Suhani Singh

Trust Malayalam cinema to come up with a fairly ingenious multiverse rooted in Indian folktales and legends in Lokah Chapter 1, and trust the makers to have the protagonist as a kickass superheroine in Chandra (Kalyani Priyadarsan). Inspired by Yakshi, an enigmatic, powerful female figure from Kerala folklore, director and co-writer Dominic Arun turns her into a vampire with red tresses and on a mission to do the right thing. Survival is dependent on a regular supply of blood, living in the shadows and biting into baddies the world over for centuries. Once in Bengaluru, Chandra catches the wandering eye of Sunny (Naslen), who lives in a building opposite hers. Thankfully, love is not high on the cards of Lokah. Instead, the film impresses with its world and character-building as Arun focuses on a wonder woman with a tragic past and one whose mission—at least in her new home—is to smash the patriarchy.

In the popular teen romance series Summer I Turned Pretty, adapted from Jenny Han’s books by the same name, leading lady Belly speaks of how she just can’t imagine marrying someone who doesn’t give her the “fireworks”“you know, like electric jolts, every time I see them”. In Tushar Jalota’s Param Sundari, Kerala’s most eligible girl Sundari (Janhvi Kapoor) finds herself in a similar conundrum when Punjabi munda Param (Sidharth Malhotra) strolls into her life (read homestay) believing she is his soulmate. Only unlike Belly’s karmic connection to Conrad, to whom the observation is made, Param and Sundari hardly exude MFEO (made for each other) vibes. And this despite having Sonu Nigam sing a pretty good romantic number in Pardesiya.

It took two twenty-something newcomers to cause ripples at the box-office. The Ajay Devgn-led Son of Sardaar 2 pushed its release date. And those awaiting releases in August know they have a force to reckon with in Saiyaara. So, what’s about the intense musical romance that audiences cannot get enough of and are reacting to in a rather dramatic fashion? IV drip? Copious tears? All this despite a happy ending. Here are five reasons why director Mohit Suri and writer Sankalp Sadanah have crafter a winner. Saiyaara’s soundtrack has one earworm after another, with the title track particularly hitting all the right loving notes. Rendered by Kashmir’s indie artist Faheem Abdullah, this is Gen Z and Alpha’s “Tum Hi Ho” moment, a track which is likely to dominate the airwaves and streaming apps for a few years, like “Kesariya” did.

Seventeen years after he tugged heartstrings with Life in a… Metro, Anurag Basu and Pritam are back navigating love in the big city, or should we say cities. The stories this time shift between Bengaluru, New Delhi and Calcutta. For Metro… In Dino, Basu adopts a less-seen, interesting narrative device to lure viewers into the world: characters introducing themselves by way of sing-song dialogue delivery. There’s Sara Ali Khan’s Chumki professing she’s confused and unsure; there’s Konkona SenSharma’s Kajol discussing her insipid marital life; there’s Anupam Kher, playing a widower, opening up about losing his loved ones in an accident; there’s Ali Fazal’s aspiring singer sharing his struggles. And there’s Pritam, Papon and Raghav Chaitanya, the travelling troubadours in the backdrop. Offering a peek into a character’s current state of mind and establishing their world, the first half breezes past.

Mothers are a resilient lot. Harm their kids, then be ready for a battle. In Maa, Kajol’s maternal instincts face their toughest test as she contends with superstitions as well as a girl child-feasting, tree-residing monster who has eyes on her adolescent daughter. Kajol’s Ambika is an ordinary woman trapped in extraordinary circumstances, but then the film’s title isn’t just a nod to her but also to the powerful and dangerous deity who should not be messed with—Kali Maa. Mining India’s mythology and religious beliefs to craft a horror that’s contemporarily relevant is a nifty idea that’s been attempted before, but to do so frighteningly well is another thing altogether. Maa takes the tried and tested not-without-my-daughter formula and spins it round and round until audiences are left frustrated at the actions of characters.

An Aamir Khan film is a bit of an anomaly in the current landscape of Hindi cinema. Here’s an actor whose superstar credentials have come not courtesy testosterone-heavy action spectacles but by championing narratives that espouse for a better society and celebrate the inherent goodness of mankind. Good intent, though, doesn’t always translate into an equally good film. Sitaare Zameen Par is that feel-good film that tries so hard to be likeable that it begins to feel cloying and underwhelming. Few jokes fly, many forced. But by the end, it’s pushing for tears. Khan has played this script before, and it’s worked wonders at the box-office. There’s the Rajkumar Hirani-directed 3 Idiots and PK and the Khan banner’s Taare Zameen Par (TZP) and Secret Superstar. Sitaare Zameen Par is cut from the same social-moral fabric. It has even been billed as a spiritual sequel to TZP, only that it feels laborious in execution.

The more the merrier’ goes the saying. In the case of Housefull 5, a comedy franchise that refuses to end, it’s more the painful. The parrot shtick returns and it’s still agonisingly bad and unfunny. So is the gag with Akshay Kumar and monkeys indulging in a slapfest. The most distasteful bits though are when women’s bodies are fetishised upon—again and again—for cheap jokes. Again more embarrassing than rib-tickling. This time the gang of ludicrous men is on a cruise and there’s a killer on the loose. It’s dressed up in a silver Squid Game-like mask and has the slasher skills of the Scream killer. That alone, it appears, is reason enough to give the fifth instalment of Housefull a blood-soaked scary font. But Sajid Nadiadwala, who here apart from producer also gets story and screenplay credit, forgets the killer for significant chunks of this comedy, which runs far too long. The plot’s to do with who’s the real Jolly, the heir to a throne of billions. Is it Akshay Kumar’s Julius, Riteish Deshmukh’s Jallabuddin or Abhishek Bachchan’s Jalbhushan? The three men come aboard with their partners (Nargis Fakhri, Jacqueline Fernandez and Sonam Bajwa) in tow. It doesn’t take too long before there’s infidelity and lying and some old-fashioned tomfoolery.

Ranjan (Rajkummar Rao) and Titli (Wamiqa Gabbi) want to get married. Time won’t allow them to. Funnily, it’s running time which the makers struggle to move along in this comedy about Ranjan’s tryst with time to reach his final destination. The plot is the least of problems for Bhool Chuk Maaf. In fact it’s the only ingenious bit in the film. It’s the characterisation of the lead hero, Ranjan, which makes this a hard pill to swallow. If one is to root for this guy’s predicament, one’s unable to because on paper there’s not much appealing about him. His ambition is simple: get a government job so as to marry his sweetheart; the means to go about it are questionable and ultimately off-putting. It makes Titli’s penchant for him all the more puzzling. Love does have mysterious ways, but surely idiocy isn’t one.