Anupama Chopra

The bonds between men constitute a sub-genre in Indian cinema. From Anand to Sholay to Dil Chahta Hai to Pyaar Ka Punchnama, these friendships have beguiled generations of viewers. It is fitting that in the 50th anniversary year of Sholay, comes the story of two young men whose story follows familiar beats — deep, abiding affection, a fracture in the friendship, tragedy. And yet, Neeraj Ghaywan’s Homebound is unlike most of these films that have gone before. Because the two men belong to marginalised communities; one is Muslim and the other Dalit. And because the story leads into the pandemic. By the end, I was a weeping mess.

Over the course of nearly three hours, Mission: Impossible—The Final Reckoning goes from dull and ponderous to exhilarating and emotional and back again so seamlessly that when it finishes, you’re exhausted but also inspired and grateful that a 62-two-year superstar is willing to hang off the side of a flying plane just to entertain you. This film might not save cinema, but Tom Cruise will risk death trying. And there is something noble about that. Once again, as agent Ethan Hunt, Cruise is saving the world. Early in this film, we are told, truth is vanishing, war is coming. An artificial intelligence called the Entity has taken control of the internet and of nuclear sites around the world (including India). The fate of every single person on the planet depends on Hunt (enabled by his trusty team) being able to lock two devices together, which will somehow disable the Entity (these look so basic that I wondered if the Entity is as intelligent as everyone thinks it is).