American Manhunt - Osama bin Laden
Documentary (English)
Featuring rare footage and interviews with CIA insiders, this edge-of-your-seat documentary series traces the epic hunt for Osama bin Laden. (more…)
Agnyathavasi
Thriller, Mystery (Kannada)
In 1997, a rural police inspector leads a simple life until a crime occurs at his quiet village outpost after 25 years. His investigation uncovers long-buried secrets in the town. (more…)
Sister Midnight
Comedy, Drama, Horror (Hindi)
A newly arranged marriage. An oddball couple shoved together in a small Mumbai shack with paper-thin walls. They are awkward and alone-together. Unpredictable Uma does her best to cope with the heat, her total lack of domestic skills, nosy neighbours (more…)
Kankhajura
Drama, Crime (Hindi)
A man serving a murder sentence gets released early from prison on the condition that he cooperates with the police as their informant - a role (known as a magpie) that he also had in jail. (more…)
Criminal Justice: A Family Matter
Crime, Mystery, Drama (Hindi)
Attorney Madhav Mishra represents Raj Nagpal, discovered with murdered nurse Roshni Saluja after his child's party. As the trial unfolds, hidden facts emerge, questioning identities. (more…)
Karate Kid: Legends
Action, Adventure, Drama (English)
After a family tragedy, kung fu prodigy Li Fong is uprooted from his home in Beijing and forced to move to New York City with his mother. When a new friend needs his help, Li enters a karate competition – (more…)
Guild Reviews
Cold Case: The Tylenol Murders
Documentary, Crime (English)
Who really laced Tylenol with cyanide? This true-crime series examines alarming theories behind the unsolved killings — and tracks down a key suspect.
Cast:
Jeff Flock, JAMES LEWIS, Michelle Rosen, Tyrone Fahner
Tue, June 3 2025
If there was a true-crime embodiment of the saying ‘so near yet so far’, it would be the case that shook America in the early 1980s and continues to intrigue, baffle and scare the world even today. Cold Case: The Tylenol Murders, Netflix’s potent examination of how seven people in Chicago dropped dead after popping pills of Extra Strength Tylenol — a seemingly innocuous pain-relief medication — is a jaw-dropping watch, which, even if you are familiar with the case, has an ace up its sleeve. The three-episode series is the only one, among scores of other programmes on the case through the decades, that manages to get prime suspect (and, in many ways, the only suspect) James Lewis on camera. Lewis, who died in 2023 shortly after (nonchalantly) telling his side of the story, was suspected of picking bottles of Tylenol off shelves, lacing some of the pills with potassium cyanide, resealing them and putting them back in the market.
Sister Midnight
Comedy, Drama, Horror (Hindi)
A newly arranged marriage. An oddball couple shoved together in a small Mumbai shack with paper-thin walls. They are awkward and alone-together. Unpredictable Uma does her best to cope with the heat, her total lack of domestic skills, nosy neighbours and her bumbling spouse until the nocturnal world of Bombay and its inhabitants lead her to face her own strange behaviors.
Cast:
Radhika Apte, Ashok Pathak, Chhaya Kadam, Smita Tambe, Navya Sawant, Dev Raaz, Chaitanya Solankar, Suhaas Ahuja, Masashi Fujimoto, Daemian Greaves
Director:
Karan Kandhari
Writer:
Karan Kandhari
Mon, June 2 2025
Karan Kandhari’s Sister Midnight is a radical beast. It is provocative and outlandish, hilarious and macabre. It is intimately accessible and formidably alienating; it is a dark comedy where the depth of darkness constantly squirms with the possibility of humour. Kandhari’s directorial feature is as much a clutter-breaker as it is a freewheeling venture, making up its mind on the go about what to do with itself after having broken the clutter. Surreal and odd, Sister Midnight is a frighteningly original shape-shifting film that cautiously evades meaning to avoid making sense. One would be tempted to brand it as subversive, but Kandhari’s debut is more defiant in its energy, restive in spirit and endearing at its core. The filmmaker suffuses each frame with sprinting chaos where the refusal to conform takes over everything else, outlining in the process a distinct feminine existence in its absence of coherence.
Mon, June 2 2025
Even though it is widely known, I don’t think enough gets written about how much of a nightmare it is to watch a film in its ‘purest’ form in India. One can overlook the overzealous censors that infantilise the audience with humongous smoking warnings, even for films rated ‘A’, desecrating the work of any self-respecting filmmaker. Along with that, most ambitious films play in sparsely-populated theatres. The screening for Karan Kandhari’s Sister Midnight that I attended in Bengaluru had about a dozen audience members. I have a feeling I would’ve enjoyed the film more if I’d seen it in a packed theatre because it has many visual gags, and most of them are spot on. Also, muted cuss words can feel like sensory speed bumps even if one can decipher them by reading the lip movement. I wondered how the British-Indian director reacted to the alterations? But hey, at least the film released, unlike Sandhya Suri’s Santosh (2024).
Sun, June 1 2025
Sister Midnight is unlike anything I’ve seen before. I mean that in both a good way and bad way. It’s the kind of droll, deadpan, disorienting and daringly designed film where the camera is as socially awkward as the characters it films — like an anachronistic Wes Anderson video trapped by the audiovisual rhythms of Mumbai. People face the lens and speak like humanoids; absurd things happen in strikingly staged night-time incidents; the city behaves like a grainy and reluctant painting; everyone acts wild and unpredictable. It’s also the cinematic equivalent of an offbeat person who hides their vulnerability behind a barrage of provocative cues. If we question them for not staying with an emotion longer than a few seconds, they counter-question us for being so uptight. The joke is supposed to be those who find the film increasingly bizarre and difficult to watch. For better or worse, its relationship with the average viewer is part of its conceit.
Criminal Justice: A Family Matter
Crime, Mystery, Drama (Hindi)
Attorney Madhav Mishra represents Raj Nagpal, discovered with murdered nurse Roshni Saluja after his child's party. As the trial unfolds, hidden facts emerge, questioning identities.
Cast:
Pankaj Tripathi, Surveen Chawla, Mohammed Zeeshan Ayyub, Mita Vashisht, Asha Negi, Shweta Basu Prasad, Khushboo Atre, Barkha Singh
Director:
Rohan Sippy
Mon, June 2 2025
At the heart of Criminal Justice Season 4: A Family Matter is indeed a family matter, and that of the affluent Nagpal family. Raj Nagpal (Mohammed Zeeshan Ayyub) and his estranged wife Anju Nagpal (Surveen Chawla) live in the same building, but in different apartments. They share a teenage daughter, Ira, who suffers from Asperger’s syndrome. Then there’s Raj’s mother, Gurmeet, and his girlfriend Roshni Saluja (Asha Negi), who is also Ira’s nurse. It’s a modern family, and everyone seems to have come to terms with the arrangement. All seems well until one day, their shared househelp Kamala walks in to see a dead Roshni lying in a pool of blood in Raj’s arms. Her cry for help reaches Anju, who rushes from next door, and immediately calls up the police. Raj is now the prime suspect in the police investigation and Anju reaches out to lawyer Madhav Mishra (Pankaj Tripathi) for help. What follows is a taut murder investigation - with the angles of police interrogation, courtroom drama and a parallel media trial.
Sat, May 31 2025
Raj Nagpal, a revered medico, finds himself on the brink of divorce. Despite their differences, Raj and his wife, Anju, are committed to co-parenting their daughter, Ira, who has Asperger’s syndrome. Amidst the domestic trouble, Raj falls for Roshni, a nurse at his hospital. While the trio initially maintains cordiality, their peace shatters with Roshni’s shocking murder. Raj is taken into police custody, and lawyer Madhav Mishra is out to secure his release. Pankaj Tripathi’s ability to bring grounded-ness and believability to his roles across genres has kept him in good standing for many years now. While the laid-back persona and subtle humour continue to remain the USPs of his performance in project after project, it’s surprising how the petrol in his tank never dries up. Criminal Justice Season 4 is another terrific proof of his talent.
Sat, May 31 2025
There is comfort in watching characters we know go through a new story arc, a mix that allows for both familiarity and freshness. The fourth season of Criminal Justice re-unites us with the core team of Madhav Mishra, played by the affable Pankaj Tripathi, his perky wife Ratna (Khushboo Atre), her eager-beaver brother Deep (Aatm Prakash Mishra), and the immaculately-turned out Shivani Mathur (Barkha Singh), which is plunged into a roiling family affair featuring murder and mayhem. Only three episodes of the eight are streaming currently, in which we are introduced to the prime suspects of a murder most foul in a fancy Mumbai high-rise. A domestic help arrives in a flat in the morning and sees a woman, all bloodied, being cradled by a man, who appears to be distraught. Another woman is present, who has already called the cops.
Kankhajura
Drama, Crime (Hindi)
A man serving a murder sentence gets released early from prison on the condition that he cooperates with the police as their informant - a role (known as a magpie) that he also had in jail.
Cast:
Roshan Mathew, Mohit Raina, Trinetra Haldar Gummaraju, Sarah-Jane Dias, Ninad Kamat, Mahesh Shetty, Heeba Shah, Usha Nadkarni
Director:
Chandan Arora
Mon, June 2 2025
In Chandan Arora’s Kankhajura, an actor is pitted against the show. This isn’t the story, but the effect. Roshan Mathew plays the protagonist and delivers a performance that is at once suited to the presumed complexity of the series and at odds with the inert ambition of it. The bravura turn uplifts Arora’s work, prompting a reading of what it could have been had it strived harder, and underlines its failure to match up to the merit of its protagonist. Arora is Ashu, a timid young man who stutters when anxious. And, he is anxious all the time. His eyes are perpetually lowered, and his back is slouched like he is pinned against the wall. His defeatist body language suggests decades of bullying, and yet, he was imprisoned for killing someone. The only person who gets him going is his brother, Max (Mohit Raina), a flamboyant builder dissimilar to his sibling in every way. Max is ambitious and reassured, forceful and scheming.
Sat, May 31 2025
Ashu is released from prison after 14 years for a murder in which he was possibly framed. He aims to exact revenge against his indifferent, wealthy brother Max and his pals Shardul and Pedro, the prime reasons behind his jail stint. He cunningly infiltrates Max’s life and real estate business, juggling police obligations with a personal vendetta. Who has the last laugh in this sibling rivalry? Roshan Mathew’s decision to chase greener pastures in Hindi cinema, apart from Malayalam, is yielding impressive results. He sinks his teeth into the portrayal of Ashu, a socially awkward younger brother whose trauma fuels his bitterness. Mohit Raina, pitted against Roshan’s Ashu, has a relatively straightforward character arc but lends the necessary snobbishness to his portrayal.
Sat, May 31 2025
While KanKhajura is an official remake of the Israeli series Magpie, certain updates done by the makers of the show feel more potent. The first being the title change, which fits Roshan Mathew’s Ashu much better. The actor plays Ashu, who reenters society after spending 14 years in jail as a teenager. Trying to reconnect with his older brother, Max (Mohit Raina), he ends up destroying his carefully crafted life instead. The Hindi remake is most effective at trying to get to the root of the siblings’ relationship. KanKhajura: PlotRelocated to Goa, the show examines Max and Ashu’s bond as adults. Max is about to embark on an important chapter in his life as he bids to redevelop an impoverished colony with luxury villas. As Max comes up against bureaucratic and other hurdles in his proposal, Ashu decides to help him out in his own way. Their methods show their different approaches and attitudes in life. The brothers’ eventual clash is oddly compelling to watch as they air all their grievances.
Andhar Maya
Drama, Horror (Marathi)
A family moves back to their ancestral home and faces supernatural occurrences as unresolved past events linger.
Cast:
Rutuja Bagwe, Shubhankar Tawde, Shubhangi Bhujbal, Omprakash Shinde, Kishore Kadam, Anup Belwalkar
Director:
Bhimrao Mude
Writer:
Kapil Bhopatkar, Pralhad Kudtarkar
Sun, June 1 2025
The Khatu family gathers for Dinushet’s last rituals, each with hidden agendas concerning their ancestral home. As young Sayali senses a ghostly presence, the mystery of Dinushet’s death unfolds amidst family arguments. Secrets of Manoj and Shalaka are revealed. Nayana and jewels vanish. Sayali befriends a spirit. Is it too late before Kartik and Madhavi realise the mastermind behind the murders? Kishor Kadam is undeniably the show-stealer in Andhar Maya, with his superb screen presence gradually building an element of mystery, even though the writing isn’t always sharp. Among the other actors, Rutuja Bagwe and Shubhangi Bhujbal make an impression within the limitations of their roles. Anup Belwalkar, Shubhankar Tawde, and Omprakash Shinde deliver decent performances. The child artist, Pihu Gosavi, also manages to shine in a few moments.
Bhairavam
Action, Crime, Thriller (Telugu)
The relationship between three childhood friends begins to crumble as their loyalty is tested.
Cast:
Bellamkonda Srinivas, Manchu Manoj, Nara Rohith, Aditi Shankar, Anandhi, Divya Pillai, Inaya Sultana
Director:
Vijay Kanakamedala
Sun, June 1 2025
There are no hard and fast rules for remaking a successful film in another language. Yet, a director would do well to remember why a story is being retold for a new audience, even while not aiming to better the original. Bhairavam, the Telugu remake of Soori’s Tamil film Garudan, aimlessly rehashes a hit formula, making little effort to decode the merits of the original. In a vain attempt to lend socio-political relevance to a story about the looting of temple wealth, Bhairavam begins with a disclaimer on the need to safeguard our temples and dharma from falling into the wrong hands, even throwing in a passing reference to the Mughal era. The rural drama, at its core, is a straightforward tale of a crooked politician exploiting the rift among three friends for personal gain.
Agnyathavasi
Thriller, Mystery (Kannada)
In 1997, a rural police inspector leads a simple life until a crime occurs at his quiet village outpost after 25 years. His investigation uncovers long-buried secrets in the town.
Cast:
Rangayana Raghu, Sharath Lohitashwa, Ravishanker Gowda, Siddu Moolimani, Paavana Gowda
Director:
Janardhan Chikkanna
Sat, May 31 2025
Govindu, a police officer by profession and a farmer by passion, leads a quiet life with his family in Nalkeri, a supposedly crime-free village nestled in Malenadu. His idyllic routine is disrupted when Srinivasaiah, a respected elder, dies under mysterious circumstances. Sensing something amiss, Govindu begins an investigation that draws in Rohit, a tech enthusiast, and Pankaja, the former lover of Srinivasaiah’s son, Arun. Rangayana Raghu gets a rare role that fully taps into his experience and range, with a solid, layered performance. His brooding screen presence is a delight to watch. Similarly, Sharath Lohitashwa, often cast in one-note roles, is refreshing in a sedate, well-intentioned part – a smart casting choice.
Sat, April 12 2025
Agnyathavasi is the last film where you’d expect an objectifying number finding itself in the narrative. This is a slow-burn drama set in the idyllic Malnad region. This is set in the late 90s, and features an ageing inspector, a much-older retired postmaster, a lot of conversations about parenting and farming, and a murder. So it doesn’t make sense that Agnyathavasi features a song that objectifies, literally. And the object in question is a computer… the first one to arrive at the village. The way the camera caresses the curvature of the monitor, the first time it is switched on, the first time the keyboard is used… there is so much focus on the computer, which is going to change the fate of a few people. But they don’t know it yet. And the best part? We don’t either.
Fri, April 11 2025
There’s an oft-repeated phrase people use after watching certain films — it is “slow.” I didn’t understand it then, I don’t understand it now. Labels help no one. Does life move in real time or at an accelerated pace? The issue of pacing strikes the audience only when they aren’t drawn into the world the director and storyteller have created. Agnyathavasi (translation: ‘a person in exile’) is a film that insists it will breathe — and wants you to breathe with it. Editor Bharath MC works his charm here. Which is why, despite generally steering clear of thrillers and jump scares, I was drawn into the film’s world — gently, like the fog and the mist of Malnad, where the story is set. The thrills here stem not from the certainty of geography, the reliance on camera angles, or music cues — though Charan Raj’s score is fabulous — but from the possibilities of the human mind.
Karate Kid: Legends
Action, Adventure, Drama (English)
After a family tragedy, kung fu prodigy Li Fong is uprooted from his home in Beijing and forced to move to New York City with his mother. When a new friend needs his help, Li enters a karate competition – but his skills alone aren't enough. Li's kung fu teacher Mr. Han enlists original Karate Kid Daniel LaRusso for help, and Li learns a new way to fight, merging their two styles into one for the ultimate martial arts showdown.
Cast:
Ben Wang, Jackie Chan, Ralph Macchio, Joshua Jackson, Sadie Stanley, Ming-Na Wen, Aramis Knight, Wyatt Oleff, Shaunette Renée Wilson, David Robitaille
Director:
Jonathan Entwistle
Writer:
Rob Lieber
Sat, May 31 2025
The sixth film in the martial arts franchise that debuted in 1984, Karate Kid: Legends flings open the dojo doors to deliver chops, blocks, and kicks in a nostalgic throwback for fans of the Karate Kid movies. This latest entry, a legacy sequel, deftly combines former franchise stars, elements from the last five films, and updated threads from the Cobra Kai television series, while introducing a new Chinese lead in a familiar underdog-turned-hero arc. But the tropes remain the same. The underdog journey of Daniel LaRusso (Ralph Macchio) in 1984’s The Karate Kid—waxing on and off under Mr. Miyagi (Pat Morita)—is mirrored in a contemporary New York setting, where Chinese student Li Fong must navigate a new world. The franchise has always been about mentorship, honour, and a game-changing final kick—even in the 2010 reboot with Jaden Smith and Jackie Chan, which leaned more into kung fu. Cobra Kai flipped the script, featuring Macchio as LaRusso and giving Johnny Lawrence (William Zabka) a redemptive arc.
Sat, May 31 2025
बात करीब 40 साल पहले 1984 की है, जब कुंग फू-कराटे पर आधारित मार्शल आर्ट ड्रामा ‘द कराटे किड’ आई थी। देखते ही देखते यह दुनिया की ऐसी चहेती फ्रेंचाइज बन गई कि 1986, 1989 और 1994 में इसके तीन सीक्वल आए। फिर 2010 में जैकी चैन को मुख्य भूमिका में लेकर इसे रीबूट किया गया, तो टीवी सीरीज ‘कोबरा काई’ भी बनी। वहीं, अब इसकी छठी पेशकश ‘कराटे किड: लेजेंड्स’ सिनेमाघरों में पहुंची है। जाहिर है, ऐसी कामयाब फ्रेंचाइजी से ऊंची उम्मीदें होना स्वाभाविक है, मगर अफसोस कि देखे-दिखाए फॉर्मूले के चलते यह फिल्म अपने टाइटल की तरह ‘लेजेंड’ बनने से काफी दूर रह गई है। जोनाथन एंथविसल के डायरेक्शन में बनी इस फिल्म की कहानी है, बीजिंग के एक युवा ली फोंग (बेन वांग) की। ली, मिस्टर हान (जैकी चैन) के कुंग-फू स्कूल का स्टार स्टूडेंट है, लेकिन उसकी डॉक्टर मां नहीं चाहती कि ली मार्शल आर्ट से कोई रिश्ता रखे। असल में, एक फाइट में वह अपने कुंग-फू चैंपियन बड़े बेटे को खो चुकी है, इसलिए ली को इससे दूर रखने के लिए न्यूयॉर्क में नई जिंदगी शुरू करती है।
Fri, May 30 2025
The last few years have been spent watching the downfall of mainstream Hindi cinema. I’ve reviewed so many atrocious Bollywood movies that I often sound like a bitter Indian dad citing the example of the exemplary “Sharma-ji Ka Beta” when I write about a foreign film. I can’t help but compare — and wave my finger disapprovingly at my litter. But once in a while, an absolutely horrid Hollywood movie like Karate Kid: Legends arrives (last year it was Madame Web), and all feels right with the world. The mediocrity is almost soothing because, as an Indian cinephile, it doesn’t feel so lonely anymore. They can be just as bad as us; it feels so nice to say that. We’re all in this together: divided by borders but united by bad cinema.
Manidhargal
Drama, Thriller (Tamil)
A Suspense Thriller drama film about six friends who get together for a night of drinking and how, over the next six hours, a small trap they encounter explodes into a big problem. The core idea revolves around the ever-changing human psyche and the emotional rollercoaster it undergoes.
Cast:
kapil veleavan, Daksha, Arjun Dev Saravanan, Gunavanthan, K Sambasivam
Director:
Raam Indhra
Writer:
Raam Indhra
Sat, May 31 2025
A bunch of friends, after a night of heavy drinking, wake up to find one of them dead. Panic-stricken, the four of them try to get rid of the body, and thus begins their car ride, and the audience’s excruciating ordeal that lasts for 100 minutes. Manidhargal, a crowd-funded movie, has a core problem of being an inadequate idea for a feature film. The story is wafer-thin that would have suited a short flick as the sequences are redundant without any major development or revelation. Though Manidhargal is a relatively short feature film, it can feel exhausting to watch, especially as the scenes of grown men crying and panicking become difficult to endure. Kaali (Kapil Velavan) is supposed to be the hard-boiled character in the film, who doesn’t break till the end. Mano (Gunavarthan) is the crybaby, who doesn’t stop his antics. Sathish (Dhasha) is a relatively sane guy who also starts wailing as the clock ticks. Samba Sivam as Chandru seems to have drunk something potent than Absinthe, because he doesn’t seem to sober up. Arjun Dev as Deepan is part of the film because having just three characters would make the painful redundancy obvious. The four lead actors are like emojis that don’t change their expression.
Moonwalk
Drama (Malayalam)
It's the year 1987. Youngsters living in the outskirts of Thiruvananthapuram start exploring breakdancing.
Cast:
Meenakshi Raveendran, Srikant Murali, Manoj Moses, Shersha Sherief
Director:
A.K Vinod
Writer:
Sunil Gopalakrishnan, A.K Vinod, Mathew Varghis
Sat, May 31 2025
Evoking a time period is a challenge of a lesser order as opposed to effectively transporting the audience to that period. A few carefully chosen props might be enough to pull off the former, while the latter involves the arduous task of authentically capturing the zeitgeist of that time and hitting all the right notes to make it believable for those who might have lived through those times. In Moonwalk, debutant filmmaker Vinod A.K. makes a bold attempt for the latter and lands stylishly on his toes, evoking the iconic dance move of the early 1990s. The world that he recreates is the early 1990s in the coastal and rural belts of Thiruvananthapuram or rather more specifically, the emergence of a breakdancing subculture among groups of youths during that period. Of course, there are the grainy VHS tape visuals, Walkman, STD booths, disco-inspired costumes, frizzy long hair, Michael Jackson fanhood and every other nostalgia-evoking material from those times, but all of these are woven organically into a straight-forward, simple plot that holds an emotional pull.
Sat, May 31 2025
In an early sequence in Moonwalk, we see a group of seven friends assembling in front of a vintage Sony Trinitron television with a video tape of Michael Jackson’s Thriller. The year is 1987, long before smart phones and YouTube, and this means that watching a glimpse of MJ has taken weeks of planning. Each one of them have their own theories on getting the video cassette player to work; finally when they manage to get it playing, all we see are waves of static, with unrecognisable bits of Thriller on screen. For a small budget Malayalam film releasing today, it’s not tough to imagine how impossibly out-of-reach it must have been to afford even a tiny 10-second clip of the iconic song. Yet even without showing us a single shot of MJ or his songs, the film manages to find its way to invoke his spirit. It’s a film set right at the peak of the break dance era and there couldn’t have been a more fitting way to begin the tribute. Yet the real beauty of Vinod AK’s film is how he’s able to hold on to this feeling until we arrive at a very satisfying payoff, much much later.
Sikandar
Action, Thriller (Hindi)
A fiery youth confronts a powerful network of corruption, challenging the status quo and fighting for the common people's rights in a nation gripped by injustice.
Cast:
Salman Khan, Rashmika Mandanna, Sathyaraj, Sharman Joshi, Kajal Agarwal, Prateik Babbar, Nawab Shah, Kishore, Neha Iyer, Jatin Sarna
Director:
A.R. Murugadoss
Sat, May 31 2025
While Tom Cruise dangles off World War II biplanes and redefines movie stardom for the 21st century, Salman Khan is celebrated for simply showing up to work. This, in essence, is why our mainstream cinema can never compete. Both Cruise and Salman have attained demi-god status, but at this point, Bhai’s bracelet has a bigger screen presence than him. Watched mere days after Mission: Impossible – The Final Reckoning, Salman’s latest film, Sikandar, feels more disheartening than it may have appeared when it was released in theatres. It’s the most recent example of how mainstream Bollywood is pandering to the audience’s perceived demands, instead of challenging them to keep up. Sikandar is made up of around 500 equally nonsensical plots, which are introduced and executed in 10-minute bursts of maniacal disregard for the tenets of moviemaking. It’s like micro-dosing on Being Human deodorant; you’re going to come out the other side either with a vaguely foreign accent, or you’re going to become obsessed with finding doppelgängers of your ex-partners. Starring Salman as the king Sanjay Rajkot, Sikandar mutilates the very idea of cinema with its ineptly edited, lazily written, and lethargically acted brand of storytelling.
Tue, April 1 2025
There’s something pitiable, even desperate, about Sikandar’s attempts to glorify its titular hero. He is Sanjay (Salman Khan), a beloved raja, whose people worship him because of his philanthropic (read ‘being human’) ways. Writer-director A.R. Murugadoss sticks to a bland, predictable template for the narrative. An action sequence, followed by a romantic sequence with wife (Rashmika Mandanna); throw in a song, stir up some random conflict that necessitates an action sequence again where Sikandar, the eternal saviour, rises. The rallying call? “Raja sahab, mujhe bachalo!”. If there’s one flaw in the infallible hero, it’s that he’s got little time for his Mrs. It’s another thing that scenes featuring the Mr and Mrs are entirely devoid of romance or chemistry, making it perhaps one of the most sterile jodis of cinema. Preference for praja over wife comes at a heavy price for the protagonist. Where Murugadoss hopes to make Sikandar stand out in the Bhai genre of films is by showcasing him as a grieving husband and also a Gujarati with a ginormous heart. It’s a load that the stone-faced star struggles with.
Tue, April 1 2025
Following the releases of Bajrangi Bhaijaan and Sultan in 2015 and 2016, respectively, Salman Khan’s career has faced a downward trajectory marked by a series of unsuccessful films. His popularity has waned, and the arrival of Sikander has been met with little excitement, suggesting it may also depart the same way. Despite the involvement of A.R. Murgadoss, you would expect some kind of anticipation to build up but maybe the filmmakers knew it was a lost cause.. The only positive aspect is that Sikander is not as bad as Kisi Ka Bhai Kisi Ki Jaan (2023) Radhe (2021) or Tubelight (2017), but then that is not saying much. The standards have fallen so low in recent years that they have reached rock bottom.
American Manhunt - Osama bin Laden
Documentary (English)
Featuring rare footage and interviews with CIA insiders, this edge-of-your-seat documentary series traces the epic hunt for Osama bin Laden.
Sat, May 31 2025
Sun, May 25 2025
नेटफ्लिक्स पर ‘अमेरिकन मैनहंट’ के तहत ऐसी कई डॉक्यूमैंट्री हैं जिनमें अमेरिका द्वारा समय-समय पर किए गए ‘मैनहंट’ यानी किसी अपराधी, आतंकवादी, कातिल की तलाश से जुड़ी जानकारी साझा की गई है। उसी कतार में ‘अमेरिकन मैनहंट-ओसामा बिन लादेन’ नाम की यह तीन एपिसोड की डॉक्यूमैंट्री आई है जो बताती है कि अमेरिका के इतिहास में 11 सितंबर, 2001 को उस पर हुए सबसे घातक हमले से पहले भी अमेरिका ओसामा को पकड़ना चाहता था लेकिन इस हमले के बाद तो जैसे अमेरिकी खुफिया विभाग रात-दिन उसके पीछे लगा रहा और आखिर दस साल लंबे इंतज़ार और कड़ी मेहनत के बाद उन्होंने उसे एक रात पाकिस्तान के एबटाबाद में उसके घर में मार गिराया और उसकी लाश को समुंदर की गहराइयों में फेंक दिया ताकि कल को कोई उसका मकबरा बना कर वहां सजदा न करने लगे। बड़े विस्तार से यह डॉक्यूमैंट्री अमेरिकी खुफिया विभाग के लोगों, सैन्य अफसरों व उन लोगों से मिलवाती है जिन्होंने फूंक-फूंक कर कदम रखते हुए दस साल लंबा समय लगा कर यह पाया कि ओसामा कहां है, उसे कैसे घेरा और गिराया जाएगा।
Sat, May 17 2025
Every single high-ranking official who appears in American Manhunt: Osama bin Laden — and there certainly is a murderer’s row of them — knows that they are in a Netflix documentary. They’re prone to speaking in blurbs; in declarations and pronouncements, almost as if they want to make sure that they make the cut. The sprawling three-episode series, which was suspiciously released two months after it was supposed to, traces the decade-long hunt for Osama bin Laden, the notorious Al Qaeda leader who remained, for a long period of time, the most wanted man in the world. At the peak of America’s war on terror, there was a $25 million price on his head. Bin Laden kept taunting the Americans for years, somehow evading capture despite having being driven out of his stronghold in Afghanistan following the 9/11 attacks. The documentary series begins on the fateful day when two passenger airliners crashed into the World Trade Centre, while another hit the Pentagon. A fourth plane, United 93, crashed into a field in Pennsylvania after passengers overpowered the hijackers and took control of the cockpit. It was the worst terrorist attack in modern history, resulting in the deaths of nearly 3,000 people. President George W. Bush vowed to bring those responsible to justice, and essentially gave the Central Intelligence Agency carte blanche to capture or kill bin Laden.