Srivathsan Nadadhur

At a railway station in a remote village, Gautam waits to pick up his brother Raman. Their mother is getting married again, and they’re running late for the festivities. Suddenly, chaos erupts when a baby named Champa is kidnapped from the station. Raman, accompanied by a snobbish and reluctant Gautam, takes it upon himself to help Jhumpa find her missing child, fighting through the chaos and uncertainty. Abhishek Banerjee, the only familiar face in the cast, delivers a credible performance in a life-and-death situation, convincingly sells his transformation to the audience.

The Khatu family gathers for Dinushet’s last rituals, each with hidden agendas concerning their ancestral home. As young Sayali senses a ghostly presence, the mystery of Dinushet’s death unfolds amidst family arguments. Secrets of Manoj and Shalaka are revealed. Nayana and jewels vanish. Sayali befriends a spirit. Is it too late before Kartik and Madhavi realise the mastermind behind the murders? Kishor Kadam is undeniably the show-stealer in Andhar Maya, with his superb screen presence gradually building an element of mystery, even though the writing isn’t always sharp. Among the other actors, Rutuja Bagwe and Shubhangi Bhujbal make an impression within the limitations of their roles. Anup Belwalkar, Shubhankar Tawde, and Omprakash Shinde deliver decent performances. The child artist, Pihu Gosavi, also manages to shine in a few moments.

There are no hard and fast rules for remaking a successful film in another language. Yet, a director would do well to remember why a story is being retold for a new audience, even while not aiming to better the original. Bhairavam, the Telugu remake of Soori’s Tamil film Garudan, aimlessly rehashes a hit formula, making little effort to decode the merits of the original. In a vain attempt to lend socio-political relevance to a story about the looting of temple wealth, Bhairavam begins with a disclaimer on the need to safeguard our temples and dharma from falling into the wrong hands, even throwing in a passing reference to the Mughal era. The rural drama, at its core, is a straightforward tale of a crooked politician exploiting the rift among three friends for personal gain.

Govindu, a police officer by profession and a farmer by passion, leads a quiet life with his family in Nalkeri, a supposedly crime-free village nestled in Malenadu. His idyllic routine is disrupted when Srinivasaiah, a respected elder, dies under mysterious circumstances. Sensing something amiss, Govindu begins an investigation that draws in Rohit, a tech enthusiast, and Pankaja, the former lover of Srinivasaiah’s son, Arun. Rangayana Raghu gets a rare role that fully taps into his experience and range, with a solid, layered performance. His brooding screen presence is a delight to watch. Similarly, Sharath Lohitashwa, often cast in one-note roles, is refreshing in a sedate, well-intentioned part – a smart casting choice.

Raj Nagpal, a revered medico, finds himself on the brink of divorce. Despite their differences, Raj and his wife, Anju, are committed to co-parenting their daughter, Ira, who has Asperger’s syndrome. Amidst the domestic trouble, Raj falls for Roshni, a nurse at his hospital. While the trio initially maintains cordiality, their peace shatters with Roshni’s shocking murder. Raj is taken into police custody, and lawyer Madhav Mishra is out to secure his release. Pankaj Tripathi’s ability to bring grounded-ness and believability to his roles across genres has kept him in good standing for many years now. While the laid-back persona and subtle humour continue to remain the USPs of his performance in project after project, it’s surprising how the petrol in his tank never dries up. Criminal Justice Season 4 is another terrific proof of his talent.

Ashu is released from prison after 14 years for a murder in which he was possibly framed. He aims to exact revenge against his indifferent, wealthy brother Max and his pals Shardul and Pedro, the prime reasons behind his jail stint. He cunningly infiltrates Max’s life and real estate business, juggling police obligations with a personal vendetta. Who has the last laugh in this sibling rivalry? Roshan Mathew’s decision to chase greener pastures in Hindi cinema, apart from Malayalam, is yielding impressive results. He sinks his teeth into the portrayal of Ashu, a socially awkward younger brother whose trauma fuels his bitterness. Mohit Raina, pitted against Roshan’s Ashu, has a relatively straightforward character arc but lends the necessary snobbishness to his portrayal.

Radhi resigns from her job, seeking solace at home, while Reena, promoted as a senior resident, clashes with Arjun, now a CEO. A new batch of interns arrives as Teju, working in a modest clinic, refuses to forgive Naveen. Madan contemplates suicide amidst mounting financial woes. The new in-charge, Preetham, assigns Reena a high-profile case with ulterior motives. Anumol is the glue that keeps the soul of the show intact, using her strong screen presence and maturity in handling even clichéd situations with ease. Deepa Balu has a vibrant persona, so does Yogalakshmi. Charukesh, Amit Bhargav, Sharmila Thapa, Padine Kumar, Sarvhaa, RG Ram and other actors in the hospital gang hold the fort with natural, spontaneous performances.

After wishing death upon Mehek via the Knock Knock app, Tanya is blackmailed by the Knock Knock Killer. She allies with Adheer, and they investigate the mysterious attacks, leading to shocking revelations about her friends and Adheer’s past. The killer is eventually unmasked at a party, and their motivations are revealed as Tanya learns the true extent of the dangerous game she entered. Aadhya Anand is easily the pick of the lot; she genuinely infuses life into her dialogue delivery and expressions, unlike most of her co-stars. Arjun Deswal possesses the ‘hunk’ looks, though his character is notably underdeveloped. Kush Jotwani’s role sparks intrigue occasionally, yet his performance largely lacks significant impact.