. The first is three pigeons named Neil, Nitin and Mukesh, and the second is this dialogue: “Agar main badshah hoon toh tu kya Honey Singh hai (If I am Badshah then who are you? Honey Singh?).”... full review

Thumbs down, by Nikita Roy, Pinkvilla : ...All in all, Housefull 4, a-so-called-tale-of-three-brothers is a potpourri of dull gags, scenic songs, inconsequential scenes with VFX and glam which provided very shallow entertainment. For me, it is has created no dhamaka this Diwali in theatres. Watch the movie only if you feel it's good enough for you.... full review

Thumbs down, by Nandini Ramnath, Scroll.in : ...Housefull 4 was to have been directed by Sajid Khan, but he was dropped from the project after a series of allegations of sexual misconduct. The direction has been credited to Farhad Samji, who is also one of the writers. Fortunately, the material is too flimsy, whether in this avatar or the earlier one, to be truly offensive.... full review

Thumbs down, by Namrata Joshi, The Hindu : ...Worse are the crass jokes directed at the queer community. Sample: an effeminate guy is referred to as the one “jisne gender ka tender nahin bhara”. What’s most troubling, however, is that you could be the only sadu (grumpy), traumatised aunty in the multiplex desperate to make a dash towards the exit at the end the film, while the rest of the audience could well be having a jolly good time. Your feeling of being held hostage could well be another’s volitional captivity.... full review

Twitter reviews for this movie are not available.

2 readers - 0 yays 2 so-so 0 nays

So-So, by Mohit Kumar : Great coverage as always & its always a delight to check out latest bolly news on this web. This alo

So-So, by SSC Result 2020 : SSC Result 2020

This page has additional observations, other than the ones noted in the main review .

Parental Guidance:

Violence : A few fist and sword fights. Nothing too strong though
Language : Clean
Nudity & Sexual content : Nothing overt. However, leching and unpleasant attitude towards women and transgenders in some scenes.
Concept : Three brothers want to lure the three daughters of a rich man into marrying them. And then there is a problem. Because of the wedding location.
General Look and Feel : The usual Housefull 4 mayhem but with softer colours and less noise.

Detailed Ratings (out of 5):

Housefull 4 - cast, crew, links.

Housefull 4 - Trailer

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‘Housefull 4’ Movie Review: Akshay ‘Bala’ Kumar is in top-form in this brainless comedy; the rest is just trash!

Prateek Sur

October 25, 2019
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'Housefull 4' Movie Review: Akshay 'Bala' Kumar is in top-form in this brainless comedy; the rest is just trash!

Bubble Reviews
‘Housefull 4’ Movi ...

Directed By Farhad Samji

Produced By Fox Star Studios, Nadiadwala Grandson Entertainment

Cast Akshay Kumar, Riteish Deshmukh, Bobby Deol, Kriti Sanon, Pooja Hegde, Kriti Kharbanda, Chunky Pandey, Rana Daggubati, Ranjeet, Sharad Kelkar, Johnny Lever, Jamie Lever, Nawazuddin Siddiqui

Bollywood Bubble Rating 1.5/5

What’s It About: In 1419 Sitamgarh, 3 couples are parted away due to an evil conspiracy. 600 hundred years later in 2019 in London, the couples have reincarnated and they meet again but this time each one of them is marrying the wrong person. History repeats itself and they all land up again in Sitamgarh. How they come to realize about their true love is what forms the crux of the story. Will each be able to finally marry their loves from their past life? Or will they end up marrying the new loves from this life? Well, to know the answers you’ll have to watch the film.

What’s Hot: Akshay Kumar is indeed in top form. The actor, who has been giving us back-to-back stellar performances in films with great content, proves yet again that he can master the masala potboiler franchise of ‘Housefull’ with equal zest. Akshay as Bala is superb. He will make you not just giggle with his antics, but will also make you ROFL with his super funny tricks to woo his ladylove. Even in his current-day avatar, Akshay is top-notch. However, it will be his character as Bala, which you will remember for years to come.

Riteish Deshmukh is also good. However, unlike the previous three versions, he isn’t doing much in this one. However, he manages to do the best of his limited screen space and makes sure some of his punchlines are memorable.

Johnny Lever shows once again why he is the best slapstick comedian we have in Bollywood. His facial expressions and body language make you wonder why we see so less of him onscreen these days. His daughter, Jamie Lever, is also is great in the little blink-and-miss scenes she is in.

Rana Daggubati may have the least of screen space among all, but he will once again remind you of his Bhallaldev avatar from the ‘Baahubali’ franchise. As the ruthless Gama, Rana Daggubati is kicking some serious ass. We hope to see much more of his acting in Bollywood.

Moving over from acting, the music of the movie by Sohail Sen, Farhad Samji, Sandeep Shirodkar is good. Some songs will stick on to you after you leave the theatres. The Sohail Sen composed ‘Shaitaan Ka Saala’ is one such song.

The visual effects of the movie are surprisingly too good. Baring aside a couple of horse riding scenes with Akshay Kumar, the sets erected for the huge ‘Baahubali’ style palaces look majestic. Going into a brainless comedy like ‘Housefull’ you wouldn’t expect such precision in the visual arts department, which certainly is one of the best we’ve seen in a long time in Bollywood.

What’s Not: Well, everything else.

Talking of the actors. Bobby Deol barely has anything to do in the whole movie. Even though Ritesh Deshmukh is good, he isn’t as great as he has been in the comedy franchise before. The three actresses, Kriti Sanon, Kriti Kharbanda and Pooja Hegde barely have enough dialogues.

While we were not expecting too much in the first place itself, the screenplay is dull with barely much to look forward to. Being a total masala potboiler, you barely are left wanting for some storyline.

Talking of the comedy this time, it’s not four times the fun the original ‘Housefull’ was. Sure there are some PJs that are great and will incite laughter, but that’s simply not enough to sustain throughout the duration of the film.

While I don’t want to put you off a lot by talking of the flaws in the movie, as I had gone in expecting to be brain-dead for the 145 minutes of the film.

Verdict: ONE-TIME WATCH. Akshay Kumar fans will surely love it and slam the critics for pointing out the flaws in the film, but hey, that’s our job to do! If you’re not an Akshay Kumar fan, you might still go in for a one-time watch for some cheap laughter with your friends. I am going with 1.5 stars.

Box-Office: There is no doubt this movie is going to earn the big at the ticket windows. Akshay Kumar’s stardom added with the brand of the ‘Housefull’ franchise along with the extended Diwali weekend is sure to make this one of the highest grossers of this quarter.

Also Read: ‘Saand Ki Aankh’ Movie Review: Taapsee Pannu & Bhumi Pednekar’s compelling women empowerment film misses the bulls eye by a whisker

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Housefull 4 Movie Review: The Akshay Kumar starrer HOUSEFULL 4 is a major disappointment and suffers on the account of poor writing and vacuous screenplay.

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Housefull 4 Review 2.0/5 & rating. Watch Housefull 4 official trailer video, listen songs, Movie News updates, Movie Review and checkout public movie reviews soon.

Housefull 4 review {2.0/5} & review rating.

Reincarnation sagas have been immensely popular in Bollywood. There’s a certain charm to see protagonists facing an untimely death and then avenging for the wrongdoings in their next life. Interestingly, there has never been a reincarnation comedy. This void has now been filled thanks to HOUSEFULL 4. The film looks grand in every way and is also the big Diwali release. So does HOUSEFULL 4 emerge as the ideal entertainer for families in this festive season? Or does it fail to impress? Let’s analyse.

HOUSEFULL is the story of three couples and how destiny helps them reunite after 600 years. The story begins in 2019. Harry (Akshay Kumar) is a barber in London who has a habit of momentarily losing his memory when he hears a loud noise. During one such time, he ends up destroying a large amount of money belonging to Michael (Sharad Kelkar) that was given to him for safekeeping by Big Bhai. Big Bhai hence gets angry at Harry, his brother Max (Bobby Deol) and their friend Roy (Riteish Deshmukh). He demands them to return the money of Bhai. Harry, Max and Roy then tell Bhai that they are in a relationship with Pooja (Pooja Hegde), Kriti (Kriti Sanon) and Neha (Kriti Kharbanda) respectively. All three are daughters of a very wealthy man, Papa Ranjeet (Ranjeet). Hence they’ll pay Big Bhai the money once they get married to them. The trio then meet Papa Ranjeet and the marriage is fixed. The venue chosen is a place called Sitamgarh, a town in India. The trio along with their girlfriends and Papa Ranjeet arrive at Sitamgarh palace, which has now been converted into a hotel. The moment they reach there, the bell boy, Aakhri Pasta (Chunky Panday) claims that all of them were a part of the kingdom of Sitamgarh. He goes overboard while making the claim, which makes the guests uncomfortable. Hence the manager Winston Churchgate (Johny Lever) fires Aakhri Pasta. However, Harry has often got flashes of his past life. He goes to Madhavgarh, where Aakhri Pasta resides, to find out more information. As soon as he reaches Madhavgarh, Harry is able to remember his past life. The story then goes on a flashback mode in the year 1419. Bala (Akshay Kumar) is a notorious Prince of Madhavgarh who is banished from the kingdom by his father (Parikshit Sahni). With the help of Pasta (Chunky Panday), he finds out that the king of Sitamgarh, Maharaja Surya Singh Rana (Ranjeet) will be celebrating his birthday and that he had three daughters, Madhu (Kriti Sanon), Meena (Kriti Kharbanda) and Mala (Pooja Hegde). Bala arrives in Sitamgarh and succeeds in wooing Madhu. Meanwhile, Bangdu Maharaj, a dancer in the royal palace, gets into a relationship with Mala while the warrior Dharam (Bobby Deol) starts an affair with Meena. The king even approves the union and their marriages are fixed. All is going well but Suryabhan (Sharad Kelkar) who wants to be king comes up with a plan. He kills brother of Gama (Rana Daggubati), a ferocious chieftain of a neighbouring kingdom. Gama is made to believe that it’s the king who ordered the killing. As a result, Gama arrives in Sitamgarh during the marriage ceremony for revenge. In the ensuing battle, they all die. What happens next forms the rest of the film.

Sara Bodinar and Sajid Nadiadwala's story is very weak. Aakash Kaushik and Madhur Sharma's screenplay (with additional screenplay by Farhad Samji, Tushar Hiranandani, Sparsh Khetarpal and Tasha Bhambra) spoils the show further. It seems like the makers took audiences for granted and in the attempt to show grandeur, they missed out on the factors that made HOUSEFULL such a successful franchise. Farhad Samji's dialogues add to the fun but only at places.

Farhad Samji's direction is unimpressive. Though for most parts, he is able to handle the grandeur and confusion well. The opening credits are very similar to the opening of BAAHUBALI 2: THE CONCLUSION. In fact there’s an in-your-face reference to the film later. However, several sequences are weak and the jokes fall flat. The writing is also to blame but the director should have hidden these shortcomings with his execution. Sadly that doesn’t happen.

HOUSEFULL 4 begins on a very fun note. The madness that happens at Harry’s salon sets the mood. The film gets better as they all reach Sitamgarh. Once the flashback begins, one expects the film to go on a high. But the opposite happens as the humour is missing from the film. Yes there are fun moments but they aren’t funny enough to give audiences a paisa vasool time. Much of the second half is about how Harry tries to persuade Max and Roy that they are doing a mistake by getting married to their bhabhis . The humour here is strictly okay and in the Nawazuddin Siddiqui’s track, it goes out of the window. Thankfully the entry of Pappu Rangeela (Rana Daggubati) acts as a respite. The climax works only in parts. The continuity issues spoil the fun.

FUN UNLIMITED: Team Housefull 4 Interview | Crazy Rapid Fire, Hilarious Quiz & 5 Second Challenge

Akshay Kumar emerges as the most entertaining actor in the film. His Bala act is superb but even in the 2019 portions, he is too good. Riteish Deshmukh comes next. As the effeminate Bangdu Maharaj, he does a fine job which was expected as he has done similar roles in the past. Bobby Deol is disappointing as he doesn’t have much to contribute in terms of humour. Rana Daggubati is excellent in both avatars. He adds to the fun in the pre-climax and climax especially. Talking of the girls, all three look stunning. Kriti Sanon gets her share of interesting scenes. Kriti Kharbanda makes a mark in the scenes where she hums Hindi songs. Pooja Hegde is decent. Chunky Panday doesn't get enough scope as in part 1 and 2 but he gets to be a part of some crazy scenes. Johny Lever manages some laughs in the second half. Sharad Kelkar is efficient in a small role. Manoj Pahwa raises laughs in his cameo appearance. Ranjeet is fine. Jamie Lever is okay and the Johny Lever connection comes at a surprise. Parikshit Sahni is nothing great. Nawazuddin Siddiqui is awkward.

Songs are average and they won’t have a recall value. 'Shaitan Ka Saala ' is the best of the lot. 'Ek Chumma' comes next followed by 'Badla' . 'The Bhoot Song' is the weakest part of the film while 'Chammo' is forgettable. Julius Packiam's background score is theatrical and the recurring theme is catchy.

Sudeep Chatterjee's cinematography adds to the grandeur. Sham Kaushal's action is good. Amit Ray and Subrata Chakraborty's production design is splendid. Costumes compliment the characters. The ladies especially look gorgeous in both avatars. Do It Creative, AI Solve Ltd and Prime Focus's VFX is of superior quality. The Sitamgarh Kingdom especially is depicted in a fascinating manner. Rameshwar S Bhagat's editing is inconsistent and there are several jumps in the narrative.

On the whole, HOUSEFULL 4 is a major disappointment and suffers on the account of poor writing and vacuous screenplay. The negative word of mouth will ensure that it will crash at the box office though it might still end up crawling to Rs. 100 crore mark on account of festive period and the extended weekend.

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Housefull 4 Movie Review: Akshay Kumar steals the show in this problematic comedy of errors

Rating: ( 2.5 / 5).

Is there a point expecting logic, sincerity, and political correctness from the Housefull franchise? Haven't we learnt anything over the past nine years and three films? The latest instalment sticks to the Housefull template of mounting a comedy of errors on a flimsy premise, which is held together by a series of unending gags, irreverent humour, which more than just borders on the offensive, and Akshay Kumar.

Cast: Akshay Kumar, Riteish Deshmukh, Kriti Sanon, Pooja Hegde Director: Farhad Samji

After a series of nationalistic movies that saw Akshay champion various causes, he returns to a film that has him getting slapped around, kicked in the nether regions, and even unabashedly rolling in shit, literally. If this latter is courtesy a group of pigs in 1419, it is pigeons who do the needful in 2019. The film is about three brothers Akshay, Bobby Deol, and Riteish Deshmukh, who are in love with Pooja Hegde, Kriti Sanon, and Kriti Kharbanda, respectively... or are they? Basically this film is what will happen if SS Rajamouli made Magadheera within the Housefull franchise. Just like Magadheera , Housefull 4 also uses reincarnation and ' sachcha pyaar ' to sell us an outlandish story, which begins in London, and for the most part, happens in the princely state of Sitamgarh.

What's Housefull without running gags? There is one involving Riteish Deshmukh, his effeminate characteristics, an unnecessary speech conundrum, and of course, homophobic humour. Then there is an English-speaking Johnny Lever, who later becomes Giggly, the Sitamgarh girlfriend of Akri Pasta (can there be a Housefull franchise without Chunkey Pandey going ' Mamma Mia' ), and of course, transphobic humour. There's yesteryear actor Ranjith, and of course, sexual innuendos aplenty. The heroines hardly get to say anything except an exasperated "Shut Up" here and a " Yeh kya ho raha hai ?" there, and of course, zero character development. There is the random breaking of fourth wall, misplaced pop culture references in the 14th century, and of course, Dharmendra being referenced while talking about Bobby Deol. But again, what do you expect out of a franchise which perennially aims at the low-hanging fruit? Housefull 4 is a worthy addition to the franchise known for its slapstick humour and below-the-belt jokes. Of what worth this franchise is in the first place is a different question altogether.

However, the real show-stealer is Akshay as Rajkumar Bala Dev of Madhavgarh. The actor lets his hair down in the role of a scheming bald prince, whose characterisation is very reminiscent of General Aladeen from The Dictator . Remember the Akshay from films such as Singh is King and Rowdy Rathore ? He is back in familiar territory after a prolonged break where he tried to save a lot of things, including the Indian legal system, Indian women, and even the Indian space research.

In between all this, there is Rana Daggubati, whose inclusion also brings in the mandatory Baahubali references. Look out for his present-day avatar, where Rana has the most unlikely profession. Such is the randomness of his profession that the only thing more random than that is the presence of Nawazuddin Siddiqui grooving to an item number along with the entire cast of Housefull 4 . Such moments of ingenuity and wackiness manage to balance, albeit temporarily, the outrage the film induces otherwise.

Some might argue that the presence of this franchise is a farce and not the best thing to have happened to Bollywood. Others believe there is a huge market for such mindless entertainers. Some others are of the opinion that comedy is a subjective thing. To be honest, I related to all these opinions at various points of Housefull 4 . Are certain dialogues abysmal? Yes. Is the presence of Sajid Khan's name in the credits disheartening? Yes. Did I laugh out loud when they break into Soldier Soldier song in 1491? You bet I did! Did I give a half-smile when they decided to rhyme "Exorcism" with... Sonu Nigam? Definitely. So, that brings me to the most important question that came up after watching Housefull 4 . Do we need a Housefull 5 ? Well, as Akshay repeatedly says in this film... I don't know.

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Connections Featured in Nerdrotic: Woke Hollywood's Civil WAR? Disney DESTROYS Hasbro - Nerdrotic Nooner 388 with Chris Gore (2023)

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Stream It Or Skip It: ‘Kung Fu Panda 4’ on VOD, Another Round of Skadooshing for a Franchise in Twilight

Where to stream:.

Kung Fu Panda 4
Family Movies

Stream It Or Skip It: ‘Wish’ on Disney+, an Exercise in Corporate Self-Congratulations

11 best new movies on netflix: april 2024’s freshest films to watch, easter movies on disney+ that are great for kids (and some shows, too), is ‘a cat’s life’ streaming on netflix or hbo max.

Kung Fu Panda is low-key one of the better animated franchises out there, but that doesn’t necessarily mean we NEED Kung Fu Panda 4 ( now streaming on VOD services like Amazon Prime Video ). Creatively, movie no. 4 is when properties like this are dangerously close to running out of steam, but discussing the creative motivation of a Dreamworks Animation product is patently ridiculous – this movie exists to earn a few hundred million dollars. Not that a movie greenlit by corporate bean counters can’t still be enjoyable, mind you; the thought of series mainstay Jack Black teaming with newcomer Awkwafina, even in a voiceover context, is ripe with promise, and you’re almost guaranteed to see some thoughtfully rendered visuals with veteran director Mike Mitchell ( Trolls , Shrek Forever After , The Lego Movie 2 ) at the helm. But whether it’s a worthy excursion or just a timewaster is the hair that needs to be split here, so let’s sharpen our blade and get to work.

KUNG FU PANDA 4 : STREAM IT OR SKIP IT?

The Gist: EVIL HAS RETURNED. Specifically, Tai Lung, the burly snow leopard voiced by Al Swearengen himself, Ian McShane. But wasn’t he, you know, dead ? If memory serves, yes. Patience, grasshopper – all will be explained soon enough. Cut to the Valley of Peace, where our panda hero Po (Black) helps his two dads, Ping (James Hong) and Li Shan (Bryan Cranston) – remember, the former adopted him, the latter is his birth pops, introduced in KFP3 – open a new restaurant. Po’s very happy to be the heroic Dragon Warrior, kicking butts and beloved by all, and nothing will disrupt that contentment, nothing I tell you! Except Master Shifu (Dustin Hoffman), who tells his chubby charge that it’s time to graduate from warrior to spiritual leader, and find his successor to the Dragon Warrior successor. Now if you think Po makes for an unlikely practitioner of kung fu kickassery, being a guru-type is an even bigger stretch. I mean, he’s a total goofnozz. But a life without significant challenges isn’t much of a life, is it?

At this point, I should be talking about the emergence of a new villain, The Chameleon, voiced by Viola Davis, and the introduction of the ninjalike thief of a fox Zhen (Awkwafina) to the plot, and how Po’s pals in the Furious Five are off doing things and stuff, so we won’t hear the voices of Angelina Jolie and Seth Rogen and that crew in this movie. Instead, I feel the need to point out how the KFP s, through the Po character, always subtextually tackle ideas of personal growth via simple, but profound philosophical tenets. They’ve addressed notions about individuality and collectivism, about one’s roles in society, about where you’re from, where you are now and where you’re going. It’s a movie series in which a goofy protagonist with a nonsense catchphrase – “Skadoosh!” – ends up exploring lightly profound fortune-cookieisms in modest depth. This kung fu is not for kung fools.

Anyway, in his reluctant attempt to be at peace with his new role, Po struggles mightily to meditate. His many inner voices keep interrupting him, and I felt that pain. Clearing one’s head to reach a state of zen is really really hard. But this being an animated movie for children and their moderately bemused accompanying adults, it doesn’t consist of quiet moments in which Po learns to find inner peace. No, Zhen turns up to wreak a little havoc and then befriend our protagonist as he treks from his rural valley to bustling Juniper City to address the Chameleon situation. Of course, Po finds himself in a series of slapsticky martial arts action sequences, because this movie has certain expectations to meet.

What Movies Will It Remind You Of?: Here, at long last, and at absolutely no one’s demand, is THEE definitive ranking of the KFP s:

4. Kung Fu Panda 4 – It’s aggressively Just Fine!

3. Kung Fu Panda 3 – This is the point where not much new is brought to an otherwise very good series.

2. Kung Fu Panda – The first one gave the world the Skadoosh, which seemed significant at the time.

1. Kung Fu Panda 2 – I’m still mostly convinced that this is at least a minor masterpiece of the computer-animation era (notably, alongside How to Train Your Dragon 2 ). It’s visually gorgeous and quietly packs an emotional wallop.

Performance Worth Watching Hearing: If you want to hear any Celebrity Voice of Significance deliver a litany of villain monologues, Viola Davis is definitely a leading candidate.

Memorable Dialogue: Two Po lines that stood out:

First, the funny one, when he realizes his fame hasn’t spread to Juniper City: “Oh wow – have my adventures really been that regional ?”

And the profound one, when he tries to talk his way out of a tight spot instead of letting the fists and feet fly: “He who resorts to violence now will only find more violence later.”

Sex and Skin: None.

Our Take: We’re officially in Year 16 (!) of the Kung Fu Panda Experiment, and although it’s still pleasant, we’re not likely to feel the slightest urge to see Kung Fu Panda 5 . For a movie that finds its hero fighting the pains of personal progress as much as he’s fighting the bad guys, it feels a little too safe within the KFP formula, and not particularly memorable. Also ironic is how it’s ostensibly about eschewing violence in order to achieve inner peace, but it can’t get to that point without first delivering multiple incidents of violence. I mean, you can’t de-escalate without the initial escalation, right? That’s just logic – movie logic.

Should we care about these contradictions? Well, the movie pretty much insists we shouldn’t: “You’re really gonna take a Kung Fu Panda movie seriously?” it all but bleats in our faces. And so I didn’t, and therefore enjoyed it, mostly. It has a pangolin voiced by Ke Huy Quah, some silly monkeys, a fish character that lives inside the stretchy gullet of a dead-eyed pelican, a trio of little bunnies who are equal parts adorable and bloodthirsty, a completely batty instrumental version of Ozzy Osbourne’s “Crazy Train” backing a spirited action sequence and Black singing Britney Spears’ “Hit Me Baby One More Time” over the credits for no good reason whatsoever. It seems like a small miracle that the movie makes sense despite such a description. It’s tightly plotted, it moves quickly and it delivers a handful of laughs, be they sight gags or one-liners (which mostly feel improvised). The story and its structure are predictable, but are paired with enough of an inspired visual aesthetic to at least keep our eyes engaged. The world will not be significantly altered by Kung Fu Panda 4 , but you’ll be amused for 90-odd minutes, and sometimes that’s good enough.

Our Call: Kung Fu Panda 4 is thoroughly acceptable. Now, Dreamworks, it’s time to stop while you’re not really ahead anymore, and give Po the peace he’s learned to appreciate. STREAM IT.

John Serba is a freelance writer and film critic based in Grand Rapids, Michigan.

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Wish Movie's Bad Reviews Explained: 4 Biggest Criticisms (Why It's So Bad)

Disney's Wish is now streaming on Disney+ , with new viewers who may have missed the movies in theaters wondering what big criticisms attributed to the film's negative reviews.

Debuting back in November 2023, the animated blockbuster was widely panned upon release, earning a dismal 49% Tomatometer rating on Rotten Tomatoes .

Serving as a celebration of 100 years of Disney, Wish follows a young girl named Asha (Ariana Debose) as she takes on the sorcerer king Magnifico (Chris Pine) who is secretly harboring peoples' wishes with no plan to grant most of them.

[ Full Cast of Disney's 2023 Wish Movie: Every Main Character & Voice Actor (Photos) ]

Why Disney's Wish Movie Is 'Bad' (According to Some Critics & Fans)

With Wish now on streaming, fans are revisiting Disney's latest animated misfire.

After its release, the movie did not earn a good reputation, being seen by many as one of the studio's biggest flops on the back of countless bad reviews.

So, for those who may have missed the conversation when Wish was in theaters, here are the biggest criticisms being levied at the film:

An Over-Emphasis on Disney Easter Eggs

The biggest complaint people seem to have with Wish is its overreliance on Disney Easter eggs and fan service.

Throughout the movie, there are nods to the House of Mouse's storied history, as the film was released as a part of Disney's 100th birthday celebration.

These include everything from the subtle (like a nod to Maleficent's magic being wielded by Chris Pine's Magnifico) to the pretty overt (a straight-up cameo of Peter Pan).

In an exclusive interview with The Direct , Wish executive producer Peter Del Vecho pointed to a concerted effort to "evoke everything" that fans "love about Disney animated movies for the past 100 years," but whether that was successful is up to the viewer.

Instead of seeing these Disney references as a celebration of the studio's past, large swaths of the audience found the Easter eggs distracting.

In his review, Eric Marchan of Cinema Seen described many moviegoers' feelings when seeing Wish , saying, "When you remind audiences of classic movies...it takes away from what’s being played in front of them:"

"When you remind audiences of classic movies they grew up with, even as an Easter egg, it takes away from what’s being played in front of them. You’d rather watch the reference. And that’s the biggest problem. The film has no identity of its own."

Sean Collier of Pittsburgh Magazine echoed this sentiment, positing that Wish is "so determined to be a Disney movie that it forgets to be a good movie."

And that seems to be the nut of it. Because Wish is so focused on adding as many references to Disney's past as possible, it feels like a thin imitation of things that came before, rather than something unique in and of itself.

A By-The-Numbers Villain

Another major criticism people have with Wish is its forgettable and formulaic villain.

Chris Pine's King Magnifico is nothing but an evil man doing things for no real reason other than being evil.

After getting sorcerer powers during the film's storybook-style opening, Pine's animated royal builds the kingdom of Rosas as he takes the "burden" of peoples' hopes and dreams (aka wishes) from them.

He is said to hold these wishes for safekeeping only to eventually grant them to lucky citizens when he deems them worthy.

However, it is quickly revealed (only about 20 minutes into the movie) that he has no intention of granting the great majority of these wishes, sending Ariana Debose's Asha on a quest to free the wishes and take down the king.

This 'evil' turn happens fast and without much motivation. He is simply keeping the wishes because he says so.

While there are teases of a deeper motivation, the movie never fully explores them.

As Austin Burke from Fan Nation sums it up in his review, Pine's "[villain] arc goes nowhere," resulting in a story that "feels rushed, scattered, and extremely familiar:"

"'Wish' features plenty of classic Disney nods, a great performance from DeBose, and two solid musical numbers. Unfortunately, this story feels rushed, scattered, and extremely familiar. The villainous arc goes nowhere, and the spark is somewhat missing."

Not to say Disney villains like Jafar ( Aladdin ) or Ursula ( The Little Mermaid ) had these sympathetic multi-layered stories, but there was at least some level of motivation for why they were doing what they were doing.

Magnifico is essentially holding the citizens of Rosas hostage because he can and nothing more.

Forgettable Songs

For a studio that is so well known for its original music, Wish is a big miss on this front according to its detractors.

The songs in Wish are viewed as a far cry from the classics of Disney's vast library (i.e. "Part of Your World," "Let it Go," or "Can You Feel the Love Tonight").

Chris Wasser of the Sunday Independent described the movie's music as "knotted, entirely forgettable" ventures:

"The songs are knotted, entirely forgettable, and the iffy watercolour/computer animation hybrid gives Wish an awkward, unfinished look. Pity."

Wish 's songs - written by Julia Michaels and Benjamin Rice - are weaving, sometimes labyrinthian arrangements, sporting unusual lyrical motifs and musical stylings unfamiliar to the general Disney audiences.

There are some highlights, like the show-stopping "This Wish" and the ensemble-led "I'm a Star." But in a movie that is so dominated by its music, it is hard to call it a success when only a select few songs will have audiences going back for repeat listens.

Even the score itself fails to land for many. It is an original composition, but features touches of Disney's "If You Wish Upon a Star," and ultimately boils down to hints of that beloved tune without ever giving fans the satisfaction of the whole thing (aside from a post-credits nod).

No Real Character Arc for Its Protagonist

Not to say these other cinematic sins would be forgiven if this one was not a problem, but it would do a lot.

Throughout many of Wish 's bad reviews, the movie's "shallow" story is referenced, and a big part of that is the lack of any real character arc for Asha its primary protagonist.

Asha, played by Oscar-winner Ariana Debose, starts and finishes the film in very much the same place. There is no real lesson learned or shocking revelation that sticks with Asha long after the credits roll.

Everything in Wish seems to involve Asha, but the character sees no real change throughout the movie. She is introduced in the fill with her wish still in her heart, looking to grant the wishes of the people around her, and ends just the same.

Seattle's Child writer Candice McMillan called this character arc for Ashsa "hopelessly shallow," playing into an overall "dreamless plot:"

"Filled with catchy new songs and featuring a classic Disney storyline, 'Wish' is a whole heaping of heart that’s completely underbaked. There is much to commend about its sweet story and good intentions, but 'Wish' is shattered by a dreamless plot and hopelessly shallow character development."

Debose's character is endearing but with no internal change of any kind, it does make the story of Wish feel like something that merely happens around its main character than something that happens to her.

Are the Wish Criticisms Warranted?

Of course, everything is subjective, so some people will see the bad Wish reviews and nod in agreeance while others less so.

Every one of these big criticisms is warranted, but to what extent will vary from viewer to viewer.

Wish is far from a masterpiece, but it is a movie that has some fun moments, a few memorable songs, and great performances from across its cast.

If the movie had not been branded as this culmination of 100 years of storytelling, it likely would not have received the fervent backlash that it did.

But because of its elevated place in Disney canon, expectations were quite high.

Wish is a perfectly fine Disney movie, but in a catalog as great as that of Disney Animation, it pales in comparison to most of its true-blue classics.

Wish is now streaming on Disney+.

Read more about Disney's latest animated movie:

Why Wish Movie Has So Many Disney Easter Eggs, Explained by Filmmakers (Exclusive)

Will Wish 2 Happen? Disney Director Responds to Sequel Prospects (Exclusive)

Wish: How Asha Differs from Other Disney Princesses, Explained by Director (Exclusive)

Wish: What Is Asha's Ethnicity? Producer Reveals Where She's From

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The trailer for “Abigail” tells you almost everything you need to know about the movie, a wacky high-concept horror thriller about a group of kidnappers who bite off more than they can chew when they unwittingly abduct a child-sized vampire ballerina. The vamp, played with some relish by Alisha Weir , only really comes alive when she’s leering at or stalking her prey. Genre fans will also spot some familiar faces among the movie’s ensemble cast, all of whom do their best with this tic-y, schtick-y material. They curse (enough to seem like they’re overcompensating for some things); they run (around each other, mostly); they get picked off one by one.

You already know what you’re in for if you’ve come to “Abigail” to watch a body count caper featuring plummy character actor performances from That Guys like Kevin Durand and Dan Stevens . Most of their co-stars keep up in less attractive roles, including Melissa Barrera ’s thinly drawn anti-heroine team leader. There’s also plenty of viscous-looking blood splatter and some modestly good-looking vampire makeup—the fangs, in particular. Some action scenes are well-choreographed, but generally over-edited and shot just ahead of whatever’s moving on-screen. The rest of this 90-minute genre exercise is unfailingly conventional, though that’s also a big part of its ostensible appeal.

I can’t really get or stay mad at “Abigail” for essentially delivering what its marketing promises. Sure, the movie’s creators, led by co-helmers Matt Bettinelli-Olpin and Tyler Gillett (better known as “ Radio Silence ,” directors of “ Ready or Not ” and the 2022 “Scream” reboot), could have delivered more, even though disenchanted viewers can’t exactly claim false advertising. The setup is strictly by the numbers and the characters are all stock types.

A team of bickering misfits kidnaps the title character (Weir). They follow her home with a comically oversized gizmo stuck to the bottom of her chauffeur’s car. Then they bring the 12-year-old-looking girl to a secluded mansion, where they’re reminded of their mission’s stakes. Shady but well-dressed ring-leader Lambert ( Giancarlo Esposito ) gives us and them the rundown: no real names, no cell phones, nothing personal—it’s 24 hours of baby-sitting a pre-teen who really likes to plié and step-toe her way through “Swan Lake” rehearsals. Simple is as simple does.

We learn very little about everyone, thanks in no small part to a scene where Lambert nicknames the characters after members of the Rat Pack. Durand’s character, a jolly-but-dim muscle-bro named Peter, tries to find the sense in being nicknamed after rats. Later, he gets that it’s a disposable pop culture reference and promptly moves on.

Peter’s the most sympathetic character in “Abigail,” partly because he’s constantly straining against the limits of what his character can know and do. He’s joined by a call sheet of tropes, including Abigail’s minder, the empathetic and observant Joey (Melissa Barrera); their irritating and wasted driver Dean (the late “ Euphoria ” star Angus Cloud ); and the strong-silent ex-soldier Rickles ( William Catlett ). Eventually, the team has to worry not only about Abigail, but a few predictable liabilities, like their bratty and easily bored electronics hacker Sammy ( Kathryn Newton ) and their foul-mouthed, inexplicably accented ex-cop backup leader Frank (Stevens).

None of these party game-light character traits really matter once Abigail gets loose from her handcuffs. The house that Abigail’s prey stay in has more personality, but it’s basically the house from “ Clue ” with some extra goth-y touch-ups. Maybe that’s all you need to enjoy watching a game cast check off every box as they struggle to figure out how to stop a “real” vampire. Nothing worth writing home about comes to mind.

It’s hard to get too excited watching so many talented actors try and barely succeed in making you want to care about their characters, especially since that isn’t the same thing as making you care. More could have been done with less tedious dialogue, as what's here is designed mostly just to hold the hands of viewers as the plot skips from beat to beat. More could have also been done with Joey, who, at one point, stuffs a loaded gun into her tight jeans’ waistband. I do and I don’t believe it.

“Abigail” may find its audience given a lucky combination of good timing and wishful thinking. It’s not badly made, just uninspired and played out. If you like B-movies made with a budget and are specifically looking for an undemanding time, “Abigail” might be for you. “Abigail” might also disappoint you, especially if you’re hoping for more than what’s advertised.

This review was filed from the Overlook Film Festival. It will be released on April 19th.

Simon Abrams

Simon Abrams is a native New Yorker and freelance film critic whose work has been featured in The New York Times , Vanity Fair , The Village Voice, and elsewhere.

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Film credits.

Abigail (2024)

Alisha Weir as Abigail

Melissa Barrera as Joey

Dan Stevens as Frank

Angus Cloud as Dean

Kathryn Newton as Sammy

William Catlett as Rickles

Kevin Durand as Peter

Giancarlo Esposito as Lambert

Matthew Goode

Matt Bettinelli-Olpin
Tyler Gillett
Stephen Shields

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‘Coup de Chance’ Is Woody Allen’s Best Film in Years

'coup de chance' restores the masterful filmmaker to his deserved position as one of the screen’s most profound storytellers. .

Unfairly derailed by obvious, headline-demanding personal problems, Woody Allen ’s phenomenal career returns to where it should never have paused in the first place with this languidly paced but endlessly mesmerizing combination of domestic-crisis love story and suspense-layered murder mystery—his first (and best) film in years. Set in the upper-class echelons of Paris and written, acted and filmed entirely in French, the title Coup de Chance translates as “stroke of luck,” and that’s exactly what it is, restoring the masterful filmmaker to his deserved position as one of the screen’s most profound storytellers.

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The film centers on what outwardly appears to be the perfect marriage of Fanny and Jean Fournier, a rich, attractive couple who don’t seem to have a care in the world. The envy of even their most familiar friends, the Fourniers are like glamorous role models in glossy articles in French Vogue: trendy clothes, a fashionable lifestyle, regular patrons in the most expensive restaurants, a lavish apartment, and a gorgeous ivy-covered weekend house in the country. Fanny (charming, appealing Lou de Laâge ), having survived a miserable first marriage to a lazy, abusive musician, has hit pay dirt with Jean (dashing Melvil Poupaud ). She stays busy working for an exclusive art gallery. He doesn’t do anything but make money as an entrepreneur and a business advisor to rich friends. Two lives well lived, but as in all Woody Allen movies, perfection isn’t everything. The wrinkle in the seamless canvas is boredom. Fanny considers their life missing the proverbial lost chord. She’s tired of weekends with superficial guests who talk about money, travel and the world’s best hotels and wines, has no interest in Jean’s passion for deer hunting, and longs for a change.

Opportunity knocks when Fanny accidentally runs into Alain ( Niels Schneider ), an old schoolmate and once-potential boyfriend she hasn’t seen in years, now a published (and intriguingly divorced) writer working on a new novel, and wonders: if she had married him, would it have led to a different, more exciting life? Against her better judgment, curiosity and a dormant sexuality invade her subconscious. The former school acquaintances begin to meet for casual lunches in the park. Suddenly Jean can’t reach her at work. Cooking spaghetti at his apartment, buying a lottery ticket, change is gradual. Alain makes the mistake of calling when he thinks she’s home alone, and Jean makes the mistake of answering the phone. A coincidence turns into an infatuation and the result is a passionate, full-blown affair. Humiliated and furious, Jean hires a detective, and 48 minutes into the film, irony turns lethal and romance turns to murder. But this is, above all, a Woody Allen movie, so even tragedy blends with humor. I’ll refrain from any spoilers, so you’ll have to ponder who does what to whom—and how. But in another left turn, a new character moves to center stage when Fanny’s mother, suspicious and a devout reader of crime novels, embraces paranoia and continues the narrative in ways that will leave your mouth wide open with shock. Nothing happens the way you think it will, and Coup de Chance will keep you riveted with suspense and surprise.

I wouldn’t describe Woody Allen as a reluctant director, but in this film, his laid-back style has the feel of a jazz improvisation, which is reflected to the hilt in the changing tempos of the screenplay, and in everything from the beauty of the elegant cinematography by the accomplished Vittorio Storaro to the intimacy of the background ballad music by great jazz musicians such as Nat Adderley , Milt Jackson and the Modern Jazz Quartet.

Superb performances by a sterling cast are an enormous help, too. Especially Lou de Laâge, whose Fanny is endlessly fascinating in a quirky but realistic way, full of unique revelations and traces of Diane Keaton . Her mid-tempo acting style—expressive, with great feeling—easily held my attention from beginning to end. In Woody Allen, she seems to have found the right director to bring out the unexpected strength in the face of adversity needed to meld the power of humor and logic. Coup de Chance is about fate—and the consequences of luck. Woody’s “take” is there is no such thing as fate; we make our own luck. And she, in turn, brings out the intention of her director in spades. Like his films, which are incisive, brightly lit social observations about the human condition, hers is a mirror that masks the darkness of the human heart with the wit, intelligence and survival of the human spirit.

‘Coup de Chance’ Is Woody Allen’s Best Film in Years

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‘The Sympathizer’ Turns a Bestseller Adaptation Into a TV Tour de Force

By Alan Sepinwall

Alan Sepinwall

In the opening seconds of HBO ‘s adaptation of Viet Thanh Nguyen’s bestselling novel The Sympathizer , the pay cable giant’s familiar logo is transformed so that, instead of evoking a television set turning on, it becomes part of a reel of 8mm film. The miniseries, about a North Vietnamese double agent (Hoa Xuande) in the mid-Seventies, is filled with the sights and sounds of movies being played for an audience. Sometimes, it’s within the action, like how an interrogation by South Vietnamese police of a Viet Cong spy happens onstage at a Saigon movie palace, the projector aiming a glaring light at the suspect, while cops in the theater seats comment on the action like it’s a film they’re watching. Sometimes, it’s a stylistic device, where we hear the sounds of the reel rewinding or fast-forwarding when the story takes an abrupt chronological turn.

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The story is presented as the Captain’s confession to the commander of a North Vietnamese reeducation camp, looking back on his time undercover as a South Vietnamese secret policeman; his stint in America after the fall of Saigon, sent by his handlers to keep an eye on the General (Toan Le); and the eventual return to southeast Asia that lands him in the camp, atoning for his many sins. And even within that framework, The Sympathizer giddily careens through time, sometimes because the Captain’s attention has wandered, sometimes because his interrogator wants more context.

This Russian-nesting-doll approach, hiding pieces of the narrative inside other pieces, could easily get confusing. But it never does, for a few reasons.

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The contortions of the plot also work because Park is such an arresting and inventive visual storyteller. With his last TV project, the AMC miniseries The Little Drummer Girl (*), he toggled between classical Hollywood filmmaking and a rawer and more verité approach, each looking stunning in its own way. Here, he and the directors who follow him (Fernando Meirelles, who just did Apple’s Sugar , and English director Marc Munden) take an everything-and-the-kitchen-sink approach to things. Beyond the recurring movie projector motif, there’s the way that images from difference pieces of the Captain’s story bleed together even when he’s not skipping around in time. Sometimes, sequences are shot to look as realistic as possible. Other times, they deliberately look phony, to help illustrate the many lies the Captain is telling, and the many ways Hollywood has gotten the subject of Vietnam so wrong. And occasionally, it just looks jaw-dropping, like a sequence where the bus to the General’s plane has to maneuver around North Vietnamese artillery shells, the explosions increasing until it looks like the Captain and Bon are racing into Hell itself. No idea is deemed too strange, yet it rarely seems self-indulgent.

(*) Interestingly, that’s also a espionage story frequently presented in filmmaking terms, like when Florence Pugh’s handler tells her, “I am the producer, writer, and director of our little show.”

(*) The one character who largely doesn’t view him that way is his sometime-girlfriend Sofia Mori, played by Sandra Oh . And even her feelings on the subject are driven by larger questions about assimilation, since she’s of Japanese ancestry but born in America, and thinks of herself first and foremost as a Californian.

But if the character is at times written as a walking thesis statement, Xuande plays him with just the right mix of wry humor and vulnerability. To everyone else, the Captain is an abstraction. But as far as he’s concerned, this inability to feel at home anywhere — not Vietnamese enough in Saigon, not white enough in America, a man lying to his best friend but while also no longer thinking or acting like his true colleagues from Hanoi — is a real, painful thing he can never get away from. Xuande, an Australian actor who hasn’t done much American work prior to this, commands the screen, finds ways to signal with his face all the things the Captain can’t allow himself to say aloud, and holds this whole weird story together. He’s great.

Even with that performance, those visuals, and that sense of humor, there are occasions — particularly in the finale, which largely takes place at the reeducation camp — where The Sympathizer , like its hero, gets too lost in its own head. More often than not, though, it works very well, despite the high degree of difficulty that would come with any adaptation of the book.

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The first episode of The Sympathizer debuts April 14 on HBO and Max , with additional episodes releasing weekly. I’ve seen all seven episodes.

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Movie Review: Should you watch 'Sasquatch Sunset' about a family of Bigfoots? Not yeti

One of the wildest movies of the year — or the century, for that matter — suggests that Bigfoots mourn, cuddle, bury their dead, enjoy throwing rocks in rivers, make art and wonder if they’re alone in the world

Do you reckon Sasquatches snore? C'mon, you know the answer, deep down. Of course, they do. They snore and eat noisily and pick bugs out of each other's fur and then eat those bugs, noisily.

What else do Sasquatches do, you wonder? One of the wildest movies of the year — or the century, for that matter — suggests they mourn, cuddle, bury their dead, enjoy throwing rocks in rivers, make art and wonder if they're alone in the world.

Even so, “Sasquatch Sunset” from filmmaking brothers David and Nathan Zellner, is a bewildering 90-minute, narrator-less and wordless experiment that's as audacious as it is infuriating. It's not clear if everyone was high making it or we should be while watching it.

Nathan Zellner, Jesse Eisenberg,Riley Keough and Christophe Zajac-Denek play a makeshift family of four Sasquatches, lost in hair suits and prosthetics and communicating only in grunts, snorts and howls. They also pee a lot.

Why the filmmakers hired such starry actors instead of paying scale to some unknowns is puzzling. None of the Sasquatches do more than what could be called Method Chimpanzee — jumping up and down, whooping and growling. A group of real chimps would ding the quartet for overacting.

As an exercise in creating empathy for monsters, “Sasquatch Sunset” does an admirable job. In the first frames, when we see a loping Bigfoot in the middle distance — and then three more — it's clear that they are telling this story, not the folks who usually capture them in shaky camera frames.

There are plenty of Sasquatches-are-just-like-us moments, like when one brings flowers to seduce another or two Bigfoots comfort each other after a death. Perhaps the most poignant moments are when they pound trees with sticks in unison, a rhythmic question that echoes through the valley. It's a call, waiting for a response — anyone out there like us?

But then there's a lot of gross-out stuff. We've mentioned the peeing, but it turns out that Sasquatches sneeze, procreate loudly and like to touch their genitals and then smell their fingers. They can also poo on demand and throw that poo to scare off predators.

One juvenile Bigfoot makes his hand into a makeshift puppet and talks to it — like a nod to the kid in “The Shining” — and another considers inserting his manhood into a small tree hole, like a prehistoric riff off that famous scene in “American Pie.”

Both things can be true, of course: Bigfoot can be disgusting and deep at the same time. But it's not always clear what the filmmakers are going for here — satire, metaphor, sympathy, naturalism or gross-out comedy?

The Sasquatches reveal deeply human characteristics and may be stand-ins for our innocent pasts, a lost link in our evolution, showing the unrelenting violence of natural life or just the voiceless among us now. Or the filmmakers might just like the image of tossing poo.

Gorgeous vistas of pristine forests and misty valleys don't help us figuring out when this all takes place but gradual clues emerge, including evidence of logging and a truly surreal bit at a human camping site, scored by the Erasure song “Love to Hate You.” But if the Zellners had an environmental lesson here, they shanked it.

There's great music from The Octopus Project, veering from bright electric guitar noodles to sci-fi electronic dread reminiscent of “2001: A Space Odyssey.” Stick through the roll of end credits and see one of the best credits ever in film: Sasquatch Wrangler. You don't see that every day. You don't see Sasquatch movies every day, either, but this is one you should probably let lope past you.

“Sasquatch Sunset,” a Bleecker Street release that lands in some theaters on April 12 and goes wider April 19, is rated R for “for some sexual content, full nudity and bloody images.” Running time: 89 minutes. One star out of four.

MPAA definition of R: Restricted. Under 17 requires accompanying parent or adult guardian.

Online: https://bleeckerstreetmedia.com/sasquatch-sunset

Mark Kennedy is at http://twitter.com/KennedyTwits

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