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.

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Sun, June 1 2025

Inept casting and bland execution work against ‘Bhairavam’, director Vijay Kanakamedala’s remake of the Tamil hit ‘Garudan’bhairavam

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.

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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.

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Sat, April 12 2025

Some films are meant to be savoured not devoured, and no points for guessing how this film, headlined by an excellent Rangayana Raghu, should be consumed.

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.

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Fri, April 11 2025

Agnyathavasi, directed by Janardhan Chikanna and co-produced by Hemanth M Rao, peels itself layer by layer. Some scenes unfurl first on screen, then in your mind, and then on screen again.

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.

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Sat, May 31 2025

Jonathan Entwistle's film unites all corners of the Karate Kid universe while sticking to formulakarate-kid-

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.

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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।

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Fri, May 30 2025

Single-handedly undoes the nostalgia and cultural impact of every single Karate Kid story in the last four decades.

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.

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Sat, May 31 2025

Manidhargal is a story of a bunch of friends trying to get rid of the body of their friend, who died during their drinking session.

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.

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Sat, May 31 2025

n ‘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

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.

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Sat, May 31 2025

'Moonwalk' delivers the best kind of nostalgia, made with so much love that you can’t help but get with the beat

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.

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Sat, May 31 2025

A movie that mutilates the very idea of cinema, Salman Khan and AR Murugadoss' Sikandar succumbs to the demands of an increasingly inattentive audience.

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.

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Tue, April 1 2025

The A.R. Murugadoss film shows the limitations of Salman Khan's charisma and how the old formula of 'protagonist as the eternal saviour' desperately needs an update

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.

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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.

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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।

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Sat, May 17 2025

The three-episode Netflix documentary features a host of high-ranking CIA officials, and also Robert O’Neill, the Navy SEAL who has controversially claimed to have killed bin Laden.

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.

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Sat, May 31 2025

Mehran Amrohi’s modest indie was made long ago, but its themes are timeless.

When you hear that a film made ten years ago is getting a long-delayed release, preconceived notions take over. The same set of thoughts emerge: it’ll be dated, it’ll have the small-film-with-a-big-heart syndrome, it’ll be an indie asking for sympathy, it’ll be have intentions than craft. It can be worse when it’s a children’s film — you almost expect it to revolve around a cycle or an unattainable toy or the pursuit of little-things happiness with sad-violin music. Chidiya, too, revolves around two brothers from a Mumbai chawl — 9-year-old Shanu (Svar Kamble) and 5-year-old Bua (Ayush Pathak) — who want to play a game whose name they don’t know. It involves a shuttlecock and two rackets. They spend days trying to hustle together a net, some space, and most of all, some time. Their struggle features a few quirky characters from the neighbourhood. See what I mean?

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Fri, May 30 2025

इस फिल्म का नाम, पोस्टर और ट्रेलर देखिए तो लगता है कि यह ऐसे गरीब बच्चों की कहानी होगी जो बैडमिंटन खेलना चाहते हैं लेकिन उनके पास न जगह है, न संसाधन। किसी तरह से ये लोग सब जुगाड़ते हैं, मुश्किलों से लड़ते हैं और एक दिन अपने से बलशाली खिलाड़ियों को हरा कर जीत हासिल करते हैं। लेकिन यह फिल्म देखिए तो ऐसा कुछ नहीं मिलता। बिन बाप के दो बच्चे हैं। ‘चिड़िया’ से खेलना चाहते हैं। किसी तरह से जगह, सामान वगैरह का इंतज़ाम करते हैं लेकिन मां का हाथ बंटाने के लिए उन्हें काम पर जाना पड़ता है। बैडमिंटन खेलने का उनका सपना अंत तक सपना ही बना रहता है। और फिर एक दिन…! यह कहानी असल में उन लाखों-करोड़ों लोगों के जीवन में झांकती है जो अपनी ज़रूरतें पूरी करने के लिए पूरी ज़िंदगी निकाल देते है। इस दौरान कभी उनके छोटे-छोटे सपने, छोटी-छोटी ख्वाहिशें सिर उठाती भी हैं तो अक्सर उन्हें दबा दिया जाता है। इस फिल्म को देखिए तो अफसोस होता है कि जिस उम्र में बच्चे पढ़ते हैं, खेलते हैं उस उम्र में कुछ बच्चों को मज़दूरी क्यों करनी पड़ती है? इन बच्चों की बाल-सुलभ हरकतें, जिज्ञासाएं, तमन्नाएं हैं लेकिन मन में टीस उठती है उनकी गरीबी, मजबूरी, बेबसी को देख कर। यह फिल्म हमें ऐसे किरदारों के करीब ले जाकर यह भी दिखाती है कि सपने देखने का हक सिर्फ भरी जेब वालों को ही नहीं होता।

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Fri, May 30 2025

Sat, May 24 2025

So Bollywood-coded that all the mask-ripping, triple-crossing, and spoon-feeding seems like sirka-pyaaz and chutney before the action-packed main course.

There’s a scene in Mission: Impossible — The Final Reckoning where Hayley Atwell’s character, Grace, looks Ethan Hunt dead in the eye, and suggests with stone-faced seriousness that he accepts his destiny and becomes God. Played by Tom Cruise, Ethan could soon gain possession of an incredible artefact that’ll nudge him in that direction. His buddy Luther has invented a gizmo that basically functions as a magic lamp in which he plans to trap the rogue genie that he is after — an AI villain called The Entity. Ethan’s reluctance to handle absolute power, however, is about as believable as something like The Entity being caught and captured in a fancy pen drive. But if there’s one thing that we’ve learnt about him in these last decades, it’s that when he’s given a choice — there’s always a choice — he doesn’t say no.

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Fri, May 23 2025

Cruise, gets to do all the stuff that defines the character

By the time Mission: Impossible - The Final Reckoning trudges its way to the end of its bag of tricks, a question looms and it is as large as the aura of Tom Cruise’s Agent Ethan Hunt. Will the eighth and presumably final instalment of the popular action-adventure franchise leave the audience asking for more or have them wondering if they have had enough? The answer is likely to tilt more towards the latter. This mission, a strenuous continuation of what was left incomplete in Mission: Impossible - Dead Reckoning Part One, suffers from an excess of expositions - a sure sign that the screenplay has holes that needed to be plugged before being sent out into the world. Almost all through the film, the characters engage in constant chit-chat with the purpose of clearing the air - and the ground - for Hunt’s hunt for the fiendish Gabriel (Esai Morales), who makes no bones about his desire to wrest control of a truth-devouring parasitic Artificial Intelligence called “Entity”, that can wipe out all of humankind by infecting cyberspace and breaching the arsenals of nations that possess nuclear weapons.

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Fri, May 30 2025

Wed, May 14 2025

Sat, May 10 2025

Sophia, a CEO, clashes with a reluctant prince Aviraaj while trying to turn their struggling palace into a BnB, sparking an attraction despite their differences. Amidst a sabotaged pitch, a palace photo shoot, and a royal ball where Aviraaj avoids his ex and Jinnie finds romance, their connection deepens. Turning a king, he learns a shocking secret, only for a fundraiser to reveal more family truths. It’s surprising how Ishan Khatter goes about his choices – from the big-scale fantasises to earthy indie films – making him unpredictable as a performer. While Aviraaj as a character may be one-dimensional, he tries to make something out of it, without interfering with the creator’s approach. Bhumi Pednekar is impressive, but appears in autopilot mode with her performance, which works on a surface level, though it doesn’t strike a chord.

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Fri, May 30 2025

Dibakar Das Roy’s film about a Nigerian striver skewers the city with humour and bluntness.

If Mumbai feels too real to be cinematic, New Delhi feels too cinematic to be real. Every life is cursed to be a story; every person sounds like a character. Dilli Dark scrutinises these illusions and fictions of the Indian capital through the lens of an outsider. The outsider is Michael Okeke (Samuel Abiola Robinson), a Nigerian national who is trying his darndest to overcome casual racism, transcend his stereotypical African image as a drug peddler named Kevin, and find a real job with his MBA degree. Ironically, his skin tone is an obstacle in a culture that’s so busy playing victim to the first world and massaging its own brown-person complex that it remains oblivious to the third-world gaze it inflicts upon others. It’s a vicious cycle, but Michael’s 6-year relationship with the city comes to a head when he befriends a coke-addicted godwoman (Geetika Vidya Ohylan).

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Thu, May 29 2025

‘यह अंधेर नगरी है, यहां गलत रास्ता ही मेन रोड है।’ इस फिल्म (Dilli Dark) का एक पगला किरदार दिल्ली के बारे में जब यह बात कहता है तो लगता है कि इस शहर के बारे में इससे ज़्यादा सयानी बात भला और क्या हो सकती है। दिल्ली-नक्शे पर एक शहर लेकिन इतिहास के पन्नों में एक ऐसी जगह जो जितनी बार उजड़ी, अगली बार उससे ज़्यादा शिद्दत के साथ बसी। एक ऐसी जगह जहां कभी पांडवों ने राज किया तो कभी बाहरी आक्रमणकारी जाते-जाते अपने गुलामों को गद्दी सौंप गए। वही गुलाम वंश जिसमें रज़िया जैसी सुलतान हुई और वही रज़िया जिसने अफ्रीका से आए अपने गुलाम याक़ूत से मोहब्बत की। आज बरसों बाद एक और अफ्रीकी युवक दिल्ली में रह रहा है। माइकल ओकेके (ओके ओके नहीं ओकेके) एक आम लड़का है जिसे हिन्दी समझ में आती है और वह ‘तोड़ा-तोड़ा’ बोल भी लेता है। वह दिल्ली वाला है, दिल्ली वाला बन कर यहीं रहना भी चाहता है। दिन में एम.बी.ए. करता है, लेकिन रात में मजबूरन उसे ड्रग्स बेचनी पड़ती हैं। पंजाबी मकान मालिक की लड़की को देखता है, पड़ोसी बंगाली से दोस्ती करता है, एक धर्मगुरु मानसी उर्फ ‘मां’ के नज़दीक पहुंचता है लेकिन पाता है कि इस शहर में हर कोई बस अपने लिए जीता है।

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