Category: Bollywood News

By Ronal Kotecha

Story: NRI Dev Joshi (Shreyas Talpade) wants to consolidate his dead father’s assets and cash, but the course of his life changes when he meets a highly acclaimed astrologer.

Review: What goes around, comes around. That’s the most basic rule of life and often the fear that pushes most individuals to do the right thing. The age old adage, “As you sow, so shall you reap,” defines our karma and guides us to deal with various challenges in our life. Based on this simple yet effective concept of life, writer-director Soham P. Shah builds a realistic story of a man whose life takes a dramatic turn after he meets Anna (Vijay Raaz), a revered astrologer, whose predictions are spot on. Sitting cross-legged inside the massive dark room in his palatial villa, reverberating with vedic chants, Anna doesn’t mince words while predicting the future of distressed people looking for solutions. He tells them what exactly is going to happen to them and their loved ones. He also gives simple solutions to these desperate individuals, who are willing to try anything and everything that can avert the upcoming crisis in their life. Not the one to believe in such superstitions, Dev dismisses Anna’s words when he tells him that he won’t be able to leave India easily. Dev’s only purpose is to sell off his ancestral assets and cash out so that he can go back to New Zealand and restart his life impacted by Covid. Dev wants to fulfill his father’s dream and start his own venture. But destiny has other plans and Anna’s words ring true, each time, Dev hits a roadblock in his mission.

Executed in a taut screenplay, this psychological thriller keeps the audience engaged with a consistent flow of unexpected twists in Dev’s life. The events are relatable and domestic. The kind of situations we routinely face when dealing with banks, lenders, civic authorities and in property matters. Set in a small town in India, Shah captures the essence of the place with its slow paced life and practical problems. The strength of the narrative rests on the shoulders of two very able performers – Shreyas Talpade and Vijay Raaz, who deliver convincing performances. Madhoo is well cast as a God-fearing South Indian teacher and Anna’s docile housewife. A little more depth in the way her role is written could have made it more impactful. Aksha Pardasany lends good support as Dev’s girlfriend Jiya.

With no unnecessary songs or frills, ‘Kartam Bhugram’ flows at a consistent pace. While the loud background score could have been dialled down a bit, thankfully, the film doesn’t resort to jarring theatrics or unwanted drama. It is able to prove its point in a simplistic way. In fact, a bit too simplistic, at times. But that’s also its strength, as the story doesn’t deviate from its purpose of establishing how Karma eventually catches up with you, no matter how far you run.

All in all, ‘Kartam Bhugtam’ is an entertaining slice-of-life thriller that delivers a strong message without deviating from its core. — Times of India

By Dhaval Roy

Story: Set in the 1920s, the series is about a group of tawaifs (courtesans) from the red-light district, Heeramandi, in Lahore. While their queen’s reign is threatened by a rival, rebellion brews in British-ruled India. And love blossoms between a tawaif and a Nawab.

Review: Evoking the allure and bewitching world of tawaifs (courtesans) demands a deft yet delicate touch. After all, they were celebrated for their ethereal beauty, wit, charm, poetry, and tehzeeb. In his OTT debut, which is nothing short of grand, Sanjay Leela Bhansali skilfully immerses viewers in a saga of love, rivalry, betrayal, power play, and revolution.

This is the story of Mallikajaan (Manisha Koirala), called huzoor for reigning the elite Shahi Mahal with an iron fist. As she deals with a rebellious daughter, Alamzeb (Sharmin Segal), who refuses to become a courtesan, her queendom is threatened by a harbinger of doom and vengeance, Fareedan (Sonakshi Sinha). The eight-part series follows their rivalry and its collateral damage, including Mallikajaan’s elder daughter, Bibbo (Aditi Rao Hydari), younger sister Waheeda (Sanjeeda Sheikh), and Alam’s love interest Tajdar (Taha Shah Badussha). The premise is set against India’s freedom struggle and the decline of tawaifs.

Bhansali bequeaths the glory to tawaifs that they rightly deserve, giving them agency and shining the light on their pivotal role in India’s Independence. And he does so while weaving in a familiar theme — star-crossed lovers. The show’s highlight, however, is the cinematic and visually rich milieu, which is quintessential Bhansali. Yards of luxurious curtains, meticulously crafted costumes adorned with jewels, and the grace of tawaifs dancing in warmly lit kothas — all captured in long, sweeping shots, transport one to the regal world of 1920s Lahore. Sudeep Chatterjee, Mahesh Limaye, and Huentsang Mohapatra’s cinematography shines through here. Bhansali excels in music direction, with the most melodious yet melancholic thumris and ghazals.

While visually stunning, Heeramandi stumbles in its pacing. The hour-long episodes feel drawn out until mid-season due to a large cast and numerous intertwined storylines. As the narrative gets intermittently confusing, viewers may find their attention wavering. The show has the nuance, flair, drama, and aesthetic that make every Bhansali offering a spectacle, but the story and screenplay (by Bhansali and Divy Nidhi Sharma) could have been sharper and more compelling.

Manisha Koirala delivers a career-defining performance as Mallikajaan. She transitions between a fiery courtesan and a vulnerable mother, captivating with her beauty that can even be menacing and monstrous. She and Sonakshi Sinha enthrall as bitter rivals, mirroring each other’s strength and grace. Sanjeeda Sheikh delivers a moving performance, and her emotional range shines through. Sharmin Segal brings a refreshing innocence that offsets the show’s harsher characters. Taha Shah Badussha is good as a passionate young lover and revolutionary. Richa Chadha leaves a lasting impression with her impactful performance. And finally, Aditi Rao Hydari embodies ethereal beauty while delivering a powerful performance, solidifying the show’s strong ensemble cast.

The supporting cast delivers equally impressive performances. Fardeen Khan makes a strong impact as Nawab Wali Mohammad, while Shekhar Suman and Adhyayan Suman portray the menacing and spoilt nawabs with aplomb. Farida Jalal brings warmth as the endearing Begum Qudsia, and Jayati Bhatia impresses as Mallikajaan’s loyal servant.

Heeramandi, overall, might feel like a long watch, but the cinematic experience will linger on long after its conclusion. And like every Bhansali project, this one, too, throbs with passion and creativity, leaving you mesmerised by the sights and sounds. — Times of India

By Ronak Kotecha

Synopsis: Ruslaan (Aayush Sharma) is determined to prove he’s not defined by his father’s reputation as a terrorist. To clear his name, he wants a permanent role in India’s elite intelligence agency, RAW. However, his intense urge to do the right thing often leads him into situations that are more complex and dangerous than he expects.

Review: For a child who has seen his entire family being wiped out in a bloody encounter, Ruslaan grows up to be a pretty sorted man. His adoption by an upright police officer Major Sameer (Jagapathi Babu) and his doting wife has a lot to do with his changed fortunes. But his only mission in life is to serve his country at any cost and eventually clear his name too. Even if it means defying the orders of his immediate superior and RAW agent Mantra (Vidya Malvade) on crucial assignments and single-handedly going after the most dangerous terrorists.

Director Karan L Butani’s primary focus here seems to be highlighting the heroics of his leading man, no matter what. Right from his entry scene till the climax, the film’s screenplay is dedicated to idolise and eulogise Ruslaan as the man who can defy all odds. The film’s story (written by Yunus Sajawal, Mohit Srivastava, Kavin Dave) is packed with stylised action and twists, which aren’t exactly predictable but preposterous for sure. This gives enough room and reason to throw in dollops of well-choreographed action and stunts (by Vikram Dahiya and Dinesh Subbarayan). The suspense is built up right from the start and carried on tightly till the climax but the big reveal in the end doesn’t quite add up.

Aayush Sharma does well in action but lacks enough conviction in emotional scenes. He struggles to convey the depth of Ruslaan’s internal conflict, which makes it difficult for the audience to fully connect with his character’s personal journey. Debutant Sushrii Shreya Mishraa, who plays his love interest Vani also gets her moment in the sun when it comes to doing some intense action. The screenplay maintains a steady rhythm, barring a couple of unwanted songs in between. There are quite a few thrilling sequences distributed across the two halves. However, the lack of depth and sheer simplicity in the way Ruslaan and his accomplice manage to infiltrate and survive the most diabolical situations is unbelievable. Jagapathi Babu is well-cast as a righteous police officer, who’s also a loving father for a terrorist’s orphaned son. However, what’s missing is the required conviction in the writing. Also, the character development could have been more robust. Additionally, the film leans heavily into patriotic overtones, which, while adding a certain level of emotional resonance, sometimes comes across as contrived or overly simplistic. G. Sreenivas Reddy’s cinematography is slick.

Overall, ‘Ruslaan’ focuses heavily on pandering to the masses with a relentless dose of action and thrill but not much logic. It’s a formulaic actioner that is entertaining in parts if you prefer adrenaline over intricate plots. — Times of India

By Dhaval Roy

Story: A couple is having secret affairs to overcome the boredom in their marriage. A trip out of town rekindles their chemistry, and the tables turn. Torn between their lovers and spouses, will they resolve their issues or separate as they have quietly planned?

Review: Based on the film The Lovers, the romantic comedy introduces us to two couples: Kavya (Vidya Balan) and Vikram (Sendhil Ramamurthy) and Aniruddh (Pratik Gandhi) and Nora (Ileana D’Cruz). But the scene segues into Kavya and Aniruddh trapped in mundane domesticity as a married couple. The film explores their journey as they navigate separation plans and a trip to Ooty for Kavya’s grandfather’s funeral. This unexpected turn rekindles their own marital spark, forcing them to confront a difficult choice.

While the premise of rediscovering love or choosing between spouses and lovers isn’t groundbreaking, director Shirsha Guha Thakurta injects a refreshing perspective. The film avoids moralising or melodrama, opting for a lighthearted approach even when dealing with adultery.

Debutante director Thakurta and the writing team, Suprotim Sengupta and Eisha A Chopra, weave a light narrative peppered with humour, even during tense moments. Aniruddh’s nervous slip-up, calling his father-in-law “Appam” mixing Appa and Uncle is one of the many examples.

While the first half breezes by, the film stumbles slightly in the second half. Kavya and Aniruddh’s attempts to juggle their rekindled romance and their existing relationships become repetitive. The narrative also loses momentum in the second act, with the initial flashes of brilliance fading.

The film boasts of skillful treatment, the credit for which goes to cinematographer Kartik Vijay, ISC. A slick soundtrack by performers and non-film artistes like Lost Stories, The Local Train (Tu Hai Kahan sung by Lucky Ali), When Chai Met Toast, Abhishek-Ananya, and Subhajit Mukherjee adds loftiness to the narrative.

The film’s true strength lies in its lead cast. Vidya Balan and Pratik Gandhi share undeniable chemistry, captivating viewers with their passionate reunion, the portrayal of a failing marriage, or the brewing tension. Ileana D’Cruz, as a “whiny,” at times ditzy but easily pleased girlfriend, stands out. Sendhil Ramamurthy as the hotshot and artistic photographer is convincing.

Do Aur Do Pyaar falters with its uneven pacing, especially in the latter half. Despite this, the stellar performances, humour-infused script, and beautiful visuals make it a watchable romantic comedy. — Times of India

By Renuka Vyavahare

Synopsis: Based on a true tragedy, the musical looks back at Amar Singh Chamkila, Punjab’s popular but disgraced slain singer. Belonging to the ill-fated 27 club, he and his wife Amarjot, were shot dead in the late 80s by masked gunmen. The killings were preceded by anonymous threats directed at the singer for penning obscene lyrics that largely objectified women. Diljit Dosanjh and Parineeti Chopra play the lead roles.

Review: Imtiaz Ali, known for his soul-searching, contemplative stories on love and self discovery, steers away from his usual path only to truly find himself again. Through Chamkila, he deep dives into a tragedy seeped in moral policing, caste discrimination, societal bullying and prejudice.

Poignant, provocative and poetic, Imtiaz’s vision conjures vivid emotions. The objective, yet empathetic, biopic compels you to look inward. Are we slaves to survival? What constitutes art? Who gets to decide what qualifies as art? Does fame without respect matter? Should anyone be expected to endure a lifetime of hate and humiliation for their choices driven by circumstances? And finally, can you separate the art from the artist? We have a right to criticise but do we have a right to ban something?

Be it Tamasha’s Ved-Tara, Rockstar’s Jordan or Jai and Meera of Love Aaj kal, Imtiaz’s central characters are often non-conformist, sometimes even without being aware of it. They aren’t rebellious by choice. The intent is to live freely, more openly and discover a purpose along the way. Chamkila is an able successor. He isn’t heroic per se, nor dismissive of the society but chooses not to get bullied into submission. Along with entertaining, the film makes a social commentary on the (offline) cancel culture of yore (80s-90s), politics of religious radicals and repressed sensuality.

At 2 hours, 25 minutes, the film packs in a lot and has much to process, given it’s non linear storytelling, genre hopping (docu drama-musical-semi investigative) & political insight. Punjab is viewed as a state of excess, be it through its extreme love, passion or control. The second half feels a bit repetitive but AR Rahman’s music (background) and Diljit’s rustic vocals keep the momentum going. The film belongs to the actor-singer as he delivers a career-defining performance. He brings a perfect blend of humility, frustration and angst to his part. While it isn’t fair to expect Parineeti to match up to Diljit’s singing, she has a likeable presence but her acting pales in comparison in crucial scenes.

The camera work especially in Naram Kalja, where the girls talk straight to the camera, stays with you & the one-liners are hilarious.

Given Chamkila’s questionable reputation, unapologetic approach to life, the film doesn’t glorify nor justify his actions. It merely allows him a chance to be heard. This symphonic tale of survival, shame and social standing makes for an immersive watch.

PS: If you aren’t well-acquainted with Punjabi, English subtitles are mandatory for this one.

— Times of India

By Shubhra Gupta

Small-town women taking on the high and mighty is a familiar theme, but one that can always do with a refresh, because what’s not to like about feisty ladies? Just last month, we had Bhumi Pednekar’s brave reporter revealing the true face of a gang that preyed upon helpless girls in a Muzaffarpur shelter. Now it’s Raveena Tandon, playing a Patna lawyer who goes after a powerful politician’s son, for his misdeeds.

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By Renuka Vyavahare

Story: Circumstances lead three hustlers to a gold smuggling racket. It’s all fun and games until conscience comes calling.

Review: Girls gotta have some fun and Bollywood is finally listening.

Co-workers Geeta Sethi (Tabu), Jasmine Kohli (Kareena Kapoor Khan) and Divya Rana (Kriti Sanon) serve looks and then some hospitality to the passengers of Kohinoor airlines. The undisputed drama queens have their own battles to fight and lies to hide. Nothing unites employees more than their collective misery and that forges an unlikely bond between the three air hostesses. When they discover that their debt-ridden airline is on the verge of bankruptcy, the women are compelled to seek desperate measures for survival. Necessity is the mother of invention and sometimes, even crime.

Crew has a smooth take-off boasting of a terrific first half and a bumpy landing. The fast-paced comic thriller entertains at all times even when the climax gets too convenient, ditzy or far-fetched. The heist bit isn’t clever and doesn’t pretend to be clever either, which works. Humour stems from the characters’ unabashed, unapologetic approach to life without thinking it through. Their plans are as effective as Vasco Da Gama ki gun (of Andaz Apna Apna) and yet they exude the style and attitude of ramp models. The sheer obliviousness evokes laughter as you submit yourself to their world of ambition, fading vanity, and delusion.

Caught in a crossfire between needs, wants and morals, despite its frothy exterior, Crew has an interesting take on the upper middle class and their relationship with money, ethics and a dead-end job that enslaves them for life. ‘Adarshon se bill nahi bharte’, Geeta reminds herself.

Speaking of the ladies, Crew’s leading actresses are in their 30’s, 40’s and 50’s respectively and casting hasn’t looked this fun for an Indian all-female heist film in a long time. Beyond the organic age inclusivity, the story doesn’t digress from the ladies even with men as entertaining as Diljit Dosanjh and Kapil Sharma around. Kulbhushan Kharbanda also features in a special appearance and none of the male characters are inconsequential despite their brief screen time as seen in most chick flicks.

While all three bring their A game, Tabu and Kareena exude bonafide movie star energy to show how it’s done. Diljit was right when he said, ‘Hogi Rihanna, hogi Beyonce, sadi ta ae he hai, Kareena’. Bebo oozes oomph and substance as a hustler who conceals her loneliness. Torn between responsibilities and desires, Tabu is terrific. The two are electrifying on screen with characters distinctly written for each. The two even crack age-related jokes that we are sure resonates with them. Kriti adds to the chutzpah and has great chemistry with Diljit but feels more like a third-wheeler. The latter makes a charming impression. He gives the film its best laugh out loud moment when he asks Kriti, “Tumne mujhe instagram pe follow back kyu nahi kiya?”

If you are looking for some light-hearted madcap comedy, Crew is worth diving into — with all its frivolity, humour and glam. — Times of India

By Ronak Kotecha

Story: A murder at a posh club in Delhi pins the needle of suspicion on its affluent guests. As the police start probing deeper, they realise it’s a maze full of greed, vanity and complex human relationships.

Review: Welcome to The Royal Delhi Club known for its high profile guests, lavish parties and unmatched hospitality. It’s a club founded by the Angrez but now frequented by those who continue to perpetuate the classist, discriminatory, and racially-charged behaviors reminiscent of pre-independence society. A cold-blooded murder takes place within the club and all hell breaks loose when ACP Bhavani Singh (Pankaj Tripathi) takes charge with his casual approach to unravel each and every facet of this murder most foul. He goes about grilling each and every guest for whom the club is a lavish escapade from their mundane life outside.

What really works in favour of ‘Murder Mubarak’ is its unpredictability. Director Homi Adajania and his team of writers (Anuja Chauhan, Gazal Dhaliwal, Suprotim Sengupta) throw every possible twist to confuse the audience and they succeed for most part. From the motives of these flawed individuals to dropping subtle hints, Adajania ensures the suspense remains tightly guarded for long. While it also reeks of desperation with just so many characters, Adajania and his writers somehow manage to do justice to each one, by giving them enough screen time and quirks. The character introduction at the start and the way the screenplay moves forward is entertaining. It keeps you invested.

Modeled after Agatha Christie’s Hercules Poirot, Pankaj Tripathi’s character leads this slightly uneven whodunnit in his trademark style. The actor tries hard to differentiate his character from what he has done before but it is still slightly repetitive. At times, it’s frustrating to see him be so calm and casual with a bunch of obnoxious and snooty uptowners with too much love for a club. Sara Ali Khan looks gorgeous and fits well into her character of a goofy yet beautiful young woman Bambi Todi. Her chemistry with Vijay Varma seems somewhat forced. Varma himself doesn’t have much to work with for his own character Aakash Dogra, who can’t be figured out. Karisma Kapoor makes a decent comeback as a has-been B-grade actress Shehnaz Noorani and stands out amongst a cacophony of loud and goofy characters. Tisca Chopra overdoes it as the offensive upper class Delhite Roshni Batra. Dimple Kapadia as a colourful rich woman Cookie Katoch is good but Sanjay Kapoor as the cheapskate royal Hukum Rannvijay Singh is a hoot. He is hands down the most entertaining amongst all. While the abundance of characters threatens to overwhelm the main plotline, Adajania adeptly balances each one, ensuring they receive adequate screentime and development. Despite just a handful of songs, the film is longer than desired.

Overall, ‘Murder Mubarak’ is an engaging whodunit with broad appeal. The film effectively sustains its suspenseful atmosphere, keeping us hooked as they unravel the mystery behind a cold-blooded murder. While the investigation may not be flawlessly executed, the film delivers on its promise to keep audiences guessing until the very end. — Times of India

By Dhaval Roy

Story: When a family lets a stranger into their farmhouse, the man mysteriously controls the teenage daughter. She does every bizarre and life-threatening thing he commands her to. What dark secret does the stranger possess, and can this desperate family escape his twisted game?

Review: A good supernatural thriller typically relies on elements of horror and suspense to keep the viewer hooked. Even if it skimps on jump scares but provides an unsettling experience, it’s a job well done. In that sense, director Vikas Bahl has got it right with Shaitaan.

The movie introduces one to Kabir’s (Ajay Devgn) happy family, which includes his wife Jyoti (Jyotika), teenage daughter Jahnavi (Janki Bodiwala), and nerdy son Dhruv (Anngad Raaj). The film quickly builds a sense of unease, as a stranger, Vanraj Kashyap (R Madhavan), enters their lives. He mysteriously gains complete control of Jahnavi, so much so that she obeys every command he gives. Unease soon turns to dread as Vanraj’s orders become increasingly awful and dangerous to Jahnavi herself and her family members. The rest of the story unravels the mystery behind what makes Vanraj powerful, his motive, and if the family will escape his torment.

Shaitaan’s appeal lies in the atmosphere it creates, especially without the use of CGI. It mostly hinges on the antagonist’s sinister intentions and games, which leave you with an unsettling feeling. Written by Aamir Keeyan Khan and Krishnadev Yagnik, the film sidesteps usual horror tropes. But it does touch upon the ageold supernatural versus science debate and human crudity that makes the species as basic as malevolent forces.

The narrative maintains a good pace and the treatment makes the movie gripping for the most part, although things gets a tad monotonous in the second half. Albeit not too suspenseful, the buildup is unnerving. The story has some unconvincing elements, and one scene gives away a pivotal plot point, which makes the climax predictable. Cinematographer Sudhakar Reddy Yakkanti excels in creating an atmosphere of dread and darkness, further enhanced by Amit Trivedi’s music.

Madhavan is outstanding as the malevolent figure and pulls off every sinister deed perfectly. Ajay Devgn delivers a powerful performance as a helpless but determined father. Jyotika stands her might, too. Janki Bodiwala deserves to be lauded for her pitch-perfect performance as the young girl under a devious spell. She laughs, cries, dances, and attacks on cue in immediate succession perfectly. Anngad Raaj as the son performs well, too.

Even though Shaitaan’s narrative stumbles at times, the masterful use of atmosphere and top-notch acting elevate it into an unsettling experience worth having. — Times of India

By Archika Khurana

STORY: This seven-part series follows a Delhi police officer Kabir Malik (Sidharth Malhotra), who puts everything on the line to protect India’s national capital.

REVIEW: Rohit Shetty’s foray into the web series realm with ‘Indian Police Force’ brings the signature elements of his cop universe to the digital space. This seven-part series has attitude, style, showmanship, and star power as expected from any of Shetty’s offerings. The series kicks off with Shetty’s signature style—high-octane action sequences, gun fights, and car chases, keeping viewers engaged right from the beginning.

The show opens with a rather chilling scene where several blasts occur in the city, causing destruction and wreaking havoc on the lives of many. Similar to Shetty’s films, even this cop action drama unfolds with a thrilling cat-and-mouse chase between dedicated police officers Vikram Bakshi (Vivek Oberoi), Kabir and the perpetrators behind the attacks. They later join forces with ATS Chief Tara Shetty (Shilpa Shetty) in pursuit of a man connected to Gujarat blasts, leading them to Haider (Mayyank Taandon). The story unfolds with questions about Haider’s role as the mastermind and explores themes of radicalization and terrorism.

While the storyline may follow a familiar pattern of revenge and the effects of radicalism, the series compensates with fast-paced developments and revelations. The co-direction by Rohit Shetty and Sushwanth Prakash, along with the writing team (Sandeep Saket, Anusha Nandkumar, Ayush Trivedi, Vidhi Ghodgaonkar, and Sanchit Bedre), sets up a promising narrative that keeps the audience hooked. However, the predictability of the storyline may disappoint some viewers who are looking for more surprises.

But ‘Indian Police Force’ scores big time with a couple of decent performances. Siddharth Malhotra’s understated and restrained act in the title role is a definite winner. With the usage of a profusion of cuss words, one is exposed to another facet of Malhotra.

The emotional nuances of Kabir’s character, including his relationship with his late wife Rashmi (Isha Talwar), are effectively captured, adding layers to the narrative. Vivek Oberoi’s promising portrayal of senior officer Vikram Bakshi and Shilpa Shetty’s kick-ass performance as ATS Chief Tara Shetty add depth to the ensemble cast. Shweta Tiwari shines in emotional sequences as Vikram’s wife, and Sharad Kelkar makes a notable impact with his late entry into the series.

The series features well-shot songs in Delhi’s historical monuments (Humayun’s Tomb, Purana Quila), adding to its visual appeal, although some may find these musical interludes slowing down the pacing. The background score by Amar Mohile blends well with the narrative. The cinematography (by Girish Kant and Raza Hussain Mehta) along with wide-angle shots of cities like Jaipur and Delhi, gives the series a Bollywood-style cinematic feel.

Despite the predictability in the storyline, ‘Indian Police Force’ is recommended for its novelty in delivering a high-packed action series in the digital space. The half-hourly episode format enhances its appeal, making it a worthy watch for fans of the cop universe and those seeking engaging content in the web series realm. — Times of India