Sat, May 3 2025

Some stories don’t just tell you what grief looks like — they let you sit with it, laugh through it, even hallucinate your way around it. Vamshi Krishna’s Firefly does all that and more.

THERE’S A SCENE in Firefly when Vicky, recently out of a coma, returns home after months and rings the bell, getting more and more irritated with every unanswered ring, before his new reality strikes him. There’s a glimmer of realisation in his eyes. The scene does not cut to sad music and tears. Instead, he searches for the house keys and strides out to get them from his uncle’s house, from where he had just walked out in a huff. This scene, in a strange way, sets the tone for the film, which speaks about coping with grief, depression, sleeplessness, and the overwhelming yearning to see one’s parents one more time. Despite the theme, debut actor-director Vamshi Krishna, who has also written the film, infuses it with a certain childlike lightness of touch and quirky humour. He’s also careful not to toss around the word depression casually—there’s a sensitivity in the portrayal of group therapy and more.

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Thu, May 1 2025

Bhaskhar Maurya’s debut feature is an ode to ordinary people with extraordinary dreams

Watching director Bhaskhar Maurya’s Telugu film Muthayya, now streaming on ETV Win, feels like shedding the trappings of urban life and settling into an unhurried rural setting, surrounded by affable characters. The story centres on a 70-year-old man from a village in Telangana, who dreams of becoming a film actor and seeing himself on the big screen — just once in his lifetime. Age may not be on his side, but his zest for life remains undiminished. Humour weaves gently through the narrative. In an early scene, two men climb a water tank to unveil a banner. Someone remarks, in the Telangana dialect, “Yem peekindu?” (What did he achieve?). We soon find out. At the heart of the story is Muthayya (played by Sudhakar Reddy of Balagamfame), who owns a modest plot of land that overlooks open fields and distant hills. Each evening, he retreats to his simple dwelling on the land, sharing a drink or two with his much younger friend Malli (Arun Kumar), who runs a cycle repair shop in the village.

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Tue, April 29 2025

Director Paul Feig's sequel in the Italian countryside is a diverting laugh until it takes a very dark turn.

Based on the characters by author Darcey Bell, the sequel to A Simple Favor (2018) returns with double the craziness and twists of the first film. Several familiar faces are back in Another Simple Favor, directed once again by Paul Feig. But it’s the weird bond between frenemies Stephanie Smothers (Anna Kendrick) and Emily Nelson (Blake Lively) that elevates this fun and freaky sequel. The Italian setting and the wedding venue lead to wild storytelling, which is only saved by the stars’ chemistry and banter. Emily, who is out of prison on appeal, invites her old bestie Stephanie to be her maid of honour at her Italian wedding to a wealthy Italian man, Dante Versano (Michele Morrone), who may or may not be in the mob. As the wedding festivities take off, the bodies begin to drop like flies, and unsurprisingly, mommy vlogger Stephanie is one of the suspects. Is this one of Emily’s tricky traps again?

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Tue, April 29 2025

Writer-director Ananth Narayan Mahadevan bookends his 129-minute biopic on social reformers and educationists Jyotirao and Savitribai Phule with the events of 1897. Poona is devastated by the plague. Savitribai runs across parched land to bring an ailing child to a makeshift medical camp. Before the doctors can pronounce a prognosis, events move back in time to 1848. Savitri was a child bride then, married to the slightly older Jyotirao Phule who, even as a teenager, was progressive enough to want his wife to be educated. This did not sit well with his conservative father (Vinay Pathak). Undeterred, Jyotirao continued to encourage not just his wife, but also the younger village girls, to learn. Now older and more committed, the Phules’ egalitarian practices and focus on social reform conflicted with the caste hierarchy of the time. The ire of higher-caste men, enraged that the ‘untouchables’ were stepping out of their lane, compelled the couple to move away from their family home. Joy Sengupta plays the upper-caste Vinayak, Darsheel Safary is the adopted son Yashwant Phule, and Amit Behl plays the head priest. Sharad Kelkar serves as narrator, giving the staccato screenplay some cohesion.

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Sun, April 27 2025

Mahatma Jyotirao Phule and Savitri Phule were a social reformer couple who worked for the causes like eradication of caste discrimination, women education, widow remarriage, etc. Filmmmaker Ananth Narayan Mahadevan’s Phule is a biopic on their lives and struggles. Jyotirao is married off to Savitri when they were kids, as per the traditions and customs of that era. They both belonged to the (so-called) lower caste. Jyotirao starts educating his wife from an early age as he strongly believed that it’s important for women to be educated. The movie starts off in 1848 when Jyotirao (Pratik Gandhi) and Savitri (Patralekhaa) are already grown-ups and working towards education of girls from their neighbourhood in Pune (then Poona). The two face strong opposition from the (so-called) upper caste people of that time.

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Sun, April 27 2025

Some of its scenes reflect the present, showing that society has not changed much for more than a century

One could argue: making a biopic in Hindi cinema these days is a lost battle even before one begins. Such is our legal system, our near-Olympic status at taking offence as a society, the cumbersome process of obtaining life-rights, and the patronising tone filmmakers adopt to turn someone’s life story into a moral science lesson (or they won’t get it). It’s no surprise then that most biopics coming out of Hindi cinema re-manufacture a stale, reverential tone with intermittent cues of inspirational music – so much so that my brain almost involuntarily switches off during such sequences these days. And god forbid if the film has the slightest socio-political criticism. Then the headache of battling the CBFC (censor board), with the livelihoods of hundreds of crew members being on the line – it’s no surprise why nearly every filmmaker is cautious, even if the film is set around characters who took on Brahmanical patriarchy more than a century ago.

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Tue, April 29 2025

Director Tejas Prabha Vijay Deoskar’s Marathi movie Devmanus is the official remake of directors Jaspal Singh Sandhu and Rajeev Barnwal’s Sanjay Mishra and Neena Gupta starrer 2022 Hindi movie Vadh (which this reviewer hasn’t seen). The movie is a fine emotional crime drama. The story takes place in Kopargaon in Maharashtra. Senior citizen couple Keshav (Mahesh Manjrekar) and his wife Laxmi (Renuka Shahane) are staying alone after their son Madhav (Ruturaj Shinde) migrates to the US and gets married over there without their consent. Keshav is a tuition teacher cum farmer, who somehow managed to gather loan to get Madhav educated in the US. Along with the bank, he also had to take money from the local contractor and an evil goon Dilip (Siddharth Bodke) while mortgaging their ancestral house.

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Fri, April 25 2025

Keshav and Laxmi's simple life spirals into a moral struggle after a life-altering incident that blurs the line between right and wrong and sets him on a path of choosing between repentance and atonement.

What happens when a simple, calm, composed man commits a crime out of helplessness? Is the crime justified? Does the man repent? Does he get caught? Devmanus answers all these questions and does it while keeping you hooked. An adaptation of Jaspal Singh Sandhu and Rajeev Barnwal’s Hindi film Vadh, Devmanus sees Mahesh Manjrekar and Renuka Shahane stepping into Sanjay Mishra and Neena Gupta’s roles. The film is a thrilling drama that packs all the right punches – stellar performances, a gripping story, beautiful shots, taut editing and a fitting background score. Owing money to a loan shark, Keshav (Mahesh Manjrekar) and Laxmi (Renuka Shahane) are struggling to make ends meet. The impending tension of losing their mortgaged house makes the couple helpless as Dilip (Siddharth Bodke), the goon who they’ve taken the money from, shows up drunk at their doorstep anytime he wishes to. Things take a drastic turn one day and the lives of Keshav and Laxmi change forever.

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Sun, April 27 2025

Filmmaker Pratik Rajen Kothari’s Gujarati movie Auntypreneur has an unusual title. A person who carries out business is called entrepreneur. So, when an aunty becomes an entrepreneur, she becomes an ‘Auntypreneur’, as per the movie. What sets the protagonist of the film aside is the necessity angle of her business. Auntypreneur takes place in today’s times in Malad, Mumbai in Poonam Co-Operative Housing Society. Jaswanti Gangani aka Jasu (Supriya Pathak Kapur) stays with her young tenant Raju (Parikshit Tamaliya) and maid Manda (Margi Desai). Her son Bhavik (Ojas Rawal) has been in Dallas, US, where he is doing very well. Jasu once imagines her housing society about to be demolished by the municipality in her dream. Unfortunately, her nightmare comes true as the municipality gives an eviction notice to the CHS. It says that their builder hasn’t paid property tax worth Rs. 1.96 crores and has run away outside the country. Hence, if they don’t pay up the amount within four months, their building will be demolished.

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Sat, April 26 2025

Jaaji gets married to Dushyanta, the youngest son in a joint family that’s guarding a mystery, in return for a 5-acre property. Right on the day she enters her in-laws’ house, her father-in-law is found dead. Her brother-in-law Mahesha has strange visions about his ex-wife Pushpavati. Over time, Jaaji realises that the house harbours secrets that could destroy her peace. The show largely rests on Kushee Ravi’s steady shoulders. She carries the drama with a convincing performance as a confused daughter-in-law trying to uncover the secrets of a strange and eerie family. It’s clear she has grown as an actor since her Dia days, and it’s heartening to see a new side to her talent. Manasi Sudhir also stands out, bringing strength and a strong screen presence to her role.

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Sat, April 26 2025

There are more than a few kinks that need to be straightened out, but full points to Sundar C for giving Tamil cinema its Vadivelu back.

Sundar C is a rather enigmatic filmmaker who understands the kind of nuanced conversations around cinema on social media, and still makes a film that would invariably be contentious in such a space. In fact, in a recent interview, Sundar C said that his films don’t have a lot of bloodshed, voyeuristic camera angles, double-meaning dialogues, and glamour for the sake of it. But then, Gangers is like an antithesis to his belief system as the film has bloodshed, voyeuristic camera angles, double-meaning dialogues, glamour for the sake of it, and… oodles of humour that salvages the film whenever it dips into unsavoury territories.

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Fri, April 25 2025

With only sporadic laughs, Gangers is a predictable and dull affair as Sundar C and Vadivelu fail to reclaim their old glory.

There’s an explanation for the weird title Gangers when a character wonders isn’t ‘Gangster’ the right term to use. Vadivelu as Singaram goes, “That’s an old term. This is for a change." Thus, the title ends up being the unique thing about Gangers, which is a reiteration of many such comedy dramas of Tamil. It isn’t unusual that Sundar C has stuck to a template yet again with Gangers. But the problem here is that the film has nothing else going for itself other than the template. Scenes cruise through checking all the usual boxes, following all the cliches with complete nonchalance, revealing a half-hearted effort in the writing and direction. The expectations, if any, about the collaboration of the hit duo Sundar C and Vadivelu after years, quickly turn into disappointments as the duo fails to recreate their past glory.

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Fri, April 25 2025

The veteran comedian Vadivelu returns to form in Sundar C’s heist comedy that fails to play to its strengths and suffers from an identity crisis

Two clips from recent promotional interviews went viral for the most ironic reasons. A Telugu producer asserted that there’s no nepotism in their film industry, and closer home, Sundar C, while promoting his movie Gangers, said his films never have double-meaning dialogues or suggestive sequences. Of course, netizens called it out and had a field day on social media. In fact, that is one of a few more concerns that plague Gangers, a rudimentary heist comedy almost rescued by the back-in-form legendary comedian Vadivelu. Veteran filmmaker Sundar C’s films are known for their simple plots, and Gangers is no different. The film is a mishmash of several ideas and templates we have gotten accustomed to — some from the director’s yesteryear hits. When a schoolgirl goes missing, her teacher, Sujitha (Catherine Tresa), takes it up and gets an undercover cop to serve as a teacher. Meanwhile, Saravanan (Sundar C) lands up in town as the new PET teacher for a school where Singaram (Vadivelu) holds the same position and has an eye for Sujitha. Is Saravanan the appointed cop? What’s the correlation between the teachers and the local gangsters masquerading as bigwigs? What are the films these plot points remind you of?…

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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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