Oh God, please forgive them! This is the first thought that comes to mind after watching Sidharth Malhotra's The Vvann: Force of the Forrest, which is backed by Ekta Kapoor. For context, in Indian cinema, religion and its gods have always played a very crucial role, to the point that films like Jai Santoshi Maa, which has popularised the goddess to an unimaginable extent. And, for a long time, even now, Indian audiences have been enjoying it, with movies heavily relying on faith, folklore and mythological stories.&nbsp;&nbsp;In this film, things have surely gone out of hand, with every scene, dialogue, and song seemingly around religion, as if you are watching an extended version of Gulshan Kumar's 90s video of a devotional song. But the only difference here is the impressive camerawork, which is complimented with a team of good-looking actors.<h3>The Vvaan: Story lost in its own jungle</h3>Like any other film, the movie opens with a heroic scene featuring Sidharth Malhotra, who plays Rishi, showing off his skills as he saves a child and a group of workers from a JCB that has malfunctioned. And as expected, our hero saves them.&nbsp;

Still from Vvaan

&nbsp;Then the music plays, and in a heroic moment, water splashes on the Shivling. So, yeah, that was the entry we got to see, followed by a beautiful, truly soothing song with the sweet and lovely couple (Malhotra as Rishi and Tamannaah Bhatia as Mamta) dancing, and after this warm-up, the movie actually begins.&nbsp;Rishi and Mamta are living in Mumbai, and there only dream is to have a child. To solve a property matter and also to celebrate Chhath, the couple goes back to their town, Devanchal, where there is a forest called Dev Van, and a goddess called Vann Devi, who is protecting the village from bad omens and demons. Atheist Rishi returns to his village and is quick to question the villagers and their belief in superstitions, which has become a hindrance to development, as their only fear is supernatural forces. How Rishi breaks this centuries-old curse of the jungle forms the rest of the story.

<h3>Vvann: It's Ekta Kapoor's world on the big screen.&nbsp;</h3>From the very first frame, the over-fictionalised setting of the film feels artificial, with the sets looking staged and unrealistic. Despite this, the beginning starts on a promising note, before things only get worse. Stories around forest legends and their folklore have time and again inspired films that have impressed viewers, but director Deepak Kumar Mishra’s take on the theme feels distant and is mostly overburdened by dramatisation of religion, beliefs, and stories, to the point that it felt like I was watching Ekta Kapoor’s famous hit show Naagin, or even Kyunki Saas Bhi Kabhi Bahu Thi. The two-hour-long film has several scenes that give you déjà vu of daily soaps, whether it's Shweta Tiwari's shouting sequence in the hospital, the Chhath festival sequence, or even the climax where Rishi stops his wife from participating in the fast. Then there's Tamannaah's monologue, followed by yet another festival sequence where the heroine drowns, and the hero saves her. All these inputs seem like they have come directly from Kapoor's world of daily soaps.

The narration feels like a cut-and-paste of many past films. At one point, I felt I was watching Rishab Shetty’s Kantara; the very next moment, I was in S.S. Rajamouli’s RRR or Baahubali universe, with a pinch of Kajol’s Maa thrown in and also Stree, and there are a few other names I am definitely forgetting. &nbsp;In the film, there is a scene, where Rishi, who is an atheist, walks in front of the goddess’s temple, a very Deewaar-coded moment (that scene is iconic in Indian cinema). Amid all the comical dialogues and scenes, the only part I enjoyed was Paul as Ved. Suniel Grover's turn as the villain looks promising, until he gets those spidey-like black eyes.&nbsp;With the amount of money invested in the film, the camera work and production design make the movie look grand and visually polished. The scale is evident on screen, and technically, the film creates moments of spectacle that briefly lift the otherwise wafer-thin narrative. In the first half, the combination of mythology with folklore genuinely excites the curious viewer. But soon, as the layers of the story start to unravel, all that remains is melodrama. Malhotra truly carries the film with his performance and does everything he possibly could for it, and so do the other actors. Tamannaah brings her charm, but her role is limited so she don't have much to serve.&nbsp;&nbsp;To put it briefly, Vvaan is very much set in Ekta Kapoor's Tulsi Virani-style world, where Sidharth makes his debut as the divine hero. But he fails to carry the film on charm alone.

Sidharth Malhotra and Tamannaah Bhatia shoulder the responsibility of saving the world of The Vvaan, which impresses with its presentation despite a plot heavily inspired by Ekta Kapoor's TV universe.

Oh God, please forgive them! This is the first thought that comes to mind after watching Sidharth Malhotra's The Vvann: Force of the Forrest, which is backed by Ekta Kapoor. For context, in Indian cinema, religion and its gods have always played a very crucial role, to the point that films like Jai Santoshi Maa, which has popularised the goddess to an unimaginable extent. And, for a long time, even now, Indian audiences have been enjoying it, with movies heavily relying on faith, folklore and mythological stories. In this film, things have surely gone out of hand, with every scene, dialogue, and song seemingly around religion, as if you are watching an extended version of Gulshan Kumar's 90s video of a devotional song. But the only difference here is the impressive camerawork, which is complimented with a team of good-looking actors. The Vvaan: Story lost in its own jungle Like any other film, the movie opens with a heroic scene featuring Sidharth Malhotra, who plays Rishi, showing off his skills as he saves a child and a group of workers from a JCB that has malfunctioned. And as expected, our hero saves them.

Sidharth Malhotra and Tamannaah Bhatia shoulder the responsibility of saving the world of The Vvaan, which impresses with its presentation despite a plot heavily inspired by Ekta Kapoor's TV universe.

The Vvaan Review: This Ekta Kapoor's Tulsi Virani-coded world can't be saved by Sidharth Malhotra and Tamannaah Bhatia

Tamil Nadu Chief Minister Vijay's much-awaited final film Jana Nayagan has finally hit theatres after months of delays and a major online leak controversy. Director H. Vinoth dismissed allegations that the leak was politically motivated ahead of the 2026 Tamil Nadu Assembly elections, calling the claims baseless. Massive celebrations erupted across Chennai as thousands of fans gathered outside theatres for Vijay's last film before fully entering politics.

Watch the latest updates on Jana Nayagan's release, leak controversy, political reactions, fan celebrations, box office expectations, and Vijay's transition from cinema to politics.

Tamil Nadu CM Vijay's final film Jana Nayagan hits theatres after massive leak controversy 

How to take a film seriously, which is titled Tu Meri Main Tera Main Tera Tu Meri? Weird wordplay aside, Dharma Productions' latest outing at the movies, starring Kartik Aaryan and Ananya Panday, comes at a time when the nation is still reeling under the Dhurandhar-induced nationalistic fervour. In such a case, the new film TMMTMTTM(even the abbreviation is tiresome) should have helped in breaking the norm with its soft romance. After all, it stars Aryan, a man known for his soft boy romance and comic timing. But director Sameer Vidwans' film, by the end of it, reiterates Kabhi Khushi Kabhi Gham’s tag line, ‘It’s all about loving your parents’. &nbsp;The result is a very middling story that talks more about sacrifice and compromises than love.&nbsp;&nbsp;<h2>Tu Meri Main Tera Main Tera Tu Meri Plot</h2>Ray Mehra (Aaryan) and his mom Pinky Mehra (Neena Gupta in a slightly ditzy role) run a successful event management company and are finally buying their dream home in America. Ray meets Rumi, a writer on a trip to Croatia. After the initial set of arguments, the two fall for each other. Ray more than Rumi as he proposes marriage to her, which she refuses as she has responsibilities towards her dad, a retired Colonel (Jackie Shorff), who wants to live the rest of his life at his family home in Agra.&nbsp;&nbsp;Rumi breaks up with Ray, saying she can't marry him till her father is alive because he won't settle in America with her after their marriage. But Ray is not ready to let go and decides to follow her all the way to Agra to convince her to reconsider and win over her family.&nbsp;&nbsp;<h2>Kartik Aaryan brand of feminism&nbsp;</h2>There is now a Kartik Aaryan brand of feminism in Hindi films. One where his characters first scoff at the idea of woke leading women, taunt them about expecting chivalry while harping about equality and then be the enabler who supports her big dream while he makes the supreme ‘sacrifice’ and ultimately becomes the greatest man ever. It’s a character that Aryan has played innumerable times. In Satya Prem Ki Katha, he helps his wife, a victim of date rape, to heal while making the sacrifice of abstinence after his wedding. In Bhool Bhulaiyyaa 2, he follows the girl he loves to get rid of a ghost from her ancestral haveli, keeping his life on hold. In TMMTMTTM, he follows the girl to Agra, putting his multi-million dollar business on hold in the US.&nbsp;&nbsp;You see, he is a self-aware man who knows he is desired by many, but he is ready to bend only for the girl and her plans. Because, as he says to Rumi in the film, manhood is defined by the sacrifices he makes for the women he loves. Note how glorified this sounds- the man is making ‘sacrifices’ to be a true lover, hero again putting the girl in a sticky spot, by constantly reiterating how he made adjustments in love for her.&nbsp;&nbsp;The concept of discussion does not exist in writer Karan Shrikant Sharma’s world. Sharma, who has written the film, makes his characters declare their decision to their loved ones rather than discussing and then coming to a conclusion. Ray declares he wants to visit Agra to meet Rumi’s father to discuss marriage, no discussion. Rumi declares she can't marry because she can't leave her dad alone. Her elder sister (influencer Chandni Bhabda) announces she is marrying and moving to Canada, shifting the load of responsibilities to Rumi. There is no middle ground, no concept of figuring things out collectively as a family.&nbsp;<h2>Kartik Aaryan and Jackie Shroff's chemistry</h2>&nbsp;There are lot of meta references in the film, which bring in the laughs. A drunk Neena Gupta dances to Choli Ke Peeche Kya Hai and announces how she always wanted to do an item number. Kartik Aryan gives a passing reference to bad acting, which is, well, the underlying theme of the film. There is also a lusty auntie played by Sapna Sad who gets the best punchlines in the film.&nbsp;&nbsp;The first half is wafer-thin. Kartik and Ananya’s chemistry is cold and lacks the spark that’s needed to make an engaging love story. In fact, Kartik shares better onscreen chemistry with Jackie Shroff. The two men complement each other on screen well, and their scenes are worth watching.&nbsp;&nbsp;One really doesn’t know what makes Ray and Rumi fall in love. There isn’t any spark between them. Ray comes out to be loud and annoying throughout their Croatia trip, while Rumi seems too flaky. There are barely any moments where the two are shown to connect emotionally. It is an odd pair that you don’t want to root for.Tu Meri Main Tera Main Tera Tu Meri may have been a good idea on paper- addressing issues of familial responsibility for Gen Z, but the film’s execution level falters at many levels- making it look stale. You have seen Kartik playing a cocky Ray Mehra before; there is nothing new that Ananya as Rumi Singh offers.&nbsp;&nbsp;Wished they had spent more time creating a more detailed story with proper character sketches instead of creating a long, complicated title like Tu Meri Main Tera Main Tera Tu Meri.&nbsp;&nbsp;Tu Meri Main Tera Main Tera Tu Meri ultimately feels recycled—loudly self-aware, lightly progressive, but ultimately unwilling to challenge its own comfort zone and sticking to cliches.&nbsp;Out in cinemas from today.&nbsp;

Dharma Productions' latest film Tu Meri Main Tera Main Tera Tu Meri stars Kartik Aaryan and Ananya Panday in a love story that feels too stale and simplistic to be taken seriously. The comedy is few and far between, and Aaryan's attempt to play the sacrificial hero is too familiar. 

How to take a film seriously, which is titled Tu Meri Main Tera Main Tera Tu Meri? Weird wordplay aside, Dharma Productions' latest outing at the movies, starring Kartik Aaryan and Ananya Panday, comes at a time when the nation is still reeling under the Dhurandhar-induced nationalistic fervour. In such a case, the new film TMMTMTTM(even the abbreviation is tiresome) should have helped in breaking the norm with its soft romance. After all, it stars Aryan, a man known for his soft boy romance and comic timing. But director Sameer Vidwans' film, by the end of it, reiterates Kabhi Khushi Kabhi Gham’s tag line, ‘It’s all about loving your parents’. The result is a very middling story that talks more about sacrifice and compromises than love. Tu Meri Main Tera Main Tera Tu Meri Plot Ray Mehra (Aaryan) and his mom Pinky Mehra (Neena Gupta in a slightly ditzy role) run a successful event management company and are finally buying their dream home in America. Ray meets Rumi, a writer on a trip to Croatia. After the initial set of arguments, the two fall for each other. Ray more than Rumi as he proposes marriage to her, which she refuses as she has responsibilities towards her dad, a retired Colonel (Jackie Shorff), who wants to live the rest of his life at his family home in Agra. Rumi breaks up with Ray, saying she can't marry him till her father is alive because he won't settle in America with her after their marriage. But Ray is not ready to let go and decides to follow her all the way to Agra to convince her to reconsider and win over her family. Kartik Aaryan brand of feminism There is now a Kartik Aaryan brand of feminism in Hindi films. One where his characters first scoff at the idea of woke leading women, taunt them about expecting chivalry while harping about equality and then be the enabler who supports her big dream while he makes the supreme ‘sacrifice’ and ultimately becomes the greatest man ever. It’s a character that Aryan has played innumerable times. In Satya Prem Ki Katha, he helps his wife, a victim of date rape, to heal while making the sacrifice of abstinence after his wedding. In Bhool Bhulaiyyaa 2, he follows the girl he loves to get rid of a ghost from her ancestral haveli, keeping his life on hold. In TMMTMTTM, he follows the girl to Agra, putting his multi-million dollar business on hold in the US. You see, he is a self-aware man who knows he is desired by many, but he is ready to bend only for the girl and her plans. Because, as he says to Rumi in the film, manhood is defined by the sacrifices he makes for the women he loves. Note how glorified this sounds- the man is making ‘sacrifices’ to be a true lover, hero again putting the girl in a sticky spot, by constantly reiterating how he made adjustments in love for her. The concept of discussion does not exist in writer Karan Shrikant Sharma’s world. Sharma, who has written the film, makes his characters declare their decision to their loved ones rather than discussing and then coming to a conclusion. Ray declares he wants to visit Agra to meet Rumi’s father to discuss marriage, no discussion. Rumi declares she can't marry because she can't leave her dad alone. Her elder sister (influencer Chandni Bhabda) announces she is marrying and moving to Canada, shifting the load of responsibilities to Rumi. There is no middle ground, no concept of figuring things out collectively as a family. Kartik Aaryan and Jackie Shroff's chemistry There are lot of meta references in the film, which bring in the laughs. A drunk Neena Gupta dances to Choli Ke Peeche Kya Hai and announces how she always wanted to do an item number. Kartik Aryan gives a passing reference to bad acting, which is, well, the underlying theme of the film. There is also a lusty auntie played by Sapna Sad who gets the best punchlines in the film. The first half is wafer-thin. Kartik and Ananya’s chemistry is cold and lacks the spark that’s needed to make an engaging love story. In fact, Kartik shares better onscreen chemistry with Jackie Shroff. The two men complement each other on screen well, and their scenes are worth watching. One really doesn’t know what makes Ray and Rumi fall in love. There isn’t any spark between them. Ray comes out to be loud and annoying throughout their Croatia trip, while Rumi seems too flaky. There are barely any moments where the two are shown to connect emotionally. It is an odd pair that you don’t want to root for. Tu Meri Main Tera Main Tera Tu Meri may have been a good idea on paper- addressing issues of familial responsibility for Gen Z, but the film’s execution level falters at many levels- making it look stale. You have seen Kartik playing a cocky Ray Mehra before; there is nothing new that Ananya as Rumi Singh offers. Wished they had spent more time creating a more detailed story with proper character sketches instead of creating a long, complicated title like Tu Meri Main Tera Main Tera Tu Meri. Tu Meri Main Tera Main Tera Tu Meri ultimately feels recycled—loudly self-aware, lightly progressive, but ultimately unwilling to challenge its own comfort zone and sticking to cliches. Out in cinemas from today.

Dharma Productions' latest film Tu Meri Main Tera Main Tera Tu Meri stars Kartik Aaryan and Ananya Panday in a love story that feels too stale and simplistic to be taken seriously. The comedy is few and far between, and Aaryan's attempt to play the sacrificial hero is too familiar.&nbsp;

Tu Meri Main Tera Main Tera Tu Meri review: Kartik Aaryan's brand of feminism seems too familiar

Things are very easy in Aanand L Rai’s world. A local goon who doesn’t know the full form of UPSC in one scene can clear the prelims in the next. A man who is in and out of jail for creating a ruckus on campus can become one of the bravest officers of the Indian Air Force. A raging alcoholic, who is popping anxiety pills by the hour, is a counsellor for the Defence forces (god save our soldiers from such counsellors) and given the task to counsel a problematic officer at the Indo-China border, while she is herself 9 months pregnant. Call it easy or indulgence, but Rai’s latest film Tere Ishk Mein- starring Dhanush and Kriti Sanon- has plenty of such obscure stuff decorating a very problematic story. The film celebrates toxicity like a festival, and glorifies pain and suffering in the name of love.<h2>What’s the plot of Tere Ishk Mein?</h2>If the film's trailer didn’t already warn you about all the emotional upheaval the two lead characters go through, here’s what writers Himanshu Sharma and Neeraj Yadav are trying to tell. Mukti(Sanon) wants to do her PHd in how violent behaviour can be transformed by counselling and therapy. Her Delhi University professors aren’t convinced about her topic. Enter Shankar (Dhanush), a local goon, Delhi University Student Union presidential candidate, who hits more than he talks. A brooding, angry man, who only understands the language of violence, seems like Mukti's perfect case study - and someone she can ‘handle’ (she keeps saying the word as if he were a pet gone rogue) and transform.&nbsp;Shankar is obviously enamoured by her beauty, and they decide to hang out together. She gives him a disclaimer- she is not willing to fall in love with him, but plays the part just to get her work done, while he is more than eager to be seen around with the hot girl on campus. Sparks flow, mostly from Shankar’s side, and he sits when she asks him to, takes in a few punches when she wants him to, and pretends to be a changed person, just so that her thesis gets accepted.&nbsp;Things go awry after two months, when Shankar realises he is in love, and she is not. And like a privileged man that Indian films keep throwing at us, he just can’t seem to take no. He pours petrol over a possible suitor of Mukti’s, burns her house down in rage when he realises she and her pompous IAS officer dad (Tota RoyChowdhury) have not kept their part of the deal. It doesn’t help that Mukti is never really clear about her feelings towards him. She doesn't say a proper no, but looks teary-eyed and in fear while Shankar creates havoc around her.&nbsp;Years later, they meet again. This time, Shankar is a problematic IAF officer who needs counselling for his raging temper, and she is an emotional wreck who is strangely given the task to fix him again. Everyone seems blind around them and does not notice how the two need help themselves, and does not save each other. Problematic, they both remain, though.&nbsp;<h2>What does not work in Tere Ishk Mein?</h2>Mostly everything. The film’s problematic story glorifies toxicity to no end. The man needs therapy, but his rage is justified because the girl he fell in love with led him on. The girl is self-obsessed and breaks into long monologues often, analysing her case study- Shankar- almost blind in not understanding that she is leading him on. All the time. At one point, Shankar calls Mukti - Murkh Aurat- foolish woman, and she truly is. She is enabling him to behave a certain way, and when he gets a vision in life, all thanks to her father’s taunt, she wants to take credit for the transformation.&nbsp;In the latter half of the film, as Mukti is on the path of self-destruction - because she is a murkh aurat, as Shankar pointed out she is shown to have liver cirrhosis and is 9 months pregnant. She pops pills and gulps down whiskey and sits across from Shankar, who smokes away to control his anger. Everything is wrong about this scene, and no one points that out.

&nbsp;Rai and Rahman have collaborated earlier in films like Raanjhanaa and Atrangi Re- which had memorable music. Tere Ishk Mein has no songs that are worth a second listen.Just when you think the film can’t get more insufferable, they bring in Mohammed Zeeshan Ayyub from the Raanjhanaa universe, referring to his dead friend Kundan and insisting Shankar would not get relief from his pain just yet. Such a pointless cameo and such wasted potential of an actor.&nbsp;<h2>What works</h2>The actors make Tere Ishk Mein watchable. Dhanush plays the raging, toxic Shankar with great intensity; however, his Kundan act from Raanjhanaa was far more enjoyable. Here, the writing gives him ample scope to perform a toxic guy, but the character itself is so annoying that you don't want to sympathise. Kriti Sanon, who has in films like Mimi, Do Patti, has proved her mettle as an actor, delivers well to her part. The actress is particularly good in the emotional scenes.&nbsp;Prakash Raj, Tota Roy Chowdhury and Priyanshu Painyuli are also there as supporting cast but have limited scope to shine. Priyanshu’s character simply disappears in the second half after playing the loyal friend to Shankar in his college years.<h2>Final Verdict</h2>Tere Ishk Mein comes at a time when there has been a lot of discussion around toxicity and glorification of the alpha male in films like Kabir Singh and Animal. While these films, along with Luv Ranjan’s brand of cinema that makes all women the villain and root cause of destruction of the world, have been loved by the audience, they have also opened up discussion about how it is not okay to glorify such problematic behaviour. But Aanand L Rai and Himanshu Sharma don’t seem to pay any heed to such discussion. The duo in the past have made fun of mental health and bipolarity in Attrangi Re and compared a dwarf to a chimp in Zero, and now are glorifying toxic alpha men destroying everything around them in the name of love.

Tere Ishk Mein left me laughing out loud in sheer frustration. Bollywood really needs to stop glorifying toxicity. This is not love.&nbsp;Tere Ishk Mein is now running in theatres across the country.

Tere Ishk Mein movie review: Filmmaker Aanand L Rai is basically Luv Ranjan and Sandeep Reddy Vanga redux. His latest film celebrates toxic behaviour like a festival and makes all the characters problematic. What's entertaining here?

Things are very easy in Aanand L Rai’s world. A local goon who doesn’t know the full form of UPSC in one scene can clear the prelims in the next. A man who is in and out of jail for creating a ruckus on campus can become one of the bravest officers of the Indian Air Force. A raging alcoholic, who is popping anxiety pills by the hour, is a counsellor for the Defence forces (god save our soldiers from such counsellors) and given the task to counsel a problematic officer at the Indo-China border, while she is herself 9 months pregnant. Call it easy or indulgence, but Rai’s latest film Tere Ishk Mein- starring Dhanush and Kriti Sanon- has plenty of such obscure stuff decorating a very problematic story. The film celebrates toxicity like a festival, and glorifies pain and suffering in the name of love. What’s the plot of Tere Ishk Mein? If the film's trailer didn’t already warn you about all the emotional upheaval the two lead characters go through, here’s what writers Himanshu Sharma and Neeraj Yadav are trying to tell. Mukti(Sanon) wants to do her PHd in how violent behaviour can be transformed by counselling and therapy. Her Delhi University professors aren’t convinced about her topic. Enter Shankar (Dhanush), a local goon, Delhi University Student Union presidential candidate, who hits more than he talks. A brooding, angry man, who only understands the language of violence, seems like Mukti's perfect case study - and someone she can ‘handle’ (she keeps saying the word as if he were a pet gone rogue) and transform. Shankar is obviously enamoured by her beauty, and they decide to hang out together. She gives him a disclaimer- she is not willing to fall in love with him, but plays the part just to get her work done, while he is more than eager to be seen around with the hot girl on campus. Sparks flow, mostly from Shankar’s side, and he sits when she asks him to, takes in a few punches when she wants him to, and pretends to be a changed person, just so that her thesis gets accepted. Things go awry after two months, when Shankar realises he is in love, and she is not. And like a privileged man that Indian films keep throwing at us, he just can’t seem to take no. He pours petrol over a possible suitor of Mukti’s, burns her house down in rage when he realises she and her pompous IAS officer dad (Tota RoyChowdhury) have not kept their part of the deal. It doesn’t help that Mukti is never really clear about her feelings towards him. She doesn't say a proper no, but looks teary-eyed and in fear while Shankar creates havoc around her. Years later, they meet again. This time, Shankar is a problematic IAF officer who needs counselling for his raging temper, and she is an emotional wreck who is strangely given the task to fix him again. Everyone seems blind around them and does not notice how the two need help themselves, and does not save each other. Problematic, they both remain, though. What does not work in Tere Ishk Mein? Mostly everything. The film’s problematic story glorifies toxicity to no end. The man needs therapy, but his rage is justified because the girl he fell in love with led him on. The girl is self-obsessed and breaks into long monologues often, analysing her case study- Shankar- almost blind in not understanding that she is leading him on. All the time. At one point, Shankar calls Mukti - Murkh Aurat- foolish woman, and she truly is. She is enabling him to behave a certain way, and when he gets a vision in life, all thanks to her father’s taunt, she wants to take credit for the transformation. In the latter half of the film, as Mukti is on the path of self-destruction - because she is a murkh aurat, as Shankar pointed out she is shown to have liver cirrhosis and is 9 months pregnant. She pops pills and gulps down whiskey and sits across from Shankar, who smokes away to control his anger. Everything is wrong about this scene, and no one points that out.

Tere Ishk Mein movie review: Filmmaker Aanand L Rai is basically Luv Ranjan and Sandeep Reddy Vanga redux. His latest film celebrates toxic behaviour like a festival and makes all the characters problematic. What's entertaining here?

Tere Ishk Mein movie review: Dhanush, Kriti Sanon’s film is a big RED flag that celebrates toxicity of all kinds

Kashmir valley and insurgency in the state have both served as themes for numerous films in Indian cinema. The beauty of the valley and the unfortunate political climate of the state have always been a topic of discussion and heated debate across India, thus serving as the perfect premise for films. Netflix’s latest film Baramulla, featuring Manav Kaul and Bhasha Sumbli in the lead, sets the story deep into the valley, but instead of romanticising about Kashmir, it depicts the grim reality of the place, riddled with curfews, terrorism and more. Directed by&nbsp;Aditya Suhas Jambhale, who also serves as a co-writer with Aditya Dhar and Monal Thaakar, Baramulla keeps terrorism as just one of the subplots, while the main plot revolves around a case of missing children, which DSP Ridwaan Sayyed is appointed to solve.&nbsp;<h2>What’s the plot of Baramulla</h2>Newly appointed DSP of Baramulla district in Kashmir, Ridwaan Sayyed, moves in with his family to a bungalow appointed for him by the force. Ridwaan has to crack a case of missing children in the valley. Months earlier, an MLA 13 year 13-year-old son had disappeared in thin air during a magix show at a crowded market. Soon after, another boy disappears from the middle of a lake. As traces of the missing children are dismal, Ridwaan finds himself getting deep into the case. Meanwhile, his two children and wife, see shadow-like figures floating inside the house at odd hours. Ayaan and Noorie, the kids, see it first. In fact, Noorie first starts smelling and feeling the presence of a dog while Ayaan befriends a shadowy figure.&nbsp;&nbsp;Elsewhere, two terrorists are planning a major attack with the instructions coming from a certain faceless Bhaijaan who only communicates through satellite calls.&nbsp;Ridwaan is emotionally distant from his family, especially his daughter. A past incident has created a gap between the father and daughter, and neither has been able to move past it. As more children disappear and his family gets more suspicious of a certain presence inside the house, Ridwaan has to deal with personal and professional crises.&nbsp;&nbsp;<h2>What works in Baramulla</h2>Coupled with supernatural elements, terrorism and a case of missing children, Baramulla has a lot going on in its 112-minute runtime, but solid writing makes this film an engaging watch. A film with multiple subplots tends to go haywire as most writers become indulgent while establishing these plot points. But in Baramulla, the focus remains on the missing children, who the police and locals feel, are being kidnapped by one person. The subplots are unravelled slowly in the narrative, making the viewers curious about how the cases are related or if related at all. A film on the lines of supernatural has to have a certain amount of thrill and scare attached to it, and viewers must get spooked. Baramulla weaves an intricate story of suspense and revenge, which beautifully ties up the loose ends in the climax.&nbsp;&nbsp;While the writing is deft, the actors too are stunning in their restrained performances. Manav Kaul plays a father who is never able to connect to his children. He is a good cop who does his job well, yet never gets his daughter’s approval. Meanwhile, Bhasha Sumbli, plays the wife who has to bridge the gap between her husband and her children. Both these actors are restrained in their performance and provide a certain calmness to the horror that’s taking place around them.&nbsp;

<h2>What does not work</h2>The family of four moves into a big haunted bungalow with a mute caretaker who has seen it all and knows deep, dark secrets of the house. But if the house is already haunted, why doesn’t anyone warn the family about it? Why haven’t the previous occupants of the house ever seen anything unusual? Why are the kids left alone despite them repeatedly complaining of witnessing the unusual inside the house? The film also, very subtly, gives a statement about the good muslim vs the bad muslim. It is not in your face, but it’s a message that’s there for everyone to see. It addresses the exodus of 1991 in Kashmir, which left thousands of Hindus homeless and exiled in their own country. Baramulla, within the realms of being supernatural also political and has an agenda which is hard to overlook.<h2>Final verdict</h2>Baramulla, despite its messaging and flaws, stayed with me much after the film was over. A riveting suspense thriller, it makes you think of many who have been wronged by the system for years. Credible story and screenplay effectively intertwine terrorism and supernatural horror in one solid film with commendable performances from the cast.Baramulla is now streaming on Netflix.&nbsp;

Baramulla movie review: Manav Kaul leads this week's supernatural thriller film, which gives a grim picture of the Kashmir Valley and deftly weaves a horror story with insurgency in the valley. 

Kashmir valley and insurgency in the state have both served as themes for numerous films in Indian cinema. The beauty of the valley and the unfortunate political climate of the state have always been a topic of discussion and heated debate across India, thus serving as the perfect premise for films. Netflix’s latest film Baramulla, featuring Manav Kaul and Bhasha Sumbli in the lead, sets the story deep into the valley, but instead of romanticising about Kashmir, it depicts the grim reality of the place, riddled with curfews, terrorism and more. Directed by Aditya Suhas Jambhale, who also serves as a co-writer with Aditya Dhar and Monal Thaakar, Baramulla keeps terrorism as just one of the subplots, while the main plot revolves around a case of missing children, which DSP Ridwaan Sayyed is appointed to solve. What’s the plot of Baramulla Newly appointed DSP of Baramulla district in Kashmir, Ridwaan Sayyed, moves in with his family to a bungalow appointed for him by the force. Ridwaan has to crack a case of missing children in the valley. Months earlier, an MLA 13 year 13-year-old son had disappeared in thin air during a magix show at a crowded market. Soon after, another boy disappears from the middle of a lake. As traces of the missing children are dismal, Ridwaan finds himself getting deep into the case. Meanwhile, his two children and wife, see shadow-like figures floating inside the house at odd hours. Ayaan and Noorie, the kids, see it first. In fact, Noorie first starts smelling and feeling the presence of a dog while Ayaan befriends a shadowy figure. Elsewhere, two terrorists are planning a major attack with the instructions coming from a certain faceless Bhaijaan who only communicates through satellite calls. Ridwaan is emotionally distant from his family, especially his daughter. A past incident has created a gap between the father and daughter, and neither has been able to move past it. As more children disappear and his family gets more suspicious of a certain presence inside the house, Ridwaan has to deal with personal and professional crises. What works in Baramulla Coupled with supernatural elements, terrorism and a case of missing children, Baramulla has a lot going on in its 112-minute runtime, but solid writing makes this film an engaging watch. A film with multiple subplots tends to go haywire as most writers become indulgent while establishing these plot points. But in Baramulla, the focus remains on the missing children, who the police and locals feel, are being kidnapped by one person. The subplots are unravelled slowly in the narrative, making the viewers curious about how the cases are related or if related at all. A film on the lines of supernatural has to have a certain amount of thrill and scare attached to it, and viewers must get spooked. Baramulla weaves an intricate story of suspense and revenge, which beautifully ties up the loose ends in the climax. While the writing is deft, the actors too are stunning in their restrained performances. Manav Kaul plays a father who is never able to connect to his children. He is a good cop who does his job well, yet never gets his daughter’s approval. Meanwhile, Bhasha Sumbli, plays the wife who has to bridge the gap between her husband and her children. Both these actors are restrained in their performance and provide a certain calmness to the horror that’s taking place around them.

Baramulla movie review: Manav Kaul leads this week's supernatural thriller film, which gives a grim picture of the Kashmir Valley and deftly weaves a horror story with insurgency in the valley.&nbsp;

Baramulla movie review: Manav Kaul leads a riveting story rooted in Kashmir’s tragic past

Maddock Films’ newest offering, its horror franchise, Thamma, featuring Ayushmann Khurrana and Rashmika Mandanna, opens up a new world. After ghosts and werewolves, Thamma introduces the world of Vampires or ‘Betaals’ to the audience. Ayushmann returns to the big screen after a long hiatus, taking up a character which is similar to his previous films, yet strikingly different as it belongs to the fantasy fiction genre. Directed by Munjya director Aditya Sarpotdar, Thamma explores a new genre in the Maddock Horror Comedy Universe- MHCU- a name coined by the banner- where Vampires thrive on blood but also maintain an equilibrium between their world and our world.&nbsp;&nbsp;<h2>Plot of Thamma</h2>The film’s first scene goes back in time when Emperor Alexander, with his entourage, accidentally stumbles into a forest infested by Betals. Centuries later, rookie journalist Aloke Goyal (Khurrana) goes to the same forest with his friends for camping and gets lost in the middle and then is chased by a bear. He is rescued by one Thadaka (Madanna) a mysterious, alluring woman (or not) who nurses him back to health and even protects him from her own people, the ever hunting Betaals in the secret forest who are hunting for a human to offer to Thamma (leader of the pack) or Yakshasan (Nawazuddin Siddiqui), who has been held captive for over 75 years for breaking a cardinal rule- of sucking blood of humans and creating imbalance between two worlds.&nbsp;&nbsp;As Yakshasan’s men continue their hunt for a human, Tadaka and Aloke elope from the jungle to Delhi, where Aloke’s father, a retired accountant (Paresh Rawal), grows suspicious of Tadaka’s actual identity. Is she a vampire or a spirit or a human with superpowers? More importantly, can her love for Aloke protect him from Yakshasan’s men?&nbsp;<h2>What works in Thamma</h2>&nbsp;The first half, when the world of Thamma is established, with Aloke and Tadaka discovering love for each other, is well executed. It’s a new film, a new story and one feels invested. Rashmika, who has been part of a few Bollywood films now, finally gets a role that gives her ample scope to perform, and she does not disappoint. She plays the wide-eyed, honest to a fault, good-hearted Betaal who hopelessly falls in love with a human and thus makes the biggest mistake of her life, jeopardising her community as well as the man she loves deeply. Rashmika plays the character is sincerity, highlighting the vulnerabilities and strengths of Tadaka well.&nbsp;&nbsp;Giving her company is Ayushmann Khurrana. It’s always a delight to watch the actor perform. The script may not always be very cohesive, but Khurrrana, with his charm and natural acting, always manages to impress. He plays the usual Delhi boy, too self-assured, even though he fails at every juncture. But the film also gives him scope to try action along with comedy. He delivers the puns well, romances Rashmika and throws in punches when required.&nbsp;&nbsp;Siddiqui also gets to play a motor-mouth, cocky villain who gets some interesting lines but has limited scope to completely showcase his talent. It's not Siddiqui’s fault; it is the poor writing that never flexes the actors well.&nbsp;&nbsp;Paresh Rawal, Faisal Malik and Geeta Aggarwal are good in the limited screen time that they have.&nbsp;<h2>What does not work</h2>While the film manages to engage well in the first half and beautifully establishes the plot and the key characters, the curse of the second half sets in Thamma. Unnecessary cameos, an attempt to weave in other plots and characters from the franchise to build a connection, mar the narrative, making it sluggish. There are some sparks in between, one which involves Varun Dhawan’s Bhediya and Ayushmann’s Thamma battling it out. While the scene begins with the two taking each other down and dismissing each other’s potential (Vikas puri ka Warewolf and Sarojini ka sasta Vampire), the scene doesn’t end at the right place and stretches a bit too much.&nbsp;&nbsp;A lot of the elements, I felt, were haphazardly put together. Aloke’s parents are very involved in their son’s life but somehow vanish in the second half, especially his mom.&nbsp;&nbsp;<h2>Final verdict</h2>Since Thamma is the fifth film in the horror franchise, expectations are high from this one. It comes from the universe, which has given us the funny Stree, the thought-provoking Bhediya and the surprisingly refreshing Munjya in the past. Thamma turns out to be a sappy love story, but never leaves a defining impression. It entertains in parts, a lot of pop culture references invoke the humour, has great music, and even a message about humans and compassion tucked in, but it isn’t half as impactful as the previous hit films from the franchise.&nbsp;&nbsp;Thamma is now running in theatres across the country.&nbsp;

Thamma movie review: The fifth film in Maddock's horror comedy universe, the film explores the world of Betaal or Vampires who need to maintain a balance between their world and our world. The film stars Ayushmann Khurrana and Rashmika Mandanna in the lead. 

Maddock Films’ newest offering, its horror franchise, Thamma, featuring Ayushmann Khurrana and Rashmika Mandanna, opens up a new world. After ghosts and werewolves, Thamma introduces the world of Vampires or ‘Betaals’ to the audience. Ayushmann returns to the big screen after a long hiatus, taking up a character which is similar to his previous films, yet strikingly different as it belongs to the fantasy fiction genre. Directed by Munjya director Aditya Sarpotdar, Thamma explores a new genre in the Maddock Horror Comedy Universe- MHCU- a name coined by the banner- where Vampires thrive on blood but also maintain an equilibrium between their world and our world. Plot of Thamma The film’s first scene goes back in time when Emperor Alexander, with his entourage, accidentally stumbles into a forest infested by Betals. Centuries later, rookie journalist Aloke Goyal (Khurrana) goes to the same forest with his friends for camping and gets lost in the middle and then is chased by a bear. He is rescued by one Thadaka (Madanna) a mysterious, alluring woman (or not) who nurses him back to health and even protects him from her own people, the ever hunting Betaals in the secret forest who are hunting for a human to offer to Thamma (leader of the pack) or Yakshasan (Nawazuddin Siddiqui), who has been held captive for over 75 years for breaking a cardinal rule- of sucking blood of humans and creating imbalance between two worlds. As Yakshasan’s men continue their hunt for a human, Tadaka and Aloke elope from the jungle to Delhi, where Aloke’s father, a retired accountant (Paresh Rawal), grows suspicious of Tadaka’s actual identity. Is she a vampire or a spirit or a human with superpowers? More importantly, can her love for Aloke protect him from Yakshasan’s men? What works in Thamma The first half, when the world of Thamma is established, with Aloke and Tadaka discovering love for each other, is well executed. It’s a new film, a new story and one feels invested. Rashmika, who has been part of a few Bollywood films now, finally gets a role that gives her ample scope to perform, and she does not disappoint. She plays the wide-eyed, honest to a fault, good-hearted Betaal who hopelessly falls in love with a human and thus makes the biggest mistake of her life, jeopardising her community as well as the man she loves deeply. Rashmika plays the character is sincerity, highlighting the vulnerabilities and strengths of Tadaka well. Giving her company is Ayushmann Khurrana. It’s always a delight to watch the actor perform. The script may not always be very cohesive, but Khurrrana, with his charm and natural acting, always manages to impress. He plays the usual Delhi boy, too self-assured, even though he fails at every juncture. But the film also gives him scope to try action along with comedy. He delivers the puns well, romances Rashmika and throws in punches when required. Siddiqui also gets to play a motor-mouth, cocky villain who gets some interesting lines but has limited scope to completely showcase his talent. It's not Siddiqui’s fault; it is the poor writing that never flexes the actors well. Paresh Rawal, Faisal Malik and Geeta Aggarwal are good in the limited screen time that they have. What does not work While the film manages to engage well in the first half and beautifully establishes the plot and the key characters, the curse of the second half sets in Thamma. Unnecessary cameos, an attempt to weave in other plots and characters from the franchise to build a connection, mar the narrative, making it sluggish. There are some sparks in between, one which involves Varun Dhawan’s Bhediya and Ayushmann’s Thamma battling it out. While the scene begins with the two taking each other down and dismissing each other’s potential (Vikas puri ka Warewolf and Sarojini ka sasta Vampire), the scene doesn’t end at the right place and stretches a bit too much. A lot of the elements, I felt, were haphazardly put together. Aloke’s parents are very involved in their son’s life but somehow vanish in the second half, especially his mom. Final verdict Since Thamma is the fifth film in the horror franchise, expectations are high from this one. It comes from the universe, which has given us the funny Stree, the thought-provoking Bhediya and the surprisingly refreshing Munjya in the past. Thamma turns out to be a sappy love story, but never leaves a defining impression. It entertains in parts, a lot of pop culture references invoke the humour, has great music, and even a message about humans and compassion tucked in, but it isn’t half as impactful as the previous hit films from the franchise. Thamma is now running in theatres across the country.

Thamma movie review: The fifth film in Maddock's horror comedy universe, the film explores the world of Betaal or Vampires who need to maintain a balance between their world and our world. The film stars Ayushmann Khurrana and Rashmika Mandanna in the lead.&nbsp;

Thamma movie review: Ayushmann Khurrana, Rashmika Mandanna’s film has bloodthirsty vampires turning sappy in love

Sometimes the movie is nothing but an extended version of a trailer. Varun Dhawan and Janhvi Kapoor's Sunny Sanskari Ki Tulsi Kumari is out in the theatres, and before the world watches, the critics have been shown the film. Sometimes we love a movie, other times we hate it, and then there are some films, we are sceptical about. But Sunny Sanskari Ki Tulsi Kumari doesn’t land in any of these aforementioned categories. It’s torturous, overdramatic, and all things nonsense. &nbsp; It makes you think and question again what made them release this in the theatre. The world now has a medium called OTT, which is best for films like this, where you can watch, pause, watch again, pause again, and even end the movie whenever you want. While the option to step out of the theatre is still available, the price you pay to watch this film makes the experience a struggle throughout.<h2>What is Sunny Sanskari Ki Tulsi Kumari about?</h2>Uff the plot! It was the most juvenile thing that I had watched this year. The movie starts with a dialogue from SS Rajamouli's Baahubali, and people who had watched Badrinath Ki Dulhania get the gist that it's Varun's entry. Okay, so Dhawan plays the role of Sunny Sanskari, who is head over heels in love with Ananya (Sanya Malhotra). They have been dating for over two years now. She's returning from Italy, and Sunny proposes to her in Baahubali style. Why? Because it's Ananya's favourite film. However, his heart breaks when Ananya says no to his proposal and tells him about a new boy in life- Vikram Singh (Rohit Saraf) who is rich and oh-so-smart and obviously Ananya's choice. Sunny is now the heartbroken lover who is unable to move on. He, with the help of his best friend Bantu (Abhinav Sharma), gets to know about Vikram's love saga. &nbsp; Much like Sunny and Ananya, Vikram has also been in a relationship with a school teacher, Tulsi (Janhvi). They both are in love, but Vikram refuses to marry her because his mother and brother don't like Tulsi. When these two heartbroken lovers meet, and Sunny persuades Tulsi to gate-crash their ex's wedding to gain their old lovers back.&nbsp; &nbsp;

Still from Sunny Sanskari Ki Tulsi Kumari

<h2>What breaks your heart the most?</h2>I have always loved watching director Shashank Khaitan's films, be it Humpty Sharma Ki Dulhania or Badrinath Ki Dulhania. From stories to heroes' buffoonery, songs and all the cringeworthy things that people do in love, Khaitan's films are mostly entertaining. However, this film is not one of them. It has the things that don't make you laugh; the over-dramatisation of the film bores you. Although the palette is very colourful, filled with designer clothes and everything nice, the story and actors fail to grip you on the screen. It's a Bollywood lovey-dovey drama backed by Karan Johar's Dharma Productions. The renowned director said in the recently released Aryan Khan's Ba***ds of Bollywood, that nobody makes love stories better than him. &nbsp;Yes, I agree too, howevere, Johar the producer has not backed a great love story this time around.&nbsp; &nbsp;

The story of the movie didn't even look striking on paper, but it may have been discussed how they would fill all the holes with the dazzling presentation. But that didn't work. Varun has accurately tried to bring his unbeatable charm with his comic timing, and energy. But what can he do when his dialogues are not enough to make you laugh? In this movie, &nbsp;even Janhvi is not at her best. Varun and Janhvi were the focus, so they got the best of all, and they did their best. But do only dance moves and a few lines make the movie watchable?&nbsp; &nbsp; One scene in the film was so cringe that I wish it was not there at all. The scene post Holi party, where the lead cast Varun, Janhvi, Sanya and Rohit, are struggling to crawl as they are all drunk was so badly enacted. The scene has no feel; everything felt fabricated.&nbsp;&nbsp;Rohit Saraf and Sanya Malhotra, great actors otherwise, get hardly any scope to perform in this film.&nbsp; &nbsp; Maniesh Paul, as the wedding planner, was the most cartoonish character. But at least, he made me laugh through his dramatic performance. The lack in the script is covered well with some cheeky dialogues and well-dramatised monologues. Although Khaitan's rom-com fails to make a connection with the audience, you don't feel for the characters, the stories, and you don't even have any reaction to the climax, which has a cameo of Saraf's most popular co-star.&nbsp; &nbsp; Sunny Sanskari Ki Tulsi Kumari is an OTT film that you can pause, fast-forward, and re-watch anytime. But it's running in theatres across the country.&nbsp;

Directed by Shashank Khaitan, Sunny Sanskari Ki Tulsi Kumari is a movie loaded with star power, but it stumbles with a weak and juvenile script. The OTT-friendly movie is now available to watch in theatres. 

Sometimes the movie is nothing but an extended version of a trailer. Varun Dhawan and Janhvi Kapoor's Sunny Sanskari Ki Tulsi Kumari is out in the theatres, and before the world watches, the critics have been shown the film. Sometimes we love a movie, other times we hate it, and then there are some films, we are sceptical about. But Sunny Sanskari Ki Tulsi Kumari doesn’t land in any of these aforementioned categories. It’s torturous, overdramatic, and all things nonsense. It makes you think and question again what made them release this in the theatre. The world now has a medium called OTT, which is best for films like this, where you can watch, pause, watch again, pause again, and even end the movie whenever you want. While the option to step out of the theatre is still available, the price you pay to watch this film makes the experience a struggle throughout. What is Sunny Sanskari Ki Tulsi Kumari about? Uff the plot! It was the most juvenile thing that I had watched this year. The movie starts with a dialogue from SS Rajamouli's Baahubali, and people who had watched Badrinath Ki Dulhania get the gist that it's Varun's entry. Okay, so Dhawan plays the role of Sunny Sanskari, who is head over heels in love with Ananya (Sanya Malhotra). They have been dating for over two years now. She's returning from Italy, and Sunny proposes to her in Baahubali style. Why? Because it's Ananya's favourite film. However, his heart breaks when Ananya says no to his proposal and tells him about a new boy in life- Vikram Singh (Rohit Saraf) who is rich and oh-so-smart and obviously Ananya's choice. Sunny is now the heartbroken lover who is unable to move on. He, with the help of his best friend Bantu (Abhinav Sharma), gets to know about Vikram's love saga. Much like Sunny and Ananya, Vikram has also been in a relationship with a school teacher, Tulsi (Janhvi). They both are in love, but Vikram refuses to marry her because his mother and brother don't like Tulsi. When these two heartbroken lovers meet, and Sunny persuades Tulsi to gate-crash their ex's wedding to gain their old lovers back.

Directed by Shashank Khaitan, Sunny Sanskari Ki Tulsi Kumari is a movie loaded with star power, but it stumbles with a weak and juvenile script. The OTT-friendly movie is now available to watch in theatres.&nbsp;

Sunny Sanskari Ki Tulsi Kumari review: Varun and Janhvi's film is a forgettable love story

Ajay Devgn is back in full form as the Income Tax officer Amay Patnaik in Raid 2 as he fights off corruption and money-hungry politicians. Raid 2 pits Ajay Devgn&rsquo;s officer against corrupt and power-hungry politician Dadabhai aka Riteish Deshmukh in a thrilling cat-and-mouse chase. Raid 2 is as good as the first film which became a huge sensation at the box office and continues a good run for the franchise.&nbsp;
Directed by Raj Kumar Gupta, Raid 2 delivers its promise of being nail-biting till the end although it does feel a bit lengthy towards the end. The film, however, manages to still keep you hooked and not drag like most films do when you can predict the ending of a good prevails over evil saga.&nbsp;
Riteish is brilliant in every frame. He is vicious, perverse, deceitful and you can&rsquo;t stop looking at him when he does what he does as Dadabhai &ndash; a man considered too good to be true and exalted as God by the people of Bhoj. He plays the unsuspecting politician who has made helping the poor his motto, and it's only Amay who is able to unmask the real Dadabhai.&nbsp;
How he makes the people around him believe in his false narrative is what the story tells us through twists and turns. The songs also fare well and complement the story.&nbsp;
<img src="https://img-cdn.publive.online/fit-in/580x0/filters:format(webp)/wion/media/post_attachments/57f1a5cc-4be.jpg" alt="Riteish" style="width: 580px;">
Ajay and Vaani Kapoor&rsquo;s chemistry also deserves a mention. The two look good with each other. While it is Amay and Dadabhai&rsquo;s film, Vaani does do more than just acting as a beautiful face. &nbsp;
<h2>What works</h2>
Raid 2 is gripping, its engaging, it tells us a new story of fight against corrupt people in power. It has some great acting from the leading actors. Both Ajay and Riteish are in top form. Ajay does justice once again in the cop role. Riteish shines as vile politician who hoards the entire city&rsquo;s money while playing saint.&nbsp;
The story impresses with its shock value as fans keep guessing where he&rsquo;s stashed all the black money &ndash; gold, immovable assets, cash, and more.&nbsp;
Saurabh Shukla strikes again in the film as Tau Ji from Raid. His story gets a follow-up in Raid 2 as he&rsquo;s shown revelling in Amay&rsquo;s actions. He&rsquo;s brilliant as the scornful Tau Ji who desperately wants Amy to fail only to become his cheerleader towards the end.&nbsp;
<h2 class="gh-archive-page-post-title"><a class="gh-archive-page-post-title-link" href="https://www.wionews.com/entertainment/pakistani-artists-fawad-khan-atif-aslams-account-still-visible-in-india-9020565" aria-label="Pakistani artists Fawad Khan, Atif Aslam's accounts still visible in India">Pakistani artists Fawad Khan, Atif Aslam's accounts still visible in India</a></h2>
Amit Sial as Income Tax officer in Ajay Devgn's team is convincing as corrupt officer who worships money. He is believable as a man who thinks its okay to not be honest in a system that compensates the corrupt. It's a delight to watch Amit Sial on the screen.&nbsp;
Watch trailer of Raid 2:&nbsp;
<iframe width="642" height="361" src="https://www.youtube.com/embed/kQF1gl7nLaU" title="RAID 2 (TRAILER): Ajay D | Riteish D | Vaani K | Raj K | Abhishek P | Kumar M | Bhushan K, Krishan K" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen="allowfullscreen"></iframe>
<h2>What doesn&rsquo;t&nbsp;</h2>
The only thing that could have made the film tighter is the length. A crisp 20 minutes editing would have made the film tighter because honestly towards the end, everyone knew Dadabhai&rsquo;s fate and were expecting it to end.&nbsp;

Entertainment Bollywood Raid 2 movie review: Ajay Devgn, Riteish Deshmukh impress in this good vs evil drama about an officer standing tall against corruption.

Ajay Devgn is back in full form as the Income Tax officer Amay Patnaik in Raid 2 as he fights off corruption and money-hungry politicians. Raid 2 pits Ajay Devgn’s officer against corrupt and power-hungry politician Dadabhai aka Riteish Deshmukh in a thrilling cat-and-mouse chase. Raid 2 is as good as the first film which became a huge sensation at the box office and continues a good run for the franchise. Directed by Raj Kumar Gupta, Raid 2 delivers its promise of being nail-biting till the end although it does feel a bit lengthy towards the end. The film, however, manages to still keep you hooked and not drag like most films do when you can predict the ending of a good prevails over evil saga. Riteish is brilliant in every frame. He is vicious, perverse, deceitful and you can’t stop looking at him when he does what he does as Dadabhai – a man considered too good to be true and exalted as God by the people of Bhoj. He plays the unsuspecting politician who has made helping the poor his motto, and it's only Amay who is able to unmask the real Dadabhai. How he makes the people around him believe in his false narrative is what the story tells us through twists and turns. The songs also fare well and complement the story. Ajay and Vaani Kapoor’s chemistry also deserves a mention. The two look good with each other. While it is Amay and Dadabhai’s film, Vaani does do more than just acting as a beautiful face. What works Raid 2 is gripping, its engaging, it tells us a new story of fight against corrupt people in power. It has some great acting from the leading actors. Both Ajay and Riteish are in top form. Ajay does justice once again in the cop role. Riteish shines as vile politician who hoards the entire city’s money while playing saint. The story impresses with its shock value as fans keep guessing where he’s stashed all the black money – gold, immovable assets, cash, and more. Saurabh Shukla strikes again in the film as Tau Ji from Raid. His story gets a follow-up in Raid 2 as he’s shown revelling in Amay’s actions. He’s brilliant as the scornful Tau Ji who desperately wants Amy to fail only to become his cheerleader towards the end. Pakistani artists Fawad Khan, Atif Aslam's accounts still visible in India Amit Sial as Income Tax officer in Ajay Devgn's team is convincing as corrupt officer who worships money. He is believable as a man who thinks its okay to not be honest in a system that compensates the corrupt. It's a delight to watch Amit Sial on the screen. Watch trailer of Raid 2: What doesn’t The only thing that could have made the film tighter is the length. A crisp 20 minutes editing would have made the film tighter because honestly towards the end, everyone knew Dadabhai’s fate and were expecting it to end.

Raid 2 movie review: Ajay Devgn, Riteish Deshmukh stand tall in this gripping cat-and-mouse drama

Its a grim Friday at the movies as Bollywood has released two murder mysteries. Kareena Kapoor Khan's maiden production The Buckingham Murders hits theaters while Vikrant Massey starrer Sector 36 premieres on Netflix. Both murder mysteries which project their leads in very different light. So which one should you watch? Watch Critically Speaking to find out...

The Buckingham Murders Vs Sector 36: What To Watch | WION Originals

Directed by Vikas Bahl, Shaitaan is a psychological thriller. A remake of Gujarati film Vash, Shaitaan has an interesting premise where a man takes control of a family and hypnotises the daughter for his own sadistic pleasure. It has R Madhavan in a negative while Ajay Devgn and Jyothika play helpless parents. While the trailer of the film looked interesting, does the film work? Watch Critically Speaking to find out.

Shaitaan review: Does Ajay Devgn, R Madhavan's film work?

Filmmaker Sujoy Ghosh made Kahaani in 2012. Every film that he has made in the subsequent years has inadvertently been compared to that film. It set a benchmark for thrillers in Hindi cinema in the past decade. The story, which had Ghosh as the co-writer, remains one of the most thrilling tales of revenge ever told. With Kahaani, Ghosh himself set the benchmark very high. His latest, Jaane Jaan, which has Kareena Kapoor headlining the cast, falls under the same category of mystery thrillers, only here we know the killer from the beginning.

Jaane Jaan review: Kareena Kapoor, Jaideep Ahlawat & Vijay Varma make it worth your time

Shah Rukh Khan cements his position at the top with his latest film Jawan. Made by Atlee, Jawan has Khan in a double role. The vigilante drama uses the frame work of south Indian actioners and presents SRK in a larger than life avatar. He is not alone though. Giving him company in this thrilling ride are a bunch of women. Nayanthara, Sanya Malhotra, Priyamani and Deepika Padukone play key roles in the film. The film also has Vijay Sethupathi as an antagonist. Watch Critically Speaking to find out why Shah Rukh Khan's Jawan works.

Shah Rukh Khan is back with a bang in Jawan | Critically Speaking

For those familiar with Wes Anderson's filmography, the mere mention of his name conjures images of carefully composed frames, vibrant colour palettes, and a cast of characters that seem to spring from the pages of a storybook. Asteroid City checks all these boxes, but it also takes us deeper into the recesses of Anderson's prolifically creative mind, revealing new layers of narrative complexity and metatextual exploration. Watch WION's Kshitij Mohan Rawat's review here.

Asteroid City review: Wes Anderson's latest is a feast for the senses

Karan Johar's highly anticipated film Rocky Aur Rani Kii Prem Kahaani is finally out! The film has an ensemble cast with Ranveer Singh and Alia Bhatt playing the titular roles. Ranveer plays Rocky, a Delhi Punjabi boy from a rich business family who falls in love with Rani, a sucessful journalist from a modern, liberal Bengali family. While the two want to make it work, they realise their families are starkly different and so they decide to swap places to understand each other's background. The film also features Jaya Bachchan, Dharmendra and Shabana Azmi in key roles. Typical Karan Johar family drama, the film is mounted on a big scale. Does it work, though? Watch Critically Speaking to find out.

Ranveer Singh is the star of Rocky Aur Rani Kii Prem Kahaani | Critically Speaking

From a revolving door of filmmakers and writers to the star Ezra Miller going on a crime spree, Andy Muschietti's The Flash has had a rocky road to its release ever since it was announced in 2014. Things even got bad enough that it felt impossible that the DC movie would see the light of day. But somehow, the cosmic forces aligned and it is finally here. But is this multiverse-spanning superhero adventure worth a watch? Watch WION's Kshitij Mohan Rawat's review.

Movie Review: Was The Flash worth the wait? | Critically Speaking

Spider-Man: Across the Spider-Verse is finally here. The animated film is a sequel to 2018’s phenomenal Spider-Man: Into the Spider-Verse and continues the story of Miles Morales an Afro-Latino teen who becomes a Spider-Man after he is bitten by a radioactive Spider. In Across the Spider-Verse we find him still struggling to balance his personal life with his superhero life. Is the film any good? Watch WION's Kshitij Mohan Rawat's review.

Movie Review: Was Spider-Man: Across the Spider-Verse worth the wait? | Critically Speaking

If it were not clear from the trailers and promos, Vol 3 is a dramatic departure from its mostly humour-heavy predecessors, with a sombre tone that tackles weighty themes like trauma and redemption. Watch WION's Kshitij Rawat with his review of the film.

Guardians of the Galaxy 3 review: Hilarious and heart-wrenching, best MCU film in years

Vikramaditya Motwane's new web series Jubilee is a grand tribute to the golden era of Indian cinema of the 1940s and 1950s. The series features a gamut of stars including Prosenjit Chatterjee, Aditi Rao Hydari, Aparshakti Khurana, Ram Kapoor, Sidhant Gupta and Wamiqa Gabbi. The film with its sets, costumes and story transports you back in time. WION's Shomini Sen watched the first five episodes of the show and here's the review of the series.

Critically Speaking: Jubilee is a stunning ode to the golden era of Indian cinema

If I did not know beforehand that 'Sherdil: The Pilibhit Saga' is indeed based on a true story, or rather stories, I probably would have scoffed at what transpires throughout the movie. Written and directed by National Award winner Srijit Mukherji, the plot of 'Sherdil' is often too ridiculous to follow.&nbsp;

But then, truth is often stranger than fiction. A few things that happen in our daily, quotidian lives would confound even the most prolific of human imaginations.

Starring Pankaj Tripathi as sarpanch Gangaram, the film is set in an unnamed village located at the edge of a tiger reserve. Beset by wild animals like boars and nilgai, who stampede through crops and destroy the only source of livelihood for the villagers, the place is unable to sustain itself and there are frequent deaths from starvation. Things are grim.

Also Read:<a href="https://www.wionews.com/entertainment/pathaan-first-look-shah-rukh-khan-shares-poster-as-he-completes-30-years-in-bollywood-491615">&nbsp;‘Pathaan’: Shah Rukh Khan drops first look as he completes 30 years in Bollywood</a>

Gangaram takes a trip to the city to complain to government officials, but to no avail. Then he spots a pamphlet in the office depicting the government's promise of Rs 10 lakh compensation to the family of a person who is killed by a tiger in an agricultural field.&nbsp;

<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/yN_4cFkqin8" title="YouTube video player" width="560"></iframe>

To solve the troubles of his village, he takes matters into his own hands. He concocts an unhinged plan to sacrifice himself to a tiger by venturing into the wild, defying the protests of his wife (Sayani Gupta). He also leaves instructions to his friends to transfer his remains to a field, so that compensation would be ensured. The government's money might help the villagers survive, at least temporarily.

Mukherji's script does not move as much as leaps in-between moments of utter quietude. There are indulgent, stretched shots of Gangaram lost in the dense jungle, searching for the apex predator who remains elusive. The narrative is non-linear and switches between his amateur tracking of the big cat and his conversations with his family and other village elders.

Also Read:<a href="https://www.wionews.com/entertainment?page=1#:~:text=%27Bhool%20Bhulaiyaa%202%27%20declared%20blockbuster%3B%20decoding%20Kartik%20Aaryan%27s%20success%20story">&nbsp;'Bhool Bhulaiyaa 2' declared blockbuster; decoding Kartik Aaryan's success story</a>

'Sherdil' balances its surrealist elements with themes as varied as institutional rot in Indian bureaucracy and the perpetual conflict between man vs nature.&nbsp; 
Conserving ecosystems and letting endangered animals thrive in protected sanctuaries is undoubtedly necessary but at the cost of human life?

'Sherdil' does not always work. Sections of the film seem to have a disconnect at times and do not always watch like part of the whole. The time Gangaram spends in the jungle feels like a spinoff story of what is happening in human civilisation, such as it is.

What makes this bizarre mishmash work is Pankaj Tripathi. It would be unfair to call his craft effortless because it must really take a lot of effort, but he does make it look so. Not many would have played a preposterous character like Gangaram with such panache. In his hands, notwithstanding his hare-brained ideas, Gangaram feels like a living and breathing person and you will end up empathising with him.&nbsp;

Watch 'Sherdil: The Pilibhit Saga' for Pankaj Tripathi.

If I did not know beforehand that 'Sherdil: The Pilibhit Saga' is indeed based on a true story, or rather stories, I probably would have scoffed at what transpires throughout the movie.

If I did not know beforehand that 'Sherdil: The Pilibhit Saga' is indeed based on a true story, or rather stories, I probably would have scoffed at what transpires throughout the movie. Written and directed by National Award winner Srijit Mukherji, the plot of 'Sherdil' is often too ridiculous to follow. But then, truth is often stranger than fiction. A few things that happen in our daily, quotidian lives would confound even the most prolific of human imaginations. Starring Pankaj Tripathi as sarpanch Gangaram, the film is set in an unnamed village located at the edge of a tiger reserve. Beset by wild animals like boars and nilgai, who stampede through crops and destroy the only source of livelihood for the villagers, the place is unable to sustain itself and there are frequent deaths from starvation. Things are grim. Also Read: ‘Pathaan’: Shah Rukh Khan drops first look as he completes 30 years in Bollywood Gangaram takes a trip to the city to complain to government officials, but to no avail. Then he spots a pamphlet in the office depicting the government's promise of Rs 10 lakh compensation to the family of a person who is killed by a tiger in an agricultural field. To solve the troubles of his village, he takes matters into his own hands. He concocts an unhinged plan to sacrifice himself to a tiger by venturing into the wild, defying the protests of his wife (Sayani Gupta). He also leaves instructions to his friends to transfer his remains to a field, so that compensation would be ensured. The government's money might help the villagers survive, at least temporarily. Mukherji's script does not move as much as leaps in-between moments of utter quietude. There are indulgent, stretched shots of Gangaram lost in the dense jungle, searching for the apex predator who remains elusive. The narrative is non-linear and switches between his amateur tracking of the big cat and his conversations with his family and other village elders. Also Read: 'Bhool Bhulaiyaa 2' declared blockbuster; decoding Kartik Aaryan's success story 'Sherdil' balances its surrealist elements with themes as varied as institutional rot in Indian bureaucracy and the perpetual conflict between man vs nature. Conserving ecosystems and letting endangered animals thrive in protected sanctuaries is undoubtedly necessary but at the cost of human life? 'Sherdil' does not always work. Sections of the film seem to have a disconnect at times and do not always watch like part of the whole. The time Gangaram spends in the jungle feels like a spinoff story of what is happening in human civilisation, such as it is. What makes this bizarre mishmash work is Pankaj Tripathi. It would be unfair to call his craft effortless because it must really take a lot of effort, but he does make it look so. Not many would have played a preposterous character like Gangaram with such panache. In his hands, notwithstanding his hare-brained ideas, Gangaram feels like a living and breathing person and you will end up empathising with him. Watch 'Sherdil: The Pilibhit Saga' for Pankaj Tripathi.

'Sherdil The Pilibhit Saga' review: A brilliant Pankaj Tripathi saves this uneven film

Honest, cute, funny are some qualities that Sundareshwar of ‘Meenakshi Sundareshwar’, Netflix’s latest offering, ticks in Meenakshi’s list of a probable candidate for arranged marriage. What doesn’t match though is superstar Rajinikanth since Meenakshi (Sanya Malhotra) is a die-hard fan who mimics, imitates his style and is a full-on filmy Tamil girl while Sundareshwar (Abhimanyu Dassani) is a nerdy Tamil engineer boy who doesn’t enjoy movies as it puts him to sleep.&nbsp;

Leading with non-Tamil actors in a setup of Tamil families from Madurai, Karan Johar’s Meenakshi Sundareshwar is a story of newlyweds who face challenges in their marriage as the boy leaves for the big city for work leaving behind his smart, confident bride in a joint family. Directed by Vivek Soni, the story is sweet, picks up effortlessly and their charming coy looks to one another radiate through the screen but only if it reached somewhere towards the second half of the film.&nbsp;

Watch the film's trailer here:

<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="440" src="https://www.youtube.com/embed/YzcjhEDel1c" title="YouTube video player" width="782"></iframe>

The film’s story plays the devil’s advocate for arranged marriages and we have no issue with that but it doesn’t take you anywhere. The actors are good in their part and Sanya Malhotra shines with her screen presence as she brings a smile on your face with her playful winks, glistening eyes everytime she looks at the husband but doesn’t quite ace the Tamil language. She tries but doesn’t quite reach there. So does Abhimanyu who is more convincing as an engineer who has never dated or had a girlfriend but not as a Tamilian or as Sanya’s love interest (read husband). Maybe that’s what the director wanted to show, that the love couldn't blossom between the two because of the lack of physical intimacy courtesy the long-distance or that’s a flaw. We can’t decide.&nbsp;

<img alt="meenakshi" data-entity-type="file" data-entity-uuid="c6a2241e-d8b9-4345-971f-ca3c8f98236f" src="//cdn.wionews.com/sites/default/files/inline-images/New-281.jpg" />

The music score is brilliant and you will keep humming the title score for a long time after you have seen the film. It marks the debut of Justin Prabhakaran, a composer who has scored popular music for many Tamil, Malayalam and Telugu films. The lyrics have been written by Raj Shekhar and they don’t disappoint you one bit.

Also read: <a href="https://www.wionews.com/entertainment/bollywood/news-alia-bhatt--ranbir-kapoor-can%E2%80%99t-take-their-eyes-off-each-other-in-latest-diwali-post-426918" hreflang="en">Alia Bhatt &amp; Ranbir Kapoor can’t take their eyes off each other in latest Diwali post</a>

<a href="https://www.wionews.com/entertainment/hollywood/news-eternals-review-chloe-zhaos-latest-is-not-your-usual-marvel-film-426875" hreflang="en">'Eternals' review: Chloe Zhao's latest is not your usual Marvel film&nbsp;</a>&nbsp;

If not for the lofty Tamil that the actors attempt and the story that makes you want for a little more, it’s a sweet family drama that will not bore you and will only put a smile to your face. The romantic equation that the film challenges or defends is not unique but you’ll like Meenakshi Sundareshwar with their unsolved hundred problems. Watch the film for its music, honest acting and a sweet love story.

Also read:&nbsp;<a href="https://www.wionews.com/entertainment/annaatthe-becomes-rajinikanths-first-film-in-26-years-to-release-on-diwali-426714" hreflang="en">'Annaatthe' becomes Rajinikanth's first film in 26 years to release on Diwali</a>

Honest, cute, funny are some qualities that Sundareshwar of ‘Meenakshi Sundareshwar’, Netflix’s latest offering, ticks in Meenakshi’s list of a probable candidate for arranged marriage.

Honest, cute, funny are some qualities that Sundareshwar of ‘Meenakshi Sundareshwar’, Netflix’s latest offering, ticks in Meenakshi’s list of a probable candidate for arranged marriage. What doesn’t match though is superstar Rajinikanth since Meenakshi (Sanya Malhotra) is a die-hard fan who mimics, imitates his style and is a full-on filmy Tamil girl while Sundareshwar (Abhimanyu Dassani) is a nerdy Tamil engineer boy who doesn’t enjoy movies as it puts him to sleep. Leading with non-Tamil actors in a setup of Tamil families from Madurai, Karan Johar’s Meenakshi Sundareshwar is a story of newlyweds who face challenges in their marriage as the boy leaves for the big city for work leaving behind his smart, confident bride in a joint family. Directed by Vivek Soni, the story is sweet, picks up effortlessly and their charming coy looks to one another radiate through the screen but only if it reached somewhere towards the second half of the film. Watch the film's trailer here: The film’s story plays the devil’s advocate for arranged marriages and we have no issue with that but it doesn’t take you anywhere. The actors are good in their part and Sanya Malhotra shines with her screen presence as she brings a smile on your face with her playful winks, glistening eyes everytime she looks at the husband but doesn’t quite ace the Tamil language. She tries but doesn’t quite reach there. So does Abhimanyu who is more convincing as an engineer who has never dated or had a girlfriend but not as a Tamilian or as Sanya’s love interest (read husband). Maybe that’s what the director wanted to show, that the love couldn't blossom between the two because of the lack of physical intimacy courtesy the long-distance or that’s a flaw. We can’t decide. The music score is brilliant and you will keep humming the title score for a long time after you have seen the film. It marks the debut of Justin Prabhakaran, a composer who has scored popular music for many Tamil, Malayalam and Telugu films. The lyrics have been written by Raj Shekhar and they don’t disappoint you one bit. Also read: Alia Bhatt & Ranbir Kapoor can’t take their eyes off each other in latest Diwali post 'Eternals' review: Chloe Zhao's latest is not your usual Marvel film If not for the lofty Tamil that the actors attempt and the story that makes you want for a little more, it’s a sweet family drama that will not bore you and will only put a smile to your face. The romantic equation that the film challenges or defends is not unique but you’ll like Meenakshi Sundareshwar with their unsolved hundred problems. Watch the film for its music, honest acting and a sweet love story. Also read: 'Annaatthe' becomes Rajinikanth's first film in 26 years to release on Diwali

Meenakshi Sundareshwar review: An odd yet sweet love story

If you were waiting anxiously for the sequel to the super hit 2018 horror film on aliens that get attracted to sound, then ‘A Quiet Place 2’ does justice to each of that emotion. The horror thriller is a masterclass on how sequels to tentpole films that have much riding on them, should be treated! It doesn’t leave pace, it doesn’t leave the story, it doesn’t leave out any gaps that might bore you or look gimmicky.&nbsp;

John Krasinski teaches a thing or two about writing and directing as he takes&nbsp;over a challenging task to direct a sequel to a film that blew everyone away with its concept and execution. Also, since there’s a huge gap between the two films (the first came in 2018 while the second in 2021), this one also connects the dots and gives a memory rejig without repeating scenes from the first film and that’s truly commendable.&nbsp;

&nbsp;<a href="https://www.wionews.com/photos/no-time-to-die-to-you-what-to-watch-on-ott-and-theatres-in-october-417303" hreflang="en">'No Time To Die' to 'You': What to watch on OTT and theatres in October</a>

The sound design is phenomenal and deserves a special mention as it heightens and balances the mood throughout the film. It manages to pack the thrills as and how the aliens attack and look for humans. From going pin drop silent to crazy, shrilly noise -- it offers exactly what we waited for these three years.&nbsp;

Apart from intelligent storytelling that starts with the day when all this started to an year later when Evelyn (Emily Blunt) is left with no husband and one child less, the film’s actors look devoted to the time and circumstances they are stuck within. Evelyn now has a girl and a boy and one newborn to fend for as her house burns down thanks to the aliens. So she treads off on a path to find survivors and meets an old friend, played by Cilian Murphy.&nbsp;

Watch A Quiet Place 2 trailer here:

<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="440" src="https://www.youtube.com/embed/BpdDN9d9Jio" title="YouTube video player" width="782"></iframe>

Cilian is not too happy to have found Emily’s family and asks them to leave. Meanwhile, Emily’s daughter deduces that there are more people out there and that she can try saving them. Cilian ends up helping her as the film emphasises on&nbsp;humans and their&nbsp;emotions of trust and hope while being in a precarious position like that.

If you compare it too close to the first film, A Quiet Place sequel&nbsp;obviously isn’t as good as the first but can anything be better than the first? The sequel comes close with almost no gaps to point out. If you’re looking for horror-thriller this weekend, our bets are on this one!

Also Read:&nbsp;<a href="https://www.wionews.com/entertainment/madonna-reveals-two-biggest-regrets-of-her-career-and-why-she-wanted-kill-herself-419221" hreflang="en">Madonna reveals two biggest regrets of her career and why she wanted 'kill herself'</a>

<a href="https://www.wionews.com/entertainment/lifestyle/news-ed-sheerans-wife-cherry-seaborn-had-a-shocking-reply-to-his-marriage-proposal-read-419212" hreflang="en">Ed Sheeran's wife Cherry Seaborn had a shocking reply to his marriage proposal; read</a>

If you were waiting anxiously for the sequel to the super hit 2018 horror film on aliens that get attracted to sound, then ‘A Quiet Place 2’ does justice to each of that emotion.

If you were waiting anxiously for the sequel to the super hit 2018 horror film on aliens that get attracted to sound, then ‘A Quiet Place 2’ does justice to each of that emotion. The horror thriller is a masterclass on how sequels to tentpole films that have much riding on them, should be treated! It doesn’t leave pace, it doesn’t leave the story, it doesn’t leave out any gaps that might bore you or look gimmicky. John Krasinski teaches a thing or two about writing and directing as he takes over a challenging task to direct a sequel to a film that blew everyone away with its concept and execution. Also, since there’s a huge gap between the two films (the first came in 2018 while the second in 2021), this one also connects the dots and gives a memory rejig without repeating scenes from the first film and that’s truly commendable. 'No Time To Die' to 'You': What to watch on OTT and theatres in October The sound design is phenomenal and deserves a special mention as it heightens and balances the mood throughout the film. It manages to pack the thrills as and how the aliens attack and look for humans. From going pin drop silent to crazy, shrilly noise -- it offers exactly what we waited for these three years. Apart from intelligent storytelling that starts with the day when all this started to an year later when Evelyn (Emily Blunt) is left with no husband and one child less, the film’s actors look devoted to the time and circumstances they are stuck within. Evelyn now has a girl and a boy and one newborn to fend for as her house burns down thanks to the aliens. So she treads off on a path to find survivors and meets an old friend, played by Cilian Murphy. Watch A Quiet Place 2 trailer here: Cilian is not too happy to have found Emily’s family and asks them to leave. Meanwhile, Emily’s daughter deduces that there are more people out there and that she can try saving them. Cilian ends up helping her as the film emphasises on humans and their emotions of trust and hope while being in a precarious position like that. If you compare it too close to the first film, A Quiet Place sequel obviously isn’t as good as the first but can anything be better than the first? The sequel comes close with almost no gaps to point out. If you’re looking for horror-thriller this weekend, our bets are on this one! Also Read: Madonna reveals two biggest regrets of her career and why she wanted 'kill herself' Ed Sheeran's wife Cherry Seaborn had a shocking reply to his marriage proposal; read

'A Quiet Place 2' review: John Krasinski hits it out of the park with this horror-thriller sequel

What do ‘Leap Year’, ‘P.S. I Love You’, the ‘Before’ trilogy and ever other Western travelogue-meet cute have as that one constant, primary element which&nbsp;is of Himalayan importance to the narrative? A gorgeous pair with a socket-plug dynamic! More on that as we move along.

 
Sadly, romcom queen Christina Milian—who knocked us off with her daring ‘American Pie’ way back in 1999, and warmed the cockles of our hearts with the more recent ‘Falling Inn Love’—cherrypicks this Alicia Keys-produced Netflix release with the hopes of regaining her superstardom in the mush-machine aka romance genre. But, her character—Erika Wilson, a struggling musician with a broken heart to nurse—only knows the language of wallowing&nbsp;in self-pity: over lost love, and a career that never really takes off. Erika’s dilemma over life choices and an insatiable need to please people is insufferable.&nbsp;

<img alt="CDFNJGBZXV" data-entity-type="file" data-entity-uuid="c4f5d553-816f-496a-8d4e-48714648e123" src="//cdn.wionews.com/sites/default/files/inline-images/pjimage%20%2844%29.jpg" />

 
Perhaps, Milian and the rest of the team already had an inkling as to what a tepid, troublesome ride they had hopped on for, and maybe that is exactly why the costumes’ department tried overcompensating for the former: like a lot! It also helps that the central character moves to the tropical island of Mauritius for a shot at live singing via an expensive resort. As fate would have it, Erika stumbles upon her former fiancée, Jason (Jay Pharoah)—the cause of her heartache, the reason this flick is titled ‘Resort To Love’, get it? The concoction of it all serves this as the end product: attractive bikini-clad women, chiselled &amp; bare-chested gorgeous men, tall trees and wild bushes, mojitos &amp; margaritas, layered necklaces and sky-high heels... what’s not to love, no? Wrong!

 
Given, writers Tabi McCartney and Dana Schmalenberg are well-meaning champions of social and artistic change. And, they are rightly advocating an egalitarian representation in an otherwise whitewashed Hollywood—all the characters, including the secondary cast and junior artists, are people of colour—but the film’s shoddy execution was director Steven K. Tsuchida’s brainchild. In that sense, this one’s on him.&nbsp;

<img alt="ADDHNCXC" data-entity-type="file" data-entity-uuid="c8d257d0-0b2c-4e82-b08e-a235219f93bf" src="//cdn.wionews.com/sites/default/files/inline-images/pjimage%20%2843%29.jpg" />

 
From the classic clichés like grand gestures of love at the beach to establishing a believable—if not legendary—rapport between the primary cast, this helmer has crashed in an epic fashion, on so many levels, in the utopian land of love.

 
‘Resort To Love’ not only reeks of un-roundedness, but is also guilty of borrowing the major romance tropes from here and there. Yet, it is neither fully romantic, nor a proper comedy.

 
We hate to break it to Jay Pharoah, but he blew the role of Jason and the insecurities he was entrusted with (for dramatic effect?) to portray on screen, look steely; misfired. Milian tries to stay agile and chirpy and help this sinking ship sail with her charm and candour, but that was just not enough. Not this time. T.J. Power was massively underutilised and his track, largely forgotten. For someone who plays an Australian ex-pat settling in Mauritius for a local girl and taking up odd jobs to buy a home someday... his character arch could have been (and should have been) explored beyond just a scratch-on-the-surface nod.&nbsp;

 
Like we have already mentioned, cinematographer Greg Gardiner has rendered a splendid, posh and aesthetically rich vibe to the plotline with his wide-angles and close-ups. So has costume designer Danielle Hollowell; the tropical dressing you get to see in this flick is every fashionista’s paradise.&nbsp;

<img alt="vfjghsddsfhgfsa" data-entity-type="file" data-entity-uuid="b2e5834c-79c1-41be-81b4-67fa24df7630" src="//cdn.wionews.com/sites/default/files/inline-images/pjimage%20%2841%29_0.jpg" /> 
Yes, music constitutes about 2/3rd of ‘Resort To Love’—the ‘Unbreak My Heart’ and ‘Irreplaceable’ suggestions for a wedding; both break-up songs, were&nbsp;hilarious—but this film should not trick you into believing Christiana Milian’s Hilary Swank from ‘P.S. I Love You’: her character is not even the unfriendly Sloane from ‘Holidate’, another Netflix debacle.&nbsp;

 
‘Resort to Love’ most certainly had the locales and star cast to up the ante and take a progressive step towards AfroRomance that could have set a precedent for others to follow. But, no, it had to be the “Sex &nbsp;and the City’ of romcoms sans the chemistry, or a doable script. Christina Milian, you deserve better!

<img alt="vfhghgffdbvdv" data-entity-type="file" data-entity-uuid="68ed3cb5-dd9a-43ad-9373-99ed2d1588ee" src="//cdn.wionews.com/sites/default/files/inline-images/pjimage%20%2845%29_0.jpg" />

What do ‘Leap Year’, ‘P.S. I Love You’, the ‘Before’ trilogy and ever other Western travelogue-meet cute have as that one constant, primary element which is of Himalayan importance to the narrative?

What do ‘Leap Year’, ‘P.S. I Love You’, the ‘Before’ trilogy and ever other Western travelogue-meet cute have as that one constant, primary element which is of Himalayan importance to the narrative? A gorgeous pair with a socket-plug dynamic! More on that as we move along. Sadly, romcom queen Christina Milian—who knocked us off with her daring ‘American Pie’ way back in 1999, and warmed the cockles of our hearts with the more recent ‘Falling Inn Love’—cherrypicks this Alicia Keys-produced Netflix release with the hopes of regaining her superstardom in the mush-machine aka romance genre. But, her character—Erika Wilson, a struggling musician with a broken heart to nurse—only knows the language of wallowing in self-pity: over lost love, and a career that never really takes off. Erika’s dilemma over life choices and an insatiable need to please people is insufferable. Perhaps, Milian and the rest of the team already had an inkling as to what a tepid, troublesome ride they had hopped on for, and maybe that is exactly why the costumes’ department tried overcompensating for the former: like a lot! It also helps that the central character moves to the tropical island of Mauritius for a shot at live singing via an expensive resort. As fate would have it, Erika stumbles upon her former fiancée, Jason (Jay Pharoah)—the cause of her heartache, the reason this flick is titled ‘Resort To Love’, get it? The concoction of it all serves this as the end product: attractive bikini-clad women, chiselled & bare-chested gorgeous men, tall trees and wild bushes, mojitos & margaritas, layered necklaces and sky-high heels... what’s not to love, no? Wrong! Given, writers Tabi McCartney and Dana Schmalenberg are well-meaning champions of social and artistic change. And, they are rightly advocating an egalitarian representation in an otherwise whitewashed Hollywood—all the characters, including the secondary cast and junior artists, are people of colour—but the film’s shoddy execution was director Steven K. Tsuchida’s brainchild. In that sense, this one’s on him. From the classic clichés like grand gestures of love at the beach to establishing a believable—if not legendary—rapport between the primary cast, this helmer has crashed in an epic fashion, on so many levels, in the utopian land of love. ‘Resort To Love’ not only reeks of un-roundedness, but is also guilty of borrowing the major romance tropes from here and there. Yet, it is neither fully romantic, nor a proper comedy. We hate to break it to Jay Pharoah, but he blew the role of Jason and the insecurities he was entrusted with (for dramatic effect?) to portray on screen, look steely; misfired. Milian tries to stay agile and chirpy and help this sinking ship sail with her charm and candour, but that was just not enough. Not this time. T.J. Power was massively underutilised and his track, largely forgotten. For someone who plays an Australian ex-pat settling in Mauritius for a local girl and taking up odd jobs to buy a home someday... his character arch could have been (and should have been) explored beyond just a scratch-on-the-surface nod. Like we have already mentioned, cinematographer Greg Gardiner has rendered a splendid, posh and aesthetically rich vibe to the plotline with his wide-angles and close-ups. So has costume designer Danielle Hollowell; the tropical dressing you get to see in this flick is every fashionista’s paradise. Yes, music constitutes about 2/3rd of ‘Resort To Love’—the ‘Unbreak My Heart’ and ‘Irreplaceable’ suggestions for a wedding; both break-up songs, were hilarious—but this film should not trick you into believing Christiana Milian’s Hilary Swank from ‘P.S. I Love You’: her character is not even the unfriendly Sloane from ‘Holidate’, another Netflix debacle. ‘Resort to Love’ most certainly had the locales and star cast to up the ante and take a progressive step towards AfroRomance that could have set a precedent for others to follow. But, no, it had to be the “Sex and the City’ of romcoms sans the chemistry, or a doable script. Christina Milian, you deserve better!

‘Resort To Love’ review: Survives only on sass and scenes

The employees at Monsters Inc. are moving over the organizational changes, and fresh hire Tyler Tuskman (voice by Ben Feldman) is warming up to his team members at Monsters Inc. Facilities Team (pompously called MIFT) although Val Little’s (voice by Mindy Kaling) repeated declaration of her being ‘best friends’ with him is irksome. “I don’t remember!” he screams.&nbsp;

 
Baddie Duncan at MIFT is a self-appointed supervisor of the duo who—along with the rest of the team—is leaving no stone unturned to ensure the damaged kid room is restored back to its original form. A former monster-turned-jokester’s sneeze caused the mayhem. &nbsp;

 
Unlike the first two, this third episode focuses on a handful of characters and creator (Roberts Gannaway) slowly but surely bridges the gap between monsters and humans. For instance, Mike (voice by Billy Crystal) has forged a friendship with the baby girl—he calls her ‘little Snore’—he babysits while the damaged room undergoes reconstruction, and Val confides in a visibly irritated Tyler that she ‘remembers’ so much of him because no one noticed her at Monsters University.&nbsp;

 
Through a serious of laughable moments, the writers of this Pixar TV series humanize demons and how they are—after all—not so different from humans. That they, too, feel feelings: of love, jealousy, insecurity and long for emotional bonds. 
 
This episode, titled ‘The Damaged Room’, also gives us a sneak peek into Tyler’s mind—he likes his environment and maybe, wants to take up his jokester gig a bit more seriously.

 
If the makers plan on taking the central characters’ individual tracks ahead as this animation series progresses, it is working: we are somewhat hooked.&nbsp;

 
'Monsters At Work' S1, EP3 is now streaming on &nbsp;Disney + Hotstar.&nbsp;

The employees at Monsters Inc. are moving over the organizational changes, and fresh hire Tyler Tuskman (voice by Ben Feldman) is warming up to his team members at Monsters Inc.

The employees at Monsters Inc. are moving over the organizational changes, and fresh hire Tyler Tuskman (voice by Ben Feldman) is warming up to his team members at Monsters Inc. Facilities Team (pompously called MIFT) although Val Little’s (voice by Mindy Kaling) repeated declaration of her being ‘best friends’ with him is irksome. “I don’t remember!” he screams. Baddie Duncan at MIFT is a self-appointed supervisor of the duo who—along with the rest of the team—is leaving no stone unturned to ensure the damaged kid room is restored back to its original form. A former monster-turned-jokester’s sneeze caused the mayhem. Unlike the first two, this third episode focuses on a handful of characters and creator (Roberts Gannaway) slowly but surely bridges the gap between monsters and humans. For instance, Mike (voice by Billy Crystal) has forged a friendship with the baby girl—he calls her ‘little Snore’—he babysits while the damaged room undergoes reconstruction, and Val confides in a visibly irritated Tyler that she ‘remembers’ so much of him because no one noticed her at Monsters University. Through a serious of laughable moments, the writers of this Pixar TV series humanize demons and how they are—after all—not so different from humans. That they, too, feel feelings: of love, jealousy, insecurity and long for emotional bonds. This episode, titled ‘The Damaged Room’, also gives us a sneak peek into Tyler’s mind—he likes his environment and maybe, wants to take up his jokester gig a bit more seriously. If the makers plan on taking the central characters’ individual tracks ahead as this animation series progresses, it is working: we are somewhat hooked. 'Monsters At Work' S1, EP3 is now streaming on Disney + Hotstar.

Monsters At Work S1, EP 3 review: Of love and human connections

‘Anne Boleyn’ piques your interest for reasons aplenty—first, it is based on the ‘truth and lies’ about the fallen Queen of England, Anne Boleyn, and secondly, her many, if at all, liaisons with men from her courtroom leading all the way down to her own brother, George (Paapa Essiedu). There’s sex, secrets, and a King for a husband (Henry VIII/ played by Mark Stanley) whose mistresses and love children could form an army of their own. Yes, the broth is piping hot—one that is concocted out of scandal, politics and loyalists with shifting loyalties.

 
The setting is the 1500s and the timeline, just the last five months of Boleyn’s life. The otherwise poised and sharpshooting Queen now feels threatened: for one, she must compete with a much younger Jane Seymour (Lola Petticrew) who seeks nothing out of her dalliance with the King but ‘honour and security’. And, secondly, of carrying out her responsibilities of a dutiful wife by birthing a son; a possible heir to Henry VIII. The opening sequence gives away that a heavily pregnant Anne Boleyn is bestowed with gifts and gratification of all kinds, from far and wide, for the impending birth of her son. And, as they say, the rest is history.

 
In director Lynsey Miller’s universe, Anne Boleyn—textbook definition of a woman with ‘questionable morals’, as per naysayers—is no damsel in distress. A husband with a wandering eye, two miscarriages, sexism to the very top still her gut and gumption commands respect. “It is difficult to love a man, especially when he is your husband,” Boleyn opines.

 
It is rather an extraordinarily brave choice for Miller to have Jodie-Turner Smith play this titular historical figure, the first ever black woman to slip into those heavy shoes. The actress devours the character, and how!

 
Turner-Smith’s calculated restraint and gravitas as&nbsp;Boleyn is every aspiring actor’s tutorial on how to ace a figure of historical importance without losing a vision of their own. Turner-Smith imbibes even the intricate nuances a woman with all the power—at least by outward appearances—may exude. Lending an equally rounded performance is ‘I May Destroy You’ famed Paapa Essiedu as the loyal brother. The parallel characters contribute significantly to the primary cast— Thalissa Teixeira as Madge Shelton is remarkable, and so is Amanda Burton as Lady Shelton. Mark Stanley’s Henry VIII echoes more of the promiscuous aspect of the character than the fact that he was, indeed, a man that had stooped to the lowest level of humanity for personal gains. Lola Petticrew’s trembling and docile depiction of Jane Seymour makes the viewers pity her. Until it doesn’t.

 
No living species understands sexism the way women do. It is probably the all-female gaze that made the subtlety of casual sexism so glaringly obvious. “Your influence lies in your belly, not your brain,” barks Cromwell (Barry Ward). The climax, of course, filled with rage and redemption in equal measures is testament to just how unjust the society can be towards women with ambitions.

 
‘Anne Boleyn’ —the series—is the work of a modernist, a feminist and a futurist, told through the confident eyes of a modernist, a feminist and a futurist. And these powerful forces blend in to revise history and debunk the feel-good myths sticking to England’s monarchial form of government. Why? Because—like Anne says—“You will never find security in the King’s bed.”&nbsp;

‘Anne Boleyn’ piques your interest for reasons aplenty—first, it is based on the ‘truth and lies’ about the fallen Queen of England, Anne Boleyn, and secondly, her many, if at all, liaisons with men from her courtroom leading all the way down to her own brother, George (Paapa Essiedu).

‘Anne Boleyn’ piques your interest for reasons aplenty—first, it is based on the ‘truth and lies’ about the fallen Queen of England, Anne Boleyn, and secondly, her many, if at all, liaisons with men from her courtroom leading all the way down to her own brother, George (Paapa Essiedu). There’s sex, secrets, and a King for a husband (Henry VIII/ played by Mark Stanley) whose mistresses and love children could form an army of their own. Yes, the broth is piping hot—one that is concocted out of scandal, politics and loyalists with shifting loyalties. The setting is the 1500s and the timeline, just the last five months of Boleyn’s life. The otherwise poised and sharpshooting Queen now feels threatened: for one, she must compete with a much younger Jane Seymour (Lola Petticrew) who seeks nothing out of her dalliance with the King but ‘honour and security’. And, secondly, of carrying out her responsibilities of a dutiful wife by birthing a son; a possible heir to Henry VIII. The opening sequence gives away that a heavily pregnant Anne Boleyn is bestowed with gifts and gratification of all kinds, from far and wide, for the impending birth of her son. And, as they say, the rest is history. In director Lynsey Miller’s universe, Anne Boleyn—textbook definition of a woman with ‘questionable morals’, as per naysayers—is no damsel in distress. A husband with a wandering eye, two miscarriages, sexism to the very top still her gut and gumption commands respect. “It is difficult to love a man, especially when he is your husband,” Boleyn opines. It is rather an extraordinarily brave choice for Miller to have Jodie-Turner Smith play this titular historical figure, the first ever black woman to slip into those heavy shoes. The actress devours the character, and how! Turner-Smith’s calculated restraint and gravitas as Boleyn is every aspiring actor’s tutorial on how to ace a figure of historical importance without losing a vision of their own. Turner-Smith imbibes even the intricate nuances a woman with all the power—at least by outward appearances—may exude. Lending an equally rounded performance is ‘I May Destroy You’ famed Paapa Essiedu as the loyal brother. The parallel characters contribute significantly to the primary cast— Thalissa Teixeira as Madge Shelton is remarkable, and so is Amanda Burton as Lady Shelton. Mark Stanley’s Henry VIII echoes more of the promiscuous aspect of the character than the fact that he was, indeed, a man that had stooped to the lowest level of humanity for personal gains. Lola Petticrew’s trembling and docile depiction of Jane Seymour makes the viewers pity her. Until it doesn’t. No living species understands sexism the way women do. It is probably the all-female gaze that made the subtlety of casual sexism so glaringly obvious. “Your influence lies in your belly, not your brain,” barks Cromwell (Barry Ward). The climax, of course, filled with rage and redemption in equal measures is testament to just how unjust the society can be towards women with ambitions. ‘Anne Boleyn’ —the series—is the work of a modernist, a feminist and a futurist, told through the confident eyes of a modernist, a feminist and a futurist. And these powerful forces blend in to revise history and debunk the feel-good myths sticking to England’s monarchial form of government. Why? Because—like Anne says—“You will never find security in the King’s bed.”

Anne Boleyn mini series review: Jodie-Turner Smith delivers her finest thus far as the controversial monarch

There could never be a better time for a film like ‘Oslo’ that premiered on Disney+ Hotstar in India on May 29 and looks at Israel-Palestine decades-old conflict through the prism of peace accords that were signed between the countries in 1993 with the help of a Norweigian couple backed by their government.&nbsp;

Adapted from American playwright JT Rogers’ play of the same name, ‘Oslo’ director Bartlett Sher brings us a dramatised version of events that led to the signing of Oslo peace accords between arch enemies Israel and Palestine. While history remembers the famous handshake between the-then PLO (Palestine Liberation Organisation) leader Yasser Arafat and Israeli Prime Minister Yitzhak Rabin as the US President Bill Clinton stood beside them -- the world looked on with disbelief as the two vowed to step back from violence and bring a new world order in 1993, ‘Oslo’ puts to light the very eventful nights and days that made it possible. That too a backchannel, unofficial round of discussions between 1992 and 1993.

The HBO film, as it deals with the complexities of the geo-political issue, carefully treads with its characterisation of the PLO leaders, Israeli diplomats who were a part of the under-the table discussions, so as to step away from making them caricaturish while it balances its weighs on how much the world truly understands their fight for land, their exertion of need of legitimacy of the cause and intricacies that follow with any matter of occupation of any land and its people.&nbsp;

<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="360" src="https://www.youtube.com/embed/QsRlXQcHd8c" title="YouTube video player" width="640"></iframe>

‘Oslo’ in its entirety makes no claim to know it all and does not look like a textbook explanation of the conflict. It is not a documentary and it does not claim to be. The film, however does bring the White view on the Middle Eastern crisis but that can be given a passing considering it’s from the view of two Norwegians who facilitate a peace deal between the two warring parties without offering a solution or edging towards one party more. Andrew Scott as Terje Rød-Larsen, director of think tank Fafo Foundation and wife Ruth Wilson, a Norwegian diplomat Mona Juul are brilliant in their scope. They never offer an opinion, never meddle, never sit with them on the table as the negotiations go on until the very last brokerage -- helping the film stray away from criticism of being partial to any side. Other actors, Salim Daw, Jeff Wilbusch, Yair Hirschfeld, and Igal Naor are convincing in their roles.&nbsp;

The film runs linear mostly with a very simple style of storytelling, inviting the viewer to explore the history on their own to get an in-depth understanding outside of the movie's scope. It’s a film that is high on human emotions and drama rather than being a history lesson.

There could never be a better time for a film like ‘Oslo’ that premiered on Disney+ Hotstar in India on May 29 and looks at Israel-Palestine decades-old conflict through the prism of peace accords that were signed between the countries in 1993 with the help of a Norweigian couple backed by their government.

There could never be a better time for a film like ‘Oslo’ that premiered on Disney+ Hotstar in India on May 29 and looks at Israel-Palestine decades-old conflict through the prism of peace accords that were signed between the countries in 1993 with the help of a Norweigian couple backed by their government. Adapted from American playwright JT Rogers’ play of the same name, ‘Oslo’ director Bartlett Sher brings us a dramatised version of events that led to the signing of Oslo peace accords between arch enemies Israel and Palestine. While history remembers the famous handshake between the-then PLO (Palestine Liberation Organisation) leader Yasser Arafat and Israeli Prime Minister Yitzhak Rabin as the US President Bill Clinton stood beside them -- the world looked on with disbelief as the two vowed to step back from violence and bring a new world order in 1993, ‘Oslo’ puts to light the very eventful nights and days that made it possible. That too a backchannel, unofficial round of discussions between 1992 and 1993. The HBO film, as it deals with the complexities of the geo-political issue, carefully treads with its characterisation of the PLO leaders, Israeli diplomats who were a part of the under-the table discussions, so as to step away from making them caricaturish while it balances its weighs on how much the world truly understands their fight for land, their exertion of need of legitimacy of the cause and intricacies that follow with any matter of occupation of any land and its people. ‘Oslo’ in its entirety makes no claim to know it all and does not look like a textbook explanation of the conflict. It is not a documentary and it does not claim to be. The film, however does bring the White view on the Middle Eastern crisis but that can be given a passing considering it’s from the view of two Norwegians who facilitate a peace deal between the two warring parties without offering a solution or edging towards one party more. Andrew Scott as Terje Rød-Larsen, director of think tank Fafo Foundation and wife Ruth Wilson, a Norwegian diplomat Mona Juul are brilliant in their scope. They never offer an opinion, never meddle, never sit with them on the table as the negotiations go on until the very last brokerage -- helping the film stray away from criticism of being partial to any side. Other actors, Salim Daw, Jeff Wilbusch, Yair Hirschfeld, and Igal Naor are convincing in their roles. The film runs linear mostly with a very simple style of storytelling, inviting the viewer to explore the history on their own to get an in-depth understanding outside of the movie's scope. It’s a film that is high on human emotions and drama rather than being a history lesson.

'Oslo' movie review: Not a better time for this HBO drama on 1993 Israel-Palestine peace talks

Godzilla vs. Kong is worth all the hype. The film is high on action as one would expect from a monster movie that puts one giant against another while we humans and our flashy tech pale in comparison to their attitude and power.&nbsp;

It’s a dream come true for those who have followed all standalone Godzilla and King Kong films that have pitted the two alpha predators as saviours of the human race but what happens when they come face to face? The result is an adrenaline-pumping duel of muscles and blue atomic breath. The film picks up from King Kong being monitored on a facility that imitates the Skull island so that he can be kept away from Godzilla as their ancient rivalry is well known to scientists and no one wants to revisit that to be honest!

Meanwhile, Godzilla is attacking some lab centers and creating havoc in cities much to the surprise of humans as uptil now the monster has only protected humans from other destructive monsters.&nbsp;

There is another plot of a podcast host and a bunch of teenagers who are sort-of close to finding out what is provoking Godzilla because they haven’t given up on the giant lizard who breathes blue fire.

The human cast includes Alexander Skarsgard, Millie Bobby Brown, Rebecca Hall, Brian Tyree Henry, Shun Oguri, Eiza González, Julian Dennison, Kyle Chandler, and Demián Bichir and while they are good in their supporting roles, we are here for Godzilla and King Kong and their edgy fights that never leave the pace nor excitement.&nbsp;

Everytime Godzilla and King Kong meet they instigate and enrage one another and their fights are shown in a detailed manner by director Adam Wingard who knows what the fans want and he delivers. The catastrophic fights are punctuated with music that elevates the action scenes.

<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="360" src="https://www.youtube.com/embed/odM92ap8_c0" title="YouTube video player" width="640"></iframe>

‘Godzilla vs Kong’ is a value for money entertainer that will give you the thrills while serving justice. The climax serves both parties -- those on the monkey’s side as well as the lizard’s.&nbsp;

What a way to call us back to the theatres. Watch the film in a theatre, it’s made for the big screen.

<a href="https://www.wionews.com/entertainment/hollywood/news-godzilla-vs-kong-hindi-dubbed-full-movie-leaked-online-on-release-date-372830">'Godzilla vs. Kong' Hindi dubbed full movie leaked online on release date</a>

<h1><a href="https://www.wionews.com/entertainment/godzilla-vs-kong-witnesses-blockbuster-opening-at-indian-box-office-mints-rs-64-cr-373279">'Godzilla Vs Kong' witnesses blockbuster opening at Indian box office, mints Rs 6.4 cr</a></h1>

Godzilla vs. Kong is worth all the hype. The film is high on action as one would expect from a monster movie that puts one giant against another while we humans and our flashy tech pale in comparison to their attitude and power.

Godzilla vs. Kong is worth all the hype. The film is high on action as one would expect from a monster movie that puts one giant against another while we humans and our flashy tech pale in comparison to their attitude and power. It’s a dream come true for those who have followed all standalone Godzilla and King Kong films that have pitted the two alpha predators as saviours of the human race but what happens when they come face to face? The result is an adrenaline-pumping duel of muscles and blue atomic breath. The film picks up from King Kong being monitored on a facility that imitates the Skull island so that he can be kept away from Godzilla as their ancient rivalry is well known to scientists and no one wants to revisit that to be honest! Meanwhile, Godzilla is attacking some lab centers and creating havoc in cities much to the surprise of humans as uptil now the monster has only protected humans from other destructive monsters. There is another plot of a podcast host and a bunch of teenagers who are sort-of close to finding out what is provoking Godzilla because they haven’t given up on the giant lizard who breathes blue fire. The human cast includes Alexander Skarsgard, Millie Bobby Brown, Rebecca Hall, Brian Tyree Henry, Shun Oguri, Eiza González, Julian Dennison, Kyle Chandler, and Demián Bichir and while they are good in their supporting roles, we are here for Godzilla and King Kong and their edgy fights that never leave the pace nor excitement. Everytime Godzilla and King Kong meet they instigate and enrage one another and their fights are shown in a detailed manner by director Adam Wingard who knows what the fans want and he delivers. The catastrophic fights are punctuated with music that elevates the action scenes. ‘Godzilla vs Kong’ is a value for money entertainer that will give you the thrills while serving justice. The climax serves both parties -- those on the monkey’s side as well as the lizard’s. What a way to call us back to the theatres. Watch the film in a theatre, it’s made for the big screen. 'Godzilla vs. Kong' Hindi dubbed full movie leaked online on release date 'Godzilla Vs Kong' witnesses blockbuster opening at Indian box office, mints Rs 6.4 cr

'Godzilla vs. Kong' review: It's worth all the hype

The Cold War has always captured the imagination of filmmakers and it almost always translates to an intense drama whenever depicted on screen via the story of those who furthered the political crisis or those who helped in easing tensions between Russia and the US.&nbsp;

Alas, ‘The Courier’ tries to be that but is dramatically slow in reaching its high point. A spy drama about a British businessman and his Russian ally who try to bring peace in the world while thwarting efforts of the two blocs to reach a nuclear catastrophe amid the Cuban Missile Crisis, the film starts pacing when it reaches its final moments.&nbsp;

Based on a true story,&nbsp;<a href="https://www.wionews.com/topics/benedict-cumberbatch">Benedict Cumberbatch</a> as the British businessman Greville Wynne who hesitatingly at first plays a Cold War spy is convincing in his role but there’s something you expect more from him. He’s Sherlock Holmes after all! Merab Ninidze plays his part as secret agent Oleg Penkovsky does justice.

Rachel Brosnahan looks good as a diplomat but only if she broke from her witty charisma that in parts reminds us of her work in ‘Marvelous Mrs Maisel’. While her presence offers femininity to a through and through boys club of espionage, director Dominic Cooke’s film is about male friendship between the businessman and secret agent in the backdrop of a looming nuclear war crisis.&nbsp;

The title track ‘It Has To be You’ by Abel Korzeniowski,&nbsp;that plays through the film, is brilliant and sets a sombre mood.&nbsp;

Watch the trailer here:

<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="696" src="https://www.youtube.com/embed/Qeo8qs9xohM" width="1237"></iframe>

‘The Courier’ is a decent watch. It just lacks the pace of a spy film.&nbsp;

The Cold War has always captured the imagination of filmmakers and it almost always translates to an intense drama whenever depicted on screen via the story of those who furthered the political crisis or those who helped in easing tensions between Russia and the US.

The Cold War has always captured the imagination of filmmakers and it almost always translates to an intense drama whenever depicted on screen via the story of those who furthered the political crisis or those who helped in easing tensions between Russia and the US. Alas, ‘The Courier’ tries to be that but is dramatically slow in reaching its high point. A spy drama about a British businessman and his Russian ally who try to bring peace in the world while thwarting efforts of the two blocs to reach a nuclear catastrophe amid the Cuban Missile Crisis, the film starts pacing when it reaches its final moments. Based on a true story, Benedict Cumberbatch as the British businessman Greville Wynne who hesitatingly at first plays a Cold War spy is convincing in his role but there’s something you expect more from him. He’s Sherlock Holmes after all! Merab Ninidze plays his part as secret agent Oleg Penkovsky does justice. Rachel Brosnahan looks good as a diplomat but only if she broke from her witty charisma that in parts reminds us of her work in ‘Marvelous Mrs Maisel’. While her presence offers femininity to a through and through boys club of espionage, director Dominic Cooke’s film is about male friendship between the businessman and secret agent in the backdrop of a looming nuclear war crisis. The title track ‘It Has To be You’ by Abel Korzeniowski, that plays through the film, is brilliant and sets a sombre mood. Watch the trailer here: ‘The Courier’ is a decent watch. It just lacks the pace of a spy film.

'The Courier' review: An ode to unconventional friendship amid the backdrop of Cold War

The makers of 'To All The Boys'&nbsp;know that no matter how much you run away from Valentine's&nbsp;week's&nbsp;overwhelming&nbsp;dose of romance, you just can't outrun a mushy film full of cookies, flowers, prom, and fairy light dances. 'To All The Boys: Always and Forever'&nbsp;is the growth needed by this film series, where the kids are ready to step into college life. Director Michael Fimognari has again done a pretty predictable job with this franchise, but as critics have already been aware - fans don’t really care.

Talking about the story, with Peter Kavinsky's (Noah Centineo) and Lara Jean's (Lana Condor)&nbsp;&nbsp;love is going strong and undeterred, it's only a matter of time when the reality of life hits them with a looming long-distance. How Lara Jean navigates through her feelings of fear of the unknown, not disappointing Peter and herself is what the film is all about. Apart from the pressure of ruining a perfect forever is the pressure to enjoy the moment as senior year is not the year to miss in any high school rom-com history. It's heartwarming how the film manages to balance it all out.

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This is the third installment of the 'To All The Boys'&nbsp;and in many ways better than the previous one and close to the first one in terms of freshness, feels, and romance. What is to note is like the first film, it's not just the romance between Peter and Lara Jean that it talks about, but also the romance with self and self-aspirations. The film sees Lara Jean overgrow the hopeless romantic in her and realise that love is beyond grand gestures and big promises, it is about faith and trusting the process of growth through twists and turns. The sentiment stays with you throughout the duration of the film and ties itself out beautifully.&nbsp;

Now the series is no cult-romance&nbsp;but the authenticity of it made it a fan-favourite nonetheless. While it might not be the film you visit or revisit during your darkest and brightest times, it surely is one that reflects the growth the genre has gone through over years. Self-love and growth are no-longer just token here, but actual realities of life millions would connect to. The high-school sweetheart love is not about being and staying in the center, but self-conflicts and dilemmas are. It is clear that if you want to see where the generation is headed, look at the kinds of high-schoolers being depicted in rom-com. 
 
In the film, Lara Jean says, "the world keeps shifting under my feet when all I want for it to stand still," and this single line encapsulates the mood of the film entirely.

Tucked away from the realities of 2020, 'To All The Boys: Always and Forever'&nbsp;is a perfect high school rom-com send-off for the fans. It keeps the hope alive without tying the lead characters and if 2020 has taught us anything about romance it's to keep hope.&nbsp;

The makers of 'To All The Boys' know that no matter how much you run away from Valentine's week's overwhelming dose of romance, you just can't outrun a mushy film full of cookies, flowers, prom, and fairy light dances.

The makers of 'To All The Boys' know that no matter how much you run away from Valentine's week's overwhelming dose of romance, you just can't outrun a mushy film full of cookies, flowers, prom, and fairy light dances. 'To All The Boys: Always and Forever' is the growth needed by this film series, where the kids are ready to step into college life. Director Michael Fimognari has again done a pretty predictable job with this franchise, but as critics have already been aware - fans don’t really care. Talking about the story, with Peter Kavinsky's (Noah Centineo) and Lara Jean's (Lana Condor) love is going strong and undeterred, it's only a matter of time when the reality of life hits them with a looming long-distance. How Lara Jean navigates through her feelings of fear of the unknown, not disappointing Peter and herself is what the film is all about. Apart from the pressure of ruining a perfect forever is the pressure to enjoy the moment as senior year is not the year to miss in any high school rom-com history. It's heartwarming how the film manages to balance it all out. This is the third installment of the 'To All The Boys' and in many ways better than the previous one and close to the first one in terms of freshness, feels, and romance. What is to note is like the first film, it's not just the romance between Peter and Lara Jean that it talks about, but also the romance with self and self-aspirations. The film sees Lara Jean overgrow the hopeless romantic in her and realise that love is beyond grand gestures and big promises, it is about faith and trusting the process of growth through twists and turns. The sentiment stays with you throughout the duration of the film and ties itself out beautifully. Now the series is no cult-romance but the authenticity of it made it a fan-favourite nonetheless. While it might not be the film you visit or revisit during your darkest and brightest times, it surely is one that reflects the growth the genre has gone through over years. Self-love and growth are no-longer just token here, but actual realities of life millions would connect to. The high-school sweetheart love is not about being and staying in the center, but self-conflicts and dilemmas are. It is clear that if you want to see where the generation is headed, look at the kinds of high-schoolers being depicted in rom-com. In the film, Lara Jean says, "the world keeps shifting under my feet when all I want for it to stand still," and this single line encapsulates the mood of the film entirely. Tucked away from the realities of 2020, 'To All The Boys: Always and Forever' is a perfect high school rom-com send-off for the fans. It keeps the hope alive without tying the lead characters and if 2020 has taught us anything about romance it's to keep hope.

'To All The Boys: Always and Forever' review: The end of the franchise is about faith, trust and lot of mush 

Some things are inexplicable - the mystery of the Coronavirus pandemic and the appearance of Milla Jovovich in a live-action demo of a video game, some people call a film.

Some things are inexplicable - the mystery of the Coronavirus pandemic and the appearance of Milla Jovovich in a live-action demo of a video game, some people call a film. Director Paul W.S. Anderson has maintained his consistency of making another soulless, if not done to death boring, an adaptation of yet another video game - Monster Hunter. If you are wonder where have you heard the name of the film before (if you are not a video-game junkie), the film is the same that got banned in China a while back after a major 'racial-joke' controversy. The director and stars of the Milla Jovovich and Jin Au-Yeung (a.k.a. MC Jin) issued apologies regarding the controversy Theaters in the country pulled the release in light of one particular line of dialogue. Au-Yeung's character riffs to a fellow soldier in the film, "Look at my knees. What kind of knees are these? Chi-nese.". Read more about it here. Moving on, screaming mediocre and dated filmography Monster Hunter walks a thin line between blah-dome and boredom. The film is not unwatchable per se, considering it is Anderson’s nearly 13th attempt into the video-game-turned- film adaptation, the man knows his aesthetic, but alas, not his audience. Now people who have grown watching Resident Evil and its mind-numbing one after the other sequel would agree that certain things need to let-go off in this age and stage and a CGI heavy, no story adaptation is among them. Monster Hunter is based on the 16-year-old video game franchise of the same name from Capcom. Shot two years ago in South Africa and starring Anderson’s wife and frequent creative partner, Milla Jovovich, it’s a 93-minute demo of many monster games (one most tend to skip before playing) mashed together into a tedious action fantasy. The film talks about another dimension where Jovovich’s Captain Artemis and her military team on a “joint security operation” end up entering, filled with gigantic monsters. After a meaningless fight for survival, Artemis is rescued by the Hunter (Tony Jaa). After distrusting each other for a few minutes they decide to be friends and head across the desert to fight more monsters. That’s all. That’s what the film is about. Shooting monsters. With a storyline as thin and fragile as paper, the disinterest while watching the film is real. You want to invest yourself into the myth and history of the occurrence, but the scope diminishes as quickly as your attention span. As a fan, Anderson might have been able to do a service to the video-game fraternity but with shoddy execution, no plot, and jumpy editing, the film viewers are left with nothing. The entire investment is meant for game fans and game fans only. In a time when theaters are hoping for a revival amid the pandemic, shoving a CGI heavy, soulless action fantasy into the face of the fans isn’t a very wise move. Maybe it is meant for streaming services. To appear and be lost in the plethora of better releases with some story or binge-interest. ‘Monster Hunter’ is not meant to be hunted, but to be forgotten under the pile of new watches and re-watches. Forgettable if not a tedious, lengthy watch.

'Monster Hunter' review: Another tedious video game adaptation by Milla Jovovich-Paul Anderson

Somewhere near the climax, the lead character and narrator of the film Balram quotes poet Iqbal’s words “the moment that you realise what’s beautiful in the world, you stop being a slave”, ‘The White Tiger’ shows you a mirror in the opposite direction. Directed by Ram Bahrani, ‘The White Tiger’, an adaptation of Booker-prize winning novel by Aravind Adiga, is everything we know about the society we live in, yet choose to ignore by saying this is how the country functions. 
 
Balram (Adarsh Gourav) is a rarity in a village living in servitude, out of necessity and fear, and breaks out the clutter only to create one of his own. The story of the film is all about him breaking out of a rooster coup served to him on a platter by society. Through the symbolism of class, caste, and other divides, that persist in the society, ‘The White Tiger’ actually is a story of a rare man born into the most ordinary circumstances known to him, where he makes the end extraordinary, adapting and accepting the shade of darkness that liberation brings. 
 
Now, one can say the film is a social commentary about a lot of things that persist in the ‘poor democracy’ that’s India. Maybe, more so now, but calling it that would take away the light from the film and put it on the genius of the story that has already been widely appreciated. The cunning story of a rare man could not have been brought alive better by anyone other than Adarsh. The way he imbibes Balram, his servitude, his ambitions, and his constant struggle to seek out an exit, makes you root for him. You know his intentions are not moral, but then neither has been his entire life. Balram is not a man out of choices, he’s not a distressed poor man who did what he did out of no options, or do and die situation, he did it because he believed in himself, something, not all has the privilege of doing. An endearing performance, Adarsh as Balram fits in the regular crowd yet his eyes speak a different language of confidence.&nbsp;In a cast filled with power performers like &nbsp;Mahesh Manjrekar, Rajkummar Rao, and Priyanka Chopra, Adarsh is true ‘The White Tiger’. 
 
 
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/35jJNyFuYKQ" width="560"></iframe> 
Speaking of the supporting cast Rajkummar Rao and Priyanka Chopra fit decently in their parts. Rajkummar as a privileged, educated yet spineless Ashok is what many would relate to. Many are Ashok, while many see an Ashok in a&nbsp; day to day life, something the story hits close to home. He’s a champagne socialist, trying to make it in a corrupt democracy, with a big vision but not enough belief to go ahead with it. Priyanka as Pinky falls somewhat in the same category, the middle ground holder, the enablers, who want to eradicate the big difference between the master and the servant but don’t know-how. 
 
So is ‘The White Tiger' a more real ‘Slumdog Millionaire'? Well. No. Calling it that would be a disrespect of Adiga’s story and Bahrani's impeccable execution. ‘The White Tiger’ is when a servant goes rogue and that’s about it. He’s not changing the system. He’s neither a messiah of the poor nor is he giving a cheat code to break out of the coup. He’s just a shrewd rooster who got out and that’s his story. 
 
Another brilliant aspect in the film is Paolo Carnera’s cinematography of the village of Balram, to the Delhi that you and I recognise. It makes you look up at the sky-rise building with Balram but immediately brings you down to the pavement encroached with homeless people selling ‘faith’ on roads. There’s nothing beautiful in the film and that gives it its flavour of grittiness and suffocation, the way the main character Balram feels. 
 
<a href="https://www.wionews.com/photos/the-white-tiger-to-wandavision-january-guide-for-everything-new-to-watch-353566">'The White Tiger' to 'WandaVision': January guide for everything new to watch</a> 
 
 
Ram Bahrani has hit the bull’s eye with ‘The White Tiger’ and while the association of Priyanka Chopra serving as one of the producers might give a feel of it hanging a foot in the Western gaze, in reality, that’s how Balram would’ve wanted it to be. And a film that follows the footstep of its lead character, is the film done brilliantly. 
 
An invested watch, the film thrives on its acting, execution, and a motive of staying true to its narrator’s vision and vision alone. Not a commentary on India’s divide, ‘The White Tiger’ is the story of a place we recognise and many don’t survive.&nbsp;

Somewhere near the climax, the lead character and narrator of the film Balram quotes poet Iqbal’s words “the moment that you realise what’s beautiful in the world, you stop being a slave”, ‘The White Tiger’ shows you a mirror in the opposite direction.

Somewhere near the climax, the lead character and narrator of the film Balram quotes poet Iqbal’s words “the moment that you realise what’s beautiful in the world, you stop being a slave”, ‘The White Tiger’ shows you a mirror in the opposite direction. Directed by Ram Bahrani, ‘The White Tiger’, an adaptation of Booker-prize winning novel by Aravind Adiga, is everything we know about the society we live in, yet choose to ignore by saying this is how the country functions. Balram (Adarsh Gourav) is a rarity in a village living in servitude, out of necessity and fear, and breaks out the clutter only to create one of his own. The story of the film is all about him breaking out of a rooster coup served to him on a platter by society. Through the symbolism of class, caste, and other divides, that persist in the society, ‘The White Tiger’ actually is a story of a rare man born into the most ordinary circumstances known to him, where he makes the end extraordinary, adapting and accepting the shade of darkness that liberation brings. Now, one can say the film is a social commentary about a lot of things that persist in the ‘poor democracy’ that’s India. Maybe, more so now, but calling it that would take away the light from the film and put it on the genius of the story that has already been widely appreciated. The cunning story of a rare man could not have been brought alive better by anyone other than Adarsh. The way he imbibes Balram, his servitude, his ambitions, and his constant struggle to seek out an exit, makes you root for him. You know his intentions are not moral, but then neither has been his entire life. Balram is not a man out of choices, he’s not a distressed poor man who did what he did out of no options, or do and die situation, he did it because he believed in himself, something, not all has the privilege of doing. An endearing performance, Adarsh as Balram fits in the regular crowd yet his eyes speak a different language of confidence. In a cast filled with power performers like Mahesh Manjrekar, Rajkummar Rao, and Priyanka Chopra, Adarsh is true ‘The White Tiger’. Speaking of the supporting cast Rajkummar Rao and Priyanka Chopra fit decently in their parts. Rajkummar as a privileged, educated yet spineless Ashok is what many would relate to. Many are Ashok, while many see an Ashok in a day to day life, something the story hits close to home. He’s a champagne socialist, trying to make it in a corrupt democracy, with a big vision but not enough belief to go ahead with it. Priyanka as Pinky falls somewhat in the same category, the middle ground holder, the enablers, who want to eradicate the big difference between the master and the servant but don’t know-how. So is ‘The White Tiger' a more real ‘Slumdog Millionaire'? Well. No. Calling it that would be a disrespect of Adiga’s story and Bahrani's impeccable execution. ‘The White Tiger’ is when a servant goes rogue and that’s about it. He’s not changing the system. He’s neither a messiah of the poor nor is he giving a cheat code to break out of the coup. He’s just a shrewd rooster who got out and that’s his story. Another brilliant aspect in the film is Paolo Carnera’s cinematography of the village of Balram, to the Delhi that you and I recognise. It makes you look up at the sky-rise building with Balram but immediately brings you down to the pavement encroached with homeless people selling ‘faith’ on roads. There’s nothing beautiful in the film and that gives it its flavour of grittiness and suffocation, the way the main character Balram feels. 'The White Tiger' to 'WandaVision': January guide for everything new to watch Ram Bahrani has hit the bull’s eye with ‘The White Tiger’ and while the association of Priyanka Chopra serving as one of the producers might give a feel of it hanging a foot in the Western gaze, in reality, that’s how Balram would’ve wanted it to be. And a film that follows the footstep of its lead character, is the film done brilliantly. An invested watch, the film thrives on its acting, execution, and a motive of staying true to its narrator’s vision and vision alone. Not a commentary on India’s divide, ‘The White Tiger’ is the story of a place we recognise and many don’t survive.

'The White Tiger' review: Adarsh Gourav shines in Priyanka Chopra-Rajkummar Rao starrer; showing a mirror to India's sense of servitude

There have been talks of the film ‘Pieces Of A Woman’ being an Oscar contender with acting nods for leading actors Vanessa Kirby and Shia LaBeouf and we tell you reasons for why everyone&nbsp;thinks like this and rightly so. Released on Netflix on January 8, ‘Pieces Of A Woman’ is equal parts moving and thought-triggering as it deals with the intricacies of a married couple’s relationship after they lose a newborn child.&nbsp;

The film starts with an intense childbirth that will need you to sit with a box of tissues as Vanessa Kirby (Martha), the pregnant woman goes through labour with the support of her husband Shia LaBeouf (Sean) at their home. The director Kornel Mundruczo makes the couple’s home their sanctuary and it drives the film from there with passion and grief. Almost half an hour long, the childbirth sequence will make you go through highs and lows like you’ve not experienced in the recent while watching a film. Vanessa is excellent as a pregnant woman who has given an Oscar-worthy performance and the role is quite a shift from her last outing as Princess Margaret in Netflix’s ‘The Crown’. It shows her range and we can’t wait to see more from her.

<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="446" src="https://www.youtube.com/embed/1zLKbMAZNGI" width="793"></iframe>

Shia LaBeouf is fabulous on screen as the husband who is supportive and affectionate to start with and then goes through a tumultuous range of emotions having lost his newborn child within seconds of her coming into the world. It could have been a performance that would earn him a mention in the awards cycle for this year but committees would ignore him considering he’s been charged with <a href="https://www.wionews.com/entertainment/actor-shia-labeouf-accused-of-abuse-by-ex-girlfriend-fka-twigs-349211">‘abuse’ allegations by ex girlfriend</a> and incidentally as Sean, he abuses his wife Martha in the film too as she goes through a mournful period of coping with trauma of losing one’s child.&nbsp;

Another actor worth mentioning is Ellen Burstyn who plays Martha’s Holocaust survivor mother who is bitchy to Sean but a solid support system for Martha only a rather dominant one.

The film ‘Pieces Of A Woman’ on the whole is about trauma and coping with it,&nbsp;only more complex as it revolves around the most complicated being on the planet -- humans.&nbsp;

There have been talks of the film ‘Pieces Of A Woman’ being an Oscar contender with acting nods for leading actors Vanessa Kirby and Shia LaBeouf and we tell you reasons for why everyone thinks like this and rightly so.

There have been talks of the film ‘Pieces Of A Woman’ being an Oscar contender with acting nods for leading actors Vanessa Kirby and Shia LaBeouf and we tell you reasons for why everyone thinks like this and rightly so. Released on Netflix on January 8, ‘Pieces Of A Woman’ is equal parts moving and thought-triggering as it deals with the intricacies of a married couple’s relationship after they lose a newborn child. The film starts with an intense childbirth that will need you to sit with a box of tissues as Vanessa Kirby (Martha), the pregnant woman goes through labour with the support of her husband Shia LaBeouf (Sean) at their home. The director Kornel Mundruczo makes the couple’s home their sanctuary and it drives the film from there with passion and grief. Almost half an hour long, the childbirth sequence will make you go through highs and lows like you’ve not experienced in the recent while watching a film. Vanessa is excellent as a pregnant woman who has given an Oscar-worthy performance and the role is quite a shift from her last outing as Princess Margaret in Netflix’s ‘The Crown’. It shows her range and we can’t wait to see more from her. Shia LaBeouf is fabulous on screen as the husband who is supportive and affectionate to start with and then goes through a tumultuous range of emotions having lost his newborn child within seconds of her coming into the world. It could have been a performance that would earn him a mention in the awards cycle for this year but committees would ignore him considering he’s been charged with ‘abuse’ allegations by ex girlfriend and incidentally as Sean, he abuses his wife Martha in the film too as she goes through a mournful period of coping with trauma of losing one’s child. Another actor worth mentioning is Ellen Burstyn who plays Martha’s Holocaust survivor mother who is bitchy to Sean but a solid support system for Martha only a rather dominant one. The film ‘Pieces Of A Woman’ on the whole is about trauma and coping with it, only more complex as it revolves around the most complicated being on the planet -- humans.

'Pieces Of A Woman' review: Vanessa Kirby is brilliant in this heartbreaking film

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