Sat, April 26 2025

With the strength of the film seemingly lying in comedy, the detours into emotional zones, and some serious zones are distracting at best, and infuriating at their worst.

The first time you meet Yoshinori Tashiro in Shiva’s latest film, Sumo, he is wearing a mawashi, the outfit worn by Sumo wrestlers. Apparently, he washed up the shores of Chennai, and has the mental makeup of a 1.5-year-old child. And somehow, that means, the wrestler’s only focus is to satiate his tremendous appetite. He finds an immediate connection with Shiva (Shiva) because… well, you need a reason for the movie to move on, and they didn’t find anything else to do. Willing suspension of disbelief, anyone? After this point, we are asked to willingly suspend our disbelief on multiple occasions, and we would have done exactly that if the film didn’t abruptly shift tones in every second scene to thrust a sense of reality in the world of absurdity.

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Sat, April 26 2025

After making three franchise films in a row, Ryan Coogler sinks his teeth into weighty themes with his gloriously vengeful vampire thriller.

When Edgar Wright dropped out of directing the first Ant-Man movie for Marvel, pretty much everybody agreed that it was for the best. He ended up making the wholly original Baby Driver instead. Ditto for Ava DuVernay, who passed on directing Black Panther for the studio. They went with Ryan Coogler, who delivered a true cultural touchstone; Black Panther became the first superhero movie to earn a Best Picture nod at the Oscars and catapulted Coogler into a club normally restricted to white visionaries such as Steven Spielberg and Christopher Nolan. But it seems like Coogler always knew that the invite was conditional; while his white counterparts could go on to do whatever they wanted next, as a Black filmmaker with one blockbuster under his belt, he’d have to provide further proof of his capacity to comply — a guarantee, if you will, before he could be allowed to make something as audacious as his fifth feature, Sinners.

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Tue, April 22 2025

Coogler compresses centuries' worth of the Black experience into a beautifully pulpy and poignant 137-minute motion picture about one wild night at a barrelhouse, bloodthirsty vampires — and music.

SINNERS stars Michael B Jordan as identical Black twins Smoke and Stack, who return to their hometown in 1930s Mississippi. It’s been 7 years, and their loaded backstory — a troubled childhood with a violent father; a World War I stint and plenty of PTSD; a brief return only to have their lives upended by tragedy; an escape to big city Chicago and an entry into the Al Capone gangster universe — bleeds into this film. None of it is shown, but every moment bristles with the unresolved baggage of history. Smoke’s reunion with his estranged wife, and occult ritualist Annie. Stack’s reunion with his white ex-girlfriend Mary. The brothers using their Chicago “blood money” to buy an abandoned sawmill from a former Klansman; their ‘recruitment’ of old friends to turn the sawmill into a rocking juke joint. A fleeting argument where Stack accuses Smoke of letting Annie “again” come between the brothers.

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Sun, April 20 2025

Sat, April 26 2025

Josh Hartnett stars as a mercenary tasked with tracking down a high-value target aboard a flight full of assassins, in a by-the-numbers action movie with a distinct 'Direct-to-DVD' vibe.

The thing about movies that are easy to pitch is that they’re also highly unoriginal. You could imagine the writers of Fight or Flight strolling into an executive’s office and giving them an animated breakdown of the story, describing it as ‘Speed meets Bullet Train’, and promptly being given a green light. Directed by James Madigan and starring Josh Hartnett, Fight or Flight borrows liberally from B-movies past, struggling and failing to come up with something novel. It isn’t a long movie, but it doesn’t feel as short as its 90-minute run-time might suggest either. Hartnett plays Lucas Reyes, a mercenary who is hiding out in Bangkok after a job gone wrong. He is awoken from a liquor-induced slumber one morning by his ex, who operates some sort of shady organisation dedicated to world peace or something. Lucas is instructed to hightail it to the airport and board a flight bound for San Francisco. Aboard the flight is a mysterious, high-value target known only as ‘The Ghost’. Needless to say, Lucas isn’t the only person after them.

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Fri, April 25 2025

Priyadarshi and Vennela Kishore shine in director Mohanakrishna Indraganti’s latest, an entertaining blend of social satire and screwball comedy

Oscar Wilde’s semi-comic tale Lord Arthur Savile’s Crime, published in 1891, follows an aristocrat’s absurd efforts to commit a murder before marrying his fiancée — purely because a palm reader foretells it as his destiny. Writer-director Mohanakrishna Indraganti reimagines this premise within the framework of a contemporary Telugu household, weaving in sharp social commentary, reflections on the film industry and social media culture, while also tipping his hat to the comedic sensibilities of Telugu and Tamil cinema greats like Jandhyala and ‘Crazy’ Mohan. It may sound like a lot to pack in — but Sarangapani Jathakam is a surprisingly smooth blend of social satire and screwball comedy, anchored by an excellent cast, particularly Priyadarshi Pulikonda and Vennela Kishore.

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Fri, April 25 2025

Unless you are fascinated by the time loop as a theme, you can afford to escape this one. It's campy and unscary.

A year after her sister Melanie goes missing under mysterious circumstances, Clover (Ella Rubin) and her friends decide to trace her journey. This leads them to an abandoned house in Glore valley, where an hourglass sand timer decides their fate. As the clock starts ticking, each one is haunted and slaughtered by a masked killer. However, as time passes, they are resurrected and made to relive the evening that seals their death. They are horrified to discover that they will be killed over and over again until they find a way to survive the night and escape this death loop.

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Thu, April 24 2025

It’s not hyperbole to call Andor the best Star Wars series. Since the franchise has shifted to web series, Tony Gilroy’s prequel saga is the richest telling from the galaxy, as it explores themes and arcs that seem far, far away but are more timely than one can imagine. Led by a fantastic ensemble cast, Andor Season 2 is a wonderful return to form for the franchise as the series hurtles towards the events of the feature film Rogue One (2016). Picking up one year later, Bix (Adria Arjona) and Cassian (Diego Luna) have long left Ferrix, but there are new battles to fight. Senator Mon Mothma (Genevieve O’Reilly) prepares for the wedding of her teenage daughter while dealing with unexpected hitches in her secret fight against the Empire. Dedra (Denise Gough) and Syril (Kyle Soller) meet his mother, while Rogue One’s Orson Krennic (Ben Mendelsohn) presents a disturbing plan to a select few. There are several plots bubbling, and each one leads us to the inevitable mission from the film.

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Tue, April 22 2025

I hope ‘Khauf’ earns some notoriety, because it will mean the show will have pierced through the veneer of smug Indian men.

Smita Singh’s Khauf is deeply suspicious of the world around it. In the eight-episode miniseries, spanning five and a half hours, there are only a handful of moments when the bystanders come out looking good (or at least civilised). Nearly all men (boyfriends, colleagues, bus passengers, older relatives, autorickshaw drivers, landlords, streetside louts) vary from being insufferable, creepy and abusive to serial killers; there’s no white knight in this bleak, decaying world. I wouldn’t be surprised if Singh’s show is labelled misandrist or ‘men-hating’ by rungs on social media – like they did with Arati Kadav’s Mrs. Will Singh’s show achieve the ‘virality’ that Kadav’s film did? We’ll find out. But, for Singh’s sake, I do hope it earns some notoriety, because it will mean the show will have pierced through the veneer of smug Indian men, touching a nerve somewhere.

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Mon, April 21 2025

Sat, April 19 2025

A Horror Show with Grand Aims, Middling Execution

Leaving her hometown, Gwalior, Madhu seeks a fresh start in Delhi, unaware that her hostel room harbours a sinister presence, alarming the other residents. They urge her to leave before it’s too late. While the warden brings in a shaman (doctor), Madhu pursues her assailant. She confronts him while the hostel women ally with the doctor. Madhu’s rage escalates as she unleashes vengeance. Monika Panwar effectively steps into the shoes of a small-town woman in a vulnerable phase in her life, struggling to find her way in a misogynistic world. Rajat Kapoor, in an unusually creepy role, generates adequate fear and tension through his portrayal of Hakim.

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Sun, April 20 2025

Memory loss or issues with memory is an unusual problem. More than the person suffering from the same, it affects those around him or her. This is the base of writer and director Suman Ghosh’s Bengali film Puratawn (English title: The Ancient). The movie revolves around Ritika (Ritupatna Sengupta), a woman working in the corporate sector in a high position. Her marriage with Rajeev (Indraneil Sengupta), a passionate photographer, is going through turbulence. She, along with Rajeev, visits her ancestral home in a small town in West Bengal where her mother Mrs Sen (Sharmila Tagore) lives, to celebrate the latter’s 80th birthday in a grand manner. But there is also another reason for Ritika’s visit. She and Rajeev wish to reveal to her that their marriage is going nowhere. However, after arriving at the ancestral house, Ritika is pained to know that her mother is facing memory issues. Now, she is more hesitant to tell her about her troubled marriage as she doesn’t know how she would take it.

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Sat, April 12 2025

Writer-director Suman Ghosh situates Puratawn (The Ancient) in a sprawling ancestral abode inhabited by a widowed matriarch and her housemaid. Many stories, some fading, others perennial, and many of them going all the way back to the 1970s and beyond, resides in this mansion and in the mind of its principal occupant. The physical location as well as the wizened lady’s psyche are sites where mere words and gestures do not convey as much immediate meaning as forgotten objects and indelible remembrances do. It is human to hold on to secrets, to create mysteries, and to conjure up conundrums in the course of the humdrum of existence — the protagonist of Puratawn does all that as she looks for ways to resist obliteration of what she holds dear.

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Sun, April 20 2025

A mom allows her nine-year-old daughter her first-ever sleepover at the home of her new friend in school. When she lands up the next afternoon to pick her up, her world falls apart when she discovers that her daughter has vanished, with no trace of the family that supposedly lived there. That is the rather intriguing premise of The Stolen Girl, a pulpy, if often incongruous thriller, that relies a lot on convenience and contrivance, but is engaging while it lasts. Playing out on Jio Hotstar over five pacy episodes, The Stolen Girl is akin to a page turner, a trifle sensationalist if you may, tracing how the seemingly perfect lives of Elisa Blix (Denise Gough), a high-flying stewardess, and her lawyer husband Fred (Jim Sturgess) come to a standstill when their nine-year-old daughter Lucia is kidnapped. The police are pressed into action, even as red herrings — a ransom note, Fred’s brief affair, Elisa’s predilection to document every aspect of her life on social media — are strewn all through the narrative. It is good fun while it lasts, but The Stolen Girl — Eva Husson directs an adaptation by Catherine Moulton of the 2020 Alex Dahl-written novel Playdate — sacrifices its potential to become yet another series that doesn’t know what to do with its material after the initial episodes.

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Sat, April 19 2025

Avinash Prakash’s Tamil feature film charts the story of three preadolescent siblings in Tamil Nadu, who are schooled by their father in the most abusive and emotionally violent ways

In Avinash Prakash’s Tamil feature film Naangal which premiered at the International Film Festival Rotterdam this week, time is stretched by a limited set of events as if perched on a non-stop Ferris wheel. They are the same moments with their ups and downs, same life-altering triggers that repeat in a cyclical fashion. Three preadolescent siblings — Karthik (Mithun V, eldest, 13 years old), Dhruv (Rithik Mohan) and Gautam (Nithin D) — live somewhere near Lovedale in the hills of Tamil Nadu with their father (Abdul Rafe as Rajkumar) who owns plantations, a house too huge for four individuals and is the Chairman and Principal of their modest school.

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Sat, April 19 2025

Naangal is in the Asian Cinema Competition lineup at the ongoing 15th Bengaluru International Film festival

Epic in length - it has a runtime of nearly four and a half hours - but squarely focused on the minutiae of the life of three boys and their excessively stern father, Naangal (This Is Us) is an exceptional piece of cinema. Calling it a piece of anything would be somewhat incongruous - it is far larger than that. Naangal - the Tamil film is part of the Asian Cinema Competition at the ongoing 15th Bengaluru International Film Festival - is a striking and sweeping collage of innumerable shards of memory, mostly unsettling, collated and rendered in the form stunning images underwired by a fantastic background score and strung together with impressive skill and imagination. Written, directed, shot and edited by Avinash Prakash, Naangal has the look of a work helmed by a seasoned director. But it is a debut film. A deeply personal essay, its length is bound to be commented on. What is important is that the time that Naangal takes to tell a story that spans about a decade seems completely justified. Growing up is never easy particularly when home isn’t what it is meant to be - sweet home.

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Sat, April 19 2025

Debutant director Avinash Prakash turns pages from his life into a deeply moving, poignant tale about a turbulent childhood

Cwtch, which means embracing someone to offer a sense of warmth, is a famous Welsh word some of us might be familiar with. An inter-title before Naangal commences introduces us to another one word — Hiraeth — which means homesickness for a home one cannot return to or one that never existed. Very rarely can an entire film’s plot, conflict and resolution be summed up in a word, and director Avinash Prakash establishes precisely that in the first frame of his film, which also doubles as his biographical. With Naangal, Avinash puts us in the middle of three brothers’ traumatic yet transformative upbringing in a dysfunctional family. Rajkumar (Abdul Rafe) is a man whose once-affluent family is now bankrupt. After parting ways with his wife and some financial setbacks, he has become the chairman of a run-down school. With no place to assert dominance, he takes it out on his three children — Karthik (Mithun V), Dhruv (Rithik Mohan) and Gautam (Nithin D) — who stay with him and are forced to endure his physical and emotional torture. What happens when their resilience gets tested forms the rest of Naangal.

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Sat, April 19 2025

Director Laxman Utekar's Chhaava presents a muddled narrative that lacks basic humanity and historical context; the film's binary view of right and wrong does a disservice to both Vicky Kaushal and Akshaye Khanna's characters.

One of Javed Akhtar’s favourite stories to tell is about fishing. Regardless of the venue — it could be an international seminar or one of those ‘naastik parishad’ meetings that he enjoys attending — he regales the audience with a carefully constructed bit about why fishing is considered a relaxing recreational activity while hunting is mostly outlawed across the world. The only reason for this, he declares in his punchline, is because fish don’t have vocal chords. They can’t shriek in agony when they’re pierced by a hook, scaled alive, and left to suffocate. Fishing has great PR, as do the folks behind the blockbuster film Chhaava, even though it incited a riot.

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Fri, March 28 2025

Action pyrotechnics and fire and brimstone dialogue that fan the fire of nationalism—Chhaava follows Bollywood's new template for historical extravaganzas

For nearly two hours, Chhaava runs like a mishmash of the testosterone-heavy Marvel and DC universe action spectacles. Here, it leads to one battle after another, as Maratha king Chhatrapati Sambhaji Maharaj (played by Vicky Kaushal) duels against a lion (cue Russell Crowe in Gladiator), excels in aerial fights and takes on the Mughal army, often single-handedly. Accompanied by a bombastic background score by A.R. Rahman, the historical extravaganza comes alive in the last half hour, when the punches are not literal, but verbal. With the protagonist captured and chained, audiences finally get to see the daring hero and his enemy, a haggard Aurangzeb (Akshaye Khanna), in one frame. “Mughalon ki taraf aa jaaao. Zindagi badal jaayegi. Bas tumhein apna dharm badalna hoga (Join hands with the Mughals. Your life will change. All you have to do is convert to Islam),” says Khanna’s Aurangzeb in a final offer of freedom to the brutalised Chhaava. The Maratha king, his spirit untethered, retorts, “Humse haath mila lozindagi badal jaayegi aur dharm bhi badalna nahin padega (Join hands with Marathas. Your life will change and you won’t even have to change your faith).”

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Sun, February 16 2025

Sat, April 19 2025

Featuring a landmark central performance by Noah Wyle, the Max medical drama is a compassionate, claustrophobic, and immaculately crafted leap in television.

Tears are just grief leaving our body, says Dr Michael Robinavitch in The Pitt. It’s one of the many pearls of wisdom that he drops through the 15-episode first season of the medical drama, which is streaming in its entirety on Jio Hotstar. Known as ‘Dr Robby’ to everyone around him, and those who will never see him again, he is the ‘chief attending’ at a Pittsburgh hospital’s emergency department. His job is to run the day shift as smoothly as he can, despite all the difficulties that the modern healthcare system throws at him. He must do his best with an under-staffed and under-funded team; he must deal with belligerent patients, and, towards the end of the season, an unprecedented tragedy that will require him and his fellow doctors to go above and beyond the call of duty.

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