Sat, February 22 2025

We often use the term 'human' as a moral antithesis to beasts and machines, but Companion is one of the few modern fables that shows how in fact ‘human’ might have been the derogatory state all along.

EARLY ON in Drew Hancock’s Companion, two young women named Iris (Sophie Thatcher) and Kat (Megan Suri) have a prickly moment on a boozy night. When Iris asks why Kat — a close friend of Iris’ new lover Josh (Jack Quaid) — doesn’t like her, a tipsy Kat says she just doesn’t like the ‘idea’ of her. “You make me feel replaceable,” she continues. The conceit of this confession is two-pronged. Iris is deeply in love with her new boyfriend Josh, but Kat is in an abusive relationship with a controlling Russian man; the obvious implication is that Kat is bitter. But the real implication emerges a scene or two later, when the film reveals that Iris (“Siri” when spelt backwards) is actually a companion robot. Up until then, it speaks volumes that the average male viewer may not be able to tell. Iris loves Josh so much that she is subservient to him — she wants to please him by hanging out with his friends on a weekend getaway, she craves to see him smile, and sex for them is basically Josh grunting and rolling over to sleep. It’s all too familiar. So Kat saying she feels “replaceable” by Iris is the film admitting that — in a world captured by the male gaze — a woman robot is no different from a woman.

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Fri, February 21 2025

Created by Veronica West, the interesting but stretched mystery series about the identity of a young woman (Gugu Mbatha-Raw) returns to add more spice to the tale.

A line from the Tom Cruise starrer A Few Good Men (1992) would be very apt for Surface Season 2. Maybe Jack Nicholson should have shouted, “You can’t handle the truth,” to some of the characters in the show. The Apple TV+ series starring Gugu Mbatha-Raw revolves around a woman named Sophie trying to figure out her past, present, and future after getting amnesia. This season, Surface moves to England, where buried secrets threaten to take over two families. Sophie (Mbatha-Raw), now going by the name Tess, returns to London, where she tracks individuals who were once close to her, hoping to find out the truth about her past. But as the identities of Sophie and Tess continue to co-mingle, she puts herself and others she comes in contact with in more danger. This involves a journalist named Callum (Gavin Drea) and her estranged husband James (Oliver Jackson-Cohen) as they interact with the secretive but wealthy Huntley family and their heirs Quinn (Phil Dunster) and Eliza (Millie Brady).

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Fri, February 21 2025

Directed by Shridhar Rangayan and Saagar Gupta, 'Kuch Sapney Apne' embraces the euphemism of being an ‘important film’ rather than a solid one

Some movies break your heart when they’re not good. A chunk of filmmaker-activist Sridhar Rangayan’s filmography — which focuses on queer subjects and LGBTQ-themed stories — falls into this category. The chasm between intent and execution is as wide as the chasm between fact and fiction in Hindi historical biopics. Distinguishing between the two is important; criticising the craft of a film is not the same as panning its cause. If social significance alone were a yardstick for meaningful cinema, Rangayan’s latest (co-directed and co-written with Saagar Gupta), Kuch Sapney Apne, would be the Love Actually of the genre. A sequel to his previous feature, Evening Shadows (2018), Kuch Sapney Apne expands its multi-narrative snapshot of an orthodox South Indian family at the crossroads. The conflict is now married to its consequences.

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Fri, February 21 2025

The workman-like handling of the story makes everything so pedestrian that I nearly zoned out in the first couple of episodes.

Reacher is many things. Ex-US Army. Tall. Large. Loner. Drifter. But he’s no grifter: he means what he says, even if sometimes he comes off as pedantic. But when he tells wealthy rug merchant Zachary Beck (Anthony Michael Hall) that wherever he, Reacher, goes, trouble seems to find him, he is just stating facts. In a sedate university town of Maine, trouble once again finds our favourite former military cop, and Season 3 of the eight-part show called, simply, and aptly, ‘Reacher’, is off and away. This one is based on Lee Child’s seventh bestseller ‘Persuader’, developed for TV by Nick Santora, and written by Scott Sullivan. Good cops, bad guys, shoot-outs, car crashes, sudden kills, the staple elements of the best-selling author’s page-turners, all show up.

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Thu, February 20 2025

Co-directed by Matthieu Delaporte and Alexandre de La Patellière, the lavish French production is the latest film to adapt Dumas's thrilling tale.

The 2024 version of The Count of Monte Cristo, starring Pierre Niney, is a stunning and faithful adaptation of Alexandre Dumas’s 1844 novel about a man who exacts revenge on those who wronged him. Beautifully brought to the screen, the film is one of the most expensive films made in France. This is the kind of film Hollywood has forgotten to tell. Niney’s mesmerising performance as the vengeful Count is the main reason to tune into the film.

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Wed, February 19 2025

Created by Carrie Hobson and Michael Yates, the touching comedy about a middle-school softball team also experiments with style and story

Prior to Win or Lose, Pixar Animation Studios’ series have all been spun off from their film franchise. With this new animated series, the studio is branching out into new territory, and it is a delight to see. The eight-episode series created by Carrie Hobson and Michael Yates is laugh out loud funny as it tackles every insecurity felt by various members of a middle school team. Interestingly, each episode is told from the viewpoint of a different character, adding to the mystery of who wins the final game. The first two episodes focus on different members of the Pickles softball team. The premiere episode tells the story from Coach Dan’s (voice of Will Forte) daughter Laurie (voice of Rosie Foss). Insecure about her place in her dad’s life, the child of divorce becomes so anxious she manifests her own ‘sweaty’ devil. The second episode belongs teacher Frank (voice of Josh Thomson) who is also the umpire. Still hung up over his ex Monica (Vyvan Pham), he contemplates getting back into the dating scene.

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Sun, February 16 2025

Arun D Jose’s ‘Bromance’ starring Mathew Thomas, Mahima Nambiar, Arjun Ashokan, Sangeeth Prathap, Kalabhavan Shajohn and Shyam Mohan, thrives on fine performances from its lead cast despite its weak plot

Pop cultural references in a film often give a hint of the particular demographic the makers are aiming the film at. In Arun D.Jose’s Bromance, the references that fly thick and fast, almost as an easy stand-in for thoughtful dialogue writing, are from recent films. Just like his first two films, Jo & Jo and 18+, Arun attempts to create a movie targeted at the youth from a super thin storyline. But, unlike his previous outings, he goes for a much more fast-paced narrative that partly succeeds in covering up for the weaknesses in the plotting. There is the impeccable comic timing of Sangeeth Prathap, who continues in his Premalu vein to pep up even dull scenes. Written by Thomas P. Sebastian and Raveesh Nath, Bromance takes off with Binto (Mathew Thomas), setting out to find his elder brother Shinto (Shyam Mohan), who had gone missing.

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Sun, February 16 2025

Marvel's latest can't create a distinct enough personality for the new Captain America

When Bruce Banner—The Hulk—is looking for a cure for his unusual rage transformation, he seeks help from maverick scientist Samuel Sterns. Their collaboration faces resistance from General Thaddeus “Thunderbolt” Ross, who is hell-bent on stopping Banner because the giant, angry, green Hulk is dating the general’s daughter, Betty. Ross also wants to harness the gamma tech to his own advantage to create an adequate foil for The Hulk. The resultant creation, dubbed the Abomination, clashes with The Hulk, leading to the destruction of Harlem and a permanent scar on Ross’ reputation. This summary of the 2008 film The Incredible Hulk, which starred Edward Norton as Bruce Banner, Tim Blake Nelson as Samuel Sterns, Liv Tyler as Betty Ross, and William Hurt as General Ross, is crucial to understanding Captain America: Brave New World.

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Sat, February 15 2025

While Sajin Gopu delivers his best, Painkili’s lack of focus renders it a random and pointless affair.

Painkili is one of those films that leaves you confused. There are streaks of brilliance in it, but something leaves the project way off the mark from being the unique experience it strives to be. Written by Aavesham director Jeethu Madhavan and directed by Sreejith Babu, Painkili is an attempt to provide something off-beat and eccentric, but instead, it ends up being random because of the lack of a story arc. While the film is supposed to be about the meeting of two enigmatic personalities–Sajin Gopu’s Suku Sujeeth Kumar and Anaswara Rajan’s Sheeba Baby–it takes a long time to reach the point. Instead, it meanders too much, doling out comedy sequences. While the humour works to a large extent, you are constantly left wondering about the point of it all.

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Sat, February 15 2025

If you’re willing to let go of your defences, 'Painkili' becomes a mausoleum of madness, a citadel of cringe that gets you to laugh for the kind of jokes you’ve never seen or heard of before.

In Sreejith Babu’s debut Painkili, cringe isn’t the after-effect as much as it is the aesthetic the film aspires for. It is self-aware and loud and made by a director with such an original style that he hasn’t yet found ways to bring it under control. How else would you describe some of the wild ideas that are dime a dozen? Take the example of a character named Jaffer, one of the many “gundas” in the film. Not only does Jaffer introduce himself each time he runs into a friend, but he goes on to call everyone around him Jaffer too. It doesn’t make any sense and oftentimes ideas like these are so strange that we’re unsure if we’re expected to laugh or wince. But in the odd instance one of these wild swings begin to make sense, it’s next to impossible to stop laughing.

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Fri, February 14 2025

Director Sreejith Babu's Painkili, starring Sajin Gopu and Anaswara Rajan, is a quirky comedy film. While it offers great laughs, the haphazard screenplay is a put-off.

A few minutes into director Sreejith Babu’s ‘Painkili’, you see a petite Sheeba Baby (Anaswara Rajan) jumping off the terrace and eloping from home after being pressured into marriage. But, she is unsuccessful. She gets caught by her father and casually walks into her home as if nothing happened. This opening scene is just enough to tell you that you are in for a quirky ride with Painkili. Painkili is the story of two different individuals. On one hand, we have Suku Sujith Kumar (Sajin Gopu), who posts ‘cringe’ poetry on Facebook. His trip to Coimbatore changes his life, where he had to obtain a fake mental health certificate to prove his innocence. Meanwhile, Sheeba is a happy girl who wants to study. But, her parents insist on getting her married and pressure her to do so at every opportunity.

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Sat, February 15 2025

Michael Morris' film offers familiar pleasures to long-time fans of the franchise

Author Helen Fielding’s first novel about a single, thirty-something woman living in London was released in 1996. The novel was adapted into a movie in 2001, with the heroine of Bridget Jones’s Diary returning in a movie sequel titled Bridget Jones: The Edge of Reason in 2004. American actress Renée Zellweger has starred as Bridget Jones in all four films based on Fielding’s writing, which, in part, is the writer’s homage to Jane Austen’s Pride and Prejudice. It’s no coincidence that Bridget’s love interest is called Mark Darcy, played by Colin Firth, who famously portrayed Mr. Fitzwilliam Darcy in the 1995 TV adaptation of Austen’s novel. The latest, Bridget Jones: Mad About The Boy, is the fourth film (the last was Bridget Jones’s Baby, from 2016) about the life and loves of Bridget Jones. Michael Morris directs a screenplay by Fielding, Dan Mazer, and Abi Morgan. The film explores themes of loss, resilience, and self-discovery while still delivering the trademark awkwardness and comedic situations that have defined Bridget’s character.

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Sat, February 15 2025

A much-needed normalisation of a beautiful love between two women that delves into the psyche of allyship as much as it talks about queer romance

In Anbe Sivam, Madhavan’s Anbarasu, who coerces his friend Sivam, to become his brother figure of sorts, says, “Idhenna kaadhala, asingama sollitte irukkardhukku… (This isn’t love. Why should we keep on announcing it to the world?)” It was a poignant scene about the importance of understanding love without putting it in words. But it was also a reminder that love for one another has to be expressed repeatedly. Why? It is not to just create a sense of acknowledgement about the relationship. It is also to create an example for many others who might think their love isn’t right, or they are not destined for love, or they are not deserving of love. That is why all kinds of love need to be showcased for all to see. And that is why Jayaprakash Radhakrishnan’s Kadhal Enbadhu Podhu Udamai is an important film in Tamil cinema.

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Sat, February 15 2025

Lijomol Jose plays Sam, who breaks the biggest secret of her life to her outwardly progressive parents, and as expected things take an ugly turn.

Kadhal Enbathu Podhuvudamai is a film about the upper limit of a modern family’s progressiveness. For Sam (Lijomol Jose), it comes as a shocker that her parents aren’t the rational beings they seem to take pride in. Their facade of being a modern couple crumbles down when she reveals that her lover is a woman. Director Jayaprakash Radhakrishnan manages to pack in a lot of questions and answers about acceptance in a matter of 102 minutes, with a gripping tale that doesn’t let you meander much. The success of this character-driven film is due to its focus on the conflict and not pretending to be anything other than what it is. The film follows the events of a day at Lakshmi’s (Rohini) household. Lakshmi is excited as her daughter’s lover is expected for lunch. She is also annoyed by the absence of her maid Mary (Deepa), who we are shown to be dealing with an abusive son-in-law at a police station. Lakshmi’s excitement knows no bounds as she is ready with gifts for her to-be son-in-law. However, Sam is petrified as her lover is Nandini (Anusha Prabhu), a woman. We are kept on the edge for almost all of the first half of the film as the ice doesn’t break. Nandini comes with a male friend and Lakshmi takes him for the lover of her daughter. When the cat finally gets out of the bag, Lakshmi flips, revealing her ugly side. What ensues is an interesting conversational drama that makes a case for queer love.

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Sat, February 15 2025

Jayaprakash Radhakrishnan's 'Kadhal Enbadhu Podhu Udamai' doesn’t want to preach to the choir; it instead chooses the far more complex route of speaking to people who are not looking to be convinced.

The first 30 minutes of Kadhal Enbadhu Podhu Udamai (Love Is Common Property) is not an easy film to sit through. It’s frothy and hollow and you’d be surprised that you’re watching the work of writer-director Jayaprakash Radhakrishnan, known for intense psychological dramas such as Lens (2016) and Thalaikoothal (2023). It begins with Sam (Lijomol Jose) confessing to her mother (Rohini) that she’s in love and wants her to meet this person. With the flowery set-up you’d find in silly rom-coms, we get scene after painful scene of the mother, preparing to welcome her future son-in-law. We learn that they hail from the upper middle class, and we also learn that Sam’s parents separated years ago. The film uses this time to introduce us to a handful of characters, including Sam’s father (Vineeth), Sam’s bestie Ravi (Kalesh) and Deepa (Deepa Shankar), the cook who is more than family.

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Sat, February 15 2025

The whole idea of Laila isn't explored enough, and for lengthy stretches of the film, the character is objectified, and never allowed a moment of honesty.

The hero of Laila is called Sonu Model (Vishwak Sen). He is a salon owner, and a specialist in women’s makeup. He is said to be the to-go stylist for every woman in that neighbourhood, but the salon is tacky to a fault. And he is unnecessarily confusing his ‘Mass ka Das’ persona with the character of Sonu, and being a walking talking annoyance. We’ll get back to him in a while. The heroine of Laila is called Jenny. She is a physical trainer in a gym. She also takes classes in public parks. She only wears tight-fitting clothes, and it is par for the course considering her profession. The makers want to only feature her in certain frames, and certain close-ups to appeal to us, the common people whose only reason to watch films is to satiate our depravity. What? You never asked for it? And yet, they are doing it in the garb of appealing to mass audience. We’ll get back to her in a while.

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Fri, February 14 2025

Director Ram Narayan’s ‘Laila’, headlined by Vishwak Sen, is regressive and gets progressively painful to sit through

The Telugu film Laila, directed by Ram Narayan and starring Vishwak Sen, outlined its premise clearly in its promotional material. The story revolves around a man forced to disguise himself as a woman to escape a group of men out for his blood — only to be ogled at by the very same pursuers. The trailer openly hinted at the double entendres and adult humour in store. However, the film’s issues extend far beyond its tasteless comedy. The narrative aggressively doubles down on crass, regressive tropes, making nearly every sequence leading up to and following the disguise an ordeal to sit through. Take, for example, a subplot where a family rejects multiple prospective brides because they are not “beautiful” enough to match the glamour of heroines from Chiranjeevi’s blockbuster films. Their eventual choice — a fair-skinned, stunning bride — shatters their illusions when her makeup wears off, revealing dark skin. The son is devastated, while the father, in apparent shock, is nearly paralysed. It is hard to believe that such tone-deaf sequences, masquerading as comedy, are still being written in 2025.

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