Tekka

Well well well,I am shocked how bangla movie industry has improved in their production quality, cinematography and all. I started the movie movie with zero expectations but I am impressed at the end.well there was nothing new in the story and we have already watched movies on the same concept but still after interval you will somehow like the movie.i won't say it's a must watch but your can watch it once.byt the surprising thing for me was that I was watching a regional bangla movie but its standard was too good.

Movie was ok ok but the way they have picturised it for that only it deserves atleast 6star.

Unless the climax part. It was a hostage comedy. The climax was also somehow predictable, following a similar pattern to other movies of Srijit- "chotuskone" "baishe shrabon" etc. The pattern - 90 % of the movie will be slow, you can leave it at any point without any further interest in watching and then you would have a good climax- okay.

Rukmini never looks like a police officer, let's assume she is a "mindhunter". But the problem never seems too tough which needs a great solution.

The screenplay was inadequate in many places. For example, The security forces came out of the police van, with a great drill from outside of the building to meet inside with the police officer. SO WHY YOU NEED TO START WITH A DRILL FOR THAT?

In the first scene where dev and his child were eating together, it describe he can't afford his children's school fees. Now after the climax, this looks illogical.

Both Dev and Swastika were watching TV News during the hostage situation. I can't even imagine this unless it is a comedy.

When a movie establishes its own rules, only to break them later, and still manages to make every prior event work in context-only few films manage to pull this off satisfyingly. *Tekka* is one of them.

It's been a while since a film had my jaw hanging down to the floor. Srijit Mukherji expertly crafts a series of events that feels like a well-executed magic trick, leaving you in disbelief.

The tension is palpable, with sharp dialogue exchanges and standout performances. The set design immerses you fully. Madhura Palit, the Cannes-winning cinematographer, uses minimal yet powerful techniques to shoot the same location through thousands of lenses. The script is tastefully witty, with almost every joke hitting its mark.

However, Mukherji seems to hold back, perhaps intentionally to cater to the commercial Puja crowd. Some plot points are deliberately dumbed down for accessibility. There's a bit of spoon-feeding in the exposition, along with a few jarring editing choices and camera angles that feel out of place. The sound design also feels unpolished-dubbing is often out of sync, and sound effects are not properly panned across the theatre. The score weirdly mimics Nolan's Tenet, with one section lifting the chord progression directly from Ludwig Göransson's "Rainy Night in Tallinn" unchanged.

Despite its few but present flaws, *Tekka* is an exhilarating ride. Avoid spoilers and trailers-going in blind is the best way to experience this. Highly recommended.

I can definitely say that Srijit Mukherji has cooked in Tekka and he probably has extracted the career best performance from Dev. Best thing was hearing Dev cussing, it was paisa wasool for that reason alone. Rukmini and Swastika were great as well. The film jumps straight into the action and maintains the pace & tempo keeping us on the edge. And that twist, I seriously wasn't expecting it dayumn. The climax was brilliant and concludes the film perfectly. There were a few massy elements ft Dev as well which was cool. And the way it tackles several social, religious and political issues without being preachy was commendable. In fact the message of communal harmony was very impactful. The film has everything to become a blockbuster this Durga Puja.

Hostage thrillers generally thrive on palpable intensity, which can be cultivated through a compelling and sophisticated screenwriting.

Regrettably, 'Tekka' falls short in this regard.

Pacing is lethargic and the narrative is riddled with occurrences that starkly contradict logic and rationalities. Furthermore, the underlying themes; class discrimination, communal hate interfaith marriages, corrupt politicians; all, undeniably critical, yet the execution feels heavy-handed and moralistic, lacking the emotional resonance one would hope for.

While the performances, particularly that of Dev, and the end twist provide a glimmer of redemption, they are not enough to elevate the film from the pits of mediocrity.