Pawan Kumar
The Michael movie review The amazing visuals
Michael movie review: The titular character in Michael is disappointed with the way things are turning out in a scene that occurs halfway through the book. So, after being honked at by a car, he stops it and sets it on fire. The antique vehicle burns within a tunnel and is engulfed in smoke. Both visually stunning and purposeless, the setting is. Although it is never accomplished, the intention is to display the hero’s fury and his potential. A gangster’s mother is seen in another scene, lying close to his son’s bloody body. The Yin-Yang sign is formed by their two bodies while director of photography Kiran Koushik gently raises the camera. Is there a deeper meaning to it that relates to the mother and son’s relationship? What significance does it have to the plot? In what way does it further the story? A emphatic “no” is the response to each of these queries. Instead of saying, “Wowah,” we ask, “So?” when we see these beautiful frames from Michael.
#MICHAEL Movie Review!
RATING: 3/5
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Michael movie review
The outrageous part of Michael is the conviction with which its creators erect a massive budget and technical bravado on the thinnest of tales. For the most of the film, the audience is kept in the dark about the protagonist’s true intentions. We only know that Guru (Gautham Vasudev Menon), a classy mobster in Mumbai, seems to be Michael’s inspiration and that he aspires to be like Guru. The movie doesn’t even show us Michael (Sundeep Kishan) until thirty minutes have passed, in an attempt to create a false myth. He fights his way out of saving Guru and swiftly gains Guru’s trust. When Guru’s enemy’s daughter is discovered, Michael is dispatched on a mission to stalk her and kill her. Michael eventually develops feelings for Theera, as is typical in many such tales (Divyansha Kaushik).
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SS Rajamouli stressed the need to give his action sequences an emotional motivation when discussing them. Michael is lacking precisely that. Because the setting is too chilly for such emotions, the drama that filmmaker Ranjit Jeyakodi attempts to produce completely fails and lacks emotion. Consider the manner in which Guru informs his wife of the passing of their kid. Our son is dead, he continues. simply that Theera responds in a manner similar to that when her father is fatally shot. It is unjustified for the spectator to feel anything for these cardboard cutouts when even the characters don’t exhibit any feeling.
