Author: sandeepadnani

Sandeep Adnani is the Amazon #1 Bestselling Author of ‘The Codes of the Exiled Rogue’ , ‘The Origin of the Exiled Rogue’ and ‘The Prophecy of the Exiled Rogue’ eBooks. He nurtured this metaphysical and transformational fiction idea for over six years before publishing the first part in July 2019. All three books of ‘The Exiled Rogue Series’, a trilogy about the purpose and meaning of life and beyond, are Amazon #1 Bestsellers in multiple categories. His first book, The Codes of the Exiled Rogue was declared an Award-Winning Finalist in the Fiction: Visionary category of the 2021 International Book Awards. His second book, The Origin of the Exiled Rogue was an Award Winner in the Science Fiction: Alien/Space category of the 2021 American Fiction Awards. It was also an Award-Winning Finalist in the Visionary Fiction category of the 2021 American Fiction Awards. His third book, The Prophecy of the Exiled Rogue was an Award Winning Finalist in the Fiction: Visionary category of the 2021 Best Book Awards sponsored by American Book Fest. The omnibus of the trilogy, The Exiled Rogue Series, won the Silver Medal at the Global Book Awards 2022, in the Metaphysical & Visionary Fiction category and Gold Winner at the ABLE Awards in 2024 in the Book Series category. Embarking on new genres, he has seven new stand-alone books in the offing. In 2021, he completed writing a futuristic sci-fi-romance which he is currently querying. The unpublished manuscript was a finalist for the Writing Award in the 2022 Page Turner Awards. He finished writing a mystery novel in 2022 and an Alternate Fiction novella in 2023. He has published three non-fiction novellas in the YOU DECIDE series. He is currently working on an illustrated children's book. He changed careers from the advertising/media industry and is now a mental health counsellor in Melbourne, with bases in Mumbai and Dubai as well.

Queen (2014)

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Quite a departure from ‘Chillar Party’ in 2011, Director Vikas Bahl serves us a single honeymoon of a simple girl from ‘Rajori in Delhi’. Rani is an emotional wreck since she was abandoned the day before her wedding and decides to travel abroad for the first time, alone.

The film is rich in so many ways. Tiny nuances, small gestures, the nonchalant manner Rani goes through the many shocking incidents, maintaining her naivety and dignity, touched the hearts of the viewers. Some people are calling it a ‘coming of age’ film, I thought of it more as a revelation and empowering story. Rani went into the big bad world and survived. She didn’t need anyone by her side and she had always done as she was told, but the one time she took a chance, she realised she is capable and can be totally independent.  

If Kangana is the heroine of the film, the writing is the hero. To have the audience laugh at her sadness, the many situations she lands herself in and of course the many ‘adult’ encounters she faces without even realising, is how well it was written, and acted. The travel was all well and good, I wondered how they would end the film. It was done so beautifully, where all she says is one word, and that’s it. I feared a monologue or sermon, but it fit with the rest of the film so well, and was a gem of a scene. A clever association with a melody like ‘hungama’, has rewired our memories to picture Kangana in it, with a totally new meaning.

Queen will rule your hearts and the box office, and deservedly so, for such good content and acting should reach every viewer.

3.5/5

300: Rise of an Empire (2014)

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Taking off from where ‘300’ left us in 2006, the Greek empire needs to unite to face the Persian attack. While they negotiate unity on land, they fight a battle on the Aegean Sea. The generals leading both armies and the Persian King have interesting back stories which have been shown in vivid concise detail.

Short and action packed, this film is all about naval attack strategy and war tactics. It was visually rich in 3D, without being jarring to the senses. The bloodshed was toned down in dark colours, which made it a little easier to digest.

Setting a clear stage for a third part, the film is fast paced and full of drama without going over the top. There were some eye opening dialogues and one scene that was ‘edited’, a war attack of a different kind.

An entertaining sequel which was true to the original, by director Noam Murro.

3/5

Gulaab Gang (2014)

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Debutante director Soumik Sen took on a huge task to show women’s struggles in villages and vigilantes who protect them. It was a casting coup, with Madhuri Dixit and Juhi Chawla coming together on the screen for the first time. The subject is tricky and not a sure fire hit with the audience and it bears a striking resemblance to the Gulaabi gang lead by Sampat Pal Devi. A court order which put a stay on the release which was lifted on Thursday, confused viewers and really hurt Friday numbers.

The film shows us an anarchy of power, where women have strength but don’t seem to train for it. They sing and dance as merrily as they mete out justice. They weave saris, string baskets, teach the alphabet and are every bit the alpha male, who comes away unscathed from a fight scene.

Madhuri serves us several shades, a handful of which we haven’t seen before. She is powerful, yet soft, strong yet emotional, a total contrast to what she should have been shown as, to believably play Rajjo. Juhi on the other hand, is a consistent negative character. She serves us with shocking lines and crude actions in her trademark sickly sweet style and is a revelation. She clearly stole the show.

Overall the film is peppered with predictable events and some un-required dances. How they dole out punishment is fun to watch. Released at an appropriate time, it just may meet with an audience who appreciates it in parts.

Happy Women’s Day!

2.5/5

Shaadi ke side effects (2014)

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Sid and Trisha, played naturally by Farhan and Vidya, tell us a story not told often or well, for the Indian audience. A lot of aspects are touched upon in this film, how married couples can keep their intimate lives fresh, what changes after having a child, what women and men go through, independently and together, when they become parents.

These and many other nuances of relationships and how they evolve is shown very well on screen, with the right amount of humour and drama. It is only in the end that it becomes a little melodramatic, but they steer out of that zone quickly. How such a film would end is tricky and a very fitting conclusion prevails, where there is equality of the sexes and a twist to think about.

Director Saket Chaudhary, who made ‘Pyar ke side effects’ is back with a fun sequel in this ‘shaadi’ counterpart. Watch to be lightly entertained and come out with a balanced view of life after marriage and kids.

3/5

Dallas Buyers Club (2013)

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When both actors win the Academy Awards for their roles in a film, it becomes an automatic viewing choice. The film though, seems like a slice of what it could have been, incomplete without the performances of the two strong characters.

Mathew McConaughey has pushed his physical limits to embody his role, which was his biggest ‘prop’ or ‘asset’ for this character. His attitude, body language and most importantly his transformation whilst holding on to his deeply wounded masculinity, was his trump card. Jared Leto on the other hand, was a revelation with his soft voice, comfortably feminine demeanour and was not threatened by his co-actor’s brutish ways.

Director Jean-Marc Vallee serves us a portion of history, making valid commentary on the dismal state of the USA health and FDA system, even today. The way people with AIDS were ostracised and groups within them were treated with great prejudice, has evolved with the quality of drugs, a battle started by such clubs back in the 80s. 

The film has moments just like the patients it shows us, blacking out in parts, slowing down with dementia and speeding up as a reaction to a drug. That may have been deliberate or just a result of depicting something so stark, but it didn’t work. The only thing that worked was the authenticity of the age and the performances, which have got their due.

2.5/5

Non-Stop (2014)

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Aeroplane hijacks have been depicted several times on screen, but here it was not meant to be one. The motive was different and so were the methods of communication. What director Jaume Collet-Serra has been most effective at, is creating an atmosphere of doubt. Everyone is a suspect and no one can be viewed as innocent. This film was fast, tense, with varying levels of drama, mystery and fear, which translated into a great movie watch.

Liam Neeson brings a sincere quality to every performance and this is no exception. He is a delight to watch as he fights his inner demons and does his duty as an air marshal. Julianne Moore ably supports him and confuses us, her expressions walk the blurred line where we trust her sometimes, at others we don’t.

The ‘whothehellisdoingit’ game sees the light just as the audience is exhausted from guessing. At one point I turned to the person next to me and said, ‘It’s you isn’t it? Just admit it!’, that’s how frustratingly clever the build up is.

Watch for non-stop thrills.

3.5/5

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The month lasted a year, the fortnight felt like a day. An hour lasted a few moments, an evening an entire lifetime. Time has and always will teach and heal, in its own time. Thanking January for its clarity and February for its benevolence. Here’s to a mesmerising March!

Her (2013)

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Technology has invaded our space in an alarming way. It is supposed to make life easier, which it does, but also complicates it. I myself am guilty of being more in touch with my cell phone than with the company that surrounds me, so this subject is a warning of the times to come.

This film explores a society in the future where we have advanced technology to communicate, but have lost the art of communication. With all the tools at our disposal, we have forgotten how to reach and touch other people’s minds and hearts. People are lonely, relationships are fragile and we are swept in our own storm, where we have created a monster too powerful to tame.

Joaquin Phoenix writes beautiful letters for OTHER people as a living, because emotions have become a service one can pay for. A new operating system is on offer, which he buys. It calls itself ‘Samantha’, drawing on the memories and experiences of all people who have programmed it, but designed to become an ever evolving entity by itself. The voice is by Scarlett Johansson who never once makes you feel she is just a voice. She is present, in every way a person with a form would be.

How their relationship evolves, how complex the human mind and interaction becomes, what is the fate of Technology vs. Emotions, is explored in the most novel way, touching unique points of discussion never explored on screen. This is heavy duty writing, thought provoking and pushing the envelope of how helpless our society can become if not ‘humanised’.

Joaquin is our window into this world. He guides us effortlessly in the rising and falling waves of emotion experienced by him and the people he interacts with. Amy Adams is his friend who is on a similar journey and later becomes a mouth piece for his suppressed thoughts and feelings. The most warped and powerful scene involved a ‘surrogate’, something you will understand when you watch ‘her’.

Now the question is, why isn’t Scarlett Johannson nominated for any of the awards? Is it just because she was a formless voice? That would be true acknowledgement for her work which created such an impact.

3.5/5

Gunday (2014)

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A strong back story which starts with the creation of Bangladesh, shows us two young boys who are dealing with the consequences of being hungry refugees. How they survive and grow to be  proud powerful goons in the 80s, forms the riveting beginning. Bikram and Bala, acted in true 70’s style, by Ranveer & Arjun, exude excellent camaraderie on screen. Gunday is almost everything a period film should be in today’s age.

Priyanka plays a sexy cabaret dancer, who is wooed by both young men. Irrfan represents the law that is having a good time chasing them, more for the audience’s benefit than his own, rather than just arresting them. The first half goes by with entertaining amongst some over acting. The second half becomes more hamming, but still manages to retain the mood.

After an unnecessary song, shot ‘a la dil tu hi bata’ from Krrish 3, I was wondering what is Priyanka doing in the film besides looking stunning. She later established exactly why, in one powerful scene. The complications continue and have been given a fitting end, incorporating cow boy, Italian mafia, dramatic Bollywood cinema, all-in-one.

A ‘paisa vasool’ flick, stylised and shot well by director Ali Abbas Zafar.

3/5