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Refrain from posting comments that are obscene, defamatory or inflammatory, and do not indulge in personal attacks, name calling or inciting hatred against any community. Help us delete comments that do not follow these guidelines by marking them offensive . Let's work together to keep the conversation civil.

Yedumati Lakshmi brahmaiah 1 49 days ago

Master piece, super movie, wonderfull movie

vijayduniya 467 days ago

User santhosh 554 days ago, jay smoorthy 695 days ago.

Waste of time. The ONLY message is 'Don't follow Principles, drink alcohol. Only the goon wins. A family of IPS officers or Armyman fails.' Alcoholic entrepreneurship is best for youngsters to come up in LIFE. Do we need this kind of film ??

Hasvini 754 days ago

good movie but same style of how they take. good bgm. Great act from Dhruv vikram. We can just watch for those kings and the movie is quite interesting

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Mahaan (2022)

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Mahaan review: Vikram, Dhruv deliver a spicy action drama

Mahaan review: the vikram and dhruv-starrer is a spicy action-family drama that captures the moral and spiritual struggle of our time. it could have been more if karthik had slowed the pace a little and dug deep into the period and atmosphere..

Director Karthik Subbaraj’s new movie Mahaan tackles an important question: What does it mean to be a Gandhian in today’s day and age? In a post-truth world where self-centeredness, vanity, intolerance, hunger for fame, and political distortion are the order of the day, how does one follow the teachings of the Mahatma?

Our protagonist is named Gandhi Mahaan, played by an in form Vikram , and there is nothing remotely Gandhian about him when we meet him first. He is seen drinking, gambling and even killing in his fantasies. Karthik uses a classic Freudian method to demonstrate the protagonist’s repressed wishes and desires. Gandhi is forced to lock away his true personality and identity to live up to the moral codes imposed on him by society. He didn’t choose to live a Gandhian lifestyle, but it is thrust upon him by his family who believes in following the apostle of peace’s teachings.

In a scene, an adolescent Dadabhai Naoroji, that is the name of Gandhi Mahan’s son in the movie, is taught never to lie by his Gandhian grandfather. And when Dada asks why shouldn’t one lie? His grandfather, instead of explaining why, simply says, “You just can’t. That’s all.” But, the same man, when on his deathbed, makes a young Dada promise that he will take revenge against Gandhi on his behalf. That makes it clear that the grandfather himself didn’t fully understand the Gandhian ways. For him, drinking is the greatest sin but seeking vengeance is not. The blind and unquestioned following of any ideology is toxic, both to society and the soul.

In his own way, Gandhi finds out how to live like a “Mahaan” (Mahatma). He eventually discovers great moral strength with him, to do what’s right even when it feels he’s beyond the point of redemption. Before that awakening, however, Gandhi leaves a trail of dead bodies, plundered wealth, broken laws and hundreds, if not thousands, of empty alcohol bottles.

The majority of the story is set in the late 1990s. Gandhi is in his forties, and is living in a small house in railway staff quarters allotted to his wife Nachi (played by Simran). His son Dada is still young and attached to his father. It is his birthday and his wife asks him to wear a new shirt. He goes to his wardrobe and swaps his old khadi white shirt for a new khadi white shirt. Like his dress, his life is also colourless and bland.

He is close to his breaking point, and is terrified that he’s not living his life to its full potential in the fear of violating his family code. His life feels like a trap. So on his 40th birthday, when his wife and son take a pilgrimage trip, he decides to go wild. He breaks his bank and spends money on drinking, gambling and eating meat. In the process, he discovers his instantiable urge for what is considered a sin by his family. He always wants more. More drinks, more gambling, more violence, more money and more power. When he reconnects with his childhood friend, Sathyan (Bobby Simha) and his son Rocky (Sananth Reddy), Gandhi finds his key to the life he so desires.

And all hell breaks loose when Gandhi’s son Dada returns to his life. He is not there to inherit his father’s liquor empire, but to destroy from within. Dada is a cop assigned to wipe out Gandhi’s gang. Things get complicated when Gandhi is forced to choose between his real family and people who are like family.

Vikram feels natural and effortless in his role. He brings a unique style to his character Gandhi, which adds to the film’s overall appeal. His performance is well complemented by Bobby Simha, whose character undergoes a spiritual epiphany that is very similar to Samuel L. Jackson’s Jules in Pulp Fiction after a near-death experience. Vettai Muthukumar fits the role of cunning and amoral politician with great ease.

And then there is Dhruv as Dada. He has these bursts of powerful performances. He knows how to get angry and fly into a rage for the camera. He channels the unapologetic meanness and guilt-free desire for revenge.

Composer Santhosh Narayanan’s background score, cinematographer Shreyaas Krishna’s camera enriches the mood and atmosphere of Karthik’s vision. If Karthik had slowed the pace a little and dug deep into the period and atmosphere of his characters, Mahaan could have been his own version of “Once Upon a Time in America.” But, that doesn’t take away the fact that it is a spicy action-family-drama that in a way captures the moral and spiritual struggle of our time.

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Release Date : February 10,2022

123telugu.com Rating : 2.5/5

Starring: Vikram, Dhruv Vikram, Simha, Simran,Vani Bhojan, Sananth, Muthukumar, Aadukalam Naren

Director: Karthik Subbaraj

Producer: SS Lalit Kumar

Music Director: Santhosh Narayanan

Cinematography : M Sherif

Editor: Vivek Harshan

Mahaan is a gangster drama that marks the first collaboration of Vikram and his son, Dhruv Vikram. Written and directed by Karthik Subbaraj, the movie is now available to stream on Amazon Prime Video. Let’s see how the movie is.

Gandhi Mahaan (Vikram) is a commerce teacher, who follows Gandhian values until he meets his childhood friend Sathyavan (Bobby Simha), who brews liquor. In no time, Mahaan joins the liquor business and starts ruling the liquor mafia. But things change when his son, Dadabhai Naoroji (Dhruv Vikram), a Gandhian follower, comes back as a policeman to wipe out his father’s liquor business. Did Dadabhai complete his mission? How did Mahaan face his son? To know the answers we need to watch the movie.

Plus Points:

As always, Vikram delivers his best performance as a common man and also as a mafia leader. His performance in emotional scenes is quite mesmerizing. Meanwhile, Dhruv Vikram wows everyone with his unique and stellar performance as a ruthless policeman. The scenes and dialogues between the father and son are good.

Bobby Simha lives in his character. Sananth and Muthukumar give their best to make the movie a good one. The story runs well in the second half and hooks you in a few scenes. Santhosh Narayanan needs to be appreciated for his outstanding music that helps in elevating the scenes. The visuals are especially good.

Minus Points:

The major problem with this gangster drama is its slow-paced narration. In addition, Mahaan also has a lengthy runtime. The film takes a lot of time to enter the main story.

Until the entry of Dhruv Vikram, the movie runs on a slow note and makes you feel a bit bored. Many scenes in the first half test your patience with the boring screenplay.

Technical Aspects:

Director Karthik Subbaraj has good experience in dealing with gangster movies. He narrates it in his own space but he fails to make it an engaging gangster movie. Shreyaa’s cinematography is good and the background score by Santhosh Narayanan is outstanding. Production values are also good.

On the whole, Mahaan is a slow-paced gangster drama that works only in parts. If you bear the slow pace and lengthy runtime, you can give the movie a shot for the finest performances of Vikram and Dhruv Vikram. 123telugu.com Rating: 2.5/5

Reviewed by 123telugu Team

Click Here For Telugu Version

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Home » Review » Mahaan movie review: A riveting gangster saga in which Vikram and Dhruv hit it out of the park »

Mahaan movie review: A riveting gangster saga in which Vikram and Dhruv hit it out of the park

Vikram's towering screen presence is one of the prime positives of the film. Karthik has succeeded in providing him the required elements needed to bring out the acting monster in him

A still from the film

• Thinkal Menon

Last Updated: 12.43 AM, Feb 10, 2022

Story: A teetotaler, who is born to a Gandhian, decides to live life on his own terms on his 40th birthday when his family is away for a day. The decision changes his life forever - his wife and son leaves him and he goes on to become the ruler of liquor empire in Tamil Nadu - but he seldom regrets his decision. Years later, he meets his son at an unusual setting. They lock horns over a few indifferences which leads to the death of a few people. The irked father warns his son not to interfere unnecessarily in his business and asks him to stop targeting his friends. Will the father-son duo be able to make a pact?

Review: Many filmmakers in the past have failed in delivering a performance-oriented taut script for a powerhouse talent like Vikram. All eyes were on Karthik Subbaraj when he announced Mahaan with Vikram and Dhruv Vikram. Fans were eagerly waiting to know whether the movie would be a roller-coaster ride like the director's last successful project Petta or his previous outing, the underwhelming Jagame Thandhiram.

Mahaan is that film which fans of Vikram would have had lots of fun with, had it been released in theatres. The crime thriller, something which Karthik is good at, is the much-awaited comeback of the phenomenal actor.

The film's story begins in 1968 when Gandhi Mahaan (Vikram)'s father is actively involved in anti-liquor movements. The latter, a staunch Gandhian, wants his son to follow Gandhian principles, and hence named his son after the father of nation. Years later, Mahaan goes on to become a school teacher and leads a seemingly satisfactorily life with his wife Aatchi (Simran) and son Dadabhai Naoroji aka Dada.

Little did he know that a casual conversation with a poor man on the eve of his 40th birthday would change his life forever. He decides to celebrate his birthday like never before when he learns that his wife and son would be away for a day's time. 

Mahaan meets his erstwhile student Rocky aka Rakesh (Sananth) at a bar and befriends him. Soon the former realizes that the latter's father Sathyavan (Simha) and himself were childhood friends. After a day of massive celebration, indulging in several things he wanted to try, Mahaan returns home only to get rejected by his wife and son. 

A peeved Mahaan starts liquor business with Sathayavan and becomes successful in a short span of time. Two decades later, Mahaan, who is more powerful and does illegal activities unapologetically, meets Dada (Dhruv), his son. But Mahaan's happiness turns out to be short-lived as Dada has come to take revenge against the former and his business partners. The plot gets thicker with the involvement of Gnanam (Muthukumar), a minister and a childhood friend of Mahaan and Sathyavan.

The effective screenplay wastes no time in setting up the plot. The story spans several decades, and Karthik ensures that the change in appearance of characters over the years is quite convincing. The characters of Vikram, Simha and Sananth undergo several changes as story progresses and the character arc is beautifully created.

Mahaan becoming more ambitious, Sathyavan choosing the spiritual path and Rocky's body language and thinking becoming matured, all these happens over a certain period of time. Karthik is in no hurry, he takes adequate time in exploring the different facets of characters with compelling sequences.

The performances of the three artists complement the gripping narration. Dhruv, who makes an entry in the pre-interval sequence, too, comes up with a crackling performance. Some of his scenes with Vikram are a delight to watch. Dada's aggressive nature and Gnanam's shrewd behaviour are captivating, to say the least. Simran, too, makes her presence felt. 

Shreyaas Krishna's cinematography and Santhosh Narayanan's background score elevate the emotion in many sequences. The impressive twists and turns, including the one in the pre-climax portion, are icing on the cake. It's always a pleasure to watch Vikram having fun with his character in films which have well-written screenplays.

Vikram does it this time, too, with utmost dedication and conviction. His towering screen presence is one of the prime positives of the film, and Karthik has succeeded in providing him the required elements needed to bring out the acting monster in him. Mahaan is Vikram's best outing in several years. 

It's an engaging crime thriller with a smart screenplay and riveting performances from artists made in typical Karthik Subbaraj style. The experience would have been more enjoyable on the big screen.

Verdict: Vikram is back with a bang, thanks to his fantastic screen presence and effortless portrayal of a complex character which undergoes several emotions.

Mahaan is streaming on Amazon Prime Video.

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Mahaan Review: Vikram's Star Turn Has Support From Real-Life Son Dhruv Vikram

Mahaan review: it makes its share of mistakes and lives to tell the tale because vikram injects just enough variety into it with a performance that tempers some of the film's excesses..

Mahaan : A still from the film. (courtesy: Imdb )

Cast: Vikram, Dhruv Vikram, Simran, Bobby Simha, and Vani Bhojan with Sananth, Vettai Muthukumar, Deepak Paramesh and Aadukalam Naren

Director: Karthik Subbaraj

Rating: Two and a half stars (Out of 5)

Karthik Subbaraj's overlong Tamil crime drama Mahaan , streaming on Amazon Prime Video, alternates between the massy and the trashy but it does so with unapologetic flair. That is not to suggest that the film's erratic trajectory deflects lead actor Vikram from his path in any way. He holds firm and carries the film on his shoulders.

Vikram's oft-proven histrionic range is on full display as he transforms himself first from being an orthodox, middle-aged family man to an ageing rebel with a questionable cause and then from a king of the liquor mafia to a father torn between his paternal instincts and his loyalty to a boyhood friend.

But does the impressive star turn have the power to salvage a patchy film that struggles to find an emotional core for its story about the limits of freedom, the perils of militant conservatism and an all-out clash between a father and a son? The two men stand on opposite sides of a moral divide and face off in a fight that endangers many lives.

Unfortunately, neither the ethical questions that arise nor the emotional complications that are triggered by the father-son confrontation assume proportions that can elevate Mahaan to the heights that could do justice to the title. The film's gloss is strictly surface level.

The general quality of the acting is of a high order. Vikram has support from his real-life son, Dhruv Vikram, cast as his estranged screen son. The cast of the film includes Simran, Bobby Simha, Sananth and Muthukumar in the role of the principal antagonist.

Vikram plays a man from a Gandhian family who is stifled by the burden that his name, Gandhi Mahaan, puts on him. In one of the early scenes following a prelude set in 1968 - it shows three village boys playing a card game that ends in a violent scuffle - it is revealed that the boy's grandfather was a freedom fighter, his father an anti-liquor activist. Gandhi's best pal, Sathyavan is, in contrast, the only son of a toddy brewer.

Cut to 1996. On Gandhi Mahaan's 40th birthday, the staid commerce teacher decides that he has had enough of unquestioning adherence to the morals and principles enjoined upon him by his lineage. He throws caution to the wind. He gambles and drinks himself silly in a bar owned by Sathyavan, with whom he reconnects in the city quite by chance.

That one bacchanalian night changes the course of Gandhi Mahaan 's life forever. In a drunken state, he kicks up a huge kerfuffle when he returns home with Sathyavan (Bobby Simha) and the latter's son Rocky (Sananth). A couple of slaps and angry words are exchanged. Matters spiral out of control and Gandhi's wife Nachi (Simran) and son Dada leave him for good. Soon after, the landlord orders the man to vacate the house.

Left to his own devices, the hero bounces back quickly by setting up a liquor empire in partnership with Sathyavan, finds a son in Rocky and makes rapid strides in the business with a mix of calculated risks and strongarm tactics. At one point, Gandhi Mahaan admits that while he has the gift of the gab, he isn't particularly adept at using his fists. But don't let that declaration fool you.

For a high-octane drama that centres on crime and vengeance, Mahaan is sparing in its use of action sequences but the ones that are mounted bear an unmistakable Karthik Subbaraj stamp. Especially noteworthy is a long sequence in which Gandhi Mahaan is caught between his estranged son Dada (Dhruv Vikram), now a viciously uncompromising special task force policeman who has been detailed with the task of wiping out Gandhi Mahaan's gang, and Rocky, the young man who is like a son.

Dada's return into Gandhi Mahaan's life - it is Dhruv Vikram's entry scene - is also staged with some panache. The young actor, up against the seasoned Vikram, holds his own. It is, of course, no cakewalk. There are times that Dhruv Vikram's effort to ensure that he isn't eclipsed begins to show.

His grand moniker notwithstanding, the protagonist, in collusion with the third friend from the opening sequence, Gnanam (Muthukumar), a corrupt politician who wins elections on an anti-alcohol plank but is in cahoots with the liquor lobby, rises to the top of the heap when Dada and his men arrive out of the blue and decide to rain on his party.

More trouble brews when the crooked politician has his own ideas and runs afoul of Gandhi Mahaan and Sathyavan. When the liquor king meets Gnanam in the company of Sathyavan and Rocky in his grand ministerial office plastered with portraits of Gandhi, Nehru, Indira Gandhi and APJ Abdul Kalam, sparks fly and set the stage for the final leg of the film.

Neither the making of the film, which alternates between the overly flashy and the drably sedate, nor the background score and songs composed by Santhosh Narayanan, which incorporate dollops of hip hop, is exceptional. Mahaan is overlong, sluggish in parts and way too superficial for its convoluted message to attain clarity.

If the film still manages not to be a complete washout, it is because of the energetic performances, the occasional visual flourishes that Karthik Subbaraj packs into the film and the solid camerawork by Shreyaas Krishna, who imparts a distinct feel and texture to the frames.

That apart, there are at least a couple of takeaways from Mahaan . In one scene, the minister preens that he isn't given to issuing multiple threats like "a movie villain". I am a certified politician, he says, "a real villain". The favourite whipping boy of contemporary Indian cinema thus makes his presence felt in Mahaan .

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In another flash of striking insight, the hero asserts that those who seek to forcibly impose their ideals on others are no better than those that flout all laws of acceptable behaviour. Both are extremists, he says, harking back to the line (attributed to Mahatma Gandhi) that Mahaan opens with: "Freedom is not worth having if it does not include the freedom to make mistakes."

Mahaan grabs that freedom with both hands - like the eponymous character, it makes its share of mistakes and lives to tell the tale because Vikram injects just enough variety into it with a performance that serves to temper some of the film's excesses.

: Vikram, Dhruv Vikram, Simran, Bobby Simha, and Vani Bhojan with Sananth, Vettai Muthukumar, Deepak Paramesh and Aadukalam Naren

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Mahaan Movie Review: Chiyaan Vikram and Dhruv's gangster drama is indulgent and overstretched

Director karthik subbaraj’s mahaan brings together chiyaan vikram and his real son dhruv vikram. the film, with an exciting idea at its core, has solid performances but fails to hold our attention..

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Director Karthik Subbaraj’s latest offering, Mahaan, begins with a quote from Mahatma Gandhi, which reads, “Freedom is not worth having if it doesn't include the freedom to make mistakes.” And it encapsulates what the entire film is all about. Gandhi Mahaan (Chiyaan Vikram) hails from a family comprising ardent followers of Gandhian ideology. His father and ancestors toiled hard for the country and they impose the same ideology on Gandhi Mahaan.

For 40 years, Gandhi Mahaan followed the Gandhian ideology to the T. One day, he decides he wants a day away from the lifestyle he was forced to lead. He blows off some steam by getting drunk and indulging in gambling at his childhood friend Sathyavan’s (Bobby Simhaa) bar. This changes his life upside down. His wife Nachi (Simran), along with his son Dada (Dhruv Vikram), leaves him. Gandhi Mahaan then becomes a liquor baron by teaming up with Sathyavan and Gnanam (Vettai Muthukumar). When his son comes back, it topples his world..

Mahaan has Karthik Subbaraj written all over it. He knows how to take an age-old storyline and give it a glossy finish. Mahaan’s story is about ideological differences between a father and his estranged son. If done right, this could’ve ended up as a slick commercial entertainer with social commentary. However, the film meanders midway.

Throughout the film, Gandhi Mahaan’s father (Aadukalam Murugadoss), Nachi and her family members talk about Gandhian ideology. But, the ideology applies only to alcohol. And they talk only about alcoholism. The Gandhian ideology doesn’t apply to the rest of the characters killing each other in the blink of an eye. It is this inconsistency that doesn’t get the audience sucked into Karthik Subbaraj’s world.

However, the performances of Chiyaan Vikram and Bobby Simha make up for the muddled screenplay. They are in top form. Be it the different looks or character arcs, both of them have delivered a solid performance. Dhruv Vikram is a surprise package in the film. In some scenes, he nails it with so much restraint. But, in the scenes which require him to be a little flamboyant, he becomes a caricature. Mahaan is more of a film that gives space for Vikram the actor than his son, Dhruv. Sananth as Rocky is a revelation to watch.

The initial scenes of Mahaan, which show the meteoric rise of Gandhi and Satyavan, keep you engrossed. But when Dhruv’s Dada comes into the story, the screenplay shifts to Gandhi’s conflicts. It is in the second half that Mahaan falters.

Mahaan is too indulgent. One needs to look past the crazy coincidences to make peace with the story. Gandhi Mahaan’s reunion with his two friends and his encounter with his son for the first time happen out of the blue.

That said, Mahaan has some delightful stretches too. Be it the fight sequence between Vikram and Dhruv or the climax act, these scenes will make you sit up and watch the proceedings unfold intriguingly.

Mahaan is also technically sound. Cinematographer Shreyas Krishna and composer Santosh Narayanan have elevated the writing to a different level.

Mahaan could have been a solid gangster drama with a conflict between a dad and son at the core. If only Karthik Subbaraj had conveyed his thoughts in a crisp screenplay, Mahaan could have been much better.

3 out of 5 for Mahaan.

Mahaan is streaming on Amazon Prime Video.

ALSO SEE | Mahaan trailer out. Chiyaan Vikram and Dhruv are all set to take you on a thrilling ride

ALSO SEE | Chiyaan Vikram and Dhruv's Mahaan to release on Amazon Prime Video this December? Published By: K Janani Published On: Feb 10, 2022 --- ENDS ---

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Mahaan Movie Review: Father-son duo makes ‘Mahaan’ worth watching

Kollywood star Vikram and his son Dhruv Vikram’s action drama, “Mahaan” had direct to digital release Amazon Prime Video. The film created huge buzz in audiences from the day it was announced. Let’s check how this father- son duo engages at the box-office.

Gandhi Mahaan (Vikram), a commerce teacher has a dream of living his life according to his wish. On his 40th birthday, Mahaan drinks and go home. Being a man from Gandhian family, Mahaan taking alcohol won’t go well with his wife Jhansi (Simran) and goes away from Mahaan along with their son Dada (Dhruv Vikram). Later, Mahaan emerges as a wealthy liquor king with the help of local liquor Mart operator Sathyavan (Bobby Simha). But as a twist, Mahaan’s son Dada returns as an encounter specialist to wipe off Mahaan’s kingdom. How will Mahaan face the circumstances? What is the main aim of Dada is the remaining plot of the film.

Acclaimed director Karthik Subbaraj directs “Mahaan.” The director tried to showcase the conflict between two opposite poles by using the father-son relationship as the major aspect which is good but the narration lacks a solid presentation. Though a couple of scenes in both the halves are written and executed on an engaging note, the film has a few backlogs in the narrative part. For instance, Dhruv Vikram entering the proceedings as an encounter specialist has not been presented on an effective note. Adding to it, the way Mahaan finishes off his thick friend Sathyavan just after an argument is also not showcased with enough drama. On a final note, “Mahaan” is a routine action drama that runs on the father-son relationship. Despite having a good performance from Vikram and a few engaging scenes, the film falls flat due to the lack of gripping execution part.

Performances

Undoubtedly, Vikram gave his best in the character that has multiple shades in it. While his acting as a soft natured school teacher during the initial stage of the film is okay, the actor brings authentic flavour to the proceedings in his transformation phase as a liquor king. Vikram’s salt and pepper look and his stylish makeover as Liquor syndicate are added advantages for the film.

Dhruv Vikram is decent with his physical transformation and did a good job in his cop role. Bobby Simha as Vikram’s friend did justice to the role. The emotional bonding between Bobby Simha and Vikram has been presented on a decent note. Sananth as Rocky and Vettai Muthu Kumar as wicked politician Gnanodhayam are apt in their roles. Simran did her part nicely but her screen time is limited to a few scenes. Other artists who played padding roles are okay in their respective roles.

Technicalities

Music by Santhosh Narayanan is good but would have been even better as his background score for key scenes in the second half is done on a plain note. Cinematography by Shreyaas Krishna is a major plus for the film as he captured the entire mood of the film nicely by using rich framing. Editing by Vivek Harshan is okay. The production design is good and so is the case with the production values through the film.

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‘Mahaan’ review: A spirited attack on righteousness

Tamil director karthik subbaraj’s movie stars vikram, dhruv vikram, bobby simha and sananth..

Of all the sideways tributes to Mahatma Gandhi, this one has to be the most spirited.

In Tamil director Karthik Subbaraj’s Mahaan , a character named after the symbol of non-violence and teetotalism struggles to live up his ideals. Gandhi Mahaan (Vikram) doesn’t as much cross over as he paddles furiously to the other side, where lie the joys of criminal behaviour, immense wealth and endless rivulets of liquor.

Gandhi has had the misfortune of being born into a staunchly Gandhian family. His wife Nachi (Simran) is a devotee of self-abnegation too. So when Gandhi turns up one day after having broken the no-liquor rule, Nachi, their son Dadabai Naoroji (Dada for short) and the rest of the family walk out in disgust.

Gandhi has little time to mourn their departure. This commerce professor breaks bad in a big way. Teaming up with Sathyavan (Bobby Simha) and Satyhavan’s son Rocky (Sananth), Gandhi becomes the gangster version of Vijay Mallya.

The trio, with the help of politician Gnanam (Muthu Kumar), bilk the system and milk the ensuing profits. Payback comes in the form of Dada (Dhruv Vikram), an aggressive police officer who has sworn to raze Gandhi’s kingdom to the ground.

It’s a formulaic plot, told over a bottom-warming 142 minutes through a parade of flashbacks and raucous songs (by Santhosh Narayanan). Subbaraj brings to the movie his usual snarky humour, visual flair for staging scenes and immersion in the worlds of men. The one significant female character, Nachi, is barely visible and eminently forgettable.

Mahaan has been released with English subtitles on Amazon Prime Video. There’s more to the mission to cleanse Tamil Nadu of alcohol, the meandering movie will have us know. Rather than taking down Mahatma Gandhi a few pegs (he is an easy target anyway these days), Mahaan appears to be firing over the shoulder of the apostle of peace at the false gods who lurk in our midst.

Dada is a zealot who has been raised in a religious cult after being separated from his father. As much a moral policeman as an actual policeman, Dada represents everything that Gandhi – and the movie – abhors: an impossible standard of rectitude, a killjoy attitude towards pleasure, and disgust for people who live beyond the pale of society’s prescribed rules.

Gandhi draws an equivalence between his anarchic amorality and Dada’s trigger-happy righteousness by telling the young man, I may not be a good man, but you are no better than me.

Somewhere in this seemingly endless movie, might there be an allegory about the hypocritical times in which we are living? Perhaps it’s the alcohol talking.

At any rate, the gangsters are certainly having more fun in the movie than anybody else. Their camaraderie, loyalty and personal moral code bring to mind not one of the aphorisms attributed to Mahatma Gandhi but the line from Bob Dylan’s song Absolutely Sweet Marie : “But to live outside the law, you must be honest.”

Vikram delivers a Patiala peg of a performance, simmering with pathos and bathos as well as self-deprecation. Dhruv Vikram (the actor’s son in real life) is simply no match for the magnetic pater familias. Bobby Simha, the star of Subbaraj’s Jigarthanda (2014) is on fire too. The brotherhood between Gandhi and Sathayavan and Subbaraj’s subversive glee just about rescue Mahaan from unforgiveable bloat.

Corrections and clarifications: The review erroneously identified the film’s music composer as Anirudh Ravichander. It is actually Santhosh Narayanan.

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Mahaan Movie Review (2022)

Chiyaan vikram - dhruv vikram starrer mahaan movie review.

Mahaan Movie Cast & Crew

Chiyaan Vikram's highly-anticipated action drama, Mahaan, also starring his son Dhruv Vikram as the other lead, has released on Amazon Prime Video as a direct OTT release. Directed by Karthik Subbaraj, the film has music composed by Santhosh Narayanan. Mahaan is a film that carries a good level of pre-release buzz, thanks to its refreshing combination of actors. How has the film fared? Let's check it out!

STORY: Gandhi Mahaan (Chiyaan Vikram), frustrated by his monotonous life by following the Gandhian principles, is separated from his wife (Simran) and son, Dada. After their separation, Gandhi Mahaan becomes a billionaire and a liquor baron with the partnership of his friend Sathyavan (Bobby Simhaa). Years later, Dada (Dhruv Vikram) grows up to become a Police officer, who sets out on a mission to curb the liquor business and kill the people involved in the racket. Dada tells Gandhi that he will kill every single person in his gang and stop this liquor business. Gandhi is put in a complicated position where he needs to stand either for his friend who gave him life or for his estranged son. Which side did he take on and what was the result? Watch the film to know! 

SCREENPLAY, DIALOGUES  & DIRECTION:  Karthik Subbaraj returns to form at a reasonable level with Mahaan after a forgettable outing in Jagame Thandhiram. The premise here offers great scope for drama between the characters and Karthik makes wise use of it. The film is highly engaging although there are a few dips here and there in both halves. There are some well-shot scenes that hold your attention - for example, the church fight sequence where Vikram unleashes himself for the first time, and the first meeting between Vikram & co. and Muthukumar at the Minister's office. Karthik Subbaraj, the director is back in his zone of action that is laced with wackiness and a dark mood. Karthik Subbaraj is someone who has been strong with dialogues and with Mahaan, he puts out some sensible and thought-provoking lines that earn applause. The film takes us by surprise with its emotionally-charged second half and the drama is choreographed in an impressive fashion.

On the downside, the film is a tad too long, especially towards the end. As earlier said, the screenplay is inconsistent at a few junctures and a tighter staging of the plot with more solid moments (in the writing) would have made the film a completely engrossing watch. At times, Mahaan also turns out to be quite predictable. 

CAST:  Chiyaan Vikram delivers a brilliant performance yet again with a solid role that offers him ample scope to emote. He is a delight to watch, making our movie-watching experience enjoyable with his charismatic screen presence. The majority of Mahaan is actually Vikram's one-man show and he steals it with ease.

On the other hand, Dhruv is in raging form as Dada. After playing a super romantic and charming hero in Adithya Varma, his role in Mahaan is a big shift and he makes use of the space given to him to deliver a convincing performance. Dhruv carries a certain level of charm and swag which if utilized well, will definitely strike a chord with the audience. It is the duo's striking combination that makes Mahaan quite an exhilarating watch.

Simran gets a short role and does her part in a smooth manner. Bobby Simhaa's makeover has been done interestingly and he plays his role as an aging man in a compelling fashion. 

TECHNICAL:  Santhosh Narayanan's songs don't really pack the punch that a film like Mahaan demands. The background score also works only at places and is a major letdown. Shreyas Krishna's cinematography is top-class, especially the framing and lighting for the scenes. Vivek Harshan's editing is neat and helps with the smooth flow of the film. However, certain scenes could have been trimmed to make the film more gripping.  

SO?   Mahaan does have its own share of setbacks, but on the larger picture, the film is definitely watchable!

Verdict Chiyaan Vikram's fantastic performance with solid support from Dhruv, makes Mahaan an engaging watch!

Galatta Rating: ( 2.75 /5.0 )

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Home » Reviews » South Indian Movie Reviews

Mahaan Movie Review: Vikram & Son Dhruv Vikram Bring Panache To A Drama That’s Predictable But Visually Beautiful

Mahaan – meaning the great, is a story about a man wanting to break the shackles of normalcy and have a life of adventure..

Star Cast: Vikram, Dhruv Vikram, Simran, Bobby Simha, Sananth.

Director: Karthik Subbaraj

What’s Good: Vikram exists in a film to give it its style and the mood it needs. The steering wheel is always in his hands and this time around his son Dhruv Vikram helps his father to bring the needed panache.

What’s Bad: The runtime that stretches for almost three hours is a bit too much. The film definitely deserved some stronger women.

Loo Break: Not when Vikram is walking or Dhruv is in his quirky self. Even when they are sitting, just pause and go.

Watch or Not?: Watch it I suggest. The movie is a father-son drama but this duo is violent. Also, they are a real-life duo too.

Language: Tamil (with subtitles).

Available On: Amazon Prime Video

Runtime: 162 Minutes.

Gandhi Mahaan (Vikram), a man named after the Father Of The Nation and directed to live a life by his teachings, is broke loose when he decides to take a different path. His family abandons him and he builds an empire over several dead bodies. One fine day his estranged son returns only with the objective to kill the people who brought his father to the bad business. Who will Gandhi choose? What will make him Mahaan?

Mahaan Movie Review: Script Analysis

Mahaan – meaning the Great, is a story about a man wanting to break the shackles of normalcy and have a life of adventure. He helps his friend win the game of cards but doesn’t touch them himself, he fights for his dog, but is also scared of his family. Once grown up, the burden is unbearable and the moment he breaks free, he does everything that is wrong like it has always been his normal.

The movie that drives a whole lot on Vikram’s irresistible charm and style, is written in a way that the conflict is more personal than public and his principles should look alien to the world. He is born on August 16, but his father gets August 15 registered, he names him Gandhi Mahaan and expects him to walk on Gandhiji’s path. And this goes on for 40 long years. So when he punches a man for the first time, or drinks beer, or plays his first cards, it calls for a celebration. Karthik Subbaraj invests a whole lot of time in setting up the universe his characters are about to breathe in.

Once out in the open, he compensates the depth induced so far with exaggeration of the surrounding. Because post he leaves the Gandhian way of living, there is no ideology in his existence, it is now just about survival and making a lot of money. Mahaan travels through decades not years, and it’s lead keeps aging, so does the surrounding. One clash that stays eminent is between the ideologies. The politics of the land. The need for liquor ban, and the politics behind it that crushes the ones following it blindly.

The screenplay has enough to keep you hooked. A story that is meaty, characters that have had a journey and that reflects on their faces, the style, the complete aura. But the runtime and the abrupt pace kills some vibe too. At one point the movie explores Vikram’s Mahaan’s God Complex, a character even compares him to Jesus. The camera places him in front of a crucifix more than once, but the writing never goes ahead than that in that department.

What also bothers is the lack of stronger women in this universe. I say stronger, because Gandhi’s wife is indeed strong, but disappears for a very long time only to return with no consequence. Rest other women are either crying or cooking. The screenplay is also predictable in parts. You will see.

Mahaan Movie Review: Star Performance

Vikram can just make montages of him walking and people will pay to watch it. The man has an unique style and attitude that is rare and charming. He can portray multiple emotions in the single scene. And do we even need to tell you his finesse at doing action scenes? Even at this age he pulls off the most complex gun moves and make them all look believable.

Entering the arena opposite the actor is his real life son Dhruv Vikram. You can easily see the genes working when Dhruv has to go all crazy only to prove the eccentricity he holds in his mind to kill the ones who doomed his family. He brings the much needed antagonist alive and the conflict is enhanced.

Bobby Simha, Sananth, Simran and all others get their parts right and create characters that are three dimensional to watch.

Mahaan Movie Review: Direction, Music

Karthik Subbaraj has a vibrant style of filmmaking. Even in the darkest of the set up he finds colours and shades. He captures his world in wide angles. Of course, it seems the camera must have zoomed enough at points, but he compensates for it with his scale. The over exaggerated surroundings and acting that isn’t subtle are his favourite aspects, that he uses to his profit. But just like his last few movies, he gets engrossed in his panache so much that he forgets where to stop.

DOP Shreyaas Krishnan finds the perfect story to have his camera do the trick. The fight sequences, conversation, he captures them in a way that half the drama is induced by the frame itself. Santosh Narayanan’s music is a winner here. It is quite unconventional for a story that begins in the 60s, but somehow isn’t a misfit. Watch Krishnan and Santosh working from behind in the scene where Vikram and Dhruv meet for the first time. What a scene!

Mahaan Movie Review: The Last Word

Mahaan is a movie that is entertaining for the ones who love action. Vikram and Dhruv Vikram are stunners in their game and you cannot miss them for sure.

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Mahaan releases on 10th February, 2022.

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2022, Action/Mystery & thriller, 2h 42m

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Mahaan   photos.

A mild-mannered school teacher ends up mixed with the corrupt and separated from his family for years after a random beggar's comments drive him to take a walk on the wild side.

Genre: Action, Mystery & thriller

Original Language: Tamil

Director: Karthik Subbaraj

Writer: Karthik Subbaraj

Runtime: 2h 42m

Production Co: Seven Screen Studio

Cast & Crew

Gandhi Mahaan

Dhruv Vikram

Dadabhai Naoroji

Simran Bagga

Bobby Simha

Sathyavan "Sathya" Soosaiyappan

Rakesh "Rocky" Christopher

Deepak Paramesh

Aadukalam Naren

Vettai Muthukumar

Karthik Subbaraj

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Mahaan Review

What's Behind

Chiyaan Vikram is known for his versatile performances in different genre films. Of late he is reeling under flops. He is pinning hopes on his upcoming film Mahaan. The film directed by Karthik Subbaraj is releasing directly on Amazon Prime. Let us see what impact Vikram made on movie lovers as Mahaan.

Story Review

Commerce Lecturer Gandhi Mahaan (Vikram), a staunch follower of Gandhian principles, lets go of his ideology and becomes a billionaire. He teams with his friend Sathyan (Bobby Simha) and becomes a liquor baron. However, he gets a  huge shock when a young police officer Dada Bhai Nauroji (Dhruv Vikram) goes on a mission to eliminate the liquor mafia. To find out whether Gandhi Mahaan is able to run his liquor business or whether Dada is able to eliminate him and how this affected his relationship with his friend Sathyan and what is the connection between Gandhi Mahaan, Dada, and his mother Nachiku (Simran), enjoy Mahaan on Amazon Prime.

Artists, Technicians Review

Karthik Subbaraj drew inspiration for Mahaan story from yesteryear hit films. However, he used his creativity to make a few changes to generate curiosity among movie lovers. However, the initial narration of Mahaan's rise as a liquor baron doesn't interest the viewers. He has taken his own time to come into the real story and the real story starts only when both Vikram and his son Dhruv meet on screen.

The so-called twists also are very predictable but for the masses it doesn't matter. Vikram's fans will love the conflict between him and his son. At times director Karthik Subbaraj managed to increase the curiosity levels with the conflict scenes between Vikram and his son. But when one expected an interesting climax, it turned out to be routine. Despite this, viewers will be satisfied as Vikram impresses with his expressions and emotions. Karthik Subbaraj tested the patience of all for the entire first half with his narration and while the second half picks pace, the climax disappoints. Overall, Karthik Subbaraj came with a routine story, below-average screenplay and direction.

Vikram is seen in an out-and-out mass avatar after a long time. He performed his role quite well and effortlessly. He came with intense expressions and emotions and carried them throughout the film. He enacted daredevil stunts with ease. Vikram's son Dhruv looked good on screen. He attracted with his youthful looks and carried the energy in his performance. But he should improve on his emotions and expressions to reach the next level. Movie lovers, especially fans of Vikram will be delighted to see Vikram and his son Dhruv sharing screen presence for the first time on screen. Those scenes elevated the proceedings in the film.

Bobby Simha played the role of Vikram's friend quite well. He showed variations in his role to perfection. Simran got a limited screen presence as the wife of Vikram. Others like Vani Bhojan, Sananth, Vettai Muthukumar, Adukalam Naren performed their roles accordingly.

The music of Santosh Narayan is good and the songs are well shot. However, songs placement acted as the speedbrakers. Santosh Narayan however elevated the scenes with his background music. The cinematography of Shreeyas Krishna failed to make a powerful impact. It could have been far better and turned the film into a grand one. The editing of Vivek Harshan could have been far better as there are many drags in the film which tested the patience of the film slowing the pace of it. Production values are ok.

Vikram, Dhruv

Background music

Disadvantages

Story, screenplay, direction

Cinematography

Missing emotions

Rating Analysis

Vikram's Mahaan generated immense interest as it is directed by Karthik Subbaraj and features Vikram sharing screen presence with his son Dhruv for the first time. Karthik Subbaraj delighted all fans and masses showing Vikram and his son Dhruv in powerful mass avatars. However, with the story missing emotions, routine narration, slow pace undid all the good work. Karthik Subbaraj's screenplay and direction failed to make an impact much to the disappointment of all. Considering these points, CJ goes with a 2 rating for Mahaan.

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Godzilla x Kong First Reviews: Full of Mindless, Glorious Spectacle, Just as Expected

Critics say the latest chapter of the monsterverse doesn't boast the most coherent story, but with kaiju fights this good, it doesn't really matter..

TAGGED AS: First Reviews , godzilla , king kong , movies , Sci-Fi

On the heels of the Oscar-winning success of the Japanese outing Godzilla Minus One and the Apple TV+ series Monarch: Legacy of Monsters , fans might be craving something more goofy and fun in a kaiju film, or they could be disappointed by the lack of seriousness in the latest Monsterverse outing. Either way, Godzilla x Kong: The New Empire delivers what’s expected, according to the movie’s first reviews. Critics either hate its dumb mayhem or enjoy its mindless spectacle, but they’re mostly saying the same thing: if you want to watch Titans going at it, crushing landmarks and ignoring human life as they save the world more than destroy it, then you can’t do much better than this fantastical sequel.

Here’s what critics are saying about Godzilla x Kong: The New Empire :

Where does Godzilla x Kong rank within the Monsterverse?

The most enjoyable MonsterVerse movie yet. — Ian Sandwell, Digital Spy

It’s the best of [Godzilla and Kong’s] canonical team-ups, and easily the most entertaining film in the Legendary Monsterverse. — William Bibbiani, The Wrap

GxK is second only to the under-appreciated Godzilla: King of the Monsters among the Warner/Legendary reboot of these venerable characters. — Alonso Duralde, The Film Verdict

Godzilla vs. Kong director Adam Wingard brings more fun to Legendary’s Monsterverse in his second kaiju outing. — Lupe Rodriguez Haas, CineMovie.tv

I still prefer Godzilla vs. Kong but Adam Wingard’s follow-up remains a decent, fun entry in the Monsterverse franchise. — Casey Chong, Casey’s Movie Mania

While not quite matching the face-smashing fun of its predecessor, Godzilla x Kong: The New Empire manages to quicken the pace even more, which is a welcome turn away from a pair of sequels that suffered from including too many uninteresting human characters. — Andrew Parker, The Gate

After a roaring return to cinematic glory with Godzilla vs. Kong , the MonsterVerse’s creative aims are quickly waning with a subpar sequel. — Courtney Howard, Fresh Fiction

(Photo by ©Warner Bros.)

How are the kaiju battles?

Unlike many of the previous American kaiju movies, GxK wisely intersperses the monster action throughout; the movie still saves its best melees for the last 20 minutes or so, but at least it enlivens the wait involved to get there. — Alonso Duralde, The Film Verdict

Adam Wingard knows how to choreograph a beastie battle so that it does maximum damage in a way that appeals to your inner toy-smashing seven-year-old. — Owen Gleiberman, Variety

The climax of The New Empire somehow bests the final fights from Godzilla vs. Kong , and it’s capable of jolting even the most jaded moviegoer to their feet. — Dominic Griffin, Looper.com

The power struggle that emerges between Kong and Skar King is beautifully rendered, and that it’s all communicated effectively sans dialogue is a testament to Weta’s increasingly impressive visual-effects work. — Amon Warmann, Empire Magazine

When Kong and Godzilla share the screen, it’s great; however, they barely do. — Tessa Smith, Mama’s Geeky

Does the film make us care about these creatures?

To the filmmakers’ credit, they manage to lend the proceedings something resembling an emotional arc, with Kong movingly displaying more relatable emotions than many of today’s overpaid human stars. — Frank Scheck, Hollywood Reporter

This movie shows more of Kong’s vulnerable emotions. — Carla Hay, Culture Mix

Here the Titans take on human characteristics which is a bit hokey but it’s in the tradition of the campy Japanese Godzilla movies. — Lupe Rodriguez Haas, CineMovie.tv

While we understand the importance of exploring the background of certain characters so that we can learn more about them, diving into the history of the Titans does not warrant as much time as it is given. — Tessa Smith, Mama’s Geeky

(Photo by Daniel McFadden/©Warner Bros.)

How are the human characters?

The standout once again is Kaylee Hottle, now a teenager, who brings compassion and a strong presence to the screen. Jia’s connection with Kong is still the heart of the story. Dan Stevens also brings joy to the movie as an eccentric scientist with a goofy side. — Lupe Rodriguez Haas, CineMovie.tv

It’s nice to see the often-underused Stevens in an uncomplicated hero role, and he’s the most memorable human in the film. — Chris Bumbray, JoBlo’s Movie Network

Stevens’s laid-back vibes are an especially good fit for a world where human casualties aren’t taken all that seriously. And though she could have done with a little more screentime, Hall ekes out every moment of substance she can. — Amon Warmann, Empire Magazine

Hall and Hottle are effective as the grounded human characters, and Henry and Stevens get a chance to cut loose and crack wise. Their efforts are succinct but great. — Andrew Parker, The Gate

It would be nice to report that great actors like Rebecca Hall, Brian Tyree Henry and Dan Stevens were given interesting things to do, but they aren’t. They’re here to class up the joint, have a little fun and collect their well-deserved paychecks. — William Bibbiani, The Wrap

Does the plot even matter?

While that plot is often total nonsense it’s nonsense in service of making monsters fight each other while looking awesome. If this be malarky there is method in it. — William Bibbiani, The Wrap

Those who find comfort in not asking a lot of questions and simply watching lots of pretty colors and things blowing up real good will have a good time with Godzilla x Kong: The New Empire . — Andrew Parker, The Gate

Is this just a bit of mindless entertainment?

It’s not high art. It doesn’t have to be high art. But it all looks pretty great and it captures the feeling being a kid playing with a bottomless toy box. — Andrew Parker, The Gate

A welcome reminder that there’s nothing wrong with being fun and ridiculous… It’s no small compliment to say that Godzilla x Kong: The New Empire is expertly crafted drivel. — William Bibbiani, The Wrap

You can’t get away from the fact that it’s all a bit ludicrous, even down to the concept that the world now just has to deal with regular Titan attacks. But everybody involved is now in on the joke, rather than attempting to make Godzilla x Kong something that it isn’t. — Ian Sandwell, Digital Spy

If you’re simply looking for a film that features oversized creatures punching each other in the face for 115 minutes, Godzilla x Kong: The New Empire is going to give you everything you want. Is it good? No. But is it entertaining? Yup! — Joe Lipsett, Queer.Horror.Movies

Will it leave us excited for Monsterverse movies?

GxK both lays the groundwork for more sequels and makes the possibility of such sequels seem welcome. — Alonso Duralde, The Film Verdict

If the series is to continue, and there seems little doubt that it will, the human characters are going to have to be treated with the same loving attention as the monsters. — Frank Scheck, Hollywood Reporter

Thumbnail image by Warner Bros. On an Apple device? Follow Rotten Tomatoes on Apple News .

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Movie Reviews

Tv/streaming, collections, great movies, chaz's journal, contributors.

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It’s recess at a small school in Nigeria and the boys are kicking around an empty water bottle in an improvised game of soccer. Except for one. Anthony Madu on the far side of the playground, is performing a private ballet. One of his classmates asks, “Why is he dancing like a girl?” 

Anthony is dancing because that is who he is. When he is not dancing, his body is shy, uncertain. When he dances, he is sure, elegant, graceful. “Madu” is a documentary about what happened when a brief 2020 video of Anthony dancing barefoot in the rain went viral, leading to an invitation to study in a seven-year program at an elite British ballet academy. As the film begins, he is packing and saying his farewells. He receives his passport, where he is described as a “child student.” His mother is proud, happy for him, but painfully aware of how much she will miss him. We see him silhouetted against the train window, an unfamiliar landscape outside. When he arrives, he calls home and like all mothers, her first question is “Have you eaten?” 

In their call a few weeks later, she says Anthony is adopting a British accent and his brother says, “You’re speaking like a white person.” We see the poignance of Anthony’s missing his family but feeling that the shared dedication to dance is a different kind of home, equally precious. “Home is a place where you feel like you belong,” he says, meaning the world of dance, but then he says home is also where your family is.

We might have expected that Anthony might feel isolated or even bullied for being from another country and culture, but his classmates are all friendly and inclusive. Some of the film’s sweetest moments are watching Anthony completely comfortable as he is laughing with his friends or hugging them goodbye as they leave for summer break. Some of the most touching are when we see his parents watching his performance as one of the stars of the end of school year production, via FaceTime, in Nigeria.

The entering class is told they are the select few of over 500 who applied. But this is not like the many other dance films about demanding teachers. The presence of the documentary cameras may be a factor, but the kindness, sensitivity, and compassion of everyone Anthony meets is so pervasive that it is clearly the culture of the community around him. A teacher tells the students that a warmth in the muscles during practice is good, but if it ever burns, they should stop. And when a serious health issue arises, the school and the doctors are sympathetic and supportive.

The style of the documentary is “fly on the wall.” Filmmakers Matthew Ogens and Joel Kachi Benson include occasional interviews with Anthony and his parents but no talking head experts. Cinematography by Charlie Goodger and Motheo Moeng is intimate and lyrical, with contemplative music that contrasts with the classical pieces accompanying the dance lessons and performance. An opening scene shows us Anthony dancing near a fire, his movements in the flickering light showing the fiery spirit that impels him. Near the end, he is on the beach, wading into endless water stretching all the way to the horizon, indicating the larger, more centered sense of himself and his passion for ballet made possible by access to teachers and other dancers, and a sense of possibility. But, as with the boys at the center of documentaries like “ Hoop Dreams ” and “ The Wolfpack ,” the focus on those who are too young to have a nuanced understanding of what is happening to and around them can make us feel both unsatisfyingly removed and uncomfortably intrusive. Maybe the only solution is to require any documentary about those who are underage to be locked away and then brought out again when the children are old enough to watch it and make up their minds about whether they are willing to have it seen.

Anthony’s eloquence is in his movement. A telling moment is his assignment to create a dance performance. Even to an untrained eye, his extraordinary gifts are unmistakable. His grace, balance, and control are exceptional, and his leaps are breathtaking. The teachers who are evaluating him are warmly encouraging, complimenting his love of movement. They gently ask whether he had a story in mind. When he says no, they suggest he try to imagine a narrative. Given the complexity and near-fairy tale improbability of his real-life story, it is not surprising that Anthony is comfortable taking a break from plot to revel in the pure abstraction of movement. With this documentary, we can appreciate his story, and his relevé and pirouette.

On Disney+ now.

Nell Minow is the Contributing Editor at RogerEbert.com.

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‘Asphalt City’ Review: Arbiters of Life and Death

Sean Penn plays a flinty paramedic showing a rookie the ropes in this maddening drama about emergency medical workers in New York.

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By Natalia Winkelman

Two paramedics — Ollie Cross (Tye Sheridan), a wide-eyed rookie, and Gene Rutkovsky (Sean Penn), a gruff veteran of the trade — traverse the mean streets of East New York, Brooklyn, by ambulance in the solemn drama “Asphalt City.” Flooded with neon and sirens, the movie opens during Cross’s first nights on the corps, tracking his and his new partner’s efforts to provide care for an array of challenging patients.

Directed by Jean-Stéphane Sauvaire — with evident inspiration from Martin Scorsese’s “Bringing Out the Dead” — this jittery drama wants viewers to appreciate the unique burdens facing emergency medical workers. Its approach to achieving this goal, however, involves a profusion of overly literal allusions to the paramedics as arbiters of life and death. “We are gods,” a colleague insists to Cross in one of several midnight symposiums on ethics and existentialism. As if those weren’t enough, our hero in training also sports a bomber jacket conspicuously embroidered with angel wings.

For reasons beyond my understanding, Cross, an aspiring doctor, looks up to Rutkovsky, a flinty old timer with a propensity to aggress when he feels sad or mad or basically anything. Their dynamic is familiar at best and dull at worst, particularly for those who long ago tired of the tragedies of toxic machismo. A couple of women do inhabit “Asphalt City”: the enthralling Katherine Waterston as Rutkovsky’s nettled ex wife, and Cross’s nameless love interest, whose naked body seems to receive more screen time than her face.

Asphalt City Rated R for bloody emergencies and graphic nudity. Running time: 2 hours. In theaters.

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