Sun, July 27 2025

In director Pandiraj's latest, we finally get to see Vijay Sethupathi being matched in performance by an equal in Nithya Menen

After making films that were all about loving your family (Kadaikutty Singham, 2018) and loving your siblings (Namma Veetu Pillai, 2019), Pandiraj returns to home territory with a film that’s all about one family loving another family. It’s interestingly structured, with an inventive narrative tool that adds freshness to the same Visu-movie template. And when we meet Arasi (Nithya Menen) and Akasaveeran (Vijay Sethupathi) for the first time, they’re already married, and they also have a daughter. This gives it the feeling of reading a novel by starting somewhere in the middle, and as we run through the pages, flipping back and forth. We meet new people; we understand their interpersonal dynamics and the love-hate relationship that brought Arasi and Akasam to a point in their story where divorce is one signature away.

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Fri, July 25 2025

Director Pandiraaj's 'Thalaivan Thalaivii', starring Vijay Sethupathi and Nithya Menen, is a noisy family drama that promotes and glorifies regressive ideas. The film ridicules divorce and people who opt for it.

Almost half an hour into director Pandiraaj’s ‘Thalaivan Thalaivii’, Nithya Menen’s Perarasi receives a phone call from her husband Aagasaveeran (Vijay Sethupathi). Her phone displays his name as ‘Kirukku Payya’, which loosely translates to ‘mad or crazy man’. This name is not just perfect for Aagasveeran, but for every single person in the world of director Pandiraaj’s ‘Thalaivan Thalaivii’. Set in Madurai, ‘Thalaivan Thalaivii’ begins with Perarasi, along with her parents, performing a tonsuring ritual at a temple for her daughter, but without her husband Aagasaveeran. The couple has been living separately for three months, and we soon learn that Perarasi is seeking a divorce. As their families get involved, and after hundreds of ear-splitting arguments, it becomes clear that Aagasveeran and Perarasi are two crazy, indecisive people who are stuck with each other.

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Fri, July 25 2025

Pawan Kalyan plays an outlaw in this uneven historical fantasy that struggles with weak writing, patchy visuals and forced gravitas

Hari Hara Veera Mallu – Part 1: Sword Vs Spirit, with the tagline ‘battle for dharma’, was in the making for over five years. The delay was partly due to the pandemic, and later, the lead actor Pawan Kalyan taking on his role as Deputy Chief Minister of Andhra Pradesh. The film, originally directed by Krish Jagarlamudi, changed hands midway, with A M Jyothi Krishna stepping in to see it through. The shift is visible on screen. This period drama, blending fact and fiction, often loses its way and feels stretched. Pawan Kalyan plays Veera Mallu, a rebel who steals from the rich and helps the poor. The film takes creative liberties to build a fictional story, leaning into the actor’s public image and his alignment with sanatana dharma.

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Wed, July 23 2025

There are true-crime documentaries — and then there is Amy Bradley is Missing. The three-episode watch chronicles a missing person story which is equal parts horrific and heartbreaking, appalling and astounding. Most users on Netflix, where the documentary series is trending in the Top 10 in many countries, have used a standout term to describe it: ‘gobsmacking’. Which is what it exactly is, and then some more. This is a ‘missing person’ case which has lasted 27 years, and with no closure for Amy’s parents and her brother. Still, they have decided to never give up hope, and more importantly, never cease trying. Bringing into focus the ephemeral nature of life and the fact that anything can go south any moment, Amy Bradley is Missing is about a family torn asunder when what was meant to be a fun-filled luxury vacation on a cruise goes completely wrong. On board, with roughly a few thousand other vacationers, was Amy, a vivacious 23-year-old just days away from a new job, along with her parents and younger brother Brad.

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Tue, July 22 2025

A man goes on a transformative journey in a safely placid film

In films about laughter and forgetting, flashbacks become a distraction. A sweetly awkward interlude toward the end of Kaalidhar Laapataresolves a minor mystery: why Kalidhar, a middle-aged man with early-stage dementia played by Abhishek Bachchan, loves eating biriyani so much. What links his plate to heart is memory. Let’s call it a meat-cute. This passage (featuring younger versions of characters and scored with the generically sweet ‘Haseen Pareshaniyaan’) returns to conventionality a narrative that celebrates the art of letting go. In the 2019 Tamil original, KD, the moment is handled briskly, with minimum sentimentality. But a Hindi film without a discernible ’love track’ and a cameo is perhaps too much to ask.

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Mon, July 7 2025

Sat, July 5 2025

Mon, July 21 2025

Sat, July 19 2025

At a tech summit, AI scientist Dr Piyush Bhargav is kidnapped, and a RAW officer, Vinod Shekhawat, is killed. Months from his retirement, Himmat Singh is entrusted with the task of bringing Bhargav back. Meanwhile, his former superior, Subramanyam, who has lost his wife to a terminal illness, threatens dire consequences if bank defaulter Jignesh Dholakia isn’t put behind bars. Kay Kay Menon, much like his character, leads from the front with the right composure and level-headedness, scoring big in the tense, crucial moments, without missing out on the tenderness in the seemingly insignificant segments. A flamboyant Karan Tacker, a chiselled Muzammul Ibrahim, a no-nonsense Saiyami Kher, and an enthusiastic Shikha Talsania make for a solid team, contributing their bit to the show, doing what’s expected of them.

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Sat, July 19 2025

Given its length, there definitely are spots where things slacken, but on the whole, this buzzy spy-saga stays mostly on-point, always entertaining

I’m just done binge-watching seven episodes of Special Ops 2, each lasting about 50-57 minutes, and I’m here to tell you that this one is a banger. Most sequels flatten and disappoint. Special Ops came in 2020, when we were in the midst of the pandemic; five years later, where much has changed in the media landscape, and part twos are where creativity goes to die, I’m most pleasantly surprised that this sequel, again co-directed by Neeraj Pandey and Shivam Nair, and written by creator Pandey, Deepak Kingrani, Benazir Ali Fida, has exceeded my expectations. We have finally got ourselves a spy franchise that is globally ambitious in the way it goes about laying out its wares, dropping in and out of political hot-spots casually, bunging in enough lol moments: what’s the point of a spymeister who can’t just say, ‘hamare pass CIA waalon ke liye kuchch hai,’ and his faithful dogsbody coming up with just a teeny detail that has the Langley HQ in Virginia salivating.

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Mon, July 21 2025

Sat, July 19 2025

Sat, July 19 2025

Delivers emotional highs but falters in depth, relying on sentiment over nuance in its portrayal of neurodivergent experiences

n the cinematic world, autism is often depicted in one of two familiar forms: either the misunderstood genius with miraculous mental powers, or the socially awkward yet irresistibly charming soul who gently reminds everyone how to live more meaningful lives. Tanvi The Great chooses the latter. Like many of its predecessors, it simplifies a complex neurodevelopmental condition into a digestible, inspirational narrative that leans heavily on sentiment, often at the expense of authenticity. Directed by Anupam Kher and produced by Anupam Kher Studio in association with the NFDC, Tanvi The Great tells the story of Tanvi (Shubhangi Dutt), a 21-year-old woman on the autism spectrum. Raised by her mother Vidya (Pallavi Joshi) and grandfather Colonel Pratap Raina (Anupam Kher), Tanvi is determined to honour the memory of her late father, Captain Samar Raina (Karan Tacker), by joining the Indian Army and saluting the national flag at Siachen Glacier—a dream he never lived to fulfil.

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Sat, July 19 2025

Nimrat Khaira and Ammy Virk steal the show in this hilarious multi-starrer that despite a few hiccups, is a laugh riot.

Punjabis are perhaps most associated with their loud, fun weddings and the multi-starrer featuring Gippy Grewal, Sargun Mehta, Ammy Virk, Nimrat Khaira, Sarbala Ji (2025), makes this the perfect setting for a complete entertainer. Directed by Mandeep Kumar, the film weaves together comedy, drama and romance in a pre-Partition setting. Cousins Sucha Singh (Gippy Grewal) and Gajjan Singh (Ammy Virk) are like chalk and cheese. Sucha Singh is the life of every wedding while Gajjan shies away from marriage, being more interested in embroidery stitches and crochet. When flirtation with Rajjo (Sargun Mehta) leads Sucha to a pronouncement that he is never to marry, he is utterly dismayed. Meanwhile, Gajjan is all set to marry Pyaaro (Nimrat Khaira) who is far from being the docile, embroidery-loving woman that he dreams of. Content with working at the farm, and shunning housework, Pyaaro is completely smitten and transformed in love, eager to marry her beau. However, there are few twists and turns to be navigated.

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Sat, July 19 2025

17वीं शताब्दी के महाराष्ट्र में आए भक्त-कवि, समाज सुधारक, संत तुकाराम के परिवार का संबंध भगवान विष्णु के अवतार माने गए विट्ठल या विठोबा की उपासना करने वाले वारकरी समुदाय से था। उनसे पूर्व इस समुदाय में संत नामदेव, संत ज्ञानेश्वर व संत एकनाथ का नाम बड़ी श्रद्धा से लिया जाता है। अपने पूर्ववर्ती भक्त-कवियों, संतों की भांति उन्होंने भी विट्ठल की स्तुति में भक्ति काव्य रचा जिसे ‘अभंग’ कहा जाता है। यह फिल्म ‘राम कृष्ण हरि…’ जपने वाले उन्हीं संत तुकाराम की भक्तिमय कहानी दिखाती है। संत तुकाराम के जीवन पर फिल्में हमेशा से बनती आई हैं। 1921 में बनी मूक फिल्म ‘संत तुकाराम’ और 1936 में प्रभात फिल्म कंपनी से आई विष्णुपंत गोविंद दामले निर्देशित मराठी फिल्म ‘संत तुकाराम’ से लेकर आज तक विभिन्न भाषाओं में संत तुकाराम के जीवन का चित्रण सिनेमा में हुआ। लेकिन विडंबना यही है कि नई पीढ़ी के दर्शक आज भी महाराष्ट्र के बाहर उन्हें कम ही जानते हैं। ऐसे में हिन्दी में इस किस्म का सिनेमा आकर जब ज्ञानवर्धन के साथ-साथ भक्ति रस का संचार करता है तो वह सार्थक हो उठता है।

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Sat, July 19 2025

In this documentary on the making of Vidhu Vinod Chopra's 12th Fail, Jaskunwar Kohli distils the ambiguity of creation rather than the disorder of production, lending his debut film a poignant purism.

ZERO SE RESTART, the documentary on the making of 12th Fail (2023), opens with a scene from the film. Manoj Kumar Sharma (Vikrant Massey), the UPSC aspirant, is sitting in a closed room. It is the final leg of his gruelling journey, and the interviewer is irked. We don’t hear Sharma speak, but the formidable face of the examiner fills the frame, so do the two words he chews out: “What arrogance!”. For those familiar with Vidhu Vinod Chopra’s last work, the context is evident. And for those familiar with Chopra, the text is. Little about the filmmaker is unknown. His early career, National Award winning short film, struggle in distributing Parinda (1989; distributors had offered Chopra money not to kill the leads — Anil Kapoor and Madhuri Dixit, but instead Jackie Shroff’s character), losing temper either with actors (he had infamously bitten Shabana Raza’s hand during Kareeb because she was making a mistake) or journalists (Chopra screaming during 3 Idiots’ screening is as well known as the film). When these are coupled with his filmmaking verve and producer-ambition, a tangled portrait of a man surfaces, one so incautious in dealing with others for the sake of art that it makes one wonder about the hubris of his artistry in private. Jaskunwar Kohli’s Zero Se Restart springs from that curiosity.

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Tue, December 17 2024

Fri, December 13 2024

अक्टूबर, 2023 में आई और बेहद सराही गई विधु विनोद चोपड़ा की विक्रांत मैस्सी वाली फिल्म ‘12वीं फेल’ को देख चुके दर्शकों को अगर यह बताया जाए कि यह फिल्म तो कभी बननी ही नहीं थी तो उन्हें कैसा लगेगा? आप को यह जान कर भी हैरानी हो सकती है कि इस फिल्म को इंडस्ट्री के पांच बड़े निर्देशकों ने यह कह कर ठुकरा दिया था कि भला यह भी कोई कहानी है, इसे कौन देखने आएगा? लेकिन यह फिल्म बनी और ऐसी बनी कि जिसने भी इसे देखा, इसकी तारीफ किए बिना न रह सका। इसी ‘12वीं फेल’ के न बन पाने और आखिर बन जाने के संघर्ष की कहानी दिखाती है ‘ज़ीरो से रीस्टार्ट’-कुछ इस अंदाज़ में कि आप फिर से प्रेरित होते हैं और आपका मन इसकी और विधु विनोद चोपड़ा की पूरी टीम की तारीफ किए बिना नहीं रह पाता।

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Fri, July 18 2025

A more populist companion piece to Sandhya Suri's Santosh, Tovino Thomas' Narivetta has somehow slipped under the CBFC's nose.

The Central Board of Film Certification’s screening process can often be arbitrary. Only recently, Indian audiences complained about the CBFC’s decision to have a 30-second kiss shortened in the film Superman. A person on social media pithily observed that the scene would’ve made the cut had Superman been slapping Lois Lane instead of making out with her. There is an element of truth to this, of course. It wasn’t too long ago that the CBFC deemed Marco — a movie in which many children die cruel deaths — fit for public viewing. At the same time, they’ve stalled the release of films such as Honey Trehan’s Panjab 95 and Sandhya Suri’s Santosh. Sometimes, however, this chaotic approach to film certification allows certain movies to slip through the cracks. Narivetta is one of them. Directed by Anuraj Manohar and starring Tovino Thomas, the mere existence of the Malayalam-language film is enough to suggest that the movie gods have a sense of humour. The CBFC can block Santosh, but while they were abusing their power, Narivetta snuck under its nose. A more populist cousin to Santosh, the film fixates on many of the same themes. Narivetta is about the systemic oppression of minorities, and mass corruption in organisations meant to serve and protect; but more than anything else, Narivetta dares to raise objections about police brutality at a time when Rohit Shetty’s cinema has basically coated the concept in Teflon.

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Sat, May 24 2025

Told through shifting vantage points and anchored by Tovino Thomas’s textured performance, Narivetta is a quiet but forceful meditation on complicity, masculinity, and state power.

Anuraj Manohar’s debut film, Ishq (2016), does something interesting. It shows us a calculated act of violence and establishes a certain perspective. Later, it flips the narrative as well as the power imbalance by showing one of the victims, a heterosexual male who recovers from the ordeal quickly, perpetrate the same violence but this time to ghastlier ends in the name of revenge. As the film gradually becomes more and more uncomfortable, we understand that Manohar is interested in this cyclical nature sustained by the insecurities, frailties and ego of men. It makes a much larger point than a quid pro quo revenge act. Manohar’s new Malayalam film Narivetta also keeps moving around the vantage points, but from the view of the sole protagonist. It is clever but more straightforward in terms of storytelling and sociopolitical play than the first film. Yet, it makes for a solid sophomore film from the director.

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Fri, May 23 2025

Director Anuraj Manohar's 'Narivetta' is based on the 2003 Muthanga incident that led to the loss of lives after a clash between police officers and the Adivasi community. The film's gripping narrative post-interval makes up for its sluggish first half.

What do ‘Jigarthanda Double X’, ‘Viduthalai 2’, and ‘Narivetta’ have in common? It has protagonists who fall victim to systemic oppression - a hero who represents a system, later realises the truth, who represents the right, and who fights for what’s right, even if it means an end to one’s life. Varghese Peter (Tovino Thomas) is a man, much like his father. The two men are not interested in doing simple jobs to pass the day. They aim high, which is a testament to their potential. Varghese lives with his mother after his father took his life. He is awaiting calls for two jobs – a village assistant and a police constable. Varghese, who doesn’t think twice about borrowing money from the women in his life, is uninterested in both jobs.

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Fri, July 18 2025

Between jokes about duck sex, Kangana Ranaut, and the moral bankruptcy of the Indian middle-class, Vir Das finds quiet moments of poignancy and introspection in his sixth Netflix special.

Throttled by his government and abandoned by his peers — inanimate objects and abstract ideas get more support than Indian comedians — Vir Das seems to be in conflict with his past. His sixth stand-up special for Netflix, Fool Volume, combines his trademark self-effacing delivery with his signature ambition. Fool Volume was filmed in Mumbai, London, and New York, at venues of different shapes and sizes, in front of crowds with different thresholds of tolerance. But the elaborate production and occasional filmmaking flourish isn’t the most impressive thing about the one-hour special. It’s the comedian’s ability to spin a story, to structure a narrative that serves as yet another reminder of his skill. There isn’t a dull moment in the hour-long set, which Das says was rewritten after he lost his voice, literally, six weeks before he was supposed to perform it. He abandoned the material that Netflix had paid him for, and, either by chance or by design, found himself gravitating towards the style of comedy that he does best. In Fool Volume, Das gazes inward; he glances at the world around him, and then, he gets down to business. The show isn’t so much about a comedian finding his voice again as it is about a middle-aged Indian man finding a new voice.

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Fri, July 18 2025

Director Praveena Paruchuri's 'Kothapallilo Okappudu' is a thought-provoking film on faith and belief. While there's a lot to ponder, the film goes through a bumpy ride.

Telugu film C/O Kancharapalem, backed by Praveena Paruchuri, is one of my all-time favourite films. Directed by Venkatesh Maha and presented by Rana Daggubati, the film was fresh, innovative, profound, and exhilarating. All at once. With ‘Kothapallilo Okappudu’, Praveena Paruchuri makes her debut as a filmmaker, with Rana backing her once again. The trailer hinted at a quirky satire and a social commentary wrapped in humour. Ramakrishna (Manoj Chandra) works under loan shark Appanna (Ravindra Vijay), who sexualises women at the drop of a hat. Ramakrishna is smitten by his school love Savitri (Monika), who is the granddaughter of Reddy (Benerjee). Benerjee and Appanna are at odds with each other, driven by ego, caste, and privilege. Yet, both are vying to become the dominant force in the village.

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