Sat, March 15 2025

‘Perusu’, with its simple but effective premise, works despite its limitations thanks to a brilliant screenplay and wonderful performances

A bit of googling tells how terminal erection or death erection is an actual condition that’s very much as shocking as it sounds. It is also the core idea behind director Ilango Ram’s Perusu, the remake of the director’s Sinhala-language comedy-drama Tentigo, which bagged multiple accolades. In Perusu, Halasyam, a much-revered elderly person, dies unexpectedly. But his sons Samikannu (Sunil) and Duraikannu (Vaibhav) barely have the time or space to mourn as their father’s corpse, instead of developing rigor mortis where the muscles stiffen, gets a rigor erectus, causing the dead person to have an erection — or priapism as it’s technically called in which a penis remains erect for hours. As the family — which includes the heirs’ wives Shanthi (Niharika) and Nila (Chandini Tamilarasan), Halasyam’s wife (Nakkalites Dhanam) and her sister (Deepa Shankar) — believes this to be a travesty that the villagers and relatives cannot get a whiff of, they try everything in their power to um… bring things under control.

Continue reading …

Fri, March 14 2025

Perusu attempts to be a rare Tamil adult comedy with a wacky premise but struggles under the weight of repetitive phallic humor.

In a sense, Perusu is one of the rare Tamil films that fit the adult comedy genre, as the premise of the story, directed by Ilango Ram, is as wacky as it can get. Halasayam, a respected man from a rural town, is fondly known as Perusu, a term used for an elder or a patriarch of a family or a village. He is one of those notable people of any town who have a say in its affairs. When we meet Perusu, he lands a slap on a youngster for allegedly peeping at women taking a bath in the community pond. Along with his elderly friends, Perusu orders the young chap to behave. Before leaving the place, he doesn’t miss to grin at the ladies himself. The lad resolves to have his revenge, but Perusu doesn’t give him any chance as he dies after returning home from watching TV. But the catch is that Perusu dies with an erect penis, which lands the whole family in trouble. His two sons–Saamikannu (Sunil Kumar) and Durai (Vaibhav)–try their best to ‘de-escalate’ the problem but it won’t die down. If you frown upon my double entendres, then imagine watching a film with such incessant phallic dialogues and words.

Continue reading …

Fri, March 14 2025

Does it really count as meaningful representation of minorities when the minorities in question are being represented with a mocking tone

College kids of a certain age would be familiar with the practice of filtering assignments through a very rudimentary anti-plagiarism software, mainly to avoid being caught cheating by professors. So worthless were the results of this scam that a kid might even be shamed into putting in the actual effort and writing their assignment themselves. Not only were they submitting something unoriginal, it was also impossible to read. Essentially the same route is now being taken by filmmakers. This week’s new romantic comedy, Picture This, isn’t merely a remake; it’s a remake that is happy to be released in the same week as the Oscars and actively aim for a 2/5.

Continue reading …

Fri, March 7 2025

Bridgerton's Simone Ashley plays an independent young woman who is set up on blind dates by her family during her sister's wedding.

Picture This, led by Simone Ashley, is a remake of the Australian rom-com Five Blind Dates from star Shuang Hu. Relocated to London, director Prarthana Mohan’s film takes the same elements but places it within a dysfunctional but loving British Asian family. Amidst wedding planning, blind dating, and reconnecting with an old love, Ashley’s Pia finds herself again in this funny and enjoyable romantic comedy. The Amazon Prime Video feature is fast-paced and colourful, with plenty of laugh-out-loud moments. Ashley is Pia Jaswani, a talented photographer who owns her own photography studio, The Ninth Mandala, and runs it with her best friend Jay (Luke Fetherston). Her younger sister Sonal (Anoushka Chadha) announces she’s getting married with a month-long series of events. Their mother Laxmi (Sindhu Vee) calls an astrologer (Kulwinder Dhir) to check the groom and bride’s janampatris (birthcharts), when he suddenly predicts Pia will meet her soulmate after going on five dates. Her meddling family gets to work with unsuitable suitors, while her first love Charlie (Hero Fiennes Tiffin) walks back in her life.

Continue reading …

Fri, March 14 2025

In Reema Kagti's Superboys of Malegaon, the protagonist discovers that an act of piracy can save the theatrical ecosystem. Illegal file-sharing and the big-screen experience often go hand-in-hand.

“Jackie Chan could come to Malegaon,” says a young man who has had the misfortune of being born there. “But his films won’t.” The young man is Nasir, the protagonist of director Reema Kagti’s new film, Superboys of Malegaon. Played by Adarsh Gourav, Nasir is the sort of cinephile who would have been logging at least three movies a day on Letterboxd had he been born a decade later, perhaps in a metropolitan city. And as hyperbolic as his words are, there is an element of truth to them. As we speak, the German auteur Wim Wenders is touring the length and breadth of India, taking selfies with Madhabi Mukherjee and reclining on Satyajit Ray’s favourite armchair. But you could be forgiven for not remembering the last time one of his films received a theatrical release here.

Continue reading …

Tue, March 11 2025

Mon, March 10 2025

Fuelled by measured performances that blend energy with restraint, the characters and the film are in reach for the sky, while staying firmly rooted to the ground

Their incredible true story has been in the public domain for well over a decade and a half but the deeds of the moviemakers of Malegaon have never ceased to fascinate. Inherent in the tale is the drama of improbable dreams of nondescript individuals clashing with daunting societal and economic constraints and, in the bargain, engendering phenomenal acts of self-belief. Director Reema Kagti captures it all in Superboys of Malegaon, a matter-of-fact fictionalized retelling. Her film is a classic rollercoaster in which dizzying and sobering, flighty and probing, roll into and out of each other. Superboys of Malegaon, produced by Excel Entertainment and Tiger Baby, is about unremarkable lives made noteworthy by trajectories less ordinary. But, operating firmly within the realms of the real and the relatable, the film steers well clear of the cliches of the genre.

Continue reading …

Fri, March 14 2025

In her career, Sanya Malhotra has inadvertently curated a spiritually connected trilogy in which she plays neglected housewives. The latest, Mrs, cements her stature as a star blessed with uncommon screen presence.

A few years ago, the global cinephile community — the sort of people who compose their Letterboxd reviews even before a film has ended — was thrown headfirst into a heated debate. As far as these folks were concerned, this was a debate of presidential magnitude — the kind of debate that could make a disagreement about Marvel movies seem like a ‘kavi sammelan’ in Lucknow. The British magazine Sight & Sound, which compiles a list of the greatest films of all time every decade, had published its latest rankings. And for the first time ever, the Belgian film Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles — previously viewed as a favourite only in niche circles — had claimed the top spot, sneaking past perennial favourites such as Citizen Kane, Tokyo Story, and Vertigo.

Continue reading …

Mon, February 17 2025

Arati Kadav’s Hindi remake of The Great Indian Kitchen trades simmering rage for a language of female loneliness; it exposes how domestic servitude is romanticised as tradition

In the opening moments of Arati Kadav’s Mrs, you’d be forgiven for mistaking the film as a gentle love story borne out of the great Indian arranged marriage. In Delhi, Richa (a standout Sanya Malhotra), a dancer, meets Diwakar (Nishant Dahiya), an educated gynaecologist and her prospective match for the first time. They exchange glances and share smiles and then end up holding hands on a date at a neighbourhood restaurant. She lets him know that she’s crazy about cassata and he tells her that he’s a fan of “simple, home-cooked food.” Two cuts later, they’re married. It’s as happy as happiness can get.

Continue reading …

Sun, February 16 2025

Ultimately, it remains a low stakes film, not willing to take the risks of the original.

Arati Kadav’s Mrs. – an official remake of Jeo Baby’s The Great Indian Kitchen (2021) – is a technically sound film. It opens with a montage of delicacies being cooked in an average Indian kitchen. Editor Prerna Saigal cuts the meticulous preparation of each dish with a carefully choreographed piece, drawing our attention to the ‘dance’ most women have to endure inside a household, to keep it on its axis. Scored by Sagar Desai featuring sounds from everyday life (like squeaky, rusted gate offering rhythm to the track), the montage works well. But it can’t quite conjure the rhythm of Baby’s original film, which editor Francis Louis establishes in the never-ending loop of domestic labour thrust upon women. Especially inside a kitchen. Kadav, who broke out with imaginative Sci-Fi films (The Astronaut and His Parrot) using wide-eyed imagination to compensate for oppressive budgets, also constructs her latest venture with a similar amount of distance. The food photography is immaculate, the kitchen and the home look like they were built on a soundstage. Unlike Baby’s film, where both the kitchen as well as the home felt lived-in. When Richa (Sanya Malhotra) has to immerse her hand into a clogged sink to weed out the sediments at its bottom, it doesn’t feel as viscerally icky as Nimisha Vijayan’s character having to hand-pick the chewed-out bones thrown by her father-in-law and the husband, in the original film.

Continue reading …

Fri, March 14 2025

Ibrahim Ali Khan essentially plays a high class escort in Netflix's new film, Nadaaniyan, one of the worst that the streamer has ever produced in India. Couldn’t Dharma(tic) have erased this movie from their hard drives and claimed the insurance money?

Inviting Javed Akhtar to the premiere of Nadaaniyan, and making him sit through it — it doesn’t matter that he had a recliner to relax on — is tantamount to elder abuse. Directed by Shauna Gautam, the Netflix romantic drama singlehandedly demolishes any argument that nepotism apologists might have preemptively constructed in the run-up to its release. Ineptly put together, lacking any insight whatsoever into the human experience, Nadaaniyan is a blot on Karan Johar’s career as a film producer, and one of the most questionable originals ever produced by Netflix India — remember, this is the streamer that deemed Shirish Kunder’s Mrs Serial Killer to be worthy of sharing the same server space as Alfonso Cuaron’s Roma.

Continue reading …

Mon, March 10 2025

Ibrahim Ali Khan and Khushi Kapoor (in her third film) are saddled with the unbearable lightness of a story that rests on vacuous contrivances built around a clash of social strata and personal predisposition.

A sham, short-term romantic dalliance in an elite, no-uniform Delhi school assumes serious overtones and flips and flops its way through predictable ups and downs. That is the crux of Nadaaniyan, a passably lively but spectacularly shallow rom-com produced by Dharmatic Entertainment for Netflix. The strictly superficial buoyancy that the film seeks to exude is as affected as the idea that the plot revolves around. Directed by first-timer Shauna Gautam from a script by Riva Razdan Kapoor, Ishita Moitra and Jehan Handa, Nadaaniyan sputters to life only intermittently, banking on the youthful charm and energy of the young lead actors. The film juggles sundry ideas from Karan Johar’s early blockbusters (Kuch Kuch Hota Hai, K3G, et al) and updates them, without much originality, for the consumption of Gen Z social media addicts who would rather die than go off the grid.

Continue reading …

Mon, March 10 2025

Designed to launch Ibrahim Ali Khan into the cinematic stratosphere, the vehicle fails to flatter

A gossamer-thin romantic comedy that comes across as Karan Johar’s latest home assignment for star kids to pass the Bollywood entrance test, Nadaaniyan doesn’t pass muster. Reflecting the armchair sensibility of the Bandra school of filmmaking, the love story strains credibility and tests patience. Its nebulous ideas on education are irritating, and the cultural context of Delhi-NCR is deeply annoying. Moreover, when a dated plot is ploughed by stock characters, it invariably yields meagre returns. Led by debutant director Shauna Gautam, a troika of writers promises to provide insights into adulting. Set in an elite school, the film follows Pia Jaisingh (Khushi Kapoor) as she hires a middle-class student, Arjun Mehta (Ibrahim Ali Khan), as her boyfriend to secure the trust of her BFFs. As they come close, the pretense gives way to a predictable relationship, leading to cosmetic complexities that weigh a few Instagram-worthy reels.

Continue reading …

Fri, March 14 2025

Ram Jagadeesh makes an assured directorial debut with ‘Court: State Vs A Nobody’, relying on an effectively written drama brought to life by able actors

The strength of Court: State Vs a Nobody, debut director Ram Jagadeesh’s Telugu film, lies in its simple yet powerful truth —that the world would be a better place if those in power carried out their duties with sincerity. In this case, the focus is on the judiciary. Through an underdog narrative, Ram, along with co-writers Karthik and Vamsi, highlights how empathy can help deliver justice, regardless of social standing. The drama is anchored by Priyadarshi Pulikonda’s wonderfully restrained performance. The plot is straightforward. Nineteen-year-old Chandrashekhar (Harsh Roshan) falls in love with Jabili (Sridevi), 17. He is the son of a watchman, while she comes from a wealthy background. When her domineering uncle, Mangapathi (Sivaji), discovers their relationship, chaos ensues. Chandrashekhar is slapped with multiple charges, including under the POCSO Act (Protection of Children from Sexual Offences). The year is 2013, just a year after the Act was introduced.

Continue reading …

Wed, March 12 2025

Brian Tyree Henry and Wagner Moura play two loyal friends whose side lives of petty crime drops them into the big leagues after a drug bust gone wrong.

The eight-episode series Dope Thief takes its main characters on an absolute journey as greed and corruption in law enforcement are exposed through each stage. Brian Tyree Henry and Wagner Moura’s characters are longtime friends who are drawn into this mess and try to emerge on the other side unscathed. The story hooks you in from the start, but with each twist, you’ll find yourself rolling your eyes at the outrageous turn of events. The well-acted crime drama is worth tuning in only for its cast. Ray (Brian Tyree Henry) and Manny (Wagner Moura) became the best of friends in juvenile detention and continued their life of crime undetected as adults. The duo pose as DEA agents and rob small drug dealers of their stash and money. Until one day when they hit the wrong meth house in the middle of nowhere. Suddenly, they are entangled in the larger narcotic crime ring that involves more dangerous drug dealers and even the cops themselves. With no one to turn to and their families now in danger, how do the two friends find an escape?

Continue reading …

Mon, March 10 2025

Shabana Azmi pulls her weight without missing a beat. She is ably supported by a wonderful ensemble cast that includes Jyotika, Nimisha Sajayan, Sai Tamhankar, Lillete Dubey, Shalini Pandey and Anjali Anand.

Shabana Azmi is the pivot around which Dabba Cartel, a female-driven Netflix crime drama series, swivels. She is in her element. That is half the battle won. Winning the remaining half takes a bit of doing. Happily, it isn’t entirely beyond the team behind and before the camera. Azmi pulls her weight without missing a beat. She is ably supported by a wonderful ensemble cast that includes Jyotika, Nimisha Sajayan, Sai Tamhankar, Lillete Dubey, Shalini Pandey and Anjali Anand. The writing, too, contributes more than its mite to the show by putting a vigorous fresh spin on the genre. Yet, there is no escaping the feeling that the seven-episode Excel Entertainment-produced series, created by Shibani Akhtar, Gaurav Kapur, Vishnu Menon and Akanksha Seda, could have been a little tighter at the seams and a bit lighter at the edges. It falls just a touch short of being an unqualified success.

Continue reading …

Wed, March 5 2025

The seven-episode Netflix series wobbles between coolness and chaos, menace and mirth, never quite finding its pitch

Shabana Azmi is the fiery queenpin of a female outfit. They ply a disreputable trade. Her underlings feel the heat of her glare. She suffers no fools. I’m talking, of course, about a film called Mandi, directed by the late, great Shyam Benegal and released in 1983. Its coolness remains unsurpassed, 42 years on. Dabba Cartel, a new Netflix crime series with Azmi again at the helm, tries its best to be cool. Co-created by Shibani Akhtar, the show has a novel core: a home chef’s dabba (tiffin) delivery business spirals into a perilous drug operation. The pin-balling narrative is tugged along over seven episodes. The characters are stock, but, coming at you in numbers, they keep up a busy rhythm, like players on a revolving stage. It has the mark of an Excel production: ample efficiency, not a lot of excellence.

Continue reading …

Fri, February 28 2025

It’s a motley bunch of characters. Hari (Bhupendra Jadawat) wants a posting in Germany. Wife Raji (Shalini Pandey) and he pretty much talk of Germany more than anything else. Hari’s mother, the Gujarati saree-clad Ba (Shabana Azmi) is more the onlooker than a participant. Only the book she’s reading ‘Poisonous Shadow’ is at odds with who she seems to be. Ravi’s harried boss Shankar (Jisshu Sengupta) makes a stylish, upper crust couple with wife Varuna (Jyothika). Her ambitious garment venture ‘Sitara’ is fashionably losing money. She does seem the nose-in-the-air rich man’s wife living it up on husband’s funds. Shankar and Ravi are a part of the Viva Life building and company, a pharma company that’s been dodgy with a now-banned product called Modella.

Continue reading …

Mon, March 10 2025

The unrest surrounding the oppressive Rowlatt Act culminates in the Jallianwala Bagh massacre. London-educated advocate Kantilal Sahni, witnessing the carnage, loses his childhood friends Hari and Allahbaksh amidst the political chaos. Haunted by their deaths, Sahni exposes the systemic injustice of the British Raj that facilitated the massacre, while leading the Hunter Commission inquiry. Taaruk Raina, popular for his lighter roles, makes a welcome departure from his strengths, in a heavy role packed with old-fashioned drama – an arena he’s not fully comfortable with, though he delivers a sincere performance. Sahil Mehta, as the angsty journalist with firm opinions, is at ease with his portrayal and is helped by his strong screen presence.

Continue reading …

Sun, March 9 2025

It was a blood splattered Baisakhi on April 13, 1919. When a jashan (celebration) turned into a janazaa (funeral) for the hundreds gunned down at Jallianwala Bagh, Amritsar. General Dyer went down in history as the butcher. He was the cruel perpetrator, also the puppet. But mastermind, ringmaster and puppeteer Lieutenant-General Michael O’Dwyer was never formally indicted. (Udham Singh did shoot him dead more than 20 years later.) Is it time for an unwritten chapter to be brought to the fore? Director Ram Madhvani who had shown glimpses of how well he can segue imagination into history when he made the short film That Bloody Line (on how Sir Cyril Radcliffe cut off bits of India on the west and on the east), goes down the same path, same era.This time to recreate the Amritsar of 1919.

Continue reading …

Sat, March 8 2025

Ram Madhvani’s period drama lacks the technical finesse to explore the Jallianwala Bagh massacre.

In cricket, when the fielding team challenges an LBW (Leg Before Wicket) call, the DRS (Decision Review System) comes into play. This DRS process is a lot like reviewing a film or show. Every stage corresponds to real-world parameters. First, the third umpire checks if it’s a legal delivery — the equivalent of checking if the craft and shot-taking and basic staging are fundamentally sound. Then they move onto Snickometer to see if there’s an edge off the bat or glove — the equivalent of checking if the storytelling is engaging. Finally, Ball Tracking is used to project the trajectory of the delivery. Even here, it doesn’t matter if the ball is hitting the stumps, it has to pitch in line — the equivalent of checking if the intent and politics of the narrative add up. If all checks out, the on-field decision can be reversed and the batsman is ruled out — the equivalent of defying an anti-art industry and making a good show.

Continue reading …

Mon, March 10 2025

Banwari Jha, a teacher in the remote village of Dhadakpur, is anxious to find a husband for his daughter, Roshni. Despite her relationship with childhood friend Amavaas, Roshni accepts a marriage proposal, surprisingly opting for the groom’s brother, Kuber. Kuber’s demand for a five-lakh worth motorbike as dowry sets off a chain of unexpected events. Fresh after his heartfelt performance in Laapata Ladies – Sparsh Shrivastava is back in a familiar avatar (with a few tweaks) but still manages to leave a strong imprint, thanks to his agile body language, ease with humour and drama. Gajraj Rao brings warmth to yet another fatherly role. It’s a pleasant sight to see Shivani Raghuvanshi grow with every project while staying true to the pitch of the character.

Continue reading …

Sun, March 9 2025

Gajraj Rao, Renuka Shahane's ruralcom delivers clean, socially-relevant family entertainment. The show has a determinedly cheerful air -- leaving the viewer smiling is clearly the mandate.

A stolen motorcycle– ‘dupahiya’– in the fictional village of Dhadakpur becomes the fulcrum around which this new comedy and its characters revolve, delivering a melange of Bihari-via-Mumbai accents, loads of quirk and broad life lessons. This is the mix that gave ‘Panchayat’ its mojo, with Phulera’s Sachivji and Pradhanji and their cohorts becoming a byword in the madly-popular OTT-specific ruralcom genre. Here, Uttar Pradesh is replaced by Bihar, but the mood remains similarly overall sunny, as the occasional clouds created by the busy plot (written by Avinash Dwivedi and Chirag Garg) are dispelled by the show’s determinedly cheerful air: leave the viewer smiling is clearly the mandate.

Continue reading …

Sat, March 8 2025

The nine-episode series has its moments, but stays too derivative to make an impact.

I remember watching the first season of Panchayat (2020) and thinking: Wow, this is going to change things. And it did. It altered the way we perceived “comedy” as a serious genre. It was very exciting to see a simple, slice-of-life environment — the iconic fictional village of Phulera and its bittersweet characters — seared into the modern streaming lexicon. But I’d be lying if I said I was blindly optimistic. At the back of my mind, there was this fear — a fear derived from years of watching Hindi cinema overkill a new sensation. Nobody knows how to quit while they’re ahead.

Continue reading …

Sun, March 9 2025

When things go right, the film makes you feel like reading one of those fascinating pulp fiction stories that are not just radical and intriguing, but also knew never to overstay its welcome.

There is a quaint Christian fishing hamlet. There is a raging sea at their footsteps. The villagers haven’t gone fishing in their waters for over two decades. Every single person who has gone out to the sea has come back dead. There is a curse. There is a reasoning. There are overarching themes involving regret, retribution, and redemption. There is a romance track that, thankfully, exists in the periphery. There is a to-and-fro between timelines that moves from the 80s to the 2020s to the 2010s to the 60s to the 80s, and you know the drill. There are multiple backstories for each principal player of this story. There is a folklore. There is a fantasy element, and then… there’s a sea creature. And yet, for the longest time, GV Prakash Kumar‘s latest film, Kingston, seems to move nowhere, and this proves to be the film’s biggest undoing.

Continue reading …

Sun, March 9 2025

Gentlewoman might have been a lot of things, could have been a lot more things, but ends up being a film that reminds people that societal expectations, set by some random people, cannot become the norm for a woman, or for anyone.

Gentlewoman starts off as a tale about a gentle woman. She wakes up. She makes coffee. She has her bath. She wears her saree. She cooks. She packs. Her husband wakes up, prays to God, and gets ready for work. He reads philosophy. On the outset, he is that perfect husband. But scratch just a couple of layers, we understand that he has made her a creature of habit. She wakes up, makes coffee, has her bath, wears her saree, cooks, packs, and also has to stand in the balcony and bid him goodbye as he leaves for work. But what does he do for her? Well, never once in the film does he do anything for her. And this is not registered by an elaborate scene, but just a simple callback that is effective and subtle. Probably why when director Joshua Sethuraman suddenly decides to get all preachy and rub our faces in the film’s ideology with verbose monologues, and random conversations that feel out of place in this world, it feels like a let-down.

Continue reading …

Sat, March 8 2025

Gentlewoman could have been an ode to Sriram Raghvan’s crime thrillers, but it is a bit didactic and unrefined to be linked to such excellence.

Gentlewoman is one of those films that leaves you with the frustration that rises out of lost potential. It could have been the perfect free-hand circle, if not for the last wayward bit. The circle is not all that misshapen, but you can’t look past the botch made either because when things are going well, it is seamless, until it is not. The mistakes, even though just a few, become conspicuous when everything else is perfect. Now, the film, directed by debutant Joshua Sethuraman, is good. The lamentation is about how it could have been great as it kicks off with a brilliant premise and subtlety that is rare in crime thrillers of Tamil cinema.

Continue reading …