The Stoneman Murders Movie Review

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Real events make engrossing subjects for celluloid and THE STONEMAN MURDERS is one such example where facts try to shape into cinematic happenings. After successfully penning down RGV's SARKAR (2005) and directing one of the stories in the episodically narrated DARNA ZAROORI HAI (2006), director Manish Gupta makes his full length movie directorial debut with this spine-chiller. As far as musical substance is concerned, it starts off with nil promotion and almost zilch expectation as the flick promises some hi-voltage, on-screen nerve-racking and scary moments. Can Siddarth-Suhas be able to lend terrifying melodic appeal to this bloodcurdling thriller? Do find this out…

Sunidhi Chauhan's coarsely fluent and loud vocals form the only recognizable name in the credits that really thrusts upon with pumping arrangements in the raunchy sounding ''Qaatilaana''. It's a routine club-dancing seductress number that works with overtly heard energetic orchestrations with mediocre impact.

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Siddarth-Suhas makes a daunting impact this time with vociferous thrive of Suraj Jagan firing up on all cylinders in racy outburst of hard-rock musical flows in ''Sooni Sooni Raah Pe''. The belligerent mood of electrifying orchestral flows narrates out the evil misadventures of deadly ''Stoneman'', who ruthlessly kills people with ''stone'' on lonely nights. Like ''Zahreeley'' (ROCK ON), Suraj Jagan once again props up as worthy prospect of singing out argumentatively loud number in Kumaar's well expressed wording depicting out the bloodthirsty feel of ruthless killer. It should work constructively as thematically profound haunting background score, but its appeal will strictly be reduced to the confines of flick's needs.

''Stoneman'', a typical RGV's dark noir stylized soundtrack makes another impressive move, and again it's a mouthpiece of fatally violent protagonist making all dangerous moves. This time it's Suhas Shetty behind the mike with intimidating textures of quivering arrangements in rigorous flow of soft-rock genre type of music.

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What follows it later is its instrumental version in soundtrack titled ''Midnight at Matunga''? It has that gripping of engrossing chase or compelling moments that has always been big highlight in all realistically dark films. Siddarth-Suhas melodic appeal has that grueling impact and it shows in both versions of the soundtrack.

The spine-chilling intimidation of the arrival of dangerous ''Stoneman'' comes out with electric guitar strumming with enthralling violin and percussions in well composed ''The Stoneman Cometh''. Siddarth-Suhas use ample elements of rock music that forms the backdrop of series of events in this two minute plus instrumental work

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In hiding now, Shelar informs his superiors that there will be another killing (the ninth) and they will then stop. He has read up on some ancient voodoo rituals and is convinced that this is the work of some ill-informed person misguided by a tantric to cure his impotency.

Shelar meets the killer, blissfully unaware that he could be his ninth victim.

The sound track and cinematography are in sync with the mood of the film. Shot mostly at night, Gupta gets it right with the lighting and camera work. But somewhere, there is something missing in this film, I get a feeling it is the end. As for acting, it is Kay Kay Menon all the way with Virendra Saxena throwing in a surprise performance.

Not for the fainthearted.

Rating – 2.5/5

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