Srivathsan Nadadhur

Prasad, father to teenagers Jyothi and Srikanth, runs a small-time photo studio in a quaint town in Telangana, struggling to make ends meet. Yet, he does it all without complaints, helped significantly by his homemaker wife Devi. While Srikanth wants to work in films, Prasad is adamant about sending him to the US. In contrast, Jyothi wants to study further, but her parents try to get her married. The casting, while familiar, still evokes some freshness with the pairing of Rajeev Kanakala and Jhansi. As expected of him, Rajeev Kanakala fits the part of the seemingly tough dad with a heart of gold and delivers a warm, affecting performance with a good sense of humour and use of body language. Jhansi is as expressive as ever, acing the Telangana slang like a queen without missing the core emotion of the character.

Arjun, a father to a school-going son Aadi and a cricket star on the wane, grabs a spot in a crucial match against Pakistan amidst much resistance from selectors and the public. His childhood sweetheart Kumudha, who yearns to raise a child, leads a quiet life with Saravanan, an MIT product who struggles to get his career going. When his son goes missing, Arjun needs to choose between cricket and family. Siddarth, essaying a sportsman who handles edgy conflicts on and off the field, delivers a nuanced, mature performance truly indicative of his potential as a performer. Yet, time and again, you feel sad that his choices continue to fail his talents. The unusual casting choice to pair him up opposite Meera Jasmine is interesting, though the latter deserved a better-etched part.

Sanjay Rajkot, a king from a royal family, is sought after by a stubborn cop, Prakash, a right hand man of a crooked politician, Pradhan. After unexpectedly losing a loved one, he heads to Mumbai to meet three organ recipients, where he crosses paths with Pradhan and his pampered son Arjun again. When Arjun dies in a freak accident, Pradhan locks horns with Sanjay. Sanjay Rajkot, a king from a royal family, is sought after by a stubborn cop, Prakash, a right hand man of a crooked politician, Pradhan. After unexpectedly losing a loved one, he heads to Mumbai to meet three organ recipients, where he crosses paths with Pradhan and his pampered son Arjun again. When Arjun dies in a freak accident, Pradhan locks horns with Sanjay. Sanjay Rajkot, a king from a royal family, is sought after by a stubborn cop, Prakash, a right hand man of a crooked politician, Pradhan. After unexpectedly losing a loved one, he heads to Mumbai to meet three organ recipients, where he crosses paths with Pradhan and his pampered son Arjun again. When Arjun dies in a freak accident, Pradhan locks horns with Sanjay.

Rathinam, a desperate smuggler, conceals a diamond in his slipper during a police raid, inadvertently swapping it with Thyagarajan’s. Thyagarajan, a mild-mannered auditor, and his son, Ilango, discover the swap after the funeral but promptly lose the slipper in a series of comical mishaps. The slipper passes through various eccentric characters, each adding their own chaotic element to the search. Singam Puli, the only familiar face in the show packed with newcomers, does what’s expected of him with his trademark dialogue delivery. There’s nothing new that he does with it, though; he easily sleepwalks through it. Vivek Rajgopal needs more time to develop a flair for comedy; he’s sillier than funny here. While Ira Aggarwal looks good, the role provides her hardly anything substantial.

Kisha joins Fair High to find her missing sister, Anara, discovering her connection to the secretive Heartbreak Club (THC). She navigates dangerous games and broken hearts, including her own growing feelings for Tavish. Over time, Kisha deals with THC’s chess-like hierarchy, facing threats and betrayals. She eventually unearths the identities of the King and the Queen, who hold the access to THC’s database. Where will Kisha’s quest to find Anara culminate? Anushka Sen is an apt fit to be the face of the show in terms of her age, appearance and portrayal, delivering a neat performance as a girl who goes all out to find her sister and loses her way. Prit Kamani continues to prove that he’s a talent worth watching out for, playing a college heartthrob and an insecure lover with restraint. In her brief screen time, Priyamvada Kant is equally convincing.

It is one thing to not take yourself too seriously when you are making a comedy and another when the irreverence serves as a mask to camouflage a lazily-written and a casually-executed film. To make up for a shallow plot and the limitations of its leads, the film is desperate to elicit laughs. Apart from Nithiin and Sreeleela, the presence of multiple comedians, actors from at least half a dozen film industries, an in-form composer and a cameo by Australian cricketer David Warner try to salvage a mess. The Telugu film Robinhood, much like its title, leaves little to your imagination. An orphaned protagonist, Ram (Nithiin), takes inspiration from a school pledge to claim that the entire country is his family. In his childhood, he uses this excuse to rob the rich and helps run orphanages that are starved of funds (which is reminiscent of the Ravi Teja-starrer Kick). It is amusing that it takes the cops over a decade to focus on this case and nab the culprit.

Nimma, a Punjabi immigrant, faces racism, forcing him into Sarab’s gang. He rises quickly, but Rawat’s mole threatens their empire. Gang wars erupt, demanding Nimma’s fierce loyalty. Sarab’s arrest leaves Nimma vulnerable, surviving an attack. A coma, addiction, and betrayal follow. Sarab escapes, leading to a vengeful confrontation between him and Nimma, fuelled by chaos and loss. Parmish Verma, the popular musician, bares his heart out to portray the angst and the chaos within Nimma. However, with more effort to internalise the role, he could have created a more lasting impact. Aadar Malik, as Nimma’s on-screen bestie and musician, has an impressive screen presence, helping him emote with precision. Kanneda is an important show, capturing the immigrant experience through an insider’s lens, reminding us that Indian stories needn’t always be home-soil bound. The series serves as a cautionary tale, depicting a 90s Punjabi life in Canada gone wrong – a musician lost in drugs, crimes, and gangs. Despite everyone’s attempts to help and transform him, redemption eludes him.

Latika and Palash, siblings in Purulia, a small West Bengal town, attempt a bank robbery to prevent the loss of their ancestral home. Their plan quickly spirals out of control, attracting gangsters, police officers, and robbers. Hidden secrets from their past resurface, creating further chaos. They navigate a treacherous landscape of betrayals and altering alliances and face tricky situations. Tanya Maniktala is undoubtedly a promising young talent in the digital space, but one wonders if she’s consistently underselling herself by picking a series of mediocre projects (how good was she in A Suitable Boy and Kill?) She’s good in Loot Kaand, but can’t salvage it from its chaotic execution. Sahil Mehta, as the on-screen sibling, is effective, reflecting his evolution with every opportunity. Loot Kaand, as the title suggests, is the drama woven around a robbery. Director Ruchir Arun and the writers create a situation where two flawed protagonists – siblings Latika and Palash – resort to a crime out of financial necessity, only to realise they’re not alone. They find themselves entangled in a web of an arms scam, a kidnap and run for their lives amidst deceitful, dangerous men.loot-kaand