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'Devi' movie review: delightfully refreshing horror-comedy

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If you are a regular watcher of Tamil movies, especially the spate of horror-comedies that have come out in the last few years, you could easily guess the scene where the ghost would make a grand entry. You could tell when there's a close up shot of a character, the ghost would stare in the face when he or she turns around. Or you could tell there'll be a scene when the camera pans over a sleeping couple at the stroke of midnight.

In Vijay's Devi , thankfully, there's not a single horror stereotype you could point out to and say, 'hey, I've already watched it in some other film'. There's no creaking of the door, or howls of the dogs at night, but what you get is a refreshing horror-comedy featuring Prabhudheva as a hapless husband, and in a solid comeback role.

Even though the initial 20 minutes of the film are a lull, and it features a needless song that proves Prabhudheva can still dance and when he moves people go into a frenzy, Devi  picks up steam after Tamannaah is introduced and the story quickly shifts to Mumbai. Even though there's a lack of nativity, the rest of the film chugs along smoothly with occasional laughs and thrills.

It would have made sense to have set the film in some southern part of the country. Setting it in Mumbai might work for Bollywood audiences, given the film also released in Hindi, but it doesn't appeal to Tamil audiences and that's disappointing. Or it would have made sense had the makers ensured all the actors lip-synched perfectly to the Tamil dialogues. Watching Sonu Sood mouth Tamil dialogues in Devi , despite his popularity among southern audiences, feels very artificial.

Prabhudheva, in spite of being away from Tamil filmdom for over a decade, owns the role of a husband with metropolitan dreams who is forced marry a village belle. Tamannaah shows in both the roles the kind of versatility she hasn't in a long time and due credit needs to go director Vijay for writing a story with a very strong female protagonist.

Devi  works solely because of its treatment of the genre and for bringing back Prabhudheva in a memorable role.

(With agency inputs)

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'Aana' review: Aditi Prabhudeva is utterly convincing as Aana in every aspect

Ahead of Aana’s release, many little details about the film created a lot of expectations about director Manoj Nadalumane’s debut, which was touted as a supernatural thriller. However, Aana turned out to be more of a crime thriller with a little touch of horror elements.

The director has rooted the film in the current Covid situation, where a lot of people are losing jobs. The film is about one such group of techies. Unable to cater to their luxurious lifestyle due to the lockdown recession, they end up kidnapping two young girls for quick money. One of them turns out to be Aana (Aditi Prabhudeva), the daughter of businessman Naga Varma (Sunil Puranik). The gang realises they have messed up with the wrong girl when Aana exhibits superpowers. Predominantly, the film has bits and pieces of superhero stuff, but the real fireworks happen towards the end. As the film comes to a close, we get a new female superhero in Kannada cinema.

Aana kicks off with many intriguing ideas, but all the initial build-ups in the horror fantasy taper off as the film progresses. However, one has to give it to the director’s genuine efforts in the writing, which might have not been translated efficiently on the screen. The flat narration doesn’t hold us on to the film for a long time. The film would have worked better had the superhero elements were placed throughout the film instead of heaping all for the end.

For Aditi Prabhudeva, this is the first-of-its-kind role, and she has given her best in all aspects. In the end, she even shines as this female superhero. The rest of the cast (Ranveer Shivkumar, Vikash Uttaiah, Samarth Narasimharaju, Varun Amaravathi, Karthik Nagarajan, and Prerna Kambam) have tried to put in their best effort, but they didn’t hold my attention for long. Those looking for some thrills can experience it in Rithvik Muralidhar’s background score. The music director, who has understood the subject, has done an impressive job.  However, there is something amiss with cinematographer Uday Leela’s work.

Overall, Aana is a brave attempt by the writer and first-time director, Manoj Nadalumane. There is a taut story, but it does not turn out to be an out-and-out horror fantasy. The end sequence of Aditi’s rise as a female superhero hints at a sequel. If at all it is in the making, can we look forward to more spine-chilling moments?

Aana Cast: Aditi Prabhudeva, Sunil Puranik Director: Manoj P Nadalumane Rating : 2.5/5

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Poikkal Kuthirai Movie Review: Prabhudheva excels in this wannabe brainy thriller

Rating: ( 2 / 5).

Santhosh P Jeyakumar, known for helming adult comedies like  Hara Hara Mahadevaki  (2017,)  Iruttu Araiyil Murattu Kuththu  (2018), and  Irandam Kuththu  (2020), has attempted his first serious subject with  Poikkal Kuthirai . Unlike his previous films, the director has shown more attention to sketching the lead character and his emotional baggage. With a superb Prabhudheva shouldering things, it is essentially the story of how far a father will go to save his daughter's life. Parallelly, there's also an antithesis of how a father should not be.

Director: Santhosh P Jeyakumar

Cast: Prabhudheva, Varalaxmi Sarathkumar, John Kokken, Jagan

The film opens with Prabhudheva's Kathiravan, an amputee, getting beaten by a bunch of goons. Before we could even think of 'why', we are taken to a random intro song setting. Again, why? Well, since it's Prabhudheva, the makers would have probably thought he must dance, even minus a limb. The song adds no value to the film apart from being just another exercise to showcase his incredible ability to dance, this time with one leg.

As the narrative goes forward, we learn that Kathiravan lost his leg in a road accident, which also killed his wife. His whole life now revolves around his daughter. Most of the initial portions are devoted to establishing their deep bond and the father's willingness to go to any extent for her happiness. In between, there is a scene where he fights ruffians in a bus who bad touch a girl child. Though it is appreciable that the makers choose to address such messages, it would have been better if it was done organically and had something to do with the plot.

The narrative reaches its conflict when Kathiravan's daughter is diagnosed with a serious medical condition, the treatment for which would cost 70 lakhs. Kathiravan, who runs a humble pest control agency, is pushed against the wall. It is now that his father (Prakash Raj), who is in jail, feeds him with the idea of kidnapping a girl child for ransom. Though Kathiravan initially refuses, his desperation gets the better of him. This is where the film picks up pace. We see Kathiravan along with his friend (Jagan) devise a proper plan for kidnapping, only to get caught halfway. However, the girl still goes missing. It is an intriguing interval block, and the film promises a lot. But the writing falters in an attempt to be a brainy thriller by introducing too many twists and turns. It's one of those films where the villain can be guessed from his intro shot but it still takes umpteen twists to finally land there. When the moment finally arrives, it just falls flat.

Even while he is limping for most parts of the film, it is Prabhudheva who carries Poikkal Kuthirai  efficiently. It is yet another testament to the fact that if offered a challenging role, Prabhudheva has the potential to ace it. Here, the actor is excellent as the doting father who's distraught by his daughter's health condition. His voice modulation every time he gets emotional is brilliant and helps in conveying the character's pain effectively. The film also has a lot of stunts, and the actor lives up to the challenge of pulling them off with a single leg.

Thanks to Prabhudheva's one-man show, the film hardly has space for other actors. As the head of a business empire, Varalaxmi Sarathkumar repeats the same brooding act that she's now known for. Raiza Wilson, who was publicised as the other female lead, strangely has just two-three dialogues in the whole film. To be honest, a smartwatch has more to do in the film than her character.

An intriguing thing about  Poikkal Kuthirai  is its  Kaithi -like angle. Like Dilli, Kathiravan doesn't get a proper backstory either. He operates his way through the trail like a pro and has access to state-of-the-art gadgets like bugs. He hides from an IPS officer. His prisoner father has the aura of an ageing gangster. There are a lot of unanswered questions, and the film definitely has the potential for a sequel/prequel. It might even be a far superior piece of work if the makers opt for better writing choices and the rough edges in the making are polished better.

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‘Bagheera’ movie review: Prabhu Deva’s performance can’t save this problematic mess

What comes as probably the only silver lining is prabhu deva for whom ‘bagheera’ offers ample scope to perform.

Published - March 03, 2023 07:57 pm IST

A still from ‘Bagheera’  | Photo Credit: Special Arrangement

After his mother dies, Bagheera escapes captivity and becomes a force to reckon with for everyone around except Mowgli, to whom he’s a friend who he’d protect at any cost. This one-liner isn’t exactly the story of Prabhu Deva-Adhik Ravichandran’s latest film Bagheera , but that of the fictional character of the same name from Rudyard Kipling’s The Jungle Book . That said, Adhik’s film tries to replicate the story of the unlikely friendship between a man-cub and a black panther by replacing the latter with a psychopath and the friendly animals of the forest with “characterless” women who have had multiple relationships that have led to some heartbroken men. The film tries to mount a story on this fragile idea and what we end up with is a barrage of unfunny adult humour, boy-bestie jokes, callbacks to classic movies, and severely underused talents that together bog down what must have been Prabhu Deva’s role of a lifetime.

Adhik’s tryst with writing scenes involving a woman ditching her boyfriend for a better person, or how a woman drinking is a world-ending disaster, or how a woman’s virginity has to be preserved till she finds a husband, isn’t new. In fact, they make up almost the whole plot of his directorial debut, Trisha Illana Nayanthara. Meanwhile, his sophomore directorial, Anbanavan Asaradhavan Adangadhavan, tried mightily to push home the message that the love of men is purer and more sincere than that of women for whom it’s apparently easier to throw away a relationship. But these tropes hit the crescendo in Bagheera , in which our titular hero kills women who involve in the above-mentioned activities. If this brings up an assortment of films to your mind, it isn’t a surprise. The film feels like a mishmash of ideas borrowed from established titles like Anniyan, Manmadhan, Sigappu Rojakkal and Aalavandhan . There are also multiple scenes which seem to have been inspired by Hollywood films like Hereditary and Shining . Even the dead body of a pivotal character — who kills themself with what looks like an acid shower — ends up looking like Two-Face from The Dark Knight .

Bagheera (Tamil)

The biggest problem with Bagheera is that it doesn’t take itself seriously; the whole runtime is filled with some intentionally and many unintentionally funny moments. Similar to AAA, Bagheera also has a cop who, keeping in tradition with his ancestors in Tamil cinema, won’t solve the case until the very end of the film. But even that won’t explain why this cop, played by the usually-dependable Sai Kumar, pulls off a Rolex by carrying a large speaker to a crime scene and randomly takes a pair of scissors to cut the crime scene tape as if the character has confused himself into thinking he’s an actor invited to a garment shop’s opening function.

If the film’s premise isn’t problematic enough already, it only gets worse when they milk that concept in the name of humour. Knowing that the killer is out for blood and is striking at any woman who has ditched a guy, fathers and daughters throng to the commissioner’s office where the fathers cry out the number of guys their daughters have broken up with to the commissioner. The absurdity hits the roof when that scene ends with the commissioner wondering what her daughter’s count would be. And oh, did I mention the Bagheera app? The application lets men lodge complaints against women who “cheated” them by punching in details like their name, the years they spent in that relationship and a photo of their respective cheating partners as proof. And I thought nothing would top the Garudapuranam -powered anniyan.com.

What’s more painful are the film’s attempts to keep pointing out that the makers aren’t painting all women with the same brush. #NotAllWomen, I suppose? The dialogue writing doesn’t really help the film either. In one scene, a supposed mother meeting her supposed future daughter-in-law quips about how she’s proud that the young girl has never asked her son to book an Oyo room. ISRO’s next mission should probably be sending a new space probe to find a planet where such lines are considered jokes. Bagheera doesn’t break character even when he’s randomly sitting in a car. A girl who asks him to save her from molesters finds him giving the cold shoulder because “what’s a good girl doing at a boy’s hostel at night?” But when he finds out that she really is a “good girl” who had come to meet her boyfriend of eight years, Bagheera saves her because such women are apparently hard to come by and must be saved at all costs. Somedays, you’re just glad that you didn’t have an expensive tub of popcorn on your lap that you might have sent flying in despair.

What comes as probably the only silver lining is Prabhu Deva for whom Bagheera offers the scope to perform unlike any other film has over his almost three-decade run as an actor. Keeping the film’s insurmountable problems aside, it’s the actor’s unique comedy timing, body language, and dance, of course, that offer respite. The actor aces in distinguishing his various characters with his appearance and acting. There are even references to the actor’s legendary songs like ‘Vennilave Vennilave’ and ‘Chikku Bukku Rayile’ . In the last twenty-odd minutes, where his psychosis is out on full display with a remix version of ‘ Pattukottai Ammalu ’ for company, the actor pumps in a good dose of freshness the film desperately needed by then. However, the damage by then was far worse for anything to save the film.

In the end, the film pulls off a 360 and tries to convince you that it always had its heart in the right place. And that only reminded me of Idharkuthane Aasaipattai Balakumara , a film that was filled with jokes about drinking but ends with a note stating how it’s injurious to health. That film was funny, at least. Bagheera , for all the countless female leads it possesses, doesn’t offer decent screen time to any one of them except Amyra, and that’s the least of its worries. On the whole, Bagheera is a hodgepodge of tropes from famous serial-killer movies and all the bar songs in which heroes thrash their love interests before reuniting with them. In the Jungle Book, Bagheera saved Mowgli but this Bagheera doesn’t save his Mowgli, and to make matters worse, makes us feel like we’re the man-cub.

Bagheera is currently running in theatres

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GULAEBAGHAVALI MOVIE REVIEW CLICK TO RATE THE MOVIE

After experimenting a tad with Devi, Prabhu Deva is back with an out and out comedy driven heist movie Gulaebaghavali for this Pongal festival.

It is a comedy heist film with no logic and no story either. Gulaebaghavali takes time to settle. In the movie, it is the comedy element, which takes prominence. The likes of Mansoor Ali Khan, Anandraj, Rajendran, Ramdoss, Yogi Babu, Sathyan and Prabhu Deva himself, keep churning out the laughs and especially the fun sequences that come just before the interval are the major spikes in the proceedings. Some humour scenes seem repetitive while some seem extended.

Prabhu Deva is earnest, has the screen presence, puts in a lot into his expressions and breezes through the comedy scenes as usual. We don’t have to mention how good he is with his dance movements. Watch out for the two-minute non-stop dance sequence by the King of dance in the ‘Guleba’ song.

We have a few interesting heist scenes here and there, however, we don't get completely immersed in the script as intended. Whoever you see turns out to be a con man, which makes it predictable that the next person you are going to meet will be making his con act soon. The screenplay in the second half meanders a little. Though you don't feel bored, a more serious handling of the central theme could have helped the film better.

The placement of the songs leaves a lot to be desired. Though visually rich and pleasing thanks to DoP RS Anandakumar and featuring good dance moves, the songs give the audience more than the required breather.

Among the other actors, Revathi's graceful screen presence and Hansika's glossy appearance in the songs make a mark. The cast is big, but none of the characters have any depth, which makes the overall product superficial. Some of the roles lack clarity and we have no idea why they behave the way they do. Mansoor Ali Khan continues to be typecast whereas Yogi Babu and Sathyan fill in the air with joyful moments with their limited screen time.

Vivek-Mervin has done their part with the songs. Guleba featuring Anirudh’s voice is already quite popular, and the background score is surely a backbone. The required impetus is given to the crucial moments by the musical team.

We start feeling the run time of the film when it doesn't race to a convincing end. Director Kalyaan has eyed a proper commercial vehicle for Prabhu Deva banking on the actor's inherent comedic abilities while also giving him a build-up as an action hero, the side of Prabhu Deva that we have not seen in a long time. Lack of grip in the script, lag in the screenplay and few filmy dialogues, are major downers but if you could ignore these negatives and are only looking for some fun moments, Gulaebaghavali is worth your money.

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Gulaebaghavali public review & reaction videos, gulaebaghavali celebrity review | prabhu deva | hansika | dc 158 videos, gulaebaghavali songs review.

An out and out beat based dance number in the form of Guleba. Sung by Anirudh and Mervin, this is a peppy fast-paced number. Instruments like Trumpets, horns, and trombones are used making it a happening positive sounding number. Foot tapping music complimented by some energetic vocals throughout. The song has a Cuban-Spanish touch to it.

You're the One Singer: Inno Genga Lyrics: Inno Genga & Ko. Shesha

A western style song, sung by Inno Genga. You’re the One is that song of the album which has husky vocals and is dominated by instruments like pianos and guitars. The singer sounds sweet and the song has some nice beats adding to the western style. There is a nice use of synth and the song is a stylish western based number that has some beautiful beats and tunes. The lyrics section have both Tamil and English and this is something nice too.

Seramal Ponal is another melodious song delivered by the talented Mervin Solomon and has Sameera’s vocals too. The emotion delivered is pleasant and the song is a different version of You’re the One. Seramal Ponal has similar use of beats and the tune follows the former’s stylish tune. Impressive synth programming and pianos along with guitars make it a very soothing listen. There is a violin portion used as well.

Heartukulla Singers: Nakash Aziz, Sanjana Diwakar Lyrics: Pa. Vijay

A folk number to finish with by Vivek and Mervin. Sung by Nakash and Sanjana, the song Heartukulla is a fair attempt at making folk music by the melody specialists. There is the use of usual folk beats and a Nadhaswaram instrument flows in. It is going to be interesting to see Prabhu Deva’s sizzling dance movies for this Heartukulla folk number.

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The Greatest Of All Time (GOAT) Trailer Release Date: Vijay’s Movie Glimpses Set To Thrill Fans

Vijay's GOAT Update: Thalapathy Vijay's highly anticipated film, "The Greatest of All Time" (GOAT), is generating significant buzz. Initially set for a June release to coincide with Vijay's 50th birthday, the film was postponed due to extensive post-production and VFX work. Now scheduled for worldwide release on September 5th, the three singles released so far have not met expectations, leaving fans disheartened.

Vijay's last three films, "Beast," "Varisu," and "Leo," received mixed reviews and faced trolling, despite production companies claiming financial success. This has left Vijay's fans quite upset. During this period of disappointment, the announcement of Vijay's collaboration with Venkat Prabhu came as a sweet surprise. "GOAT," produced by AGS Entertainment, is crucial for both Vijay and Venkat Prabhu, especially after Venkat Prabhu's previous film "Custody" was a major flop. Venkat Prabhu is determined to make a strong comeback and deliver a quality film for Vijay.

Venkat Prabhu has employed de-ageing technology to portray Vijay as a younger character. The director previously shared on social media that some of the movie's visual effects were created by Lola VFX, a renowned studio based in Los Angeles. Despite Vijay already looking youthful, fans are excited to see him with de-ageing effects. Additionally, the film is said to be a science fiction action movie.

After several years, Yuvan Shankar Raja is composing music for a Vijay film, raising high expectations for the songs. However, the three songs released so far have not met those expectations, and fans mentioned they couldn't tolerate seeing the de-aged Vijay in the third single. Amidst this, a new update about the film has surfaced. Since the release of the third single, fans have expressed more scepticism than anticipation for the film. To address this dissatisfaction and anxiety, the team has reportedly made a decision. Venkat Prabhu is said to have created an excellent trailer for the film, which has been approved by Vijay, and they plan to release it on August 19th.

Additionally, according to some reports, the next glimpse of "The GOAT" will be released on August 15th, with a runtime of 0:49 minutes. The film's trailer is expected to be released on either August 20th or 22nd.

The GOAT UPDATE - Next Glimpse of #ThalapathyVijay starrer " #TheGOAT " will be releasing 15th August - #TheGreatestOfAllTime second Glimpse RunTime - 0:49 Minutes - The trailer of this film will be released on August 20 or 22. pic.twitter.com/hwq1V94GEK — Screen Scoop (@ScreenScoop4) August 7, 2024

"GOAT" boasts a stellar cast led by Vijay, including notable actors such as Prashanth, Prabhu Deva, Ajmal Ameer, and Meenakshi Chaudhary as Srinidhi. The film also features seasoned industry veterans like Mohan, Jayaram, Sneha, Laila, and Vaibhav, along with a talented ensemble including Premji Amaran, Yugendran, Parvati Nair, VTV Ganesh, Yogi Babu, Aravind Akash, Ajay Raj, and Ganja Karuppu. Adding to the excitement, Y. G. Mahendran will make a special cameo, further amplifying anticipation for this highly anticipated project.

"The Greatest of All Time (GOAT)," directed by Venkat Prabhu, features a screenplay primarily developed by Venkat Prabhu and Viji, with additional input from K. Chandru and Ezhilarasu Gunasekaran. The story was also crafted by Venkat Prabhu. Produced by Kalpathi S. Aghoram, Kalpathi S. Ganesh, and Kalpathi S. Suresh, the film boasts cinematography by Siddhartha Nuni, editing by Venkat Raajen, and music composed by Yuvan Shankar Raja. The eagerly anticipated project is backed by AGS Entertainment.

GOAT Release

As "GOAT" progresses through post-production, anticipation among fans is steadily growing. With its global theatrical release scheduled for September 5, 2024, audiences are eagerly awaiting updates on this highly anticipated film. Stay tuned for more details on Vijay's latest project and the cinematic experience that "GOAT" promises to deliver.

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My Dear Bootham

When a kid named Pannu finds a lantern in a cave, he opens it when he gets home and it releases the King of all Genies named Karkimuki. The genie helps the little boy with his problems of ev... Read all When a kid named Pannu finds a lantern in a cave, he opens it when he gets home and it releases the King of all Genies named Karkimuki. The genie helps the little boy with his problems of everyday life. When a kid named Pannu finds a lantern in a cave, he opens it when he gets home and it releases the King of all Genies named Karkimuki. The genie helps the little boy with his problems of everyday life.

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• Oct 21, 2022
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• ₹100,000,000 (estimated)

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Demonte Colony 2 Review: Fans Praise Horror Sequel And Anticipate A Third Part

Curated By : Entertainment Bureau

Local News Desk

Last Updated: August 16, 2024, 18:15 IST

Chennai, India

Demonte Colony 2 is headlined by Arulnithi and Priya Bhavani Shankar.

Demonte Colony was a huge hit in both Telugu and Tamil which was released in 2015 and took the box office by storm.

In 2015, Demonte Colony took the box office by storm with its excellent storytelling and powerful performances by the star cast. Nine years later, makers came up with a sequel that will live up to the expectations of the first one and will leave an indelible impression on the minds and hearts of the audience. Demonte Colony 2, helmed by Ajay Gnanamuthu hit the screens on August 15 and as per reports, there might be more sequel in the future. Meanwhile, fans are showering the film with immense love and support.

Demonte Colony was a huge hit in both Telugu and Tamil. Now, looks like fans are impressed with the sequel as well. Demonte Colony 2 is headlined by Arulnithi and Priya Bhavani Shankar in the lead roles, marking their comeback. The film is backed by Gnanamuthu Pattarai & White Nights Entertainment in association with Raaj Varma Entertainment & Sree Balaji Films. The film was reportedly made to uphold and keep the first part’s legacy intact and tie up the loose ends of part 1. In an interview, he may have now hinted towards more sequels in the future. He shared that the Demonte Colony series could expand into a full-fledged franchise, depending upon the success of the part 2.

Meanwhile, this is what fans had to say about Demonte Colony Part 2-

A user took to X and tweeted, “Demonte Colony 2 is just (fire emojis). A must-watch in theatres.”

#DemonteColony2 is just 🔥🔥🥵🥵Must watch in theatres 🔥 @arulnithitamil @priya_Bshankar @AjayGnanamuthu #MalavikaMohanan #ShraddhaKapoor #MrBachan #DoubleISMART #KeerthySuresh #TheGreatestOfAllTime‌ #Stree2          #Stree2SarkateKaAatank         #thangalaan #BhagyashriBorse pic.twitter.com/v7krBHCDFu — Kill Bill Pandey (@kill_billpanday) August 15, 2024

Another wrote, “Demonte Colony 2 – well engaged 1st half, 2nd half little bit slow but worth the watch at theatres. Pakka Horror Movie. Superb screenplay by Ajay Gnanamuthu. Well-written and Execution (fire emoji).”

#DemonteColony2 – well engaged 1st half, 2nd half little bit slow but worth to watch at theatres🔥Pakka Horror Movie …👻💀superb screenplay by @AjayGnanamuthu well Written and Execution🔥 @SamCSmusic Bg Score 👌 @arulnithitamil & @priya_Bshankar performance vera… pic.twitter.com/3V2HDX63xx — Mr CineCric X🏏 (@ItsRajCric) August 16, 2024

One more added, “Demonte Colony 2 worthy sequel to the blockbuster. Ajay Gnanamuthu’s writing is impressive in such a way he made us wait for part 3. Arulnithi bro nailed it as usual One suggestion if possible release part 3 on 6-6-2027 which itself will be a huge promotion.”

#DemonteColony2 worthy sequel to the #blockbuster @AjayGnanamuthu bro writing is impressive in such a way he made us to wait for part 3… @arulnithitamil bro nailed it as usual .one suggestion if possible release part 3 on 6-6-2027 which itself will be a huge promotion 🔥🥵 pic.twitter.com/WkM33K8Vnt — Sergio Marquina 🔥🧊 (@professor2906) August 15, 2024

A tweet read, “Very gripping, interesting and thrilling flick!!! Everyone has done a fabulous job in case of acting, cinematography and an excellent BGM. IMHO too much CG could have been avoided. This story doesn’t need much CGI.”

https://twitter.com/hashtag/DemonteColony2?src=hashtag_click

The official confirmation of the next part is awaited.

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