Srivathsan Nadadhur

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

Ruffians in Kolkata kidnap a noted politician’s grandson. A sincere officer Saptarshi comes on board to resolve the issue, seemingly linked to a dreaded gangster Bagha. While the boy is released, tensions erupt between Bagha and his henchmen, eventually leading to twin murders. A new cop Arjun Maitra comes on board to clean the mess. Jeet holds his own as a police officer with a conscience. He plays a straightforward character (sans much evolution), ensuring restraint and keeping his emotions at check. Prosenjit Chatterjee is perfectly cast as a crooked politician. The performer uses all his experience well, bringing a method to the madness. Chitrangada Singh, despite a late resurgence, is wasted in a one-note role. Playing friends-turned-foes, both Ritwik Bhowmik and Aadil Zafar Khan display adequate spunk and verve in their portrayals. Parambrata Chatterjee and Saswata Chatterjee don’t get to do much in the ‘basic’ roles. Amidst the heavyweights, Aakansha Singh holds the fort, performing a crucial role with composure. Mimoh Chakraborty tries to make the most of a well-etched character. Shraddha Das looks like a dream in a brief appearance.

Dilruba, the romance-action drama starring Kiran Abbavaram, Rukshar Dhillon and Kathryn Davison, has a fairly intriguing premise. To make amends for a misstep from the past, an ex returns to her former boyfriend’s turf and helps him reconcile with a current lover. Yet, debut director Viswa Karun’s film struggles to develop this idea into a cohesive narrative and stuffs it with subplots that feel unnecessary, across genres. The film opens with a pompous quote that valourises the protagonist Siddu’s (Kiran Abbavaram) character — ‘strong men have a character, never an attitude’. Siddu is an archetypal good-for-nothing hero one would find in a Telugu film. Having been dumped by his childhood sweetheart Meghana (Kathryn Davison) over a misunderstanding, he gives up on his graduation midway. Upon his mother’s insistence, he resumes the course, only to be chased by another girl, Anjali (Rukshar Dhillon).