#rajkumar rao movies

[movielysis]

Srikanth Movie Review-A full of Emotions and inspirational movie which you can never miss

Friends, what can't a person do if he goes beyond his limits? Shrikant is the story of a person who is a visually challenged person., who has the will and courage to move forward. A person who can't see the beauty of the world.but the dream of making our world beautiful can definitely be seen.Read More.....

[that-was-a-bit-stupid-of-you]

the ultimate lesbian-gay solidarity

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Stree 2 Review: Comedy dominates headless monster sequel

Stree 2 brings back the laughs with a headless twist! As Vicky and his friends face a new terror in Chanderi, the horror takes a backseat to comedy, making this sequel a hilarious ride.

⭐⭐⭐⭐ Rating: 3.5 out of 5. Sneha Jaiswal (Twitter | Instagram) The small town of Chanderi is rid of its resident ghost, Stree—the evil spirit who would abduct men in the night. But with Stree gone, a headless monster begins to target Chanderi’s women, and it’s once again up to ladies’ tailor Vicky and his friends to solve the haunting of this new terror in town. Directed by Amar Kaushik, the…

[barso-re-megha-megha]

no but the moment shardul (Rajkumar Rao's character) puts on the rainbow mask at the end of the movie is such an instrumental moment of just growth and acceptance within and of himself,,, because since the beginning of the movie it's easy to see how hard it is for him to even define/identify himself as a homosexual man and throughout the movie there's a constant conflict of him wanting to live as his most authentic self vs vying for social acceptance both in the contexts of family and career. As a cop he often comes across queer people who are ridiculed and punished and forced to run away,,, but he has to stay there and watch what could happen to him if he ever comes out through the words of the people he's surrounded by and even feels kinship with,,,

the first time he meets guru then,, guru is wearing a rainbow mask at a gay wedding and creating a "ruckus" and "disturbing peace". Shardul on the other hand is there in a professional capacity with his colleagues and is tasked with stopping him from making more of a nuisance out if himself,,, In their first interaction with each other shardul asks him about his masks and whether he's ashamed of himself and that's the reason he's wearing it, to hide which is then followed by him removing his mask.

This marks the way we're supposed to see the mask as not hiding away but accepting a part of oneself and being proud and just accepting of whoever and whatever you identify as,,, moving to the last part of the movie when invited shardul instead chooses to wear the mask as an acknowledgement of himself and his identity and just as a callback to the idea of not being ashamed and just,,, it marks such a big change and growth arc for his character who's seen to be so repressed when concerning his sexuality among family and colleagues

and the fact that he then chooses to click pictures with the aforementioned colleagues is just- cherry on top 🫶🏽🤌🏼 and i just love how he goes from being unable to voice it out loud, to coming out to his family (willingly mind you), to accepting and acknowledging it infront of the people he craves acceptance and respect from (his colleagues but also the society as a whole) and yeah.

[loumandivorce]

wait wait wait my gf and i have been getting really into indian cinema lately (we're 11 movies into our journey and loving every second) do you have any must see recs? we've so far watched a Lot of early 2000s srk movies lmao, its like half our list.

anon this is like the ask of my dreams. this is everything ive ever wanted. BOY DO I!!!! srk early 2000s is peak cinema you and your gf's taste is impeccable. some really fun indian movies are:

for shah rukh khan movies, i actually have an srk movie watchlist on letterboxd!!! you do Not need to follow the order of it but it's like vaguely ordered by what i think would make an enjoyable viewing experience. but if you haven't seen om shanti om that's the number one priority

sholay. possibly The most iconic bollywood movie ever, it came out in the 70s and stars amitabh bachchan, it's the closest thing bollywood has to a western probably? pretty much everyone has seen this movie and can quote it easily

stree is a more modern movie, its a horror comedy ghost movie with feminist undertones featuring rajkumar rao, possibly the best modern bollywood actor. i've watched this like 5 times in the past year because it's just so fun

BAHUBALI!!!!! a south indian film, unfortunately my knowledge on south indian movies is pretty lacking but bahubali is in my top 3 movies of all time. it's two movies and it's set in a fantasy-esque Golden Age of India setting and its all about royal family drama and chosen ones and the trials and tribulations of being a mama's boy

another really good shah rukh khan movie i have to recommend is rab ne bana di jodi, its a romcom with a pretty goofy setup but it's one of his most emotionally sincere and lovely movies in my opinion

goliyon ki rasleela ram-leela! it's a romeo and juliet retelling except they're rival gangs and wield guns, starring the gorgeous deepika padukone. the two lead actors actually fell in love while shooting the movie and eventually got married so that's a testament to their chemistry ig

i hope this list is helpful! i'm always up for giving bollywood cinema recs if anyone needs any, and if you're looking for a specific genre or anything i can do that too!

[moviepopcorn-180]

Badhaai Do Film Review

Rajkumar Rao and Bhumi Pednekar in Badhaai Do Film Plot: This film tells the story of a married couple who get married while concealing their sexual orientation. Their same-sex interests are unknown to both families. Will their marriage last after they get married? Will their relatives learn about their situation? Would they have a child as a result of giving in to family pressure? You must watch the film to find out the answers to all of these questions. Tone and Theme: This movie has a light-hearted yet impactful comedy-drama tone. Moreover, the theme revolves around love, relationships and emotions. In addition to providing entertainment, the film also aims to raise awareness of the social issues surrounding our children's hesitation to openly discuss marriage with their parents. Specifically, it addresses their reasons for not wanting to get married, who they should marry if they do choose to marry, and whether our society is truly prepared to tolerate such relationships. Acting and Characters: Rajkummar Rao has played a complex role of Shardul very honestly. His acting completely immersed in the character, he has tried to give his 100% to his acting. He looks helpless by keeping the pain of hiding his real identity within himself, but is unable to do anything. The emotions that reflected on his face through his acting are superb. Bhumi Pednekar's acting as Suman is also top class, she has also done complete justice to her role, the grief, sadness, pain that she was able to pour out on her face by hiding her identity, no one can understand. She has acted very well in emotional scenes. Gulshan Devaiah's acting as Narayan is also good. Chum Darang does a fantastic job portraying Rimjhim. Sheeba Chaddha has also performed admirably in the part of Mrs. Thakur. I didn't see any errors in her performance. She did a Spectacular task to characterize her part. Every member of the supporting cast has contributed to moving the plot of the movie along. Direction: Harshavardhan Kulkarni is the director of this movie. Interestingly, he directed the movie Hunter(2015) prior to this one. Furthermore, he did a stunning job directing this movie as well. Similarly, he handled the complexities of the story with remarkable finesse. Not only that, but he also narrates the story in a totally unique and engaging way. However, the movie progresses a little slowly at times. Despite this, he managed to elicit excellent performances from all the actors, making it a commendable directorial effort. Story: Akshat Ghildial and Suman Adhikary wrote the film unconventional. Writing a story this complicated is not simple. It has written in an entirely original and different style. The screenplay by Akshat Ghildial, Suman Adhikary, and Harshavardhan Kulkarni is exceptional; it is strong in all aspects, including character development, movement and facial expressions, the film's plot, scene endings, and dialogue. Dialogues: Akshat Ghildial''s each one skilfully crafted to fit the characters. Cinematography: The film shot well by Swapnil S. Sonavane. The camera frames has used properly. Kirti Nakhwa's editing is passable; however, there are slow moments and dull scenes in the movie. Some scenes could have cut to shorten the movie's duration. Production Design: It's fine by Laxmi Kaluskar The sound design by Anish John is excellent. The costume design by Rohit Chaturvedi is splendid. Music: Amit Trivedi, Ankit Tiwari, Tanishik Bagchi, Khamosh Shah the movie is alright, and the songs are good. Additionally, the lyrics are well-written by Varun Grover, Anvita Dutt, Vayu, Azeem Shirazi, Anurag Bhomia. Hitesh Sonik's background score is fantastic; it fits the tone and plot of the movie perfectly. The choreography by Vijay Ganguly is passable. 68th Filmfare Awards Nominations: Film got 14 nominations- Best Actor, Best Actor (Critics), Best Actress, Best Actress (Critics), Best Film, Best Film (Critics), Best Story, Best Screenplay, Best Dialogue, Best Director, Best Supporting Actor, Best Supporting Actress, Best Costume Design, Best Playback Singer (Male) And film succeed to win 6 filmfare awards- Best Film (Critics), Best Actor(Rajkummar Rao), Best Actress (Critics) (Bhumi Pednekar), Best Supporting Actress (Sheeba Chaddha), Best Story (Akshat Ghildial, Suman Adhikary), Best Screenplay (Akshat Ghildial, Suman Adhikary) Climax: The movie's climax is exquisite and quite unique. Viewpoint: Only Watch Once! No doubt film is crafted very well but audiences specially LGBTQ will love and like this film. Flaws: Did Shardul's mother catch Suman and Rimjhim having sex with the door open? It is difficult to accept this scene; it is a grave error. Given that it is a work of fiction, you can disregard it. Social Message: Is our culture truly prepared to embrace real-life LGBTQ relationships? Furthermore, aren't individuals entitled to marry whomever they choose? Moreover, is there any assurance that marriages will endure over the long term, especially if they are consummated without a clear understanding of mutual interest? Additionally, is our culture ready to watch these kinds of movies with family members? Although our nation has not yet legalized such marriages, it remains uncertain whether this will change in the future. Film Cast: Rajkummar Rao, Bhumi Pednekar, Seema Pahwa, Sheeba Chaddha, Gulshan Devaiah (Spl Appearance), Chum Darang, Late Nitesh Pandey and Loveleen Mishra Director: Harshavardhan Kulkarni, Producer: Vineet Jain Screenplay: Akshat Ghildial, Suman Adhikary, Harshavardhan Kulkarni, Story: Akshat Ghildial, Suman Adhikary, Dialogues: Akshat Ghildial Co-Directors: Kirti Nakhwa, Prateek Vats, Cinematography: Swapnil S Sonavane ISC Editor: Kirti Nakhwa, Production Design: Laxmi Kaluskar, Sound Design: Anish John Costume Design: Rohit Chaturvedi, Casting Director: Shiv Chauhan, Ashish Khare Music: Amit Trivedi, Ankit Tiwari, Tanishik Bagchi, Khamosh Shah, Choreography: Vijay Ganguly Lyrics: Varun Grover, Anvita Dutt, Vayu, Azeem Shirazi, Anurag Bhomia CBFC-U/A Movietime-2h.27mins Genre-Comedy Drama Backdrop-Dehradun & Haldwani(Uttarakhand) Release Year-11 February 2022 Read the full article

[digitalmedia-by-tejas]

The Polymorphic Approach to Representation; A case study on social hierarchal representation in Bheed

10.1 Abstract

Bheed is a 2023 social drama Bollywood movie, directed and produced by Anubhav Sinha. It's an ambitious film that aims to reconstruct and explore the trauma experienced by the socially backward section of Indian society caused by the lockdowns during covid 19. Set in the dark reality of India's deeply divided society, this film uses a roadblock (figuratively and literally), to show the systematic inequality faced by millions even to this day. This makes it a perfect case study on the critiques of social representation in modern media.

10.2 Introduction

The movie Bheed is very close to me personally, as I was one of the people working in this movie. I was a CG artist and was even invited to the official premiere of this film along with the lead crew and cast. And what stuck with me from this movie is how honest and cruel it gets when it comes to portraying the dark reality of the marginalized groups in Indian society.

Fig; Bheed movie poster. Available at: https://m.media-amazon.com/images/M/MV5BODJmNTJlZDUtZmVmNy00Y2I5LThiOTEtNDM4MDA2OTBjOThmXkEyXkFqcGc@._V1_.jpg [Accessed 23 Dec. 2024].

10.3 The Visual motive and juxtaposition of characters

Bheed uses representation as a tool to highlight the effects of what is otherwise considered a "national emergency for the betterment of the people" on the marginalized and overlooked sections of society. The film uses a black-and-white style of cinematography as a deliberate choice. The reason behind that decision is to evoke a documentary-like realism in the minds of its audiences. And this aligns with Nichols' (1991) theory of "Discourse of Soberity," where he observes that "documentary speaks with a voice of soberity and purpose. Its power lies on rhetoric and its representation" (Nichols' 1991, p. 3), which roughly translates to the fact that realism in documentary filmmaking often takes away from the gravity of the subject matter. The absence of color can be interpreted as the starkness of inequalities that the COVID-19 pandemic exacerbated.

Fig; A scene from the movie showing the black and white color choice from the director to invoke documentary-like realism in the minds of its audiences. Available at: https://m.media-amazon.com/images/M/MV5BODJmNTJlZDUtZmVmNy00Y2I5LThiOTEtNDM4MDA2OTBjOThmXkEyXkFqcGc@._V1_.jpg [Accessed 23 Dec. 2024].

Surya Kumar Singh Tikas, played by the lead actor Rajkumar Rao is at the center of this narrative. He is a lower-caste policeman who is tasked with enforcing lockdown measures. This juxtaposition acts as a perfect picture of helplessness while being in power. The choices faced by Surya, being a policeman yet remaining powerless in front of the system and not being able to implement meaningful change within his act, make people think about their stance while watching this movie, and his character aligns perfectly with Spivak's description of "subaltern's" inability to speak within hegemonic structures one of her key arguments in her essay "Can the Subaltern Speak?" she argues that, Subaltern's voices are systematically silenced within existing means of representation— platforms from which one’s views and demands are taken seriously" (Riach, 2017, p. 38).

10.4 Intersectionality

The film uses layered structure to tell narratives, effectively employing Kimberlé Crenshaw's intersectionality, which argues that "individual identities such as gender, race, sexuality, and others, overlap and intersect and reflect macro-level forms of oppression and privilege, such as sexism, racism, and heteronormativity" (Kelly et al., 2021). It uses intersectionality to highlight how in particular the caste, class, and gender intersected during the pandemic and worked like a catalyst to exploit the pre-existing vulnerabilities of the otherwise overlooked sections of the society. The best example of intersectionality from the movie would be the character of Renu Sharma played by Kritika Kamra.

Renu is portrayed as a single mother who is also a healthcare worker. One would think that being an essential worker, Renu would be respected within the society and especially in her workplace, the reality is in starl contrast to that. The film highlights the lack of institutional support provided to them, and how her peofessional role doesnot shield her from social prejudices as she is constatnly shown as been overlooked by those in power and treated with disrespect. Her identity as a single mother adds another layer of complexities to her struggles. The burden of caregiving and earning puts her in a rather complex situation, where her personal sacrifices are often overlooked by those around her, and this aligns with various studies that were conducted on the affect of covid pandemic on women including the one titled "The impact of COVID-19 on women’s empowerment: A global perspective" by Dempere and Grassa (2023), which concluded that " the pandemic adversely affects several metrics of women’s empowerment at the community level." The potrayal of Renu being often subjected to increased rates of disrespect and moral policing by the people in the movie while totally discrediting her authority as the only nurse in that area is a direct example of this.

10.4 A critique

Anubhav Sinha's Bheed although seeks to put caste as a major factor in determining the power and vulnerability of individuals during covid lockdown. While the film offers a platform to discuss inequality, there's also a risk of simplifying the and homogenizing the dalit experience in these narratives, the use of black and white cinematography is a perfect example of that. This aligns with the term "New Casteist media" coined by Ali Saha, In their study they basically state that "There is an increasing Dalit inclusion in media, but they continue to be negatively framed" (Saha and Gunawardana, 2022). Which aligns the portyal of Dalits as "helpless" and "naive". Surya staying passive within the larger political spectrum in the film is a perfect example for that. This critical flaw reflects the broader media trend of acknowledging Dalit victimhood without fully exploring or elevating the agency and activism that Dalits have historically employed to challenge caste-based oppression.

10.5 Conclusion

Bheed is a perfect example of how movies can serve as a mirror to the society. At the end, I couldn’t help but think of my own role in how we represent marginalized voices in media. Having worked on this film, I have realized how crucial it is for us—both as storytellers and as consumers of media—to approach stories like these with both empathy and action. And this realization has refelcted throughout the blogsphere for my sources and significance classes. Over the semester, I meticulously tried to explore, analyse and find ways to implement and advocate for more inclusion within the different aspects of modern media in our society.

This class has given me the tools to critically engage and effectively deny the patriarchal and discriminatory norms instilled in me that were a direct result of growing up as a privileged male within the society. As I move forward in both my academic and professional career, I am more committed than ever to finding ways to not only represent the diverse tapestry of human experiences but to also elevate and amplify those voices that have often been silenced.

10.6 References

Dempere, J. and Grassa, R., 2023. The impact of COVID-19 on women's empowerment: A global perspective. Journal of Global Health, 13, p. 06021. Available at: https://doi.org/10.7189/jogh.13.06021 [Accessed 23 December 2024].

Kelly, C., Kasperavicius, D., Duncan, D. et al., 2021. ‘Doing’ or ‘using’ intersectionality? Opportunities and challenges in incorporating intersectionality into knowledge translation theory and practice. International Journal for Equity in Health, 20, p. 187. Available at: https://doi.org/10.1186/s12939-021-01509-z [Accessed 23 December 2024].

Nichols, B. (1991). Representing Reality: Issues and Concepts in Documentary. Indiana University Press

Riach, G., 2017. An Analysis of Gayatri Chakravorty Spivak's Can the Subaltern Speak? Macat International Limited. Available at: https://ebookcentral.proquest.com/lib/herts/reader.action?docID=4906584&ppg=39 [Accessed 23 December 2024].

Saha, A. and Gunawardana, S., 2022. Paradoxical inclusion of India’s ex-untouchables in New Casteist media. Media, Culture & Society, 44(5), pp. 863–881. Available at: https://doi.org/10.1177/01634437221096773 [Accessed 23 December 2024].

[noisyearthquakeninja]

"STREE 2" - MOVIE REVIEW | COMEDY HORROR MOVIE | RAJKUMAR RAO & PANKAJ T...

[starbiopic]

Shraddha Kapoor’s Character Name in 'Stree 2' Remains a Mystery, Says Director Amar Kaushik

The ‘Stree’ franchise has become a blockbuster hit, with its second film, Stree 2, breaking records at the box office by grossing Rs 843 crore globally. While the movie has propelled Shraddha Kapoor and Rajkumar Rao’s popularity to new heights, the director Amar Kaushik is the one creating a buzz with his intriguing revelations. Recently, in several interviews, Kaushik has spoken about his plans…

[lokeshbhandarireview123]

This Young Bollywood Star On the Edge of Doing the Same In 2024 What SRK Did in 2023

Thanks to movies like Pathan, Jawan, Animal, and Gadar 2 Bollywood tested success in 2023 and this magic continues until 2024  but here in 2024 young and talented actors ruling the box office, Yes your guest as good as mine Rajkumar Rao who is at the sky-high after box office of recent release Stree 2. Creating new records at the Box Office In 13 days the movie collected 414 Crores at the box office and got a tag of “All Time Blockbuster” creating new records every day counting like Stree 2 is going the movie defiantly reach 600 Crores in its lifetime. The movie is a part of the Maddock Horror universe and with this, Stree 2 registered his name with Shah Rukh Khan, Ranbir Kapoor, and Sunny Deol.

Rajkumar Rao Going on SRK's footsteps

In 2023 Shah Rukh Khan gave a new life to Bollywood with the movies Pathan and Jawan both these movie blockbusters at the Box Office with a worldwide collection of 1000 Crores. On the other hand with Stree 2 Rajkumar Rao also got his debut movie 500 Crores Club it is not wrong to call him SRK of 2024

With Rajkumar Rao also has actors like Shraddha Kapoor, Aparshakti Khurana, Abhishek Banerjee, Pankaj Tripathi, and combos of Akshaya Kumar, Varun Dhawan, and Tamanna Bhatia. With Pathan Shah Rukh Khan is a part of YRF Spy Universe on the other hand Rajkumar Rao’s Stree and Stree 2 are a part of Maddock horror Universe and both these Universe are growing with every movieHINDUSTAN TIMES

Foundation of These Universe

The Spy Universe was started with Salman Khan’s Ek The Tiger in 2012 followed by movies like Tiger Zinda Hain, War, Pathan, Tiger 3 and War 2 going to be next in the Spy Universe also have Jr. NTR and Kiara Advani. We might see a cameo of John Anrahem as Jim in War 2. Now there is also news of Bobby Deol playing the main villain in the Spy Universe's next Alpha also going to have Alia Bhatt, and Sarvari Wagh with Hrithik Roshan in a cameo  , and with this, there is also a strong buzz about Pathan 2 with SRK. and vice versa in  Maddock Horror Universe was started in 2018 with Shraddha Kapoor’s Stree in 2018 and had movies like Bhediya, Munjiya, and Stree 2 Read Full Story

[funnysideolife]

Newton movie best scene best dialogue pankaj tripathi & rajkumar rao #ne...

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Shraddha Kapoor, Katrina Kaif And Rajkumar Rao Spotted At Airport Viral Masti Bollywood

#viralmastibollywood #bollywood #latest #news #gossips #trending

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Shraddha Kapoor, Rajkumar Rao, and Pankaj Tripathi Starrer 'Stree 2020' Trailer Out | Bollywood Masala

Catch the latest entertainment mix masala and Bollywood tadka at Kalakruti Media. Watch the trailer of the highly anticipated horror movie 'Stree 2020' starring Shraddha Kapoor, Rajkumar Rao, and Pankaj Tripathi. Don't miss out on exclusive Bollywood masala and ankahi baatein about the film.

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'Stree 2' Poster: Rajkumar Rao, Pankaj Tripathi And Abhishek Banerjee In New Roles | Movies News

Mumbai: Taking to Instagram, RajKummar treated fans with a new poster and captioned it, “Ho jaiye taiyar Aa raha hai #Bicky with his most loved gang and with #Stree ji for the biggest horror comedy of the year. #Stree2 Trailer out tomorrow. The legend returns this Independence Day, 15th August, 2024.” The poster captures Bicky (RajKummar) and his gang facing the Stree with a fire stick and torch…

[common-man]

Srikanth film.

Srikanth film .

Recently i saw Srikanth film in the Netflix and it was very nice.Based on the true story on Visually challenged person was taken with emotion and touching.Rajkumar Rao,Jyothika,SharadKelkar ,Alaya and role ofPresident Abdulkalam Jameel khan if i am right are very nice.In the recent years Rajkumar Rao is one of the talented upcoming actor made his mark is laudable.He lived in his role as blind talented student ,later good Industrialist.Pleasing background music,Good frame work by Cinematographer Pratham Mehtaand very good direction by Tushar Hiranandani is worth to be mention here.Good movie recently i enjoyed. K.Ragavan.

[moviepopcorn-180]

Stree 2 Film Review

Sarkate ka aatank!

Image of Rajkumar Rao lead in the reviewed film Plot: This film is a sequel to Stree (2018). In the first section, there was Stree! But now, how will Sarkate's terror come to an end? This is depicted in Stree 2. While Stree used to abduct men in the first section, on the other hand, Sarkate abducts women in the second. So, how and by whom will Sarkate's reign of fear be stopped? Moreover, how is it all going to conclude? To uncover the answers to these intriguing questions, you must watch the film. Tone and Theme: This movie has a horror comedy tone, which combines humour and terror. The film's theme is terror; it made with the sole intention of entertaining viewers; and it is based on a work of fiction. Characters and Acting: Rajkummar Rao's performance as Vicky is outstanding; his ability to deliver even the most challenging lines with ease is his greatest strength. His comedic timing is also superb, and the entire movie relies on him. Shraddha Kapoor does a good job as Stree; her action sequences are entertaining to watch, and her acting is straightforward and comprehensive. The majority of Bittu's scenes are humorous as a Aparshakti Khurrana does a good job portraying the character. Pankaj Tripathi's performance as Rudra Bhaiya is equally outstanding; his delivery of dialogue is remarkable, his acting is hilarious, and his acting skills are unparalleled. The way Abhishek Banerjee plays Jana is also excellent; you laugh at his lines and every scene he does. Also, good at supporting parts are Tamanna Bhatia, Ananya Singh, Varun Dhawan, Sunita Rajwar, Atul Srivastava, and Akshay Kumar. Direction: Amar Kaushik is the director of this movie. Prior to this, his first directorial effort, Stree (2018), regarded as a success. Following that, his critically acclaimed films Bala (2019) and Bhediya (2022) were released. His Bhediya was a mediocre movie. He also did a great job on this movie. His entire being has gone into creating this film uniquely. In every scene of the movie, his hold is evident. His film is technically exceptional. Story, Screenplay and dialogue: Niren Bhatt wrote All is well (2015), Bala (2019), Bhediya (2022), and Munjya (2024) prior to this movie. The plot of this movie is entirely different from that of the first Stree movie, which was more horror and had a great story. This movie's plot is okay, but the previous Stree movie was more horrific. Screenplay: Excellent, well-written screenplay. Dialogues: Excellently written, we can finally state that the dialogue is the heart and USP of the movie and plays a major role in its success. Cinematography: Jishnu Bhattacharyajee's cinematography is excellent; regardless of the aerial views, the film's camera work, camera frames, lighting, and colouringare all expertly captured. This includes the night scenes, palace scenes, Sarkate's palace, and city scenes. Choreography: All the songs by Vijay Ganguly are really lovely, but Aaj Ki Raat and Jaani Master's Aayi Nai stand out in particular. Music: All of Sachin Jigar's songs are incredibly sweet and melodious, but Aayi Nai, Aaj Ki Raat, Khoobsurat, and Tumhare Hi Rahenge Hum stand out for their calming tunes. Amitabh Bhattacharya's lyrics are well-written and fit the film's plot. Background Score: The background score of Justin Varghese's is incredibly amazing, eerie, It is a perfect fit for the film's tone. Costume design: Sheetal Iqbal Sharma's costumes are in harmony with the story, setting, and  characters of the film. Production Design: Mayur Sharma's production design says it's good. The Kingshuk Moran's Sound design is excellent. Editing: Hemanti Sarkar's editing in the movie has a slow pacing, with the plot developing gradually over the first half hour. There are also pauses in the movie. Action: Darrel McLean, Amrit Singh's action scenes, particularly those starring Shraddha Kapoor, are breathtaking. Visual effects: Fantastic, amazing, and outstanding. Viewpoint: For people who enjoy watching masala movies. Problems: The movie's final ten to fifteen minutes are unimpressive and a waste of time. Due to the fact that two songs were combined back-to-back, The audience is perplexed whether the movie is over or not. There are many double-meaning dialogues in the movie, if viewers can understand them. It was unclear why Varun Dhawan was asked to play the part of a wolf. For thirty minutes at the start of the movie, the plot does not change. Aaj ki raat by Tamanna Bhatia contains profanity and vulgarity, and her costume is extremely inexpensive. Nominations for the coming 2025 Filmfare Awards: There will be nominations in numerous categories. Similar to choreography, action, cinematography, Best Visual Effects and Best Movie Based on Original film "Stree' Written and Produced by Raj and DK Rajkummar Rao, Shraddha Kapoor, Pankaj Tripathi, Aparshakti Khurrana, Abhishek Banerjee, Tamanna Bhatia, Akshay Kumar, Varun Dhawan, Ananya Singh, Sunita Rajwar, Atul Srivastava Director: Amar Kaushik, Produced: Dinesh Vijan and Jyoti Deshpande, Story, Screenplay and Dialogues: Niren Bhatt, Editor: Hemanti Sarkar, Cinematography: Jishnu Bhattacharyajee Music: Sachin-Jigar, Lyrics: Amitabh Bhattacharya,Background Score: Justin Varghese, Design: Sheetal Iqbal Sharma, Action: Darrel McLean, Amrit Singh Choreography: Vijay Ganguly, Jaani Master( Aayi nai), Sound Design: Kingshuk Moran, Production Design: Mayur Sharma CBFC-U/A Movietime-2h.29mins Genre-Comedy horror Backdrop-Chanderi (MP) Release Year-15 August 2024 Read the full article