<p><i>Maa Ka Sum</i> is that one maths problem that refuses to be solved, leaving you confused about the value of X.</p><p>&nbsp;</p><p>OTT has become a space where there is freedom to experiment with scripts, the transformation of the creative landscape is endless. While it has opened doors for diverse stories that one can feel connected with, this freedom has also led to some shows that make you wonder why they were even needed. Amazon’s <i>Maa Ka Sum </i>is out, and it’s one of those series that shows so much, covers so much, and tells so much, but in the end gets entangled in the ‘so much’ stuff that it presents, leaving you questioning the need and motive of this story.</p><p>&nbsp;</p><p>Mona Singh is on a roll in her career and has been delivering back-to-back hits, or if not hits, then performances that have made her the talk of social media. In this new show, she plays the role of an ultra-cool mother, Vinita, aka Vinnie, who lives with her 19-year-old son, Agastya, aka Gast (Mihir Ahuja). With the story of a mother-son bond taking the centre stage, the show becomes too heavy on maths and ends up confusing itself in its own formula.</p><p>&nbsp;</p><p><strong>Also read: </strong><a href="https://www.wionews.com/entertainment/hollywood/blake-lively-and-justin-baldoni-legal-dispute-judge-dismisses-multiple-claims-against-it-ends-with-us-director-1775185340354">Blake Lively vsJustin Baldoni: Judge dismisses multiple claims against actor</a></p><h2>Maa Ka Sum: What’s the story</h2><p>&nbsp;</p><p>Set in the capital of India, New Delhi, the show revolves around Vinita, a super-cool mother living with her 19-year-old son, Agastya, whom everyone lovingly calls Gast. He is a self-proclaimed maths genius, and everything in his life runs on formulas. Both are living with the trauma of how Vinita’s husband and Gast’s father left one day, abandoning them. Twelve years after he walked out, they have built a life for themselves where they share everything with each other. Vinita is on dating apps and goes on random dates to find a partner, and Gast, who goes to college and has a fun life with his friends, wants to build a dating app that helps his mother find the perfect match.</p><p>&nbsp;</p><p>To crack that equation, he works on multiple algorithms and is pretty confident that he can find the perfect match for his mom using his calculations and data. How will he be able to do it? It's totally on him. Apart from finding that one perfect man for his single mother, Gast also has a group of friends and a maths teacher who help him understand the complex bonds of humans, something that doesn’t really need an algorithm to solve.</p><p>&nbsp;</p><p><strong>Also read: </strong><a href="https://www.wionews.com/entertainment/hollywood/meryl-streep-wears-andy-sachs-iconic-cerulean-blue-sweater-as-she-promotes-the-devil-wears-prada-2-internet-reacts-1775191020312">Meryl Streep dons iconic cerulean sweater to promote The Devil Wears Prada 2</a></p><h2>Maa Ka Sum: The maths lingo that refuses to be solved</h2><p>The eight-episode drama explores a variety of themes, including a modern mother-son bond, trauma, relationships, love, and anger. But the makers try to solve everything like a maths problem that refuses to end, confusing you at every step.</p>

Still from Maa Ka Sum

<p>Directed by Nicholas Kharkongar, the series, in the simplest terms, is a comment on how human emotions cannot be cracked with any sort of algorithm in this technological and data-driven world, especially when AI is the next big thing that humans have to deal with.</p><p>&nbsp;</p><p>The show starts with a fun and happy bond between the son and mother, who are not like any usual parent-child duo. There is nothing hidden from each other; they go on random outings, deeply involved in each other’s lives, they have arguments, they have differences, but like modern things, they understand each other. It all, in the beginning, feels fresh and entertaining and enjoyable too. But soon, when Gast’s obsession with maths to solve that one algorithm takes over, it starts to feel irritating and tough to understand where the story is heading.&nbsp;</p>

<p>In attempting to cover too much, the show loses clarity. Along with this, the side narratives, like Gast and his Gen Z pals, feel like a set-up without offering anything natural.</p><p>&nbsp;</p><p>I did like how casually the writers have touched upon unprotected sex and the risk of abortion. Also, Gast’s bond with his foreign return maths teacher, Ira, played by Angira Dhar, who is equally a maths fanatic, never quite impresses. Their long, maths-infused conversations make you want to skip ahead, often leaving you distracted.</p><p>&nbsp;</p><p>The story might get confusing with each episode, but the characters are fairly well-formed. The women in the show stand out, they are clear about what they want. Mona Singh, who rarely disappoints, plays the role of a young mother convincingly. The way she balances her protective side while hiding her vulnerability. I also enjoyed her scenes with Ranveer Brar, who plays a cool investor. Angira Dhar, as the modern, foreign-return teacher, is effective in parts.&nbsp;</p>

<p>Mihir Ahuja also delivers a strong performance as a young boy dealing with trauma and his passion for maths.&nbsp;</p><p>&nbsp;</p><p>As the story progresses, it becomes overcomplicated, especially with the heavy use of maths and algorithms in every dialogue, which is very hard to understand. The parallel plots don’t feel organic. With three different generations colliding in a world dominated by Gen Z culture and the ultra-modern side of Delhi, some moments felt amusing, like a mother telling her son he’s only allowed to drink more than two beers.</p><p>&nbsp;</p><p>Maa Ka Sum is a story that breathes, lives, and eats maths with the entertainment only in parts.&nbsp;</p>

Directed by Maa Ka Sum, the show starring, Mona Singh and Mihir Ahuja, is a family drama that feels promising in the start. But it is executed in an inconsistent way. Scroll to read the review.  

Maa Ka Sum is that one maths problem that refuses to be solved, leaving you confused about the value of X. OTT has become a space where there is freedom to experiment with scripts, the transformation of the creative landscape is endless. While it has opened doors for diverse stories that one can feel connected with, this freedom has also led to some shows that make you wonder why they were even needed. Amazon’s Maa Ka Sum is out, and it’s one of those series that shows so much, covers so much, and tells so much, but in the end gets entangled in the ‘so much’ stuff that it presents, leaving you questioning the need and motive of this story. Mona Singh is on a roll in her career and has been delivering back-to-back hits, or if not hits, then performances that have made her the talk of social media. In this new show, she plays the role of an ultra-cool mother, Vinita, aka Vinnie, who lives with her 19-year-old son, Agastya, aka Gast (Mihir Ahuja). With the story of a mother-son bond taking the centre stage, the show becomes too heavy on maths and ends up confusing itself in its own formula. Also read: Blake Lively vsJustin Baldoni: Judge dismisses multiple claims against actor Maa Ka Sum: What’s the story Set in the capital of India, New Delhi, the show revolves around Vinita, a super-cool mother living with her 19-year-old son, Agastya, whom everyone lovingly calls Gast. He is a self-proclaimed maths genius, and everything in his life runs on formulas. Both are living with the trauma of how Vinita’s husband and Gast’s father left one day, abandoning them. Twelve years after he walked out, they have built a life for themselves where they share everything with each other. Vinita is on dating apps and goes on random dates to find a partner, and Gast, who goes to college and has a fun life with his friends, wants to build a dating app that helps his mother find the perfect match. To crack that equation, he works on multiple algorithms and is pretty confident that he can find the perfect match for his mom using his calculations and data. How will he be able to do it? It's totally on him. Apart from finding that one perfect man for his single mother, Gast also has a group of friends and a maths teacher who help him understand the complex bonds of humans, something that doesn’t really need an algorithm to solve. Also read: Meryl Streep dons iconic cerulean sweater to promote The Devil Wears Prada 2 Maa Ka Sum: The maths lingo that refuses to be solved The eight-episode drama explores a variety of themes, including a modern mother-son bond, trauma, relationships, love, and anger. But the makers try to solve everything like a maths problem that refuses to end, confusing you at every step.

<p>Directed by Maa Ka Sum, the show starring, Mona Singh and Mihir Ahuja, is a family drama that feels promising in the start. But it is executed in an inconsistent way.&nbsp;Scroll to read the review. &nbsp;</p>

Maa Ka Sum Review: Mona Singh and Mihir Ahuja’s show gets lost between algorithm and emotion

<p>Lawlessness and hooliganism rule this town in the fictitious town of Mahapradesh. In Amazon Prime Video’s latest film, Subedaar, apart from Subedaar Arjun Maurya, played by Anil Kapoor, no one seems to be on the right side of the law. Directed by Suresh Triveni, who is best known for his film Tumhaari Sulu, Subedaar is a rugged, rustic revenge drama that starts on a promising note and presents Anil Kapoor in a strikingly different avatar-an angsty old man who talks less and punches more. But is Anil Kapoor’s powerful performance enough to make Subedar and an engaging watch? Let’s find out.</p><p>&nbsp;</p><p>A personal tragedy brings Subedaar back to his hometown, which is ruled by Badi Didi (Mona Singh), who runs the sand mining mafia from the confines of jail. Outside, her step-brother Prince( Aditya Rawal) runs terror and wields force to get things done his way. Badi Didi’s illegal businesses are taken care of by Softy (Faisal Malik). It’s a chaotic town where only hooligans and rowdies get to wield power.</p><p>&nbsp;</p><p>Haunted by the death of his wife, who was mowed down by a sand truck, Maurya is now grappling to live a civilian’s life. There is guilt and frustration, and his strained relationship with daughter &nbsp;Shyama (Radhika Madan). His friend, Prabhakar (Saurabh Shukla), gets him a job as a Prince’s bodyguard. Prince sets his eyes on Subedaar’s red gypsy and wants it by hook or crook. Subedaar is not willing to part with the car, which has a connection to his late wife, who had booked the car days before her death.</p>

Subedaar stills

<p> </p><p>When Prince mocks his driving skills and vandalises his new car, the hostility between the two becomes personal.</p><p>Now, its a battle of egos and self-respect. One on the right side of the law but alone, and then the other, a rule breaker with state and police on his side.</p><h2>What works and what doesn't</h2><p>It is always a delight to watch Anil Kapoor on screen. The man has time and again reinvented himself and delivered class acts in numerous films and series. In Subedaar, Kapoor delivers a very restrained performance. His character is a man who abides by the law even though no one around him does. He has anger issues and is guilty of his wife’s death, or that he did not spend enough time with his daughter. Kapoor plays his role with conviction, and deftly performs scenes which have him performing with expressions and eyes and a few words. It's a strong act and Kapoor looms large over the film’s narrative.</p><p> </p><p>Aditya Rawal, who has proved his mettle in films like Faraaz before, delivers a solid performance as the menacing, irratic and rowdy Prince. It's not easy to match up to a veteran like Anil Kapoor, who has such a strong screen presence, but Rawal ably performs in his role.</p><p> </p>

Aditya Rawal

<p> </p><p> </p><p>The performances of all actors are, in fact, top-notch. Be it Mona Singh, the Mafia queen who is running a nexus from jail, Faisal Malik, who plays an ex gangster and now an administrator or Radhika Madan, the fesity daughter who doesn’t need a man to protect her- all performances are stunning.</p><p> </p><p>The film’s screenplay relies heavily on landscape and ambience, which sets the tone well. But while the tonality is good, the story eventually loses steam. Nearing the climax, the film completely loses its plot and tries to create unnecessary drama, which doesn't land well all the time. The film starts with great potential, but ends with a whimper, with Prime hinting at a possible remake.</p><h2>Final Verdict</h2><p>Subedaar is only watchable for its actors. The mood and ambience of the film, which the makers have painstakingly put together to create a land of disorder, is unable to support weak writing. It could have been an intense film but the film’s second half runs a predictable course and drags too much.</p>

Suresh Triveni's film Subedaar starts on a promising note, but a weak screenplay lets down the film and its good performances by Anil Kapoor, Aditya Rawal and Radhika Madan. Subedaar heavily depends on mood and ambience to tell a story of lawlessness. 

Lawlessness and hooliganism rule this town in the fictitious town of Mahapradesh. In Amazon Prime Video’s latest film, Subedaar, apart from Subedaar Arjun Maurya, played by Anil Kapoor, no one seems to be on the right side of the law. Directed by Suresh Triveni, who is best known for his film Tumhaari Sulu, Subedaar is a rugged, rustic revenge drama that starts on a promising note and presents Anil Kapoor in a strikingly different avatar-an angsty old man who talks less and punches more. But is Anil Kapoor’s powerful performance enough to make Subedar and an engaging watch? Let’s find out. A personal tragedy brings Subedaar back to his hometown, which is ruled by Badi Didi (Mona Singh), who runs the sand mining mafia from the confines of jail. Outside, her step-brother Prince( Aditya Rawal) runs terror and wields force to get things done his way. Badi Didi’s illegal businesses are taken care of by Softy (Faisal Malik). It’s a chaotic town where only hooligans and rowdies get to wield power. Haunted by the death of his wife, who was mowed down by a sand truck, Maurya is now grappling to live a civilian’s life. There is guilt and frustration, and his strained relationship with daughter Shyama (Radhika Madan). His friend, Prabhakar (Saurabh Shukla), gets him a job as a Prince’s bodyguard. Prince sets his eyes on Subedaar’s red gypsy and wants it by hook or crook. Subedaar is not willing to part with the car, which has a connection to his late wife, who had booked the car days before her death.

<p>Suresh Triveni's film Subedaar starts on a promising note, but a weak screenplay lets down the film and its good performances by Anil Kapoor, Aditya Rawal and Radhika Madan. Subedaar heavily depends on mood and ambience to tell a story of lawlessness.&nbsp;</p>

Subedaar review: Anil Kapoor and Aditya Rawal deliver to their part, the story does not

<p>At the onset, filmmaker Anubhuti Kashyap’s latest film Accused, featuring Konkona Sen Sharma and Pratibha Rannta as a queer couple in London, feels like a smart thriller that attempts to tell a strikingly new story. Sexual harassment at work and power dynamics in a marriage where both partners are ambitious are tropes well known. Urban romances mostly revolve around two individuals attempting to strike a balance between romance and the regular humdrum of life. However, Kashyap’s film Accused takes the familiar trope but gives it a unique twist. It has a queer couple in focus, with one of them dealing with charges of sexually harassing colleagues at her workplace. Strikingly new plot for Bollywood for sure.</p><p>&nbsp;</p><p>Propelled by great performances by Konkana Sen Sharma, Pratibha Rannta and the rest of the cast and taught screenplay, Accused had me hooked from the first scene itself. But the film is not devoid of flaws.</p><h2>Plot of Accussed</h2><p>Konkona Sen Sharma plays Dr Geetika Sen, a top gynaecologist at a city hospital in London. Married to child specialist Dr Meera (Rannta) Sen is on the verge of being promoted to the position of Dead in the hospital. The couple are also aiming to adopt a baby together. Life seems perfect for Geetika and Meera until an anonymous complaint lands in the hospital’s mailbox,accusing Dr Sen of sexual harassment.</p><p>&nbsp;</p><p>Complaints against Geetika aren’t new, we are told. Because of her bossy and authoritarian nature, Geetika’s behaviour has often been reported to the management. However, as complaints of sexual harassment keep mounting, cracks appear in Geetika and Mira’s marriage. While Mira gets suspicious of Geetika, the senior doctor who has always been in charge of things, suddenly finds her control over things slipping away.</p><p>&nbsp;</p><p>It doesn’t help that the hospital board hires former journalist Bhargav (Mashhoor Amrohi) to investigate the case . Basheer comes with a bag full of prejudices and is almost convinced that Geetika is guilty. But has she really committed the crimes? Will the board’s verdict change her relationship with Mira?</p><h2>What works and what doesn’t</h2><p>The premise of the film felt promising right when the first trailer dropped. We don’t get to see a story of a queer couple grappling with &nbsp;a crisis like #MeToo, where no man is involved, where the predator is a woman, as is the victim. The plot of Accussed felt refreshing and different. Written by Sima Agarwal and Yash Keswani, the film begins as a sharp tale about predatory behaviour by top bosses at work place. In most cases, it is assumed that it's a man who is at fault, but in this case, it's a queer woman who is on the dock.</p><p>&nbsp;</p><p>Konkona Sen Sharma, as Dr Geetika Sen, is fantastic. A woman who is powerful and always in control finds herself in a complex situation, and instead of lying low as is directed to her, goes out more aggressively to prove her innocence, making her so-called ‘victims’ more uncomfortable. Konkona plays the complex character to the hilt, making you realise how predators and people in authority function espcially when they know they have the power to make or break a career.</p><p>&nbsp;</p><p>Complimenting Konkona in every frame is actress Pratibha Rannta. Last seen in Laapataa Ladies, Ranta plays a more compassionate, younger and more emotional partner to Konkona’s Geetika. Someone who is willing to see the good in her partner even when the world is telling her otherwise.</p><p>&nbsp;</p><p>Some of the best scenes involve Konkona and Pratibha- both complementing each other well on screen, playing their parts with conviction. Their scenes as a couple, first trying to fight the crisis together and slowly drifting apart and accusing each other, come out naturally. Geetika gaslights and escapes tough conversations, and Meera doubts herself as her love and loyalty are put to the test.</p><p>&nbsp;</p><p>While the film begins on a sharp, compelling note, the second act of the film lets down. It tackles #MeToo only at the surface level, and when it approaches the thriller route, the story loses steam. The climax is underwhelming, and the film ultimately steers past #MeToo and only talks about abuse of power.</p><h2>Final Verdict</h2><p>It could have been a great film that steers clear of stereotypes. With a great premise and solid performances from Konkona, Pratibha and other supporting actors- Accussed stands out mostly but it crumbles in the second half due to its attempt at oversimplifying complex issues.</p><p>&nbsp;</p><p>Nevertheless, Accused is still refreshingly new and worth your time.</p><p>&nbsp;</p><p>Accussed is streaming on Netflix.</p>

Accused, directed by Anubhuti Kashyap, is a smart thriller with queer love-story at its core. The film only scratches the surface of a complex issue like #MeToo. However, it boasts of credible performances by Konkona Sen Sharma and Pratibha Rannta. 

At the onset, filmmaker Anubhuti Kashyap’s latest film Accused, featuring Konkona Sen Sharma and Pratibha Rannta as a queer couple in London, feels like a smart thriller that attempts to tell a strikingly new story. Sexual harassment at work and power dynamics in a marriage where both partners are ambitious are tropes well known. Urban romances mostly revolve around two individuals attempting to strike a balance between romance and the regular humdrum of life. However, Kashyap’s film Accused takes the familiar trope but gives it a unique twist. It has a queer couple in focus, with one of them dealing with charges of sexually harassing colleagues at her workplace. Strikingly new plot for Bollywood for sure. Propelled by great performances by Konkana Sen Sharma, Pratibha Rannta and the rest of the cast and taught screenplay, Accused had me hooked from the first scene itself. But the film is not devoid of flaws. Plot of Accussed Konkona Sen Sharma plays Dr Geetika Sen, a top gynaecologist at a city hospital in London. Married to child specialist Dr Meera (Rannta) Sen is on the verge of being promoted to the position of Dead in the hospital. The couple are also aiming to adopt a baby together. Life seems perfect for Geetika and Meera until an anonymous complaint lands in the hospital’s mailbox,accusing Dr Sen of sexual harassment. Complaints against Geetika aren’t new, we are told. Because of her bossy and authoritarian nature, Geetika’s behaviour has often been reported to the management. However, as complaints of sexual harassment keep mounting, cracks appear in Geetika and Mira’s marriage. While Mira gets suspicious of Geetika, the senior doctor who has always been in charge of things, suddenly finds her control over things slipping away. It doesn’t help that the hospital board hires former journalist Bhargav (Mashhoor Amrohi) to investigate the case . Basheer comes with a bag full of prejudices and is almost convinced that Geetika is guilty. But has she really committed the crimes? Will the board’s verdict change her relationship with Mira? What works and what doesn’t The premise of the film felt promising right when the first trailer dropped. We don’t get to see a story of a queer couple grappling with a crisis like #MeToo, where no man is involved, where the predator is a woman, as is the victim. The plot of Accussed felt refreshing and different. Written by Sima Agarwal and Yash Keswani, the film begins as a sharp tale about predatory behaviour by top bosses at work place. In most cases, it is assumed that it's a man who is at fault, but in this case, it's a queer woman who is on the dock. Konkona Sen Sharma, as Dr Geetika Sen, is fantastic. A woman who is powerful and always in control finds herself in a complex situation, and instead of lying low as is directed to her, goes out more aggressively to prove her innocence, making her so-called ‘victims’ more uncomfortable. Konkona plays the complex character to the hilt, making you realise how predators and people in authority function espcially when they know they have the power to make or break a career. Complimenting Konkona in every frame is actress Pratibha Rannta. Last seen in Laapataa Ladies, Ranta plays a more compassionate, younger and more emotional partner to Konkona’s Geetika. Someone who is willing to see the good in her partner even when the world is telling her otherwise. Some of the best scenes involve Konkona and Pratibha- both complementing each other well on screen, playing their parts with conviction. Their scenes as a couple, first trying to fight the crisis together and slowly drifting apart and accusing each other, come out naturally. Geetika gaslights and escapes tough conversations, and Meera doubts herself as her love and loyalty are put to the test. While the film begins on a sharp, compelling note, the second act of the film lets down. It tackles #MeToo only at the surface level, and when it approaches the thriller route, the story loses steam. The climax is underwhelming, and the film ultimately steers past #MeToo and only talks about abuse of power. Final Verdict It could have been a great film that steers clear of stereotypes. With a great premise and solid performances from Konkona, Pratibha and other supporting actors- Accussed stands out mostly but it crumbles in the second half due to its attempt at oversimplifying complex issues. Nevertheless, Accused is still refreshingly new and worth your time. Accussed is streaming on Netflix.

<p>Accused, directed by Anubhuti Kashyap, is a smart thriller with queer love-story at its core. The film only scratches the surface of a complex issue like #MeToo. However, it boasts of credible performances by Konkona Sen Sharma and Pratibha Rannta.&nbsp;</p>

Accused movie review: Konkona Sen Sharma, Pratibha Rannta headline a gripping thriller that only skims the surface of #MeToo

<p>Writer-director Sudip Sharma had opened up a new world when he created the procedural drama <i>Kohrra</i> in 2023. The web series, mostly in Punjabi, unusually showcased the state of Punjab, sans all the bonhomie and colour that films often associate the state with. Much like its plot, a murder mystery, the drama had muted colours, with heavy fog shrouding the lives of those involved in the case. Sharma returns with <i>Kohrra</i> season 2, with a new mystery and a new set of complications, but keeps the same aesthetics and mood of the first season. Just like the first season, a heavy fog remains on the lives of the police officers investigating the case, the identity of the killer, the victim’s family and societal prejudices.</p><p>&nbsp;</p><p>Actor Barun Sobti returns as Assistant Sub-Inspector Garundi in season 2 of <i>Kohrra</i>, which shifts the story to Jagrana, a small town in Punjab. Garundi has a new wife and a new boss and has to maintain a fine balance between professional and personal life. &nbsp;As a woman is found dead in the barn of her brother’s home, Garundi and his boss, Assistant-Inspector Dhanwant Kaur (Mona Singh), are given charge of the case. As the two officer get cracking on the case, they have to also face demons of their own past and strike a balance between personal and professional at all times.</p><h2>What’s the plot of Kohrra 2</h2><p>&nbsp;</p><p>When a woman (Pooja Bhamrrah) is found dead in her brother’s (Anurag Arora) barn, everyone is a suspect. Her NRI husband (Rannvijay Singha), a new possible love interest with whom she intended to start a dance studio and the brother himself. &nbsp;At the onset, the case seems like an open-and-shut case, with the cops finding bloodied footprints of the murderer all over the crime scene. But as Garundi and Dhanwant start investigating, the case becomes murky, with past issues of each suspect spilling out in the open. Dhanwant, who has been reappointed to her post and given charge of the case, is battling a dark past of her own. Garundi, newly married, wants to leave his past and start afresh with his wife, but the familial burden keeps pulling him down.</p><p>&nbsp;</p><p>While the cops investigate the case, more murders pile up. Meanwhile, a young labourer from Jharkhand comes to the same town looking for his father, who had come to Jagrana town about twenty years ago as a labourer but has been missing for over a year. Dhanwant and her team have her hands full and pressure from the top, along with domestic issues of her own; the Sub-Inspector has a lot at stake and a lot to prove her worth.</p>

<h2>What works and what doesn’t</h2><p>&nbsp;</p><p>Director Sudip Sharma, who also serves as a co-writer with Gunjit Chopra and Diggi Sisodia, keeps the template of the first season but makes this season darker. There, love defined the lives of each of the characters; here, it is the societal structure that sets the story. Primarily in Punjabi, the fog of mystery, of guilt and of societal norms hang heavy over the plot, making <i>Kohrra 2</i> more compelling. The writing is solid, and one is hooked to the story from the first frame. The compelling plot is backed by powerful performances. While Suvinder Vicky had led the series in the first season, in <i>Kohrra 2</i>, it's Mona Singh and Barun Sobti who steer the narrative well.</p>

Kohrra 2

<p> </p><p>Singh plays a troubled Dhanwant Kaur, who is a diligent officer but has too much burden of the past that tends to pull her back. It's a restraint perfromance and one in which Singh shines. Pradyuman Singh plays her alcoholic husband and delivers a fine performance.</p><p>Barun Sobti, a man who has been a star on television and someone who has reinvented himself in the OTT space, plays Garundi well. The character has now evolved but is conscious of his background. Sobti brings earnestness to his performance and makes it look effortless, making Garundi a very likeable man. His scenes with a constable called Aujla stand out for their natural chemistry and humour.</p><p> </p><p>There is also a young actor, Prayrak Mehta, who plays Arun, a migrant worker from Jharkhand who comes to Punjab in search of his father. Mehta, a relatively new face, steals the show in the scenes he features in. Your heart goes out to his character, a desperate man looking for his father, whom he has never met and who is constantly failed by the system. Mehta’s track is important to the story and very well written. The young actor does justice to the writing, delivering a stunning performance, one that stays with you long after the show is over.</p>

A still from Kohrra 2

<p>&nbsp;</p><p>While the series, with its layered and dark story, is engaging, it does become a tad sluggish somewhere in the middle, when Garundi and Dhanwant are unable to crack the case and get tied down due to their personal issues.</p><p>&nbsp;</p><p>However, the show picks up pace in the fifth and sixth (final) episodes, delaying the revelation of the killer till the end. It’s not something that you expect (which is a good thing) and one that makes you ponder over power dynamics and class divides that exist in our society.</p><h2>Final verdict</h2><p>Kohrra 2 is equally riveting as the first season, with stunning performances from its cast. It is layered and dark, with engaging subplots that seamlessly merge with the main story. Sharma, who had also created <i>Paatal Lok</i> 1 and 2, manages to elevate a mystery thriller into a commentary on societal privileges and prejudices. The result is a series that is compelling and one that stays with you for a long time.</p><p>&nbsp;</p><p><i>Kohrra 2</i> is streaming on Netflix.</p><p>&nbsp;</p>

Netflix's procedural drama Kohrra returns with season 2. Creator Sudip Sharma weaves an intricate story of revenge, greed and societal prejudices in the second season which has top performances from Barun Sobti, Manu Singh and others. 

Writer-director Sudip Sharma had opened up a new world when he created the procedural drama Kohrra in 2023. The web series, mostly in Punjabi, unusually showcased the state of Punjab, sans all the bonhomie and colour that films often associate the state with. Much like its plot, a murder mystery, the drama had muted colours, with heavy fog shrouding the lives of those involved in the case. Sharma returns with Kohrra season 2, with a new mystery and a new set of complications, but keeps the same aesthetics and mood of the first season. Just like the first season, a heavy fog remains on the lives of the police officers investigating the case, the identity of the killer, the victim’s family and societal prejudices. Actor Barun Sobti returns as Assistant Sub-Inspector Garundi in season 2 of Kohrra, which shifts the story to Jagrana, a small town in Punjab. Garundi has a new wife and a new boss and has to maintain a fine balance between professional and personal life. As a woman is found dead in the barn of her brother’s home, Garundi and his boss, Assistant-Inspector Dhanwant Kaur (Mona Singh), are given charge of the case. As the two officer get cracking on the case, they have to also face demons of their own past and strike a balance between personal and professional at all times. What’s the plot of Kohrra 2 When a woman (Pooja Bhamrrah) is found dead in her brother’s (Anurag Arora) barn, everyone is a suspect. Her NRI husband (Rannvijay Singha), a new possible love interest with whom she intended to start a dance studio and the brother himself. At the onset, the case seems like an open-and-shut case, with the cops finding bloodied footprints of the murderer all over the crime scene. But as Garundi and Dhanwant start investigating, the case becomes murky, with past issues of each suspect spilling out in the open. Dhanwant, who has been reappointed to her post and given charge of the case, is battling a dark past of her own. Garundi, newly married, wants to leave his past and start afresh with his wife, but the familial burden keeps pulling him down. While the cops investigate the case, more murders pile up. Meanwhile, a young labourer from Jharkhand comes to the same town looking for his father, who had come to Jagrana town about twenty years ago as a labourer but has been missing for over a year. Dhanwant and her team have her hands full and pressure from the top, along with domestic issues of her own; the Sub-Inspector has a lot at stake and a lot to prove her worth.

<p>Netflix's procedural drama Kohrra returns with season 2. Creator Sudip Sharma weaves an intricate story of revenge, greed and societal prejudices in the second season which has top performances from Barun Sobti, Manu Singh and others.&nbsp;</p>

Kohrra 2 review: Barun Sobti and Mona Singh's web series is not just a regular mystery thriller

<p>Rani Mukerji's latest offering, Mardaani 3, presents her in a larger-than-life, no-nonsense, gritty cop- a role that she has played well in the previous two instalments in the franchise. &nbsp;While the actress delivers well to her part, the film sticks to the basics and familiar template, giving a sense of déjà vu to the viewers. Mardaani 3 feels like a replica of its predecessor films, with just a few minor changes and an all-encompassing heroine taking charge before anyone can even step in to offer help.</p><p>Directed by Abhiraj Minawala, Mardaani 3 is written by Aayush Gupta, Deepak Kingrani and Baljeet Singh Marwah. While it does try to give social messages on women's empowerment and class demarcation, the messages are somehow muffled amid Rani Mukerji’s historics on screen.</p><h2>What’s the plot of Mardaani 3?</h2><p>A new human trafficer Amma (Mallika Prasad), has kidnapped over 90 pre puberscent gilrs in the last month. Most from underprivileged backgrounds and missing cases have gone unnoticed. When a diplomat's daughter gets kidnapped along with their caretaker’s daughter, top cop Shivani Shivaji Roy (Mukerji) is called in to investigate the case and bring back the lost child.</p><p>&nbsp;</p><p>Investigation takes her on a wild-goose chase across Delhi, with her team in tow, including a new lady constable (Janki Bodiwala) who is more than eager to be useful instead of just serving tea at her station thana, which is dominated by male cops. Her search for Amma also leads her to NGO head Ramanujan (Prajesh Kashyap), whose past has now made him a crusader for kids who are victims of the nexus.</p><p>&nbsp;</p><p>When she is almost close to solving the case, Shivani discovers that the human trafficking nexus is far deeper and murkier than it seems. Medical testing, greed of pharma companies, human testing and lab inventions- are all thrown into the mix.</p><h2>What works and what doesn’t</h2><p>It is Rani Mukerji's show all the way. From beating goons double her size, to landing up at the crime scene much before backup arrives, to even delivering monologues about stree shakti - the writers give Rani ample opportunity to shine, and she delivers. There’s never been any doubt about the star’s acting prowess. Time and again, she has proved that she can deliver the most mundane characters with elegance and charm. Mardaani was always tailor-made to show Rani in an action-hero avatar, who would be at par with the Singhams of the world, and the actress truly shines throughout. There are scenes which seem rather over the top, the monologues slightly jaded for the times we live in, but Rani Mukerji makes it convincing.</p><p>&nbsp;</p><p>The previous two films in the Mardaani franchise had also given us two memorable antagonists. Tahir Raj Bhasin, a sophisticated human trafficer and Vishal Jethwa, as the psycho-serial-killer and abductor, had delivered stunning performances, complementing Rani’s heroic act with their evil, malicious ways. In Mardaani 3, while Mallika Prasad is menacing, the trope is now a familiar one and something that we have already seen in Delhi Crimes Season 3. There it was, Huma Qureshi, a victim herself, who turns menacing and trades young girls; here, Mallika Prasad, forced to beg early in her life, turns it into a nexus.</p><p>&nbsp;</p><p>There is also Janaki Bodiwala, playing a newbie cop whose potential as a performer is not fully tapped. Actor Prajesh Kashyap also delivers to his part. As a man who seems right but definitely has a dark past.</p><p>&nbsp;</p><p>Watch out for the crucial twist right before the film’s interval- certainly one of the high points of the story.</p><p>&nbsp;</p><p>I wish more scenes would highlight the other actors in the film. A lot of time has been spent making Shivani Shivaji Roy a gritty cop, but not much thought has been given to the other key characters in the film.</p><p>&nbsp;</p><p>It also isn’t the most technically and aesthetically sound film, with several issues of continuity.</p><h2>Final verdict</h2><p>Mardaani 3 delivers well. If you have liked the previous two films of the franchise, Mardaani 3 will also provide the same thrills. The writers waste no time and jump right in on the case, keeping the pace steady and thrilling throughout. Its predictability is an advantage as well as a disadvantage. While Mardaani 3 doesn’t offer anything new, it sticks to the basics and plays it safe, thereby delivering an engaging thriller.</p><p>Mardaani 3 is now running in theatres all across.</p>

Rani Mukerji returns as tough-cop Shivani Shivaji Roy in the third instalment of Mardaani. The film sticks to the same template that the two previous films of the franchise were based on and presents Rani in a larger-than-life avatar. 

Rani Mukerji's latest offering, Mardaani 3, presents her in a larger-than-life, no-nonsense, gritty cop- a role that she has played well in the previous two instalments in the franchise. While the actress delivers well to her part, the film sticks to the basics and familiar template, giving a sense of déjà vu to the viewers. Mardaani 3 feels like a replica of its predecessor films, with just a few minor changes and an all-encompassing heroine taking charge before anyone can even step in to offer help. Directed by Abhiraj Minawala, Mardaani 3 is written by Aayush Gupta, Deepak Kingrani and Baljeet Singh Marwah. While it does try to give social messages on women's empowerment and class demarcation, the messages are somehow muffled amid Rani Mukerji’s historics on screen. What’s the plot of Mardaani 3? A new human trafficer Amma (Mallika Prasad), has kidnapped over 90 pre puberscent gilrs in the last month. Most from underprivileged backgrounds and missing cases have gone unnoticed. When a diplomat's daughter gets kidnapped along with their caretaker’s daughter, top cop Shivani Shivaji Roy (Mukerji) is called in to investigate the case and bring back the lost child. Investigation takes her on a wild-goose chase across Delhi, with her team in tow, including a new lady constable (Janki Bodiwala) who is more than eager to be useful instead of just serving tea at her station thana, which is dominated by male cops. Her search for Amma also leads her to NGO head Ramanujan (Prajesh Kashyap), whose past has now made him a crusader for kids who are victims of the nexus. When she is almost close to solving the case, Shivani discovers that the human trafficking nexus is far deeper and murkier than it seems. Medical testing, greed of pharma companies, human testing and lab inventions- are all thrown into the mix. What works and what doesn’t It is Rani Mukerji's show all the way. From beating goons double her size, to landing up at the crime scene much before backup arrives, to even delivering monologues about stree shakti - the writers give Rani ample opportunity to shine, and she delivers. There’s never been any doubt about the star’s acting prowess. Time and again, she has proved that she can deliver the most mundane characters with elegance and charm. Mardaani was always tailor-made to show Rani in an action-hero avatar, who would be at par with the Singhams of the world, and the actress truly shines throughout. There are scenes which seem rather over the top, the monologues slightly jaded for the times we live in, but Rani Mukerji makes it convincing. The previous two films in the Mardaani franchise had also given us two memorable antagonists. Tahir Raj Bhasin, a sophisticated human trafficer and Vishal Jethwa, as the psycho-serial-killer and abductor, had delivered stunning performances, complementing Rani’s heroic act with their evil, malicious ways. In Mardaani 3, while Mallika Prasad is menacing, the trope is now a familiar one and something that we have already seen in Delhi Crimes Season 3. There it was, Huma Qureshi, a victim herself, who turns menacing and trades young girls; here, Mallika Prasad, forced to beg early in her life, turns it into a nexus. There is also Janaki Bodiwala, playing a newbie cop whose potential as a performer is not fully tapped. Actor Prajesh Kashyap also delivers to his part. As a man who seems right but definitely has a dark past. Watch out for the crucial twist right before the film’s interval- certainly one of the high points of the story. I wish more scenes would highlight the other actors in the film. A lot of time has been spent making Shivani Shivaji Roy a gritty cop, but not much thought has been given to the other key characters in the film. It also isn’t the most technically and aesthetically sound film, with several issues of continuity. Final verdict Mardaani 3 delivers well. If you have liked the previous two films of the franchise, Mardaani 3 will also provide the same thrills. The writers waste no time and jump right in on the case, keeping the pace steady and thrilling throughout. Its predictability is an advantage as well as a disadvantage. While Mardaani 3 doesn’t offer anything new, it sticks to the basics and plays it safe, thereby delivering an engaging thriller. Mardaani 3 is now running in theatres all across.

<p>Rani Mukerji returns as tough-cop Shivani Shivaji Roy in the third instalment of Mardaani. The film sticks to the same template that the two previous films of the franchise were based on and presents Rani in a larger-than-life avatar.&nbsp;</p>

Mardaani 3 movie review: It’s a Rani Mukerji show all the way

<p>It's been nearly three decades since JP Dutta’s war classic Border was released in theatres. The film was set in 1971 and highlighted the Indian Army's brave defence at the Battle of Longewala during the Indo-Pak war. The film, over the years, earned cult status and to date is remembered for its memorable dialogues, performances and soulful music. Border also set a template for future such war films. All mounted at a big scale, all speaking of patriotism and glorifying the valour of our Armed forces. Some worked, others were mere copies, including Dutta’s film on Kargil, called LOC. 29 years on, JP Dutta returns with Border 2, this time as a producer along with his daughter Nidhi Dutta and lets Anurag Singh direct the sequel. But is Border 2 as impactful as Border? Let’s find out.</p><p>&nbsp;</p><p>Border 2, starring Sunny Deol, Varun Dhawan, Diljit Dosanjh, Ahaan Shetty and others, is a multi-front war drama. Just like the prequel, Border 2 is also set in 1971, but while the first film concentrated on the Battle of Longewala, this film highlights multiple historical flashpoints like the Battle of Basantar, the Battle of Poonch, and the poignant sinking of the INS Khukri. At the onset, Border 2 is a war film, highlighting the valour of the armed forces, but director Anurag Singh gives detailed back stories of the lead actors, thus making the film a long-drawn drama.</p><h2>What's Border 2 about?</h2><p>&nbsp;</p><p>Major Hoshiar Singh Dahiya (Varun Dhawna) is stationed in the Jammu-Pathakot area with his battalion. A star cadet during his time in the military academy, he is now waiting for orders to go to the battlefield even as war has begun elsewhere. His batchmates and best friends are also now officers of the defence force. Nirmaljit Singh Sekhon(Diljit Dosanjh) is now a daredevil fighter pilot with the Indian Air Force in Srinagar base, never too shy to take on the enemy single-handedly. Meanwhile, MS Rawat(Ahaan Shetty), the third friend of the group, is now a Navy officer guarding the borders at sea. All three of them have trained in the same academy under the guidance of Lt Col Fateh Singh Kaler (Sunny Deol), who is now stationed with his troops in Kashmir.</p><p>&nbsp;</p><p>The three friends’ reunion at Sekhon’s wedding is cut short as India goes to war with Pakistan in 1971, with each heading to their respective stations to prepare for the impending war.</p><p>&nbsp;</p><h2>What works and what does not</h2><p>Comparisons are inevitable between the two films, considering both films are set around the same war and even has Sunny Deol in common. Deol obviously gets the most impactful monologues to deliver, and he does it in his quintessential style - dramatic, firm and strong. Director Anurag Singh is able to capture the flavours of patriotism right without going overboard. The men shown are brave, courageous soldiers but with a heart of gold, who also know how to treat the enemy respectfully.</p><p>&nbsp;</p><p>Much like Border, this one too does not want to take sides. There, a young officer played by Akshaye Khanna, had dived right in to save a Koran, here a Sikh soldier doesn't let a lamp dim its light inside an abandoned dargah- because of a promise to a Kashmiri muslim man. In another instance, Varun Dhawan’s character places a family member’s photograph next to a slain Pakistani soldier’s dead body, giving him the dignity he deserves in death.</p><p>One of the most poignant scenes features two jawans exchanging notes after letters from their respective homes arrive. One is elated to become a father to a baby girl, but suppresses his joy on seeing his colleague mourn the news of his mother’s death, who quickly brightens up on hearing the arrival of the newborn.</p><p>&nbsp;</p><p>The film also goes back in time to showcase the brotherhood of the three leading men, and even gives a proper backstory to Sunny Deol’s character, featuring Mona Singh, who plays his wife.</p><p>&nbsp;</p><p>Border 2 humanises the soldiers to a great extent, which was lacking mostly in the first part.</p><p>&nbsp;</p><p>However, the fight sequences in the second half of the film feel choppy and the VFX is not the most convincing. Deol’s aura remains, but he is now an aged man and one can see the instances where the body double has been used to perform tricky stunts.</p><p>&nbsp;</p><p>The second half of the course plays to the gallery and has a few lines which feel over the top and dramatic. A lot of the action sequences feel very staged and the sense of realism is lacking.</p><h2>Diljit Dosanjh shines</h2><p>Among the actors, it is Diljit Dosanjh who shines the most. He plays a man who hates to lose but also a loyal friend who opens up his home and family to his lonely, introverted friend. Dosanjh plays his character with grace and charm, making his scenes the most enjoyable. Watch out for the scene involving him and Dhawan as students in the academy trying to outwit each other at every given opportunity. The camaraderie between the two actors is visible and both Dhawan and Dosanjh execute the scenes well, Shetty on the other hand, gets overshadowed by these two actors and their natural charm.</p><p>&nbsp;</p><p>I loved how the music of Border 2 brought back nostalgia.<i> Sandese Aate Hai,</i> now rechristened as <i>Ghar Kab Aaoge, </i>still remains one of the best war movie songs, highlighting the pain of the family as a soldier goes out to protect the motherland.</p><h2>The woman of Border 2</h2><p>There isn’t much scope for women in this film, considering it only documents the 1971 war, when women in the armed forces was abysmall. Here, the women play the supportive wives to the soldiers. Mona Singh beautifully portrays the pain of a mother who has lost her son in the battlefield. New actress Medha Rana is equally good as the wife of Hoshair Singh. Sonam Bajwa and Anya Singh get limited screen time.</p><h2>Final verdict</h2><p>Border 2 comes at a time when the hostility between the two nations is heightened. At some point, it does play to the gallery and talks of how Hindustan takes a united stand against the enemy state, to rouse nationalistic emotions within the viewers, but overall, Border 2 manages to look at the human side of the soldiers. It tries to focus not just on the battlefield but also on how war affects relations, friendships and loved ones.</p><p>&nbsp;</p><p>Sure, it's not as memorable as the original and awfully long with bad VFX, but Border 2 has got its heart at the right place and manages to entertain.&nbsp;</p>

While comparisons are inevitable with the 1997 film Border, the new film Border 2 manages to hold its own and bring a sense of patriotism among viewers. The film has Sunny Deol in his elements and has Diljit Dosanjh and Varun Dhawan delivering credible performances. 

It's been nearly three decades since JP Dutta’s war classic Border was released in theatres. The film was set in 1971 and highlighted the Indian Army's brave defence at the Battle of Longewala during the Indo-Pak war. The film, over the years, earned cult status and to date is remembered for its memorable dialogues, performances and soulful music. Border also set a template for future such war films. All mounted at a big scale, all speaking of patriotism and glorifying the valour of our Armed forces. Some worked, others were mere copies, including Dutta’s film on Kargil, called LOC. 29 years on, JP Dutta returns with Border 2, this time as a producer along with his daughter Nidhi Dutta and lets Anurag Singh direct the sequel. But is Border 2 as impactful as Border? Let’s find out. Border 2, starring Sunny Deol, Varun Dhawan, Diljit Dosanjh, Ahaan Shetty and others, is a multi-front war drama. Just like the prequel, Border 2 is also set in 1971, but while the first film concentrated on the Battle of Longewala, this film highlights multiple historical flashpoints like the Battle of Basantar, the Battle of Poonch, and the poignant sinking of the INS Khukri. At the onset, Border 2 is a war film, highlighting the valour of the armed forces, but director Anurag Singh gives detailed back stories of the lead actors, thus making the film a long-drawn drama. What's Border 2 about? Major Hoshiar Singh Dahiya (Varun Dhawna) is stationed in the Jammu-Pathakot area with his battalion. A star cadet during his time in the military academy, he is now waiting for orders to go to the battlefield even as war has begun elsewhere. His batchmates and best friends are also now officers of the defence force. Nirmaljit Singh Sekhon(Diljit Dosanjh) is now a daredevil fighter pilot with the Indian Air Force in Srinagar base, never too shy to take on the enemy single-handedly. Meanwhile, MS Rawat(Ahaan Shetty), the third friend of the group, is now a Navy officer guarding the borders at sea. All three of them have trained in the same academy under the guidance of Lt Col Fateh Singh Kaler (Sunny Deol), who is now stationed with his troops in Kashmir. The three friends’ reunion at Sekhon’s wedding is cut short as India goes to war with Pakistan in 1971, with each heading to their respective stations to prepare for the impending war. What works and what does not Comparisons are inevitable between the two films, considering both films are set around the same war and even has Sunny Deol in common. Deol obviously gets the most impactful monologues to deliver, and he does it in his quintessential style - dramatic, firm and strong. Director Anurag Singh is able to capture the flavours of patriotism right without going overboard. The men shown are brave, courageous soldiers but with a heart of gold, who also know how to treat the enemy respectfully. Much like Border, this one too does not want to take sides. There, a young officer played by Akshaye Khanna, had dived right in to save a Koran, here a Sikh soldier doesn't let a lamp dim its light inside an abandoned dargah- because of a promise to a Kashmiri muslim man. In another instance, Varun Dhawan’s character places a family member’s photograph next to a slain Pakistani soldier’s dead body, giving him the dignity he deserves in death. One of the most poignant scenes features two jawans exchanging notes after letters from their respective homes arrive. One is elated to become a father to a baby girl, but suppresses his joy on seeing his colleague mourn the news of his mother’s death, who quickly brightens up on hearing the arrival of the newborn. The film also goes back in time to showcase the brotherhood of the three leading men, and even gives a proper backstory to Sunny Deol’s character, featuring Mona Singh, who plays his wife. Border 2 humanises the soldiers to a great extent, which was lacking mostly in the first part. However, the fight sequences in the second half of the film feel choppy and the VFX is not the most convincing. Deol’s aura remains, but he is now an aged man and one can see the instances where the body double has been used to perform tricky stunts. The second half of the course plays to the gallery and has a few lines which feel over the top and dramatic. A lot of the action sequences feel very staged and the sense of realism is lacking. Diljit Dosanjh shines Among the actors, it is Diljit Dosanjh who shines the most. He plays a man who hates to lose but also a loyal friend who opens up his home and family to his lonely, introverted friend. Dosanjh plays his character with grace and charm, making his scenes the most enjoyable. Watch out for the scene involving him and Dhawan as students in the academy trying to outwit each other at every given opportunity. The camaraderie between the two actors is visible and both Dhawan and Dosanjh execute the scenes well, Shetty on the other hand, gets overshadowed by these two actors and their natural charm. I loved how the music of Border 2 brought back nostalgia. Sandese Aate Hai, now rechristened as Ghar Kab Aaoge, still remains one of the best war movie songs, highlighting the pain of the family as a soldier goes out to protect the motherland. The woman of Border 2 There isn’t much scope for women in this film, considering it only documents the 1971 war, when women in the armed forces was abysmall. Here, the women play the supportive wives to the soldiers. Mona Singh beautifully portrays the pain of a mother who has lost her son in the battlefield. New actress Medha Rana is equally good as the wife of Hoshair Singh. Sonam Bajwa and Anya Singh get limited screen time. Final verdict Border 2 comes at a time when the hostility between the two nations is heightened. At some point, it does play to the gallery and talks of how Hindustan takes a united stand against the enemy state, to rouse nationalistic emotions within the viewers, but overall, Border 2 manages to look at the human side of the soldiers. It tries to focus not just on the battlefield but also on how war affects relations, friendships and loved ones. Sure, it's not as memorable as the original and awfully long with bad VFX, but Border 2 has got its heart at the right place and manages to entertain.

<p>While comparisons are inevitable with the 1997 film Border, the new film Border 2 manages to hold its own and bring a sense of patriotism among viewers. The film has Sunny Deol in his elements and has Diljit Dosanjh and Varun Dhawan delivering credible performances.&nbsp;</p>

Border 2 movie review: Diljit Dosanjh steals the show in this high-octane patriotic spectacle

<p>Ikkis is not your typical Sriram Raghavan film, yet you can still find the master storyteller’s signature style throughout the film. Raghavan, who is known for his mystery thrillers and neo-noir films, moves out of genre to make a war drama based on a real-life incident. The result is a beautiful film that not only highlights the valour of Second Lieutenant Arun Kehtarpal during a crucial operation at the fag end of the Indo-Pak war in 1971, but also goes beyond the conversation of war and talks of humanity. &nbsp;The film, starring Dharmendra, Jaideep Ahlawat and Agastya Nanda, revisits a time when hatred was a common emotion between Indian and Pakistan but Raghavan, in his own way, talks about the futility of war and highlights the human side of soldiers on both sides of the border.&nbsp;</p><p>&nbsp;</p><p>While the theme is pertinent in today’s time and Raghavan’s story is an important one, Ikkis is also special because it is Dharmendra’s last film. The legendary actor, who passed away in November 2025, delivers a restrained performance as a father grieving his young son’s death in the film. The star’s performance leaves a heavy lump in the throat.&nbsp;</p><p>&nbsp;</p><h2>Plot of Ikkis</h2><p>Set in two different years, one in 1971, as India goes to war with Pakistan, and the other in 2001, two years after the Kargil war, the film beautifully connects the characters and two plots into one single story. Second Lieutenant&nbsp;Arun Khetarpal gets the news that his course at NDA is being cut short as India is at war with Pakistan. Arun, as part of the Poona Horse regiment, was first trained to man the tank and then was later part of the troop that fought at the&nbsp; Battle of Basantar.&nbsp;</p><p>&nbsp;</p><p>Arun was martyred and received the Paramveer Chakra posthumously. 30 years after the 1971 war, his father, retired Birgadier ML Khetarpal (Dharmendra) visits Pakistan for his college reunion in Lahore and is hosted by one Brigadier Nisaar (Jaideep Ahlawat) at his home during his stay. The retired Brigadier was part of the Pakistan army during the 1971 war and was linked to Arun, a fact that ML Khetarpal is not aware of initially.&nbsp;</p><p>&nbsp;</p><p>A former Army officer himself, the senior Khetarpal is aware of the futility of war. A victim of partition, he travels back to his home and college in Pakistan, to relive his childhood years once again, unaware that Nisaar wants to confess to him something related to his martyred son.&nbsp;</p><p>&nbsp;</p><p>The film keeps moving between the two stories. One that highlights Arun’s days at NDA, him being the righteous young boy who wants to become a brave Army officer just like his father. The days in training show Arun meeting and falling in love with Kiran(debutant Simar Bhatia), who pushes him to do better.&nbsp;</p><p>&nbsp;</p><p>The other story focuses on ML Khetarpal’s visit to Pakistan, first to Lahore and then to Sargodha, his ancestral home, in 2001, when India and Pakistan, fresh out of the Kargil war, were sceptical of each other even as they were trying to rebuild their bond as two neighbouring states. The film also focuses on the beautiful bond that General Nisaar and ML Khetarpal form over the course of a few days.&nbsp;</p><p>&nbsp;</p><h2>The futility of war is highlighted in Ikkis</h2><p>The beauty of Ikkis lies in its poignant moments. The time when ML Khetarpal visits his ancestral home and is warmly hosted by the new occupants of the house. The moments when Arun and Kiran spend together while dating. Arun’s eagerness to prove his worth and be accepted into the army. The moments that Nisar and ML spend in Pakistan- all these add up for a beautiful, insightful story that Ikkis is.&nbsp;</p><p>&nbsp;</p><h2>Antidote to Dhurandhar</h2><p>Ikkis comes at a time when the nation, fueled by Dhurandhar's success, is high on emotions of patriotism and hyper masculinity. Ikkis serves as an antidote to all the gore and violence that Dhurandhar propagates.&nbsp;</p><p>It is unfair to compare Raghavan to the director Aditya Dhar. Raghavan is a seasoned filmmaker, known for his gripping, detailed mystery thrillers. Dhar, on the other hand, is relatively new, with just one film in his kitty before Dhurandhar. But both Ikkis and Dhurandhar are similar in theme of patriotism. Both films have Indians fighting against Pakistan. Yet, Ikkis is far superior in its messaging.&nbsp;</p><h2>Ikkis goes beyond war</h2><p>Ikkis goes beyond war and enmity and taps into the emotions of those who suffer post-war. An injured soldier, a grieving father of a martyr, a brave officer who has witnessed gore and death too closely- the aftermath of war is far more grievous and tragic on both sides of the border- and Raghavan’s film highlights these emotions well.&nbsp;</p><p>At one point, Dharmendra tells Ahlawat that it is upon us to stop the war and the hatred across the two nations. And it comes from a man who has lost his young son at the age of 21 to war, killed defending his country. It comes from a man who has had to move out of his home and rebuild a life in a different city from scratch. Hatred should come easily to him, yet he chooses peace.&nbsp;<br>&nbsp;</p><h2>Performances</h2><p>&nbsp;</p><p>The film boasts of earnest performances from its actors. Debutant Agastya Nanda plays his part with honesty and brings in the right amount of enthusiasm that's needed for the character. Jaideep Ahlawat plays a kind Pakistani officer who is righteous and wants to make amends. There are Sikander Kher, Vivaan Shah and Rahul Dev who deliver their parts well. Simar Bhatia holds promise.&nbsp;</p><p>&nbsp;</p><p>The film, however, belongs to Dharmendra, who delivers a restrained, emotional performance of a man who has seen too much in life and yet has not given up being hopeful. His scenes with Ahlawat are high on emotions but also the best scenes in the film.&nbsp;</p><h2>Final verdict</h2><p>While Ikkis leave with bitter-sweet feelings about Pakistan, war and enmity, its release is timely. It comes when Bollywood’s sense of patriotism and revenge is more jingoistic than solution-driven. It comes at a time when shouting out loud your love for the country and hatred for Pakistan is considered normal. In such an environment, Ikkis feels like soothing balm. It celebrates the Indian army and its valour, talks of an important chapter in history and yet never sounds jingoistic.&nbsp;</p><p>&nbsp;</p><p>Watch Ikkis for its story, for Raghavan’s cool references to war films and war books of the 1970s, for Agastya Nanda’s earnest performance and Dharmendra’s heartfelt act.&nbsp;</p>

Dharmendra delivers a class act in Sriram Raghavan's latest film, Ikkis, that goes beyond a war and talks of the aftermath of the 1971 war and how people suffer on both sides. It also has newcomer Agastya Nanda delivering an earnest performance as a young, brave army officer.

Ikkis is not your typical Sriram Raghavan film, yet you can still find the master storyteller’s signature style throughout the film. Raghavan, who is known for his mystery thrillers and neo-noir films, moves out of genre to make a war drama based on a real-life incident. The result is a beautiful film that not only highlights the valour of Second Lieutenant Arun Kehtarpal during a crucial operation at the fag end of the Indo-Pak war in 1971, but also goes beyond the conversation of war and talks of humanity. The film, starring Dharmendra, Jaideep Ahlawat and Agastya Nanda, revisits a time when hatred was a common emotion between Indian and Pakistan but Raghavan, in his own way, talks about the futility of war and highlights the human side of soldiers on both sides of the border. While the theme is pertinent in today’s time and Raghavan’s story is an important one, Ikkis is also special because it is Dharmendra’s last film. The legendary actor, who passed away in November 2025, delivers a restrained performance as a father grieving his young son’s death in the film. The star’s performance leaves a heavy lump in the throat. Plot of Ikkis Set in two different years, one in 1971, as India goes to war with Pakistan, and the other in 2001, two years after the Kargil war, the film beautifully connects the characters and two plots into one single story. Second Lieutenant Arun Khetarpal gets the news that his course at NDA is being cut short as India is at war with Pakistan. Arun, as part of the Poona Horse regiment, was first trained to man the tank and then was later part of the troop that fought at the Battle of Basantar. Arun was martyred and received the Paramveer Chakra posthumously. 30 years after the 1971 war, his father, retired Birgadier ML Khetarpal (Dharmendra) visits Pakistan for his college reunion in Lahore and is hosted by one Brigadier Nisaar (Jaideep Ahlawat) at his home during his stay. The retired Brigadier was part of the Pakistan army during the 1971 war and was linked to Arun, a fact that ML Khetarpal is not aware of initially. A former Army officer himself, the senior Khetarpal is aware of the futility of war. A victim of partition, he travels back to his home and college in Pakistan, to relive his childhood years once again, unaware that Nisaar wants to confess to him something related to his martyred son. The film keeps moving between the two stories. One that highlights Arun’s days at NDA, him being the righteous young boy who wants to become a brave Army officer just like his father. The days in training show Arun meeting and falling in love with Kiran(debutant Simar Bhatia), who pushes him to do better. The other story focuses on ML Khetarpal’s visit to Pakistan, first to Lahore and then to Sargodha, his ancestral home, in 2001, when India and Pakistan, fresh out of the Kargil war, were sceptical of each other even as they were trying to rebuild their bond as two neighbouring states. The film also focuses on the beautiful bond that General Nisaar and ML Khetarpal form over the course of a few days. The futility of war is highlighted in Ikkis The beauty of Ikkis lies in its poignant moments. The time when ML Khetarpal visits his ancestral home and is warmly hosted by the new occupants of the house. The moments when Arun and Kiran spend together while dating. Arun’s eagerness to prove his worth and be accepted into the army. The moments that Nisar and ML spend in Pakistan- all these add up for a beautiful, insightful story that Ikkis is. Antidote to Dhurandhar Ikkis comes at a time when the nation, fueled by Dhurandhar's success, is high on emotions of patriotism and hyper masculinity. Ikkis serves as an antidote to all the gore and violence that Dhurandhar propagates. It is unfair to compare Raghavan to the director Aditya Dhar. Raghavan is a seasoned filmmaker, known for his gripping, detailed mystery thrillers. Dhar, on the other hand, is relatively new, with just one film in his kitty before Dhurandhar. But both Ikkis and Dhurandhar are similar in theme of patriotism. Both films have Indians fighting against Pakistan. Yet, Ikkis is far superior in its messaging. Ikkis goes beyond war Ikkis goes beyond war and enmity and taps into the emotions of those who suffer post-war. An injured soldier, a grieving father of a martyr, a brave officer who has witnessed gore and death too closely- the aftermath of war is far more grievous and tragic on both sides of the border- and Raghavan’s film highlights these emotions well. At one point, Dharmendra tells Ahlawat that it is upon us to stop the war and the hatred across the two nations. And it comes from a man who has lost his young son at the age of 21 to war, killed defending his country. It comes from a man who has had to move out of his home and rebuild a life in a different city from scratch. Hatred should come easily to him, yet he chooses peace. Performances The film boasts of earnest performances from its actors. Debutant Agastya Nanda plays his part with honesty and brings in the right amount of enthusiasm that's needed for the character. Jaideep Ahlawat plays a kind Pakistani officer who is righteous and wants to make amends. There are Sikander Kher, Vivaan Shah and Rahul Dev who deliver their parts well. Simar Bhatia holds promise. The film, however, belongs to Dharmendra, who delivers a restrained, emotional performance of a man who has seen too much in life and yet has not given up being hopeful. His scenes with Ahlawat are high on emotions but also the best scenes in the film. Final verdict While Ikkis leave with bitter-sweet feelings about Pakistan, war and enmity, its release is timely. It comes when Bollywood’s sense of patriotism and revenge is more jingoistic than solution-driven. It comes at a time when shouting out loud your love for the country and hatred for Pakistan is considered normal. In such an environment, Ikkis feels like soothing balm. It celebrates the Indian army and its valour, talks of an important chapter in history and yet never sounds jingoistic. Watch Ikkis for its story, for Raghavan’s cool references to war films and war books of the 1970s, for Agastya Nanda’s earnest performance and Dharmendra’s heartfelt act.

<p>Dharmendra delivers a class act in Sriram Raghavan's latest film, Ikkis, that goes beyond a war and talks of the aftermath of the 1971 war and how people suffer on both sides. It also has newcomer Agastya Nanda delivering an earnest performance as a young, brave army officer.</p>

Ikkis movie review: Dharmendra and Agastya Nanda's film delivers a thoughtful antidote to Dhurandhar

<p>How to take a film seriously, which is titled <i>Tu Meri Main Tera Main Tera Tu Meri</i>? 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 <i>Kabhi Khushi Kabhi Gham</i>’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;</p><p>&nbsp;</p><h2>Tu Meri Main Tera Main Tera Tu Meri Plot</h2><p>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;</p><p>&nbsp;</p><p>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;</p><p>&nbsp;</p><h2>Kartik Aaryan brand of feminism&nbsp;</h2><p>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 <i>Satya Prem Ki Katha</i>, he helps his wife, a victim of date rape, to heal while making the sacrifice of abstinence after his wedding. In <i>Bhool Bhulaiyyaa 2</i>, 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;</p><p>&nbsp;</p><p>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;</p><p>&nbsp;</p><p>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;</p><h2>Kartik Aaryan and Jackie Shroff's chemistry</h2><p>&nbsp;</p><p>There are lot of meta references in the film, which bring in the laughs. A drunk Neena Gupta dances to <i>Choli Ke Peeche Kya Hai </i>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;</p><p>&nbsp;</p><p>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;</p><p>&nbsp;</p><p>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.</p><p><i>Tu Meri Main Tera Main Tera Tu Meri</i> 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;</p><p>&nbsp;</p><p>Wished they had spent more time creating a more detailed story with proper character sketches instead of creating a long, complicated title like <i>Tu Meri Main Tera Main Tera Tu Meri.&nbsp;</i></p><p>&nbsp;</p><p><i>Tu Meri Main Tera Main Tera Tu Meri</i> ultimately<i> </i>feels recycled—loudly self-aware, lightly progressive, but ultimately unwilling to challenge its own comfort zone and sticking to cliches.</p><p>&nbsp;</p><p>Out in cinemas from today.&nbsp;</p>

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.

<p>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;</p>

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

<p>When the first Avatar was released in 2009, filmmaker James Cameron introduced the world to the wonders of Pandora. The VIsual effects in the film, and the world that Cameron created, were a watershed moment for Cinema at large as many witnessed the greatness of CGI and how it makes films visually rich. It became an inspiration for makers worldwide as they explored realism and alternate universes and worlds in their stories. Cameron captured the imagination of the audience by introducing Pandora and its people, called Na’vi. Alien-like blue creatures who welcomed Jake Sully -one from the Sky people- humans- into their own as he fell deep in love with Na’vi princess Naytiri. Cameron returns to the big screen this Friday with Avatar: Fire and Ash, the third instalment in the franchise, hoping to tap on the love that the previous two films had received. But is the film a worthy sequel in the franchise?</p><p>&nbsp;</p><p>The film, like its prequels, remains true to its technical supremacy and James Cameron and his team present a visually stunning film. Some of the frames (best viewed in IMAX) are breathtaking and the scale at which the scenes have been conceptualised is worthy of praise. But can a film simply work on its visual excellence? Shouldn't there be a story to propel the film’s overall appeal?</p><p>&nbsp;</p><h2>The plot of Avatar Fire and Ash</h2><p>The film picks up from where Avatar: The Way Of Water had ended. Jake Sully (Sam Worthington) and his family have been living with the water tribe and coping with the loss of their eldest child, Neteyam. While Jake believes in strengthening his tribe and collecting weapons to fight the Sky People, Naytiri (Zoe Saldana) has withdrawn herself completely, mourning the death of her son. They are both now protective of their remaining three children and of Spider.</p><p>&nbsp;</p>

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<p>Meanwhile, Col Miles Quaritch(Stephen Lang), now an Avatar, leads Sky -people in hunting down Sully and Spider and extracting Pandora’s flora and fauna- to create Amrit- the ultimate elixir for life. There is also a rival Na’vi tribe headed by Varang(Oona Chaplin), a barbaric leader, who doesn't want to follow the rules of Pandora and functions in tandem with Sky people.</p><h2>What works in Avatar: Fire and Ash</h2><p>Avatar franchise has always been visually rich, and Fire and Ash is equally vibrant. The canvas is huge, and the visuals, especially the ones that highlight the magnanimity of the ocean and its beings, are breathtaking and immersive. You can sense the amount of technical finesse that’s involved in making these characters realistic. The scenes where the Sully kids explore the underwater and connect with other beings in the ocean are beautiful.</p><p>Among the characters, Col Quaritch and Varang seem to get better lines and thus have more fun on screen as they create havoc in Pandora. A scene involving Jake Sully, Spider and Naytiri near the climax also stands out for its poignancy.</p><h2>What does not work in Avatar: Fire and Ash</h2><p>Expectations are always high for a film which is part of a hit franchise. And in most cases, the sequels disappoint and are unable to match these expectations. Avatar: Fire and Ash, apart from its visual excellence, has a terribly predictable plot and a very jaded storyline line almost giving you a sense of deja vu about past films in the franchise. How much can you marvel at the visual landscape of a film when the story is boring and lacks any kind of surprise element? At 197 minutes, the film is purely an indulgence on the makers' part, who, it seems, just want to show off its technical brilliance and conveniently forget to have a proper story in place.</p>

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<p><h2>Final word</h2><p>Let Pandora rest. It's been an exhausting 16 years for the people of Pandora, and now for the audience. Cameron’s Fire and Ash stays true to its scale, but forgets to add a cohesive storyline. With multiple characters and subplots, it becomes difficult to keep up with all that’s happening- simply because the sc reenplay is not engaging. It is time, perhaps, to bid the Na’vi community farewell and let them live in peace in Pandora.</p><p>Avatar: Fire and Ash is now running in theatres all across.</p></p>

James Cameron returns to the big screen with the third installment of Avatar in Avatar: Fire and Ash. While the film remains visually stunning, it lacks an original story and gives the audience a sense of deja vu from the previous films. 

When the first Avatar was released in 2009, filmmaker James Cameron introduced the world to the wonders of Pandora. The VIsual effects in the film, and the world that Cameron created, were a watershed moment for Cinema at large as many witnessed the greatness of CGI and how it makes films visually rich. It became an inspiration for makers worldwide as they explored realism and alternate universes and worlds in their stories. Cameron captured the imagination of the audience by introducing Pandora and its people, called Na’vi. Alien-like blue creatures who welcomed Jake Sully -one from the Sky people- humans- into their own as he fell deep in love with Na’vi princess Naytiri. Cameron returns to the big screen this Friday with Avatar: Fire and Ash, the third instalment in the franchise, hoping to tap on the love that the previous two films had received. But is the film a worthy sequel in the franchise? The film, like its prequels, remains true to its technical supremacy and James Cameron and his team present a visually stunning film. Some of the frames (best viewed in IMAX) are breathtaking and the scale at which the scenes have been conceptualised is worthy of praise. But can a film simply work on its visual excellence? Shouldn't there be a story to propel the film’s overall appeal? The plot of Avatar Fire and Ash The film picks up from where Avatar: The Way Of Water had ended. Jake Sully (Sam Worthington) and his family have been living with the water tribe and coping with the loss of their eldest child, Neteyam. While Jake believes in strengthening his tribe and collecting weapons to fight the Sky People, Naytiri (Zoe Saldana) has withdrawn herself completely, mourning the death of her son. They are both now protective of their remaining three children and of Spider.

<p>James Cameron returns to the big screen with the third instalment of Avatar in Avatar: Fire and Ash. While the film remains visually stunning, it lacks an original story and gives the audience a sense of deja vu from the previous films.&nbsp;</p>

Avatar: Fire and Ash movie review: James Cameron's film is all spectacle, no soul

<p>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 <i>Tere Ishk Mein-</i> 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.</p><h2>What’s the plot of Tere Ishk Mein?</h2><p>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.</p><p>&nbsp;</p><p>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.</p><p>&nbsp;</p><p>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.</p><p>&nbsp;</p><p>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.</p><p>&nbsp;</p><h2>What does not work in Tere Ishk Mein?</h2><p>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 - <i>Murkh Aurat</i>- 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.</p><p>&nbsp;</p><p>In the latter half of the film, as Mukti is on the path of self-destruction - because she is a <i>murkh aurat</i>, 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.</p>

<p>&nbsp;</p><p>Rai and Rahman have collaborated earlier in films like <i>Raanjhanaa </i>and <i>Atrangi Re</i>- which had memorable music. <i>Tere Ishk Mein</i> has no songs that are worth a second listen.</p><p>Just when you think the film can’t get more insufferable, they bring in Mohammed Zeeshan Ayyub from the <i>Raanjhanaa</i> 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.</p><p>&nbsp;</p><h2>What works</h2><p>The actors make <i>Tere Ishk Mein</i> watchable. Dhanush plays the raging, toxic Shankar with great intensity; however, his Kundan act from <i>Raanjhanaa</i> 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 <i>Mimi, Do Patti, </i>has proved her mettle as an actor, delivers well to her part. The actress is particularly good in the emotional scenes.</p><p>&nbsp;</p><p>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.</p><h2>Final Verdict</h2><p><i>Tere Ishk Mein </i>comes at a time when there has been a lot of discussion around toxicity and glorification of the alpha male in films like <i>Kabir Singh </i>and <i>Animal.</i> 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 <i>Attrangi Re</i> and compared a dwarf to a chimp in<i> Zero,</i> and now are glorifying toxic alpha men destroying everything around them in the name of love.</p>

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

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.

<p>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?</p>

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

<p>&nbsp;</p><p>When the first season of Delhi Crime was released on Netflix back in 2022, the series, however much difficult it was to watch, won over the audience for its raw and authentic portrayal of a case that had shocked the entire world. The Nirbhaya gang rape case, formed the base of the Delhi Crime plot and director Richie Mehta presented a very real picture of how the case was first ignored by the Delhi Police and then cracked. The show opened up a new genre of thriller for the Indian audience- one which feels almost real and yet is fictionalised. It also gave us a new heroine, supercop Vertika Singh – played by Shefali Shah- a no-nonsense, honest police officer with a sharp mind, calm demeanour and one who brings apathy into the otherwise cold, corrupt Police force. Vartika Singh comes back in Delhi Crime Season ,3 and while her core characteristics are intact, she is now more hardened – perhaps due to circumstances or age. Vartika is now posted in Silchar, Assa,m but a case of human trafficking and search for a certain Badi Didi (Huma Quereshi) brings her back to the national capital.</p><p>&nbsp;</p><h2>Plot of Delhi Crime Season 3</h2><p>Based on the Baby Falak case of 2012, Delhi Crime Season 3 moves out of Delhi and travels to other cities on a whirlwind chase to find a certain Badi Didi or Meena. In an attempt to seize a truck full of illegal weapons, Vartika and her team stumble upon a human trafficking nexus. Young girls are vanishing after setting out of their homes from smaller towns and villages of Bihar, Jharkhand and the North East in search of jobs. Agents lure them to big cities promising jobs, but instead, these girls are then trained by Kalyani (Mita Vashisht), Kusum (Sayani Gupta) and then sold off by Badi Didi either for marriage to much older men who want an heir or to international clients as escorts.&nbsp;</p><p>Meanwhile, Neeti Singh(Rasika Dugal), who is now the ACP in Delhi Police, stumbles upon a case of a battered, deeply bruised two-year-old girl who has been left at AIIMS trauma centre by a woman who claims to be her mother. As Vartika arrives in Delhi and slowly the two cases start unravelling, the women find the cases to be connected. But Badi Didi is a smart player and knows how to cover her tracks well and leads the team of investigative officer of Delhi Police on a wild goose chase across cities of India, even as she cracks a deal with a certain John Ji (Kelly Dorjee) to supply 30 escorts.&nbsp;</p><p>&nbsp;</p><h2>What works in Delhi Crime 3</h2><p>While many of the actors reprise their roles from the original, Season 3 has Tanuj Chopra taking up the director’s role. Chopra also serves as the writer of the show. The screenplay is taught only in parts, but it’s the actors who make Delhi Crime Season 3 a superlative show. Shefali Shah plays the supercop with absolute perfection. It’s a character that she has now played for three seasons and the actress maintains the consistency while playing her. She is a tough cop, but someone who always looks out for her team and is also sympathetic towards victims. In Season 3 of Delhi Crimes, Shefali Shah has fewer dialogues , but it's her eyes, that do the talking. From grieving over brutality meted out over a child, to being cold towards a hard-nose criminal during interrogation, to being sympathetic towards a grieving colleague and giving her the space to mourn a personal loss, Shah aces every scene.&nbsp;</p><p>&nbsp;</p><p>The fact that the makers could manage to cast actors like Shefali Shah, Mita Vashisht, Sayani Gupta, Rajesh Tailang, Jaya Bhattarcharya, Rasika Dugal and Huma Quereshi together in one show should be celebrated. All great performers in their own accord, they seem to complement each other in the show. While some of them have limited screen time in comparison to the lead protagonists, all of them are superb in their respective roles. Vashist plays a tough, crass woman called Kalyani who can sweet-talk everyone into doing wrong. Gupta plays an aid to Badi Did,i who enables her to commit crimes but soon realises that she is mere pawn in the larger scheme of things.&nbsp;</p><p>&nbsp;</p><p>The other scene stealer is Huma Quereshi, who has had a fantastic month, first playing CM in Maharani Season 4 and now as the pimp in Delhi Crime, who doesn’t blink twice before doing wrong. Meena or Badi Didi is a cold-blooded criminal, but can fool you with her sweet talk. In so many scenes, Huma towers over others with her excellence and her convincing performance.&nbsp;</p><p>&nbsp;</p><p>The show also brilliantly highlights how Badi Didis and Kalyanis of the world are products of a very flawed system where women are wronged daily, where they are just treated on the whims of men or predators.&nbsp;</p><h2>What does not work</h2><p>The show is realistic, but it lacks the thrills. The climax is over-stretched and too filmy, which doesn’t align with the realistic tone of the show. Characters state the obvious at regular intervals. When a character is shot outside a court by the two masked men on a bike, a cop shouts – Go chase them- to her juniors, an instruction that should come naturally to cops around the court during a shootout. A lot of instructions seem unnecessary and slightly juvenile, especially coming from cops.</p><p>&nbsp;</p><p>As I finished watching Delhi Crime Season 3, I went back to the first season of the show, just to note which characters had returned in the third part. While the makers attempt to maintain the same rawness in the third season, one senses that there is added weight of success that stops them from taking uncharted territory, thus making the narrative sluggish.&nbsp;</p><h2>Final Verdict</h2><p>Should you be watching Delhi Crime Season 3? Yes, simply because of its cast. They are all pitch perfect, and Huma’s devilish act will give you the creeps. The actress is in top form and matches Shah in every scene. Together, they create a storm.&nbsp;</p><p>&nbsp;</p><p>Delhi Crime Season 3 is now streaming on Netflix.&nbsp;</p>

Delhi Crime Season 3 review: Shefali Shah, Huma Qureshi deliver superlative performances in the third season of Delhi Crime which premieres on Netflix on Thursday. The story takes a deeper look at human trafficking and flesh trading. 

When the first season of Delhi Crime was released on Netflix back in 2022, the series, however much difficult it was to watch, won over the audience for its raw and authentic portrayal of a case that had shocked the entire world. The Nirbhaya gang rape case, formed the base of the Delhi Crime plot and director Richie Mehta presented a very real picture of how the case was first ignored by the Delhi Police and then cracked. The show opened up a new genre of thriller for the Indian audience- one which feels almost real and yet is fictionalised. It also gave us a new heroine, supercop Vertika Singh – played by Shefali Shah- a no-nonsense, honest police officer with a sharp mind, calm demeanour and one who brings apathy into the otherwise cold, corrupt Police force. Vartika Singh comes back in Delhi Crime Season ,3 and while her core characteristics are intact, she is now more hardened – perhaps due to circumstances or age. Vartika is now posted in Silchar, Assa,m but a case of human trafficking and search for a certain Badi Didi (Huma Quereshi) brings her back to the national capital. Plot of Delhi Crime Season 3 Based on the Baby Falak case of 2012, Delhi Crime Season 3 moves out of Delhi and travels to other cities on a whirlwind chase to find a certain Badi Didi or Meena. In an attempt to seize a truck full of illegal weapons, Vartika and her team stumble upon a human trafficking nexus. Young girls are vanishing after setting out of their homes from smaller towns and villages of Bihar, Jharkhand and the North East in search of jobs. Agents lure them to big cities promising jobs, but instead, these girls are then trained by Kalyani (Mita Vashisht), Kusum (Sayani Gupta) and then sold off by Badi Didi either for marriage to much older men who want an heir or to international clients as escorts. Meanwhile, Neeti Singh(Rasika Dugal), who is now the ACP in Delhi Police, stumbles upon a case of a battered, deeply bruised two-year-old girl who has been left at AIIMS trauma centre by a woman who claims to be her mother. As Vartika arrives in Delhi and slowly the two cases start unravelling, the women find the cases to be connected. But Badi Didi is a smart player and knows how to cover her tracks well and leads the team of investigative officer of Delhi Police on a wild goose chase across cities of India, even as she cracks a deal with a certain John Ji (Kelly Dorjee) to supply 30 escorts. What works in Delhi Crime 3 While many of the actors reprise their roles from the original, Season 3 has Tanuj Chopra taking up the director’s role. Chopra also serves as the writer of the show. The screenplay is taught only in parts, but it’s the actors who make Delhi Crime Season 3 a superlative show. Shefali Shah plays the supercop with absolute perfection. It’s a character that she has now played for three seasons and the actress maintains the consistency while playing her. She is a tough cop, but someone who always looks out for her team and is also sympathetic towards victims. In Season 3 of Delhi Crimes, Shefali Shah has fewer dialogues , but it's her eyes, that do the talking. From grieving over brutality meted out over a child, to being cold towards a hard-nose criminal during interrogation, to being sympathetic towards a grieving colleague and giving her the space to mourn a personal loss, Shah aces every scene. The fact that the makers could manage to cast actors like Shefali Shah, Mita Vashisht, Sayani Gupta, Rajesh Tailang, Jaya Bhattarcharya, Rasika Dugal and Huma Quereshi together in one show should be celebrated. All great performers in their own accord, they seem to complement each other in the show. While some of them have limited screen time in comparison to the lead protagonists, all of them are superb in their respective roles. Vashist plays a tough, crass woman called Kalyani who can sweet-talk everyone into doing wrong. Gupta plays an aid to Badi Did,i who enables her to commit crimes but soon realises that she is mere pawn in the larger scheme of things. The other scene stealer is Huma Quereshi, who has had a fantastic month, first playing CM in Maharani Season 4 and now as the pimp in Delhi Crime, who doesn’t blink twice before doing wrong. Meena or Badi Didi is a cold-blooded criminal, but can fool you with her sweet talk. In so many scenes, Huma towers over others with her excellence and her convincing performance. The show also brilliantly highlights how Badi Didis and Kalyanis of the world are products of a very flawed system where women are wronged daily, where they are just treated on the whims of men or predators. What does not work The show is realistic, but it lacks the thrills. The climax is over-stretched and too filmy, which doesn’t align with the realistic tone of the show. Characters state the obvious at regular intervals. When a character is shot outside a court by the two masked men on a bike, a cop shouts – Go chase them- to her juniors, an instruction that should come naturally to cops around the court during a shootout. A lot of instructions seem unnecessary and slightly juvenile, especially coming from cops. As I finished watching Delhi Crime Season 3, I went back to the first season of the show, just to note which characters had returned in the third part. While the makers attempt to maintain the same rawness in the third season, one senses that there is added weight of success that stops them from taking uncharted territory, thus making the narrative sluggish. Final Verdict Should you be watching Delhi Crime Season 3? Yes, simply because of its cast. They are all pitch perfect, and Huma’s devilish act will give you the creeps. The actress is in top form and matches Shah in every scene. Together, they create a storm. Delhi Crime Season 3 is now streaming on Netflix.

<p>Delhi Crime Season 3 review: Shefali Shah, Huma Qureshi deliver superlative performances in the third season of Delhi Crime which premieres on Netflix on Thursday. The story takes a deeper look at human trafficking and flesh trading.&nbsp;</p>

Delhi Crime Season 3 review: Huma Qureshi, Shefali Shah's performances triumph over writing of the show

<p>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;</p><h2>What’s the plot of Baramulla</h2><p>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;</p><p>&nbsp;</p><p>Elsewhere, two terrorists are planning a major attack with the instructions coming from a certain faceless Bhaijaan who only communicates through satellite calls.&nbsp;</p><p>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;</p><p>&nbsp;</p><h2>What works in Baramulla</h2><p>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;</p><p>&nbsp;</p><p>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;</p>

<h2>What does not work</h2><p>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.</p><h2>Final verdict</h2><p>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.</p><p>Baramulla is now streaming on Netflix.</p><p>&nbsp;</p>

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.

<p>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;</p>

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

<p>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;</p><p>&nbsp;</p><h2>Plot of Thamma</h2><p>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;</p><p>&nbsp;</p><p>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?</p><p>&nbsp;</p><h2>What works in Thamma</h2><p>&nbsp;</p><p>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;</p><p>&nbsp;</p><p>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;</p><p>&nbsp;</p><p>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;</p><p>&nbsp;</p><p>Paresh Rawal, Faisal Malik and Geeta Aggarwal are good in the limited screen time that they have.&nbsp;</p><h2>What does not work</h2><p>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;</p><p>&nbsp;</p><p>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;</p><p>&nbsp;</p><h2>Final verdict</h2><p>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;</p><p>&nbsp;</p><p>Thamma is now running in theatres across the country.&nbsp;</p>

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.

<p>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;</p>

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

<p>&nbsp;</p><p><i>Lord Curzon Ki Haveli,</i> directed by Anshuman Jha, may have been a great mystery thriller on paper. The film, with a very Hitchcock vibe, starts on a promising note, but soon enough, almost 15 minutes into the film, it loses steam. Yes, that early. I will be honest, I sat alone only for its actors. It features Anuj Mathur, Rasika Dugal, Paresh Pahuja and Zoha Rahman- all very watchable actors, all who have proved their mettle in projects before. But <i>Lord Curzon Ki Haveli</i> is unable to use these actors to their hilt thanks to a sketchy plot which is woke unnecessarily and a terribly written screenplay.&nbsp;</p><h2>What’s the plot of Lord Curzon Ki Haveli?</h2><p>&nbsp;</p><p>Ira (Dugal) and Basuki (Paresh Pahuja) are invited to Ira’s friend Sanya (Raman) and Rohit (Mathur) for dinner. Basuki, an uptight man, isn’t quite comfortable with the casual ways of Sanya and Rohit, who are easygoing and want Ira and Basuki to have a good time. Soon after they enter Sanya and Rohit’s home, Basuki spots a trunk placed in their living room and gets curious about what’s inside it. Rohit initially jokes that a dead body- more specifically, of Lord Curzon- is kept inside. As Basuki gets curious and insists on opening the lock, Rohit and Sanya keep insisting that it was meant to be a joke.&nbsp;</p><p>&nbsp;</p><p>The film’s story, spread across a single night, has only five characters. Two couples, and a brown skin pizza delivery guy (Tanmay Dhanania) who gets unnecessarily dragged in their complex situation.&nbsp;</p><p>&nbsp;</p><h2>Meant for the stage, not the big screen</h2><p>&nbsp;</p><p>Stagey, campy and vague- <i>Lord Curzon Ki Haveli</i> leaves so many unanswered questions right from the beginning and till the end, they are not answered. Sanya and Rohit are shown in some sort of role-play sex moments before Ira and Basuki arrive. While Sanya is dressed in an elaborate attire in the beginning- supposedly for her guests- she ultimately greets the guests dressed in Rohit’s shirt and remains in that attire throughout. No explanation is given why she chose that attire.&nbsp;</p><p>&nbsp;</p><p>Basuki, an uptight, conservative man, is shown to be obsessed with what’s inside the trunk even when everyone else around him seems unbothered about it.&nbsp;</p><p>&nbsp;</p><p>Then, at one point, Ira and Rohit are shown to dance to a grave Beethoven piece, completely out of the blue.&nbsp;</p><h2>Inconsistent writing&nbsp;</h2><p>&nbsp;</p><p>The characters, at so many moments in the film, are just left sitting silently, with barely any dialogue. The scenes are badly edited, with long drawn single-take shots and plot twists that do not add up. Writer Bikas Ranjan Mishra never establishes any of the characters well or their backstory, or explains why they are the way they are. They also throw in some woke conversation about illegal immigrants, racism, and an obsession with white skin, arbitrarily, in the narrative.&nbsp;</p><p>&nbsp;</p><p>Actors like Rasika Dugal, Arjun Mathur- who always manage to elevate a story with their performances are dragged down by a shoddy, incoherent script. Paresh Pahuja, usually a scene stealer with even limited screen time in other films, also fails to elevate this snooze fest.&nbsp;</p><p>&nbsp;</p><p><i>Lord Curzon Ki Haveli </i>builds a premise well for a mystery thriller, but it becomes a snooze fest ultimately. The film has been released in theatres across India. &nbsp;</p>

Lord Curzon Ki Haveli movie review: Actor Anshuman Jha's directorial debut, Lord Curzon Ki Haveli, builds an interesting premise but is unable to hold the viewers' attention throughout the course of the film. It features Rasika Dugal, Paresh Pahuja and Arjun Mathur in the lead. 

Lord Curzon Ki Haveli, directed by Anshuman Jha, may have been a great mystery thriller on paper. The film, with a very Hitchcock vibe, starts on a promising note, but soon enough, almost 15 minutes into the film, it loses steam. Yes, that early. I will be honest, I sat alone only for its actors. It features Anuj Mathur, Rasika Dugal, Paresh Pahuja and Zoha Rahman- all very watchable actors, all who have proved their mettle in projects before. But Lord Curzon Ki Haveli is unable to use these actors to their hilt thanks to a sketchy plot which is woke unnecessarily and a terribly written screenplay. What’s the plot of Lord Curzon Ki Haveli? Ira (Dugal) and Basuki (Paresh Pahuja) are invited to Ira’s friend Sanya (Raman) and Rohit (Mathur) for dinner. Basuki, an uptight man, isn’t quite comfortable with the casual ways of Sanya and Rohit, who are easygoing and want Ira and Basuki to have a good time. Soon after they enter Sanya and Rohit’s home, Basuki spots a trunk placed in their living room and gets curious about what’s inside it. Rohit initially jokes that a dead body- more specifically, of Lord Curzon- is kept inside. As Basuki gets curious and insists on opening the lock, Rohit and Sanya keep insisting that it was meant to be a joke. The film’s story, spread across a single night, has only five characters. Two couples, and a brown skin pizza delivery guy (Tanmay Dhanania) who gets unnecessarily dragged in their complex situation. Meant for the stage, not the big screen Stagey, campy and vague- Lord Curzon Ki Haveli leaves so many unanswered questions right from the beginning and till the end, they are not answered. Sanya and Rohit are shown in some sort of role-play sex moments before Ira and Basuki arrive. While Sanya is dressed in an elaborate attire in the beginning- supposedly for her guests- she ultimately greets the guests dressed in Rohit’s shirt and remains in that attire throughout. No explanation is given why she chose that attire. Basuki, an uptight, conservative man, is shown to be obsessed with what’s inside the trunk even when everyone else around him seems unbothered about it. Then, at one point, Ira and Rohit are shown to dance to a grave Beethoven piece, completely out of the blue. Inconsistent writing The characters, at so many moments in the film, are just left sitting silently, with barely any dialogue. The scenes are badly edited, with long drawn single-take shots and plot twists that do not add up. Writer Bikas Ranjan Mishra never establishes any of the characters well or their backstory, or explains why they are the way they are. They also throw in some woke conversation about illegal immigrants, racism, and an obsession with white skin, arbitrarily, in the narrative. Actors like Rasika Dugal, Arjun Mathur- who always manage to elevate a story with their performances are dragged down by a shoddy, incoherent script. Paresh Pahuja, usually a scene stealer with even limited screen time in other films, also fails to elevate this snooze fest. Lord Curzon Ki Haveli builds a premise well for a mystery thriller, but it becomes a snooze fest ultimately. The film has been released in theatres across India.

<p>Lord Curzon Ki Haveli movie review: Actor Anshuman Jha's directorial debut, Lord Curzon Ki Haveli, builds an interesting premise but is unable to hold the viewers' attention throughout the course of the film. It features Rasika Dugal, Paresh Pahuja and Arjun Mathur in the lead.&nbsp;</p>

Lord Curzon Ki Haveli movie review: This mystery drama could have been a stage play

<p>In Neeraj Ghaywan’s Homebound, Vishal Jethwa and Ishaan Khatter play Chandan and Shoaib, childhood buddies from the marginalized section of society, who are acutely aware of their social status and desperate to earn the respect and validation they rightfully deserve. Early in the film, we are told that Chandan hides his caste identity. Desperate to break generational discrimination, both Chandan and Shoaib apply for Police jobs, but instead of opting for the reservation quota, Chandan applies in the general category. When a perturbed Shoiab questions his move, Chandan admits that he is scared to reveal his caste lest he be thrown again into doing menial jobs. That moment sets the tone of Homebound. A film about two young men who try honest means to get jobs and earn the respect of society, but society constantly fails them, ridicules them, and never allows them to shine.</p><p>&nbsp;</p><p>Having impressed international audiences at various film festivals earlier this year, Neeraj Ghaywan’s Homebound comes home and hits Indian screens this Friday. Based on journalist Basharat Peer's article in The New York Times titled ‘Taking Amrit Home’, Ghaywan flips the narrative and begins the story a few years before COVID-19 crippled the country, especially scores of daily wage labourers during the lockdown.</p><h2>A story of discrimination</h2><p>&nbsp;</p><p>Chandan Kumar enjoys privileges at home while his parents toil as labourers, and his sister works in a local school as an assistant. While his sister has not had the privilege to study, his mother is hopeful of Chandan’s future and wants him to complete his graduation while he awaits results for the Police constable job, which for him is a getaway to a respectful life and a better future for his family.</p><p>&nbsp;</p><p>His childhood friend Shoaib, who was discriminated for his religion all his life, is far more practical. Awaiting results, he knows he has responsibilities at home and takes care of ailing parents. Having rejected an opportunity to go to Dubai to work, Shoaib finds a job in a company selling water purifiers in the city. He is sharp and soon learns the ropes of marketing, even though he doesn’t have the required degrees but prejudices around his religion constantly hamper his growth.</p>

<p> </p><p>Fed up with the constant discrimination that they face daily and growing concerns of financial crisis at home, the two friends are forced to seek a job in Surat, 1200 km away from their home. As the two settle in, COVID-19 grips the country, and a lockdown is imposed. The two now crave to go back home, to their family but their journey is hindered at multiple points.</p><h2>Homebound's subtle messaging</h2><p> </p><p>Films on caste and religion-based discrimination have been made before in India. But what works for Homebound is the subtle messaging. At no point does the film feel preachy. It's unassuming in its ways yet poignant and hard-hitting. These are men whom we have known, working as support staff at homes, at work, but perhaps have never spoken to much. These are people who help us in keeping our homes safe, keeping our homes in order, helping us at work, yet we know so little about them.</p><p> </p><p>Homebound doesn’t say anything that we don’t know already. Indian society may have evolved in many ways, yet caste and religion-based discrimination are still very much part of its fabric. And we are all party to it. A casual joke on religion, on one’s connection with a neighbouring country, a sly way of demarcating plates and glasses for the house help, separate seats for them – no matter how much we deny, the rampant discrimination is there in the society. Ghaywan, with dialogue writers Varun Grover and Shreedhar Dubey, also highlights the frustration on the other side- the general category. On realising his Dalit identity, Chandan is told by a government official how he and his kind get the best seats and a comfortable life, and people belonging to the general category are left with crumbs. The lopsided  system, which enables a few to get empowered but leaves scores behind, is so beautifully highlighted in the film.</p><p> </p><p>Homebound also tragically brings back memories of COVID-19 and the kind of chaos it brought with it in the first phase of lockdown. So many were left homeless, so many people died in scorching heat on their way back home, on foot, desperate to return to their homeland with barely any money in hand.</p><h2>Brilliant performances</h2><p> </p><p>Ghaywan’s casting is on point, and both Ishaan Khatter and Vishal Jethwa stun in their respective roles. Jethwa plays the vulnerable Chandan, who knows the shortcomings but is also hopeful of a better future. Khatter plays the practical Shoaib, who is sharp and knows his way around, yet keeps faltering due to his identity as a Muslim man. Shalini Vatsa as Chandan’s mother is also well cast and Janhvi Kapoor as Sudha plays a girl with big dreams well. Janhvi’s Sudha befriends Chandan and inspires him to do better in life, but she also uses him as an agency for a better future together.</p><p> </p><p>Both Ishaan and Vishal emote pain and resilience through their eyes as Shoaib and Chandan.</p><p> </p><p>Ghaywan, in his past works like Masaan and Geeli Pucchi, has brilliantly showcased the Dalit community and problems they face in an ever-evolving country like India. With Homeland, he takes the conversation further without completely spelling it out. It is made evident through the story, in Chandan’s heartbreak and Shoaib’s hardships, in Sudha’s big dreams.</p><p> </p><p>Homebound ultimately shows a mirror and stays with you long after the film is over. It makes you tear up, it makes you want to root for the two men, and it makes you think hard.</p><p> </p><p>Homebound is now in theatres.</p>

Neeraj Ghaywan's Homebound leaves a lump in your throat and makes you think hard long after the film is over. The film has terrific performances by its lead actors, Ishaan Khatter and Vishal Jethwa and its subtle yet clear messaging on the glaring discrimination in our society. 

In Neeraj Ghaywan’s Homebound, Vishal Jethwa and Ishaan Khatter play Chandan and Shoaib, childhood buddies from the marginalized section of society, who are acutely aware of their social status and desperate to earn the respect and validation they rightfully deserve. Early in the film, we are told that Chandan hides his caste identity. Desperate to break generational discrimination, both Chandan and Shoaib apply for Police jobs, but instead of opting for the reservation quota, Chandan applies in the general category. When a perturbed Shoiab questions his move, Chandan admits that he is scared to reveal his caste lest he be thrown again into doing menial jobs. That moment sets the tone of Homebound. A film about two young men who try honest means to get jobs and earn the respect of society, but society constantly fails them, ridicules them, and never allows them to shine. Having impressed international audiences at various film festivals earlier this year, Neeraj Ghaywan’s Homebound comes home and hits Indian screens this Friday. Based on journalist Basharat Peer's article in The New York Times titled ‘Taking Amrit Home’, Ghaywan flips the narrative and begins the story a few years before COVID-19 crippled the country, especially scores of daily wage labourers during the lockdown. A story of discrimination Chandan Kumar enjoys privileges at home while his parents toil as labourers, and his sister works in a local school as an assistant. While his sister has not had the privilege to study, his mother is hopeful of Chandan’s future and wants him to complete his graduation while he awaits results for the Police constable job, which for him is a getaway to a respectful life and a better future for his family. His childhood friend Shoaib, who was discriminated for his religion all his life, is far more practical. Awaiting results, he knows he has responsibilities at home and takes care of ailing parents. Having rejected an opportunity to go to Dubai to work, Shoaib finds a job in a company selling water purifiers in the city. He is sharp and soon learns the ropes of marketing, even though he doesn’t have the required degrees but prejudices around his religion constantly hamper his growth.

<p>Homebound movie review: Neeraj Ghaywan's film leaves a lump in your throat and makes you think hard. The film has terrific performances by its lead actors, Ishaan Khatter and Vishal Jethwa and its subtle yet clear messaging on the glaring discrimination in our society.&nbsp;</p>

Homebound movie review: Ishaan Khatter and Vishal Jethwa are terrific in Neeraj Ghaywan’s tale of disparity

<p><strong>Nishaanchi movie review: </strong>When <i>Gangs Of Wasseypur </i>realised and became a cult in subsequent years, it paved the way for similar films. Stories set in the heartland, about crime, and of peculiar names. It set a template that several filmmakers tried to use; some created impact, but most failed to get the flavor that director Anurag Kashyap brought to the <i>Wasseypur</i> series. But what happens when Kashyap uses the same template that he had set to now after 13years? His latest <i>Nishaanchi</i> seems to be heavily inspired by the &nbsp;Gangs series with generational angst, revenge, and a bit of romance thrown in. Starring Monica Panwar, Vineet Kumar, Vedika Pinto, Mohammad Zeeshan Ayub, Kumud Mishra and debutant Aaishvary Thackeray- <i>Nishaanchi</i> has authentic performance and brings back Kashyap’s unique depiction of a small town in North India, but is marred by the filmmaker’s overindulgence.&nbsp;</p><p>&nbsp;</p><h2>Nishaanchi Plot</h2><p>&nbsp;</p><p>Twin brothers Babloo and Dabloo (Thackeray) only have the same features but are as different as chalk and cheese. The film begins with a failed bank robbery that the two brothers, along with Babloo’s girlfriend Rinku (Vedika Pinto), attempt. Rinku and Dabloo escape, but Babloo goes behind bars. The two brothers have been raised by their mother Manjari (Monika Panwar), who wants to live an honest life but the family’s past and links to local goon Ambika Kumar (Kumud Mishra) never let them live happily.</p><p>&nbsp;</p><p>Set in 2006 in Kanpur, the film keeps its local dialect and characterization intact. The film, in Kashyap’s unique style, talks of the revenge and misadventures of the twins and their common love for Rinku.&nbsp;</p><h2>What works in Nishaanchi</h2><p>Kashyap gathers a gamut of talented actors for Nishaanchi. All perform supremely well to their respective roles. Vineet Kumar, as the angsty wrestler, stands out in the first half while Kumud Mishra, Mohammad Zeeshan Ayub and Vedika Pinto deliver credible performances in the second half. Debutant Aaishvary Thackeray sinks his teeth into a double role and shines. Playing two different characters in the same film is not easy, yet Thackeray makes it look effortless. The Mumbai-born actor gets the dialect and mannerisms of a small-time crook from Kanpur well. One is loud, brash, and impulsive, while the other is quiet, submissive and calculative. Thackeray plays both characters with equal conviction.&nbsp;</p><p>&nbsp;</p><p>The star of the film, however, is Monica Panwar, who plays a role double her actual age. Her character is perhaps the most well-written and has an arc, which Panwar uses to showcase her versatility. A lot of scenes have her silently watching and observing, yet she manages to steal the limelight. It's been a good year for her. She starred in the critically acclaimed <i>Khauf</i> earlier this year, and with<i> Nishaanchi,</i> Monica hopefully will be able to cement her position in the film industry as one of the most talented actresses of recent times.&nbsp;</p><h2>What does not work in Nishaanchi?</h2><p>The film, however, carries the weight of Kashyap’s previous hits, especially Gangs of Wasseypur. The script takes a painstakingly long time to establish the story. Too much detailing on each character and long drawn scenes- both common in Kashyap’s films- make the film very tedious to watch. Gangs had some fun music with quirky lyrics, all of which had beautifully captured the essence of the film. The same is repeated in <i>Nischaanchi, </i>but the effect isn’t half as good as Gangs. The uniqueness has, in so many years, gone. I found myself getting impatient every time a song was being played on screen.<i> Nishaanchi </i>is your typical revenge drama. Kids uniting to avenge their father’s murder is a trope that has been tried and tested for a long time in Bollywood.<i> Nishaanchi</i> doesn’t offer anything new.&nbsp;</p><h2>Final verdict</h2><p>Anurag Kashyap has had a cult fan following ever since he made Black Friday, his debut as a director. His gritty stories, memorable characters, and delivering punchlines remain well etched in everyone’s memory. There are moments from each of Kashyap's films that remain in the collective memory of audiences. I don’t find <i>Nischaanchi</i> having such memorable characters or moments that will stay on in the minds of the audience for years to come. It is not a bad film at all. It has a predictable but engaging and some credible performances, but it gives you a sense of déjà vu, you know already how the story will pan out.&nbsp;</p><p>&nbsp;</p><p><i>Nishchaanchi </i>is now running in theatres.&nbsp;</p>

Nishaanchi movie review: Anurag Kashyap takes the audience back to 2006 in Kanpur and tells the story of twin brothers and their tryst to avenge the murder of their father. The film stars Aaishvary Thackeray, Vedika Pinto, Monika Panwar and Vineet Kumar. 

Nishaanchi movie review: When Gangs Of Wasseypur realised and became a cult in subsequent years, it paved the way for similar films. Stories set in the heartland, about crime, and of peculiar names. It set a template that several filmmakers tried to use; some created impact, but most failed to get the flavor that director Anurag Kashyap brought to the Wasseypur series. But what happens when Kashyap uses the same template that he had set to now after 13years? His latest Nishaanchi seems to be heavily inspired by the Gangs series with generational angst, revenge, and a bit of romance thrown in. Starring Monica Panwar, Vineet Kumar, Vedika Pinto, Mohammad Zeeshan Ayub, Kumud Mishra and debutant Aaishvary Thackeray- Nishaanchi has authentic performance and brings back Kashyap’s unique depiction of a small town in North India, but is marred by the filmmaker’s overindulgence. Nishaanchi Plot Twin brothers Babloo and Dabloo (Thackeray) only have the same features but are as different as chalk and cheese. The film begins with a failed bank robbery that the two brothers, along with Babloo’s girlfriend Rinku (Vedika Pinto), attempt. Rinku and Dabloo escape, but Babloo goes behind bars. The two brothers have been raised by their mother Manjari (Monika Panwar), who wants to live an honest life but the family’s past and links to local goon Ambika Kumar (Kumud Mishra) never let them live happily. Set in 2006 in Kanpur, the film keeps its local dialect and characterization intact. The film, in Kashyap’s unique style, talks of the revenge and misadventures of the twins and their common love for Rinku. What works in Nishaanchi Kashyap gathers a gamut of talented actors for Nishaanchi. All perform supremely well to their respective roles. Vineet Kumar, as the angsty wrestler, stands out in the first half while Kumud Mishra, Mohammad Zeeshan Ayub and Vedika Pinto deliver credible performances in the second half. Debutant Aaishvary Thackeray sinks his teeth into a double role and shines. Playing two different characters in the same film is not easy, yet Thackeray makes it look effortless. The Mumbai-born actor gets the dialect and mannerisms of a small-time crook from Kanpur well. One is loud, brash, and impulsive, while the other is quiet, submissive and calculative. Thackeray plays both characters with equal conviction. The star of the film, however, is Monica Panwar, who plays a role double her actual age. Her character is perhaps the most well-written and has an arc, which Panwar uses to showcase her versatility. A lot of scenes have her silently watching and observing, yet she manages to steal the limelight. It's been a good year for her. She starred in the critically acclaimed Khauf earlier this year, and with Nishaanchi, Monica hopefully will be able to cement her position in the film industry as one of the most talented actresses of recent times. What does not work in Nishaanchi? The film, however, carries the weight of Kashyap’s previous hits, especially Gangs of Wasseypur. The script takes a painstakingly long time to establish the story. Too much detailing on each character and long drawn scenes- both common in Kashyap’s films- make the film very tedious to watch. Gangs had some fun music with quirky lyrics, all of which had beautifully captured the essence of the film. The same is repeated in Nischaanchi, but the effect isn’t half as good as Gangs. The uniqueness has, in so many years, gone. I found myself getting impatient every time a song was being played on screen. Nishaanchi is your typical revenge drama. Kids uniting to avenge their father’s murder is a trope that has been tried and tested for a long time in Bollywood. Nishaanchi doesn’t offer anything new. Final verdict Anurag Kashyap has had a cult fan following ever since he made Black Friday, his debut as a director. His gritty stories, memorable characters, and delivering punchlines remain well etched in everyone’s memory. There are moments from each of Kashyap's films that remain in the collective memory of audiences. I don’t find Nischaanchi having such memorable characters or moments that will stay on in the minds of the audience for years to come. It is not a bad film at all. It has a predictable but engaging and some credible performances, but it gives you a sense of déjà vu, you know already how the story will pan out. Nishchaanchi is now running in theatres.

<p><strong>Nishaanchi movie review: </strong>Anurag Kashyap takes the audience back to 2006 in Kanpur and tells the story of twin brothers and their tryst to avenge the murder of their father. The film stars Aaishvary Thackeray, Vedika Pinto, Monika Panwar and Vineet Kumar.&nbsp;</p>

Nishaanchi movie review: Anurag Kashyap goes back to Gangs Of Wasseypur template, Monika Panwar shines

<p><strong>Jolly LLB 3 Movie Review: </strong>Are two Jollys better than one? In Subhash Kapoor's latest film <i>Jolly LLB 3 </i>the maker brings actors Arshad Warsi and Akshay Kumar together for a courtroom dramedy. Both Arjsad and Akshay have played <i>Jolly LLB</i> in the previous two films, and the fact that Kapoor has managed to bring the two together in the sequel is perhaps the biggest draw of this film. There are fans (like me) who loved <i>Jolly LLB</i> with Arshad Warsi in the lead. An honest, genuine issue-based film - it had surprised me pleasantly when it was released. Kumar's take in the sequel was more commercial, featuring the actor's usual theatrics and some dance numbers. It obviously had its fan base. So, to bring the two characters for the third part and tell a story effectively is a great feat for the makers.</p><h2>Plot of Jolly LLB 3</h2><p>The two Jollys are now advocates in the district court in Delhi. Jolly Tyagi is perpetually angry with Jolly Mishra for stealing his clients. Both have the same moniker and clients, who often come looking for Tyagi, end up in Mishra’s chamber. The cases are small- clients pay a meager amount, and both Jollys struggle. Tyagi’s wife, Sandhya (Amrita Rao), is now working for an NGO led by one Laxmi Yadav (fashioned around activist Medha Patkar). A do-gooder who works for the impoverished class, Sandhya sends Janaki Rajaram Solanki (Seema Biswas) to her husband for a case on land grabbing. Janaki claims Haribhai Khaitan (Gajraj Rao) and his big corporation are forcefully trying to move her and the people of her village to create Boston-like infrastructure in Bikaner. Khaitan claims he offered her compensation, but Janaki, having lost all her family members, doesn’t want the compensation and wants to keep her home and land.</p><p>&nbsp;</p><p>Considering she is poor, Janaki’s case is initially rejected by both the Jollys. They try to pass on the case to each other- just to grab a richer client on the side. But as Janaki’s real story comes to light, the two warring Jollys realise that to fight a big corporation and Haribhai Khaitan- the richest Indian- they need to join hands and fight for these poor farmers.</p><h2>What works in Jolly LLB 3</h2><p>&nbsp;</p><p>Kapoor, who is also the writer of the film, takes a very relevant and topical issue of farmers’ rights in <i>Jolly LLB 3.</i> The template is familiar but still very effective. Kapoor’s dialogues are topical and hence relatable. There are references to Vijay Malaya, who is constantly referred to as VM. There is a passing reference to all the financial frauds that nationalised banks have been incurring in the recent past, farmer suicides, lack of incentives for farmers, and the agitation - all are neatly tied up in the narrative.</p><p>&nbsp;</p><p>The actors are all in top form. Both Akshay Kumar and Arshad Warsi exude charm and wit as two Jollys. The two complement each other well; their constant efforts of one-upmanship against each other feel organic and genuine. Ram Kapoor as the high-brow English-speaking lawyer representing Khaitan is impressive. Seema Biswas gets less dialogues, but showcases the emotional graph of her character well.</p>

<p>&nbsp;</p><p>The <i>Jolly LLB </i>franchise is also incomplete without Justice Sunderlal Tripathi, aka Saurabh Shukla. He has been a constant in all three films. In the latest film, Justice Tripathi steals the show with his perfect comic timing. In <i>Jolly LLB 3</i>, Justice Tripathi has a new love interest (Shilpa Shukla) and wants to live a good life, but his plans, as always, are punctured by the two Jollys. With his character, Shukla beautifully strikes a balance between a serious, honest judge and a comical, unassuming lover. He obviously gets the best lines in the film.</p><h2>What does not work in Jolly LLB 3?</h2><p>The first two <i>Jolly LLB</i>s worked because they talked of serious social issues but garbed them well with comedy. In <i>Jolly LLB 3,</i> the comedy is less. It's sharp and effective but limited. <i>Jolly LLB 3 </i>could have been far more enjoyable if it had cashed in on the on-screen chemistry of Akshay Kumar, Arshad Warsi, and Saurabh Shukla.</p><p>&nbsp;</p><p>Gajraj Rao, an immensely talented actor, plays the antagonist who seems too typical and familiar. His evil is also not so evil, and he seems like a greedy businessman, always on the lookout to make more money- that can’t be a crime. The clash between him and the two lawyers, thus, seems less impactful.</p><p>&nbsp;</p><p>Also read: <a href="https://www.wionews.com/entertainment/bollywood/excited-for-jolly-llb-3-here-s-where-you-can-watch-jolly-llb-1-and-2-on-ott-1758198648436">Excited for Jolly LLB 3? Here’s where you can watch Jolly LLB 1 and 2 on OTT</a></p><p>&nbsp;</p><p>Apart from Seema Biswas, the women are reduced to background characters. Huma Quereshi and Amrita Rao have limited screen time and have limited scope to perform.</p><h2>Final verdict</h2><p><i>Jolly LLB 3</i> works due to many factors. Sequels are not always the most accurate in terms of casting. But Kapoor manages to get all the actors from the previous films to reprise their respective characters. There is continuity, which helps to connect this film to the previous two films well. With a solid script, a taut screenplay that leaves a lasting impression, and great performances, <i>Jolly LLB 3</i> makes for a perfect watch.</p><p>Don’t miss it. It is running in cinemas all across.</p>

Two Jollys are better than one! Jolly LLB 3 is the third film in the hit franchise and brings together Akshay Kumar and Arshad Warsi playing Jolly LLBs. The Subhash Kapoor film takes up farmers' rights in the third film and delivers a fun, informative film. 

Jolly LLB 3 Movie Review: Are two Jollys better than one? In Subhash Kapoor's latest film Jolly LLB 3 the maker brings actors Arshad Warsi and Akshay Kumar together for a courtroom dramedy. Both Arjsad and Akshay have played Jolly LLB in the previous two films, and the fact that Kapoor has managed to bring the two together in the sequel is perhaps the biggest draw of this film. There are fans (like me) who loved Jolly LLB with Arshad Warsi in the lead. An honest, genuine issue-based film - it had surprised me pleasantly when it was released. Kumar's take in the sequel was more commercial, featuring the actor's usual theatrics and some dance numbers. It obviously had its fan base. So, to bring the two characters for the third part and tell a story effectively is a great feat for the makers. Plot of Jolly LLB 3 The two Jollys are now advocates in the district court in Delhi. Jolly Tyagi is perpetually angry with Jolly Mishra for stealing his clients. Both have the same moniker and clients, who often come looking for Tyagi, end up in Mishra’s chamber. The cases are small- clients pay a meager amount, and both Jollys struggle. Tyagi’s wife, Sandhya (Amrita Rao), is now working for an NGO led by one Laxmi Yadav (fashioned around activist Medha Patkar). A do-gooder who works for the impoverished class, Sandhya sends Janaki Rajaram Solanki (Seema Biswas) to her husband for a case on land grabbing. Janaki claims Haribhai Khaitan (Gajraj Rao) and his big corporation are forcefully trying to move her and the people of her village to create Boston-like infrastructure in Bikaner. Khaitan claims he offered her compensation, but Janaki, having lost all her family members, doesn’t want the compensation and wants to keep her home and land. Considering she is poor, Janaki’s case is initially rejected by both the Jollys. They try to pass on the case to each other- just to grab a richer client on the side. But as Janaki’s real story comes to light, the two warring Jollys realise that to fight a big corporation and Haribhai Khaitan- the richest Indian- they need to join hands and fight for these poor farmers. What works in Jolly LLB 3 Kapoor, who is also the writer of the film, takes a very relevant and topical issue of farmers’ rights in Jolly LLB 3. The template is familiar but still very effective. Kapoor’s dialogues are topical and hence relatable. There are references to Vijay Malaya, who is constantly referred to as VM. There is a passing reference to all the financial frauds that nationalised banks have been incurring in the recent past, farmer suicides, lack of incentives for farmers, and the agitation - all are neatly tied up in the narrative. The actors are all in top form. Both Akshay Kumar and Arshad Warsi exude charm and wit as two Jollys. The two complement each other well; their constant efforts of one-upmanship against each other feel organic and genuine. Ram Kapoor as the high-brow English-speaking lawyer representing Khaitan is impressive. Seema Biswas gets less dialogues, but showcases the emotional graph of her character well.

<p><strong>Jolly LLB 3 Movie Review: </strong>Jollys are better than one! Jolly LLB 3 is the third film in the hit franchise and brings together Akshay Kumar and Arshad Warsi playing Jolly LLBs. The Subhash Kapoor film takes up farmers' rights in this one and delivers a fun film.&nbsp;</p>

Jolly LLB 3 Movie Review: Arshad Warsi, Akshay Kumar’s courtroom dramedy effectively takes the franchise forward

<p><strong>The Bengal Files Movie Review</strong>: Filmmaker Vivek Ranjan Agnihotri's The Bengal Files tells a gory chapter from the pages of history. An incident that had ravaged Bengal due to communal violence and left thousands dead. However, the Calcutta riots of 1946 are not as widely known as the partition and gory violence that took place weeks before India's independence. Agnihotri, who has also written the film, connects present-day riots in Murshidabad to the Direct Action Day of 1946 in ways one possibly can't fathom. Of course, since it's an Agnihotri film, the plot and screenplay are divisive from the word go.</p><h2>The plot of The Bengal Files&nbsp;</h2><p>CBI sends its officer, Shiva Pandit (Darshan Kumar), to Murshidabad to investigate the disappearance of a Dalit girl. The prime suspect and eyewitness is Bharti Bannerjee (Pallavi Joshi), a lady in her 90s who suffers from dementia. Suspicions are also on the local MLA Sardar Husseini (Saswata Chatterjee), who holds a lot of power among the people there.&nbsp;</p><p>&nbsp;</p><p>While the main plot is of a case of a missing girl, Shiva is told by the local corrupt police that Bengal is run by kinds of communities, the Hindu and the Muslim, and it's not good to mess with those in power.</p>

<p>&nbsp;</p><p>While investigating the case, Shiva discovers Bharti's past, a feisty girl whose life changed on Direct Action Day.</p><p>&nbsp;</p><p>Bharti and her friend /lover/ confidant, Amarjot Arora (Eklavya Sood), had witnessed terrible communal violence not once but twice. And while they, as Gandhians, wanted to live in a secular India, local Muslim leader Ghulam had other plans.</p><h2>What works in The Bengal Files</h2><p>&nbsp;</p><p>The partition and its harrowing effects have been well documented in cinema over the years. Agnihotri goes back a year to narrate first the Calcutta riots and then the Noakhali violence that cemented the decision of Pakistan in every way possible.</p><p>&nbsp;</p><p>It's an important chapter of Indian history which has not been discussed as widely as it should have been.</p><h2>The actors</h2><p>The film is led by Simrat Kaur, who, as the young Bharti, has been a witness to a lot of brutality at a young age. Yet the spirited girl never loses hope, fighting the oppressors, saving the oppressed. Simrat had given a credible performance in Gadar 2, and in The Bengal Files gets a meaty role, and she does not disappoint.</p><p>&nbsp;</p><p>Complementing her in every scene is Eklavya Sood as Amar, who is the wind beneath Bharti's wings. The two new faces stand out among the ensemble cast, which also features Mithun Chakraborty, Pallavi Joshi, Anupam Kher, and Dibyendu.</p><p>&nbsp;</p><p>While these stalwarts are all good in their performance, it is a terribly inconsistent screenplay that lets the film down.</p><h2>What does not work in The Bengal Files?</h2><p>It's a divisive film, and even though it narrates an important part of history, it still keeps reiterating the concept of Hindu rashtra. Hindus are good, Muslims are bad. Sikhs are allies. There are some good Muslims who have decided to stay in India, the bad ones have moved to Pakistan- such dialogues are reiterated nonstop.</p><p>&nbsp;</p><p>At so many moments in the film, I could imagine Agnihotri speaking out instead of the actors. Very casually, the Communists are called aggressive and anti-Hindu; casually, Congress is blamed for all the massacres that happened during the partition. The film is also full of stereotypes. All Bengalis are worshippers of Kali, chanting Joi Ma Kali regularly, the Muslims are allies of the Russians, the women are in red-bordered white sarees, women taking up the form of Durga at regular intervals, the mention of Tagore- the symbolism is in plenty, and not everything really makes sense. Because the film is about Bengal, Agnihotri puts in whatever information pop culture has provided about the community in one big, messy screenplay.</p>

<p> </p><p>The violence is too much to take in. Just to reiterate how gory the past was, Agnihotri dials up the graphic scenes a notch higher. So many shots of mutiliated body parts (prosthetics of course) are zoomed in. Corpse hanging along side animal carcasses, bodies being ripped apart- why do we have to see all these on screen. Dialogues are enough to make one understand.</p><p> </p><p>The maker also treads with caution at some moments, and hence his stand oscillates. Pakistan is evil, Indian muslims are converts, and so they should have remained in Bharat. After establishing how the muslims are protected in Bengal and thus have free run in terms of crime, a monologue towards talk of Hindu-Muslim unity, and why all debates and discussions ultimately boil down to divisive politics. I wasn't sure if I was to belived in Agnihotri's version that Muslims are bad or Muslims are also victims of divisive politics by the end of it. Pick a side, Sir!</p><p> </p><p>The Bengal Files, touted as one of the ‘boldest films’ from Agnihotri, is also perhaps the most convoluted film in his repertoire. It plays to the gallery; it is too graphic and divisive to be taken seriously. It may be telling an important story, but its implementation is awfully convoluted.</p><h2>The Bengal Files cast and crew</h2><p> </p><p><strong>Actors:</strong> Mithun Chakraborty, Pallavi Joshi, Darshan Kumar, Namashi Chakraborty, Anupam Kher, Simrat Kaur, Saswata Chatterjee, Priyanshu Chatterjee, Dibyendu Bhattacharya, Sourav Das, Mohan Kapur, Rajesh Khera, Puneet Issar, Palomi Ghosh</p>

<p><br><strong>Director: </strong>Vivek Ranjan Agnihotri</p>

Vivek Agnihotri's The Bengal Files finally hits theatres today. The film narrates an important chapter from the pages of Indian history. And while the story is compelling, its the execution that is problematic. 

The Bengal Files Movie Review: Filmmaker Vivek Ranjan Agnihotri's The Bengal Files tells a gory chapter from the pages of history. An incident that had ravaged Bengal due to communal violence and left thousands dead. However, the Calcutta riots of 1946 are not as widely known as the partition and gory violence that took place weeks before India's independence. Agnihotri, who has also written the film, connects present-day riots in Murshidabad to the Direct Action Day of 1946 in ways one possibly can't fathom. Of course, since it's an Agnihotri film, the plot and screenplay are divisive from the word go. The plot of The Bengal Files CBI sends its officer, Shiva Pandit (Darshan Kumar), to Murshidabad to investigate the disappearance of a Dalit girl. The prime suspect and eyewitness is Bharti Bannerjee (Pallavi Joshi), a lady in her 90s who suffers from dementia. Suspicions are also on the local MLA Sardar Husseini (Saswata Chatterjee), who holds a lot of power among the people there. While the main plot is of a case of a missing girl, Shiva is told by the local corrupt police that Bengal is run by kinds of communities, the Hindu and the Muslim, and it's not good to mess with those in power.

<p>The Bengal Files Movie Review: Vivek Agnihotri's The Bengal Files finally hits theatres today. The film narrates an important chapter from the pages of Indian history. And while the story is compelling, its the execution that is problematic.&nbsp;</p>

The Bengal Files Movie Review: Vivek Agnihotri's film is divisive and inconsistent with credible performances

<p>He is from the north, she is from the south, and amid cultural differences and language barriers, they fall in love. The tale of 2 states has been one of Indian cinema’s favourite themes. In recent years, there have been 2 States which were incidentally based on writer Chetan Bhagat’s life, and two years back, Rockky Aur Rani Ki Prem Kahaani-where a Punjabi hero wooed a Bengali girl with all his loud Punjabiyat. Maddock Film’s latest Param Sundari, helmed by director Tushar Joshi, falls in a similar bracket but gets stuck in an attempt to be woke. The film, starring Sidharth Malhotra as Param and Janhvi Kapoor as Sundari, attempts too many things in one go and thereby makes an utter chaos of the film. It is neither too funny, nor too unique – with dollops of predictability thrown in. So, whatever you had expected the film to be (read a middling affair) after watching the trailer, it matches all of them and then some more.&nbsp;</p><h2>Plot of Param Sundari movie</h2><p>&nbsp;</p><p>Param is an aimless rich boy who only knows how to sink his father’s money in one dubious start up after the other. Param is sold the idea of a new dating app which claims to find soulmates based on frequencies and data. Param is sceptical of the product but is told to try it for himself for a month before investing in it. The app tells him, his soul mate is in Kerala running a homestay with not much carbon footprint on her. Param and his friend Jaggi (Manjot Singh) end up travelling to a remote village in Kerala to meet Sundari, the owner and caretaker of the homestay.&nbsp;</p><p>&nbsp;</p><p>Param, a man who is heavily driven by AI and data, is convinced Sundari is his soulmate. She on the other hand is initially put off by the two North Indian men, who have zero knowledge of her culture and generalize everyone as ‘South Indians’.&nbsp;</p><p>&nbsp;</p><p>While Sundari slowly warms up to Param, there are hurdles that the two need to cross. One of Param’s father, who has set a timeline on him or else return to the family business in Delhi, then of a childhood friend who is unexpectedly announced as Sundari’s groom-to-be by her uncle. And while they know that they have feelings for each other, the odds are against them.&nbsp;</p><p>&nbsp;</p><h2>What does not work</h2><p>&nbsp;</p><p>Written by Tushar Jalota and Aarsh Vora, the film attempts to show the beautiful culture of Kerala but is so tone deaf that it becomes unintentionally funny. For years, Bollywood has failed in the correct representation of regions beyond Uttar Pradesh, Bihar, Punjab and Maharashtra. Param Sundari is no different. Kapoor’s forced South Indian accented Hindi is a put-off; her monologue, distinguishing the fou,r eventually falls flat because the film’s cultural appropriation overpowers its wokeness. While it casually slips in how Kerala has a high literacy rate, its beautiful, lush landscape - it stereotypes every character who belongs to that state. The story is set in Kerala, and the film ticks all the stereotypes that Bollywood can think of. Bearded scruffy men in Mundu chasing the white skin north Indian hero with sickles in hand, overtly sexual energies of the women, the constant breaking into native language and then speaking heavy accented Hindi- it's all there. At one point, just to spite Param, Sundari takes him to a practice session of Kalaripayattu and makes him fight the best there. So unnecessary and so inappropriate to the narrative.&nbsp;</p><p>&nbsp;</p><p>A boat race thrown here, a Mohiniattam recital there- some landscape shots of falls and backwaters- and Bollywood’s tone deaf makers feel that Kerala is wonderfully represented. It, of course, ultimately relies on the North Indian hero to lead and win the annual boat race. So what if he is flawed and behaves like a complete stalker and almost lured their girl into falling for him based on a bogus app? He is ultimately the hero and thus suddenly their own.&nbsp;</p>

<p> </p><p>In fact, Sundari’s uncle- a patriarch of the village and her family- arbitrarily decides when Param is an outsider and minutes later an insider, without him doing any exceptional or unusual to win his heart. Guess the North Indian good looks come in handy. </p><p> </p><p>The writing is all over the place. At one point Jaggi asks Param ‘Plan Kya hai (What's the plan) echoing the thoughts of the audience who have to figure out what the plot is and what the plot twist is. </p><h2>The actors</h2><p> </p><p>Sidharth Malhotra plays a cocky Punjabi brat who is confused in love and life. But the man has limited talent in the acting department, uses his hands too much and is not a patch on Ranveer Singh, who had famously played Rocky Randhawa in KJo’s film. The template is simila,r and Malhotra is not half as charming, not even goofy. His Param is an average Joe who flexes muscles, shows off his well-toned biceps and legs (lots of shots of him running in shorts for no reason,) and somewhere amid all the running falls for the gorgeous Sundari. </p><p> </p><p>While Param has reasons to fall for the self-made Sundari, not sure how Sundari gets attracted to Param. Janhvi Kapoor plays the role well; her accent may be off, but a film that has not put much thought into its actors or the plot, an accent is the least of the concerns. Kapoor attempts to deliver an earnest performance and looks stunning, but a bad script fails her. </p><p> </p><p>The film also suffers from predictability and goes completely haywire with its story in the second half. You really don’t know why Sundari is keen to be with Param and not her cute Doctor fiancé. He is far more intelligent, has a job, and is considerate of her feelings, unlike our hero, who doesn’t even dare to openly confess his feelings. </p><h2>What works</h2><p> </p><p>The songs and the cinematography are the only two factors that can draw the crowd to theatres. Composed by Sachin-Jigar, the songs, especially Pardesiya, are all soulful and hummable. Santhana Krishnan Ravichandran captures the beautiful Kerala in all its glory- at one point it almost feels like a Kerala tourism ad. </p><p> </p><h2>Final Verdict</h2><p>It’s a middling, predictable romantic film. Param Sundari doesn’t offer anything that one has not seen already. A half-hearted attempt at being culturally woke costs this one a lot, making the film terribly tone deaf and predictable. </p><p> </p><p>Param Sundari is now running in theatres all across India. </p><h2>Param Sundari cast and crew details</h2><p><strong>Director:</strong> Tushar Jalota</p>

<p><strong>Cast:</strong> Sidharth Malhotra, Janhvi Kapoor, Renji Panicker, Siddhartha Shankar, Manjot Singh, Sanjay Kapoor, Inayat Verma<br>&nbsp;</p><p><strong>Music director: </strong>Sachin–Jigar, Jigar Saraiya, Sachin Sanghvi, Sachin-Jigar<br>&nbsp;</p><p><strong>Producer:</strong> Dinesh Vijan<br>&nbsp;</p>

Sidharth Malhotra and Janhvi Kapoor's latest film Param Sundari is too tone deaf even though the makers try to be all culturally woke. The film's messy writing makes this one a very average affair. 

He is from the north, she is from the south, and amid cultural differences and language barriers, they fall in love. The tale of 2 states has been one of Indian cinema’s favourite themes. In recent years, there have been 2 States which were incidentally based on writer Chetan Bhagat’s life, and two years back, Rockky Aur Rani Ki Prem Kahaani-where a Punjabi hero wooed a Bengali girl with all his loud Punjabiyat. Maddock Film’s latest Param Sundari, helmed by director Tushar Joshi, falls in a similar bracket but gets stuck in an attempt to be woke. The film, starring Sidharth Malhotra as Param and Janhvi Kapoor as Sundari, attempts too many things in one go and thereby makes an utter chaos of the film. It is neither too funny, nor too unique – with dollops of predictability thrown in. So, whatever you had expected the film to be (read a middling affair) after watching the trailer, it matches all of them and then some more. Plot of Param Sundari movie Param is an aimless rich boy who only knows how to sink his father’s money in one dubious start up after the other. Param is sold the idea of a new dating app which claims to find soulmates based on frequencies and data. Param is sceptical of the product but is told to try it for himself for a month before investing in it. The app tells him, his soul mate is in Kerala running a homestay with not much carbon footprint on her. Param and his friend Jaggi (Manjot Singh) end up travelling to a remote village in Kerala to meet Sundari, the owner and caretaker of the homestay. Param, a man who is heavily driven by AI and data, is convinced Sundari is his soulmate. She on the other hand is initially put off by the two North Indian men, who have zero knowledge of her culture and generalize everyone as ‘South Indians’. While Sundari slowly warms up to Param, there are hurdles that the two need to cross. One of Param’s father, who has set a timeline on him or else return to the family business in Delhi, then of a childhood friend who is unexpectedly announced as Sundari’s groom-to-be by her uncle. And while they know that they have feelings for each other, the odds are against them. What does not work Written by Tushar Jalota and Aarsh Vora, the film attempts to show the beautiful culture of Kerala but is so tone deaf that it becomes unintentionally funny. For years, Bollywood has failed in the correct representation of regions beyond Uttar Pradesh, Bihar, Punjab and Maharashtra. Param Sundari is no different. Kapoor’s forced South Indian accented Hindi is a put-off; her monologue, distinguishing the fou,r eventually falls flat because the film’s cultural appropriation overpowers its wokeness. While it casually slips in how Kerala has a high literacy rate, its beautiful, lush landscape - it stereotypes every character who belongs to that state. The story is set in Kerala, and the film ticks all the stereotypes that Bollywood can think of. Bearded scruffy men in Mundu chasing the white skin north Indian hero with sickles in hand, overtly sexual energies of the women, the constant breaking into native language and then speaking heavy accented Hindi- it's all there. At one point, just to spite Param, Sundari takes him to a practice session of Kalaripayattu and makes him fight the best there. So unnecessary and so inappropriate to the narrative. A boat race thrown here, a Mohiniattam recital there- some landscape shots of falls and backwaters- and Bollywood’s tone deaf makers feel that Kerala is wonderfully represented. It, of course, ultimately relies on the North Indian hero to lead and win the annual boat race. So what if he is flawed and behaves like a complete stalker and almost lured their girl into falling for him based on a bogus app? He is ultimately the hero and thus suddenly their own.

<p>Sidharth Malhotra and Janhvi Kapoor's latest film Param Sundari is too tone deaf even though the makers try to be all culturally woke. The film's messy writing makes this one a very average affair.&nbsp;</p>

Param Sundari movie review: Sidharth Malhotra’s Param is no Rocky Randhawa and this is no 2 States

<p><strong>Dhadak 2 movie review:</strong> Somewhere near the climax of <i>Dhadak 2</i>, tired of fighting back constantly to claim his position in society, Neelesh- the male protagonist of the film- states, “<i>Haalat badal sakte hai, jaat nahi</i> (situation may change, but caste won’t)". The line hits you hard. Even as India progresses, the discrimination and politics that come along with it- will never end. Filmmaker Shazia Iqbal’s film <i>Dhadak 2, </i>featuring Siddhant Chaturvedi and Triptii Dimri, addresses the age-old caste politics that persist in Indian society to date, through reservation and quotas, disrespect, vote banks, and more. Backed by Karan Johar’s Dharma Productions, it takes up the same theme that<i> Dhadak</i> was set in, of star-crossed lovers, one from the marginalised section and the other from the privileged class, and the problems they face in their love story. Both films are remakes. However, <i>Dhadak 2</i> soars due to its sharp writing and superb performances by the lead.&nbsp;</p>

<h2><br>Plot of Dhadak 2</h2><p>Neelesh is an optimist yet cautious law student, who has gotten admitted to the city’s prestigious National Law College due to his good marks and a caste certificate. He belongs to the marginalised section of society, the oppressed lower caste and is aware that only education can help him improve his and his people’s lives. He meets the vibrant, vivacious Vidhi in class. Vidhi’s background is strikingly different from Neelesh’s. Born to a Brahmin family of lawyers, Vidhi and her sister have been raised by their father in a joint family. While the family is liberal enough to ‘allow’ their daughters to study law, eat non-vegetarian food, they are conservative enough to seek out only grooms from the same caste for the girls. Naturally, Vidhi and Neelesh’s closeness infuriates the family, especially Ronnie, Vidhi’s cousin and classmate in law.&nbsp;</p><p><br>Elsewhere, an unassuming man goes around killing young girls and boys who have dared to fall in love with someone outside of their caste. The man calls himself a social worker, who hates the oppressed lower caste and kills nonchalantly, making each death look like an accident or a suicide.&nbsp;</p><p><br>While Neelesh is aware of his status, Vidhi is carefree and wants to be with him. He resists but she persists, but it's her family that poses as the biggest threat to their love story.</p><h2>What works in Dhadak 2</h2><p>The film, an official Hindi remake of 2018 Tamil film <i>Pariyerum Perumal,</i> jolts you into understanding how deeply rooted and pervasive caste based discrimination is in the society. Written by Rahul Badwelkar, Shazia Iqbal, <i>Dhadak 2</i> brilliantly highlights the two different worlds that exist in the same class in law school. Vidhi is privileged, comes from a family of lawyers who flaunt their status in society, yet are the most insecure about family honour. Violence is an easy option to shut down those who rebel against them. Meanwhile, impoverished and marginalised, Neelesh’s family understands the power that education holds and when to fight back and when not to choose violence. They are oppressed, often misunderstood and harassed by the upper class and caste- yet they choose peace and education, partly because they know the law does not support them and partly because they follow Ambedkar’s ideology.&nbsp;</p>

<p><br>At no point does the film feel preachy. The beauty of<i> Dhadak 2 </i>lies in how slowly the viewers are made to understand the flawed system, the problems of the oppressed class and how they are oppressed. From a back bench reserved for him, to a condescending professor unwilling to give him a chance to shine, Neelesh’s struggles are daily, which Vidhi can never fathom, at least initially. You feel angry and restless at the injustice that is meted out at Neelesh - it makes you uncomfortable.&nbsp;</p><h2>The performances in Dhadak 2</h2><p>The writing is backed by stupendous performances. Both Siddhant and Triptii have proved their mettle before in films like<i> Gully Boy</i> and <i>Bulbbul</i> before. In<i> Dhadak 2</i>, they breathe life into their respective characters. Siddhant’s character is more difficult to perform, but the actor delivers to the part very well. Tripti, who has been unfortunately labelled as just a sex symbol post the success of <i>Animal, </i>gets to sink her teeth in an authored back rolee in this film.<i> </i>She plays the girl next door who never wants to give up on her love and is willing to fight back for Neelesh.&nbsp;</p>

<p>The supporting cast, of Vipin Sharma – as the drag folk dancer father to Neelesh, Anubha Fatehpuri – the righteous mother of Neelesh, Harish Khanna as Vidhi’s helpless father, are all stunning and real in their respective parts. Saurabh Sachdeva, as the unassuming assassin too, is brilliant in his role and gives you the creeps just by being in the scene.&nbsp;</p><h2>The inherently flawed system</h2><p><i>Dhadak 2 </i>in many moments numbs you, makes you uncomfortable and makes you think hard – and that is a good thing. Much like sexism, casteism is very ingrained in our society. It is so common that we overlook it, almost thinking it's normal. It peeks at you from the most unassuming moments of life, from the choice of food, from the way one dresses, the way we treat our helps at home, and no matter how much we call ourselves liberal and non-conformists, we are all guilty participants of the flawed system. The film makes you wake up and realise how much of an active participant you have been all this time. It comes at a time when another love story <i>Saiyaara,</i> is ruling the box office, but the two films are strikingly different. One is about love and sacrifice, this one is about fighting back- against the system, for one's right. Love in <i>Dhadak 2</i> becomes an active agent of change for Neelesh and Vidhi to fight back and speak out against what is wrong.&nbsp;</p>

<h2>Final verdict</h2><p>For those who have watched the Tamil original, the Hindi film may seem unnecessary. However, much like <i>Mrs,</i> which was a remake of Malayalam <i>The Great Indian Kitchen, Dhadak 2</i> reaches out to a wider Hindi-speaking audience and talks of a pertinent issue at hand. The film is also far more realistic and therefore relatable than the first part, which concentrated more on being the launch pad for the two star kids- Ishaan Khatter and Janhvi Kapoor.<i> Dhadak </i>had some memorable songs, much like its original. The second part has some good music, but it's not a patch on the soundtrack of the first film. That apart, the second film is far superior in terms of performances, treatment and story.&nbsp;</p>

<p>In <i>Dhadak,</i> the caste politics got muzzled and appeared more synthetic. In<i> Dhadak 2, </i>the same theme jolts you up from all kinds of delusions and myths and stays on long after the film is over.</p>

<p><i>Dhadak 2</i> releases in theatres on August 1.</p>

Similar to Dhadak in terms of theme, Dhadak 2 however, paints a more realistic and relatable picture about casteism that exists in Indian society. The film is helmed by Shazia Iqbal who ably talks of the inherently flawed society and the discrimination that exists. 

Dhadak 2 movie review: Somewhere near the climax of Dhadak 2, tired of fighting back constantly to claim his position in society, Neelesh- the male protagonist of the film- states, “Haalat badal sakte hai, jaat nahi (situation may change, but caste won’t)". The line hits you hard. Even as India progresses, the discrimination and politics that come along with it- will never end. Filmmaker Shazia Iqbal’s film Dhadak 2, featuring Siddhant Chaturvedi and Triptii Dimri, addresses the age-old caste politics that persist in Indian society to date, through reservation and quotas, disrespect, vote banks, and more. Backed by Karan Johar’s Dharma Productions, it takes up the same theme that Dhadak was set in, of star-crossed lovers, one from the marginalised section and the other from the privileged class, and the problems they face in their love story. Both films are remakes. However, Dhadak 2 soars due to its sharp writing and superb performances by the lead.

<p>Similar to Dhadak in terms of theme, Dhadak 2 however, paints a more realistic and relatable picture about casteism that exists in Indian society. The film is helmed by Shazia Iqbal who ably talks of the inherently flawed society and the discrimination that exists.&nbsp;</p>

Dhadak 2 movie review: Siddhant Chaturvedi, Triptii Dimri's film jolts you from all kinds of delusion

<p>There has been enough representation of The Fantastic Four in pop culture. My earliest memory is of the animated series on TV. Of course, there were some underwhelming films too that came out in the early 2000s. In the post-pandemic era, as Marvel tries to reboot and revive its lost glory, The Fantastic Four: First Steps fits well in the larger scheme of things. It takes the audience, new and loyalists included, back in time and narrates the story of Marvel’s first family. It changes some of our earlier perceptions of the four superheroes from Earth 828, adds certain new elements, and makes it a formidable franchise that hopefully will see more films in the future. Does it make for a thrilling ride, though? Let’s find out.&nbsp;</p><h2>The Plot&nbsp;</h2><p>The Fantastic Four, comprising of Reed Richards, Sue Storm, Ben Grimm and Johnny Storm, are treated as demi-gods or celebrities by the inhabitants of Earth-828. The astronauts have gained superhuman abilities from exposure to cosmic rays during a space mission four years ago. The team is now protectors of Earth, even as Reed Richards, also known as Mister Fantastic, and Sue Storm, also known as Invisible Woman, are gearing up to welcome a new member to their family —a baby. And while Reed and Sue, along with uncles Ben and Johnny, gear up to welcome their new baby and make their home in Baxtar Tower, there is an imminent threat that could end the world completely.&nbsp;</p><p>&nbsp;</p>

<p>As the Silver Surfer arrives to tell them that Galactus will soon consume their planet, the Fantastic Four must act fast to protect themselves and the planet. A brief yet dangerous encounter with Galactus makes them realize that the gigantic villain does not want the planet but Reed and Sue’s son more.</p>

<p>When they refuse the trade off, and come back to Earth, there are questioned on morality and responsibility by people who have worshipped the four for years. Would giving up their son be the only way out to save billions or would the Fantastic Four come together as a family and fight Galactus, forms the rest of the story.</p><p> </p><h2>What works</h2>

<p>The aesthetics, the performances by the lead cast, the premise, the thrill are all intact in The Fantastic Four: First Steps. Pedro Pascal, an unlikely name, to play the dynamic, charming Mister Fantastic, plays his part well. Pascal, the new favourite of filmmakers in Hollywood (he is everywhere) plays a conflicted Reed, who knows what’s the right thing to do but is torn between responsibility, greater good and familial bonding. Playing his wife, Vanessa Kirby plays The Invisible Woman with conviction and brings gravitas to the story and to the team of fantastic four. Joseph Quinn, who shined in Gladiator II last year, plays the charming, boyish Johnny aka Human Torch with perfection. With a retro-futuristic vibe going on, The Fantastic Four takes you back in time yet holds your attention with its smart storytelling. Galactus (Ralph Ineson) is perhaps the most dangerous of the MCU villains and his calm demenour and reasoning will remind you of Thanos from Avengers.</p><p>&nbsp;</p><h2>What does not work</h2><p>In the end, it is a very predictable story that takes away a lot of the surprise element. Once it is established that Galactus is keener to get the baby than the planet, there is not much left to explore in the story. No twists, no shock value, no major dramatic superhero moment, The Fantastic Four ultimately is a middling affair.</p><p>&nbsp;</p><h2>Final verdict</h2>

<p>I have to be honest, I enjoyed the dark humour of Thunderbolts more than Fantastic Four, but I may be an exception to the rule. The Fantastic Four, however, sets the stage well for Avengers: Doomsday (don’t miss the post-credit scene) and ends on a cliff hanger, which will make the audience wait for the next installment.</p><p>Director Matt Shakman’s earnest effort at reviving The Fantastic Four and setting the stage for Marvel’s comeback to supremacy in Superhero universe is evident. The scale is huge, the actors all in great form and an age-old story that never ceases to thrill- The Fantastic Four: First Steps has the potential of becoming the new blockbuster this season.</p>

<p>The Fantastic Four: First Steps has released in theatres this Friday.</p>

Pedro Pascal and Vanessa Kirby shine as Mister Fantastic and Invisible Woman in Matt Shackman's reboot of The Fantastic Four. The film also paves the way for Avengers: Doomsday well. 

There has been enough representation of The Fantastic Four in pop culture. My earliest memory is of the animated series on TV. Of course, there were some underwhelming films too that came out in the early 2000s. In the post-pandemic era, as Marvel tries to reboot and revive its lost glory, The Fantastic Four: First Steps fits well in the larger scheme of things. It takes the audience, new and loyalists included, back in time and narrates the story of Marvel’s first family. It changes some of our earlier perceptions of the four superheroes from Earth 828, adds certain new elements, and makes it a formidable franchise that hopefully will see more films in the future. Does it make for a thrilling ride, though? Let’s find out. The Plot The Fantastic Four, comprising of Reed Richards, Sue Storm, Ben Grimm and Johnny Storm, are treated as demi-gods or celebrities by the inhabitants of Earth-828. The astronauts have gained superhuman abilities from exposure to cosmic rays during a space mission four years ago. The team is now protectors of Earth, even as Reed Richards, also known as Mister Fantastic, and Sue Storm, also known as Invisible Woman, are gearing up to welcome a new member to their family —a baby. And while Reed and Sue, along with uncles Ben and Johnny, gear up to welcome their new baby and make their home in Baxtar Tower, there is an imminent threat that could end the world completely.

<p>Pedro Pascal and Vanessa Kirby shine as Mister Fantastic and Invisible Woman in Matt Shackman's reboot of The Fantastic Four. The film also paves the way for Avengers: Doomsday well.&nbsp;</p>

The Fantastic Four: First Steps movie review - Marvel is back to claim its supremacy with its first family

<p>&nbsp;</p><p>Bollywood is going back to classic romances after years and it feels refreshing. The audiences in the past month have been treated to love stories and anthologies in Anurag Basu’s <i>Metro In Dino </i>and Vivek Soni’s <i>Aap Jaisa Koi</i> recently, and now Mohit Suri’s <i>Saiyaara</i> focuses on young love. Suri, who has made a name for creating musicals and angsty love stories, returns to his comfort zone and collaborates for the first time with Yash Raj Films- another name synonymous with Bollywood romances. The film marks the debut of Ahaan Panday and Aneet Padda and looks and feels like <i>Aashiqui 3</i> with similar romantic ballads, drama, angst, and love. But is <i>Saiyaara</i> a Gen Z version of Aashiqui? Let's find out.&nbsp;</p><p>&nbsp;</p><h2>Saiyaara Plot<br>&nbsp;</h2><p>He is hot-headed, she is shy, calm, and timid. They are chalk and cheese and predictably so, sparks fly between Krish Kapoor the wannabe composer-singer and aspiring journalist Vani, who eventually writes lyrics for him and an aging rapper (Shaad Randhawa, a Suri regular) to is craving to be relevant among the Gen Z. The two may be different, yet they both are drawn to each other due to troubled past. She is heartbroken after a broken engagement; he has an alcoholic father (Varun Badola) to take care of. Their collective pain brings them together as they learn to love and laugh together. But will love halt Krish’s flight to superstardom? Will Vani be able to shed her inhibitions and make it big as a journalist?</p><p>&nbsp;</p><h2>What works</h2><p>The good news that that Mohit Suri and casting agent Shanoo Sharma have been able to find two actors who seem to have a very promising future in the Hindi film industry. Ahaan Panday, a known face from Dubsmash days, is charming and good-looking and reminds you of his uncle Chunky Panday from his younger days. Ahaan off screen charming persona is familiar to those who are regular on social media, but on screen, he plays a troubled and arrogant man who has too much angst to make it big. It's only when he meets Vani (Padda) that he realizes his true calling and finds love. Ahaan plays the part well, even though at some point, one feels his dialogue delivery needs more work.&nbsp;<br>&nbsp;</p><p>His co-star Aneet Padda is a revelation. The young, petite actress holds her own throughout. Having worked in OTT before making her screen debut, Padda delivers a mature and restrained performance and emotes through her eyes. She obviously has a more difficult role than Panday and she delivers to her role well.&nbsp;</p><p><br>The two actors also share an organic chemistry; they look their part and are not the usual YRF leads, clad in designer clothes. There is a certain amount of relatability to both of them and their debut seems like a stark contrast from films like <i>The Archies, </i>and <i>Naadaniya</i>- both launched debutants and were backed by big banners.&nbsp;</p><p>Since it is a Mohit Suri film, the music is soulful and the romantic ballads are all hummable, even if they are slightly in excess. Actors Varun Badola, Rajesh Kumar and Geeta Agarwal are underutilized as the story solely concentrates on the lead pair. Alam Khan plays the cliché best friend to Krish, and his voice of reason.&nbsp;</p>

Saiyaara

<h2>What does not work</h2><p>Mohit Suri sticks to his template of troubled men and women, who are too emotional and sappy in love. It’s a trope that he has used in too many of his previous films and hence the plot of <i>Saiyaara</i> is predictable to an extent. A lot of plot points do not make sense. Krish is shown to be struggling in the beginning, and because of his temper, he often loses out on lucrative deals. Vani is from a middle-class family and is now interning at a media house. However, the two seem to be able to afford a dreamy villa by the beach as their love nest. Vani’s overprotective parents seem to be okay letting go of their daughter with a problematic man to live in as a grave crisis hits the family.&nbsp;</p><p>&nbsp;</p><p>The film's ending is underwhelming and slightly abrupt and so is the climax, almost convincing me that writer Sankalp Sadanah got exhausted after writing such an emotionally heavy story.&nbsp;</p><p>&nbsp;</p><p>The film, however, rises above these flaws. It has a solid lead pair who, despite being new, ably carry the film on their shoulder. They can act, and they are unlikely hero and heroine of YRF – Panday is able to rise above the nepo kid tag with his performance and that’s a plus. So, does it serve as the new age <i>Aashiqui </i>for Gen Z? Yes, it does.&nbsp;</p><p>&nbsp;</p><p><i>Saiyaara </i>is now playing in theatres across the country.&nbsp;</p>

Aneet Padda and Ahaan Panday are not the usual YRF leads. In Mohit Suri's new film, Saiyaara, which is backed by YRF, they play relatable 20-somethings who fall in love despite being very different from each other. 

Bollywood is going back to classic romances after years and it feels refreshing. The audiences in the past month have been treated to love stories and anthologies in Anurag Basu’s Metro In Dino and Vivek Soni’s Aap Jaisa Koi recently, and now Mohit Suri’s Saiyaara focuses on young love. Suri, who has made a name for creating musicals and angsty love stories, returns to his comfort zone and collaborates for the first time with Yash Raj Films- another name synonymous with Bollywood romances. The film marks the debut of Ahaan Panday and Aneet Padda and looks and feels like Aashiqui 3 with similar romantic ballads, drama, angst, and love. But is Saiyaara a Gen Z version of Aashiqui? Let's find out. Saiyaara Plot He is hot-headed, she is shy, calm, and timid. They are chalk and cheese and predictably so, sparks fly between Krish Kapoor the wannabe composer-singer and aspiring journalist Vani, who eventually writes lyrics for him and an aging rapper (Shaad Randhawa, a Suri regular) to is craving to be relevant among the Gen Z. The two may be different, yet they both are drawn to each other due to troubled past. She is heartbroken after a broken engagement; he has an alcoholic father (Varun Badola) to take care of. Their collective pain brings them together as they learn to love and laugh together. But will love halt Krish’s flight to superstardom? Will Vani be able to shed her inhibitions and make it big as a journalist? What works The good news that that Mohit Suri and casting agent Shanoo Sharma have been able to find two actors who seem to have a very promising future in the Hindi film industry. Ahaan Panday, a known face from Dubsmash days, is charming and good-looking and reminds you of his uncle Chunky Panday from his younger days. Ahaan off screen charming persona is familiar to those who are regular on social media, but on screen, he plays a troubled and arrogant man who has too much angst to make it big. It's only when he meets Vani (Padda) that he realizes his true calling and finds love. Ahaan plays the part well, even though at some point, one feels his dialogue delivery needs more work. His co-star Aneet Padda is a revelation. The young, petite actress holds her own throughout. Having worked in OTT before making her screen debut, Padda delivers a mature and restrained performance and emotes through her eyes. She obviously has a more difficult role than Panday and she delivers to her role well. The two actors also share an organic chemistry; they look their part and are not the usual YRF leads, clad in designer clothes. There is a certain amount of relatability to both of them and their debut seems like a stark contrast from films like The Archies, and Naadaniya- both launched debutants and were backed by big banners. Since it is a Mohit Suri film, the music is soulful and the romantic ballads are all hummable, even if they are slightly in excess. Actors Varun Badola, Rajesh Kumar and Geeta Agarwal are underutilized as the story solely concentrates on the lead pair. Alam Khan plays the cliché best friend to Krish, and his voice of reason.

<p>Aneet Padda and Ahaan Panday are not the usual YRF leads. In Mohit Suri's new film Saiyaara, which is backed by YRF, they play relatable 20-somethings who fall in love despite being very different from each other.&nbsp;</p>

Saiyaara Review: Ahaan Panday and Aneet Padda make a promising debut in Mohit Suri’s cliché love story

<p>He is 42, a virgin and desperately in need of female company. R Madhavan's Shrirenu Tripathi is unlike a Bollywood hero, especially at a time when leading heroes flex their muscles and wield machetes in heavy-duty actioners. Filmmaker Vivek Soni's Aap Jaisa Koi, stands apart from regular Bollywood films on many accounts. At its core is a man who is unsure of himself, and thus shy to make friends with the opposite gender. The film has shy and conservative men pitted against liberal, free-thinking modern women. The premise holds promise, but does Aap Jaisa Koi deliver? Let's find out.</p><h2>Plot of Aap Jaisa Koi<br>&nbsp;</h2><p>Shrirenu is a rare man in the present times. He teaches Sanskrit in a school in Jamshedpur where he gets bullied by his teenage students. At 42, he is still looking for a bride, is a virgin and secretly craves for female company. When he does fall in love with a woman way out of his league, it all seems straight out of a beautiful dream. Madhu Bose( Fatima Sana Sheikh) is 32, a French teacher who lives with her single mother and bunch of aunts and uncles in her maternal grandmother's house in Kolkata. Rings are exchanged soon after and you think, what could now go wrong now for them? Yet things go south, primarily because of Shri's bossy elder brother (Manish Chaudhary) who has set rules for women in the household. While he openly controls his wife, a bored housewife (Ayesha Raza) and a daughter who wants to study abroad, his thought process unwarrentedly also influences Shri and the way he perceives his partner.</p><h2>What works and what does not<br>&nbsp;</h2><p>R Madhavan in a role that looks similar to Manu of his smash hit Tanu Weds Manu, shines. He is the man who can charm women with his soft words and cute smile. For decades, Madhavan's soft lover boy charisma has worked on women of all ages. Now, in his 50s, and playing a 40-something in Aap Jaisa Koi, Madhavan still manages to woo the viewers with his charm and simplicity. Certain moments when he is unsure, conscious and very shy as Madhu heaps compliments on him are truly special to watch.<br>&nbsp;</p><p>Giving him company is Fatima Sana Sheikh who plays the hot French teacher with much ease. The age difference is stark and visible between the lead but the two actors rise above the limitations and deliver to their parts.<br>&nbsp;</p><p>Aap Jaisa Koi begins on a promising note about two diverse characters falling in love. Gentle, shy and conservative, Madhavan's Shri is real and also extremely bland and so when the gorgeous French teacher Madhu Bose falls head over heels for him, the audience is as bewildered as Shri is. You want to go along with the story that is being told, yet the unnecessary familial intervention makes the film middling. Here the hero is appalled at the idea of the heroine being a temptress. He is modern enough to be on a dating app, but judges the woman for being on one.&nbsp;<br><br>Aap Jaisa Koi is shot beautifully. Cinematographer Debojeet Ray captures North Kolkata and Jameshpur's old world charm well. The frames are very Wes Anderson coded, linear, structured and box-like. And while the actors and the premise are pretty, the film itself is middling and bland.</p><p>After a point, you want Madhu to move on from a rather boring and orthodox man like Shri. At some point, you want to shake his elder brother up and wake him from the era bygone where man and woman had defined roles.<br>&nbsp;</p><p>Aap Jaisa Koi is woke. It tries to teach a lesson on gender and patriarchy amid a love story. It wants to do it subtly, yet the film is preachy and textbookish to fully be invested in.<br>&nbsp;</p><p>Aap Jaisa Koi is streaming on Netflix.&nbsp;<br>&nbsp;</p>

Filmmaker Vivek Soni's Aap Jaisa Koi, stands apart from regular Bollywood films on many accounts. At its core is a man who is unsure of himself, and thus shy to make friends with the opposite gender. 

He is 42, a virgin and desperately in need of female company. R Madhavan's Shrirenu Tripathi is unlike a Bollywood hero, especially at a time when leading heroes flex their muscles and wield machetes in heavy-duty actioners. Filmmaker Vivek Soni's Aap Jaisa Koi, stands apart from regular Bollywood films on many accounts. At its core is a man who is unsure of himself, and thus shy to make friends with the opposite gender. The film has shy and conservative men pitted against liberal, free-thinking modern women. The premise holds promise, but does Aap Jaisa Koi deliver? Let's find out. Plot of Aap Jaisa Koi Shrirenu is a rare man in the present times. He teaches Sanskrit in a school in Jamshedpur where he gets bullied by his teenage students. At 42, he is still looking for a bride, is a virgin and secretly craves for female company. When he does fall in love with a woman way out of his league, it all seems straight out of a beautiful dream. Madhu Bose( Fatima Sana Sheikh) is 32, a French teacher who lives with her single mother and bunch of aunts and uncles in her maternal grandmother's house in Kolkata. Rings are exchanged soon after and you think, what could now go wrong now for them? Yet things go south, primarily because of Shri's bossy elder brother (Manish Chaudhary) who has set rules for women in the household. While he openly controls his wife, a bored housewife (Ayesha Raza) and a daughter who wants to study abroad, his thought process unwarrentedly also influences Shri and the way he perceives his partner. What works and what does not R Madhavan in a role that looks similar to Manu of his smash hit Tanu Weds Manu, shines. He is the man who can charm women with his soft words and cute smile. For decades, Madhavan's soft lover boy charisma has worked on women of all ages. Now, in his 50s, and playing a 40-something in Aap Jaisa Koi, Madhavan still manages to woo the viewers with his charm and simplicity. Certain moments when he is unsure, conscious and very shy as Madhu heaps compliments on him are truly special to watch. Giving him company is Fatima Sana Sheikh who plays the hot French teacher with much ease. The age difference is stark and visible between the lead but the two actors rise above the limitations and deliver to their parts. Aap Jaisa Koi begins on a promising note about two diverse characters falling in love. Gentle, shy and conservative, Madhavan's Shri is real and also extremely bland and so when the gorgeous French teacher Madhu Bose falls head over heels for him, the audience is as bewildered as Shri is. You want to go along with the story that is being told, yet the unnecessary familial intervention makes the film middling. Here the hero is appalled at the idea of the heroine being a temptress. He is modern enough to be on a dating app, but judges the woman for being on one. Aap Jaisa Koi is shot beautifully. Cinematographer Debojeet Ray captures North Kolkata and Jameshpur's old world charm well. The frames are very Wes Anderson coded, linear, structured and box-like. And while the actors and the premise are pretty, the film itself is middling and bland. After a point, you want Madhu to move on from a rather boring and orthodox man like Shri. At some point, you want to shake his elder brother up and wake him from the era bygone where man and woman had defined roles. Aap Jaisa Koi is woke. It tries to teach a lesson on gender and patriarchy amid a love story. It wants to do it subtly, yet the film is preachy and textbookish to fully be invested in. Aap Jaisa Koi is streaming on Netflix.

<p>Filmmaker Vivek Soni's Aap Jaisa Koi, stands apart from regular Bollywood films on many accounts. At its core is a man who is unsure of himself, and thus shy to make friends with the opposite gender.&nbsp;</p>

Aap Jaisa Koi review: R Madhavan and Fatima Sana Sheikh's woke love story on patriarchy has Wes Anderson coded frames

<p>The heart has been craving for a good old love story amid heavy actioners that Bollywood has been churning out for some time now. Amid the clutter of Pan-India gruesome bloodied action thrillers and sappy family dramas that the viewers have been fed the past few years, Anurag Basu's <i>Metro...In Dino</i> manages to break the clutter with a fresh take on the oldest emotion in the universe -Love.&nbsp;</p><p>&nbsp;</p><p>Basu takes four distinct love stories set in cities like Kolkata, Mumbai, Delhi and Bangalore and spins an intricate tale, typical of the filmmaker’s style of storytelling. The result is an engaging musical 2 hr 42 minutes long ride at theatres.<br>&nbsp;</p><p>A spiritual successor of Basu’s 2007 urban drama, <i>Life In a…Metro</i>,<i> Metro…In Dino</i> adapts similar tropes of love and infidelity but gives a modern spin. Love and the concept of love has evolved leaps and bounds in the last 18 years. In the age of dating apps, social media posts and one-night stands, love, too, is more of a show and has a shelf life much like the Instagram stories. So, how does one keep at it? One has to keep falling in love again and again, says a character at one point.</p><h2>The Plot&nbsp;</h2><p>Kajol and Monty (Konkona and Pankaj Tripathi) are a middle-aged couple who have become bored in their relationship. Their life centers around their teenage daughter and office meetings. Kajol admits right in the beginning that the more boring her personal life gets, the more colourful her social media account becomes. Things take an ugly turn when she catches her husband on a dating app and then catfishes him into an embarrassing setup. On the brink of divorcing, she heads back to her parents’ place, leaving Monty high and dry and desperate to win her back. &nbsp;<br>&nbsp;</p><p>Kajol’s younger sister Chumki (Sara Ali Khan), a self-confessed confused person, is all set to marry a ‘safe’ option. A man who shrugs too much and is never able to take a stand for her. A chance encounter with travel blogger Parth (Aditya Roy Kapur) makes her question her life choices. The man spews facts to Chumki but is a commitment-phobic, playboy man-child refusing to settle down.&nbsp;<br>&nbsp;</p><p>Parth’s college friends Shruti (Fatima Sana Sheikh) and Akash (Ali Fazal) are much in love, married couple who have to now deal with an unplanned pregnancy. While Shruti is willing to go with the flow, Akash feels child and a regular corporate job will derail his dreams of becoming a musician.&nbsp;<br>&nbsp;</p><p>Elsewhere, Kajol and Chumki’s mother, Shibani (Neena Gupta), is stuck in a dead-end relationship with her husband and the girls' father, Sanjeev (Saswata Chatterjee), for decades. He dictates and she listens- that's how her life has been all these years until a college reunion makes her meet her ex-boyfriend Parimal (Anupam Kher), a man she had truly loved but could never marry as he never fought for her and let her go.&nbsp;<br>&nbsp;</p><p>Parimal is now a disgruntled man living a lonely life with his widowed daughter-in-law, Jhumki (Darshana Banik). While Parimal wants her to move on with life and remarry,the &nbsp;duties and promises made to her late husband stops Jhumki from leaving him. Parimal then takes a drastic step and offers a role of a lifetime to Shibani , a star on stage during her college years, to convince Jhumki to move on.&nbsp;</p>

<h2>Comparisons to Life in a…Metro</h2><p>&nbsp;</p><p>When the first trailer of <i>Metro…In Dino</i> came out, a lot of loyal fans of <i>Life In a…Metro </i>felt that a spiritual sequel was not needed. Partly because the original still remains rent-free in everyone's mind, and partly because how different can the love stories be in the last 18 years? But <i>Metro… In Dino</i> is an important film for it talks of love, of compatibility, of second chances, and of companionship at a time when one chooses soul mates by swiping right. When projecting a happy image on social media becomes more important than being actually happy and content- Metro In Dino tries to assess how relationship dynamics have changed with time and how its important to keep making efforts in love.</p><p>&nbsp;</p>

Metro In Dino

<p>A lot is told through the photos on the wall. Of friendship. Of past romances or familial bonds. Lines of realism and fiction get blurred easily in Basu’s films and he uses Pritam’s music as an important element to take the story forward. Pritam, along with Papon and Raghav Chaitanya, remains the constant spectator of the four different stories and their complexities. In a way, they are also the narrators who connect the missing dots for the viewers through their songs.&nbsp;<br>&nbsp;</p><p>Basu’s films are mostly elaborate and <i>Metro… In Dino</i>, however much it may seem breezy in the first half, slows down in the second half, often appearing repetitive. There are loose ends too in plenty but Basu creates such a beautiful premise that one tends to overlook.&nbsp;<br>&nbsp;</p><p>The cast is all pitch perfect, but it's Pankaj Tripathi and Konkona Sen Sharma who stand out. Their story is also the most entertaining and the two actors deliver a stunning portrayal of a middle-aged couple who cannot live without each other but can't do with each other as well. Konkona, the only actor, who was part of the original film, shares a crackling chemistry with Pankaj Tripathi. When the first trailer had come out, most had missed Irrfan’s presence. His portrayal of an almost 40-year-old virgin in <i>Life in A…Metro </i>remains iconic to date. Pankaj Tripathi had big shoes to fill, but the man eases into the role of Monty Sisodia seamlessly, making the viewers crack up often through the film, much like late Irrfan Khan had in the original.&nbsp;</p>

<p>The other older couple- Neena Gupta and Anupam Kher, with support from Saswata Chatterjee too, are stunning. Gupta particularly shines in a portion when she gets to play act as a loud gold digger, to help Parimal with his family issues.&nbsp;<br>&nbsp;</p><p>Fatima and Ali Fazal’s story is perhaps the most relatable as they play a couple torn between two cities, as they navigate personal ambitions and dreams. The younger lot will perhaps relate more to Sara Ali Khan and Aditya Roy Kapur’s track – unsure of committing, but ready to explore and meet new people.&nbsp;</p>

<h2>A worthy sequel?&nbsp;</h2><p>The beauty of <i>Metro…In Dino</i> lies in the fact that every character seems real and thus relatable. You will find a bit of Chumki or Shruti in you. You will know a Parth or a Parimal. You will understand Shibani's problems and nod in agreement to Kajol and Monty's marriage woes. Love is a universal emotion – it's not restricted to a certain age. It needs time and patience, and hard work to maintain that emotion for the same person year after year, and the film brilliantly highlights it. It also normalizes the mundanity that comes along with marriage and kids, but never shuns the idea of settling.</p>

<p>Is it a worthy sequel to <i>Life In a…Metro? </i>Yes. The film explores the complexities that come along with the emotion of love, gives a hat tip to the original (look out for the sequence of Sara Ali Khan screaming out loud to vent her frustration), makes you hum along with Pritam’s soulful music and in the process makes you root for love stories once again.&nbsp;<br>&nbsp;</p><p>Go watch<i> Metro…In Dino</i>, it breaks the clutter of regressive, gruesome actioners and provides for a wholesome feeling, that has been missing in Bollywood for some time now. &nbsp;</p>

The beauty of Metro…In Dino lies in the fact that every character seems real and thus relatable. Is it a worthy sequel to Life In a…Metro? Yes. The film explores the complexities that come along with the emotion of love and makes you root for love stories once again. 

The heart has been craving for a good old love story amid heavy actioners that Bollywood has been churning out for some time now. Amid the clutter of Pan-India gruesome bloodied action thrillers and sappy family dramas that the viewers have been fed the past few years, Anurag Basu's Metro...In Dino manages to break the clutter with a fresh take on the oldest emotion in the universe -Love. Basu takes four distinct love stories set in cities like Kolkata, Mumbai, Delhi and Bangalore and spins an intricate tale, typical of the filmmaker’s style of storytelling. The result is an engaging musical 2 hr 42 minutes long ride at theatres. A spiritual successor of Basu’s 2007 urban drama, Life In a…Metro, Metro…In Dino adapts similar tropes of love and infidelity but gives a modern spin. Love and the concept of love has evolved leaps and bounds in the last 18 years. In the age of dating apps, social media posts and one-night stands, love, too, is more of a show and has a shelf life much like the Instagram stories. So, how does one keep at it? One has to keep falling in love again and again, says a character at one point. The Plot Kajol and Monty (Konkona and Pankaj Tripathi) are a middle-aged couple who have become bored in their relationship. Their life centers around their teenage daughter and office meetings. Kajol admits right in the beginning that the more boring her personal life gets, the more colourful her social media account becomes. Things take an ugly turn when she catches her husband on a dating app and then catfishes him into an embarrassing setup. On the brink of divorcing, she heads back to her parents’ place, leaving Monty high and dry and desperate to win her back. Kajol’s younger sister Chumki (Sara Ali Khan), a self-confessed confused person, is all set to marry a ‘safe’ option. A man who shrugs too much and is never able to take a stand for her. A chance encounter with travel blogger Parth (Aditya Roy Kapur) makes her question her life choices. The man spews facts to Chumki but is a commitment-phobic, playboy man-child refusing to settle down. Parth’s college friends Shruti (Fatima Sana Sheikh) and Akash (Ali Fazal) are much in love, married couple who have to now deal with an unplanned pregnancy. While Shruti is willing to go with the flow, Akash feels child and a regular corporate job will derail his dreams of becoming a musician. Elsewhere, Kajol and Chumki’s mother, Shibani (Neena Gupta), is stuck in a dead-end relationship with her husband and the girls' father, Sanjeev (Saswata Chatterjee), for decades. He dictates and she listens- that's how her life has been all these years until a college reunion makes her meet her ex-boyfriend Parimal (Anupam Kher), a man she had truly loved but could never marry as he never fought for her and let her go. Parimal is now a disgruntled man living a lonely life with his widowed daughter-in-law, Jhumki (Darshana Banik). While Parimal wants her to move on with life and remarry,the duties and promises made to her late husband stops Jhumki from leaving him. Parimal then takes a drastic step and offers a role of a lifetime to Shibani , a star on stage during her college years, to convince Jhumki to move on.

<p>The beauty of <i>Metro…In Dino</i> lies in the fact that every character seems real and thus relatable. Is it a worthy sequel to <i>Life In a…Metro? </i>Yes. The film explores the complexities that come along with the emotion of love and makes you root for love stories once again.&nbsp;</p>

Metro…In Dino movie review: Anurag Basu’s modern love story breaks the clutter, Konkona Sen Sharma -Pankaj Tripathi shine

<p>When you combine two of the most popular entities of the world – Brad Pitt and Formula One racing- in a film, you can expect it be a big blockbuster hit. One of the most popular stars of Hollywood, Pitt has been credited with some of the biggest hits of all time and earned an Oscar award for his performance. The man splashing comes back in F1: The Movie as a Sony Hayes, a rule breaker, a has-been driver who left the circuit years back after a freak accident. When Sony is pulled back into the circuit- this time by an old friend and fellow rider (Javier Bardem in a delightful role) and Sony has to face his demons, move past personal setback, and even befriend a weary rookie driver (Damson Idris) to win F1.<br>&nbsp;</p><p>Helmed by Joseph Kosinski,<i> F1: The Movie</i> has all the aspects that make for a summer blockbuster. It takes Racing fans on the circuit, it presents Brad Pitt in all his glory, it talks of an underdog who rises to the occasion and it talks of friendship and brotherhood. However, the film’s predictability takes away a lot of its soul. One always expects a film of this scale to evoke a range of emotions. While <i>F1: The Movie </i>is exhilarating, it lacks the emotional depth.</p><p>&nbsp;</p><h2>Plot of F1: The Movie</h2><p>Former Formula One diver Sony Hayes now leads a isolated, reckless life. While he is still winning races in F3 and F2 ciruit, the glorious days of driving on circuit especially in F1 is a thing of the past. On the behest of fellow rider and owner of team APEX GP Ruben, Sony joins the team to revive the team after its dismal performance poses threat of a take over for its owner. Sony is introduced to the team as the second driver, which leads to clashes with rookie driver Joshua Pearce. Joshua has worked hard to be where he is and does not want to loose his spot at the first driver of APXGP and Sony’s turbulent past involving ganbling and freak accident, makes him and team director Kate McKenna and others sceptyical of the new recruit. Is Sony able to over come his limitations? Does he manage to help his friend to keep the team? Does Joshua lose his spot as the first driver? <i>F1: The Movie</i> not only explores a team journey but of all the individuals involved with the team and thir personal struggles which has led them to the circuit. Everyone is there to to prove a point, to win over, to prove their naysayers wrong.&nbsp;</p><p>&nbsp;</p><h2>What works</h2><p>Filming a F1 race from a driver’s and a team perspective is tricky but the film cinematographer Claudio Miranda who has earlier worked with Krosinski and producer Jerry Bruckheimer, makes this film an immersive experience. The film’s camera takes you inside the world of Formula One, its fast paced- nerve racking races which make or break people’s career. The film is a treat for all racing enthusuaists. Not only does create a world of realism, it also has brief cameos by several prominent F1 drivers included Louis Hamilton, who serves as the co-producer of the film.&nbsp;<br>&nbsp;</p><p>Pitt plays the maverick, vagabond and slightly disdain driver to perfection. He is charming, knows he can have his way with the ladies including the team’s technical director but is consious of his limitations and age. He is also a man who feels his prime and glory days are over and hence reluctant to join back. At one point, while contemplating about getting back on the circuit he reasons to a friendly waitress that is not about the money. “Then what is it about?” she questions -which forms the crux of the film. For Sony it indeed isn’t about the money but about proving his critics right, to prove his father right.&nbsp;<br>&nbsp;</p><p>While the film is all about Brad Pitt’s character and the makers know well how to capitalize on his charm and superstardom, actors Javier Bardem, Damson Idris, and Kerry Condon too play their parts well.&nbsp;</p><h2>&nbsp;</h2><h2>What does not work</h2><p>The film is by the makers who made Top Gun: Maverick- a film that reignited the passion of flying for many, that put Tom Cruise back on the popularity charts and a film that helped Hollywood revive itself post pandemic. Tom Gun Maverick also left most fans emotional. However, <i>F1:The Movie</i> lacks that emotional depth. Sure, one gets an adrenaline rush which watching Pitt strategize and drive in the circuit, but the predictable course of the film leaves you empty. Not much time is invested in talking of Pitt’s character’s past. There was an accident which could have left him dead, we are told but the trauma that has stayed on is never fully developed or addressed. Or why Kate needs to win or why Joshua is insecure of an old rusty driver. A lot of questions are left unanswered</p><h2>Final verdict&nbsp;</h2><p><i>F1: The Movie</i> is typically for racing enthusiasts. It has a lot for even those who do not know much about racing. It has its moments, it gives an inside view of the business behind one of the most expensive sports of all time. But if you are thinking of an emotional crescendo with this one- that ‘ain’t happenin’. &nbsp;</p><p>&nbsp;</p><p>&nbsp;</p>

F1: The Movie has all the aspects that make for a summer blockbuster. It takes racing fans on the circuit and it presents Brad Pitt in all his glory, 

When you combine two of the most popular entities of the world – Brad Pitt and Formula One racing- in a film, you can expect it be a big blockbuster hit. One of the most popular stars of Hollywood, Pitt has been credited with some of the biggest hits of all time and earned an Oscar award for his performance. The man splashing comes back in F1: The Movie as a Sony Hayes, a rule breaker, a has-been driver who left the circuit years back after a freak accident. When Sony is pulled back into the circuit- this time by an old friend and fellow rider (Javier Bardem in a delightful role) and Sony has to face his demons, move past personal setback, and even befriend a weary rookie driver (Damson Idris) to win F1. Helmed by Joseph Kosinski, F1: The Movie has all the aspects that make for a summer blockbuster. It takes Racing fans on the circuit, it presents Brad Pitt in all his glory, it talks of an underdog who rises to the occasion and it talks of friendship and brotherhood. However, the film’s predictability takes away a lot of its soul. One always expects a film of this scale to evoke a range of emotions. While F1: The Movie is exhilarating, it lacks the emotional depth. Plot of F1: The Movie Former Formula One diver Sony Hayes now leads a isolated, reckless life. While he is still winning races in F3 and F2 ciruit, the glorious days of driving on circuit especially in F1 is a thing of the past. On the behest of fellow rider and owner of team APEX GP Ruben, Sony joins the team to revive the team after its dismal performance poses threat of a take over for its owner. Sony is introduced to the team as the second driver, which leads to clashes with rookie driver Joshua Pearce. Joshua has worked hard to be where he is and does not want to loose his spot at the first driver of APXGP and Sony’s turbulent past involving ganbling and freak accident, makes him and team director Kate McKenna and others sceptyical of the new recruit. Is Sony able to over come his limitations? Does he manage to help his friend to keep the team? Does Joshua lose his spot as the first driver? F1: The Movie not only explores a team journey but of all the individuals involved with the team and thir personal struggles which has led them to the circuit. Everyone is there to to prove a point, to win over, to prove their naysayers wrong. What works Filming a F1 race from a driver’s and a team perspective is tricky but the film cinematographer Claudio Miranda who has earlier worked with Krosinski and producer Jerry Bruckheimer, makes this film an immersive experience. The film’s camera takes you inside the world of Formula One, its fast paced- nerve racking races which make or break people’s career. The film is a treat for all racing enthusuaists. Not only does create a world of realism, it also has brief cameos by several prominent F1 drivers included Louis Hamilton, who serves as the co-producer of the film. Pitt plays the maverick, vagabond and slightly disdain driver to perfection. He is charming, knows he can have his way with the ladies including the team’s technical director but is consious of his limitations and age. He is also a man who feels his prime and glory days are over and hence reluctant to join back. At one point, while contemplating about getting back on the circuit he reasons to a friendly waitress that is not about the money. “Then what is it about?” she questions -which forms the crux of the film. For Sony it indeed isn’t about the money but about proving his critics right, to prove his father right. While the film is all about Brad Pitt’s character and the makers know well how to capitalize on his charm and superstardom, actors Javier Bardem, Damson Idris, and Kerry Condon too play their parts well. What does not work The film is by the makers who made Top Gun: Maverick- a film that reignited the passion of flying for many, that put Tom Cruise back on the popularity charts and a film that helped Hollywood revive itself post pandemic. Tom Gun Maverick also left most fans emotional. However, F1:The Movie lacks that emotional depth. Sure, one gets an adrenaline rush which watching Pitt strategize and drive in the circuit, but the predictable course of the film leaves you empty. Not much time is invested in talking of Pitt’s character’s past. There was an accident which could have left him dead, we are told but the trauma that has stayed on is never fully developed or addressed. Or why Kate needs to win or why Joshua is insecure of an old rusty driver. A lot of questions are left unanswered Final verdict F1: The Movie is typically for racing enthusiasts. It has a lot for even those who do not know much about racing. It has its moments, it gives an inside view of the business behind one of the most expensive sports of all time. But if you are thinking of an emotional crescendo with this one- that ‘ain’t happenin’.

<p><i>F1: The Movie</i> has all the aspects that make for a summer blockbuster. It takes Racing fans on the circuit, it presents Brad Pitt in all his glory, it talks of an underdog who rises to the occasion and it talks of friendship and brotherhood.</p>

F1: The Movie review- Brad Pitt takes you on an exhilarating yet predictable ride

<p>Aamir Khan is back with his trademark, quintessential feel-good movie. Over the years, the actor has carved out a niche in Indian cinema for making entertaining films that convey important social messages. In the past few years, as the actor tried to experiment in typical commercial fare, the set image dwindled. In 2025, he seems to be back in his comfort zone, playing a reluctant hero in <i>Sitaare Zameen Par,</i> where he typically takes a backseat and lets others shine. Of course, the superstar's presence looms large on this one, but <i>Sitaare Zameen Par </i>works because of its messaging and the way it is delivered.</p><p>&nbsp;</p><p>Helmed by RS Prasanna, who had directed the delightful and effective <i>Shubh Mangal Savdhan</i> earlier, <i>Sitaare Zameen Par </i>is the classic underdog story. On many occasions, the film feels cliche and predictable, but it is the bunch of new actors, all neurodivergent, that uplifts this regular story.</p><p>&nbsp;</p><h2>Plot of Sitaare Zameen Par</h2><p>&nbsp;</p><p>Aamir Khan plays hot-headed Gulshan, assistant basketball coach of the Delhi State Team. A DUI case lands him in court, which orders him to do three months of community service and pay 5K as a fine. Gulshan agrees to evade jail time, but the catch is that social service translates into coaching a team of specially abled players for National Championships. Rude and brash, Gulshan initially is reluctant to coach a team of 'mad' people, but over a course of time, realises that normalcy is a relative term and everyone's normal is different.</p><p>&nbsp;</p><p>While he is training the team, he also has to navigate his troubled marriage to Suneeta (Genelia Deshmukh) and work out his issues with his mother (Dolly Ahluwalia Tewari). Does Gulshan manage to win over the team and his family forms the rest of the story.&nbsp;</p><p>&nbsp;</p><p>While the film is from Khan's character's perspective and his coming-of-age story, it heavily focuses on delivering a message of inclusivity.&nbsp;</p><p>&nbsp;</p><p>Films have been made in the past about specially abled individuals, but in most at some point in the story, the viewers are compelled to feel sympathetic and bad for these characters.<i> Sitaare Zameen Par</i> takes a conscious route to not use the sympathy card for these <i>Sitaares</i> (The name of their basketball team). They are shown as normal as us. Instead, writer Divy Nidhi Sharma demands that you change your perspective about them. One has a girlfriend, one is obsessed with flights and diseases, one smokes, and one works double shifts at work. Their problems are made to be as usual as ours, making them relatable and, in the process, making us think about the definition of normal. Everyone’s normal is different, it's relative- a message that runs through the film.&nbsp;<br>&nbsp;</p><p>Humour always helps in delivering a strong message. Sitaare zameen par is no different. I found myself smiling through most parts of the film. There are several heartwarming moments sprinkled through the narrative. One involves the team collectively conspiring to make one of the members take a shower after years of hydrophobia. Another has Gulshan finding out a big secret about his mother.<br>&nbsp;</p><p>The film does oversimplify the way society perceives specially abled people. Their problems are neatly enveloped with dollops of humour, but I am not complaining. At least the film aims to start a conversation, and that’s wonderful.</p><p>&nbsp;</p><h2>The <i>Sitaares</i> of Sitaare Zameen Par</h2><p>Credit should be given to director RS Prasanna, producer Aamir Khan, and casting director Tess Joseph for picking up a bunch of fun, confident, and talented neurodivergent actors. They breathe life into the slightly preachy and predictable plot with humour and genuine emotions. While Bollywood actors like Priyanka Chopra, SRK, and Kalki Koechlin have played specially abled characters in the past, no one has brought authenticity to the characters as much as these new actors have. Full marks to the makers, for casting them instead of trying regular, known faces in these roles. <i>Sitaare Zameen Par s</i>hines because of this bunch of actors.&nbsp;</p><h2>Aamir Khan, the producer</h2><p>This isn’t the best film of Aamir Khan the actor. He hams in parts, is over the top in others, and sleepwalks through the rest of it. But Aamir Khan, the producer, should be credited for bringing authenticity and required rawness to a story like Sitaare Zameen Par. The film may be inspired – and some say a frame-to-frame copy of Spanish film <i>Champions</i>- but it is well-intended and entertains you throughout.&nbsp;<br>&nbsp;</p><p>Aamir and Genelia’s chemistry as a warring couple also falls flat on several occasions, even though it is a delight to watch the actress in a full-fledged role in a feature film after a long time. She brings her effervescent charm to her character Suneeta, who is a positive influence on grumpy Gulshan’s life.&nbsp;<br>&nbsp;</p><p>Aamir’s scenes with his onscreen mother, played by Dolly Ahluwalia, however, shine. The two have great onscreen chemistry and look the part of a mother and a son. While Gulshan is a negative man who has only learnt to escape tricky situations in his life, his mother is immensely positive in life, having raised him single-handedly, yet not bitter about her past experiences.&nbsp;</p><p>&nbsp;</p><h2>Flaws</h2><p><i>Sitaare Zameen Par</i> is perhaps not the most perfect and correct representation of a community that is almost always overlooked the society. It uses humour to dilute the issues, it has Aamir playing a reluctant saviour to a bunch of underdogs, and it has a predictable plot. It is a spiritual sequel of<i> Taare Zameen Par</i> (2007), which had a more nuanced take on parent-child relationships and on Dyslexia. <i>Sitaare Zameen Par</i> tackles issues more on the surface level.&nbsp;</p><p>&nbsp;</p><p>But I am willing to overlook the flaws because the story is heartwarming, and it makes you think about autism and Down syndrome differently, hours after you have left the cinema hall.</p><p>&nbsp;</p><p><i>Sitaare Zameen Par,</i> however, is the kind of Aamir Khan film that fans love to watch and cheer. It’s a simple, heartwarming film which shines not because of Khan but more because of its message and the new actors who debut along with the superstar.&nbsp;</p><p>&nbsp;</p><p><i>Sitaare Zameen Par</i> releases nationwide in theaters on June 20. Don’t miss it.&nbsp;</p>

Helmed by RS Prasanna, Sitaare Zameen Par is the classic underdog story. On many occasions, the film feels cliche and predictable, but it is the bunch of new actors, all neurodivergent, that uplifts this regular story.

Aamir Khan is back with his trademark, quintessential feel-good movie. Over the years, the actor has carved out a niche in Indian cinema for making entertaining films that convey important social messages. In the past few years, as the actor tried to experiment in typical commercial fare, the set image dwindled. In 2025, he seems to be back in his comfort zone, playing a reluctant hero in Sitaare Zameen Par, where he typically takes a backseat and lets others shine. Of course, the superstar's presence looms large on this one, but Sitaare Zameen Par works because of its messaging and the way it is delivered. Helmed by RS Prasanna, who had directed the delightful and effective Shubh Mangal Savdhan earlier, Sitaare Zameen Par is the classic underdog story. On many occasions, the film feels cliche and predictable, but it is the bunch of new actors, all neurodivergent, that uplifts this regular story. Plot of Sitaare Zameen Par Aamir Khan plays hot-headed Gulshan, assistant basketball coach of the Delhi State Team. A DUI case lands him in court, which orders him to do three months of community service and pay 5K as a fine. Gulshan agrees to evade jail time, but the catch is that social service translates into coaching a team of specially abled players for National Championships. Rude and brash, Gulshan initially is reluctant to coach a team of 'mad' people, but over a course of time, realises that normalcy is a relative term and everyone's normal is different. While he is training the team, he also has to navigate his troubled marriage to Suneeta (Genelia Deshmukh) and work out his issues with his mother (Dolly Ahluwalia Tewari). Does Gulshan manage to win over the team and his family forms the rest of the story. While the film is from Khan's character's perspective and his coming-of-age story, it heavily focuses on delivering a message of inclusivity. Films have been made in the past about specially abled individuals, but in most at some point in the story, the viewers are compelled to feel sympathetic and bad for these characters. Sitaare Zameen Par takes a conscious route to not use the sympathy card for these Sitaares (The name of their basketball team). They are shown as normal as us. Instead, writer Divy Nidhi Sharma demands that you change your perspective about them. One has a girlfriend, one is obsessed with flights and diseases, one smokes, and one works double shifts at work. Their problems are made to be as usual as ours, making them relatable and, in the process, making us think about the definition of normal. Everyone’s normal is different, it's relative- a message that runs through the film. Humour always helps in delivering a strong message. Sitaare zameen par is no different. I found myself smiling through most parts of the film. There are several heartwarming moments sprinkled through the narrative. One involves the team collectively conspiring to make one of the members take a shower after years of hydrophobia. Another has Gulshan finding out a big secret about his mother. The film does oversimplify the way society perceives specially abled people. Their problems are neatly enveloped with dollops of humour, but I am not complaining. At least the film aims to start a conversation, and that’s wonderful. The Sitaares of Sitaare Zameen Par Credit should be given to director RS Prasanna, producer Aamir Khan, and casting director Tess Joseph for picking up a bunch of fun, confident, and talented neurodivergent actors. They breathe life into the slightly preachy and predictable plot with humour and genuine emotions. While Bollywood actors like Priyanka Chopra, SRK, and Kalki Koechlin have played specially abled characters in the past, no one has brought authenticity to the characters as much as these new actors have. Full marks to the makers, for casting them instead of trying regular, known faces in these roles. Sitaare Zameen Par shines because of this bunch of actors. Aamir Khan, the producer This isn’t the best film of Aamir Khan the actor. He hams in parts, is over the top in others, and sleepwalks through the rest of it. But Aamir Khan, the producer, should be credited for bringing authenticity and required rawness to a story like Sitaare Zameen Par. The film may be inspired – and some say a frame-to-frame copy of Spanish film Champions- but it is well-intended and entertains you throughout. Aamir and Genelia’s chemistry as a warring couple also falls flat on several occasions, even though it is a delight to watch the actress in a full-fledged role in a feature film after a long time. She brings her effervescent charm to her character Suneeta, who is a positive influence on grumpy Gulshan’s life. Aamir’s scenes with his onscreen mother, played by Dolly Ahluwalia, however, shine. The two have great onscreen chemistry and look the part of a mother and a son. While Gulshan is a negative man who has only learnt to escape tricky situations in his life, his mother is immensely positive in life, having raised him single-handedly, yet not bitter about her past experiences. Flaws Sitaare Zameen Par is perhaps not the most perfect and correct representation of a community that is almost always overlooked the society. It uses humour to dilute the issues, it has Aamir playing a reluctant saviour to a bunch of underdogs, and it has a predictable plot. It is a spiritual sequel of Taare Zameen Par (2007), which had a more nuanced take on parent-child relationships and on Dyslexia. Sitaare Zameen Par tackles issues more on the surface level. But I am willing to overlook the flaws because the story is heartwarming, and it makes you think about autism and Down syndrome differently, hours after you have left the cinema hall. Sitaare Zameen Par, however, is the kind of Aamir Khan film that fans love to watch and cheer. It’s a simple, heartwarming film which shines not because of Khan but more because of its message and the new actors who debut along with the superstar. Sitaare Zameen Par releases nationwide in theaters on June 20. Don’t miss it.

<p>Helmed by RS Prasanna, <i>Sitaare Zameen Par </i>is the classic underdog story. On many occasions, the film feels cliche and predictable, but it is the bunch of new actors, all neurodivergent, that uplifts this regular story.</p>

Sitaare Zameen Par review: Heartwarming and imperfect, Aamir Khan the producer triumphs over the actor

<p>The song <i>"Laal Pari"</i> is probably the only thing you’ll find yourself humming after watching this week's big Bollywood release<i> Housefull 5</i>. Akshay Kumar leads this no-brainer, which features a luxury yacht, pretty faces, beautiful women, and standout outfits.<br>&nbsp;</p><p>For me, the beauty of this comedy franchise is that it never made any sense, yet I still enjoyed the first few parts - the characters, the dialogues. However, the fourth instalment - unarguably the most torturous one, which we got almost six years ago (remember Bala, Bala?), is still the worst. That said, compared to part 4, this one is quite passable.<br>&nbsp;</p><h2><strong>Plot? What does that even mean?</strong></h2><p><br>When it comes to writing about the <i>Housefull 5</i> plot, a five-minute silence, please. Hmmm... so the story starts with a murder. Cut! We see a luxury yacht in the deep blue sea. Cut again! We’re introduced to the soul of the franchise, actor Ranjeet, playing business tycoon Ranjeet Dobriyal, a lusty and perverted old man, celebrating his 100th birthday. Unfortunately, he dies, leaving behind a will that goes to his mysterious son Jolly, owner of billions of pounds.</p><p>&nbsp;</p><p>Next, we see three Jollys- one is Akshay Kumar, the second is Riteish Deshmukh, and the third is Abhishek Bachchan. Three jolly arrive with three gorgeous ladies - Jacqueline Fernandez, Sonam Bajwa and Nargis Fakhri.</p><p><br>While everyone is busy finding who is the real Jolly is, they have another thing to handle - a murder. So, now the story shifts to find out who the killer is? And, then the plot sticks to this.</p><h2><br><strong>Where is the fun?</strong></h2><p><br>Directed by Tarun Mansukhani, who has co-written the script with Farhad Samji, this movie has a house full of stars, roaming here and there, all dressed up for a fancy dress party. The case with this movie is that I didn't feel anything, I did not laugh hard, only smiled. Looked at fellow members of the audience, wondered if they felt the same as I, and then watched the movie in between.</p><p><br>When it comes to the plot, I felt it was written after watching many Hollywood films. Cut, copy, change a bit and <i>tadaaa</i>!, we have a story of the movie starring prominent names of Bollywood. The film comes at a time when Bollywood is going through a tough period, with the audience being least interested in stepping into the theatres. And when they do, they get movies like<i> Housefull 5.</i></p><h2><strong>Are stars enough to save the film?</strong></h2><p><br>The movie is heavy on stars. Led by Akshay, the film has Riteish, Abhishek, Sanjay Dutt, Fardeen Khan, Shreyas Talpade, Nana Patekar, Jackie Shroff, Dino Morea, Jacqueline Fernandez, Nargis Fakhri, Chitrangada Singh, Sonam Bajwa, Soundarya Sharma, Chunky Pandey, Nikitin Dheer and Johnny Lever.&nbsp;Yet none of them are able to salvage this film.&nbsp;</p><h2><br><strong>Are these stars enough?</strong><br>&nbsp;</h2><p>When it comes to comedy, Akshay and Johnny Lever do their job well. Their comic timing, expressions, and actions manage to make even the cringiest scenes entertaining. Same with Riteish, who has played such roles in too many films now and is comfortable in this genre. However, the others - Jackie Shroff, Abhishek Bachchan, and Sanjay Dutt - are reduced to caricatures. I honestly don’t know what fun they had playing these roles.</p><h2><br><strong>Watch it or skip it?</strong><br>&nbsp;</h2><p>The <i>Housefull </i>franchise has always demanded to be watched without using one's brain. &nbsp;I had so many issues with the movie. But, when you bring together a huge team of actors, creatives, writers, and directors, and give them all the best resources, the result should be at least a passable film. This film is not an out-and-out comedy, but a disappointment in this genre.&nbsp;<br>&nbsp;</p><p>The movie has been released in two versions - Part A and Part B. &nbsp;I watched Part A.</p><p>&nbsp;</p><p>&nbsp;</p>

Still from the movie

<p>Shroff and Dutt's cartoonish performance in the movie was heartbreaking. Also, I missed the ladies as they didn't have much role, except looking fantastic, dressing outstanding, but barely spoke.</p><h2><strong>Is vulgarity the new comedy?</strong></h2><p><br>By vulgarity, I mean the double-meaning, crass dialogues, the one-liners that fail to deliver genuine laughs. A few scenes in the movie were not funny at all, and the women were all hypersexualised. Many would argue that such a thing comes with a comedy as a genre, but sexism in <i>Housefull 5 </i>is of an unbearable level.&nbsp;</p><p><br>A character in the film is called Lucy, who is ogled at for her cleavage, and in a scene, even her skirt. Another scene features Jacqueline, Sonam, and Nargis in an AC duct, where the camera zooms in on their bodies, as if there was nothing else to show.</p><p>&nbsp;</p><p>At a time when Bollywood needs desperately to recalibrate, fa ilm like <i>Housefull 5</i> takes the entire industry 10 steps backward. Housefull 5 has released in theatres on June 6.&nbsp;</p>

Directed by Tarun Mansukhani and written by Farhad Samji, the film has a house full of stars, roaming here and there, all dressed up for a fancy dress party.

The song "Laal Pari" is probably the only thing you’ll find yourself humming after watching this week's big Bollywood release Housefull 5. Akshay Kumar leads this no-brainer, which features a luxury yacht, pretty faces, beautiful women, and standout outfits. For me, the beauty of this comedy franchise is that it never made any sense, yet I still enjoyed the first few parts - the characters, the dialogues. However, the fourth instalment - unarguably the most torturous one, which we got almost six years ago (remember Bala, Bala?), is still the worst. That said, compared to part 4, this one is quite passable. Plot? What does that even mean? When it comes to writing about the Housefull 5 plot, a five-minute silence, please. Hmmm... so the story starts with a murder. Cut! We see a luxury yacht in the deep blue sea. Cut again! We’re introduced to the soul of the franchise, actor Ranjeet, playing business tycoon Ranjeet Dobriyal, a lusty and perverted old man, celebrating his 100th birthday. Unfortunately, he dies, leaving behind a will that goes to his mysterious son Jolly, owner of billions of pounds. Next, we see three Jollys- one is Akshay Kumar, the second is Riteish Deshmukh, and the third is Abhishek Bachchan. Three jolly arrive with three gorgeous ladies - Jacqueline Fernandez, Sonam Bajwa and Nargis Fakhri. While everyone is busy finding who is the real Jolly is, they have another thing to handle - a murder. So, now the story shifts to find out who the killer is? And, then the plot sticks to this. Where is the fun? Directed by Tarun Mansukhani, who has co-written the script with Farhad Samji, this movie has a house full of stars, roaming here and there, all dressed up for a fancy dress party. The case with this movie is that I didn't feel anything, I did not laugh hard, only smiled. Looked at fellow members of the audience, wondered if they felt the same as I, and then watched the movie in between. When it comes to the plot, I felt it was written after watching many Hollywood films. Cut, copy, change a bit and tadaaa!, we have a story of the movie starring prominent names of Bollywood. The film comes at a time when Bollywood is going through a tough period, with the audience being least interested in stepping into the theatres. And when they do, they get movies like Housefull 5. Are stars enough to save the film? The movie is heavy on stars. Led by Akshay, the film has Riteish, Abhishek, Sanjay Dutt, Fardeen Khan, Shreyas Talpade, Nana Patekar, Jackie Shroff, Dino Morea, Jacqueline Fernandez, Nargis Fakhri, Chitrangada Singh, Sonam Bajwa, Soundarya Sharma, Chunky Pandey, Nikitin Dheer and Johnny Lever. Yet none of them are able to salvage this film. Are these stars enough? When it comes to comedy, Akshay and Johnny Lever do their job well. Their comic timing, expressions, and actions manage to make even the cringiest scenes entertaining. Same with Riteish, who has played such roles in too many films now and is comfortable in this genre. However, the others - Jackie Shroff, Abhishek Bachchan, and Sanjay Dutt - are reduced to caricatures. I honestly don’t know what fun they had playing these roles. Watch it or skip it? The Housefull franchise has always demanded to be watched without using one's brain. I had so many issues with the movie. But, when you bring together a huge team of actors, creatives, writers, and directors, and give them all the best resources, the result should be at least a passable film. This film is not an out-and-out comedy, but a disappointment in this genre. The movie has been released in two versions - Part A and Part B. I watched Part A.

<p>Directed by Tarun Mansukhani and written by Farhad Samji, the film has a house full of stars, roaming here and there, all dressed up for a fancy dress party.</p>

Housefull 5 Review: Akshay Kumar and his clan deliver another laughless sequel and 'I am not joking'

<p>Kamal Haasan and Mani Ratnam- two stalwarts coming together in a film is a cinematic event in itself. The highly anticipated film<i> Thug Life,</i> which marks the collaboration of the two legends after 37 years, is finally here.<br><br>Expectations, thus, were high for this one from the time the film was announced. But Haasan, who also serves as a co-writer and co-producer of the film, delivers a middling performance in a formulaic film that is spruced with well-known actors, both from the south as well as the north. Ratnam, who is considered one of the best auteurs in the country, always has managed to make warm, emotional, and gritty dramas. Each of his movies has the distinct mark of the filmmaker, which is hard to emulate. <i>Thug Life</i>, however , seems to be more of a massy drama which doesn’t particularly have any distinct stamp of the filmmaker.&nbsp;</p><p>&nbsp;</p><h2>Plot of Thug Life<br>&nbsp;</h2><p>Two brothers, Shakti (Haasan) and Manikyam (Nassar) run a mafia network in New Delhi. During a shootout with the police, Shakti rescues a little boy, Amar, whose father dies during crossfire. Amar ( STR) grows up to be Shakti’s closest aide, who takes the boy home and raises him as his own.&nbsp;Years later, Shakti ends up in jail, and Amar takes control of his empire and wants to make the business grow overseas.&nbsp;<br>&nbsp;</p><p>However, an incident turns Amar and Shakti against each other. While Shakti soon repents and wants to make amends, Amar is consumed by rage and seeks revenge and allies with rivals to bring his mentor down.&nbsp;</p><p>Is Sakti able to save himself, and does Amar get to know details of his past- forms the rest of the story</p><p>&nbsp;</p><h2>What works</h2><p>Expectations are always high from a film that features Kamal Haasan. Haasan plays a man, who holds his loved ones close and is ruthless to his enemies, delivering a convincing act. It isn’t Haasan’s best performance but credit should be given to the man for still being so agile and relevant at 70. The scene stealer, however, is STR, who delivers a strong performance as Amar- a loyal aide to Sakti but who feels he has been betrayed by his mentor.&nbsp;<br>&nbsp;</p><p>Ratnam’s frequent collaborator Ravi K Chandran shoots the film beautifully, and some of the panoramic shots are stunning.&nbsp;</p><p>&nbsp;</p><h2>What does not</h2><p>The film is terribly formulaic. At a time when Hindi films are relying heavily on south-inspired action thrillers, one had hoped Ratnam and Haasan would be able to change the narrative. But <i>Thug Life</i> sticks to the usual tropes of action films, where the lead protagonist is presented as larger than life. Haasan’s character is shot at, thrown off a cliff, and even gets caught in the middle of an avalanche, yet he survives. Haasan’s Shakti defies death so much that it would put regular superheroes to shame. At one point, a huge concrete slab falls on Haasan, yet, in the next moment, he is up fighting a man double his size. Nothing can beat him.&nbsp;</p><p>&nbsp;</p><p>There are continuity issues, too. Simbu, dressed in white pants and a blue shirt, is shown tied on a dusty floor. But as he escapes, not a strand is out of his carefully made man bun, nor are there any creases on his clothes or a spec of dust. Unbelievable.<br>&nbsp;</p><p>These flaws could be overlooked, if the plot was more solid. Almost at the beginning of the second half, you know how the film will pan out. The plot truly is wafer-thin, which only wants to make Haasan look like a superhero. As a result, a lot of the actors are wasted. Abhirami holds her own as Jeeva, Shakti’s wife. Trisha is wasted, so are Ali Fazal and Mahesh Manjrekar, who only have two scenes in total. Even STR fades away in the middle of the second half, only to reappear near the climax.&nbsp;</p><p>&nbsp;</p><p>The women in Mani Ratnam's films are usually so well presented and often play an integral part of the story. They are usually strong individuals. However, in Thug Life, they are all shown to be dependent on the men. Be the mistress, who moves from one man to another's house and has no identity of herself, the wife who rallies around the husband and only worries of his well being, to the daughter who needs consent of the father, or the ex wife who needs father-in-law to get a divorce from the husband. The women are never on their own.&nbsp;</p><h2>Final verdict</h2><p><i>Thug Life</i> is not a bad film, per se. However, it’s a film that reunites two legends of Indian cinema, so one would hope for something extraordinary, given their past work.<i> Thug Life</i> unfortunately falls into the usual trappings of a masala potboiler and never elevates itself to be something marvelous. It's a cinematic version of <i>Mirzapur, </i>where everyone is eyeing the hot seat and thus, trying to outdo the other person. And because most of us have watched the web series, <i>Thug Life </i>doesn't offer us anything new.&nbsp;</p><p>&nbsp;</p><p><i>Thug Life </i>has been released in theatres across the country on June 5.&nbsp;</p>

The highly anticipated film Thug Life, which marks the collaboration of Haasan and Ratnam after 37 years, is finally here. 
Expectations, thus, were high for this one from the time the film was announced. 

Kamal Haasan and Mani Ratnam- two stalwarts coming together in a film is a cinematic event in itself. The highly anticipated film Thug Life, which marks the collaboration of the two legends after 37 years, is finally here. Expectations, thus, were high for this one from the time the film was announced. But Haasan, who also serves as a co-writer and co-producer of the film, delivers a middling performance in a formulaic film that is spruced with well-known actors, both from the south as well as the north. Ratnam, who is considered one of the best auteurs in the country, always has managed to make warm, emotional, and gritty dramas. Each of his movies has the distinct mark of the filmmaker, which is hard to emulate. Thug Life, however , seems to be more of a massy drama which doesn’t particularly have any distinct stamp of the filmmaker. Plot of Thug Life Two brothers, Shakti (Haasan) and Manikyam (Nassar) run a mafia network in New Delhi. During a shootout with the police, Shakti rescues a little boy, Amar, whose father dies during crossfire. Amar ( STR) grows up to be Shakti’s closest aide, who takes the boy home and raises him as his own. Years later, Shakti ends up in jail, and Amar takes control of his empire and wants to make the business grow overseas. However, an incident turns Amar and Shakti against each other. While Shakti soon repents and wants to make amends, Amar is consumed by rage and seeks revenge and allies with rivals to bring his mentor down. Is Sakti able to save himself, and does Amar get to know details of his past- forms the rest of the story What works Expectations are always high from a film that features Kamal Haasan. Haasan plays a man, who holds his loved ones close and is ruthless to his enemies, delivering a convincing act. It isn’t Haasan’s best performance but credit should be given to the man for still being so agile and relevant at 70. The scene stealer, however, is STR, who delivers a strong performance as Amar- a loyal aide to Sakti but who feels he has been betrayed by his mentor. Ratnam’s frequent collaborator Ravi K Chandran shoots the film beautifully, and some of the panoramic shots are stunning. What does not The film is terribly formulaic. At a time when Hindi films are relying heavily on south-inspired action thrillers, one had hoped Ratnam and Haasan would be able to change the narrative. But Thug Life sticks to the usual tropes of action films, where the lead protagonist is presented as larger than life. Haasan’s character is shot at, thrown off a cliff, and even gets caught in the middle of an avalanche, yet he survives. Haasan’s Shakti defies death so much that it would put regular superheroes to shame. At one point, a huge concrete slab falls on Haasan, yet, in the next moment, he is up fighting a man double his size. Nothing can beat him. There are continuity issues, too. Simbu, dressed in white pants and a blue shirt, is shown tied on a dusty floor. But as he escapes, not a strand is out of his carefully made man bun, nor are there any creases on his clothes or a spec of dust. Unbelievable. These flaws could be overlooked, if the plot was more solid. Almost at the beginning of the second half, you know how the film will pan out. The plot truly is wafer-thin, which only wants to make Haasan look like a superhero. As a result, a lot of the actors are wasted. Abhirami holds her own as Jeeva, Shakti’s wife. Trisha is wasted, so are Ali Fazal and Mahesh Manjrekar, who only have two scenes in total. Even STR fades away in the middle of the second half, only to reappear near the climax. The women in Mani Ratnam's films are usually so well presented and often play an integral part of the story. They are usually strong individuals. However, in Thug Life, they are all shown to be dependent on the men. Be the mistress, who moves from one man to another's house and has no identity of herself, the wife who rallies around the husband and only worries of his well being, to the daughter who needs consent of the father, or the ex wife who needs father-in-law to get a divorce from the husband. The women are never on their own. Final verdict Thug Life is not a bad film, per se. However, it’s a film that reunites two legends of Indian cinema, so one would hope for something extraordinary, given their past work. Thug Life unfortunately falls into the usual trappings of a masala potboiler and never elevates itself to be something marvelous. It's a cinematic version of Mirzapur, where everyone is eyeing the hot seat and thus, trying to outdo the other person. And because most of us have watched the web series, Thug Life doesn't offer us anything new. Thug Life has been released in theatres across the country on June 5.

<p>The highly anticipated film<i> Thug Life,</i> which marks the collaboration of Haasan and Ratnam after 37 years, is finally here.&nbsp;<br>Expectations, thus, were high for this one from the time the film was announced.&nbsp;</p>

Thug Life review: Kamal Haasan defies death and logic in Mani Ratnam’s most commercial outing to date

<p>At a time when 'Pan-India' movies with larger-than-life action heroes in the lead are ruling the box office, debutant director Karan Tejpal's film <i>Stolen </i>seems like an unusual thriller. It has two brothers helping a woman they have just met, find her missing baby, amid the sand dunes and by lanes of Rajasthan, as locals, cops, and thugs chase them and try to blame them for a crime they have not committed. The film, all of 90 minutes, is one of the slickest and edgy thrillers that Indian cinema has produced in recent years. There is not a single dull moment in this film, and an excellent screenplay backed by great performances by the three leads- makes <i>Stolen</i> a must-watch.&nbsp;</p><p>&nbsp;</p><h2>Plot of Stolen</h2><p>What starts off as two separate incidents in a lonely railway station somewhere in north India, soon becomes a story of chase through the hinterlands. A sleepy Gautam awaits in his swanky SUV for his younger brother Raman’s arrival outside a railway station. In the same railway station, Jhumpa Mahto is sleeping with her five-month-old baby, who is kidnapped by a woman. Raman happens to briefly cross paths with the kidnapper at the station. As Jhumpa wakes up, realizes, and cries out looking for her lost baby, commotion ensues. Police get involved, Raman says he may have seen the kidnapper, even as Gautam tries to take his brother away from the commotion. The brothers somehow get involved in the case, first with the police wanting to interrogate Raman as the prime witness and later because of their own moral obligation to help the impoverished woman find her baby.&nbsp;<br>&nbsp;</p><p>What follows is a chase through ravines and sand dunes and narrow alleys of villages within Rajasthan and old, abandoned havelis as Raman and Gautam realize that there is more to the case than just a missing baby. What begins as a mere search for Jhumpa’s lost baby slowly turns into a night that changes the perspectives of the two brothers on life and the system at large.&nbsp;</p><p>&nbsp;</p><h2>What works<br>&nbsp;</h2><p>The last time I was on the edge of my seat watching a survival story like this was back in 2015 when Navdeep Singh’s <i>NH10 was</i> released. <i>Stolen</i>, has the same framework, and keeps you hooked and even slightly anxious through the 90 minutes of its runtime. The film’s taught screenplay by Gaurav Dhingra, Swapnil Salkar-Agadbumb and Tejpal is backed by super performances by actors Abhishek Banerjee, Shubham Vardhan, and Mia Maelzer. Banerjee’s reluctant man stuck in an unprecedented situation owing to his brother's ac,t comes out convincingly. Banerjee has come of his own, from his days as the mentor in <i>The Pitchers</i> to now stealing the thunder from terrific performers in <i>Stree 2</i>, it has been quite a journey for this casting agent. The actor is very assured as Gautam- a man who in the course of a night realizes that the expensive watch he wears and SUV he drives are just a hogwash in the larger scheme of things, that his privilege can be an agent of catalyst for change for some one who needs help and is impoverished.</p><p>&nbsp;</p>

<p>Shubham Vardhan, as the wide-eyed, empathetic Raman, is also a scene-stealer. He knows he has the privilege to help and acts as a catalyst in changing Gautam’s perspective. Vardhan and Banerjee share great onscreen chemistry , which alleviates the narrative. Giving them company is Mia Maelzer, who sinks her teeth into the character of a helpless woman, fighting the odds and a language barrier as she tries to find her baby. Her act is raw, earnest, and very much in tune with the narrative.&nbsp;<br>&nbsp;</p><p><i>Stolen</i> works on so many levels. Not only does the film keep you hooked from its first frame till the last thanks to solid writing by Karan Tejpal, Gaurav Dhingra, and Swapnil Salkar, it also makes you think of the privileges you are born with, it makes you wonder about the what ifs in life, and so much more, but the narrative never becomes a jargon or sermon on issues. The message is delivered amid a lot of chase and hide and seek ,but effectively.&nbsp;</p><h2>What does not</h2><p>Only a few flaws in between an overall solid script. One can’t help but wonder how Gautam can speak Bengali when it isn’t his mother tongue. Also, the two brothers go missing a night before a big family wedding, and nothing is shown on whether the family starts looking for them when they don’t come home. The flaws, however, can be overlooked because of the urgency with which the story unfolds, making it an edgy, slick survival thriller.&nbsp;<br>&nbsp;</p><p><i>Stolen</i> has been lauded at various film festivals before its India release, and the film, devoid of any songs or big A-listers, stands out as one of the best thrillers of the year.&nbsp;<br>&nbsp;</p><p>Don’t miss at any cost. <i>Stolen</i> is streaming on Prime Video.&nbsp;</p>

The last time I was on the edge of my seat watching a survival story like this was back in 2015 when Navdeep Singh’s NH10 was released. Stolen, has the same framework, and keeps you hooked and even slightly anxious through the 90 minutes of its runtime. 

At a time when 'Pan-India' movies with larger-than-life action heroes in the lead are ruling the box office, debutant director Karan Tejpal's film Stolen seems like an unusual thriller. It has two brothers helping a woman they have just met, find her missing baby, amid the sand dunes and by lanes of Rajasthan, as locals, cops, and thugs chase them and try to blame them for a crime they have not committed. The film, all of 90 minutes, is one of the slickest and edgy thrillers that Indian cinema has produced in recent years. There is not a single dull moment in this film, and an excellent screenplay backed by great performances by the three leads- makes Stolen a must-watch. Plot of Stolen What starts off as two separate incidents in a lonely railway station somewhere in north India, soon becomes a story of chase through the hinterlands. A sleepy Gautam awaits in his swanky SUV for his younger brother Raman’s arrival outside a railway station. In the same railway station, Jhumpa Mahto is sleeping with her five-month-old baby, who is kidnapped by a woman. Raman happens to briefly cross paths with the kidnapper at the station. As Jhumpa wakes up, realizes, and cries out looking for her lost baby, commotion ensues. Police get involved, Raman says he may have seen the kidnapper, even as Gautam tries to take his brother away from the commotion. The brothers somehow get involved in the case, first with the police wanting to interrogate Raman as the prime witness and later because of their own moral obligation to help the impoverished woman find her baby. What follows is a chase through ravines and sand dunes and narrow alleys of villages within Rajasthan and old, abandoned havelis as Raman and Gautam realize that there is more to the case than just a missing baby. What begins as a mere search for Jhumpa’s lost baby slowly turns into a night that changes the perspectives of the two brothers on life and the system at large. What works The last time I was on the edge of my seat watching a survival story like this was back in 2015 when Navdeep Singh’s NH10 was released. Stolen, has the same framework, and keeps you hooked and even slightly anxious through the 90 minutes of its runtime. The film’s taught screenplay by Gaurav Dhingra, Swapnil Salkar-Agadbumb and Tejpal is backed by super performances by actors Abhishek Banerjee, Shubham Vardhan, and Mia Maelzer. Banerjee’s reluctant man stuck in an unprecedented situation owing to his brother's ac,t comes out convincingly. Banerjee has come of his own, from his days as the mentor in The Pitchers to now stealing the thunder from terrific performers in Stree 2, it has been quite a journey for this casting agent. The actor is very assured as Gautam- a man who in the course of a night realizes that the expensive watch he wears and SUV he drives are just a hogwash in the larger scheme of things, that his privilege can be an agent of catalyst for change for some one who needs help and is impoverished.

<p>The last time I was on the edge of my seat watching a survival story like this was back in 2015 when Navdeep Singh’s <i>NH10 was</i> released. <i>Stolen</i>, has the same framework, and keeps you hooked and even slightly anxious through the 90 minutes of its runtime.&nbsp;</p>

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