Rohan Naahar

At what point do you start feeling bad about the idea of wanting someone dead? While watching the new Tamil-language film Maareesan, you crave nothing more than the satisfaction of seeing a middle-aged man murder child molesters. The movie aims to appease a primal desire buried deep within us, and it does so with patience and skill. But the catharsis is temporary. After a while, you’re going to have to live with yourself, a person who wouldn’t mind a few murders here and there as long as the ones being murdered are terrible people. But, the service that Maareesan is accidentally providing has a greater purpose. In its efforts to manipulate our inherent goodness — who wouldn’t want to watch bad people be punished? — it is exposing our blood lust.

There is a scam in Punjab that Rajkumar Hirani would’ve heard about while researching Dunki. Shady travel agents are charging crores from desperate (and mostly uneducated) Indians with the promise of arranging safe passage to the American state of Georgia. The scam? These poor men are being sent to the country of Georgia instead. In most cases, they’ve sold off family land, quit their jobs, and exhausted their entire life savings; some of them even have wives and children with them. All to be sent to the land of khachapuri. To put it simply, there are a bunch of people from Bathinda knocking about in the Caucasus right now. Anyway, the folks who made the new John Abraham film Tehran are no smarter. The movie opens with a voiceover in which we are told about an operation carried out by Iran in 2012, where Israeli diplomats were targeted in Thailand, India, and Georgia. They meant the country. But the map that the movie shows instead is that of the US state.

The new Netflix series Saare Jahan Se Accha begins with Pratik Gandhi’s character being posted to the R&AW’s Islamabad station, and it ends with him foiling a major nuclear operation and blowing things up real good. All of this happens in six episodes of roughly 45 minutes each. In these six episodes, we are introduced to several characters — field agents, a journalist, the chief of the ISI; even Indira Gandhi drops by. Most of these characters, including the protagonist’s wife, is introduced with enough fanfare to suggest that they are going to be important to the plot. Some of them are, most aren’t. But you can never shake the feeling that Saare Jahan Se Accha was stripped to the bone after somebody interfered with either the scripts or the first assembly. Nearly everybody in the cast suffers, not to mention the show itself. But nobody is done quite so dirty as Tillotama Shome.

It’s perhaps no coincidence that Julia Fox has a cameo in Night Always Comes, the new thriller on Netflix starring Vanessa Kirby. Modelled on the movies of the Safdie brothers, Night Always Comes stares more than just a structure with Uncut Gems, in which Fox played a memorable cameo. That ticking timebomb thriller followed a desperate New York jeweller weaponising his gambling addiction in a breakneck attempt to gather cash. It was a movie that a third-act basketball match into a life-and-death scenario. In Night Always Comes, Kirby plays a working class woman staring at sure-shot eviction if she isn’t able to come up with a $25,000 deposit in one night.

Animation hall-of-famer Genndy Tartakovsky latest film, Fixed, was originally set for a theatrical release, but was offloaded by Warner Bros. during a cost-cutting drive. While movies such as Coyote vs. Acme and Batgirl — both were dealt similar blows — remain sight unseen, it’s easy to imagine why the studio would’ve wanted to wash the scent of Fixed off of itself. A wiser move would’ve been to bury it in the backyard. Painfully unfunny, the train wreck of a movie feels interminable at even 80 minutes long; it’s crude, cringe, and filled with juvenile dialogue that makes you feel like you’re eavesdropping on a group of 12-year-old boys at the playground.

Can a society that is terrified of confronting the evil at its core ever produce a single subversive piece of art? Certainly, Indian cinema is still taking baby steps when it comes to addressing our immorality; here, a movie about caste discrimination is a movie about caste discrimination, a movie about corporate greed is a movie about corporate greed, a movie about political corruption is a movie about political corruption. But it will be a while before our cinema is empowered to subvert. It will be a while before someone makes a gothic horror about crimes against women, or a creature feature about the Kashmir issue. It will be a while before we get a homegrown version of Barbarian director Zach Cregger’s brilliant new film, Weapons.

The most distressing observation that Materialists makes about modern romance is that not much has changed since Elizabeth Bennet went on a quest to find a ‘single man in possession of a good fortune’ back in the 1800s. The business of marriage is still just that: a business, a financially motivated arrangement that many pretend is something purer. They do this to delude themselves into thinking that they aren’t as superficial as the sort of people they enjoy passing judgement at. In writer-director Celine Song’s highly anticipated second film, Dakota Johnson plays a rom-com version of Seema Taparia, a matchmaker who weighs her client’s ‘criteria’ and connects them with potential life partners with the dispassion of someone tying two shoelaces together.

While watching any film, it is important to understand who the target audience is, especially Hindi movies, which are often slotted into rigid categories. It’s theoretically possible for a 65-year-old ‘tirth yatri’ from Rithala to enjoy the fourth Twilight movie on a bus to Amarnath, but, you’d agree that they probably wouldn’t care much for shiny vampires and their politics. The Twilight movies are aimed at teenage girls, just as Aamir Khan’s Sitaare Zameen Par is targeted at the sort of folks for whom kindness doesn’t come naturally. Khan plays their surrogate in the film, directed by RS Prasanna and based on the Spanish-language hit Campeones. It’s the star’s second remake in a row, after the poorly received Laal Singh Chaddha from a couple of years ago.