Nonika Singh

Logically, a sequel ought to be bigger and better, a feat rarely achieved. Indeed, ‘Raid 2’ ups the scale on the execution front. But in terms of treatment, as it tries to marry the realistic with the dramatic, it is a tough balancing act. From the ‘No One Killed Jessica’ director Raj Kumar Gupta, who directed the prequel ‘Raid’ too, you do not expect the same old wine in a new bottle. If we lauded ‘Raid’, based on a real-life incident, for fleshing out a full-fledged movie out of an income-tax raid, ‘Raid 2’ can’t possibly be just more of the same. For, how much surprise can you pack in the crevices of where and how the corrupt hide their money?

What can be more exciting than a heist drama which invariably gets us the requisite dose of adrenalin rush? Back in time, there was the Dev Anand-starrer ‘Jewel Thief’ and more recently, Netflix’s Spanish drama ‘Money Heist’, which captured our imagination and set it afire. So, as yet another tale of a suave thief, a con artist at that, drops on Netflix, we are all agog. Only, our enthusiasm doesn’t last too long. In walks one of our favourites and undisputedly the industry’s finest actor, Jaideep Ahlawat, as Rajan Aulakh. Donning shirtless suits, tattoos and chains adorning his much slimmer neckline, he is quite the crime lord masquerading as an art curator. In a few moments, it is established that he is the villain of the piece. Since he has lost a major chunk of his wealth, he needs to steal Red Sun, a huge African diamond valued at Rs 500 crore, soon to be exhibited in an Indian museum. Only, he is not skilled enough to pull off the job himself and has to hire a jewel thief. Enter our hero Reyan Roy (Saif Ali Khan), whose sleight of hand is very much in sight; yes, stealing the very necklace he has gifted the very beautiful woman he sleeps with.

We all are prisoners of our mobile phones. So, when the very first line of ‘Logout’ reminds you of it as well as drives home precisely why it’s called a cell phone, you can only nod in unison. The same can be said about the entire runtime of the two-hour film. Much of what unfolds is relatable, much has already been documented, maybe with greater precision and depth. But the Amit Golani directorial focuses on the life of an influencer and serves the tale as a psychological thriller; murder in the very first scene. You might be on a familiar path; after all, reams have been penned on the perils of social media, invasion of privacy and cyber frauds. But the way Golani weaves a world where ‘phone hamare liye distraction nahin puri duniya hai’, you are neither distracted by the subject nor its treatment. Rather, you are fully clued in on the fate of this young celebrity.

“Yeh dhai kilo ka haath hai, is ki taakat North dekh chuka hai, ab South bhi dekhega.” The reference to Sunny Deol’s iconic dialogue is more than obvious, as is the North-South alchemy. ‘Jaat’ marks the Hindi film debut of Telugu director Gopichand Malineni and encashes upon Deol’s stardom in its inimitable southern style. Only, the actioner that builds on Deol’s ‘post Gadar 2’ starry status amplifies it many times over. Undeniably, Sunny Bhaji is once again a one-man army who can stop a vehicle with one hand and bash up dozens and dozens of muscle men; in short, do all things unimaginable, but very much possible in this Dharam-putar line of action. Instead of uprooting a hand-pump, pillars and fans become his weapons of mass destruction.

What can be more fascinating than a glimpse into what goes on behind the scenes in the Punjabi music industry? Invariably reverberating with rocking beats, it has deep fault lines that are exposed every now and then. So, can a series helmed by Rohit Jugraj, director of Punjabi films like ‘Sardarji’, its sequel and ‘Jatt James Bond’, truly offer us an expose? Or deep insight? Well, the series, the first season of which dropped in 2023, may not be an unsettling reflection of its grim side, but has its strengths. Before we fault the musical series for unspooling like a thriller in its concluding part, we also need to understand that violence has marred Punjab’s irrepressible musical heart time and again. Thus, this one-of-its-kind musical series fictionalises the brutal killing of Amar Singh Chamkila and moves forward from there. It has violence and revenge running as a recurring thread, not too far away from the truth of the musical world where extortion calls are a norm and gun culture not uncommon.

Lust and pleasure, pain and meditation, West and East… can all these inhabit the same space? Well, in Mike White’s third season of ‘The White Lotus’, they do. Those familiar with his award-winning franchise and template are well aware that ‘White Lotus’ is a chain of luxury resorts where the super rich vacay in their quest for the elusive happiness. In the third season, the setting is Thailand, perhaps the perfect place to train the camera on the beauteous and to ask some existential questions too. There are many strands in the story… a seemingly perfect family of five, three childhood friends reuniting, an ageing balding man with a young woman and yet another couple of a similar variant. What they are seeking in this mental wellness resort depends entirely on how you see them and how they see themselves. Rick Hatchett (Walton Goggins) is catching up with his unburied traumas of the past, young daughter Piper Ratliff (Sarah Catherine) of the seemingly perfect affluent Ratliff family is here to find purpose in Buddhism. Her sex-obsessed brother Saxon Ratliff (Patrick Schwarzenegger) is only looking for bodily fulfilment. Where this pursuit will take him is the most revelatory and shocking part of the series and is certainly meant to rattle.

Logic has never been the strength of Salman Khan’s ‘suspension of credulity’ variant of films. But at least massy entertainment high on actiona and drama with right tadka of comedy has been his and his kind of cinema’s forte. Alas, the superstar’s Eidi, Sikandar, falls flat on this front too. Some films look good on paper and are lost in execution. Only Sikandar that starts off with the usual bad guy getting bashed up by our superhero is probably a project that should have remained on paper. Till the first half, the Raja saheb aka Sanjay Rajkot (Salman Khan) and Rani sahiba’s (Rashmika Mandanna) cute love story in the backdrop of action is still bearable. By the second half, the narrative simply spirals out of context and control. Biting into innumerable concerns, from land grabbing to environmental pollution and even patriarchy, much of it is meant to be a bleeding heart’s cause celebre. Only the churn of events is yawn inducing with boredom writ all over it. Good news, unlike zillion Bollywood films, the villain is not gunning after the heroine and using her to get even with the hero. But even worse than bad news is, he goes after persons who have benefitted from her philanthropic act. Actually, momentarily our expectations rise what with the heroine portrayed as a saviour. She saves our superhero couple of times till she herself is caught in the crossfire. Her wish for organ donation is honoured by the grieving hero.

The second outing of a well-made franchise is a tough nut to crack. ‘Khakee: The Bengal Chapter’, a standalone sequel to Neeraj Pandey’s acclaimed series ‘Khakee: The Bihar Chapter’, faces the same acid test of great expectations. The anticipation is high, but can the master of thrillers up the game once again, or ends up delivering more of the same? Showrunner Pandey’s creative signature is writ all over as the series brims with immense possibilities. Only, these mostly remain unrealised. The subject at hand, a self-righteous cop pitted against the politician-gangster nexus, is nearly on the same lines as ‘The Bihar Chapter’, which was based on the memoir, ‘Bihar Diaries: The True Story of How Bihar’s Most Dangerous Criminal Was Caught’, by Amit Lodha. ‘The Bengal Chapter’ is a fictional story written by Pandey, Debatma Mandal and Samrat Chakroborty.