Rohan Naahar

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.

The Girlfriend seems like a direct response to the widespread misogyny of Indian cinema, but it feels disingenuous because it stars someone who has defended that very misogyny. We discuss the unintelligent character that Rashmika Mandanna has been saddled with, and wonder if the only path towards feminism that Indian filmmakers know involves taking a detour via humiliation. We also talk about the film’s on-the-nose storytelling, which undermines its noble intentions, touch upon the patriarchal irony of the film’s pivotal moment, and provide an unrealistic pathway for Mandanna’s redemption.

Sunny Sanskari Ki Tulsi Kumari is more like a sitcom written by a Dharma committee than a proper movie. We discuss Varun Dhawan’s seemingly stagnant evolution as an actor, Janhvi Kapoor moving in the opposite direction, and Sanya Malhotra and Rohit Saraf happily accepting the paycheque. We also talk about the film’s incoherent narrative, unimaginative plot, and strange lack of confidence.

Anurag Kashyap’s Nishaanchi: Part 1 is a welcome return to form, and the long-awaited spiritual successor to Gangs of Wasseypur that his fans have been waiting for. We discuss the film’s complex approach to classic themes of revenge, betrayal, and jealousy, while also praising the central performances. Along the way, we commend Kashyap’s inimitable writing and inherent sympathy for the devil.

Lokah Chapter 1: Chandra is perhaps the most overrated Indian movie of the year. We discuss the film’s inert narrative, jarring action, and inelegant world-building that includes an unnecessary detour into Kantara territory. We also talk about where the franchise could head next, and why it would immediately be better if merged with the universe.

Param Sundari, the new film starring Janhvi Kapoor and Sidharth Malhotra, seems to make things up as it goes along. We discuss the offensive cultural appropriation in every frame of the film, the odd motivations of its protagonists, and the film’s reliance on cultural stereotypes. We also talk about Janhvi Kapoor’s wardrobe, a potentially incendiary scene set inside a church, and how Bollywood filmmakers continue to fail upwards.