Srivathsan Nadadhur

Dr. Prabhat leaves his city hospital for a neglected rural health centre, only to find the path blocked by farmland. He faces resistance from villagers preferring a quack doctor and uncovers illegal medicine sales within the PHC. Further troubles arise with misplaced vaccines and the strange behaviour of a staff member’s son Sudhir. Amidst political tensions, Prabhat confronts corruption and addresses Sudhir’s mental health while navigating complex village dynamics. Barely a week after the release of Kull, Amol Parashar returns in a contrasting role as a doctor humbled by the eccentricities of a sleepy village. He plays his part with integrity, effectively portraying Prabhat’s internal ambiguities. Vinay Pathak’s brief appearance as a quack doctor who, despite his dubious methods, wins the trust of the locals with warmth, adds authenticity to the narrative.

It is one thing to not take yourself seriously, and another to be genuinely funny. Actor Sree Vishnu’s #Single, a 129-minute ode to the male gaze, narrates the story of a man caught between two women. The film mistakes catchy one-liners for situational humour, leaning on capable actors to carry an obnoxious, aimless premise. A banal idea is stretched to the point of exhaustion, and in trying to be cool, it ends up being neither clever nor funny. Directed by Caarthick Raju (of Ninu Veedani Needanu Nene and Thirudan Police fame), #Single resorts to lazy writing, attempting to mask its flaws with a barrage of pop culture references, borrowed film tropes, and social media memes. Its male leads, insurance agents Vijay (Sree Vishnu) and Aravind (Vennela Kishore), are desperate for female attention — using metro rides to ogle women, hiring goons to stage rescues, and winning a girl’s sympathy.

Abhijeet, a small-town boy, relocates to Mumbai for a high-paying job, struggling with professional ethics and fitting in. His ambition leads to selfish acts, damaging friendships with colleagues Garima, Saurav, and Shruti, resulting in isolation and debt. After a crisis, he rebuilds, facing workplace crises and navigating a complex relationship with Garima, learning the true cost of success. Mihir Ahuja’s ‘chocolate boy’ looks suit his role as an innocent young man trying to find his way in a restless city. His performance is neat, handling the highs and lows of his character with composure. RJ Mahvash has good screen presence, unveiling many layers in her role and sharing a warm camaraderie with Mihir.

In 1990s Goa, a determined customs officer, Costao Fernandes, wages a fierce battle against a large gold smuggling network. His pursuit of justice thrusts him into dangerous situations. A confrontation with the smugglers leads to a death, and Costao is subsequently accused of murder. How does he stay committed to his duty amidst the heavy personal toll in his fight against corruption in Goa? Nawazuddin Siddiqui is the lifeline of the film, who uses dialogues and body language to masterfully depict his fiery yet underplayed arrogance. However, he needed a more engaging script to sink his teeth into. Priya Bapat is as reliable as ever, winning your empathy while cast as a responsible wife who prioritises her family over anything else.

Following the murder of king Chandra Pratap, his children – Indrani, Kavya, and Abhimanyu – are caught in a ruthless tussle for the throne. Tension grips the palace as long-buried secrets are unearthed. The adopted son, Brij, too, vies for power, adding to the twisted web of rivalries and hidden agendas. As the family deals with the king’s death and their ambitions, a series of chilling events unfolds. Kull comes alive predominantly due to a string of underrated performers who get much-deserved limelight through well-fleshed-out characters. Nimrat Kaur, of course, leads the party in the shoes of Indrani, the perennial ice-breaker between her troublesome siblings, who gradually succumbs to her royal and political privileges. Ridhi Dogra delivers a fine performance as the rebellious Kavya.

Jaaji gets married to Dushyanta, the youngest son in a joint family that’s guarding a mystery, in return for a 5-acre property. Right on the day she enters her in-laws’ house, her father-in-law is found dead. Her brother-in-law Mahesha has strange visions about his ex-wife Pushpavati. Over time, Jaaji realises that the house harbours secrets that could destroy her peace. The show largely rests on Kushee Ravi’s steady shoulders. She carries the drama with a convincing performance as a confused daughter-in-law trying to uncover the secrets of a strange and eerie family. It’s clear she has grown as an actor since her Dia days, and it’s heartening to see a new side to her talent. Manasi Sudhir also stands out, bringing strength and a strong screen presence to her role.

Rehan, a con artist, is forced by a gangster Rajan to steal a valuable diamond – The Red Sun – to save his dad. Meanwhile, Rajan’s wife, Farrah and Rehan are attracted to each other. A street-smart cop, Vikram, is on the hunt for Rehan. Rehan’s pursuit of the diamond gets trickier with time, as he tries to outsmart Rajan while dealing with his feelings for Farah. In the ultimate showdown, who has the last laugh? The hackneyed script gives the capable cast very little to work with. Saif Ali Khan looks mostly disinterested, coasting through emotional beats with his natural charm but little commitment. Jaideep Ahlawat is a major disappointment; his character and dialogues feel stuck in a bygone era of 70s cinema.

After distancing himself from his family and having just broken up with his girlfriend Smriti, Instagram influencer Pratyush lives alone in his apartment. He’s under pressure to reach the 10 million mark on the platform while competing with a rival. However, his plans go kaput one night when he loses his phone, only to realise that an obsessed female fan stole it. Babil Khan may not be getting the opportunities he deserves, but he is definitely making his presence felt in the digital space with his consistency, representing realities that mainstream cinema often tends to ignore. Logout is no different and is a story apt for his age, driven by a strong screenplay and eliciting a good performance out of him.