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Antim – The Final Truth Movie Review: ANTIM THE FINAL TRUTH has an entertaining first half and the face off between Salman Khan and Aayush Sharma keeps the interest going.

Antim the final truth has an entertaining first half and the face off between salman khan and aayush sharma keeps the interest going., antim – the final truth review {3.5/5} & review rating.

ANTIM - THE FINAL TRUTH is the story of the rivalry between a cop and a gangster. Rahul (Aayush Sharma) lives with his parents and sister in a village near Pune, Maharashtra. His father Datta Pehelwan (Sachin Khedekar) owned a land but he sold it to Shinde (Uday Tikekar) for an unreasonable price, for the lavish marriage celebration of the former's daughter, Seema (Siddhi Dalvi). Shinde builds a farm house on Datta's land and Datta is employed there as a security guard. Shinde ill-treats him and one day, he fires him from the job on a frivolous pretext. The family then moves to Pune where Datta Pehelwan starts working as a porter in the vegetable market. The goons of the local corporator, Salvi (Vijay Nikam), demand hafta from all the porters. A porter, Satya (Mahesh Manjrekar), one day, refuses to pay. The goons beat him up. Rahul and his friend Ganya (Rohit Haldikar) attack the goons. Rahul and Ganya are arrested and taken to the nearest police station, which is headed by Rajveer Singh (Salman Khan). He is a righteous officer and refuses to release them despite pleas from Dutta Pehelwan and Seema. Rajgir also tells Rahul to not break the law as it can cause problems to his family. In prison, Satya and Ganya are attacked by Salvi's men. The fight is stopped by Nanya Bhai (Upendra Limaye). He sees potential in Rahul and Ganya. Once they are out of jail, Rahul expresses desire to teach Salvi a lesson. Rahul and Ganya get a chance to do so one day but they accidentally end up killing him. They are back in jail but this time, Nanya Bhai gets their bail done. Rahul then fights for the rights of the farmers who come to the vegetable market. He decides to give everyone a fair price for their produce. Nanya Bhai sees potential in Rahul's business model and he becomes a partner. Rahul also starts doing Nanya Bhai's dirty work like getting farm lands forcefully from poor peasants. Rahul sees nothing wrong in that but one day, Satya informs him that it was Nanya Bhai who compelled Datta Pehelwan to sell his land at a rate below the market price. Nanya had also threatened to rape Seema if Datta Pehelwan had refused the offer. Meanwhile, MLA Ambir (Sharad Ponkshe), arch nemesis of Nanya, tells Rahul to finish Nanya. What happens next forms the rest of the film.

ANTIM - THE FINAL TRUTH is the official remake of the 2018 Marathi film MULSHI PATTERN [written and directed by Pravin Tarde]. Pravin Tarde's story touches upon some important issues like land mafia, migration of rural population and their exploitation in urban areas, etc. Mahesh V Manjrekar, Abhijeet Deshpande and Siddarth Salvi's screenplay is decent in the first half but is unexciting in the second half. The characters and the plot points are such that the film could have gone to great heights. Instead, the writers pepper the narrative with beaten-to-death and insipid scenes post intermission. A few scenes, however, are exceptionally penned. Mahesh V Manjrekar, Abhijeet Deshpande and Siddarth Salvi's dialogues are sharp and commercial, without going over the top.

Mahesh V Manjrekar's direction is fine. The veteran director tries his best to make the goings-on exciting. He also gives a very realistic look and realistic setting to the film. A few sequences are very arresting like Rajveer and Rahul’s meetings in the police station and Rahul’s assault on Salvi. The intermission point is dramatic. Post-interval, two sequences stand out – one, when Manda (Mahima Makwana) admonishes Rahul in front of hundreds in the market, and two, when Rahul tells Datta to come stay with him and the latter refuses. Barring these two sequences and the climax, the second half is unimaginative. The grand plan of Rajveer to start a war between the warring gangs is childish and is presented as the greatest plan ever thought by a character in a film.

ANTIM - THE FINAL TRUTH doesn’t waste time and the characters and their problems are introduced at the very start. Rajveer’s entry is heroic. The first half is engaging and one expects the film will turn to be a great fare in the second half, especially after Rajveer and Rahul’s fight at the interval point. Sadly, the film goes downhill after the interval. The chase and the final fight is when the film picks up. But the film ends on a very dark and depressing note. Also, the film is very local in nature. Due to these two factors, the film’s reach might be limited.

Aayush Sharma: “An ADVICE I received from Salman Khan that I’ll follow all my life is…”| Rapid Fire

Salman Khan is not in top form but he manages to create impact in a few scenes. Thankfully, he has a significant role and is there in the film from start to finish. Aayush Sharma has improved a lot from his debut film, LOVEYATRI [2018]. The actor has worked hard and it shows. Besides an able performance, his dialogue delivery is also praiseworthy. Mahima Makwana makes a confident debut and is memorable in the scene where she blasts Aayush. Sachin Khedekar is dependable. Upendra Limaye leaves a huge mark in a small role. Uday Tikekar is decent while Vijay Nikam is good in the cameo. Mahesh Manjrekar plays a role similar to the one he played in DABANGG [2010]. His dialogues are difficult to understand. Jisshu Sengupta (Pitya) and Nikitin Dheer (Daya) are poor. Prem Dharmadhikari (Sidhu) gives a decent performance and has a significant role. Rohit Haldikar is there for most parts of the film but doesn’t have much to do. Sayaji Shinde (Uday) and Bharat Ganeshpure (Lawyer) lend able support. Sharad Ponkshe, Siddhi Dalvi and Chhaya Kadam (Rahul's mother) don’t get much scope. Waluscha De Sousa looks gorgeous in the item song.

Hitesh Modak's music is forgettable. The only song that stands out is 'Koi Toh Aayega' ; it is played in the background and enhances impact. The rest of the songs - 'Bhai Ka Birthday' , 'Hone Laga', 'Chingari' and 'Vignaharta' are disappointing. Ravi Basrur's background score has the massy vibe.

Karan B Rawat's cinematography is passable, but certain top angle drone shots of the market are spectacular. Vikram Dahiya's action is not gory and works well. The intro action scene by ANL Arasu is the best action piece in the film. Prashant R Rane's production design is realistic. Ashley Rebello and Alvira Khan Agnihotri's costumes are real and yet appealing. Bunty Nagi's editing is neat.

On the whole, ANTIM - THE FINAL TRUTH has an entertaining first half and the face-off between Salman Khan and Aayush Sharma keeps the interest going. But the unexciting second half diminishes the overall impact.

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EXCLUSIVE: Upendra Limaye believes Mulshi Pattern was more honest than Salman Khan's Antim; says, “Bhaijaan would have had a different calculation”

Mulshi Pattern director and actor criticize Salman Khan for making a “mess” of their film through its remake Antim: The Final Truth

One Year of Antim: "Overwhelmed" Aayush Sharma "can't stop thanking Bhai" Salman Khan for the Mahesh Manjrekar directorial

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​With intense action and drama (a tad too much), ‘Antim: The Final Truth’ checks some of the boxes for mass entertainment.

Antim: The Final Truth Movie Review: A massy attempt to entertain in the old-school Bollywood style

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Antim: The Final Truth | Song - Vighnaharta

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Antim: The Final Truth | Song - Koi Toh Aayega

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• This film marks the first collaboration of uncle-nephew duo Anil Kapoor and Arjun Kapoor. Arjun is the son of Anil’s brother Boney Kapoor. Share
• This film marks the first collaboration of uncle-nephew duo Anil Kapoor and Arjun Kapoor. Arjun is the son of Anil’s brother Boney Kapoor.
• This is the second time Arjun Kapoor is playing a double role, the first being Aurangzeb (2013).
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Antim: The Final Truth

The cop played by Salman fights the land mafia in the film. The cop played by Salman fights the land mafia in the film. The cop played by Salman fights the land mafia in the film.

• Mahesh Manjrekar
• Abhijeet Shirish Deshpande
• Siddharth Salvi
• Salman Khan
• Aayush Sharma
• Mahima Makwana
• 1.7K User reviews
• 10 Critic reviews
• 2 wins & 7 nominations

• Rajveer Singh

• Rahul Patil

• Manda Vichare

• Satya Vichare

• Pitya Bagare

• Daya Bagare

• SI Uday Nanaware

• Advocate Soman

• Dattaram Patil - Rahul's Father

• Dhurpi Patil - Rahul's Mother

• MLA Sharadrao Hambir
• Siddharth Maruti Kamble
• Seema Patil - Rahul's Sister

• Shinde Seth
• Arun Nanaware

• (as Nupur Dhudwadkar)
• All cast & crew
• Production, box office & more at IMDbPro

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Did you know

• Trivia Sachin Khedekar and Salman Khan share the big screen together again after 19 years since Tere Naam.
• Connections Remake of Mulshi Pattern (2018)
• Soundtracks Koi Toh Aayega Music by Ravi Basrur Lyrics by Shabbir Ahmed Vocals by Santhosh Venky, Ravi Basrur, Mohan Krishna, Sachin Basrur, Puneeth Rudranag, Vyasaraj Sosale, Chethan Handattu, Krishna Basrur, Nagaprakash Kota, Vijay Basrur, Umesh Karkada, Krishnamurthy Basrur, Nanndhu J K.G.F & Ramakrishna Basrur

Technical specs

• Runtime 2 hours 18 minutes

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Antim Movie Review: Aayush Sharma delivers knockout performance in Salman Khan film

Antim the final truth review: aayush sharma's remarkable transformation stands out in the salman khan film. the film has been directed by mahesh manjrekar..

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Salman Khan Actor

Aayush Sharma

Let’s start with a disclaimer. Bhaigiri takes a back seat in Salman Khan’s Antim. Yes, you heard it right. Except for the Bhai ka Birthday track, Antim, which is an adaptation of the Marathi film Mulshi Pattern, has very little to do with the trademark Salman jingoism, cryptic monologues, slow-mo fight scenes, and choreographed scenes with sunglasses and scarves. Antim revolves around an honest police officer Rajveer Singh (Salman Khan) and a farmer's son Rahuliya’s (Aayush Sharma) conflict. Mind you the conflict here isn’t the typical cop chasing the bad guy narrative and that’s what makes Antim interesting.

Directed by Mahesh Manjrekar, Antim has a lot going for it. The treatment of the film feels very different from any recent Salman Khan offering. Yes, there is that ever-looming cloud of needing to pander to his massive fan base, yet Manjrekar puts more belief and faith in his writers than Bhai’s bulging biceps. Something that directors haven’t managed to do in a very long time. It could be because Manjrekar has also made Marathi films in the past (Lalbaug Parel, Kaksparsh, Natsamrat) and has used the same formula to showcase the world of Rahuliya and his strife. The backbone of the film and the seed of its conflict lies in the idea of a poor farmer losing his land to forces beyond his control and reach - a reality that has been well documented in several places of Maharashtra. Despite the larger-than-life canvas and loud drums thumping in the garish background score, Manjrekar manages to create characters that are believable.

What stands out in Antim is the remarkable transformation of Aayush Sharma. The actor, who made a shaky debut with LoveYatri , has delivered a performance that stays with you even after the end credits roll out. That is a lot to say for anyone struggling to hold his own ground in a Salman Khan cinematic universe. Aayush’s Rahuliya has a stark resemblance to Sanjay Dutt’s Raghunath Shivalkar from Manjrekar’s very own Vaastav. They both evoke empathy, have an existential crisis as their sinister desires get bigger, and are in the pursuit of happiness. Aayush’s biggest win in Antim is to neither succumb to the pressures of taking on Salman’s larger-than-life screen appeal nor be a bystander and lurk in the superstar's massive shadow. In fact, Aayush manages to hold his own ground and impress in scenes where Rahuliya has to challenge Rajveer and make him look small. Not an easy task, but somehow the actor manages to pull it off with ease. Salman delivers what can be easily called one of his most subtle and underplayed performances in recent times. Rajveer is no Chulbul Pandey or Raadhey (small mercies!) and that in itself is a step in the right direction for the actor.

Antim’s biggest drawback is its flawed narrative and inability in being consistent in making its characters feel real. The second half could have easily been trimmed and made shorter, songs don’t find an appeal (especially Varun Dhawan’s sketchy cameo in the Ganesha song) and the background score and sound mixing plays havoc on your eardrums. There are too many slaps and punches that after a while feel almost robotic and banal attempts to fill in gaping holes in a weak subplot. Salman’s Rajveer is made to look like he’s unpredictable, doesn’t take sides and is mostly a bystander to events unfolding in front of him, yet 20 minutes into the second half he starts going against his own principles and belief and seems to lose track of what he established so effortlessly in the first half of the film. A character that’s flawed because the makers didn’t know what to do with him.

Antim is a small step in the right direction for Salman Khan and a big step for Aayush Sharma whose path of self-discovery as an actor seems to have begun with this film. Overall Antim has enough ammunition to deliver what it set out to promise - an action blockbuster with a massive emotional connect.

3 out of 5 stars for Antim.

ALSO READ| Aayush Sharma ran more than 33 km on Pune streets for Antim climax scene

ALSO READ | When Salman Khan is in the frame, no one looks anywhere else: Antim actor Aayush Sharma Published By: Nairita Mukherjee Published On: Nov 26, 2021 --- ENDS ---

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Antim: The Final Truth Movie Review: Salman Khan And Aayush Sharma's Combo Is A Wholesome Entertaining Package

An intense fight scene featuring Salman Khan's Rajvir Singh and Aayush Sharma's Rahul has the two opponents trying to intimidate each other. During this Salman Khan mutters the dialogue, 'Tu Pune Ka Bhai Hoga Lekin Main Pehle Se Hindustan Ka Bhai Hoon.' These are the few moments coupled with the infectious combo of Salman and Aayush that make Antim: The Final Truth a wholesome package of an entertaining watch.

What's Yay: Salman Khan's subtle yet powerful act, Aayush Sharma's effort to put up a fiery act, impactful dialogues and rustic essence of the movie

What's Nay: An unpolished screenplay and some illogical plotlines

Rahul (Aayush Sharma) is embroiled in the world of crime and underworld on a quest to uplift his and his family's life after their farmland is usurped by a scrupulous landowner. He sees the plight of his father (Sachin Khedekar) a former farmer-wrestler and many other farmers who are suppressed and deprived of their rightful ancestral land and the feeling of vengeance further drives him into being a dreadful gangster.

He only showcases his vulnerability to his ladylove Manda (Mahima Makwana) a headstrong tea stall owner. However, he sees his biggest obstacle in Rajvir Singh (Salman Khan) a badass and no-nonsense cop who is fighting his own silent battle against the system. How Rajvir and Rahul's principles clash with each other amidst a dark web of crime forms the crux of Antim: The Final Truth.

Mahesh Manjrekar has kept the entire essence of the film exceptionally raw, rustic and close to the rural heartland of India. This Hindi remake of Mulshi Pattern has all the brownie points for a family entertainer with the right amount of action, sentiments, romance and some adrenaline rush. The writing by Pravin Tarde, Abhijit Deshpande and Mithlesh Kaushik add diverse layers and uniqueness to each and every character.

Be it Rahul's aggression, Rajvir's virtues, the righteousness of Rahul's family or the ruthlessness of the antagonists, the action of the characters look real and well-shaped up. The movie also gives a brutal message of how the wrongdoings and injustice towards one's own family can vanish all the innocence and throw oneself into a shrewd and tumultuous path.

However, the movie lacks a strong screenplay that adds to its tedious pace. With unnecessary flashbacks in the climax, Antim: The Final Truth threatens to get preachy and monotonous. Some of the subplots of the movie especially the one where Salman Khan's Rajvir Singh goes on an undercover killing spree to turn the goons into loggerheads with each other looks highly illogical.

One wonders how can a disciplinarian cop go on performing endless encounters without any permission from his seniors. These plotlines devoid of any logic or reasoning laboriously add to the pace of the movie.

Performance

Aayush Sharma has definitely come a long way from his chocolate boy avatar in Loveyatri. The man has skillfully slipped into the role of the aggressive and ruthless Rahul who's trapped in the world of crime, underworld and betrayals. The actor is especially good in the scenes wherein he has to channel his aggressive and vindictive side.

One can see a heavy inspiration from Sanjay Dutt's act from Vaastav in his performance as well as the character. However, towards the conclusion, Sharma overdoes some of the scenes wherein he has to showcase his depressed and lonely side. His performance tends to become one tone during the same. But there is no denying that Aayush has definitely upgraded himself considerably from his last movie.

Salman Khan inevitably has his whistle worthy moments and does not fail to showcase his charming screen presence as the no-nonsense Sikh cop. Some of his dialogues will definitely garner the required claps and whistles from the masses.

However, the actor can be visibly seen to have taken a subtle backseat to let Aayush's character shine. But that does not hinder his performance in any manner. His showdown scenes with Sharma are the ones to look out for. There are just some illogical plotlines written for his character that refuses to strike a chord sometimes.

Mahima Makwana displays a confident act in her debut project as Manda. She's a strong woman in a man's world and the actress showcases a powerful conviction in her performance. However, her chemistry with Sharma could've been a little more impactful. Sachin Khedekar steals the show in all of his scenes as the righteousness and honourable father of Rahul.

The man inevitably gives the strongest performance out of the supporting cast members. Rohit Haldikar does justice to his role of Rahul's confidante. Jisshu Sengupta and Niketan Dheer are convincing as the antagonists and get into the skin of their characters successfully.

Technical Aspects

The cinematography by Karan B Rawat captures the rustic and rural appeal of the villages. The production design by Prashant Rane also is top-notch. The locations and the overall essence of the movie are organic and thus can be connected with.

The music by Ravi Basrur and Hitesh Modak is catchy especially the background score of Antim 's title track that primarily plays during Salman Khan's entry. The 'Vignaharta' gives the right kind of devotion and energy while the romantic song 'Hone Laga' crooned by Jubin Nautiyal is pleasant to the ears. However, none of the other soundtracks strikes a chord.

Watch this Hindi remake of Mulshi Pattern to consume a considerable amount of an entertaining package. This one once again will be a treat for all the Bhai fans out there. We give Antim: The Final Truth 3 out of 5 stars.

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Antim The Final Truth movie review: Bhai is back with Dabangg 4

Antim the final truth movie review: aayush sharma looks as if he could get into a character, once he stops playing a type. he may notionally be the lead, and he manages to snaffle a bare-chested scene or two, but make no mistake, the biggest lines are all salman khan’s..

Antim The Final Truth movie cast: Salman Khan, Aayush Sharma, Mahima Makwana, Jisshu Sengupta, Sachin Khedekar, Upendra Limaye, Nikitin Dheer, Mahesh Majrekar Antim The Final Truth movie director: Mahesh Manjrekar Antim The Final Truth movie rating : One and a half stars

First report after watching ‘Antim: The Final Truth’? My ear drums have shattered. Even going by the usual loudness of background music, this one sends it through the roof. Can you sit through a masala movie without having to say that no ears were harmed during the watching of the film? Next time, remind me to pick up ear-plugs.

Meanwhile, here we are, watching a film pay lip service, for the millionth time, to the plight of poor farmers, land-grabbers, greedy netas, and other evil people. The film, based on the Marathi movie ‘Mulshi Pattern’, uses that superstructure to give Aayush Sharma a chance to change his lover-boy image, cemented in the 2018 ‘Loveyatri’, and to give Salman Khan ’s fans, pining for their dabangg idol, a chance to re-unite with him.

Those twin objects are fulfilled with a great deal of zeal and enthusiasm, because from the start, not a moment goes by without the school dropout Rahul/Rahulya (Aayush Sharma) glaring and flaring up at those who have grabbed his arrow-straight father’s (Sachin Khedekar) ‘zameen’. The moments that are left over are filled up by clean-and-mean police officer Sardar Rajveer Singh (Salman Khan), all togged out in a turban, having replaced his beloved azure bracelet with a ‘kadaa’, and doing what he does best– baring his ‘faulaadi’ chest, slinging out one-liners, and pulverizing the baddies.

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Everything else, in this Pune -based actioner chock full of Marathi inflections and accents, is a filler. Sachin Khedekar as the long-suffering father who’d rather die than do anything dishonest; Upendra Limaye as the dodgy guy who takes Rahulya under his wing; Jisshu Sengupta as a local hood. Even Rahulya’s love-interest (Mahima Makwana), who plays a girl dispensing cutting chai, is a perfunctory presence: she gets a dance, a roll in the hay, and a couple of speaking scenes.

Sharma looks as if he could get into a character, once he stops playing a type. He may notionally be the lead, and he manages to snaffle a bare-chested scene or two, but make no mistake, the biggest lines are all Salman’s. Tu hoga Pune ka Bhai, says the latter to the former, par main Hindustan ka Bhai hoon.

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Antim: The Final Truth Review: Critics Give Their Verdict On This Salman Khan-Aayush Sharma Starrer

Views: 3821 | 26 Nov 2021 08:15:57 pm IST | By Sunit Jangir

#OneWordReview ... #Antim : POWER-PACKED. Rating: ⭐️⭐⭐½ A gangster drama that keeps you hooked for most parts… Although it banks on an oft-repeated plot, the twists and turns + #SalmanKhan ’s character + #AayushSharma ’s act + stunning finale are aces. #AntimReview pic.twitter.com/Fr0ialTW75 — taran adarsh (@taran_adarsh) November 26, 2021

Director #MaheshManjrekar attempts the gangster drama yet again with #Antim and though he gives it all, #Vaastav [ #SanjayDutt ] - also about a gangster - remains his best work to date... #RaviBasrur ’s background score is electrifying. #AntimReview — taran adarsh (@taran_adarsh) November 26, 2021

#MaheshManjrekar delivers with #AntimTheFinalTruth . #SalmanKhan is #RRR - Real, Raw and Ruthless - reminding of #ArjunRanawat from #Garv - #AayushSharma 's hard-work is visible as pulls off his gangster avatar with conviction, standing tall in front of #SK ! — Himesh (@HimeshMankad) November 26, 2021

#AntimTheFinalTruth has it's share of flaws too, which we shall discuss later through the week! But all in all, it's an honest attempt, Worth-A-Dekho. — Himesh (@HimeshMankad) November 26, 2021

#Antim First half- POWERFUL.. #AayushSharma is excellent while #SalmanKhan is terrific.. Interval Point is Bawaaal 🔥🔥🔥🔥 — Sumit Kadel (@SumitkadeI) November 26, 2021

#Antim - RAGE ⭐⭐⭐⭐ Impeccable performance by #AyushSharma Electrifying BGM of @RaviBasrur 💥 , presence of #Salmankhan n #MaheshManjrekar 's brilliant screenplay n casting will keep u engaged It will wipe out the sin of #Race3 , #Dabangg3 , #Radhe Last 15 mnts- Breathtaking👌 pic.twitter.com/TWi2fUBBz7 — Satya Sanket (@satyasanket) November 26, 2021

#AntimReview Rating - ⭐️⭐️⭐️⭐️ Story & Script 4/5 , Performances 4/5 , Screenplay 4/5 , Music 3.5/5 , Direction 4.5/5 #SalmanKhan and #AayushSharma are just terrific. Final Verdict - #Antim exceeds my expectations, this is how a Masala film should be made with a good content! — Siddharth Mathur (@TheSidMathur) November 26, 2021

#SalmanKhan ’s performance as Rajveer is such a treat to watch that I wish to watch an another whole movie made just on Rajveer #Antim 🔥 #AntimReview ⭐️⭐️⭐️⭐️ — Shweta SK (@Shweta7770) November 26, 2021

#AntimReview : It's not a damaged film but definitely a damaged copy of Mulshi Pattern! #Antim #AntimTheFinalTruth #SalmanKhan #AayushSharma — Umesh Punwani (@PunwaniUmesh) November 26, 2021

#AntimReview ⭐⭐🌟 Aayush Sharma is FANTASTIC, Salman Khan is as POWERFUL as always. SPECTACULAR Action sequences & BG music. The performances overshadow the script which should have been much better. #AntimTheFinalTruth #SalmanKhan — Sushant Mehta (@SushantNMehta) November 26, 2021

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Antim Review: Aayush Sharma Makes A Strong Impression. Yet, It Is Salman Khan All The Way

Antim review: sachin khedekar does have his moments but chhaya kadam is a mere passenger. jisshu sengupta, nikitin dheer and sayaji shinde are stranded in a screenplay that has little space for them beyond fleeting appearances..

Antim : Salman Khan-Aayush Sharma in the film. (Image courtesy: beingsalmankhan )

Cast: Salman Khan, Aayush Sharma, Rohit Haldikar, Upendra Limaye, Chhaya Kadam, Nikitin Dheer, Jisshu Sengupta and Sayaji Shinde

Director: Mahesh Manjrekar

Rating:  2.5 stars (out of 5)

Do not let the tagline mislead you. Antim: The Final Truth , a gangster drama directed by Mahesh Manjrekar, isn't looking for either the truth or any sort of finality. If there is anything at all that it proves, it is this: even in a film in which Salman Khan deigns to share the limelight with another actor, it is he who inevitably hogs it all. For once, it works to the advantage of the film. Although the socio-economic realities of rural Maharashtra inflect Antim to a great extent, the film is cast squarely in the mould of a conventional crime saga in which a less-sinned-against-than-sinning lawbreaker is lionised only to be thrown into a losing battle against a tough policeman determined to wipe out crime and criminals.

The amalgam of multiple concerns - the plight of farmers, the greed of industrialists, the futility of crime and the policing of urban areas - is undeniably significant. It contributes to separating the film just a touch from run-of-the-mill cops-and-gangsters flicks. However, the approach that Antim takes is not only riddled with cliches, it is also, in the ultimate analysis, abjectly anodyne.

The line between the meaningful and the massy is indeed precariously thin in Antim . The film barely touches upon the former and leans too heavily towards the latter. That is a departure from Mulshi Pattern , the 2018 Marathi film from which it is loosely adapted.

The balancing act that the rejig attempts takes some doing especially because the overpowering presence of a superstar who is also the film's producer has to be factored into the script without altering the spirit of the story. The effort casts a shadow on the final product.

To Salman Khan's credit, he takes care not to overdo the invincible, intrepid crime-buster persona that is his stock in trade. He brings a surprising degree of restraint to bear upon the character of Rajveer Singh, a no-nonsense police officer who comes off a two-year suspension to take charge of law enforcement in a crime-infested area of Pune.

There is no dearth of melodrama in Antim nor is there a paucity of action sequences or dialogue-heavy confrontations between the man in uniform and the Pune mafia kingpins who force farmers off their land and rob them of their dignity. Especially in passages of the latter kind, Salman is in his elements. He preens and poses but delivers his lines with restraint.

Certain parts of the screenplay by Manjrekar, Abhijeet Deshpande and Siddharth Salvi touch upon relevant themes. Other portions gloss over the ticklish issues at the heart of the tale with the aim of softening the film's core for the benefit of the Salman Khan fan base.

A Sikh policeman's arrival in Pune coincides with the migration of a farmer's family displaced from the village of Mulshi. The patriarch, Datta Patil (Sachin Khedekar), once a champion wrestler, has been reduced to serving as a security guard at the bungalow that a builder has constructed on a plot land that the former was forced to sell for a pittance.

The one-time wrestler's hot-headed son Rahul (Aayush Sharma in his sophomore outing) clashes with the obnoxious real-estate tycoon before his father leaves the village with his family to work as a porter in the Pune market yard. The boy, impatient and always spoiling for a fight, vents his anger on a bunch of goons in the uprooted farmer's workplace.

In the process, Rahul and his childhood pal Ganya (Rohit Haldikar) earn the ire of one gang led by a corporator and the benign attention of another run by a politically powerful local don Nanya Bhai (Upendra Limaye, who was also in the original film in the role that Salman essays in Antim ).

A turning point in the first half catapults Rahul to the top of the underworld heap, triggering fierce gang rivalries that Rajveer exploits to stage encounters and eliminate undesirable elements. The plot springs no major surprises but for the fact that it continually stresses the truism that crime does not pay.

The young gangster played by Sharma struts around as his stocks rise rapidly, but he is repeatedly reminded by the policeman that his days are numbered. Rahul is disowned by his own family, including his mother (Chhaya Kadam). The girl he falls in love with, Manda (Mahima Makwana in her Hindi big-screen debut), a tea-seller in the market yard, also gives the guy a run for his money.

Antim: The Final Truth is the kind of film in which there is no tomorrow in more senses than one. The protagonist does not have a future and that is asserted time and again. The film itself plays out in a manner that suggests it is desperate to pack in as much as it can without losing the advantage of Salman Khan's star power.

Antim occasionally slips into meta territory. Aayush's character declares ahead of a duel: "Main Pune ka naya Bhai hoon ." Salman's Rajveer Singh retorts: Tu Pune ka naya Bhai hain, main toh pehle se hi Hindustan ka Bhai hoon." The line between the star and the character vanishes. This isn't the only time that the erasure happens in the 142-minute Antim .

With the spotlight trained understandably on Salman and Aayush, several of the characters, including the one that Mahesh Manjrekar himself plays - the alcoholic, perpetually slurring father of the girl Rahul wants to marry - get very limited play in an overcrowded script.

Sachin Khedekar does have his moments but Chhaya Kadam, an actress of proven substance, is a mere passenger. That apart, Jisshu Sengupta, Nikitin Dheer and Sayaji Shinde are stranded in a screenplay that has little space for them beyond fleeting appearances.

Aayush Sharma, who made his debut in 2018 in another Salman Khan production (Loveyatri) without creating so much as a ripple, makes a strong impression in Antim. The actor, playing a don in Kolhapuri chappals, does more than his bit as the conflicted, lonely, ambitious crime lord yearning for both domination and acceptance. What that means is that all the heavy lifting isn't left to Salman Khan. Yet, Antim is Salman Khan all the way.

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The extent to which Antim works will hinge principally on how his fans relate to his somewhat subdued performance. There are, for sure, several action sequences in which the star hits his straps. Among them are an entry scene in which Salman beats a rapist and his henchmen to pulp and a pre-intermission fight sequence that has him and Aayush Sharma, both shirtless, locked in a duel.

These strategically spaced scenes pack a punch. Yet, the film, on the whole, is anything but a knockout show.

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Antim: The Final Truth Movie Review - Critics

List of  Antim: The Final Truth  Movie Reviews  from various popular critics and news portals. Kindly bookmark this page to check all the reviews which will be updated accordingly.

With intense action and drama (a tad too much), ‘Antim: The Final Truth’ checks some of the boxes for mass entertainment. It also highlights the issue of land grabbing by mafia dons, who successfully manage to bend the law, as they’re are often hand-in-glove with the politicians. So, if you fancy over-the-top old-school Bollywood films that have an excess of just about everything then ‘Antim: The Final Truth’ may just be your kinda film.

Khan seems to be running a banana republic of a police station where criminals are arrested but are freed rapidly because their misdeeds are backed by powerful politicians. The systemic injustices may be a reality in the times we live in, but ‘Antim: The Final Truth’ bludgeons it home in the least subtle manner.

Antim is a small step in the right direction for Salman Khan and a big step for Aayush Sharma whose path of self-discovery as an actor seems to have begun with this film. Overall Antim has enough ammunition to deliver what it set out to promise - an action blockbuster with a massive emotional connect.

Antim is a well-made film with a generous dose of superbly shot action sequences offset by some zany dialogues that will make you smile in the midst of all the doom and gloom. Its strength lies in the fact it is a typical Salman Khan film that ends up being more than just another Salman Khan movie as well.

#OneWordReview... #Antim: POWER-PACKED. Rating: Medium star⭐⭐½ A gangster drama that keeps you hooked for most parts… Although it banks on an oft-repeated plot, the twists and turns + #SalmanKhan’s character + #AayushSharma’s act + stunning finale are aces. #AntimReview

Antim works as long as the film hews closely to Mulshi Pattern. Like Vijay in Deewar, Rahul discovers that ultimately crime doesn’t pay. Just like Vijay’s mother represents morality in that film, Rahul’s family represents morality in this one. The scenes in which he attempts to woo them over with his money and power are moving.

Aayush Sharma Makes A Strong Impression. Yet, It Is Salman Khan All The Way. Sachin Khedekar does have his moments but Chhaya Kadam is a mere passenger. Jisshu Sengupta, Nikitin Dheer and Sayaji Shinde are stranded in a screenplay that has little space for them beyond fleeting appearances.

Aayush Sharma looks as if he could get into a character, once he stops playing a type. He may notionally be the lead, and he manages to snaffle a bare-chested scene or two, but make no mistake, the biggest lines are all Salman Khan’s.

Overall, the film has what it takes to be a mass entertainer but had it been less preachy and stuck to the gangster drama plot without emotional tropes, it could have been more impactful. Watch it to enjoy Aayush and Salman both in new avatars.

It is only fair to say that Aayush Sharma yet again owes his career to Salman Khan. An official remake of Marathi movie Mulshi Pattern, the story set in Pune, has every aspect of a typical Salman Khan movie. From slow motion fights, to slow motion entries, and subtle yet powerful punch lines, Salman Khan carries this movie on his shoulder. Aayush Sharma also impresses in a few action sequences, but lacks the much-needed swag that is required to play the character.

After surviving 142 of mind-numbing lawlessness and zero consequences around people pointing guns and darting bullets in an all-you-can-kill buffet, I wish I could truly say this was the Antim not nth time.

Action, comedy and drama are what you expect when someone says a Salman Khan film is on the block. Antim: The Final Truth brings all the three elements in equal measures. Lead actors Salman Khan and Aayush Sharma present an action-packed thriller that has foot-tapping festive songs, a sensuous romantic ballad and a signature song that would make you vibe to its peppy beats. Also making her debut is Mahima Makwana.

Actor Salman Khan's latest movie Antim is an engaging gangster drama that proves to be a treat for 'Bhai' fans. It revolves around what happens when a cop with his own brand of justice locks horns with a hotheaded young 'dada' in a bid to crush the underworld. The basic storyline is as old as the hills and caters primarily to a mass audience. It, however, exceeds its potential because of the effective screenplay.

On the whole, Antim has entertainment value but it lacks novelty and super-hit music. Also, it will not satisfy Salman Khan fans to the fullest because the subdued police officer he plays is often shown to be helpless due to the system and politics. As such, the film will end up doing average business at the box-office. Of course, collections are bound to pick up.

Overall, Antim: The Final Truth is a film you can watch out for Salman Khan setting the guns blazing and Aayush Sharma's powerful performance. Otherwise, there's nothing exceptional and striking about the Mahesh Manjrekar directorial.

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Civil War ditches present politics in favor of gripping action and emotion

Ex Machina director Alex Garland wanted to tell a timeless human story, not an agenda-driven, partisan one

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A version of this review ran in March 2024 in conjunction with the movie’s original coverage embargo. It has been updated and republished for the theatrical release.

In an era of divisive, high-stakes U.S. politics, it isn’t surprising to see so many people online responding to the entire concept of Alex Garland’s Civil War as if it’s inherently toxic. Set on and around the front lines of a near-future America broken into separatist factions, Garland’s latest (after the fairly baffling fable-esque Men ) looks like a timely but opportunistic provocation, a movie that can’t help but feel either exploitative or far too close to home in a country whose name, the United States, sounds more ironic and laughable with every passing year.

And yet Garland says that America’s present widespread divisions aren’t really what Civil War is about . The movie is about as apolitical as a story set during a modern American civil war can be. It’s a character piece with a lot more to say about the state of modern journalism and the people behind it than about the state of the nation.

It’s almost perverse how little Civil War reveals about the sides in its central conflict, or the causes or crises that led to war. (Viewers who show up expecting an action movie that confirms their own political biases and demonizes their opponents are going to leave especially confused about what they just watched.) This isn’t a story about the causes or strategies of post-united America: It’s a personal story about the hows and whys of war journalism — and how the field changes for someone covering a war in their homeland, instead of on foreign turf.

Lee Miller (Kirsten Dunst) is a veteran war photographer, a celebrated, awarded, deeply jaded woman who’s made a career out of pretending to be bulletproof in arenas where the bullets are flying — or at least being bulletproof long enough to capture memorable, telling images of what bullets do to other people’s bodies and psyches. Her latest assignment: She and her longtime work partner Joel (Wagner Moura) have been promised an interview with the president (Nick Offerman), who is now in his third term in office and coming off more than a year of public silence.

It’s a dream opportunity for a war correspondent — a chance to make history, and maybe more importantly, to make sense of the man whose choices seem to have been key in pushing the country over the line and into war. But securing the interview will require traveling more than 800 miles to Washington DC, through active war zones, and past hostile barricades erected by state militias or other heavily armed local forces. Tagging along on this potentially lethal road trip is Jessie ( Priscilla star Cailee Spaeny), a green but ambitious 23-year-old photographer who Lee obviously thinks is likely to get herself killed along the way — or get the whole traveling party killed.

The tension between Lee and Jessie forms the center of Civil War , far more than the tension between any particular political perspectives does. They’re potential mentor and her potential replacement, the past and future of their chosen career, allies but competitors, chasing the same things within a small profession known equally for its rivalries and its interpublication commiseration. That gives the film plenty of low-key, sublimated tension, which gets more air than the actual country-wide conflict the two women are navigating. For all that the movie is coming in a time when pundits keep warning about the potential for an actual new American civil war , Garland’s Civil War barely tips its hand about the specifics of the conflicts.

There’s plenty there for viewers who want to read between the lines, about which states are in revolt (California, Texas, and Florida all get passing mentions as separatist states) and about the soldiers — mostly Southern and many rural — who get significant screen time. (Jesse Plemons surfaces as yet another in his long line of terrifying men with clear potential for violence, and a dangerously blank affect that keeps people from knowing when that violence is coming.) But Lee’s angry exhaustion and Jessie’s fear and excitement over learning more about the profession from someone she respects are the real heart of the story.

All of which makes Civil War a movie more about why war correspondents are drawn to the profession than about any particular perspective on present American politics. And it’s a terrific, immersive meditation on war journalism. Lee and her colleagues are presented as half thrill-seeker adrenaline monkeys, half dutiful documentarians determined to bring back a record of events that other people aren’t recording. They’re doing important work, the movie suggests, but they have to be more than a little reckless both to choose the profession and to return to the battlefield over and over.

Lee never gives any big speeches about the difference between covering war in Afghanistan and in Charlottesville, but it’s clear she’s fraying under the pressure of watching her own country in such a rattled and ragged state, with hardened soldiers on both sides demonizing other Americans the way Americans have demonized entire foreign nations. Jessie, for her part, seems impervious to the weight of that reality, but still far less inured to cruelty and to combat. The two women push powerfully at each other, with a clear, beautifully drawn, yet unspoken sense that when Lee looks at Jessie, she sees her own younger, dumber, softer self, and when Jessie looks at Lee, she sees her own future as a famous, capable, confident journalist.

All of this character work is built into a series of intense, immersive action sequences, as Lee’s group repeatedly risks death, trying to negotiate their way across battle lines or embed themselves with soldiers during pitched combat. The finale sequence, a run-and-gun combat through city streets and tight building interiors, is a gripping thrill ride that Garland directs with the immediacy of a war documentary.

The entire film is paced and planned with that dynamic involved. It’s a particularly gorgeous drama, shot with a loving warmth that reflects its point of view, through the eyes of two photographers used to conceiving of everything around them in terms of vivid, compelling images. A late-film sequence shot as the group drives through a forest fire is especially beautiful, but the movie in general seems designed to impress viewers on a visual level. By mid-film, it becomes clear that Lee shoots with a digital camera, while Jessie shoots on old-school film, and that for both of them, that choice is important and symbolic.

In the same way, Garland’s shot choices and the movie’s vivid color keep reminding the audience that this is a movie about not just documenting moments, but capturing them well enough to mesmerize an audience. In some ways, Civil War comes across as nostalgic for an earlier era of journalism and photography. The collapse of the internet seems to have reset the news to a point where print journalism dominates over TV or social media, and no one seems to be getting their news online. It’s the most prominent retro aspect of a story that’s otherwise reflecting a potential future.

What the movie isn’t about is taking sides in any particular present political conflict. That may surprise and disappoint the people drawn to Civil War because they think they know what it’s about. But it’s also a relief. It’s hard for message movies about present politics to not turn into clumsy polemics. It’s hard for any document of history to accurately document it as it’s happening. That’s the job of journalists like Jessie and Lee — people willing to risk their lives to bring back reports from places most people wouldn’t dare go.

And while it does feel opportunistic to frame their story specifically within a new American civil war — whether a given viewer sees that narrative choice as timely and edgy, or cynical attention-grabbing — the setting still feels far less important than the vivid, emotional, richly complicated drama around two people, a veteran and a newbie, each pursuing the same dangerous job in their own unique way. Civil War seems like the kind of movie people will mostly talk about for all the wrong reasons, and without seeing it first. It isn’t what those people will think it is. It’s something better, more timely, and more thrilling — a thoroughly engaging war drama that’s more about people than about politics.

Civil War debuts in theaters on April 12.

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Johnny Oleksinski

‘civil war’ review: a torturous, overrated movie without a point.

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Running time: 109 minutes. Rated R (strong violent content, bloody/disturbing images and language throughout). In theaters.

All director Alex Garland had to do was title his new movie “Civil War” for it to instantly be deemed Very Important by tastemakers.

Who cares that the script is lousy? Or that the acting is monotonous? Or that the story amounts to a series of gruesome killings that you’d rather not sit through?

Doesn’t matter. It’s essential!

The gnarly film is about a modern-day domestic war in America and is, therefore, a prescient warning to us all, we’ve already been told with conspicuous enthusiasm by lefty newspaper op-eds.

They insist: You, too, could soon be tied up at a roadside gas station and tortured by dudes with Southern drawls.

But really Garland’s movie is no more vital to the discourse than “ The Purge ,” and is about 1% as entertaining.

“Civil War’s” shtick is that it’s not specifically political.

For instance, as the US devolves into enemy groups of secessionist states, Texas and California have banded together to form the Western Forces. That such an alliance could ever occur is about as likely as Sweetgreen/Kentucky Fried Chicken combo restaurant.

Still, one deadly encounter with a soldier played by Jesse Plemons leaves no doubts about what actual party he is supposed to represent.

The Western Forces are duking it out with the loyalist states who follow the president (Nick Offerman) — a fascist in an illegal third term — as well as the Florida Alliance and the New People’s Army.

Lest you arrive expecting cool battles, the fights are mostly just three or four guys shooting three or four other guys until a slightly bigger clash at the end. All we get are tiny tussles in a war supposedly affecting 350 million people.

Garland, with his incessant vagueness, is clearly aiming to keep the story universal rather than divisive. 

However, considering his movie is set in a land of folks who love to discuss and argue about the news, it’s odd that none of the characters ever give concrete details about what’s going on. How did this conflict start? What does anybody stand for? Who knows?

Avoiding the elephant (and donkey) in the room makes the whole shebang feel fake, with the help of some lethargic actors.

Our guides through this not-believable hellscape are a quartet of unlikable war journalists whose lives we barely learn about beyond their resumes. 

Kirsten Dunst plays Lee Smith , a hardened frontline photographer for Reuters who’s become numbed to violence and danger over the years.

Joel (Wagner Moura) is her reporter sidekick, who gets a thrill out of the battlefield … until he doesn’t. Moura’s performance, by the way, leads me to believe his numbskull journo couldn’t convince a telemarketer to talk to him.

Stephen McKinley Henderson is an aging New York Times writer named Sammy, who’s just about had enough. And Jessie (Cailee Spaeny) is a young, aspiring fotog who worships Smith and tags along for the ride. 

They embark on a road trip from New York City — which is being bombed — to Washington, DC, in an attempt to interview the press-hating president who is hiding out in the White House.

The plot plods along — they drive a bit, guy gets shot, they drive some more, guy gets shot — and the dialogue is bottom of the barrel.

At one point, Joel walks into a clothing store in an eerily calm small town and says, “Are you guys aware that there’s a pretty big civil war going on all across America?” 

This is what the New York Times called “a terrifying premonition of American collapse”!

Dunst is the best of the four performers , but a bitter, been-there-done-that reporter is such an old cliche. She adds nothing new to the archetype except her name.

A movie about a fictional second civil war isn’t a terrible idea, I’ll grant.

But how about instead of torturing viewers with a parade of point-blank executions, Garland tries making a well-executed film?

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Fallout First Reviews: A 'Violent, Fun, Emotional, Epic' Video Game Adaptation, Critics Say

Critics say prime video's new series benefits from strong storytelling, committed performances, and a deft balance of tone, making it one of the best video game adaptations ever..

TAGGED AS: First Reviews , streaming , television , TV

Fallout is the latest video game adaptation to hit the small screen. Created by Geneva Robertson-Dworet and Graham Wagner , and executive produced by Westworld ‘s Jonathan Nolan and Lisa Joy , the eight episode series, inspired by the hit game franchise from Bethesda Softworks drops on Wednesday, April 10 to Amazon Prime Video.

The post-apocalyptic series stars Ella Purnell as Lucy; Aaron Moten as Maximus; and Walton Goggins as The Ghoul. Joining them is an ensemble cast that includes Kyle MacLachlan , Sarita Choudhury , Michael Emerson , Leslie Uggams , Zach Cherry , Moises Arias and Johnny Pemberton , among others.

With nearly three decades of lore under its belt, the video game franchise has drawn a massive fanbase. Needless to say, there’s a lot of hype surrounding the new series. Does it live up to expectations? Here’s what critics are saying about Fallout :

How does it compare to the video games?

Prime Video’s TV adaptation of Fallout does something the games in the legendary franchise never have—put storytelling above all else. — Bernard Boo, Den of Geek

Fallout is the new standard for video game adaptations. This series is violent, fun, emotional, epic, and just plain awesome. — Alex Maidy, JoBlo’s Movie Network

Opting for a new narrative that simply takes place in the Fallout  world, the series is a mix of adventure and puzzle-box mystery, with more than enough action scenes to satisfy the RPG faithful. It’s fun, and only occasionally overcomplicated. — Kelly Lawler, USA Today

Fallout takes the ideas of the games and crafts its own story in an already interesting world. Nails the satire, the wackiness, and about everything a fan could want. — Zach Pope, Zach Pope Reviews

Bodies fly, heads explode, and video game logic reigns triumphant. — Niv M. Sultan, Slant Magazine

How is the cast?

(Photo by Prime Video)

All of the performances are great; Purnell is a strong, loveably naive lead, while Moten delivers a fascinatingly, sort-of loathsome turn. Excusing the wonderful pooch that plays CX404, aka Four, Goggins is the runaway MVP, an agent of chilly, smooth-talking chaos somewhere between John Marston and Clarence Boddicker. — Cameron Frew, Dexerto

“I hate it up here,” Lucy mutters early on, and given the horrors to which she’s subjected, nobody could blame her. Yet her quest not only involves no shortage of carnage but also insights into her community and its origins, as well as encounters (some relatively brief) with a strong array of co-stars, including Moisés Arias, Kyle MacLachlan, Sarita Choudhury, Michael Emerson, and Leslie Uggams. — Brian Lowry, CNN

The Ghoul serves as the perfect foil for Lucy and Maximus, with Goggins deploying megatons’ worth of weary charisma in his performance as Fallout’ s resident lone wolf, black hat archetype. — Belen Edwards, Mashable

Emancipation’s Aaron Moten and And Just Like That… standout Sarita Choudhury nail the determined, world-weary drive that propels their characters forward while Justified’ s Walton Goggins gives one of his best performances yet as Cooper Howard, a mutated ghoul of a gunslinger who gives everyone a hard time with biting quips and searing bullet work. — David Opie, Digital Spy

How’s the writing and world-building?

The show’s creators have done such an impeccable job fleshing out the world of Fallout that it feels like the characters are treading stories and quests you’ve experienced yourself in one way or another. — Tanner Dedmon, ComicBook.com

Story-wise, Fallout  smartly eschews trying to adapt specific storylines or side-quests from any of the games, but rather concocts a new one set in the rich and familiar landscape. — Brian Lloyd, entertainment.ie

There are plenty of Easter eggs, as you might expect from a video game adaptation, but Fallout manages to make them seem like part of the world, too. It all feels real and believable as pieces of a whole existence that these people have scraped together, which goes a long way toward helping the show’s humor land. Even the Easter eggs feel carefully designed to fit into the world and the lives of the characters, rather than drawing focus away from them or sticking out as a glaring distraction. — Austen Goslin, Polygon

Do the violence and humor work?

It’s strong, it’s goddamn hilarious, and it highlights exactly how to swing for the fences while still knowing where Homebase is. It may be a new series, but Fallout is an instant classic of the streaming age. — Kate Sánchez, But Why Tho? A Geek Community

A bright and funny apocalypse filled with dark punchlines and bursts of ultra-violence, Fallout is among the best video game adaptations ever made. — Matt Purslow, IGN Movies

Finding a tonal balance between the drama and the comedy is a razor’s edge, but Fallout  makes it look effortless. As a result, spending time in this hardened world is as fun, engaging, and engrossing as the games. — William Goodman, TheWrap

It’s an equal parts funny and nightmarish show that, like its protagonist, isn’t content to live inside a projection of the past. — Kambole Campbell, Empire Magazine

Crucially, these laugh-out-loud moments of disbelief don’t detract from the harsh reality of this world, which is perhaps even more violent than you might expect, especially for newbies to this franchise. — David Opie, Digital Spy

Any final thoughts?

Fallout is a clever, twisted apocalyptic odyssey that soars as both a video game adaptation and a standalone series. — Lauren Coates, The Spool

For those who have never played the Fallout series, especially those of the time-strapped ilk who can’t just pour hundreds of hours into a game, they should give Prime Video’s Fallout a go. — Howard Waldstein, CBR

Fallout is both totally rad and an absolute blast. — Neil Armstrong, BBC.com

The show’s clearly committed to being the definitive Fallout adaptation, a love letter to fans, no question, while still opening the vault door to welcome in just about everyone else brave enough to step inside. — Jon Negroni, TV Line

There’s really nothing like Fallout on television right now, and that’s ultimately a good thing. — Therese Lacson, Collider

Thumbnail image by Amazon Studios. On an Apple device? Follow Rotten Tomatoes on Apple News .

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Movie Review: In Alex Garland’s potent ‘Civil War,’ journalists are America’s last hope

This image released by A24 shows Kirsten Dunst in a scene from “Civil War.” (A24 via AP)

This image released by A24 shows Kirsten Dunst in a scene from “Civil War.” (Murray Close/A24 via AP)

This image released by A24 shows a scene from “Civil War.” (A24 via AP)

This image released by A24 shows a scene from “Civil War.” (Murray Close/A24 via AP)

This image released by A24 shows Cailee Spaeny, left, and Kirsten Dunst in a scene from “Civil War.” (A24 via AP)

This image released by A24 shows Wagner Moura in a scene from “Civil War.” (A24 via AP)

This image released by A24 shows Wagner Moura, left, and Kirsten Dunst in a scene from “Civil War.” (Murray Close/A24 via AP)

This image released by A24 shows Cailee Spaeny, left, and Wagner Moura in a scene from “Civil War.” (Murray Close/A24 via AP)

This image released by A24 shows Cailee Spaeny in a scene from “Civil War.” (Murray Close/A24 via AP)

This image released by A24 shows Nick Offerman in a scene from “Civil War.” (Murray Close/A24 via AP)

This image released by A24 shows Stephen McKinley Henderson in a scene from “Civil War.” (Murray Close/A24 via AP)

This image released by A24 shows promotional art for “Civil War.” (A24 via AP)

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The United States is crumbling in Alex Garland’s sharp new film “ Civil War, ” a bellowing and haunting big screen experience. The country has been at war with itself for years by the time we’re invited in, through the gaze of a few journalists documenting the chaos on the front lines and chasing an impossible interview with the president.

Garland, the writer-director of films like “Annihilation” and “Ex Machina,” as well as the series “Devs,” always seems to have an eye on the ugliest sides of humanity and our capacity for self-destruction. His themes are profound and his exploration of them sincere in films that are imbued with strange and haunting images that rattle around in your subconscious for far too long. Whatever you think of “ Men ,” his most divisive film to date, it’s unlikely anyone will forget Rory Kinnear giving birth to himself.

In “Civil War,” starring Kirsten Dunst as a veteran war photographer named Lee, Garland is challenging his audience once again by not making the film about what everyone thinks it will, or should, be about. Yes, it’s a politically divided country. Yes, the President (Nick Offerman) is a blustery, rising despot who has given himself a third term, taken to attacking his citizens and shut himself off from the press. Yes, there is one terrifying character played by Jesse Plemons who has some pretty hard lines about who is and isn’t a real American.

But that trailer that had everyone talking is not the story. Garland is not so dull or narratively conservative to make the film about red and blue ideologies. All we really know is that the so-called Western Forces of Texas and California have seceded from the country and are closing in to overthrow the government. We don’t know what they want or why, or what the other side wants or why and you start to realize that many of the characters don’t seem to really know, or care, either.

This choice might be frustrating to some audiences, but it’s also the only one that makes sense in a film focused on the kinds of journalists who put themselves in harm’s way to tell the story of violent conflicts and unrest. As Lee explains to Cailee Spaeny’s Jessie, a young, aspiring photographer who has elbowed her way onto their dangerous journey to Washington, questions are not for her to ask: She takes truthful, impartial pictures so that everyone else can.

“Civil War” a film that is more about war reporters than anything else — the trauma of the beat, the vital importance of bearing witness and the moral and ethical dilemmas of impartiality. Dunst’s Lee is having a bit of an existential crisis, having shot so many horrors and feeling as though she hasn’t made any difference — violence and death are still everywhere. She’s also a pro: Hardened and committed to the story and the image. Her colleague Joel (Wagner Moura) is more of an adrenaline junkie, chasing the gunfire and drinking himself into a stupor every night. There’s Jessie (Spaeny), the wide-eyed but ambitious newbie who is in over her head, and the aging editor Sammy (the great Stephen McKinley Henderson), wise and buttoned up in Brooks Brothers and suspenders, who can’t imagine a life outside of news even as his body is failing him. All are self-motivated and none of them have a life outside of the job, which might be a criticism for some movie characters but not here (trigger warning for any journo audiences out there).

The group must drive an indirect route to get from New York to Washington as safely as possible, through Pittsburgh and West Virginia. The roads and towns are set-dressed a little bit, but anyone who knows the area will recognize familiar sights of dead malls, creaky off-brand gas stations on two lane roads, boarded up shops and overgrown parking lots that all work to provide an unsettlingly effective backdrop for the bleak world of “Civil War.”

Dunst and Spaeny are both exceedingly good in their roles, effectively embodying the veteran and the novice — a well-written, nuanced and evolving dynamic that should inspire post-credits debates and discussion (among other topics).

Dread permeates every frame, whether it’s a quiet moment of smart conversation, a white-knuckle standoff or a deafening shootout on 17th street. And as with all Garland films it comes with a great, thoughtful soundtrack and a Sonoya Mizuno cameo.

Smart, compelling and challenging blockbusters don’t come along that often, though this past year has had a relative embarrassment of riches with the likes of “Dune: Part Two” and “Oppenheimer.” “Civil War” should be part of that conversation too. It’s a full body theatrical experience that deserves a chance.

“Civil War,” an A24 release in theaters Friday, is rated R by the Motion Picture Association for “strong, violent content, bloody/disturbing images and language throughout.” Running time: 119 minutes. Three stars out of four.

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‘Civil War’ Review: We Have Met the Enemy and It Is Us. Again.

In Alex Garland’s tough new movie, a group of journalists led by Kirsten Dunst, as a photographer, travels a United States at war with itself.

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‘Civil War’ | Anatomy of a Scene

The writer and director alex garland narrates a sequence from his film..

“My name is Alex Garland and I’m the writer director of ‘Civil War’. So this particular clip is roughly around the halfway point of the movie and it’s these four journalists and they’re trying to get, in a very circuitous route, from New York to DC, and encountering various obstacles on the way. And this is one of those obstacles. What they find themselves stuck in is a battle between two snipers. And they are close to one of the snipers and the other sniper is somewhere unseen, but presumably in a large house that sits over a field and a hill. It’s a surrealist exchange and it’s surrounded by some very surrealist imagery, which is they’re, in broad daylight in broad sunshine, there’s no indication that we’re anywhere near winter in the filming. In fact, you can kind of tell it’s summer. But they’re surrounded by Christmas decorations. And in some ways, the Christmas decorations speak of a country, which is in disrepair, however silly it sounds. If you haven’t put away your Christmas decorations, clearly something isn’t going right.” “What’s going on?” “Someone in that house, they’re stuck. We’re stuck.” “And there’s a bit of imagery. It felt like it hit the right note. But the interesting thing about that imagery was that it was not production designed. We didn’t create it. We actually literally found it. We were driving along and we saw all of these Christmas decorations, basically exactly as they are in the film. They were about 100 yards away, just piled up by the side of the road. And it turned out, it was a guy who’d put on a winter wonderland festival. People had not dug his winter wonderland festival, and he’d gone bankrupt. And he had decided just to leave everything just strewn around on a farmer’s field, who was then absolutely furious. So in a way, there’s a loose parallel, which is the same implication that exists within the film exists within real life.” “You don’t understand a word I say. Yo. What’s over there in that house?” “Someone shooting.” “It’s to do with the fact that when things get extreme, the reasons why things got extreme no longer become relevant and the knife edge of the problem is all that really remains relevant. So it doesn’t actually matter, as it were, in this context, what side they’re fighting for or what the other person’s fighting for. It’s just reduced to a survival.”

By Manohla Dargis

A blunt, gut-twisting work of speculative fiction, “Civil War” opens with the United States at war with itself — literally, not just rhetorically. In Washington, D.C., the president is holed up in the White House; in a spookily depopulated New York, desperate people wait for water rations. It’s the near-future, and rooftop snipers, suicide bombers and wild-eyed randos are in the fight while an opposition faction with a two-star flag called the Western Forces, comprising Texas and California — as I said, this is speculative fiction — is leading the charge against what remains of the federal government. If you’re feeling triggered, you aren’t alone.

It’s mourning again in America, and it’s mesmerizingly, horribly gripping. Filled with bullets, consuming fires and terrific actors like Kirsten Dunst running for cover, the movie is a what-if nightmare stoked by memories of Jan. 6. As in what if the visions of some rioters had been realized, what if the nation was again broken by Civil War, what if the democratic experiment called America had come undone? If that sounds harrowing, you’re right. It’s one thing when a movie taps into childish fears with monsters under the bed; you’re eager to see what happens because you know how it will end (until the sequel). Adult fears are another matter.

In “Civil War,” the British filmmaker Alex Garland explores the unbearable if not the unthinkable, something he likes to do. A pop cultural savant, he made a splashy zeitgeist-ready debut with his 1996 best seller “The Beach,” a novel about a paradise that proves deadly, an evergreen metaphor for life and the basis for a silly film . That things in the world are not what they seem, and are often far worse, is a theme that Garland has continued pursuing in other dark fantasies, first as a screenwriter (“ 28 Days Later ”), and then as a writer-director (“ Ex Machina ”). His résumé is populated with zombies, clones and aliens, though reliably it is his outwardly ordinary characters you need to keep a closer watch on.

By the time “Civil War” opens, the fight has been raging for an undisclosed period yet long enough to have hollowed out cities and people’s faces alike. It’s unclear as to why the war started or who fired the first shot. Garland does scatter some hints; in one ugly scene, a militia type played by a jolting, scarily effective Jesse Plemons asks captives “what kind of American” they are. Yet whatever divisions preceded the conflict are left to your imagination, at least partly because Garland assumes you’ve been paying attention to recent events. Instead, he presents an outwardly and largely post-ideological landscape in which debates over policies, politics and American exceptionalism have been rendered moot by war.

‘Civil War’ Is Designed to Disturb You

One thing that remains familiar amid these ruins is the movie’s old-fashioned faith in journalism. Dunst, who’s sensational, plays Lee, a war photographer who works for Reuters alongside her friend, a reporter, Joel (the charismatic Wagner Moura). They’re in New York when you meet them, milling through a crowd anxiously waiting for water rations next to a protected tanker. It’s a fraught scene; the restless crowd is edging into mob panic, and Lee, camera in hand, is on high alert. As Garland’s own camera and Joel skitter about, Lee carves a path through the chaos, as if she knows exactly where she needs to be — and then a bomb goes off. By the time it does, an aspiring photojournalist, Jessie (Cailee Spaeny), is also in the mix.

The streamlined, insistently intimate story takes shape once Lee, Joel, Jessie and a veteran reporter, Sammy (Stephen McKinley Henderson), pile into a van and head to Washington. Joel and Lee are hoping to interview the president (Nick Offerman), and Sammy and Jessie are riding along largely so that Garland can make the trip more interesting. Sammy serves as a stabilizing force (Henderson fills the van with humanizing warmth), while Jessie plays the eager upstart Lee takes under her resentful wing. It’s a tidily balanced sampling that the actors, with Garland’s banter and via some cozy downtime, turn into flesh-and-blood personalities, people whose vulnerability feeds the escalating tension with each mile.

As the miles and hours pass, Garland adds diversions and hurdles, including a pair of playful colleagues, Tony and Bohai (Nelson Lee and Evan Lai), and some spooky dudes guarding a gas station. Garland shrewdly exploits the tense emptiness of the land, turning strangers into potential threats and pretty country roads into ominously ambiguous byways. Smartly, he also recurrently focuses on Lee’s face, a heartbreakingly hard mask that Dunst lets slip brilliantly. As the journey continues, Garland further sketches in the bigger picture — the dollar is near-worthless, the F.B.I. is gone — but for the most part, he focuses on his travelers and the engulfing violence, the smoke and the tracer fire that they often don’t notice until they do.

Despite some much-needed lulls (for you, for the narrative rhythm), “Civil War” is unremittingly brutal or at least it feels that way. Many contemporary thrillers are far more overtly gruesome than this one, partly because violence is one way unimaginative directors can put a distinctive spin on otherwise interchangeable material: Cue the artful fountains of arterial spray. Part of what makes the carnage here feel incessant and palpably realistic is that Garland, whose visual approach is generally unfussy, doesn’t embellish the violence, turning it into an ornament of his virtuosity. Instead, the violence is direct, at times shockingly casual and unsettling, so much so that its unpleasantness almost comes as a surprise.

If the violence feels more intense than in a typical genre shoot ’em up, it’s also because, I think, with “Civil War,” Garland has made the movie that’s long been workshopped in American political discourse and in mass culture, and which entered wider circulation on Jan. 6. The raw power of Garland’s vision unquestionably owes much to the vivid scenes that beamed across the world that day when rioters, some wearing T-shirts emblazoned with “ MAGA civil war ,” swarmed the Capitol. Even so, watching this movie, I also flashed on other times in which Americans have relitigated the Civil War directly and not, on the screen and in the streets.

Movies have played a role in that relitigation for more than a century, at times grotesquely. Two of the most famous films in history — D.W. Griffith’s 1915 racist epic “The Birth of a Nation” (which became a Ku Klux Klan recruitment tool) and the romantic 1939 melodrama “Gone With the Wind” — are monuments to white supremacy and the myth of the Southern Lost Cause. Both were critical and popular hits. In the decades since, filmmakers have returned to the Civil War era to tell other stories in films like “Glory,” “Lincoln” and “Django Unchained” that in addressing the American past inevitably engage with its present.

There are no lofty or reassuring speeches in “Civil War,” and the movie doesn’t speak to the better angels of our nature the way so many films try to. Hollywood’s longstanding, deeply American imperative for happy endings maintains an iron grip on movies, even in ostensibly independent productions. There’s no such possibility for that in “Civil War.” The very premise of Garland’s movie means that — no matter what happens when or if Lee and the rest reach Washington — a happy ending is impossible, which makes this very tough going. Rarely have I seen a movie that made me so acutely uncomfortable or watched an actor’s face that, like Dunst’s, expressed a nation’s soul-sickness so vividly that it felt like an X-ray.

Civil War Rated R for war violence and mass death. Running time: 1 hour 49 minutes. In theaters.

Manohla Dargis is the chief film critic for The Times. More about Manohla Dargis

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Entertainment | Movie review: ‘Don’t Tell Mom the…

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Entertainment, subscriber only, entertainment | movie review: ‘don’t tell mom the babysitter’s dead’ a surprisingly fun remake.

The hazards of remaking a beloved film are well known. While the 1991 comedy “Don’t Tell Mom the Babysitter’s Dead,” starring Christina Applegate, didn’t exactly thrill critics 30 years ago, it’s become a cult classic, especially for elder millennials who grew up on the movie. It’s the ideal text for a remake — the source material isn’t regarded as untouchable, the name recognition is high, and it can be easily adaptable to a modern milieu while still stoking those childhood memories for those who love the original.

Nostalgia can be a trap, one that writer Chuck Hayward and director Wade Allain-Marcus fortunately sidestep in their remake. There are enough nods to the first film to please fans looking for those Easter eggs, but they don’t get in the way of the story itself, a teen comedy that keeps it real, despite the heightened circumstances. They also update the family from white to Black, which brings a new layer of stakes to the situation.

After their mother (Patricia “Ms. Pat” Williams) suffers a nervous breakdown at work, the Crandell siblings are left in the care of a Mrs. Sturak (June Squibb), a sweet old lady who reveals herself to be a nagging, racist, slut-shaming tyrant. In her advanced age, the wild rager that the kids throw in the house is too much for her to bear, and she (as the title suggests) drops dead from shock, or perhaps secondhand smoke. Hoping to evade authorities, the Crandell siblings get rid of her body — along with her purse filled with cash from mom.

Without wanting to disturb their mentally fragile mother, shipped off to a meditation retreat in Thailand, it’s up to big sis Tanya (Simone Joy Jones) to get a big-girl job and provide for her siblings. So much for a fun summer, she’s now learning the joys of a Los Angeles morning commute and cutthroat office politics at a fashion company called Libra. Meanwhile, her skater brother Kenny (Donielle T. Hansley Jr.) has to get his slacker act together to hold down the fort at home.

Much of the appeal of the first film came from star Applegate in her first major film role (she was already well-known thanks to the sitcom “Married… With Children”), playing eldest sister Sue Ellen. Jones is similarly charming, in a different way. She sells a performance of a likable teen who is in over her head but gamely manages to thrive in a professional working environment.

The script by Hayward is not exactly breaking new ground (it is a remake after all) but it establishes the siblings as unique and distinctive characters, including smart and weird little bro Zack (Carter Young) and morbid gamer tween sis Melissa (Ayaamii Sledge). Their interactions are funny and natural, and their healthy skepticism of the police has real consequences and informs their questionable decision-making.

The only weak link in the family is Williams, a stand-up comedian whose small, underwritten role as mom to the Crandell kids doesn’t play to her strengths. She’s in a handful of scenes, and Tanya’s role model is filled by Nicole Richie playing her boss at Libra, Rose. Richie is so dynamic and energizing on screen you wonder why she doesn’t act more, and she has genuine chemistry with Jones.

This is the first major feature film directed by Allain-Marcus, an actor who co-starred on “Insecure,” and he does a lot to demonstrate his abilities and influences as a director here. The cinematography by Matt Clegg is crisp and saturated, utilizing a lot of complex tracking shots, and there are nods to ‘70s-style filmmaking and retro touches like the yellow title font that drops about 18 minutes into the film. Some of these flourishes are slightly inconsistent with the material, but demonstrate a new filmmaker excited to experiment with the form of the teen comedy.

“Don’t Tell Mom the Babysitter’s Dead” is surprisingly authentic and fun for this kind of nostalgia-baiting remake material, which is naturally formulaic. It’s the focus on character and allowing the actors to shine that makes this one sing, and it should make a star out of Jones, who, like her character, manages to hold it all together.

‘Don’t Tell Mom the Babysitter’s Dead’

2.5 stars (out of 4)

MPA rating: R (for teen drug use, language and some sexual references)

Running time: 1:38

How to watch: In theaters Friday

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Entertainment | Movie review: ‘Civil War’ well-crafted but has nothing to say

What to watch: Unsettling ‘Civil War’ is the ultimate what-if movie

‘Civil War’ beholds the rockets’ red glare but not real-world divisions

Alex garland’s lean, cruel film appeals to its broadest base by dodging specifics.

The jaw-clenching, bullet-clanging thriller “Civil War” opens with a blurry image of the president of the United States of America. As the president moves into view, we can see he’s played by Nick Offerman and can hear the speech he’s practicing, vague platitudes about vanquishing the insurgents of California and Texas. But even as POTUS’s face comes into focus, writer-director Alex Garland keeps him fuzzy. What are his politics? What could have possibly united blue California and red Texas against him? What year is it? I suspect Garland might answer that specifics are a distraction. No bloodbath is rational.

Early on in Garland’s fourth movie, a bomb explodes in New York. In the eerie silence, a hard-bitten war photographer named Lee (Kirsten Dunst) dispassionately snaps photos of the fresh corpses. Behind her, a greenhorn named Jessie (Cailee Spaeny) takes photos of Lee taking photos of the dead, and behind Jessie, of course, are Garland and his cinematographer Rob Hardy filming images of both women. There are three lens-lengths of distance between these horrors and us bystanders curious to see the collapse of the United States.

Everyone in that chain would claim they’re recording the brutality for our benefit. Lee admits she hoped ghastly images from her earlier career — a montage of executions from other wars in other countries that flips by in eerily stunning slow motion — would caution her own homeland to keep the peace. Clearly, that didn’t work. Maybe Garland naively hopes the same, which is why he’s avoided the real-world polarization behind this conflict so his gory warning will be watched by as many Americans as possible. Garland has stripped every background player of any demographic patterns of age, race, class, gender or beliefs. One fatal standoff is between two women of color who appear to be roughly the same age. There’s no telling which side would want your allegiance (and, honestly, neither deserves it). The only word we recognize, a reference to Lee’s landmark photographs of something called “the antifa massacre,” rushes past so fast that only later do we realize Garland didn’t give away whether the antifascists got slaughtered or did the slaughtering.

Garland doesn’t investigate how this war started, or how long it’s been going on, or whether it’s worth fighting. The film is, like Dunst’s Lee and her longtime colleagues Joel (Wagner Moura) and Sammy (Stephen McKinley Henderson), coldly, deliberately incurious about the combatants and the victims. As Lee says, any moral questions about them should be asked by whoever is looking at her photos, but those theoretical observers don’t factor into the film, either. (By contrast, this year’s Oscar documentary winner “20 Days in Mariupol,” also about photographers in a war zone, threw its narrative weight behind the desperation to get its powerful images out .) When we take in Dunst’s weary gaze and welded-on grimace with the same dispassion Lee gives to her own subjects, we can’t imagine the last time she let herself feel anything at all.

Yet the blinders Garland welds onto the story make it charge forward with gusto. This is a lean, cruel film about the ethics of photographing violence, a predicament any one of us could be in if we have a smartphone in our hand during a crisis. That’s also a predicament that Garland and other big-idea, big-scare directors find themselves in when they want to tell a shocker about very bad things without overly enjoying their sadistic thrills. Garland’s first three movies — “Ex Machina,” “Annihilation” and “Men” — dug into artificial intelligence, environmental collapse and sexual aggression, some more compellingly than others. In “Civil War,” any patriotic ideals about what this country once stood for never come up. The closest anyone comes to invoking democracy is a funny gag when a hotel concierge tells Lee that, given the sporadic blackouts, she has the freedom of choice between risking the elevator or climbing 10 flights of stairs.

Most of the movie is spent embedded with Lee, Jessie, Joel and Sammy as their battered white van takes a circuitous route from Manhattan to Washington. The gang races their competitors for footage of the president. Over a soundtrack of anxious punk rock, we see the cost of nabbing the money shot: the bottles of vodka, the filthy clothes worn for days on end, the growing doubts that their press badges still offer protection. Garland has an obvious arc in mind: Jessie the rookie must shed her vulnerability (which Spaeny does, masterfully), while Lee the veteran must regain hers. But it’s hard to buy Dunst’s unflappable pro needing to be dragged around by the scruff of her bulletproof vest like a mewling kitten.

Occasionally, the film plays us for a fool. The trailers have made a fuss over a line where a rifle-wielding soldier (Jesse Plemons) asks the journalists, “What kind of Americans are you?” But in context, it turns out that the brute is asking Moura’s Joel if he might be Central or South American. (“Florida,” Joel replies.) The bully is actually “just” xenophobic — a fake-out that feels like Garland is nervously changing the subject. Yet, more often, the film feels poetically, deeply true, even when it’s suggesting that humans are more apt to tear one another apart for petty grievances than over a sincere defense of some kind of principles. In one dreamlike scene, the team is attacked by sniper fire at an abandoned winter carnival. No one knows who’s shooting, a stranger in fatigues shrugs, as they duck behind plastic penguins and plaster Santa Clauses. We never will.

R. At area theaters. Contains strong violent content, bloody/disturbing images and language throughout. 109 minutes.

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