Rohan Naahar

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.

Once again, we find ourselves watching a Kartik Aaryan movie and wondering why… We discuss Tu Meri Main Tera Main Tera Tu Meri’s pointless travel vlog first half, which unexpectedly transforms into a combination of Baghban and Dilwale Dulhania Le Jayenge. We also discuss the film’s awkward projection of seemingly progressive values, which happens to be filtered through a deeply regressive lens. We conclude by wondering if Croatia even knows what it has gotten itself into by inviting the Kartik Aaryans of the world to visit.

Sthal, the Marathi-language feature from debutante director Jayant Digambar Somalkar, is one of the best films of 2025. It’s a deftly written, confidently shot, and expertly performed psychological drama about the commodification of women. We discuss the anger at the film’s core, its bleak view of Indian society, and the catharsis it provides with an instant-classic climax.

Kalamkaval—the new investigative thriller in which Mammootty plays a serial killer—is a dull, dour, and deeply frustrating film. We talk about director Jithin K. Jose’s indisciplined screenplay, which repeats the same information over and over again as if it knows audiences are going to tune out. We also discuss its lack of interest in the killer’s victims, whom it treats as mere plot devices. We find that the performances of the two leads are entirely mismatched, and the movie is more interested in pulling the rug from under the audience’s feet than examining why people do what they do.

Haq, the new propaganda movie starring Yami Gautam Dhar and Emraan Hashmi, is even more insidious than Dhurandhar. We talk about the film’s harmful stereotypes, the irresponsibility of presenting an entire community as savages, and drawing a direct line between bad behaviour and faith. We also discuss the film’s sloppy storytelling, childish approach to complex ideas, and its constant need to spoon-feed its audience.

Is Raat Akeli Hai: The Bansal Murders more than just a way for director Honey Trehan to pay the rent, or is it actually worthwhile? We talk about the film’s differences from and similarities to the first one, and the sociopolitical commentary that Trehan and writer Smita Singh are able to sneak into it. We also discuss how the movie didn’t face any trouble despite naming and shaming the Uttar Pradesh administration. Along the way, we touch upon Radhika Apte’s pointless presence, and wonder if the movie would’ve benefited from some more character development for the suspects.

Avatar: Fire and Ash is the weakest instalment of James Cameron’s trilogy. We discuss the many ways in which the movie betrays the franchise’s core values, the illogical directions that Cameron sends Jake Sully in, and the loose ends that the film ends with. We also talk about the lack of humour and self-awareness, the poor dialogue, and the incomprehensible third act action sequences.