Story: Set in the late 1980s, Dev (Manoj Bajpayee), an orchard owner, lives with his family in a picturesque house nestled in the Himalayas. Each morning, he steps into his workshop, straps on a massive pair of handcrafted wings, and casually heads to a nearby cliff—where he takes flight like a bird.
Review: This surreal ritual is surprisingly normalized in the household. His wife (Priyanka Bose), and children— a teenage daughter (Hiral Sidhu), and a younger son (Awan Pookot) —accept his flying routine without much fuss. They even discuss the wings with curiosity, as if they were just another part of life in the mountains.
While Dev soars above the orchards during his frequent flights, he entrusts the day-to-day operations of the lush estate to his trusted manager (Deepak Dobriyal), who oversees the workers and assigns tasks. With no phones, television, or internet, the family of four embraces a slower, more intimate rhythm of life. Their evenings are spent hosting friends for intimate dinners, singing classical songs, lying under the open sky to stargaze, chasing fireflies, and listening to the whispers of the wind and mountains around them. As you get lost in the bewitching charm of this idyllic life, the orchard mysteriously catches fire. Dev suspects a foul play and holds his staff accountable. Villager also doubt the nomads-monks with horses who are seen in the region. Who wants Dev out
At its heart, Raam Reddy’s fantasy-fuelled mystery is a tender love letter to the mountains and the unhurried life — the one we traded for ambition long ago. Unlike many indie films, Reddy’s storytelling doesn’t succumb to self indulgence or obscurity. Though open to interpretation, the narrative never glorifies the abstract or slips into aimless nothingness. It’s a slow burn, yes, but never stagnant — you remain hooked as Dev navigates the complexities of an orchard in crisis, and the meaning of ownership.
The film is technically sound. Sunil Borkar’s cinematography is pure magic, capturing the beauty and mystery of the hills. The sound design and VFX are equally accomplished — and remarkably, the flying never feels absurd or out of place, which is a rare feat. The story does not digress either. Performances are equally competent with Manoj Bajpayee bringing in a certain warmth even to his hostility and doubt. Deepak Dobriyal, Priyanka Bose, Hiral Sidhu and Tillotama Shome light up the screen with their presence, too..Don’t let its fantasy or experimental nature deceive you. Fascinating mystery with a touch of magic realism give this whodunit an edge. Watch it for its mesmerising storytelling and scenic beauty. Reminiscent of a soothing and suspenseful bedtime story, you are bound to remember this film for a long time. — ToI
Story: International con-man Carl Bhojraj (Jim Sarbh) escapes prison and resurfaces in Mumbai, reigniting a tense cat-and-mouse chase. Inspector Zende (Manoj Bajpayee), relentless and sharp, must outwit the charming yet dangerous fugitive before his deceptions spiral into chaos once again.
Review: Crime thrillers based on real-life criminals are not new to Indian cinema. Charles Sobhraj, the infamous “Bikini Killer” or “Swimsuit Killer,” has inspired countless books, documentaries, and adaptations—from Main Aur Charles (2015) to Netflix’s
The Serpent (2021). Yet, Inspector Zende takes a refreshing detour, shifting the focus from the notorious conman to the unsung hero who caught him—Mumbai’s IPS officer, Madhukar Bapurao Zende.Set against the gritty backdrop of the 1970s and ’80s, the film dramatises Zende’s relentless pursuit of Carl Bhojraj (a fictionalised version of Sobhraj). Twice, the officer managed to apprehend this elusive fugitive—first in 1971 and again after his infamous escape from Tihar Jail in 1986. This film isn’t just about a cop chasing a criminal; it is about persistence, street-smart policing, and the triumph of instincts over technology in an era without CCTV or digital forensics.
Writer-director Chinmay D. Mandlekar deserves credit for avoiding the temptation of a dark, gritty biopic. Instead, he opts for a lively, humour-infused narrative, making the film less about grim realities and more about the spirit of policing in a pre-digital Mumbai. Mandlekar manages to create a 112-minute adventure that balances fact with creative flourish. His recreation of Mumbai’s streets, fashion, and energy of the 70s–80s feels authentic, giving the film a nostalgic pull.
The heart of the film, however, lies in its performances. Manoj Bajpayee, as Inspector Zende, is both understated and commanding. He imbues the character with earthy simplicity, conviction, and a dash of humour, steering clear of over-the-top heroic tropes. His scenes occasionally evoke memories of his role in The Family Man, yet Zende is distinctly his own man—more grounded, more real. Opposite him, Jim Sarbh revels in the flamboyance of Carl Bhojraj. Smooth-talking, magnetic, yet sinister, his portrayal ensures that the fugitive is as compelling as the officer chasing him. Supporting actors Sachin Khedekar (as DGP Purandare) and Girija Oak (as Zende’s supportive wife Viju) add depth, with Oak and Bajpayee’s chemistry lending warmth to the otherwise cat-and-mouse drama.
What sets Inspector Zende apart from other true-crime thrillers is its tone. Rather than brooding intensity, it embraces levity, almost positioning itself as a family-friendly thriller. This choice may divide audiences—purists might find it tonally inconsistent, while others will enjoy its light-hearted, accessible approach. At times, the humour risks undercutting the gravity of the real crimes, but it undeniably makes the film more engaging for a wider audience.In the end, Inspector Zende is neither a strict biopic nor a fully fictional caper. It stands somewhere in between—part homage to a forgotten police hero, part entertaining period chase. It deserves a watch for its lively tone, strong performances, and nostalgic recreation of a bygone Mumbai. — ToI
Story: Param Sundari is a cross-cultural love story between Param Sachdev (Sidharth Malhotra), a brattish North Indian boy, and Sundari (Janhvi Kapoor), a responsible and simple South Indian girl. Despite their contrasting personalities, traditions, and expectations, Param is convinced they are soulmates. But there’s more to their love story. Will love truly blossom for the duo?
Review:Param wants his dad (Sanjay Kapoor) to invest in his dating app, but the pakka businessman senior first wants proof of concept, like the biggies in ‘fish tank’ (shark tank). If Param can find a soulmate online in a month, he can have the money. He matches with Thekkepattu Sundari Damodaram Pillai, or Sundari, in the beautiful and sleepy town of Kerala. As he reaches there, he is instantaneously smitten. But Sundari is less than impressed with him and his friend, Juggy (Manjot Singh) who can’t tell one South Indian from the other—not even Rajinikanth from Mohanlal. However, Param and Sundari take a liking for each other, but there are more roadblocks—Sundari is set to be married to Venu Gopal (Siddhartha Shankar), and she is miffed about being a part of Param’s business experiment. Can the Delhi boy win her over?
Director Tushar Jalota’s film doesn’t tread new ground and leans on familiar tropes, yet it offers a light, watchable romantic fare. The narrative is predictable, but moves at a steady pace. The build up in the first half offers some light moments that will keep you engaged.
What works in the film’s favour are the picturesque Kerala backdrops, tender moments, and Sachin-Jigar’s music—particularly Pardesiya, Danger, and Sundari Ke Pyaar Mein. The humour is light in parts, though not every gag works equally well.The real highlight is the charming chemistry between Sidharth Malhotra and Janhvi Kapoor, who make the opposites-attract arc believable and enjoyable. The actors light up the screen with their presence, especially Janhvi who looks gorgeous in the traditional Malayali avatar. Sanjay Kapoor, Manjot Singh, Renji Panicker, and Siddhartha Shankar lend able support.
Even if it largely remains in the known territory, fans of breezy romances will find it a pleasant watch. — ToI
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.
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
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
‘The Bengal Files’ Producer and actress Pallavi Joshi (front left) and Director Vivek Agnihotri with Indo-American News Radio hosts Jawahar Malhotra and Sanchali Basu.
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.
Sanchali Basu (far left) and reviewer Sukanya Biswas (second from right) with other invited guests at the screening.
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.
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.
Story: The film follows the journey of Nilesh (Siddhant Chaturvedi), a law student from an oppressed caste who falls in love with his classmate Vidhi (Triptii Dimri), an upper-caste girl. Men from Vidhi’s family humiliate and harass him in a bid to protect their so‑called honour.
Review: A remake of the Tamil movie Pariyerum Perumal and a sequel to Dhadak, director Shazia Iqbal’s film sets the narrative tone early on with the grim killing of a man for being in a relationship with a girl from an upper caste. The story then shifts to its protagonists, Nilesh and Vidhi, while touching upon the treatment of students from lower castes by their peers. Nilesh is ridiculed for his English, and a professor unceremoniously throws him out of class after dubbing his admission a “free seat.” Nilesh reminds us, “Free ki badi keemat chukaani padti hai” (one needs to pay the price for anything free). Alongside their budding romance, the narrative tackles the issue of casteism.
The film delivers several heart‑wrenching moments depicting the injustice meted out to oppressed castes—some subtle, such as Vidhi’s father (Harish Khanna) leaving out Nilesh’s surname from the guest list to his elder daughter’s wedding, and others painfully blatant, like Nilesh being smeared with sludge by classmates. The plot also explores the violence and false allegations people from lower castes often endure. While these incidents are gut‑wrenching, the romantic arc between the leads feels underdeveloped.
Written by Iqbal and Rahul Badwelkar, the narrative occasionally feels repetitive as it focuses heavily on Nilesh’s oppression. It also touches on student politics, showing Nilesh’s initial reluctance to get involved and hinting at his change of heart later, but the track fizzles out.
The world of Dhadak 2 is bleak but not entirely black and white. The college dean (Zakir Hussain), himself from a lower caste, recalls how he was beaten to keep him from studying, yet now influential people seek him out for their children’s admission. Nilesh’s upper‑caste friend remains steadfastly by his side.
Despite the intense subject matter, the film finds room for moments of humour that land well. The pacing is steady and Iqbal’s direction effective, though the final payoff could have been stronger. The narrative builds to a high, but the resolution is abrupt. The music, especially Siddharth–Garima’s soulful Duniya Alag and Javed–Mohsin’s heartfelt Bas Ek Dhadak, beautifully complements the narrative.
Siddhant Chaturvedi is excellent, capturing the transformation from a meek young man to a self‑assured individual. Triptii Dimri is convincing as a naive yet supportive partner, while Vipin Sharma makes a brief but memorable impact as Nilesh’s father.
The film is an engaging and heart‑rending watch, though the final resolution feels a touch restrained. It is worth watching for its sincere and sensitive portrayal of an issue that continues to plague society even today, and for a stellar performance by Siddhant Chaturvedi. — ToI
Story:When a young woman disappears while traveling from Shimla to Manali, a frantic search begins, pulling the local police into a dangerous chase. But what seems like a straightforward kidnapping quickly spirals into something far more sinister.
Review: Psychological thrillers demand a unique balance of intrigue and tension. Unlike classic whodunits, where the mystery hinges on the culprit’s identity, here the suspense is built around the perpetrator’s next move, their motive, and whether the victim will survive.
So Long Valley attempts to deliver on these expectations—and, to an extent, succeeds.Director Man Singh, who not only helms the film but also portrays Inspector Dev while penning its story and dialogues, sets the tone early with a gripping, atmospheric opening. On a rain-soaked evening in Shimla, Moushmi (Alisha Parveen) storms into the local police station to report her sister, Riya (Akanksha Puri), missing after she left for Manali hours ago but never arrived. The narrative gains traction as Inspector Suman Negi (Tridha Choudhury) takes personal charge of the case, determined to crack a mystery that threatens her otherwise quiet jurisdiction. What begins as a missing person’s complaint quickly turns into a high-stakes hunt against time—Riya could be dead or alive, and every passing hour matters.
The story is relatively straightforward, and while the pacing is steady, the tension doesn’t peak as often as it should. The suspense builds gradually rather than in sharp bursts, which may feel slow for some viewers. What keeps the engagement alive is Vikram Kochhar’s solid performance as Kuldeep, the temperamental taxi driver whose unpredictability adds much-needed edge to the proceedings. His portrayal strikes a fine balance between menace and vulnerability, ensuring the character remains unsettling without slipping into caricature.
One of the film’s biggest strengths lies in its setting. The cold, mist-laden hills of Himachal Pradesh serve as both a visual treat and an eerie canvas for the dark tale. Srikant Pattnaik’s cinematography captures this contrast beautifully—the pristine landscapes juxtaposed with the lurking sense of dread work perfectly to amplify the mood.However, the film is not without flaws. The overall production feels restricted to a modest scale, with limited characters and locations, making it resemble a chamber drama at times. More distracting, though, is the overbearing background score, which often feels unnecessarily loud and intrusive. Thrillers thrive on subtlety, and the constant need to hammer tension through blaring sound cues undermines moments that could have been naturally chilling. At just over two hours, the film maintains a crisp runtime, and the absence of songs avoids unnecessary distractions.
Performance-wise, the cast does a commendable job. Tridha Choudhury lends grit to her cop role, Akanksha Puri portrays vulnerability convincingly, and Alisha Parveen fits well as the anxious younger sister. Together, they anchor the narrative with authenticity.
Just when you begin to think you’ve figured it all out, the film pulls out a twist in its final act—an unexpected turn that redeems its otherwise linear trajectory. This surprise element, coupled with the strong central performances and stunning visuals, makes So Long Valley a watchable addition to the genre. — ToI
Story: Author Nikita Roy (Sonakshi Sinha) suspects foul play in her brother Sanal’s death (Arjun Rampal). She rushes to London to investigate his murder and discovers that he was out to expose a cult leader Amar Dev (Paresh Rawal) before being haunted by a demonic entity. What’s the truth?
Review: Director Kussh S Sinha takes an offbeat path to make his directorial debut. A horror-thriller continues to be an uncharted territory in mainstream Bollywood. Very few have attempted and succeeded to nail this genre. With his younger sister at the helm, Kussh makes a tad wobbly and hurried but fairly gripping thriller.
The film aims to pit superstition against science and faith against blind faith. The concepts works but execution falters. The film dives straight into investigation from the get-go without establishing the characters and their story. And at most times, the actions of the curious protagonist (Nikita) seem oblivious to the danger that engulfs her. It’s good to be brave, not unaware. Courage is wise, not blind. She holds Amar Dev accountable and vows to bring him to justice in seven days without a strategy to challenge him head on. He gives her three days to live. Who wins?
Sonakshi Sinha exudes strength and determination. Paresh Rawal deserved more screen time for their conflict to mean something. The thriller sets the stage for something chilling, but the narrative doesn’t make the most of its compelling idea. This could have perhaps worked as a web series better.
Should you watch it? If you are obsessed with atmospheric thrillers, you won’t mind this one just for its fear element, the story feels flat. — ToI
Anupam Kher, an icon of Indian cinema with countless films to his credit, said Tanvi the Great is only his second directorial venture.
You’ll get a crash course in autism and the heartbreak that comes with it. You’ll see what it takes to wear an Indian Army uniform. You will leave the theatre misty-eyed, contemplative, possibly on the verge of enlisting—but you will not be bored.
Anupam Kher’s Colonel Raina has spent years barricaded behind old routines and older resentments. His only son is dead, and his only grandchild is “like this.”
We’ll hear many labels used to describe Tanvi’s autism — some unkind, like “abnormal” or “aisi hai”, and others gentler, like “alag hai” or “different, but no less.”
The film follows two arcs: Colonel Raina, hardened by loss, slowly sheds his grief and resentment as he learns to truly see and appreciate his autistic granddaughter, and Tanvi, whose time with her grandfather becomes a journey of self-discovery. Taking charge of her future, she decides to join the Indian Army—whether she succeeds is for the audience to discover. What’s certain is that her journey is heroic, and the film ends on a powerfully emotional, deeply satisfying note.
Newcomer Shubhangi makes a sparkling debut. The audience’s reactions to Tanvi are a testament to her convincing performance—you will care about her, you will find yourself wanting to scold her, to tell her to act her age and stop crying, just as her grandfather does in a pivotal scene. In the end, you will feel very proud of her.
Complementing these two storylines is Vidya Raina played by Pallavi Joshi, Tanvi’s devoted and intelligent mother, who has raised her autistic daughter alone since her husband’s death. Vidya travels abroad for an autism awareness conference, entrusting Tanvi to her grandfather. Her storyline gently educates the audience about the challenges presented by neurodivergence, societal perceptions, and what life with autism looks like.
Rajender Singh and Shubhangi at the Houston premier.
“There is no set formula for parenting, and especially for autistic children,” Vidya says. “Autistic people think differently, hence, their reactions are also very different. This is not a disability. The ability to think differently is what we call autism, when, in fact, it’s a superpower.”
Rounding out the cast is a stellar lineup, including Boman Irani, Jackie Shroff, and Arvind Swami, along with Iain Glen, recognizable to audiences from Game of Thrones and Downton Abbey.
Kher disclosed during the Q&A session that the film’s senior actors had waived their fees.
“None of our senior actors asked for a single penny,” he said.
I am the greatest fan of the Indian army
The film also sheds light on the Indian Army. Jackie Shroff’s Brigadier Joshi embodies honor and bravery, while his son, a cynical vlogger, scoffs at the profession, noting that “a CEO deciding bubblegum thickness earns more in a year than an army officer does in a lifetime.” It’s a sharp commentary that highlights both the unfairness of the system and the quiet heroism of those who serve despite better-paying options elsewhere.
“I am the greatest fan of the Indian army,” Kher said during the Q&A. “I grew up in Shimla, which was the headquarters of Western command.”
Kher said he wanted to make a film that truly honored the army, a sentiment reflected in the film’s songs.
“Sena ki Jai” showcases the more glamorous side of army life, complete with champagne flutes and elegant hors d’oeuvres, and gives Tanvi a chance to wear a stylish dress. The rousing track is likely to become a staple at school celebrations across India on Independence Day and Republic Day.
After earning a standing ovation at this year’s Cannes Film Festival and being showcased in several U.S. cities, the Tanvi the Great is set for release on July 18.
The Houston screening, part of the film’s promotional tour, was hosted by Rajender Singh, President of Star Promotion Inc.
A veteran of Houston’s show promotion scene for over 25 years, Singh had never organized a film premiere until Kher, a longtime friend, asked him to host the screening. “Hosting the Houston premiere of Tanvi The Great was an unforgettable honor,” Singh said.
The Real Tanvi
Kher, an icon of Indian cinema with countless films to his credit, said Tanvi the Great is only his second directorial venture. The first was Om Jai Jagdish in 2002—a film he hadn’t written and, as he admitted, wasn’t a story to which he’d felt deeply connected. He’d wanted to write his own script for years but hadn’t found the right story, he said. More than 20 years later, Tanvi The Great finally gave him that chance.
“I have a niece, my first cousin sister’s daughter,” Kher said. “Also named Tanvi. Tanvi is autistic.”
Kher shared the exact moment the film popped into his head— three years ago, at a family celebration in Gurgaon.
“Tanvi was 13 years old at that time,” Kher said. “We were all having fun, but Tanvi was standing at a window looking at the mountains. I went up to her and said, ‘what are you doing?’ she said, ‘I’m looking at my world.’ I could not understand what her world was, and she could not describe her world– that was when the first scene came into came into my mind.”
Kher shared that financing the film was a major challenge, but he was determined to see it through, believing that if it wasn’t made now, it might never be made at all. In the end, it was friends—people with no connection to cinema—who stepped in to help. “There is a certain amount of sincerity and joy behind this film,” he said.
A total of 240 people, including several senior actors, were involved in bringing the project to life, he said.
All in all, Tanvi The Great is the kind of sweeping, feel-good family epic that just might help revive Indian movie theaters. At a time when audiences often prefer the convenience of streaming at home, this film feels too grand to be confined to a flatscreen. Its scale and warmth practically demand the communal experience of the big screen. Word of mouth alone is likely to draw crowds eager to recapture the kind of cinematic magic that can’t be replicated in a living room.
Story: When a man begins to suffer from episodes of memory loss and hallucinations, his family decides to abandon him. Only to realise that they need to find him again, to serve their own purpose. But by now he has moved on with plans of his own and has no intentions of returning.
Review:When the doctors can offer no further solution to Kaalidhar’s (Abhishek Bachchan) increasing episodes of memory loss and hallucinations, other than expensive medication, his family begins to think of ways to get rid of him. The oldest among four siblings, Kaalidhar, is taken to the Kumbh Mela by two of his younger brothers. Their plan is to ‘lose’ him there. The two even lodge a complaint at the ‘lost and found’ office to keep themselves above suspicion. But provide no other help, to ensure he remains missing.
Finding himself alone and unable to recall his own name or address, Kaalidhar begins to search for his brothers and somehow manages to find his way back to their tent. Only to overhear his family expressing relief over having ‘lost’ him, as they can ill-afford his medical treatment. A heartbroken Kaalidhar boards the next bus he can find, to get as far away from them as possible and finds shelter for the night at a temple, near a village.
It is here that he meets an 8-year-old orphan, Ballu (Daivik Bhagela) and eventually the two strike up an unlikely friendship. A street-smart and worldly-wise Ballu takes Kaalidhar under his wing and Kaalidhar, too, starts to watch out for Ballu. As they begin to spend more time together, they forge a deep bond, almost like father and son. They even draw up Kaalidhar’s wish-list of things he has always wanted to do and start ticking off the list, one by one.
Meanwhile, Kaalidhar’s brothers, drowning in debt, realise they need to find him to sort out their messy financial situation. And go back to the lost and found officer, Subodh (Mohammed Zeeshan Ayyub) to convince him to resume his search.
‘Kaalidhar Laapata’ is the Hindi adaptation of the popular 2019 Tamil, comedy-drama film, K.D.; both helmed by the same director, Madhumita. The story line is mostly similar, barring some changes. While in the Tamil version, KD (Mu Ramaswamy) is an 80-year-old man, whose children plan to kill him through euthanasia to usurp his property, in the Hindi version Kaalidhar is a middle-aged man suffering from memory-loss.
For most part, ‘Kaalidhar Laapata’ hits the right notes but there are some bumps along the way. For one, the ‘wishlist’ that Kaalidhar prepares along with Ballu doesn’t have the same emotional ring to it as an 80-year-old K.D. making his bucket list, in the original. Also, as the story progresses, Kaalidhar’s memory loss track is a bit inconsistent. And his reason to let go of his lady love, Meera (Nimrat Kaur in a special appearance), in his younger days, doesn’t seem convincing.
That said, the film weaves in a beautiful and wholesome friendship between Ballu and Kaalidhar, which is a joy to watch. Daivik Bhagela as Ballu is a combination of confident, perky, and warm, which is perfect for his role. Mohammed Zeeshan Ayyub is sincere as the detective who takes it upon himself to find Kaalidhar. Ultimately, it is Abhishek Bachchan’s moving performance that shoulders the film’s appeal. He subtly brings out Kaalidhar’s vulnerable yet mature side, which is central to the film’s plot.
Overall, ‘Kaalidhar Laapata’ is a touching, slice-of-life drama that ends on an uplifting note and makes for a decent watch. — ToI
Story:When it comes to matters of the heart, one shoe doesn’t fit all. Multiple people across ages and cities discover this the hard way, as they grapple with evolving relationships in times of modern love and its unsurety.
Review:Falling out of love is normal. How you manage to fall back in love with the same person over and over again, defines a relationship’s longevity. Modern love can label this as toxic; traditional love can see this as a significant compromise to stay committed. There are no rights and wrongs in love, or are there?
Anurag Basu’s 2007 ensemble film ‘Life in a Metro’ was an ode to love and survival in Mumbai. The film comprised great actors, riveting stories while letting Mumbai rain be the main character. 18 years later, he takes his fascination for changing relationship dynamics and perception of love in the digital age a notch ahead.
The spiritual sequel expands its story from Mumbai to other metropolises of the country – Pune, Bengaluru, Delhi and Kolkata. More cities come with more everything — chaos, characters, songs and a massive duration of 2 hours, 42 minutes. Barring a few loose ends, Basu pulls it off even when it looks like he’s winging it. His conversational storytelling keeps things light and breezy even in times of sorrow and distress. Have more options ruined everlasting romance? Has excess information and availability killed the mystery around love? Basu tries to address these issues while ensuring humour finds its way through the loss and longing.
The treatment bears a slight resemblance to the tragicomedy tone of Barfi, with actors breaking into impromptu songs to take the story ahead. When the actors are not miming, Pritam, Papon and Raghav Chaitanya stay constant as sutradhars through their music, so expect a plethora of songs, making this a true-blue romantic musical.
Interestingly, Basu doesn’t tell us the names of his characters and their stories upfront. You discover them sporadically and organically. This withholding and release strategy helps in breaking clutter and adding an element of mystery to the story. Parth (Aditya Roy Kapur) is a philandering manchild-travel blogger, who finds HR consultant Chumki’s (Sara Ali Khan) faith in marriage and commitment strange. Sex overrides love for him but not for her. Kajol (Konkona SenSharma) and Monty (Pankaj Tripathi) are happily married until an incident blows the lid off that narrative. Shruti (Fatima Sana Shaikh) is drawn to responsible men but is unable to cut ties with her longtime struggling singer boyfriend Akash (Ali Fazal). Shivani (Neena Gupta) wants to live for herself for once and fulfils her desire when she reunites with her college sweetheart Parimal (Anupam Kher). Some characters are related and some cross paths at some point. The navigation between these tracks and differing emotion feels seamless.The songs don’t overpower the dialogues and it’s this blend that works in the film’s favour.
While they are distinct as actors, Pankaj Tripathi does for this film what Irrfan did for the prequel. His character stands out the most for his flawless repartee with Konkona. He looks great too. Ali Fazal internalises Akash’s trauma of being a failure and does it with utmost nuance, proving what a fine performer he is despite being largely untapped. Aditya delivers a nonchalant, liberating performance, making him ideal for the part that has a bizarre character arc. Konkona’s Kajol is spirited and broken. Who better than the actress to portray this turmoil. Neena Gupta and Anupam Kher deserved better parts. Sara Ali Khan lacks depth in her performance which makes it tough for you to relate to her character. The fringed wig feels out of place and unnecessary. Rohan Gurbaxani brings an easy charm to his extended cameo. Last but not least, Fatima Sana Shaikh is riveting as a woman torn between emotion and reason.
Despite being largely pleasant, some tracks don’t quite add up, feel uneven and don’t know where to end. After an engaging build up, the second half feels a tad stretched. You also wish the story scratched the surface a little more, especially for Konkona-Neena Gupta track, where the actors have the potential and gravitas to dig deeper.
There has been a scarcity of love stories in Bollywood and Metro In Dino, elevated by some fine performances, fills that gap perfectly. It is a breezy, intimate watch tailor-made for a rainy day. — ToI
Story:After her husband’s sudden death in his hometown of Chandarpur, West Bengal, Ambika (Kajol) returns to his ancestral haveli to sell it. But the village is plagued by a demonic curse—and demands the sacrifice of her daughter Shweta (Kherin Sharma) to end it. Will the mother save her child?
Review:The film opens in West Bengal during Kali Puja, with the chilling sacrifice of a newborn girl in the jungle. Forty years later, her twin brother Shuvankar (Indraneil Sengupta) lives in the city with his wife Ambika and their daughter Shweta—far removed from his eerie birthplace. But fate draws them back when Shuvankar dies while attending his father’s funeral.
The ancestral home and village hide sinister secrets and a demonic presence. As young girls begin to vanish mysteriously and dark forces close in on Shweta, Ambika must confront the horrors of the past to protect her child. Director Vishal Furia’s venture is an addition to the Shaitaan universe and marks Kajol’s debut in the horror genre.
With story and screenplay by Saiwyn Quadras, the film blends mythology and horror, drawing inspiration from the legend of Goddess Kali and Raktabeej—where a single drop of blood gives rise to an unspeakable evil that finds its home in Chandarpur.
A dark, derelict haveli, scattered ruins, and haunting forests create an atmospheric backdrop, and cinematographer Pushkar Singh succeeds in building an eerie visual tone. However, the narrative is uneven, and the pace slackens at times, affecting the film’s overall grip.
There are moments that deliver genuine chills, but the overuse of gimmicky VFX and exaggerated creature design dilute the fear factor.Like Furia’s earlier work Chhorii and its sequel, this film revisits the theme of female infanticide, weaving it into the horror narrative. While the premise holds promise, the storyline becomes predictable in parts, and certain plot points will feel familiar to seasoned horror viewers.
Kajol delivers a compelling performance as a mother pushed to the edge, balancing vulnerability with fierce resolve. Kherin Sharma and Rupkatha Chakraborty are both impressive as young girls caught in the storm of ancient evil. Ronit Bose Roy lends solid support as the village sarpanch.
While it doesn’t reinvent the genre, the film delivers a mythologically rooted horror tale that makes for a decent one-time watch. — ToI
Story: Gulshan Arora (Aamir Khan) is a brash basketball coach suspended for punching the head coach and facing a jail term for drunk driving. Instead, he is sentenced to community service — training a team of players with intellectual disabilities to compete in a national basketball tournament. As he coaches them, he embarks on a journey of personal growth and learning valuable life lessons.
Review: An official remake of the 2018 Spanish hit Champions, Sitaare Zameen Par serves as an indirect sequel to 2007’s Taare Zameen Par. While the earlier film highlighted developmental disabilities through the lens of dyslexia and remedial education, this one shifts the focus to individuals with intellectual disabilities (ID), like Down Syndrome and invisible autism, on a basketball court.
Despite a sensitive and layered subject, R S Prasanna’s directorial venture, written by Divy Nidhi Sharma, remains a wholesome, feel-good watch. It strikes a commendable balance between delivering a message and educating viewers about ID, all with a lighthearted touch. At its core is a message of inclusivity—conveying that people with ID are employable, independent, full of life, and deeply empathetic.
The film sensitively portrays the characteristic traits of the players’ conditions without reducing them to labels—Bantu’s (Vedant Sharma) stemming through ear-scratching, Guddu’s (GopiKrishnan K Verma) aquaphobia, Sharmaji’s (Rishi Shahani) speech impairment, and the less-recognised invisible autism in high-functioning Hargovind (Naman Misra). These are presented as facets of their personalities, not just symptoms.
The film mixes sentiment with spunk, avoiding overly preachy tones. ID is described through relatable lines like, ‘Humaari kismat haathon pe nahi, chromosome pe likh ke aati hai (Our destiny isn’t written on our palms — it’s written in our chromosomes).’ While the underdog sports narrative and troubled-coach arc feel familiar, the film’s heart and humour keep it engaging. That said, the story does wander.
Subplots involving his mother, Preeto (Dolly Ahluwalia Tewari), and their butler Daulatji (Bijendra Kala) contribute little to the core story. A few other sequences feel stretched, and pacing suffers in parts. The climax gets overly sentimental in parts. Some scenes, like the team managing airfare and accommodation for the final match, come across as convenient and trite.
Aamir Khan stands out as the brash, initially insensitive, and politically incorrect coach. He convincingly portrays a man who evolves while retaining a certain swagger. Genelia Deshmukh is sincere as his wife Suneeta, though her character lacks depth. The ensemble cast—Ashish Pendse, Aroush Datta, Aayush Bhansali, Rishi Shahani, GopiKrishnan K Verma, Rishabh Jain, Vedant Sharma, Simran Mangeshkar, Samvit Desai, and Naman Misra—deserves applause for bringing energy, authenticity, and warmth to the film. Dolly Ahluwalia Tewari, Bijendra Kala, and Gurpal Singh offer solid support.
If Taare Zameen Par had the soul, Sitaare Zameen Par brings the spirit. It’s a heartwarming family watch that blends comedy, compassion, and charm, and is definitely worth a trip to the theatre. — ToI
Story: The death of an ageing billionaire (Ranjeet) on his luxury cruise brings chaos to the lives of those aboard the ship. His will names his son ‘Jolly’, as an heir to his property. Chaos turns into frenzy when three Jollys (Akshay Kumar, Abhishek Bachchan, Riteish Deshmukh) show up to claim the wealth. If the plot wasn’t crowded enough, there’s a masked killer on the loose and everyone’s a suspect. Who’s the killer and who’s the real Jolly?
Review: Housefull franchise‘s existence is rooted in slapstick comedy, so you walk in knowing what to expect. Akshay Kumar slapping CGI monkeys, girls blatantly objectified and Riteish Deshmukh gobbling a parrot as annoying as the one in ‘Main Prem Ki Diwani Hoon’, don’t surprise you. You snigger at lines like ‘Thokte raho……. Taaliya’, ‘mera popat kabhi nahi uthega’, but overlook the cringe because that’s what the brand is all about. What surprises you is the utter lack of humour, even dirty humour if we may say so in the script and sheer wastage of a zillion actors who are known for their comic timing.
Directed by Tarun Mansukhani, a far cry from his brand of humour in Dostana, Housefull 5 deserved a script, let alone better writing. In a span of 2 hours, 45 minutes (a bit too long for a whodunnit-comedy), the banal first half is loaded with random songs, pointless arguments, juvenile jibes and loud noise… everything but humour. You desperately miss comic punches. Even Sanjay Dutt and Jackie Shroff’s inclusion as baba and bhidu don’t add up. You feel sorry for these actors reducing themselves to caricatures of their former glory.
The film somewhat takes off in the second half but truly sheds its stagnancy only in the climax, a bit too late. This also marks the arrival of Nana Patekar. The senior actor, a master of the genre (control Uday… control of Welcome) shows how it’s done. As a dhoti clad interpol chief based in London, rooted in Maharashtra, Patekar is terrific and infuses life into this overloaded, derailed cruise.
Sajid Nadiadwala tries to blend comedy with murder mystery through his script and fails at both barring the climax. It’s the last 20 minutes along with Nana’s entry that truly entertain you. This is what you expected Housefull 5 to be… thrilling, unpredictable and funny. Sajid even manages to conceal the identity of the killer till the end, but the humour aspect falls miserably flat.
Barring Riteish who manages to entertain, both Abhishek Bachchan and Akshay Kumar get little to play with as far as words are concerned. The women have nothing much to do except for upping the glam quotient and being the butt of several adult jokes. Sonam Bajwa, Fardeen Khan and Dino Morea act sensibly. Shreyas Talpade, Johnny Lever and Chunky Panday are criminally wasted. Talpade just disappears for a major part of the film, but we can’t expect logic here. Can we?
Note: The film has two climaxes 5A and 5B, both versions have different killers, while rest stays the same. Won’t make much of a difference which version you choose but if you must, go for 5A. — ToI
Story: Uma, a headstrong small-town woman, moves to Mumbai after an arranged marriage but feels out of place. Restless and trapped, she undergoes a wild transformation that breaks society’s rules.
Review: ‘Sister Midnight’ is one of those films that’s hard to describe without resorting to words like “bizarre,” “surreal,” or simply “what did I just watch?” From the very first frame, it throws you into a world that’s chaotic, wild, and often confounding. On the surface, it’s about a newlywed woman battling loneliness and frustration—but any attempt to explain the plot beyond that feels futile. This Radhika Apte-led British production is less interested in telling a story and more in creating an experience—one that’s metaphor-heavy and deliberately unsettling.
There are moments in the film that really grab you—strange little scenes that linger in the mind—but trying to piece them together into a coherent whole is a losing game. It’s clearly an experimental film, packed with long, static shots and an almost maddening sense of stillness that dares you to stay with it. If you’re someone who enjoys decoding metaphor and swimming through ambiguity, there’s something here for you. If you’re after a narrative that makes sense from start to finish, you might struggle.
The story follows Uma (Radhika Apte), a new bride who moves into her husband Gopal’s (Ashok Pathak) cramped home in a slum. She’s temperamental, clueless about running a household, loves smoking, and speaks to her husband mostly in commands. Her only real support is a kind neighbour. Eventually, boredom pushes her into taking a cleaning job, which is when things start to spiral. She kills a goat and dumps it in a pile of trash. Then, it’s birds. Later, during an awkward attempt at intimacy, her husband dies—and she casually keeps the corpse in the house. The events become increasingly surreal: a visit to a monastery, a train journey, and finally, a strange chase scene involving goats. It’s dreamlike, absurd, and tough to pin down.
The one thing that keeps it all from collapsing is Radhika Apte. She’s in practically every frame and is terrific—layered, unpredictable, and completely convincing as a woman gradually losing her grip. Her performance gives the film a strange sort of grounding. Ashok Pathak plays her husband with a quiet, believable helplessness and proves once again that he’s an actor to watch. Chhaya Kadam, in a brief role as the neighbour, is understated and effective.
Tonally, the film sits somewhere between black comedy and fever dream. There’s a certain reckless energy in how it moves—from one weird scene to the next—that keeps you watching, even if you’re not always sure why. The cinematography is striking and helps build a mood that’s equal parts grimy and hypnotic. But there’s no getting around the fact that much of it is repetitive and, at times, exhausting. The use of foreign music tracks might come across as inventive, but their relevance is often hard to figure out. Ditto for a scene from ‘The Seven Samurai’ playing on TV at a chai shop—interesting, yes, but what’s the point?
At its core, ‘Sister Midnight’ doesn’t follow a traditional plot structure. It thrives on moments, mood, and metaphor. If you like your cinema strange and symbolic, it has something to offer. But if you’re looking for a clear beginning, middle, and end, this one might just leave you bewildered. — ToI
Story: Both hopeless romantics, Ranjan (Rajkummar Rao) and Titli (Wamiqa Gabbi) are desperate to get married. When they pull all the strings to make it happen, Ranjan finds himself stuck in a time loop. He keeps waking up on the same day — a day prior to his wedding day.
Review: Bhool Chuk Maaf’s release drama strangely and accidentally paid ode to its theme. From a theatrical release to OTT and back to theatrical release, it kept going in circles too. The film’s story tests your patience equally, but the outcome compensates for the scattered and meandering build-up.
Oblivious to the demands of adulting, Banaras sweethearts Ranjan (Rajkummar Rao) and Titli (Wamiqa Gabbi) are obsessed with each other. He doesn’t have a job, and she is too reckless to care. They decide to elope but abort the plan midway because she realises it’s unfair for their parents to face the repercussions. They want to be together but not at the cost of their families’ wellbeing.
Otherwise irresponsible, Ranjan promises he will find a government job in two months. This is her father’s only condition. Having no care in the world, the couple resorts to ‘jugaad’ and succeeds until Ranjan finds himself tangled in a time loop which forbids him to proceed to his wedding day.
Rajkummar Rao has done a couple of films with similar small town settings of late. Bhool Chuk Maaf has a few elements that are strikingly different and then those that follow a template. Some nuances in writing stand out. The family dynamics and eccentric characters may have that Bareilly Ki Barfi-north Indian vibe, but it also has its own personality. Ranjan’s relationship with money for instance, is a direct impact of his father’s (Raghubir Yadav) total financial reliance on his wife Seema Pahwa. She is the sole breadwinner of the house through her pickle business and her husband doesn’t find it odd. Likewise, Ranjan happily spends Titli’s money, which she borrows from her parents and doesn’t aspire to be self-sufficient until he is forced to.
The first half takes a bit too long to get to the point with innumerable songs added for no rhyme or reason. Humour is largely clean and safe if you excuse the occasional ‘tatti jokes’. It’s the second half that changes the game. It is here that the film addresses growing apathy, isolated existence and self-centric living. What are the consequences of our jugaad on the society at large and when did we stop caring? The social commentary through humour isn’t predictable and is well established. You just wish it didn’t take an hour to get there.
Acting heavyweights Seema Pahwa, Raghubir Yadav, Sanjay Mishra and Zakir Hussain are best at what they do, and their presence lends authenticity and meaning to the setting. Wamiqa Gabbi portrays her ditzy but daring character well. Given how fine a talent he is, Rajkummar Rao deserves characters that force him to push his boundaries. Bhool Chuk Maaf isn’t groundbreaking for him that way. He still ensures he essays Ranjan with all his flaws and heart.
BCM delivers a relevant message in a deceptive manner. The time loop can feel like you are witnessing a number of behind-the-scenes fun retakes. If you are up for it, you can give this one a watch.– ToI
Story: Raid 2 follows the return of fiercely honest and incorruptible IRS officer Amay Patnaik (Ajay Devgn), as he goes after yet another powerful nemesis — Dadabhai (Riteish Deshmukh), who’s a snake in the garb of a saint.
Review: Relentless Patnaik (Devgn) is a thorn in the lives of the corrupt. He is the party pooper of the privileged who think they can evade law and hence, the chemistry and conflict that unravel once he goes digging has a comic-thrilling element to it. One does not expect efficiency or honesty from public servants let alone heroism and hence the anomaly makes for an interesting watch.
The second time around, Raj Kumar Gupta mounts his crime drama on a bigger scale. A brooding Patnaik dressed in formals, enjoys Singham like slowmo entry, glamour and clout. He can be transferred or suspended but he is always in power much against the odds. Ritiesh Deshmukh makes for an interesting no-nonsense, white collared antihero Dadabhai. He is a prodigal son, revered philanthropist and a powerful political leader. He is too good to be true and that leads Patnaik to go sniffing after his massive empire and assets. The two outsmart each other in a series of deceitful activities but only one can emerge victorious.
Riteish keeps the character, and his sinister energy understated. He makes for a fine nemesis. Shukla works his magic in a special appearance, but you sorely miss his presence throughout. It was the senior actor who owned the previous film single-handedly with his wit and one-liners. His jugalbandi with Devgn fuelled the film.
The sequel set in the late 1980’s, Raid 2 fangirls its own prequel by following a template so meticulously that it forgets to have some fun along the way. A fleet of ambassador cars aggressively heading for a raid is a visual that stays constant. At 2 hours, 20 minutes, the film feels heavy too. The first half is unhurried, it’s the second half that gets the wit, energy and thrill in place. Songs interrupt the story.
Gupta reunites with his set of actors and writers, barring a few. Ileana D’Cruz, is replaced by Vaani Kapoor as Patnaik’s wife Malini. Saurabh Shukla as Tauji takes a backseat for Ritiesh Deshmukh to take the centre stage. Supriya Pathak as Dadabhai’s mother is a new addition too. Amit Sial as ‘Charan chumbak’ Lallan Sudheer Singh is an absolute riot.
Ajay Devgn and his sunglasses are intense. He portrays the old-school heroism with swag. He has a solid comic timing too. You wish that aspect was explored more here. The film has some clever one-liners too that mock the sycophants and the corrupt as it oscillates between no frills and old school dramatic storytelling. Raid 2 stays true to its theme, but it takes itself a bit too seriously. — ToI
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