Vikrant Rona Review: Take Kiccha Sudeep Out And It's A Washout, Sound And Fury Notwithstanding
Actor: Kiccha Sudeep, Jacqueline Fernandez, Nirup Bhandari, Neetha Ashok
Director: Anup Bhandari
Ranking: 2 stars (from 5)
Author Anup Bhandari, who led his third feature film, placed all his eggs in two baskets in Vikrant Rona. One is represented by a technical attribute that impresses the film, another by the strength of the star and the existence of the screen of the main actor Sudeep.
Both work well but never more than a completely shallow way. Someone gives a hue vicrant, the fantasy of the Kannada period’s actions with the Hindi version presented by Salman Khan and released nationally, sparkling. Others ensure that it does not lack of star peace and indifference in the midst of uncontrolled chaos produced by the pull and conflicting pressure.
The story that was twisted and excessively combined social tension, acts of revenge, haunted home fear, supernatural bends and police drama conventions to build the universe where the secret fell from every corner and gap. Rewards from all rushing around by films to look for very limited excitement.
Vikrant Rona plays in a rarely populated place named Kumarattu, where except a magnificent bungalow occupied by local owners, every structure, including the police station, is destroyed and shrouded in mystery.
Destable forests make visually striking arrangements. The citizens are a group of people who are confused in the scenario who spend more energy to enchant the audience with the image rather than providing material that can be understood by the audience that can be understood.
If only the hue vicrant was not too confusing and was cut off in terms of this way to turn many components and confusing, it might be a good exercise in visceral excess. Because Mumbo Jumbo, which applies along the way, has never come out of the forest.
The overall impact of the gloss superficial – is quite large and indeed serves a goal – is very damaged by the storyline that is too complicated and uncontrolled steps. This film stretches over the field that arouses miracles and fear but is difficult to break down and digest.
Sudeep is in the element. The performance of its steady-rock performance is the only consistent aspect of the vicrant hue. This actor uses the method that is measured and stylish to play titular police who excel in avoiding projectiles do not care from which direction they come to him. He knew the onion was separated from the layer he had to open.
Only when this film has soared to his hard climax, Vikrant Rona let him tear and turn into a man who could not be stopped to protect the kumarattu from the ghost design that slandered from the past. This film takes time – walking for almost two and a half hours – to express the nature of ghosts and the secrets of the past. Someone needs eternal power to sit – and filter – through the obscurity of the plot.
The heroes dressed in dressed in a village far in the forest where an inspector had been beheaded. Vikrant Rona is rooted in the hamlet and, therefore, has an interest in his welfare. The return is part of a personal mission.
Not only the inspector in front of him who has lost his life in an unwilling state. Some children have also been killed in Kumarattu. No one knows who the killer is. The practice of occultism is blamed for tragic events.
Another young man, Sanju Gambhira (Nirup Bhandari), has returned after not communicating for 28 years. The boy’s father (Madhusudan Rao) was a man who had a lot of strength around here. Patriarch childhood friend Vishwanath Ballal (Ravishankar Gowda), also, has returned to the village from Mumbai (which is a city named Dub Hindi) for the marriage of his daughter Aparna (Neetha Ashok).
But before the celebration can take place, Vikrant Rona, cannot be flooded and forever in superhero mode, has many obstacles to clean. The Secret -Asia that he himself is fertilizer and the people he digs is what is centered by the film.
The Mumbai girl, who attracted Sanju’s attention and started what looked like an escape, and her sister ended up in the places intended to give them and the audience of Heebie-Jeebies. One of the robbers like that ended with a surprising twist and signaling the half of the film.
What, praying, what Jacqueline Fernandez did in Vikrant Rona? Not many. The scene and item number are all that are divided into Bollywood actresses. Like everyone in Vikrant Rona, he is in a film to support Sudeep, which gives his company in the routine of the song -and the main dance aimed at reviving – and the lightning of the film. Not that helps.
There are many styles exhibited at Vikrant Rona. Complicated and often amazing production design. This gives an ambitious scale film that tends to flood turbulent text. 3D cinematography by William David (who also preserves Pangitangaranga and Rajaratha Bhandari) is class first. Music (by B. Ajaneesh Loknath) did a little to the number of a little heavy film.
After the surface glitter becomes thin due to excessive pleasure, Vikrant Rona is the real slog, a tiring film that slides from one thing to another without ever achieving total clarity. Remove the Sudeep from the film and that will be a total washing despite all the whipped sounds and anger.
The Hindi version, with his eyes firmly at the Pan-Indian audience, threw a police officer who spoke with a real marathi accent and even sprayed one or two rows in that language. Another man in Khaki said he came from the Chhapra District, where the hero answered that his own place was not far from there.
