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Prince Reviews

Despite the sketch comedy-like polish and the many jokes that go nowhere, Prince is still very watchable.

Full Review | Oct 24, 2022

As hit-or-miss as the sketches can be, it’s these new interstitials that betray the show’s true aimlessness...

Full Review | Oct 21, 2022

Sivakarthikeyan's charm makes this silly, quirky comedy fun.

Even Sivakarthikeyan, who turns on the comic persona from his early films that made him a star, is only able to just about keep the film from sinking.

Full Review | Original Score: 2/5 | Oct 21, 2022

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Prince movie review: Sivakarthikeyan's charm makes this silly, quirky comedy fun

Prince movie review: sivakarthikeyan's charm and his chemistry with sathyaraj elevate this quirky but silly comedy to a fun watch..

Sivakarthikeyan ’s Prince could be described as an experimental comedy film. I use the word experimental because it isn’t wholesomely entertaining as some of his other films but at the same time it works as a quirky attempt at bringing forth a different style of humour. You could even call it silly humour, which worked beautifully in Anudeep’s last film, Jathi Ratnalu. In Prince, too, it works to a large extent and that’s what makes the comedy refreshing, if not wildly entertaining. The film works when you don’t take it seriously. Also read: Don review: Sivakarthikeyan’s film is a predictable but likeable coming-of-age drama

The plot is simple. It’s about a Tamil boy (Sivakarthikeyan plays Anbu) from a fictional village near Pondicherry falling in love with a British girl (Maria plays Jessica). Sathyaraj plays Anbu’s father (Ulaganathan) and he’s a staunch anti-casteist, who wants his son to marry outside their caste. When Anbu, a social science teacher, falls in love with his colleague Jessica (British), an English teacher, he hopes that his father would be proud of him to fall in love with someone from a different country altogether. Instead of extending his support for their love, Ulaganathan opposes the idea because his father was killed by the British during the independence struggle. Therefore, he doesn’t want someone from that country in his family.

The film relies a lot on quirky one-liners and wordplay. Anudeep’s style of comedy is not everyone’s cup of tea. If you loved what he did with Jathi Ratnalu, Prince won’t disappoint you. Even though the film is not consistently as funny as Jathi Ratnalu, the jokes do work wherever they’re used.

Nobody else but Sivakarthikeyan could’ve made Prince work to this extent. He holds the film together with his charming screen presence and his knack of doing comedy is unmatchable. Sathyaraj is equally good as the father and complements Sivakarthikeyan well in so many scenes. The chemistry between them really comes alive on the screen and it’s a treat to watch.

Prince, as the promos promised, ends up as a harmless romantic comedy. The comedy stretches work and generate ample laughs to keep you invested. The dull stretches do serve as a roadblock in an otherwise breezy story that touches upon the theme of fake nationalism.

Director: KV Anudeep

Cast: Sivakarthikeyan, Sathyaraj and Maria Riaboshapka

• Sivakarthikeyan

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Prince movie review: A partly effective spoof or a juvenile joke?

Prince is a mixed bag. For those who enjoy the grand comic set-up with momentary payoff, for those who have the patience to relate with such elaborate set up, it is an enjoyable entertainer.

Language: Tamil

Cast: Sivakarthikeyan, Maria Ryaboshapka, Sathyaraj

Director: Anudeep KV

Star rating: 2/5

After Sivakarthikeyan’s performance in Doctor , fans are left with high expectations. So when Prince was touted by the filmmakers to be a no-holds-barred comedy, many expected magic. This genre, in a way, is Sivakarthikeyan’s playing field. Yet, something went horribly wrong with Prince because the laughs were just not enough. From the very beginning, I had this sinking feeling with the dialogues as it did not land in many occasions. The film itself is a romantic comedy about a young Tamil man falling in love with a British girl settled in India. His father is a communist who pushes his children to marry out of caste, but he is also a nationalist who has a special place in his heart just to hate on the newer generations of Britishers for the sins of their ancestors.

So, Prince attempts to dig deeper by drawing in the ill feelings that certain sections of Indians have towards a country and the country persons that enslaved them. Can something as sensitive and serious as reparation for enslavement and racism really be used as fodder for something that is shallow from the very outset? It is only much later that the film sets itself up as a spoof. Especially the confrontation between Anbu and his father about his love for an English girl hints at the direction that the film wants to take. When Jessica says, “We gave you the railways, education…” and ends it by saying, “We even gave you freedom,” it strikes a nerve. This is the stand that white supremacists and people with saviour complex have repeatedly said when asked about reparation for the actions of their ancestors. A similar belief is also held by a huge section of upper caste community in India. They believe that they liberated the Dalit and Adivasi community from being ‘uncouth’, ‘uncivilized’, and ‘uncultured’. So they try to erase the oppression. However, the potential of this scene is visible only fleetingly. The comic expression on Sathyaraj ’s face is the only evidence of this potential.

This flaw in the screenplay sabotages the film to a great extent. So, the jokes that were promised in the film is juvenile and the payoff for any comedic set-up is too late too little. Take, for instance, the moment when the white girlfriend wants to buy bottle gourd! The fact that Anbu, the hero of this tale doesn’t know that Sorakkai is bottle gourd is the beginning of a joke that is too long, with a short payoff. We understand that the male ego doesn’t let this young man accept that he doesn’t know something that his crush does. He continues to pretend as if he knows what she is talking about. What really is hilarious is that Anbu finds a vegetable seller who wants to continue a facade with his own wife as well. He apparently impressed her with his English while courting her. The amount of world-building that goes into this sketch, even if half of it had been put into building Jessica as a person, or Anbu’s family, the film would have been better of for it.

Instead, it goes round and round in stressing how Anbu has betrayed his village by failing in love with an English girl. It is hilarious how Anbu’s father (Sathyaraj) was accepting of their relationship when he had believed that she was French. A quick note on Indian history and the European forces that occupied the nation at different times, La Compagnie française des Indes Orientales (French East India Company) set up an outpost in Pondicherry — now Puducherry. It is at this point that I began to see the film as a spoof. One that is a commentary on everything that the society today is most obsessed with. From K-drama, and reparation to hypernationalism, the film broaches it all, but ineffectively because of the earlier stated flaw in screenplay.

The huge holes in the screenplay is fixed momentarily with juvenile jokes. Prince would have done much better had it stuck by its conviction to make the dark jokes about society stick. Instead, the flimsy nature of commentary within the film makes the attempt nothing but laughable. Anbu and Jessica’s love story is not something to root for because all we see of their relationship is song and dance moments. It is so shallow that his own friends end up believing that he is dating her to settle down abroad. Another self-deprecating joke here, I am sure.

This is probably one of the few moments that I did truly enjoy because it feels as if the filmmaker made a self-aware comment regarding how much of Anbu’s intention we were allowed to see. These are thoughts, that one would really begin to form at the end of the film, because at the beginning, all of it seems disconnected and distorted. From a simple tale of a social science teacher falling in love with an English teacher, the film tries to build many layers. However, not one of them is portrayed with clarity. Even the dad jokes in the film come off as juvenile, but not juvenile enough to be enjoyed. It occupies this weird space in the joke world where the lines just travel above your head and flats flat on its face.

So Prince is a mixed bag. For those who enjoy the grand comic set-up with momentary payoff, for those who have the patience to relate with such elaborate set up, it is an enjoyable entertainer. Otherwise, it is a missed opportunity.

Prince is playing in cinemas

Priyanka Sundar is a film journalist who covers films and series of different languages with special focus on identity and gender politics.

Read all the  Latest News ,  Trending News ,  Cricket News ,  Bollywood News ,  India News  and  Entertainment News  here. Follow us on  Facebook ,  Twitter  and  Instagram .

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'Prince' review: Laughter not guaranteed

Every dialogue in this movie that is intended to be funny is absurd and silly

Prince  is the love story of a school teacher who falls for a British girl, Jessica, (played by Maria Ryaboshapka) filled with comedy of errors. Anbu (Sivakarthikeyan) lives in a village, where everyone is simple and have an irreverent sense of humour, near Pondicherry. 

Prince  movie plot begins with Anbu’s voice-over, introducing his father Ulaganathan (Sathyaraj). The film starts off promising to be a laugh riot, but as it moves forward, every dialogue that is intended to be funny is absurd and silly. 

Once Anbu accompanies Jessica to a vegetable shop, run by a couple. At the shop, the wife of the vegetable vendor claims that she married him because she fell for his English. When Jessica asks for a bottle gourd, both the shop owner and Anbu do not know what it is. The two struggle to save their face. Then comes one Anbu's students who also doesn't know what bottle gourd is. The entire film is filled with such silly jokes.

And then there is Sathyaraj's Ulaganathan, the grandson of a freedom fighter. He is a man of principles, who wants his son to marry outside caste and religion, but not a Brit girl because his grandfather was killed by the British. He doesn’t have any role in his village but hoists the national flag on Independence Day and Republic Day. His son, a social science teacher, does not know about the World War, Hitler or Charlie Chaplin. It is his British girlfriend who introduces him to Chaplin.

The villain, Bhoopathy (played by Premgi Amaran), fails to impress. 

In the end,  Prince  talks about humanity and patriotism. But even here if you expect a story or a decent sequence to know what actually the story is, the director disappoints you.  Prince  director Anudeep, could have thought for a moment that Jathi Ratnalu could have done well in Tollywood, but he somehow chose to give the Kollywood audience a film without a story and a hero without any goals in his life. 

Sivakarthikeyan looks good as always, and the audience could not be faulted for expecting from him something like his earlier  Varuthapadatha Vaalibar Sangam  or  Namma Veetu Pillai . But the actor fails to deliver the laughs that  Prince  promised.

It is also time that popular actors like Sivakarthikeyan stops normalising stalking in films in the name of comedy. 

Prince cast: Siva Karthikeyan, Sathyaraj, Maria Ryaboshapka and Premgi Amaren. 

Prince director: Anudeep KV. 

Rating: 1/5

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Prince Movie Review: A reasonably effective mindless comedy

Rating: ( 2.5 / 5).

Remember Mirchi Shiva's intro scene in Thamizh Padam 2 where he goes on a monologue about many things random? Did it make you laugh? Or did it make you roll your eyes? If it worked for you, you are in for a ride with Prince , which is a marathon of such humour. Is it unfair to judge a film based on the efficiency of one element? Perhaps not, considering this is the main takeaway of this film.

Director: Anudeep KV Cast: Sivakarthikeyan, Maria Riaboshapka, Sathyaraj

The humour won't come across as a shocker to those who have watched Anudeep's sophomore feature, Jathi Ratnalu . Be it the naivete in romance, the over-enthusiastic body language, or even the floral print shirts, it is hard not to notice similarities between Sivakarthikeyan's Anbu and Naveen Polisehetty's Jogipet Srikanth.

The plot of Prince is generic and predictable. A Tamil boy from a family of British haters falls in love with a... Britisher! And naturally, a series of crazy events prevent them from getting together. Another film with a story like this--and an uninspiring screenplay--might have sunk without trace, but he tremendous focus on nonsensical humour keeps Prince afloat.

The non-stop jokes, however, don't always land as intended. A number of attempts do fall flat but not so much that the good parts get affected. When Sathyaraj's wife anxiously asks him, "Ungalukku enna dhaan venum?" , he replies, "Nee inga irundhu ponum!" Whenever the film shifts to this rhyme zone, the jokes fail. But a few minutes into the film, I became kinder, as the outlandish portions are brilliant. A case in point is the whole sequence involving a bottle gourd.

For 'mokkai' comedy to work, listeners must get used to context and the identity of the person cracking the jokes. This is why inside jokes among friends work, and why it feels absurd for outsiders. It also helps when celebrated stars (Sivakarthikeyan and Sathyaraj) are cast humour. I really doubt if Prince would have been as efficient if not for these two actors. But sadly, the same can't be said about the rest. Even though Maria gets the lip-sync game almost right, her performance feels right out of a highschool drama. Premgi Amaren, in a non-Venkat Prabhu film, once again doesn't work.

As long as the gags keep coming, we remain distracted from the criminally under-written screenplay and lacklustre staging. But the flaws become extremely glaring when the film focusses, for instance, on the romance. The story is stagnant, and interesting angles--like Jessica (Maria) asking Anbu why he falls for her--are not explored well.

Anudeep cleverly saves the best humour for the last act. The extended farewell speech of Anbu revives the film from a painful second act. Without giving away much, this last speech of Prince is absurdity in its most tasteful form.

The title Prince doesn't bear much relevance to the actual film, except as a tribute to its star actor. Had Anudeep stuck to just mindless fun, without getting distracted by angles like the bland romance, this Prince might have won everyone's heart.

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'Prince' review: A reasonably effective mindless comedy

Remember Mirchi Shiva’s intro scene in Thamizh Padam 2 where he goes on a monologue about many things random? Did it make you laugh? Or did it make you roll your eyes? If it worked for you, you are in for a ride with Prince, which is a marathon of such humour. Is it unfair to judge a film based on the efficiency of one element? Perhaps not, considering this is the main takeaway of this film.

The humour won’t come across as a shocker to those who have watched Anudeep’s debut Jathi Ratnalu. Be it the naivete in romance, the overenthusiastic body language, or even the floral print shirts, it is hard not to notice similarities between Sivakarthikeyan’s Anbu and Naveen Polisehetty’s Jogipet Srikanth. The plot of Prince is generic and predictable.

A Tamil boy from a family of British haters falls in love with a... Britisher! And naturally, a series of crazy events prevent them from getting together. Another film with a story like this--and an uninspiring screenplay--might have sunk without trace, but he tremendous focus on nonsensical humour keeps Prince afloat. The non-stop jokes, however, don’t always land as intended.

A number of attempts do fall flat but not so much that the good parts get affected. When Sathyaraj’s wife anxiously asks him, “Ungalukku enna dhaan venum?”, he replies, “Nee inga irundhu ponum!” Whenever the film shifts to this rhyme zone, the jokes fail. But a few minutes into the film, I became kinder, as the outlandish portions are brilliant.

A case in point is the whole sequence involving a bottle gourd. For ‘mokkai’ comedy to work, listeners must get used to context and the identity of the person cracking the jokes. This is why inside jokes among friends work, and why it feels absurd for outsiders. It also helps when celebrated stars (Sivakarthikeyan and Sathyaraj) who are known for their humour are cast.

I really doubt if Prince would have been as efficient if not for these two actors. But sadly, the same can’t be said about the rest. Even though Maria gets the lip-sync game almost right, her performance feels right out of a highschool drama. Premgi Amaren, in a non- Venkat Prabhu film, once again doesn’t work. As long as the gags keep coming, we remain distracted from the criminally underwritten screenplay and lacklustre staging. But the flaws become extremely glaring when the film focusses, for instance, on the romance.

ALSO READ | 'The success of Prince will foster more Tamil-Telugu collaborations': Sivakarthikeyan

The story is stagnant, and interesting angles— like Jessica (Maria) asking Anbu why he falls for her—are not explored well. Anudeep cleverly saves the best humour for the last act. The extended farewell speech of Anbu revives the film from a painful second act. Without giving away much, this last speech of Prince is absurdity in its most tasteful form.

The title Prince doesn’t bear much relevance to the actual film, except as a tribute to its star actor. Had Anudeep stuck to just mindless fun, without getting distracted by angles like the bland romance, this Prince might have won everyone’s heart.

Movie: Prince

Director: Anudeep KV

Cast: Sivakarthikeyan, Maria Riaboshapka, Sathyaraj

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Prince Review: Sivakarthikeyan, Anudeep's film is a HIT or FLOP? Read THIS before buying tickets

Prince Movie Review: Sivakarthikeyan's film, which opened in theatres on October 21 around Diwali, gets a thumbs up from social media users; here's what they have written

Sivakarthikeyan began his career as a stand-up comic and became well-known for his clever one-liners. Today, he is a bankable celebrity in the Tamil cinema business with several blockbuster movies to his credit. You anticipate on-screen explosions when a performer like Sivakarthikeyen teams together with slapstick-loving Telugu director Anudeep.

Anudeep's invented town is a humorous and carefree place in his universe. Everyone is innocent and simple-minded, and nothing is taken seriously. In summary, Anudeep provides us with just what we were hoping for.

Also Read:  Are Kiara Advani and Sidharth Malhotra planning to live-in together before marriage?

The plot of Prince centres on a teacher who develops feelings for a British colleague. The movie takes place in a made-up town close to the Cuddalore-Pondicherry region. This couple's romantic history comes up for debate, which sparks an intriguing narrative. The movie moves at a leisurely pace and exudes joy. Without making an effort, it succeeds in leaving a lasting impression and conveying some significance.

Also Read:  Black Adam review: Not Dwayne Johnson, DC fans cheering for THIS actor

Sivakarthikeyan, Maria Ryaboshapka, Sathyaraj, and Premgi Amaren are among the actors who appear in Prince. Anudeep KV directs the movie. The film's director of photography is Manoj Paramahamsa, while its editor is Praveen KL. The soundtrack for the film was written by Thaman S. 

Well, some moviegoers have already seen the film and praised it and called it a perfect entertainer. Check out Prince's review by netizens below 

• Diwali 2022
• Prince Review
• Sivakarthikeyan

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Prince Review: Silly, But Funny

Movie: Prince Rating: 2.75/5 Banner: Sree Venkateswara Cinemas LLP Cast: Sivakarthikeyan, Maria Riaboshapka, Sathyaraj, and others Story: Anudeep KV & Mohan Sato Music: Thaman S Cinematography: Manoj Paramahamsa Editor: Praveen KL Producers: Suniel Narang, D.SureshBabu, Puskur Ram Mohan Rao Release Date: October 21, 2022

Ever since “Prince” was announced, the film generated hype as it marks the combination of Tamil rising star Sivakarthikeyan and “JathiRatnalu” fame Anudeep. The bilingual hit the theaters today in Telugu and Tamil simultaneously.

Let’s find out whether Anudeep generates laughs again.

Story: Anand (Sivakarthikeyan) works as a teacher in school. His father Vishwanatham (Sathyaraj, a retired employee, wants his children to marry outside their caste or religion.

Vishwanatham is overjoyed when he finds his son fell in love with a foreigner Jessica (Maria), an English teacher in his son’s school.

The only problem is that Vishwanatham hates British people and Jessica turns out to be a British woman.

How will Anand resolve this issue and get married to Jessica?

Artistes’ Performances: Sivakarthikeyan became a huge star in the Tamil film industry with a series of hits like “Doctor” and “Don” and he is good at comedy. The role of Anand is in his zone. He pulls it off so easily.

Ukrainian actress Maria Riaboshapka suits perfectly. Sathyaraj is a huge asset to this film. He takes the responsibility of the main comedian. The film doesn’t have separate comedians. The comedy parts are taken care of by Sivakarthikeyan and Sathyaraj.

Premgi Amaren as a land grabber is neat. The film has only Tamil actors.

Technical Excellence: Thaman has given a peppy soundtrack. Two songs stand out – “Jessica Chilaka” and “‘Bimbilikki Pilapi”. The visuals are bright and colorful.

The film has a short running time but it gives a feel of a lengthy film due to its flimsy plotline. 

Highlights: Anudeep’s mark dialogues The first half The climax comedy

Drawback: No emotional connect Repetitive jokes

Analysis Sathyaraj plays a character who boasts of himself as a very knowledgeable person. He tells his son’s girlfriend that he has mastery over the Telugu language. Around the same time, his son’s phone rings and the ring tone is “Lusku Tapa Lasku Tapa” song. She asks what that means. The funniness of this situation cannot be described in words. Only one would get it while watching. Then there is a five-minute comedy scene about “Bottle gourd” aka sorakaya. After this another worth mentioning scene is of the police station with Anand Raj and the friends of Shiva Karthikeyan. These are three sequences in “Prince" which make the audience laugh.  

Anudeep has a peculiar style of comedy writing. His situations look silly but they work well if the actors can pull them off. Sivakarthikeyan and Sathyaraj have done their best in many places.

The comedy written here is for an educated A center audience.  This cannot be relished by the C-center audience who doesn't know about bottle gourd and Cambridge. Such viewers may miss the taste in funny single liners. 

Moreover, nativity is totally missing in the film with Tamil actors all over. There should have been a mix of Telugu audience like in pan India style films. Had that been done, the range of the film would have gone to the next level. Barring that limitation, everything goes well. 

Anudeep ends his films well. In “Prince”, too, it ended on a funny note. All said, “Prince” is neither a laughing riot nor a boring watch. It lands somewhere in between. Like Anudeep’s previous movie, it is silly but offers some decent comedy portions.

Bottom line: Works in parts

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A woman dances alone in her apartment to the cheese '80s classic “It Takes a Muscle to Fall in Love” by Spectral Display. Her son and daughter look at her swaying from behind her, amused as we all are when we catch people with their guards down. Their mother turns around to reveal running mascara and the expressions on the faces of her children change as well. In many ways, this early scene is what Sam de Jong ’s “Prince” is about—posturing and posing that hides something deeper. We are never at our more image-obsessed than in the hazy, horny, love-sick days of our teenage years, and while “Prince” feels a little slight when the credits roll less than 80 minutes after it begins, it’s still a strong, creative addition to the crowded coming-of-age genre.

Our troubled young man this time is named Ayoub (engaging newcomer Ayoub Elasri ). His mother is lonely, looking for love online but mostly failing. His half-sister is his most supportive ally, getting him more than the barely-men with whom he spends most of his time hanging out, looking at the common objects of teenage obsession—cars and girls. Ayoub’s dad is a junkie, seen almost entirely in an abandoned, emptied pool in which he shoots up and basically avoids Ayoub’s attempts at connection. At one point, Ayoub tells him, “ Dad, I’m in love ,” and he just laughs, knowing the trouble such a statement often leads to, and unable to really offer any cogent advice.

Ayoub is in love with a beautiful young woman named Laura (Sigrid ten Napel), who smiles at him and then tells her boyfriend about it. Laura’s boyfriend is one of the older, tougher guys on the other side of the street, and he doesn’t take too kindly to the young punk talking to his girl. Writer/director Sam de Jong crafts parallel groups. Ayoub and his friends are matched across the lot by what they might look like in ten years—another group of dude-bros with more tattoos, muscles, and the beginning of crow’s feet. It’s the same macho bullshit, tinged with more aggression and more failure. And Ayoub wants to nab Laura from its clutches before it’s too late.

At the same time, an even darker predator than Laura’s boyfriend lurks on the fringe of “Prince” in the form of a local gangster named Kalpa (internationally known rapper Freddy Tratlehner). He drives a flashy car and his name is spoken in hushed tones. He’s clearly crazy. Can he teach Ayoub how to stand up for himself? Can he be the father figure this young man so clearly needs but lacks?

The first act of “Prince” is stylish and creative. It is about the teen years of boredom and insecurity as much as anything. These kids who think they’re men hang around in what looks like constant sunshine, doing almost nothing but forming their identities in the process. De Jong and his team often shoot from unique angles, like knee-level, and sometimes even allow the characters to speak directly to the camera. This is the life of a teenager—stylized, exaggerated, but hollow. A synth-heavy score reminiscent of Cliff Martinez’s work on “ Drive ” gives the entire piece a unique flair.

As “Prince” gets more plot-heavy, especially in an emotional final act that the young actors can’t quite handle, it gets a bit less interesting. Some of the decisions made by Ayoub, especially after he realizes his sister has a boyfriend, feel forced. It’s hard to believe given its short running time, but “Prince” actually needed less plot. It’s the way that “Prince” captures those hazy, confused days of teenage life with its own direct style that works, not the manipulative twists of its narrative climax. Luckily, none of the missteps of “Prince” derail the piece entirely. Like the emotional minefields of adolescence, the characters quickly move on to the next beat, and when they walk into the future in the final scenes, I was surprised how much I enjoyed my time with Ayoub and his buddies. I wondered where life would take them from here. And that’s the sign of a good coming-of-age film—it captures how this phase is not an ending but just a new beginning. 

Brian Tallerico

Brian Tallerico is the Managing Editor of RogerEbert.com, and also covers television, film, Blu-ray, and video games. He is also a writer for Vulture, The Playlist, The New York Times, and GQ, and the President of the Chicago Film Critics Association.

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Film credits.

Prince (2015)

Ayoub Elasri as Ayoub

Oussama Addi as Oussama

Achraf Meziani as Achraf

Elsie de Brauw as Saskia

Sigrid ten Napel as Laura

Jorik Scholten as Franky

• Sam de Jong

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Prince Review - A clean absurd comedy that struggles with the consistency of laughs!

Published date : 21/oct/2022.

Prince – A clean absurd comedy that struggles with the consistency of laughs!

Bharath Vijayakumar

I am not sure if calling Prince an absurd comedy is appropriate. The characters on screen might seem illogical and absurd but this is a film that actually mocks at the absurdness of the society. Before anything else, let me make it clear that Prince is certainly one of the most politically correct films in the mainstream space. Whether the film works or not is a different question, but Anudeep and his team deserve praise and respect for what they have set out to achieve and for what they have achieved with regards to this aspect.

Karthik Subbaraj’s Jagame Thandhiram talked about boundaries and the plight of immigrants in the guise of an action film. Anudeep’s Prince takes the comedy route. Ulaganathan (Sathyaraj) is a progressive individual who is against every form of discrimination. So much so, that he is ashamed that his daughter chooses to marry someone within caste. When his son chooses a girl from a different nationality, you would assume he would be delighted. Yes, he is delighted but the happiness is cut short when he gets to know her nationality. True to his name (Ulaganathan), he loves the entire world. But his love also comes with a clause. He just cannot stand the British.

Prince is an important film for the message it conveys. As simple and repetitive as the message may seem, the fact that the message is very relevant today is a disturbing fact. The characterization of Ulaganathan is such an important reminder about how even the most progressive can sometimes stick on to something so irrelevant. It is such a pleasant surprise to see a filmmaker not just talk about equality but also do it from the POV of someone from the other side. This is where Prince stands apart with its integrity. It is not the hero or ‘us’ who teaches a lesson or two about empathy. It is the heroine’s family or ‘them’ who end up doing it in Prince. The previous sentence is actually inappropriate. Anudeep’s intention is to not call anyone ‘THEM’ but bring everyone under the umbrella of ‘US'.

Bottomline:

Prince isn’t as funny or entertaining as it should have been. But a couple of stretches bring the roof down. It is a clean absurd comedy with an important message at its core. I really wish that a lot more jokes worked but this is a simple film that deserves respect for its intentions.

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'The Little Mermaid': Halle Bailey and Jonah Hauer-King on Exploring Ariel & Eric's Love Story

Melissa McCarthy also talks about bringing Ursula to life and how her feet never touched the ground.

From director Rob Marshall and screenwriter David Magee , Disney’s live-action reimagining of The Little Mermaid goes on an adventure with a curious young mermaid, as she explores the world beyond the sea and interacts with humans for the first time. While on land, Ariel ( Halle Bailey ), who traded her siren song for legs bestowed on her by the sea witch Ursula ( Melissa McCarthy ), gets to know Prince Eric ( Jonah Hauer-King ) and the two form a connection that just might be strong enough to bring the kingdoms of sea and land together.

During this conference to promote the new film, co-stars Bailey, Hauer-King and McCarthy talked about the kinship Bailey felt for Ariel, what it means to be a Disney prince, Ariel and Eric’s love story, bringing Ursula to life, and the most memorable sequence for Bailey and Hauer-King.

Question: Halle, what was your reaction to learning that you’d be playing Ariel in The Little Mermaid ?

HALLE BAILEY: Oh, my gosh, I was just sobbing. I was crying. We had celebrated my sister’s birthday the day before, so we had rented an Airbnb and were coming home, unloading everything in work mode. And then, I got this call from (director) Rob [Marshall]. I don’t answer unknown numbers, so I was like, “Whatever, I’m not gonna answer it.” And then, my baby brother comes running to like, “Answer your phone!” I was like, “Okay.” So, I answered it, and then Rob was like, “Hello, I’m looking for Ariel.” I was like, “Oh, my gosh!,” and was just crying for the whole day.

Do you feel a kinship with Ariel, in any way? Do you have things in common?

BAILEY: Absolutely. I feel like Ariel truly has helped me find myself and this young woman version of me. It’s been five years of my life now, from 18 to 23. Those are very intense, transformative years, as you’re developing as a young woman. But I feel like especially these themes of the film and what she had to go through with her passions and drive and speaking up for herself, and how even though it may be scary, she went for it, those are things I really try to adopt and give to Halle now. She’s taught me so much, for sure.

Jonah, being a Disney princess is a big deal, but being a Disney prince is cool too. Are you ready for the world to see you in that role?

JONAH HAUER-KING: I don’t know if I’m ready for it, to be honest. It’s a great privilege. It’s a huge honor. What’s special about this is that the whole film feels very grounded in reality. The Disney prince and princess aspect is amazing. It’s fun and exciting. But even though we’re living in this fantasy space, the themes just feels really connected to the real world. But being a Disney prince is weird.

BAILEY: It’s so weird.

HAUER-KING: It’s definitely weird.

MELISSA McCARTHY: I just wanna say, instead of it being these caricatures, you guys have given them humanity. You’ve tethered that these are real people and that everyone walks with the same problems, the same troubles, and the same worries. That’s the big difference. They brought their humanity to the screen.

HAUER-KING: Thank you.

Ariel and Eric’s love story is an iconic one. Jonah, what was your favorite new addition to their story?

HAUER-KING: The friendship. Disney romances are always filled with that instinctive attraction to one another. We all wanna see that. But I think what was fun about this was looking at Ariel and Eric as two people who are kindred spirits that are a little bit restless, and who were behind the four walls of their respective castles, very much looking outwards and not in. What was nice about that was that it meant their relationship feels really earned. They both felt like they were teaching each other things. They were excited and fascinated by each other’s worlds, although they didn’t actually know it until the end. That was really lovely. It’s a really good message for what it means to be in love and what it means to be in a relationship, which is ultimately tied to friendship. That’s the fundamental thing of it. That’s why it lasts, and that’s what makes it special. So, that was really fun to explore, and it was easy because Halle is a riot, so we got on fine.

Melissa, what was the best part of filming this for you, and what was the most challenging part?

McCARTHY: The best part of filming was every little minute of it. It was the rehearsal. It was the crazy 60-foot clamshell. It was trying so desperately not to, every time Halle sang a melody because I didn’t want her to think I’m crazy, with tears running down my face. It was the whole process. I think we’d all agree that Rob Marshall set up this world that is similar to why I fell in love with plays. It feels so small, and yet it’s this enormous thing. It just feels like, if we all do our best, maybe we can make a show. It became so personal. Everyone was doing their best, and Rob was there, just swaddled in cashmere and quietly cheering everyone on. Everyone, from the actors, to the gorgeous camera moves, to the sound department killing it, to the costumes, it’s an appreciation of every human and all the moving parts that it takes to make a movie work. Having a cheerleader like that, I can’t even explain how fortunate I feel. I’m sure we all feel that. If the world had that kind of cheerleader running everything, we wouldn’t be so mad at each other. And the most challenging part of filming was just to do good for him and to keep up with this incredible cast.

Didn’t you say that you actually never touched the ground?

McCARTHY: I slipped on the clamshell occasionally, onto my back, but I was literally never on my feet. We were either up in rigs, or various different magical things. If you were diving, it was one rig. If you were spinning, it was another. I was never on the ground.

Halle, what was the most fun sequence for you to shoot?

BAILEY: There were so many moments that were so much fun to film. The funniest, most hilarious moment was with me and Jonah, when he was thrown in the tank with me, in his first few days on set. We had our first moment of me picking him up and saving him, and having to be in the middle of the rainstorm with the wave machine.

HAUER-KING: She literally had to save me because I was drowning.

BAILEY: We were both trying to survive that moment in the tank at Pinewood. It was so intense. When they turned on the thunder and lightning, and had the fires around us and the waves, it felt like you were in the middle of the ocean, actually in the middle of a thunderstorm. I was trying to look like a mermaid who does that all the time.

HAUER-KING: I was just passed out. I was fine.

BAILEY: And Jonah is so much taller than me, but I had to hold him up. We kept laughing about these boots that he had to wear because he kept sinking under. I said to Rob, “You don’t see the boots, right? Can he just take them off?” Because he kept stepping on my toes.

HAUER-KING: I was kicking her and breaking her shins. It was really bad. But Rob was like, “No.”

BAILEY: He said, “No, keep the boots on. It’s fine.” We were just dying in the water, the whole time and we had to look natural. That was the funniest moment.

HAUER-KING: It was quite bonding, as well, because it was early on. I basically almost killed her. I almost broke her legs.

The Little Mermaid opens in theaters on May 26th.

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Justin timberlake’s ‘forget tomorrow’ world tour revives the reigning prince of pop.

At his triumphant tour stop in Los Angeles, the singer thrilled fans with a setlist of greatest hits and new material that proves the Grammy-winning entertainer is here to stay.

By Tim Chan

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Who says the pop star is dead? At his triumphant tour stop in Los Angeles Saturday night, Justin Timberlake led a revival for the reigning Prince of Pop, with a setlist of greatest hits and new material that proves the Grammy-winning entertainer is here to stay.

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Dressed in a glittery black suit and trousers, the singer opened with “No Angels,” a disco-lite cut off EITIW that immediately had the crowd on its feet. Backed by a trio of background singers and a full band (including a four-piece horn section), Timberlake and his “ Tennessee Kids ” followed with a tight triple whammy of “LoveStoned,” “Like I Love You” and “My Love” before slowing things down with “Technicolor,” a seductive slow jam that finds the singer worshipping his “modern day” Marilyn Monroe.

Timberlake has made headlines over the last few months for his off-the-cuff comments , but on Saturday, the singer let his music do most of the talking, while showing off some slick choreography that proved he — literally — hasn’t missed a step. Playful, self-assured and just a tad rambunctious, Timberlake was at his best on crowd-pleasers like “FutureSex/LoveSound” and “Summer Love,” the latter of which gave the star a chance to bust out some rump-shaking moves during a mid-song dance break.

Fans immediately leaped back to their feet when the familiar piano opening of “Cry Me a River” began to play. “That got your ass up!” Timberlake quipped about his controversial track , which came surprisingly early on in the night.

Timberlake didn’t say much else during the concert, though he did note that it was “a special night,” with many of his friends and family in the L.A. audience. Wife Jessica Biel wasn’t seen in the crowd, but an acoustic medley of ballads performed on a side stage included Timberlake’s recent single, “Selfish,” which the singer wrote about his longtime partner.

Indeed, Timberlake has been entertaining fans for a long time, too. “I feel like we’ve grown up together,” the singer said at one point of the night, shouting out “a little group called NSYNC” for giving him his start in the music industry (while NSYNC reunited for a one-off Timberlake show at The Wiltern in March, there was no reunion, alas, on Saturday).

“I’ve grown up with you and you’ve grown up with me,” the singer said. “I’m never going to forget it and I have so much gratitude for each and every one of you here tonight.”

View this post on Instagram A post shared by Tim Chan (@timchan)

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