It is the story of a fiercely fought election campaign, where money power and corruption are the accepted norms, and where treachery and manipulation are routinely used weapons. As the personal drama of these conflict-ridden characters unfolds against this gritty backdrop, love and friendship become mere baits, and relationships get sacrificed at the altar of political alignments. The darkness that rises from their souls threatens to envelope all that they hold precious. Until eventually, in the crescendo of increasing violence, the line between good and evil blurs, making it impossible to distinguish heroes from villains. Raajneeti is the story of Indian democracy. And its ugly underside. It is about politics. And beyond.
Prakash Jha
Director
Ajay Devgn
Sooraj Kumar
Nana Patekar
Brij Gopal
Ranbir Kapoor
Samar Pratap
Katrina Kaif
Indu R. Sakseria / Indu P. Pratap
Arjun Rampal
Prithviraj 'Prithvi' C. Pratap
Manoj Bajpayee
Veerendra 'Veeru' B. Pratap
Sarah Thompson
Sarah
Naseeruddin Shah
Bhaskar Sanyal
Darshan Jariwala
Ramnath Rai
Shruti Seth
Party Worker
Daya Shankar Pandey
Ram Charittra
KIMI is the main character of this film and as much as I wish it was Angela Childs played by Zoe Kravitz, it isn't. KIMI is a smart device that works not unlike Amazon's Alexa and Google's Nest assisting in anything from home purchases to music playing all under the guise of only activating when in use.
As many of us know, Marvel Studios has taken an interest in women-led superhero films, but some of us are oblivious to the women behind the camera and pen.
Remakes. Reboots. Reinventions. Redundancy. It's the common practice in Hollywood of late, sometimes offering us victorious reimagining of what can be considered cinematic classics while also, more often, falling flat on their UN-imaginative faces in utter defeat and lackluster results. Admittedly, with this in mind, I went into the newest incarnation of "The War of the Roses" with typical trepidation and cautious optimism.
'The Invisible Man' triumphs in tension even as it drops the ball on genuine surprise for the audience.
One of THE most frustrating trends in the mainstream film industry over the last several decades has been the onset of comedy efforts that seem SO focused on being crude and/or gross-out in all ways possible. That, at least for me, makes them no longer funny.
Not only does the system prevent upward mobility, but it makes it incredibly easy to slide from comfortably middle class to unhoused.