Bruce Lee movie review: This GV Prakash film will make the action legend turn in his grave
After watching Bruce Lee, we just wish that GV Prakash, a sensible star, would chose his scripts with a little more care in the future.
Bruce Lee, the actor who was a martial arts expert, is a legendary name in south India. His film Enter The Dragon, that released in the 1970’s, ran for weeks, even in small stations in the south. So the makers of GV Prakash’s new film, led by director Prasanth Pandiaraj, titled their film Bruce Lee, as it has tremendous title value.
However GV Prakash’s Bruce Lee would make the late legend turn in his grave. The film, which was touted as a black comedy, is amateurish and has neither a story nor style. The slapstick humour in the film is forced.
A young boy is given the name Bruce Lee by his doting mother because he likes watching the legend's films on television. He grows up into a lily-livered young man (GV Prakash), who lacks a spine. His girlfriend (Kriti Kharbanda) or best friend (Bala Saravanan) always steps in to fight his battles. One day, the gang gets into trouble with the villain (Ramdoss) who dresses up as Marlon Brando of Godfather or at times as The Joker of The Dark Knight. They click pictures of him killing a local leader, and are consequently are on the run to save their lives.
Some of Kollywood’s well known comedians like Motta Rajendran, Anandraj and others mimic well known actors. The regular Thala (Ajith) and Thalapathy (Vijay) references are also there. There is a disclaimer from the director appearing in the title cards with a quote from Quentin Tarantino – “I steal from every single movie ever made.” And the director adds - “I get inspired from every single movie ever made.” To put it mildly, we wish GV Prakash, a sensible star, would chose his scripts with a little more care in the future.
Don't Breathe 2, while preserving the bloodlust of the original, aspires to offer redemption to the antagonist, while also trying to be a character study for him.
Malignant is saved by an audacious, stunningly mounted third act, clearly a vintage James Wan in its glorious lunacy
Add Old to the unrealised potential column of M Night Shyamalan’s filmography.