Akhil Arora

Dug Dug, the long-delayed satirical comedy from director Ritwik Pareek, doesn’t take its intriguing premise to the pinnacle. We discuss the film’s languid opening act that has little to do with the following hour. We also talk about its commentary on blind faith and superstition, and wonder why it doesn’t train its targets on bigger enemies, choosing instead to punch down.

Apex—the new Netflix survival thriller starring Charlize Theron and Taron Egerton—is like an anti-Australia propaganda video paid for by people still traumatised by the 2003 Cricket World Cup final. We discuss Netflix’s dedication to making instantly forgettable movies, its digitally created natural landscapes, and its by-the-numbers plot that has exactly two unexpected twists.

Samay Raina reveals his opportunistic soul in the self-aggrandising comedy special Still Alive. We discuss his decision to portray himself as a victim, to conflate the suffering of his parents with his own, and the consequences of giving in to bullies while projecting himself as a martyr. We also compare his stance to that of his fellow comedian Kunal Kamra and discuss the differences between the YouTube version and the live performance.

Mardaani 3 has the same flawed feminism as its predecessors, but a larger canvas to project it on. We discuss the evolution of Rani Mukerji’s vanity project, which is coming up on nearly 15 years. We also talk about the film’s jarring third-act plot twists and Shivani Shivaji Roy’s Bond villain-esque new adversary. Along the way, we touch upon its attempts to create some sort of Avengers-type team for future instalments.

Dhurandhar: The Revenge doubles down on everything that made the first film so controversial. The level of sycophancy on display borders on the pathetic. We discuss the film’s plodding narrative, pointless diversions, and shameless devotion to the ruling party. We also talk about plot twists that you see coming from a mile away, the protagonist’s muddled motivations, and the convenience with which certain hurdles are overcome.

Netflix’s new Indian original movie, Made in Korea, is a lazy excuse of a film made by an inept group of people with no idea what they’re doing. The very existence of such slop is a slap in the face of talented filmmakers who struggle for decades trying to do honest work. This is an insult not only to them, but also to audiences who pay hard-earned money to Netflix every month. Here is proof that the unemployment crisis isn’t restricted to men. We discuss the film’s clueless protagonist, her pointless motivations, and the aimless narrative that she is confined to. We also raise questions about the plausibility of such a premise, and the movie’s cartoonish attempts to “honour” Korean culture.

Subedaar fools you into watching a ‘70s-style neo-Western about corruption and caste by presenting it as a South Indian remake. We discuss Anil Kapoor’s refreshingly muted lead performance, the film’s pointed nods to John Wick, and whether its disguised social commentary makes up for its tonal missteps. We also discuss Mona Singh and Aditya Rawal’s characters and who they represent in the context of contemporary India.

Accused, the tone-deaf “feminist” film on Netflix, is the equivalent of Neha Dhupia going “It’s her choice” on Roadies. We discuss the film’s utterly misguided defence of a serial harasser, groomer, and all-around toxic human being, and its baffling attempts to pass her off as “ambitious”. We also question the film’s understanding of sexual harassment as a concept, and disapprove of anybody trying to make a movie about false allegations in a post-#MeToo world. Additionally, we poke holes in the film’s central mystery, the decision to have not one but two eccentric detectives, and an irrational villain reveal that disregards the laws of the genre.