Thu, March 6 2025

The film examines Dylan’s emergence at a time of great political and social ferment in America.

The first time we meet Bob Dylan (Timothee Chalamet) in A Complete Unknown, he’s uncomplainingly laying in the back of a wagon amongst a pile of luggage. He’s just hitched a ride to New York City to see his hero, folk musician Woody Guthrie (Scoot McNairy), who has been hospitalised after being diagnosed with Huntington’s disease. Dylan overhears an impassioned discussion trying to determine if Guthrie is a folk or a country musician. “There’s no need to box him,” one of them says. It’s 1961 and a particularly tense period in America, as the House of Un-American Activities Committee (HUAC) is summoning people for their alleged communist ties. The celebrities of Hollywood are understandably first in line, just like the musicians of the time like Pete Seeger (Edward Norton), who was critical of the American government. Social justice is becoming a street-side topic among many, as America is sinking deeper into the Vietnam War, the Civil Rights movement is picking up steam. Two years later, a president will be assassinated during a motorcade, fuelling the paranoia of the public and future governments alike.

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Mon, March 3 2025

Sundeep Kishan, Rao Ramesh, and Ritu Varma shine, but weak writing lets it down

Reviewing a film often involves stating the obvious: an interesting or amusing idea does not always translate into an engaging cinematic experience. Yet, after watching director Trinadha Rao Nakkina’s Telugu comedy Mazaka, written by Prasanna Kumar Bezawada, it feels necessary to reiterate this point. The writer-director duo take a premise with potential for outrageous humour but dilute it with predictable tropes, making the film tedious. The saving grace is the performances of Sundeep Kishan, Rao Ramesh, and Ritu Varma, though even they can only do so much to redeem the narrative. The film opens with a morning walker discovering a trail of red leading to two men washed up on Visakhapatnam beach. Alarmed, he alerts the police, only for the inspector (Ajay) to find that the men — Krishna (Sundeep Kishan) and his father Ramana (Rao Ramesh) — are not injured but simply hungover. The red stain, in fact, comes from a packet of avakaya (mango pickle) in their shirt pockets. The inspector, who is struggling with writer’s block while working on a novel, takes an interest in their story. The absurdity of the situation sets the tone for mindless fun and signals to the audience not to take anything too seriously — or ask too many questions.

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Mon, March 3 2025

Brady Corbet's ‘The Brutalist’ is a complicated spectacle, offering startling images and unresolved questions

In a short epilogue, The Brutalist finally shows us László Toth’s buildings. Brady Corbet’s film presents as a given that Toth is a genius architect of the Bauhaus school, but we are only shown one of his creations—a library—in full right up till the final 10 minutes. The format in which they’re presented is strange: a showreel for a biennale that looks like it’s shot on cheap video, with cheesy transitions. A film with startling pristine images spends its last moments looking like DTV. It’s a strange end to the film – and that’s without even getting into the whole Israel of it all. The Brutalist hits you several times with shots of roads and rail tracks zipping by, as seen from the front of a car or train. If the intention is to have the viewer recall the opening of Lawrence of Arabia, it worked on me. Corbet’s film has that David Lean sprawl, certainly in terms of runtime (202 minutes), but also in the ambition and density of its storytelling.

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Sun, March 2 2025

For those untouched by the war’s direct traumas, these brutalist buildings might feel cold and uninviting, even ugly. But for those who have endured the dehumanising horrors of war, they represent something deeply intimate.

If you saw the poster for The Brutalist, featuring Adrien Brody squinting his eyes, staring straight at you in a low-angle shot, cigarette in mouth, with streaks of fire flying across, you might take him for an Italian-American gangster. Especially since The Brutalist sounds like the perfect title for a gangster flick, set in late 1950s America, adding to its vibe as the ultimate land of freedom and wild wealth. But The Brutalist isn’t that. It’s about architecture — big, heavy, concrete-and-steel stuff. These imposing structures mirror the post-World War II psyche. For those untouched by the war’s direct traumas, these brutalist buildings might feel cold and uninviting, even ugly. But for those who have endured the dehumanising horrors of war, they represent something deeply intimate.

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Sun, March 2 2025

Ever since ‘Aashram’ dropped in 2020, both the director, Prakash Jha, and Bobby Deol, who plays the devious Baba Nirala, captured our imagination. Indeed, the perils of a successful show are that it often gets extended into many seasons, elongated and stretched way beyond the story actually calls for or deserves. Thus, the powerful and impactful show about the nexus between fake gurus, politics and power did get diluted in between as it offered more of the same in the intervening seasons. But, as ‘Season 3 Part Two’ drops, our worst fears that it will continue to go round in circles are given a slight reprieve. Sure enough, his victim, Pammi (Aaditi Pohankar), who is on the run, manages to nail the Baba. But before you can even heave a sigh of relief, he and Bhupa (Chandan Roy Sanyal), his irascible deputy, once again outwit her and have her jailed instead.

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Sat, March 1 2025

Jiiva’s Aghathiyaa, which marks the debut of lyricist Pa Vijay as director, neither is clear about its genre nor about the ideology it wants to purport.

Abrodolph Lincoler is one of the outrageously funny characters in the American animated series Rick And Morty’s hit episode Ricksy Business. He is a genetically engineered clone with the DNAs of Adolf Hitler and Abraham Lincoln. He is an experiment gone wrong. The idea was to create a more neutral ideological leader, but in reality, he ended up becoming a person with disoriented ideas. Sample one of his lines: “Prepared to be emancipated from your own inferior genes." He is a diabolical cocktail of ideas. Watching Aghathiyaa reminded me of this character as the film’s ideology is as confusing as Lincoler. On one hand, the film, directed by lyricist Pa Vijay, has Dravidian newspapers Kudiyarasu and Viduthalai as some product placements throughout, and at the same time, it is a propaganda film about Siddha medicine that would make Periyar turn in his grave.

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Sat, March 1 2025

Suzhal S2 amps up the intrigue with a gripping crime, a tighter plot, and compelling leads. But its tendency to over-explain and sidestep political sharpness holds it back from true excellence.

At least two Tamil films that released in 1988 get a namedrop in the second season of Suzhal: The Vortex. They are Senthoora Poove and Agni Natchathiram. One is about a dying man who makes it his mission to save two young star-crossed lovers, which is a throwback to season one of Suzhal that unfolds around the death of one such pair. The second film is about parents and children, warts and all, which points to a theme in Suzhal’s second season— about father and mother figures, and their adopted sons and daughters. At the centre is the father, pointedly named Chellappa (Lal), a criminal lawyer known for his righteousness and sincerity, a darling of victims and survivors. There is also a mother with a fleeting appearance but otherworldly deeds and influence. It is a curious thing, those namedrops—one vaguely referring to a dance troupe named Senthoora Poove and the other directly invoking Mani Ratnam’s Agni Natchathiram and its unforgettable climax of strobe lights waltz. Later, the series invokes another 1988 Tamil film title.

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Fri, February 28 2025

Lacks the snap and brilliance of the first season, created by Pushkar-Gayathri, but it still manages to be a decent watch.

Pushakar-Gayathri’s Suzhal: The Vortex Season 1 continues to be one of the very few Tamil web series that’s on par with the global standard of such long-form thrillers. It has set a high benchmark that even the second season of Suzhal: The Vortex also fails to reach. Yet, the new season, streaming on Amazon Prime Video still warrants a watch as it has a lot going on for it. While the problem with season 2, directed by Bramma G and Sarjun KM, is largely due to its predictability and convenient writing, it still holds your attention due to a few good streaks of brilliant writing.

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Fri, February 28 2025

Created by Pushkar and Gayatri, Suzhal - The Vortex 2 is a crime drama that suffers from overstuffed ideas. The show has interesting ideas, but it gets lost in the overstretched screenplay.

Director duo Pushkar and Gayatri were pioneers in making the Tamil web series space a flourishing one. Cashing in on the success of Suzhal - The Vortex, the makers created a sequel to it, which is currently streaming on Prime Video. Suzhal - The Vortex is one of the most celebrated web shows in Tamil. Has Suzhal - The Vortex 2 lived up to expectations? Let’s find out! Nandhini (Aishwarya Rajesh) is sentenced to jail after killing her abuser, while SI Chakravarthi aka Sakkarai (Karthir) is helping her from outside. He is also closely working with activist and lawyer Chellappa (Lal) to fight in court for Nandhini. However, Chellappa is found dead at his cottage with a gunshot to his forehead.

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Fri, February 28 2025

Boban Samuel’s Machante Malakha portrays male characters as victims and perpetuates regressive gender stereotypes, making it a dated and uncomfortable watch.

A certain machine-like uniformity marks the male and female characters in Boban Samuel’s Machante Malakha. While almost all the male characters are good-hearted and submissive, a majority of the female characters are scheming ones trying every trick in their book to make life difficult for the men around them. This unmissable pattern in the writing of the characters serves the purpose for which the film appears to have been made – to put into cinematic form the grievances of the men’s rights associations that have cropped up in recent times. Machante Malakha begins as a typical boy meets girl story, with Sajeevan (Soubin Shahir), a bus conductor, falling in love with Bijimol (Namitha Pramod), a regular passenger in the bus, after a series of fights. But the prologue to this love story, when a fellow bus conductor whom Sajeevan is in love with leaves him to get married to a rich man, signals the film’s intentions. Whether it be due to this underlying agenda of the film or plain bad writing, Bijimol is written with confusing character traits, changing her behaviour multiple times even within a single scene.

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Fri, February 28 2025

Tillotama Shome's towering performance holds the film together – especially one that luxuriates in what is left unsaid.

In another life, Maya (Tillotama Shome) would have lived a different, more comfortable life. A college graduate in Barrackpore, she was set for an ordinary middle-class life like the many girls around her. However, all her parents’ dreams crash and burn when Maya tells them about Sundar (Chandan Bisht) – a pahadi man stationed in the nearby army cantonment. By the time Tanushree Das and Saumyananda Sahi’s Baksho Bondi (English title: Shadowbox) begins – it’s been a few years since Sundar has been dishonourably discharged from the army because of what appears to be a serious case of post-traumatic stress disorder (PTSD). The rebellion of young love has made way for the caution and weariness of middle age. Both presumably in their late 30s by now, the onus of providing for Sundar now falls on Maya.

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Sun, February 23 2025

In a literal world, ‘Baksho Bondi’ — Bengali words carrying set meanings — need not exist together. When translated to English, ‘baksho’ means ‘box’ and ‘bondi’ is ‘captive’; both denoting the idea of being boxed up. But then again, in a literal world the verbatim translation of ‘Baksho Bondi’ would be a phrase: captive in a box. Yet first-time directors Tanushree Das and Saumyananda Sahi forsake precision in favour of interpretation, choosing Shadowbox (Baksho Bondi, 2025), meaning to fight with an imaginary adversary, as the English title, and in doing so, shrink the subjectivity of a person to the objectivity of an experience. The result is a film that unfolds as an interplay of both titles —imbued with the angst of confinement and the spirit of resistance— while mirroring the ambiguity that comes with it. Maya (Tillotama Shome) lives with her husband and son in Barrackpore, a neighbourhood located at the fringes of Kolkata, a densely populated Indian city. She works constantly although the specificity of her labour takes shape later. She irons clothes and ferries them from door to door on a cycle, and does domestic work for a family. In between, she outlines her husband’s routine and instructs their teenage son Debu to help him with it.

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Fri, February 28 2025

Aadhi and Arivazhagan’s best work remains to be Eeram despite giving their all to Sabdham, which lacks the clarity and simplicity of their first collaboration.

A problem with magnum opuses is the weight of the expectations it creates for future projects from the filmmaker. Eeram continues to be a victory director Arivazhagan is unable to emulate. Sabdham is the second collaboration with Aadhi, which has brought the hit duo back again, but not the quality it had produced with Eeram. Though Sabdham is an unabashed attempt at creating a horror film of a similar pedigree, Arivazhagan falls short due to the lack of simplicity that Eeram wore as a crown. Eeram, his debut, was a straightforward story about the ghost of a virtuous woman haunting everyone who wronged her, using water as her medium. When the protagonist investigates the case, it takes an organic route to move from being a crime thriller to a horror. Everything about the film was lucid and engaging as the film doesn’t take too much on its shoulders. On the other hand, Sabdham (meaning sound) is confusing as it tries to marry science with the supernatural.

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Thu, February 27 2025

The limited series follows the long battle of families in the British town of Corby who fight to hold those accountable after their children are born with disabilities.

Toxic Town is the true story about an English steel town’s toxic waste that led to birth defects amongst the children. But more than that, the series is about the legal fight to get acknowledgement and justice for the pain and suffering they’ve been through. While the four-part series takes place over many years and tracks the arduous legal battle, Toxic Town is noteworthy for the stellar performances from its British cast led by Doctor Who and Broadchurch’s Jodie Whittaker. The limited series revolves around the working-class town of Corby, where the closing of a steel mill leads to other construction opportunities. However, as the site is developed into something different by negligent crews, under the lax leadership of the city council, the toxins seep into the town, affecting future generations. Mothers Susan (Jodie Whitaker), Tracey (Aimee Lou Wood), and Maggie (Claudia Jessie) all suffer different kinds of trauma as they watch their children suffer and, in Tracey’s case, watch them die. It takes much time, nearly 15 years, before any kind of resolution is reached.

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Thu, February 27 2025

Director RaMell Ross adapts Colson Whitehead's award-winning novel in a lyrical way that gives deeper meaning to this poignant story.

Nickel Boys, directed by RaMell Ross, is up for two Oscar awards at the upcoming ceremony on March 2. It deserved a few more nominations, including one for its cinematography that details the alternating perspectives of its teenage lead characters, Elwood and Turner. This tragic story, adapted from the Pulitzer Prize-winning book by Colson Whitehead, hits even harder in this visual format, backed by some exceptional performances. Set in 1960s Florida, the story sees change coming to the US in the form of the civil rights movement and space travel, but in some places it feels like time never changed. Elwood Curtis (Ethan Herisse), a promising young Black teenager with a bright future, is caught in the wrong place at the wrong time. Transferred to the Nickel Academy, a reform school for juvenile delinquents, he learns how cruel the world can really be. Separated from his beloved grandmother (Aunjanue Ellis-Taylor), he makes a friend in Turner (Brandon Wilson), who is desperate to escape from the clutches of the evil wardens.

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Thu, February 27 2025

Created by Aaron Korsh, this redo of Suits in Hollywood's backyard tries too hard to ape the original nine-season cult favourite.

Suits LA is one of the most eagerly awaited shows of the year, and now that it’s here, one can only wonder why it was commissioned. Well, actually, we know why. But this redux of Suits is a disappointment on every level. Creator Aaron Korsh introduces a new shark-like lawyer with Stephen Amell’s Ted Black, aka the new Harvey Specter. But we all know that the original Suits was a lighting in a bottle. This second spinoff from the same universe does not have the same charm as the original nor does it have the characters required to get invested. The spinoff introduces viewers to hot-shot LA lawyer Ted (Amell), who is on the verge of a big merger with his partner Stuart (Josh McDermitt). Amidst the chaos of all this lies the news that his father (Matt Letscher) is dying back in New York. The premiere episode revolves around our introduction of Ted’s world, his fight to keep his firm and glimpses of his troubled past and shaky relationship with his father. A few generic supporting characters flit in and out.

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