Author: Indo American News

By Anjanika Walker

In the crowded landscape of sports dramas, American Warrior stands apart as an indie film with both grit and heart. Produced by a female-led team, the film dives deep into the world of Mixed Martial Arts (MMA), but at its core, it’s a story about redemption, family, and second chances. Written by and starring Vishy Ayyar, who draws inspiration from his own life, the film is layered with a realism that elevates it beyond the familiar underdog formula.

The story follows Jai (Ayyar), a man born into wealth but brought low by his own actions. Convicted for mortgage fraud, Jai emerges from prison a humbled figure, working as a janitor in a bustling MMA training gym. Once an amateur fighter himself, Jai is now consumed by the shame of his fall from grace. His path unexpectedly shifts after he stops a robbery, a heroic act that makes him an internet sensation and opens the door to step back into the ring, this time not only for a title, but for redemption.

The ensemble cast blends Hollywood and Bollywood talent seamlessly. Taylor Treadwell (Big Little Lies, Knight and Day) plays Melissa, Jai’s love interest. She portrays a recovering addict and single mother fighting to rebuild her own life. Her chemistry with Ayyar is natural and layered, especially in moments of vulnerability. Danny Trejo, ever the reliable veteran, shines as Jai’s friend and trainer, bringing both grit and humor. Verónica Falcón (Ozark, Queen of the South) delivers a standout performance as the tough but warmhearted gym owner. Andrew Gray (Power Rangers) is convincing as Jai’s menacing adversary in the cage, while Omi Vaidya (3 Idiots) provides a moving turn as Jai’s empathetic relative. Together, the cast delivers compelling performances that ground the film in authenticity.

What makes American Warrior compelling is not just its narrative but the real-life parallels woven into its making. Ayyar began shooting just after being discharged from an 18-day hospital stay; the catheter is still fresh in his arm. In a scene where Jai punches a heavy gym bag, his pain is visible as is his freedom free of the catheter and the bandages, not merely as acting, but as lived reality (since it was the same day that the nurse removed the catheter from his arm). In another poignant moment, Jai visits his hospitalized mother onscreen, mirroring Ayyar’s heartbreak as his real mother lay in a coma at the same time. These layers of lived experience bleed into the film, creating a rawness and honesty rarely captured in scripted drama.

Taylor Treadwell’s contributions also enhance the film’s natural feel. She recalls setting up her kissing scene with Ayyar alongside director Gustavo Martin, whom she dubs an “actor’s director” for his willingness to grant freedom and encourage spontaneity. That openness translates onscreen into performances that feel unpolished in the best way, genuine, improvised, and deeply human.

Shot on a modest budget, American Warrior carries the scrappy spirit of Rocky, with MMA’s brutal rhythms standing in for boxing’s old-school grit. Yet this is more than a fight film. It is about fractured families, cultural blending, and the tenuous path of rebuilding after mistakes. The film’s intercultural cast and blend of Indian and American life provide an additional texture that keeps it fresh.

For fans of martial arts dramas with a dash of romance, American Warrior offers a heartfelt, authentic experience. It may lack the polish of big-budget sports films, but it more than makes up for it with sincerity, raw emotion, and the kind of personal truth only indie filmmaking can deliver.

Verdict: A scrappy, heartfelt drama that punches with authenticity.

By Ronak Kotecha

Story: Based on true events, Tehran follows a resolute Indian special officer who, after a deadly 2012 bomb blast in Delhi, embarks on a covert mission in Iran. With Iran hunting him and India turning its back, he must untangle a web of deception linking three nations — before it’s too late.

Review: Tehran is a tense spy thriller that takes a real, little-known 2012 incident and turns it into a high-stakes cross-border drama. The film opens with a car bomb outside the Iranian embassy in Delhi — What seems like a sporadic incident — a car bomb outside the Iranian embassy claiming a child’s life, is in fact the tip of a complex geo-political iceberg involving Iran, Israel, and India. Debutant director Arun Gopalan sets the tone with a concise, impactful voice-over on the historic rift between Israel and Iran, swiftly segueing into an explosive opening. Gopalan keeps the film tightly paced, rarely letting the tension drop.

The story follows Special Officer Rajeev Kumar (John Abraham), who is pulled into a covert mission that takes him to Tehran. John Abraham gives a steady, controlled performance: he’s intense and focused, the kind of hero, who shows more through action than speech. Manushi Chhillar (S.I. Divya) provides a strong supporting presence as a no-nonsense officer, while Neeru Bajwa (Shailja) brings depth to a character that could easily have been one-dimensional. Together, they make the human side of the story believable.

Writers Ritesh Shah and Ashish P. Verma build a complex plot that demands close attention. The film doesn’t spoon-feed you information — you have to follow the threads. That makes it satisfying for viewers who like smart, detailed thrillers, but it can be confusing for anyone expecting a simpler, lighter ride. There are many characters and political layers, and a fair bit of dialogue in Farsi with subtitles, which could put off viewers, who find such attention-demanding scenes frustrating and overwhelming.

Where Tehran really shines is its look and feel. Cinematographers Ievgen Gubrebko and Andre Menezes capture Tehran’s narrow lanes, busy markets and shadowy corners with realism. The action scenes (choreographed by Doug Coleman and Amritpal Singh) — chases, gunfights and close encounters — are well-staged and maintain a thorough, grounded tone. The background score by Ketan Sodha keeps the tension taut, and while Tanishk Bagchi’s single track Ishq Bukhaar (sung by Shreya Ghoshal and B Praak) is catchy, it is absent from the film.

The movie’s strength is its authenticity: real locations, convincing production values and a sense of urgency that never lets up. Its weakness is the sheer density of the plot. At times the film feels overloaded with detail and characters, which can dilute emotional impact.Overall, Tehran is a worthwhile watch for fans of geopolitical thrillers who are willing to pay attention and follow a layered narrative. It doesn’t always clarify every thread, but its realism, strong performances and relentless pace make it an engaging spy drama. — ToI

By Sridevi S.

Plot: Deva, aka Devaraj (Rajinikanth), is the charismatic owner of Deva Mansion, a haven where students can stay at discounted rates. When his close friend Rajshekhar (Sathyaraj) suddenly dies of a cardiac arrest, Deva stumbles upon the original death certificate — and the truth is far from natural. It reveals his friend died from an injury, not illness. Determined to uncover the killer, Deva infiltrates a smuggling ring in Visakhapatnam. But in chasing justice, he inadvertently unlocks a hidden chapter of his own past — one filled with secrets, unfinished business, and dangerous loose ends that demand closure.

Review: The film opens at a bustling port in Vizag, where Kingpin Simon (Nagarjuna) and his aide Dayal (Soubin Shahir) run an illegal operation. After a police diktat stops them from disposing of bodies at sea, they turn to Rajshekhar (Sathyaraj), a former laborer who has invented a chair capable of cremating bodies instantly, leaving only ashes. Originally discarded by the government for its dangerous potential, the invention now falls into the wrong hands. When Rajshekhar is killed, his longtime friend Deva (Rajinikanth), who had been working in the background, steps into the fray. What begins as a mission to uncover his friend’s murderer soon unravels secrets from Deva’s own past, tying old loose ends to the present conflict.

The first half of Coolie leans heavily into fan service — complete with songs, dances, punch dialogues, and a fair share of swagger. While it slows the film’s momentum and spends a bit too long introducing characters who could have been set up more briskly, the second half is where Lokesh really gets cooking and serves up a treat. Multiple cameos here not only land perfectly but also add real weight to the story, with well-timed twists keeping the audience hooked.

Despite its extended runtime, Coolie roars as a tribute to Rajinikanth’s legacy — brimming with energy, nostalgia, and unfiltered mass appeal. Learning from the pacing missteps of his last outing, director Lokesh Kanagaraj crafts a tighter, more impactful second half, putting his pan-India stars to good use with well-etched, purposeful characters. Nagarjuna, as drug lord Simon, embraces his villainy with calculated finesse, while Soubin Shahir proves to be another inspired casting choice whose screen presence lingers. Rachita Ram’s surprise role emerges as the scene-stealer — effortlessly commanding the frame and delivering one of the smoothest, most organic action sequences in the film. Upendra exudes effortless swagger as Rajini’s silent yet formidable right-hand man, matching the superstar’s presence blow for blow in the high-octane set pieces.

Rajinikanth, of course, delivers exactly what fans crave — charisma, style, and a commanding screen presence that feels effortless. The flashback portions, especially the Rajini–Sathyaraj sequences, are a treat, as the two icons come together on screen after 40 years. Sathyaraj and Shruti Haasan bring solid support, never tipping into excess, while the mass appeal and emotional beats keep the second half gripping, with well-timed outbursts landing just right. The de-aging of Rajinikanth is pure mass — seamlessly done, it adds a nostalgic punch. Shruthi’s character is the anchor of the film. Even Aamir Khan’s cameo is smartly placed, adding intrigue without feeling forced. Lokesh seems to have learned from the tonal missteps of his previous outing, striking a smarter balance this time. He directs Rajinikanth with the enthusiasm of a fanboy but never lets it overshadow his own filmmaking sensibilities, blending style, story, and spectacle with confidence. Though this film may not reach the heights of Kaithi or Vikram, it is far from disappointing, delivering a thoroughly entertaining experience that keeps audiences engaged. Anirudh’s music is a highlight — the songs are proper crowd-pleasers, and the BGM elevates action sequences brilliantly, though emotional scenes stick to somewhat stereotypical musical cues.

While the first half could have been tighter, the second half more than compensates, making Coolie a high-energy, nostalgic, and entertaining ride for fans. Coolie emerges as one of Rajinikanth’s most electrifying outings in recent years, surpassing his previous films in sheer energy and style. It caters not just to die-hard fans but also to casual viewers, balancing nostalgia with interesting storytelling. The cameos, in particular, outshine Lokesh’s previous outings, delivering memorable performances that enhance the story without ever feeling forced. With high-octane action, charismatic star power, and well-placed surprises, Coolie is a perfect blend of mass appeal and crowd-pleasing entertainment.

And now, to the million-dollar question — is it part of the LCU? Lokesh cleverly slips in the word “drug” in the film, leaving it to the fans to decide whether to see it as part of the larger universe or enjoy it as a standalone story. — ToI

By Sukanya Biswas

HOUSTON: My father passed away almost 27 years ago, but there were stories he told us that have stayed with me. Then I was younger, life was all about friends, sneaking out and doing things that were forbidden. I listened to his stories, but now I wish I had paid more attention.

One recount that I remember vividly was about Noakhali (a town now in Bangldesh). It was after the riots, he was out there volunteering.  The aftermath of the riot was still strong. One night after he had gone to bed, he heard terrifying screams. He stayed hidden in his room until morning broke. Later when he ventured out, he saw multiple corpses lying in a nearby well. Humans who were butchered and cast aside like garbage.

These are traumas that stay with you. I am sure these traumas stayed with that generation who saw a country torn asunder. A country that gained freedom but paid a heavy price.

Vivek Agnigotri ‘s “The Bengal Files” tells us a story that has been passed down to us from our previous generation. Until now, no one thought of making a movie on the events of those times. I don’t recollect seeing any film on the terrible Direct Action Day of August 16, 1946 (also known as The Great Calcutta Killing) when the All-India Muslim League decided to take a “direct action” using general strikes and economic shut down to demand a separate Muslim homeland after the British exit from India.

A communal riot broke all across the city of Calcutta leading to large scale violence and spread beyond to the surrounding areas.

Noakhali was one such place where massacres happened. On the day of Lakshmii pujo, the male members of Rajendralal Roychowdhury’s family were executed, he was beheaded and his daughters made sex slaves. Rajendralal, a local zamindar, was the President of the Noakhali Bar Association and a member of the Noakhal! Hindu Mahasabha. Women were raped and killed and mass murder was rampant.

In 3 hours and 30 minutes, the movie swings between the present day anarchy of West Bengal to the chaos of 1946. In the present day, a power hungry politician kills with impunity, protected by the same political party which is supposed to protect it’s citizens. In the past, the same circumstances prevailed.

Maa Bharati, a 100-year-old woman who has bouts of dementia (played by actress Pallavi Joshi) lives in the present times, but she is the product of the pre-partition era. The young Bharati Banerjee witnessed the killing of her parents, her beloved Amar, and many massacres of Hindus.

As India prepped for freedom, and Mahatma Gandhi preached his non violence, Hindus met violent deaths. Courageous men and women did everything, within their limited resources, to prevent these deaths. Gopal Patha was one such man, though his name does not feature in history books and no one talks about how he saved many lives. Bina Das was one such woman, who took a gun and attempted to kill the governor of Bengal. How many outside of Bengal know these names?

In 1946, there were men like Ghulam (played by Namashi Chakraborty) and in the today there are men like Sardar Husseini (played by Saswata Chatterjee), both different men but with the same mindset and protected by the same corrupt system.

The movie tells the story of Sita Mandal, a journalist, who goes missing and a CBI officer, Shiv Pandit (actor Darshan Kumar) sent to Kolkata to look for her. For each step forward, he has to go back two steps.  Sardar’s minority status is used to his advantage. Questioning Sardar about his involvement in Sita’s disappearance is met with resistance.  Shiv Pandit’s hands are tied, and the excuse of stirring up a communal riot prevents him from doing the right thing.

The Bengal Files has lots of graphic violence and gory scenes. Since it is not a documentary, these are dramatization of events. Though long, the story is engaging enough to keep you riveted to your seat.

By Dhaval Roy

Story: The comedy follows Jassi (Ajay Devgn), who pretends to be a war hero to help a young woman impress her boyfriend’s family and win their approval for marriage.

Review: Director Vijay Kumar Arora’s film follows Jassi, who finally joins his wife (Neeru Bajwa) in Scotland after waiting 13 years for his visa. However, his joy is short‑lived when she asks him for a divorce. After a chance encounter with Rabia (Mrunal Thakur), who runs a wedding dance troupe and has been cheated out of her money by her husband, Danish (Chunky Panday), Jassi stays with her as a tenant. Added to the mix are her friends, transgender woman Gul (Deepak Dobriyal) and Mehwish (Kubbra Sait), and stepdaughter Saba (Roshni Walia).

In a bizarre turn of events, Jassi ends up pretending to be Rabia’s husband and a decorated colonel to help get her stepdaughter married. The farce grows trickier as he must keep up the act to protect himself from the would‑be groom’s dangerous father, Raja (Ravi Kishan), who looks down upon both dancers and Pakistanis — which Rabia and her friends happen to be. The rest of the film follows Raja’s brothers, Titu (Vindu Dara Singh) and Tony (Mukul Dev), who are suspicious of Jassi, as they try to expose his bluff and how he continually outsmarts them.

The slapstick comedy written by Jagdeep Singh Sidhu and Mohit Jain is a standalone sequel to 2012’s Son of Sardaar. The storyline maybe thin, but Jassi juggling the dual act of being a war hero and Rabia’s husband doubles the chaos. India-Pakistan rivalry jokes and one-liners will keep you in splits, along with Tony and Titu trying to expose Jassi. The first half has some entertaining moments; one of them being Raja, Tony, and Titu visiting the family to finalise the wedding, where Jassi recreates the scene from Border and plays all three parts originally portrayed by Sunny Deol, Suniel Shetty, and Jackie Shroff.

However, as the story progresses, the plot becomes tangled and overstuffed with characters and comic tracks, though it does manages to deliver hilarity regularly. Some of the comedy misses the mark — like Jassi watching Raja’s aged Russian stepmom pole dance. Routine song-and-dance sequences further drag on without advancing the plot. The climax is convoluted, predictable, and over‑dramatised.

Ajay Devgn is convincing as the endearing and guileless Sardar, shining in both comedy and emotional scenes. Mrunal Thakur, as the fiery and outgoing Rabia, holds her own. Ravi Kishan delivers a knockout performance as the businessman-turned-gangster who is exasperated with his father Ranjeet Singh’s (Sharat Saxena) colourful ways. Mukul Dev and Vindu Dara Singh deserve special mention for their strong onscreen chemistry and impeccable comic timing together. Deepak Dobriyal plays the role of a transgener woman perfectly, though Sanjay Mishra remains underutilised, with characterisation that fall short of his talent.

While Son of Sardaar 2 is an exaggerated mass entertainer with over-the-top narrative, it delivers plenty of chuckles and light‑hearted moments.