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Samsung Galaxy S10e review: The small wonder



Brand: Samsung
Product: Galaxy S10e
Key specs: 5.8-inch Full HD+ Dynamic AMOLED display, Exynos 9820 processor with 6GB of RAM and 128GB of in-built storage, wireless charging, and 3,100mAh battery.
Price: Rs 55,900
Rating: 3.5/5

Tiny and cute are probably the first words that will come to your mind when you first see Samsung Galaxy S10e. But don’t let its compact size fool you as the smartphone comes with flagship-level specifications and features. Samsung Galaxy S10e stays away from the flamboyant design of its siblings, Galaxy S10 and Galaxy S10+. The miniature version, however, has plenty to offer you.

Packed with 6GB of RAM and octa-core processor, Galaxy S10e is also Samsung’s answer to Apple’s so-called ‘cheaper’ iPhone XR. At Rs 55,900, Galaxy S10e is priced lower than Apple’s but is still more expensive than other affordable premium flagship phones such as OnePlus 6T.


The Galaxy S10e had almost everyone go “awww” at it because of its compact size. At a time when phone screens are only getting bigger, some even crossing 6-inch threshold, it’s really nice to see key smartphone players still investing in smaller form factor.

Galaxy S10e looks more like the mini version of Galaxy S10. With a punch-hole camera display and glass back it offers a subtle look. You might want to opt for the ‘Prism White’ Galaxy S10e if you want to flaunt for your phone. The ‘Prism Black’ Galaxy S10e looks rather dull, and won’t be catching any eye.

On the front, you get a 5.8-inch AMOLED display with OneUI layered on top. Samsung offers possibly the best AMOLED displays, and you get the same experience on the Galaxy S10e. OneUI, although customised for large-screened phones, still offer a minimalistic experience which I prefer.

Galaxy S10e has the perfect compact size people are looking for in a phone. It fits comfortable in my hand, and for the first time, my pockets too.


The Galaxy S10e comes with a dual-camera setup of 12-megapixel wide-angle lens, and 16-megapixel ultra-wide angle lens. For selfies, it has the same 10-megapixel camera as seen on the Galaxy S10. The smartphone’s cameras are great to play around with colours. You’ll get the most vivid colour reproduction on your photos with the Galaxy S10e.

Galaxy S10e captures realistic colours (Image resized for web) ( HT Photo )

The ultra-wide angle lens is also a great addition for those who would like to capture scenic beauties, buildings and more. The smartphone also comes with the same camera app and you can use features like super slo-mo, and live focus. It however lacks in the low-light photography department. I tried out the camera in the evening, and also late at night but the photos mostly came out grainy.

Lowlight photos could have much better (Image resized for web) ( HT Photo)


Galaxy S10e uses the same processor as the Galaxy S10 and Galaxy S10+. The overall performance, I would say is on par with the Galaxy S10+. Sadly, the phone’s glass back tends to heat up quite a lot of times. This doesn’t affect the phone otherwise but can be a nuisance, especially if you don’t have a cover or case.

Instances like when you’re streaming content for long duration on platforms like Netflix, the Galaxy S10e starts heating up. Graphic intensive games like PUBG Mobile look great on the Galaxy S10e, but the heating issue affects your experience. If you’re still hooked to the Galaxy S10e, a case will solve your problem as it did for me.

Galaxy S10e comes with the smallest battery in the series. The 3,100mAh battery will last you a good 10-hour day. The fast charging is a blessing though, and you can make up for even half a day within just 20 minutes of charge.


Galaxy S10e comes close to a flagship but in the mid-range premium segment, one that is ruled by OnePlus phones. While the Galaxy S10e does offer an alternative to the OnePlus 6T, at least the McLaren edition, it is however not as fast as the latter. But the Galaxy S10e comes with more premium features like wireless charging, better cameras, and one of the best displays.



John Wick 3 Parabellum movie review: Keanu Reeves delivers the best action film since Mission Impossible Fallout



John Wick: Chapter 3 – Parabellum
Director – Chad Stahelski
Cast – Keanu Reeves, Halle Berry, Lawrence Fishburne, Mark Dacascos, Lance Reddick, Ian McShane, Angelica Huston
– 4.5/5

The only way John Wick: Chapter 3 – Parabellum could’ve been better is if Keanu Reeves had somehow got his hands on one of those ‘desi kattas’ from an Anurag Kashyap movie, and gone and shot the CBFC’s worst ideas in the face. I’m being extreme; a couple of clips in the kneecaps would suffice.

As hyper-stylised Neo-noir action threequels go, it’s damn near a masterpiece – breathtakingly beautiful to look at, mythologically dense, and featuring the best action set pieces since Mission: Impossible – Fallout. And for it to have been desecrated in the manner that it has is positively criminal.

When it is at its most euphorically adventurous, as John Wick is beating a giant man with a hardbound library book, the Indian censor board decides that watching this death in particular – despite the film having shown dozens of other deaths already – is too much for an adult human to handle. And so it arbitrarily slices and dices important scenes, making up its own rules as it goes along, guided by a wonky moral compass.

Watch the John Wick 3: Chapter 3 – Parabellum here

It’s disappointing, to be sure, but this is John Wick we’re talking about – it is said that he once killed three men in a bar with a pencil (a pencil!). He is a man of focus, commitment, and sheer will. He can smash mountains, bury oceans and escape the light. He can do better than a bunch of bored uncles.

Not two weeks have passed since the events of the first film, when that poor fool decided to kill John Wick’s dog and ended up incurring that wrath of his alter ego, the Baba Yaga. In those two weeks, John Wick has taken down literally hundreds of New York’s finest Russian gangsters, gone on an Italian ‘vacation’, and has thumbed his nose at the High Table – the mythical government of sorts in this fictional world of assassins and a$$holes.

This makes him a man on the run, with nowhere to hide and an entire city’s worth of assassins hot on his trail, looking to grab a slice of that $14 million bounty.

Like its two predecessors, it navigates between highbrow cinema and schlocky garbage better than Sebastian Vettel around a race track. At one point John visits a theatre named after the great Russian filmmaker Andrei Tarkovsky; and then there are the requisite nods to spaghetti westerns and Hong Kong gun-fu. It is, however, also a film in which a dog bites a man in the crotch multiple times. And through cinematographer Dan Laustsen’s lens, even the campiest bits look like high art.

It’s fabulously lean, plot wise – John Wick has a target on his back, and he must fight to have it removed. This takes him to Casablanca, where he meets up with an old friend (and possibly flame?) played by the perfectly cast Halle Berry. Keanu Reeves – bless his pure heart – isn’t the best actor in the world (likely even his street), but in just a couple of scenes manages to convey years of history with Sofia, Berry’s character. Their partnership was one of the most enjoyable aspects of the film, and I can’t wait for them to team up again in future instalments.

The dense world building that was teased in the first couple of John Wicks is more fleshed out in this one, with the introduction of an even higher power – the Elder, who apparently outranks even the High Table, and is the only one who can grant him forgiveness. If the John Wick series is one giant metaphor for Catholicism (as I fully believe it is) then the Elder is sort of like the Pope. The film’s themes of guilt and penance, sin and salvation certainly suggest so. Although it could just as easily be a film about surviving in a corporate jungle, bound by rules and bureaucracy.

John Wick 3 is a film with many adversaries, but not necessarily a villain – in all honesty, I would contend its biggest nemesis is the CBFC. As per usual, a vast majority of the men who are sent to stop John Wick are merely faceless obstacles that he must slice and shoot his way through. In that regard, the third film is closer to resembling a video game than the previous entries in this unlikely franchise. After every immaculately choreographed fight, John Wick levels up, until he arrives, exhausted but evolved, for the boss battle.

Mark Dacascos stars as the primary antagonist, Zero, whom he plays like a cross between a fanboy and a samurai. The tone of their final showdown wasn’t unlike Grigor Dimitrov challenging his idol Roger Federer at Wimbledon. And despite John Wick 3 being the only Hollywood film to satisfactorily utilise the talents of The Raid’s Yayan Ruhian and Cecep Arif Rahman, in the end even the henchmen that they play are too awestruck by John Wick’s legend.

As one should be, I suppose. At three films old now, director Chad Stahelski is clearly onto something. A part of me wishes for him to branch out, to tell new stories; but a bigger part of me wants him to keep making these movies until glamorising guns like this becomes un-PC.


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Book Review: Men and Dreams: In the Dhauladhar



Men and Dreams in the Dhauladhar is a wonderfully interwoven story of three people who accidentally meet each other in the Dhauladhar range. The story revolves around a hydroelectric project which has been passed to construct a dam in the same range.

With the most unique plot, the book focuses on how life continues to move on even when it is full of hurdles and full of ups and downs. The story line is incredibly genuine.

The three main characters, whilst Nanda, Khusru and Rekha have been so effortlessly sketched. The character development is Superb. Seldom do readers find a book which satisfies things more than one can ever imagine, and this one is just the epitome of that. With a wide spectrum of themes tracing different aspects of life, this book proves to be a 5 star read.

The plot is something which we don’t encounter frequently. The narration is effortlessly spectacular. The writing style and the flow is really commendable. It just never breaks the ease flow. Overall, it was indeed a great read!

About The Author : Kochery C. Shibu is a retired naval officer. A graduate from the National Defence Academy he has held several important posts in the Indian Navy. Post his retirement he has executed hydroelectric projects in the Cauvery river basin in Karnataka, Beas river basin in Himachal and lately Teesta river basin in Sikkim. He holds a postgraduate degree in Defence Studies from Chennai University, and MA in English Literature from Pune University. Men and Dreams in the Dhauladhar is his debut novel. The technical content of the novel, namely the setting up of a hydro-project is drawn from his experience in these projects since 2005, as are many of the characters inspired from those whom he encountered at the project site. Kochery C. Shibu was born in Kochi and now lives in Bangalore with his wife and daughter.

Buy Men And Dreams In The Dhauladhar From Amazon

Review by : Sudarshan Wagh

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Avengers Endgame movie review: An epic conclusion to Marvel’s Infinity Saga; it’s a triumphant tear-jerker



Avengers: Endgame
Directors – Anthony Russo, Joe Russo
Cast – Robert Downey Jr, Chris Evans, Chris Hemsworth, Mark Ruffalo, Scarlett Johansson, Jeremy Renner, Karen Gillan, Bradley Cooper, Don Cheadle, Brie Larson, Paul Rudd, Josh Brolin
Rating – 4.5/5

With Avengers: Endgame, the Marvel Cinematic Universe has arrived at its long-awaited ‘conclusion’, offering fans an old-fashioned mix of grand spectacle and undiluted emotion. To say that it is a success would be too simple an observation; what it deserves instead, is a eulogy.

Like a series finale of a television show you’ve loved for years, it crosses all the Ts and dots all the Is – some more neatly than others – and ends not so much with a feeling of rigid resolution, but a sense of freeing possibility. For new doors to open, Marvel seems to be saying, old ones must first be closed. It’s a film that will compel even the Frost Giants in the audience to whoop and weep.

Watch the Avengers: Endgame trailer here

For films like Avengers: Endgame to succeed, piled as they are with unfathomably large expectations, a well-oiled system is required to be in place. There needs to be a discipline in the writing, a crispness to the editing, and a generosity in the performances. True ambition in the Marvel Cinematic Universe, more often than not, is born out of a strict adherence to rules. And there are perhaps no two filmmakers better at working within studio sandboxes than Anthony and Joe Russo – at least not on this unprecedented scale.

Avengers: Endgame is a terrific example of that epic intimacy that Marvel does so well – alternating between glorious action and subtle character moments. Watching it almost feels like taking a wistful walk down memory lane, flanked on either side by a Russo brother, our hands held firmly in theirs. It’s an odd feeling that I can’t quite describe; a mixture of déjà vu and nostalgia, of melancholy and euphoria.

It’s a delicate balance to strike, but not nearly as difficult as having to write a review without revealing potential spoilers, whose definition, it seems, is as subjective as the idea of Iron Man 3’s Mandarin being a good villain.

But there won’t be any spoilers here, at least not beyond what we’ve seen in the trailers. The marketing campaign that Marvel put together for Endgame is a work of art in itself – I can confirm that most of the footage we’ve seen is pre-opening credits stuff. There are, however, parallels to the scientific methods trailer companies employ and the Russos’ keen understanding of blockbuster storytelling. Despite being the longest superhero film in history, and the longest film in the MCU, Avengers: Endgame is paced like Quicksilver on crack cocaine. Not a single moment feels unnecessary, but there are scenes – especially in the first act – that feel slightly rushed.

It’s their own fault, really. Over the years, we’ve come to develop certain expectations from our Marvel movies, as well as a patience for their indulgences. This makes the ‘getting the band back together’ scenes in Endgame rather tedious. We know what needs to happen, so why dilly-dally?

The fatal flaw with Avengers: Infinity War, I feel, was that at no point did the Decimation feel like it would be irreversible. It was a scene – a very good scene – built entirely on shock value that dissipated almost as swiftly as one of ‘the fallen’. And after all, they say that no movie death should be believed unless you see a trickle of blood escaping from the corner of the character’s mouth.

It was a similar situation with Captain America: Civil War. Steve Rogers and Tony Stark’s differences felt more like a momentary tiff than an ideological confrontation; in other words, of course they were going to get back together.

Avengers: Endgame isn’t like that, and that’s what elevates its credibility, and injects unexpected drama to its already weighty themes. There’s a sense of finality to it that feels wholly unprecedented in the MCU. The Russos are probably operating at their most mature here, examining themes of parenthood and patriarchy, loss and legacy – and of power; how it switches forms as it moves from one hand to another (literally). The only way to confront radical terrorism, the film asserts – and Thanos is a radical terrorist, make no mistake about that – is through unity and bravery.

Robert Downey Jr as Tony Stark/Iron Man in a still from Avengers: Endgame.

This isn’t to say that Endgame is a dour film – the trailers have certainly sold it that way; like an unholy love child between Back to the Future and The Leftovers. But I was surprised by how funny it was, and when it needed to be, how purely entertaining.

One scene in particular – I won’t say a word more – will extract the same sort of response from audiences’ as Thor’s entry did in Infinity War.

But regardless of what they say, Endgame is very much Infinity War – Part 2, in that it directly addresses the fallout of the Snap. Certain scenes feel like they’ve been there since the earliest drafts of the script, while others genuinely feel like they were added post the release of Infinity War – the Russos have always had a finger on the audiences’ pulse, so it would make sense for them to have done that.

They’re insisting that this is the end, but it’s like Tony choosing pizza over cheeseburgers – we all know that’s never going to happen. The more movies they keep making, the more they’re going to dilute the impact of Endgame, But for fans who’ve been there from day one, it will be the satisfying conclusion they’ve been waiting for, and a love letter to the franchise they adore. The MCU, in this moment, has given us a once-in-a-lifetime experience. Cherish it. Hold it dear. Whatever it takes.


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