Wed, March 26 2025

Co-creator and director Seth Rogen plays a newly promoted studio head who has hilarious encounters as he struggles to keep the company afloat.

Making movies is a serious business. But in the Apple TV+ series, The Studio, co-created by Seth Rogen, Evan Goldberg, Peter Huyck, Alex Gregory, and Frida Perez, seeing the behind-the-scenes decisions on how movies get sanctioned is very funny business indeed. Rogen is Matt Remick, who is bumped up as the head of Continental Studios, and has to prove himself over and over as he tries to do what he loves the most, make movies. The clever and biting satire lifts the lid on awards ceremonies, industry parties, and of course, the deals that go into making sure the movies get sanctioned in the first place. Corporate CEO Griffin Mill, played by the excellent Bryan Cranston in a guest appearance, promotes Matt Remick as top boss and sets some unreasonable expectations on him. The movie-loving executive has some tough decisions to make from here on, most of which he fumbles badly. Like most studios, Matt must launch a franchise based on a nostalgic brand like Barbie, and watching him and his team put together a film on Kool-Aid is downright hilarious. Even more cringeworthy are Matt’s interactions with people who make movies; he has a desperate need to be liked. At times when absolutely everything goes wrong, he and his team manage to hold it through.

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Sat, March 22 2025

After Ted Lasso and Severance, Apple seems to have landed its third major breakout hit, a showbiz satire starring Seth Rogen as a lovably clumsy studio head.

The Studio has two things going against it. Films and shows about the entertainment business often struggle to crawl out of their niche corners, unless, of course, they’re packaged like Argo. Second — and this might be a bigger problem — The Studio is on Apple. Nobody watches stuff on Apple. At most, they watch Ted Lasso and Severance and swiftly cancel their subscriptions. The best that The Studio can hope for is to organically find an audience like those flagship shows did, because it certainly deserves to be mentioned in the same breath as them. Clever, crafty, and caustic when it needs to be, it’s the best new comedy series of 2025 so far. The Studio features Seth Rogen in the lead role of Matt Remick, an executive who lives and breathes cinema, and harbours a long-held dream of becoming a studio head. In the first episode, he’s handed the proverbial keys to the castle on a conditional basis by the head honcho of Continental Studios, played by Bryan Cranston in a performance so boozy that it might require a breathalyser test. Tasked with fast-tracking a movie based on the beverage brand Kool-Aid — you read that right — and turning it into a billion-dollar hit akin to Barbie, Matt finds himself torn between his artistic aspirations and the primal impulses of his lizard brain.

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Mon, March 24 2025

Created by Neeraj Pandey, this second instalment in the Khakee franchise is a typical crime drama from the filmmaker, packed with lots of jaw-dropping twists

A standalone followup to Khakee: The Bihar Chapter, this new instalment is set in Kolkata, with the only similarity being a cop bringing down a crime nexus. In Khakee: The Bengal Chapter, the corruption is deep-rooted, wherein the politicians in power already have an alliance with gangsters. The Hindi series, created by Neeraj Pandej, boasts of a star-studded cast who fill out the erractic narrative in which every man and woman is out for themselves. The crime thriller is set in the early 2000s, with Parambrata Chatterjee playing an honorable cop who sets out to break up the lawlessness in the city. However, his death sets off a chain of events that leads to the downfall of the whole criminal alliance between the ruling party, the cops, and the top crime lord Bagha (Saswata Chatterjee). Afterwards, the balance of power continues to shift as everyone tries to make a play. But with a new man on the scene with IPS Arjun Maitra (Jeet), it starts off a bloody game of chess.

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Sat, March 22 2025

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.

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Sat, March 22 2025

The second outing of a well-made franchise is a tough nut to crack. ‘Khakee: The Bengal Chapter’, a standalone sequel to Neeraj Pandey’s acclaimed series ‘Khakee: The Bihar Chapter’, faces the same acid test of great expectations. The anticipation is high, but can the master of thrillers up the game once again, or ends up delivering more of the same? Showrunner Pandey’s creative signature is writ all over as the series brims with immense possibilities. Only, these mostly remain unrealised. The subject at hand, a self-righteous cop pitted against the politician-gangster nexus, is nearly on the same lines as ‘The Bihar Chapter’, which was based on the memoir, ‘Bihar Diaries: The True Story of How Bihar’s Most Dangerous Criminal Was Caught’, by Amit Lodha. ‘The Bengal Chapter’ is a fictional story written by Pandey, Debatma Mandal and Samrat Chakroborty.

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Sun, March 23 2025

Created by Katie Robbins, the complex but biased family drama skews in favour of the adults as it debuts on OTT.

There have several documentaries and series dissecting the curious case of Natalia Grace, a young Ukrainian girl with dwarfism adopted by an American couple. Later, the couple, Kristen and Michael Barnett, allege that they’ve been misled and Natalia is actually an adult. The adoption drama, which later escalates into a legal trial, is detailed in the new JioHotstar series, Good American Family, led by Ellen Pompeo and Mark Duplass. The tone of the series feels similar to a horror film or a car crash, when you know that the inevitable is upon you soon. Kristen (Ellen Pompeo) and Michael Barnett (Mark Duplass) already have a strained marriage, raising three boys, including one with autism. They are seeking to adopt a young girl to complete their family. Kristen is shown as a selfless Midwestern mother, running a rec center for special needs and raising her autistic son, who is considered a prodigy. Meanwhile, Michael is shown as slightly more needy and unable to handle the larger pressures of life. Their marriage is one crack away from splitting when Natalia Grace (Imogen Faith Reid) enters their home.

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Sat, March 22 2025

Yet another Disney live-action remake, hardly better than any of the others

Yet another remake of yet another often retold Disney classic is revisited as the Marc Webb-directed musical Snow White. Featuring a mix of new and old songs, a fresh cast, the same story by the Brothers Grimm rehashed by writer Erin Cressida Wilson, and some new but questionable creative ideas. Snow White is thus named by her perfect parents, the King and Queen, because she was born on a snowy night. They lead a happy life, spreading joy among their happy subjects. Young Snow White (Emilia Faucher) makes delicious apple pies for all the townspeople as they sing along merrily. But after her mother dies, her father remarries a beautiful woman who turns out to be singularly evil. This spells the end of the kingdom’s days of plenty, and long-term servitude for Snow White. Gal Gadot, with all the regalia, is the menacing Evil Queen, adorned in gems and drenched in complex vanity and greed. She repeatedly seeks validation from the magical mirror. But her evil reaches a new high when she is threatened by Snow White’s beauty and grace, condemning her stepdaughter to death. However, Snow White manages to escape and finds shelter in the unlikely company of seven dwarves.

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Sat, March 22 2025

The visuals remain the highlight

Snow White is the new live-action version of Disney’s classic princess story. Unlike the previous versions the film does stick to some of its traditional roots. It is hard to ignore all the controversy that came before and after the film’s release but even with its overwhelming shadow, Rachel Zegler’s performance is commendable. Snow White is not the first time Rachel has been part of a musical and it shows, but the film does take some extra effort to present her as a princess. Most of the weight is carried forward by the young actress who played young Snow in the opening song. The film begins with the introduction to a happy Kingdom where the King and Queen are kind and loving people who believe in thriving along with the people of the village they rule over. The opening song talks about the royals teaching their young daughter Snow the right way to live and the kind of person she should grow up to be — Fearless, Fair, Brave and True.

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Sat, March 22 2025

Vikram Bhatt's Tumko Meri Kasam is a vanity vehicle. This is not an anomaly but given the rut Hindi cinema is in, the existence of such a film only reinforces the pliability of the industry.

Second time within months there is an Aurangzeb reference in a Hindi film. If the Mughal ruler was vilified in Laxman Utekar’s Chhaava then he is freshly referenced in Vikram Bhatt’s Tumko Meri Kasam. A character wickedly says he can do anything to sit in the seat of power, like Aurangzeb. But neither the man saying it is particularly odious nor is the outcome of the mention a disaster. One can argue about the overall ineffectiveness of Bhatt’s new work, but, in reality, Tumko Meri Kasam harks back to the good old time in Hindi cinema when films were made without agenda and motives, and scenes were allowed to breathe and not spliced together by furtive video-game editing. Well, one part of this is more true than the other. Scenes go on unendingly in Tumko Meri Kasam (endearing at first and grating soon after) as the narrative veers towards propaganda. Except, Bhatt’s film props up a man and not a nation. But given that it props at least something up, Anupam Kher features in a central role and does everything. He stands in court as the accused; he argues as his own lawyer and doubles up as a detective to find loopholes in the case even as police officers remain conspicuously absent like what we are watching is a figment of someone’s imagination.

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Sat, March 22 2025

Funny for wrong reasons

Written and directed by Vikram Bhatt, the film is a fictionalised version of the story of Ajay Murdia aka the founder of a chain of fertility clinics, Indira IVF. According to reports the film has incorporated some real facts about his life and career in the screenplay. The film explores a legal case, where he is accused of an attempt to murder one of his younger board members, while the memory of his dead wife gives him hope to not give up. With a run time of over two and a half hours, the film feels longer than necessary between, flashbacks, songs and more. Led by Anupam Kher as Ajay Murdia, the film begins with a news montage of how he is accused of attempting to murder, while a court proceeding grants him bail in the matter. His lawyer played by Eesha Deol is seen flying with him to Udaipur, so the family can decide how to move forward with the case. While Ajay wants to brave the storm along, he isn’t left behind by his kids who also decide to stick by him till the end. Soon it is evident, that the young board member is trying to frame Ajay Murdia in the case and his life was never in danger.

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Sat, March 22 2025

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.

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Sat, March 22 2025

‘कन्नेडा’ वेब सीरीज के नरेटर मोहम्मद जीशान अय्यूब के शब्दों में कहें तो इसे समझने के लिए कनाडा देश को समझना होगा, जहां दो देश बसते हैं। एक गोरों की फर्स्ट वर्ल्ड कंट्री ‘कैनेडा’ और दूसरा थर्ड वर्ल्ड कंट्री से आए प्रवासियों का ‘कन्नेडा’, जिसके निवासियों को सेकंड क्लास सिटीजन समझा जाता था। यह कहानी इसी तबके के एक ऐसे बंदे निर्मल चहल उर्फ निम्मा (परमीश वर्मा) की है, जो कनाडा और कन्नेडा के बीच की इस दूरी को मिटाने के लिए कुछ भी करने पर आमादा हो जाता है। साल 1984 के दंगों के बाद अपना पिंड पंजाब छोड़कर वैंकूवर में बसा निम्मा पढ़ाई, खेलकूद, म्यूजिक हर चीज में अव्वल होता है। स्कूल में वह गोरों के खेल रग्बी में सिलेक्ट होने वाला पहला ब्राउन मुंडा बनता है, मगर गोरे साजिशन उसे ड्रग रखने के जुर्म में फंसाकर टीम से निकाल देते हैं। इसके बाद निम्मे को यकीन हो जाता है कि वह कितनी भी मेहनत कर ले, खुद को सुपीरियर समझने वाले कनाडा वासी उसे वह इज्जत नहीं देंगे। इसलिए वह ताकत और पैसा हासिल करके यह इज्जत कमाने का ठान लेता है।

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Fri, March 21 2025

The eight-episode series struggles to capture the Punjabi immigrant experience in 1990s Canada.

Kanneda, the title of this eight-episode drama, is “Canada” pronounced with a Punjabi twang. The theme is clear — an Indian immigrant story that unfolds in the awkward cultural gap between Kanneda and Canada. The setting is Vancouver in the 1990s; the narrator helpfully tells us that racism is rampant and Punjabis continue to be treated as second-class citizens. The central character is Nirmal ‘Nimma’ Chahal (Parmish Verma), a young and hotheaded chap who slowly mutates from fairytale to cautionary tale. It’s a familiar journey: Nimma starts off honest (a rugby scholarship to kickstart a music career), before losing faith in the system and getting into the drugs-and-gangster business. Flashbacks allegedly suggest that his family left Punjab during the 1984 Anti-Sikh riots, but his trauma looks anything but generational.

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Sat, March 22 2025

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

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Sat, March 22 2025

Featuring a career-best performance by Colman Domingo, director Greg Kwedar's prison drama is one of the best film's of 2024.

Perhaps the single greatest scene in any movie released last year was the one where Colman Domingo’s character — a convict named Divine G — pleads his case during a clemency hearing in the startling prison drama Sing Sing. He tells the examining committee about the theatre programme that he has spearheaded at the facility, and how uplifting the experience has been not just for him, but each and every prisoner who has participated in it. The scene purposefully recalls the many similar moments in The Shawshank Redemption, in which a hopeful Red, played by Morgan Freeman, desperately begs for mercy. It isn’t a flashy scene, but one that relies almost entirely on Domingo’s (mostly reactionary) performance — easily the best that he has delivered in his career. The same is true of the film itself. Directed by Greg Kwedar, Sing Sing debuted on Max after a negligible theatrical run abroad. Based on the real-life Rehabilitation Through the Arts programme that is conducted at the Sing Sing Correctional Facility in New York, the movie features a handful of ex-convicts playing semi-fictionalised versions of themselves. This gives it a layer of authenticity that would’ve been difficult to achieve with professional actors. There’s a rawness to the drama that’s mostly missing from mainstream American cinema these days, although Sing Sing — the movie premiered at Sundance in 2023 — doesn’t exactly qualify as mainstream.

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Sat, March 22 2025

Adolescence is a crime drama, yes, but one that isn’t about the crime as much as the boy at its centre, the world that shaped him, and the people left reeling in his wake. If you thought it would be a murder mystery, the idea is put to rest at the ending of the first episode itself (it’s a miniseries and features four episodes) when the said mystery is revealed. It is revealed that (spoiler alert, but not really, for the trailer itself let it slip if one watched it closely) Jamie Miller (Owen Cooper) did really kill the victim, Katie. No, Adolescence series is more interested in the motive behind the crime, and it is revealed piecemeal in the rest of the three episodes. Like Kareena Kapoor Khan-starrer The Buckingham Murders, Adolescence capably uses its small British town setting to paint a picture of a community simmering with quiet tensions. But while The Buckingham Murders leaned into grief and personal reckoning, Adolescence sharpens its gaze on something far more insidious, which is the slow radicalisation of a young mind through figures like Andrew Tate.

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Fri, March 21 2025

Adolescence confronts the debilitating fear(s) of every parent — where are our children going? Who are they meeting? What kind of conversations are they having? Who or what is influencing them? And the biggest question of them all — what are our children watching? Ever since it dropped exactly a week ago, this Netflix miniseries has taken the world by storm. ‘A perfect piece of television’ is not a descriptor that comes by easily, but Adolescence has earned that in more than a few reviews. On social media, it is being discussed, debated and dissected. Besides the overall impact of this four-episode series, almost every scene, dialogue, body language and more, is being put under the microscope, even as the viewer peels off layers and semi-layers of this crushing yet cathartic watch.

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Wed, March 19 2025

The camera becomes the curious protagonist of this masterfully crafted Netflix miniseries

The first part of Adolescence opens with a 13-year-old boy, Jamie (Owen Cooper), being arrested on suspicion of murder. It’s early morning. The family home is raided by the police; DI Luke Bascombe (Ashley Walters) and DS Misha Frank (Faye Marsay) take Jamie to the police station. Jamie tearfully goes through the detainment process. He is strip-searched, his father Eddie (Stephen Graham) agrees to be his ‘appropriate adult’ and a local solicitor arrives to represent Jamie. The two cops then interrogate the boy. For much of this episode, as grown-up viewers, we are wired to watch these proceedings through the lens of one question: Did he do it? At some level, we experience it as an investigative thriller: a murder mystery where the suspense lies in the answer. When Jamie quietly tells his dad that he is innocent, it’s hard not to believe the kid. He sounds truthful. It’s probably all a mistake and he’s protecting a wayward friend or elder. We look at the father as a portrait of complicity, too — closely judging every word, glance and gesture of his. DI Bascombe mentions a previous juvenile case where none of them noticed years of sexual abuse. But the end of the episode shows that Jamie did do it. He brutally stabbed his schoolmate Katie to death in a carpark the previous night. The cops had proof all along. His guilt was never in doubt. There is no confession. The anti-climax lies in the eyes of the beholder.

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Fri, March 21 2025

Mon, March 10 2025

The film dares to be different and sticks to its guns.

A taut and tense thriller, Crazxy, produced by and starring Sohum Shah, whose choices as an actor have never been conventional, upends genre norms to deliver a 93-minute adrenaline rush that until it ends up in a small puddle of avoidable mush is absolutely riveting fare. Coming to think of it, even the somewhat mawkish conclusion is not wholly out of place in a drama that blends the emotional with the visceral. Crazxy wastes nary a scene in its sustained bid to generate intrigue and suspense centred on the conversations and choices of the protagonist, a successful surgeon with a volatile past making his way through a day on which everything that can go wrong goes horribly wrong. The film rests on a virtuoso solo act that sees Sohum Shah in the guise of a Delhi doctor pulled into a heart-pounding race against time to save his kidnapped daughter, a girl he heartlessly abandoned due to no fault of hers.

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Mon, March 10 2025

Personally, it isn't for me

Crazxy led by Sohum Shah follows after the actor’s biggest hit Tumbbad. While the new release is nothing close to the fantasy horror, it does bring a new and unique concept to the big screen. However, the promotional material from the film does not line up with the real concept nor does it bring the right expectations from the film. The misdirection adds to the mystery but doesn’t last long as the plot turns predictable early one. The film’s climax also leaves much to be desired despite the concept. The film begins with Sohum Shah getting ready with a massive bag on his way to the hospital, getting bombarded with calls about reaching on time. Early on, the makers establish that Sohum’s character Abhimanyu isn’t the good guy. He is set up at the obnoxious ex-husband, a terrible father and a doctor who does not care much for the patients. He is about to settle a big case, and pay for his life with the 5 crore in his car, and move on with his new girlfriend. However, one phone call changes it all.

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Fri, March 21 2025

Mon, March 17 2025

जंगल में एक अधेड़ शख्स वीडियो बना कर खुद को गोली मार लेता है। वीडियो में वह बताता है कि 1985 में उसने अपने दो साथियों के साथ मिल कर इसी जगह पर एक लड़की को गाड़ा था। खुदाई में पुलिस को वहां एक लाश मिलती है। पता चलता है कि यह किसी रेखा नाम की लड़की की लाश है। मारने वालों को भी पुलिस पहचान लेती है। धीरे-धीरे पुलिस को यह भी पता चल जाता है कि रेखा को क्यों मारा गया। लेकिन एक रहस्य अंत तक बना रहता है कि रेखा आखिर थी कौन? कहां से आई थी रेखा? और क्या वह लाश सचमुच रेखा की ही थी? हिन्दी वाले जो अक्सर छाती पीटते हैं न कि उनके पास अच्छी कहानियां नहीं होतीं, उन्हें साऊथ की ऐसी फिल्में देखनी चाहिएं और गौर करना चाहिए कि क्यों साऊथ वाले उनसे कंटेंट के स्तर पर चार कदम आगे खड़े होते हैं। सीखना चाहिए उनसे कि जब कोई थ्रिलर बनाओ तो उसमें थ्रिल पर फोकस करो, सस्पैंस रखो तो ऐसा रखो कि देखने वाला सिर के बाल नोच ले लेकिन उसे क्लू न मिले। यह नहीं कि पुलिस वाले हीरो की डिस्टर्ब लव-लाइफ दिखा दो, हीरो है तो मारधाड़ दिखा दो, बेमतलब का नाच-गाना दिखा दो, पर्दे पर हीरोइन आई नहीं कि उससे कोई ‘ऐसा-वैसा’ सीन करवा लो, जबरन कोई कॉमेडियन घुसेड़ दो। मतलब यह कि जब तक हिन्दी वाले अच्छी-भली कहानी के ऊपर बिना ज़रूरत के मसाले बुरकते रहेंगे, उनकी फिल्मों का रंग भले चोखा निकले, स्वाद बिगड़ा हुआ ही निकलेगा।

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Fri, March 14 2025

In Rekhachithram, director Jofin T Chacko observes the doctrines of police procedurals, pays due respect to them, and then sends the movie down an altogether unexpected path in the final 30 minutes.

Malayalam filmmakers aren’t just pushing the boundaries of genre cinema in India, they’ve evolved to a stage where they can confidently toy with tropes. In Aattam, director Anand Ekarshi created magic within the framework of murder mysteries by unraveling the expectations that they come attached with. Ekarshi performed a deft act of cinematic misdirection, revealing that Aattam wasn’t a mystery at all, but a sharp satire of patriarchy. In Rekhachithram, director Jofin T Chacko observes the doctrines of police procedurals, pays due respect to them, and then sends the movie down an altogether unexpected path in the final 30 minutes.

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Fri, March 21 2025

The crime thriller stars Vivek Prasanna, Poornima Ravi, Chandini Tamilarasan, Prathosh in the lead roles.

Sexual crimes have become the go-to place for filmmakers to find easy conflicts. It has become a license for all the on-screen violence of the protagonist and the viewer is expected to get a cathartic release seeing such revenge stories. In the end, the victim or the sexual violence itself is just reduced to nothing more than a conflict or a reason for the story. Trauma is yet another addition to the list of such Tamil films, which are on the rise now. However, director Thambithurai Mariyappan should be lauded as he at least doesn’t capture such violence with an exploitative gaze, which has become the norm. Such maturity is shockingly absent in other aspects of Trauma, which comes across as the work of a novice short-filmmaker. As far as the story goes, Trauma follows three narratives because it wants to be a hyperlink film, which is in vogue now (thanks to Lokesh Kanagaraj). We have two petty thieves who go about stealing cars. They are straight out of Tamil black-and-white comedy dramas because they seem to not even know how much a second-hand car would sell for. They wonder whether an SUV would sell for twenty thousand rupees, and that’s supposed to be funny.

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