Indo American News

Category: Movies

  • ‘Girls will be Girls’: Coming of Age Drama Simmering with Tender Love and Emotions

    ‘Girls will be Girls’: Coming of Age Drama Simmering with Tender Love and Emotions

    By Archika Khurana

    Story: Set in a strict boarding school nestled in the serene Himalayas, the movie follows Mira (Preeti Panigrahi), a teenager who discovers the complexities of desire and love. Her journey toward self-discovery is complicated by her mother, Anila (Kani Kasruti), whose own adolescence was stifled and never fully lived. The tension between Mira’s blossoming sexuality and Anila’s unresolved past creates a simmering conflict that shapes both their lives, as the former navigates the challenges of love and rebellion while the latter grapples with her unfulfilled dreams of youth.

    Review: Shuchi Talati’s Girls Will Be Girls is an impressive debut that burrows into the psyche of its ambitious and high-achieving protagonist. At 16, Mira wants to excel at everything—even sex—and she’s ready to put in the work. The film, set in a 1990s Indian prep school in the Himalayas, unfolds with charged silences and subtle connections while exploring the gender-based tensions that exist within a world of academic privilege. Talati’s confident direction and sensitive handling of her young cast result in a coming-of-age story that feels both visceral and deeply relatable.

    The budding romance between Mira and Sri (Kesav Binoy Kiron), her 17-year-old classmate, is accurately messy and sweet. Their connection begins with furtive, butterfly-inducing moments—huddled under a blanket in the cold—but it doesn’t remain a secret for long. The school’s watchful, patriarchal gaze is adept at rooting out rule-breaking, particularly when it threatens the status quo. Mira is the first girl in school to be named prefect, a position that earns her both authority and resentment, particularly from the boys who lurk under stairways, snapping upskirt photos.

    When Mira’s mother, Anila, discovers the relationship, the story takes a surprising and unsettling turn. Anila, shaped by the same culture that seeks to control her daughter, becomes an unpredictable force. Her actions blur the lines between discipline, jealousy, and a desire to reclaim her own lost youth. This tense, psychological dynamic pushes the boundaries of both the coming-of-age genre and the “cool mom” trope, creating moments of outrageous tension that sometimes threaten to overwhelm the film’s grounded tone.

    Talati excels at portraying the physical, often uncomfortable realities of adolescence. Scenes like Mira practising kissing on her wrist or awkwardly trying to appear sexy while lip-syncing in the mirror are handled with honesty and nuance. These moments resonate because they’re treated as normal, relatable parts of growing up. Talati’s trust in her lead actors shines through, particularly in extended close-ups that convey entire emotional arcs without a word being spoken.

    Preeti Panigrahi delivers a standout performance as Mira, capturing the defiance, vulnerability, and contradictions of a teenager navigating injustice, desire, and societal pressure. Her withering glares and longing stares communicate volumes, while her portrayal of jealousy and betrayal feels immediate and authentic. As Sri, Keshav Kiron brings an easy, self-assured charm that contrasts with Mira’s more turbulent journey, highlighting the gendered ways they each experience the world.

    The most challenging role belongs to Kani Kusruti as Anila. Repressed and contradictory, Anila embodies the long-term effects of a culture that stifles women’s desires and agency. Her dynamic with Mira is complex, sometimes veering into unsettling territory as her actions push the narrative toward an unexpected, almost erotic thriller tone. While this taboo exploration of competition and resentment between parent and child is bold, it sometimes comes on too strong, overshadowing the more grounded elements of Mira and Sri’s story. Some later scenes, heavy with scandalous undertones, feel exaggerated and artificial, diluting the film’s otherwise sharp and empathetic insights.

    Talati’s directorial skill is undeniable. From small, skin-crawling moments—like a sales associate creeping on Mira—to larger, more dangerous confrontations at school, she keeps the tension simmering. Her use of framing, mirrors, and carefully choreographed spaces enhances the film’s emotional stakes. Occasionally, the script leans too heavily on dialogue to reinforce ideas already established visually, and some of the conversations veer toward flowery, young-adult sentimentality. Yet these are minor flaws in an otherwise assured and stylish debut.

    Underpinning Girls Will Be Girls is a searing critique of patriarchy and its generational effects. The forces that excuse the boys’ behaviour at Mira’s school are the same forces that drive expressions of female sexuality into the shadows, warping natural desires into acts of rebellion. Talati explores how these pressures twist relationships and identities, stretching societal expectations until they inevitably snap.

    Despite taking some narrative risks that don’t entirely pay off, Girls Will Be Girls remains a bold, empathetic, and visually sumptuous drama. Shuchi Talati’s confident storytelling and keen directorial eye mark her as a filmmaker to watch, with this debut offering a powerful, if occasionally uneven, exploration of adolescence, family, and desire. — ToI

  • Manoj Bajpayee Shines in this Slow but Gritty Thriller

    Manoj Bajpayee Shines in this Slow but Gritty Thriller

    By Dhaval Roy

    Story: As news rapidly goes digital, a veteran crime journalist finds himself struggling to stay relevant. While chasing a career-defining scoop, he follows a dangerous investigative story, taking him into Mumbai’s dark. As he digs deeper, he uncovers shocking secrets that threaten to upend everything.

    Review: Set against the backdrop of a newsroom on the brink of digitalisation, Despatch follows senior crime journalist, Joy Bag (Manoj Bajpayee), who is trying to keep up. He promises his editor two page-one stories on the 2G and GDR property builders’ scams while following another crime story. However, he stumbles upon a much bigger scandal—a ₹8,000 crore scam with far-reaching implications. What starts as a routine case spirals into a dangerous game where a powerful figure and Joy’s own life are at stake. The movie is about whether Joy will unravel the mystery, and at what cost.

    Director-writer Kanu Behl and co-writer Ishani Banerjee weave a layered narrative, offering a glimpse into the gritty realms of crime journalism and the city’s underbelly, as well as the industrious world that thrives within its shadows. Joy becomes the common thread connecting these murky worlds. Besides the changing dynamics of journalism, the film also captures the shifting face of crime from the underworld to billion-dollar scams. Joy’s life is also on the cusp of changing as he considers divorce with his wife, Shweta (Shahana Goswami), while taking his relationship with his colleague, Prerna (Arrchita Agarwaal) to the next level.

    The story unfolds effectively, transitioning from smuggling and contract killing to a high-stakes murder of a vigilance officer and stolen papers. The viewer remains invested as the screenplay crafts intrigue and intricate drama, incorporating a 2G tapes leak with Joy at its center, despite warnings from others, including journalist Noori (Rii Sen). The film convincingly portrays the world of exclusives and breaking news, highlighting how crime journalists navigate complex relationships with informers and sources, where information can be a matter of life and death.

    Cinematographer Siddharth Diwan brings Mumbai’s crime scenes and frenetic newsroom to life with gritty realism. These elements combine to immerse the viewer in the world of crime journalism. Sneha Khanwalker’s edgy, dark score perfectly complements the film’s somber tone, elevating the overall mood. While the tale is intriguing, the film’s deliberate pace and serious approach sometimes make it feel plodding, preventing it from being consistently engaging and captivating.

    The film’s true strength lies not in its plot but the protagonist, Joy, masterfully brought to life by Manoj Bajpayee. Joy is a middle-aged, often miserable, and misogynistic man, desperate to break stories and prove his worth. From being beaten by a contract killer to botching his cover at the vigilance office, Joy’s bungling nature evokes pity. Despite lacking dynamism, he pursues the story with unrelenting determination. Shahana Goswami (in a short role), Arrchita Agarwaal, and Rii Sen deliver powerful performances.

    Despatch is effective in its depiction of crime journalism and explores the value of information that can save or end lives. Despite its pace and sombre vein, it’s a worthy one-time watch. — ToI

  • ‘Sikandar ka Muqaddar’: Heist Thriller Struggles to Maintain Tension, Despite Strong Performances

    ‘Sikandar ka Muqaddar’: Heist Thriller Struggles to Maintain Tension, Despite Strong Performances

    Story: After a high-profile diamond heist goes unsolved, a determined cop’s fixation on his prime suspect turns into an all-consuming obsession.

    Review:     After a string of successful and taut Bollywood thrillers like A Wednesday, Special 26, and Baby, director Neeraj Pandey has carved a niche for himself with his gripping stories of secret agents and men in uniform. His recent OTT successes, Special Ops and Khakee: The Bihar Chapter, further solidify his mastery of the thriller genre. However, his latest offering, Sikandar Ka Muqaddar, while still watchable, fails to reach the high bar set by his earlier works.

    Set against the backdrop of 2009 Mumbai, the film begins with an intriguing heist, where precious red solitaires worth Rs 60 crores are stolen during an exhibition. Officer Jaswinder Singh (Jimmy Shergill) quickly narrows his list of suspects to three suspects—Mangesh Desai (Rajiv Mehta), a veteran employee at the jewellery store; Kamini Singh (Tamannaah Bhatia), his colleague; and Sikandar Sharma (Avinash Tiwary), a computer techie in a hurry to leave the scene after the alarm is triggered. While Jaswinder’s instincts point towards Sikandar, his growing obsession with solving the case sends him on a 15-year-long pursuit that spans multiple cities, including Abu Dhabi. At the heart of the story is the question of whether Sikandar or any one of the other suspects is truly guilty, or if Singh’s relentless pursuit is driven by his need to protect his reputation.

    The film starts strong, with a compelling setup that draws the audience into the mystery of the missing diamonds. However, when the narrative jumps ahead 15 years, the pacing slows considerably. The back-and-forth between the past and present becomes sluggish, and as the film shifts focus from the heist itself to the prolonged cat-and-mouse chase between Singh and Sikandar, the intrigue gradually fades. Although a few plot twists attempt to keep the tension alive, many are predictable, and by the time the climactic face-off between Singh and Sikandar unfolds, it struggles to hold the suspense it initially promised.

    The performances are undeniably strong, with Jimmy Shergill delivering a standout turn as Officer Singh. He brings depth to the character, portraying a man driven by both duty and personal demons, struggling to maintain his reputation while dealing with mounting frustrations. Avinash Tiwary also shines as Sikandar, a man caught in the crossfire of his own choices and a determined cop’s obsession. Tamannaah Bhatia impresses in a non-glamorous role, playing a single mother who becomes inadvertently entangled in the investigation. Despite Tiwary having more screen time, Bhatia’s portrayal arguably provides greater emotional depth. Rajiv Mehta rounds out the cast well as Mangesh Desai, another suspect whose role adds complexity to the mystery.

    Visually, the film impresses. Cinematographer Arvind Singh does a great job of capturing the locales, from the vibrant streets of Mumbai to the sleek cityscape of Abu Dhabi and the historical richness of Agra. However, the 143-minute runtime feels unnecessarily stretched, with songs—though well-composed—detracting from the narrative’s momentum.

    Despite flashes of brilliance, Sikandar Ka Muqaddar fails to fully capitalize on its potential. The tension wanes as the story progresses, and the twists arrive too late to redeem the sluggish pacing. While the performances and initial premise keep it afloat, the film ultimately lacks the razor-sharp intensity that defines Neeraj Pandey’s best works.

    Sikandar Ka Muqaddar is worth a watch for its strong performances and intriguing start, but it’s not the gripping thriller fans of the genre might expect. — ToI

  • ‘Jaaiye Aap Kahan Jaayenge’ : Sanjay Mishra Delivers a Stellar Performance in a Flawed yet Heartfelt Film

    ‘Jaaiye Aap Kahan Jaayenge’ : Sanjay Mishra Delivers a Stellar Performance in a Flawed yet Heartfelt Film

    By Abhishek Srivastava

    Story: A father and son are constantly at odds with each other. Their strained relationship reaches a breaking point when the son decides to create a mobile toilet on his rickshaw, designed specifically for women.

    Review: ‘Jaaiye Aap Kahan Jaayenge’ may have its flaws in production quality and screenplay, but it stands out for its simplicity and heartfelt performances. The film weaves together emotion, drama, and humour to narrate the story of a poor family in a way that resonates. Sanjay Mishra, Karan Aanand, and Monal Gajjar deliver standout performances that help distract from the technical shortcomings. The narrative sheds light on the struggles of an underprivileged family, particularly highlighting the challenges faced by women in small towns and villages due to the lack of toilets. With a meaningful social message and a genuine emotional core, the film manages to leave an impact despite its limitations.

    Set in a small town near the UP-Bihar border, the film follows the turbulent relationship between a father, Nathuni Prasad (Sanjay Mishra), and his son, Kishan (Karan Aanand). Kishan earns a living as a rickshaw puller, while Nathuni roams the streets selling bhuja from his cart. Despite their constant bickering and heated arguments, the father always rides home in his son’s rickshaw, hinting at an underlying bond. Their constant clashes come to a head in a physical fight, after which Nathuni dares Kishan to earn more than him at the Babuniya fair, promising to leave home for Haridwar if he does. Determined to prove himself, Kishan, with support from his wife and daughter, decides to build a mobile toilet. Soon, neighbours pitch in financially to help him achieve his goal. However, during its trial, the mobile toilet gets damaged, leaving Kishan devastated and questioning his efforts. The story unfolds against this backdrop of conflict, determination, and resilience.

    This film struggles with its identity, sending mixed signals throughout. It leaves viewers unsure whether the focus is on the strained relationship between a father and son, a man’s mission to provide mobile toilets for women, or a filmmaker’s quest for an inspiring story from the UP-Bihar region. By the end, it also ventures into the theme of social upliftment, adding to the confusion. However, the film’s charm lies in its simplicity and the authenticity of its characters. It’s best appreciated with an open mind, embracing the raw, earthy feel of its storytelling. Despite its shortcomings, the narrative tugs at your heartstrings as you root for the son, who dreams of moving beyond his father’s legacy of selling bhuja on a cart to create an honest and better future for his family. The father, though burdened with his own frustrations, harbours an unspoken love for his son, making their dynamic both poignant and relatable.

    Sanjay Mishra shines as Nathuni Prasad, delivering a standout performance in a challenging role. Portraying a father who deeply loves his son but constantly belittles him, Mishra captures the character’s complexity with finesse. His breakdown in the final sequence, after his son surpasses him, is a masterclass in acting. Karan Aanand brings sincerity and restraint to the role of Kishan, delivering a subdued yet impactful performance. Monal Gajjar, as Phoolmati, Kishan’s wife, adds authenticity with her grounded portrayal and showcases her acting range effectively. While ‘Jaaiye Aap Kahan Jaayenge’ falters on narration and technical fronts, its compelling performances and straightforward plot keep you engaged, ensuring the story resonates despite its flaws. — ToI

  • ‘I Want to Talk’: Silence Speaks Volumes in this True Story

    ‘I Want to Talk’: Silence Speaks Volumes in this True Story

    By Renuka Vyvahare

    Story: Words are the currency for marketing hotshot Arjun Sen (Abhishek Bachchan). He is clever, shrewd and singularly focused on his demanding job in the US, until he is caught off guard by a life-threatening health condition that could also affect his ability to speak.

    Review: In denial initially, this traumatic health crisis, numbs the pain of everything else in comparison including a broken marriage and financial downfall. What follows is countless hospital visits and an unpredictable future which tests the relationship Arjun shares with his daughter Reya.

    Arjun is bruised not broken. There’s a certain nonchalance about Shoojit Sircar’s (Piku, October) gaze as a storyteller. It grows on you slowly and steadily. As it happens in life too, emotions are not always verbalised or expressed freely. There’s a lot of withholding and long pauses, which can be perceived as detachment or aloofness but it’s just him using silence and monotony to lead you to that breaking point. The one, you don’t see coming. There’s a certain stillness to story progression and yet you find yourself immersed in every scene.

    Beyond the extraordinary survival story, the father-daughter, Doctor-patient bond and anticipation of death (like Piku) being worse than actual death form the film’s key elements. While Arjun’s extremely independent, those who have been caregivers for parents, can relate to Reya’s emotional turmoil and outbursts. The realisation that healers also need healing leaves a lump in your throat. Arjun’s nurse and friend Nancy (Kristin Goodard), signifies this sentiment.

    Despite it being a heavy human drama, the film never ceases to be optimistic and casual in its approach. Our ability to endure pain or suffering is acknowledged, not glorified. Hospital bills, visits, surgeries, uncertainty of life, running a house… Arjun’s story is simply told. You admire his extraordinary courage without it screaming for attention or sympathy. The cinematic treatment’s unconventional and effective.

    Holed up in his house all day if not the hospital, Arjun and Reya’s rare outings by the lake and heart-to-heart conversations feel therapeutic. Abhishek Bachchan anchors this survival tale skilfully. He lends Arjun his cheeky repartee and humour without losing grip on the situation. Ahilya Bamroo, popular on social media for her language and accent reels, makes her film debut here and she is perfect as Reya. As someone who deeply cares but doesn’t wish to be consumed by grief and pain, Bamroo is an incredible find and a great casting decision. Jayant Kripalani as Dr Deb provides the film its light-hearted moments. It’s pleasant to see Johnny Lever on screen even in a small part.

    In book terms, ‘I want to talk’ may not be a page-turner but it’s not a sob story either. It reminds you that you are way more stronger than you think you are. — ToI

  • ‘The Sabarmati Report’: Events and Causes behind the Godhra Incident

    ‘The Sabarmati Report’: Events and Causes behind the Godhra Incident

    By Abhishek Srivastava

    Story: This film investigates the events and causes behind the 2002 Godhra incident, which led to the tragic loss of 59 train passengers.

    Review: ‘The Sabarmati Report’ delves into the tragic Godhra incident, where 59 passengers aboard the Sabarmati Express lost their lives in 2002. With a crisp two-hour runtime, the film manages to keep viewers engaged for the most part. The film seeks to challenge traditional narratives, suggesting that history has often been shaped by biased perspectives and calling for a re-evaluation. Unfortunately, a more grounded and realistic portrayal could have made it far more compelling. The first half largely sidelines the Godhra incident, focusing instead on the workings of a broadcast channel that manipulates its coverage to favour the then-ruling party, exploiting its close ties for political gain.

    The film follows Samar Kumar (Vikrant Massey), a Hindi journalist, who is recruited by Mahika (Ridhi Dogra), a hard-nosed journalist working for a prominent broadcast channel. Together, they travel to Godhra to report on the tragic incident. However, Mahika receives a call from her boss that alters her narrative, framing the event as merely an unfortunate accident. Samar, through his own investigation, uncovers a truth that starkly contrasts with his channel’s coverage. When he confronts his employer, he is abruptly fired. Struggling to find another job, he spirals into depression and turns to alcohol. As the incident’s fifth anniversary approaches, the network assigns Amrita Gill (Raashi Khanna) to revisit the case. She turns to Samar for guidance, and together, they prepare a fresh and unfiltered account of the events.

    Vikrant Massey delivers an authentic portrayal of Samar Kumar, capturing the essence of an honest reporter with skill and sincerity. Raashi Khanna as Amrita, a producer, also gives a solid performance, but it’s Ridhi Dogra as Mahika—a ruthless, manipulative journalist—who truly commands attention. Her portrayal is sharp, exuding a chilling sense of arrogance and entitlement. However, the film stumbles in its research. It’s unrealistic to show journalists traveling long distances to Delhi solely to deliver tapes when, in that era, such tasks were often handled by bus drivers or flight passengers. Moreover, by 2002, OB vans were commonly used for transmitting footage via satellite. Also, Mahika’s character portrayal leans heavily into stereotypes, and viewers should take it with a pinch of salt.

    ‘The Sabarmati Report’ holds viewer attention through most of its runtime, but its slightly glossy treatment makes it feel less like a film based on true events and more like a typical commercial drama. While it succeeds in educating audiences about the lasting impact of this tragic incident, the cinematic embellishments somewhat dilute its authenticity. — ToI

  • ‘Bhool Bhulaiyaa 3’ : A Solid Twist Elevates this Diwali Entertainer

    ‘Bhool Bhulaiyaa 3’ : A Solid Twist Elevates this Diwali Entertainer

    By Renuka Vyavahare

    Synopsis: Conman Ruhaan parading as a ghostbuster Rooh baba (Kartik Aaryan), is confronted by not one but two evil forces in a haunted mansion that put his survival and analytical skills to test.

    Story: Keeping with the theme of the franchise, Bhool Bhulaiyaa 3 also pits an unassuming cheeky protagonist against a spooky haveli with a buried past. The century-old mansion needs to be restored to its former glory and sold, but Manjulika’s terrorising presence in it forbids the owners from doing so. The royal family in dire need of resources, seeks Rooh baba’s intervention. The fraudster takes up the lucrative offer only to find himself tangled in a mess as he discovers two dark forces who claim to be Manjulika.

    Close on the heels of Stree 2’s thumping success, comes yet another horror comedy. Anees Bazmee returns to direct BB after his 2022 hit, having taken over from Priyadarshan, who helmed the Akshay Kumar original (2007). Bhool Bhulaiyaa 3 is structured more as a comedy with elements of horror. Ensemble comedies have been Bazmee’s forte (Welcome, No Entry) after all, so the departure from Priyadarshan’s psychologically tense theme is understood. A particular scene revolving around a superstar is the highlight of this film and one of its finest scenes.

    BB3 keeps you invested, and nowhere does it get tiring but it does have its static phase where the comic punches don’t quite land as much as they should. The story takes a considerable amount of time to build up, but the wait feels rewarding, thanks to a thoughtful twist in the climax. You don’t see it coming at all and the makers succeed in giving a sensible and mature spin to a massy entertainer. The art direction deserves a mention too. The production value is a notch above the previous instalments.

    Kartik anchors the film as he reprises the role of Ruhaan/Rooh baba. He has the maximum screen presence and owns the role. Though this is a Kartik Aaryan show all the way, the women have been a solid backbone and crowd pullers in this franchise. Be it Tabu in the previous film or Vidya Balan and Madhuri Dixit in this one, the celebrated actresses are absolute scene stealers and stunners.

    The film marks the return of Vidya Balan to the franchise after her stellar portrayal of Manjulika in 2007. She lets her eyes do the talking. Vidya has Madhuri Dixit for company and together, they are like fire and ice. Madhuri with her million-dollar smile, powerful presence and graceful dance moves is a sight to behold. Their iconic dance-off in Ami Je Tomar, where each performs a distinct classical dance form – Madhuri predominantly Kathak, Vidya – blend of Bharatnatyam-Odissi, is worth the hype. It’s tough to match up to Madhuri as far as dance is concerned but Vidya pushes herself skilfully. The song placement feels a bit sudden. However, the visual appeal and riveting performances make up for it. Rajpal Yadav, Sanjay Mishra and Ashwini Kalsekar, are extremely talented and deserved better lines. Triptii Dimri’s character arc could have been fleshed out better.

    BB3 has its share of highs and lows but it delivers what you expect from a Diwali family entertainer. Make sure you guard the climax for others to enjoy the film, too. — ToI

  • ‘Do Patti’: A Damp Squib Even with Kajol, Kriti

    ‘Do Patti’: A Damp Squib Even with Kajol, Kriti

    By Renuka Vyavahare

    Story: When an attempted murder case unfolds in a sleepy hill town, investigating officer Vidya Jyoti (Kajol) suspects there’s more to the story than meets the eye. Can she decode fact from fiction?

    Review: Twins Saumya and Shailee (Kriti Sanon in a double role, this is not a spoiler) are like chalk and cheese. One gets married to hot-headed Dhruv Sood, (television actor Shaheer Sheikh) the privileged man with a volatile temper and political connect who owns a paragliding business in the hills. All’s well on the surface until an unlikely crime makes police officer VJ (Kajol) question everything about this family.

    Do Patti is deceptive. In an ideal scenario, this could have worked wonders as a thriller but that’s not the case here. Do Patti is deceptive as a film, not as a mystery. You are led on and lured into believing that there’s more to this long-winding twin sister saga but it’s all a damp squib. For some strange reason, you pin your hopes on the big twist that might redeem the situation but that wish stays unfulfilled as it’s predictable and underwhelming.

    At the heart of the film lies a crucial conflict between the word of law and spirit of law (circumstances vs verdict). The recent much talked about Menendez Brothers’ series and documentary posed the same question. However, the film digresses way too much, taking away from this valid argument. Twin sister tropes have existed in Bollywood since time immemorial — Seeta Aur Geeta, Sharmeelee, Chaalbaaz, Dushman to name a few. Writer Kanika Dhillon (Manmarziyan and Haseen Dillruba) and director Shashanka Chaturvedi, try to resurrect this theme and give it a legal spin but it all feels frothy and not meaningful.

    Characters are one-dimensional, not layered and no efforts are taken to build them. Kajol as a feisty single woman cop, cannot stand fools. Her banter with her subordinate Brijendra Kala is probably the only interesting thing here. Sadly, this track is sidelined and the two are reduced to being mere spectators. Kriti Sanon looks gorgeous and over the years has evolved as far as her performance and choices are concerned. However, beyond the distinct external appearance, she struggles to internalise the nuances of her dual role as she oscillates between them. Someone as talented as Tanvi Azmi, doesn’t have much to do and Shaheer Sheikh plays a forgettable second fiddle to Kriti.

    Domestic violence, childhood trauma, anger issues, culture of silence… Do Patti touches upon substantial topics but lacks the sensibility or depth to make flawed seem fascinating. — ToI

  • ‘Binny and Family’: A Heartfelt Tale of Bridging Generations with Love and Laughter

    ‘Binny and Family’: A Heartfelt Tale of Bridging Generations with Love and Laughter

    By Archika Khurana

    Story: Binny, a rebellious and free-spirited teenager living in London, faces a new challenge when her conservative grandparents from Bihar move in. The clash of cultures ignites conflicts, leading Binny to navigate the complexities of family life amid generational differences.

    Review: Binny And Family – Har Generation Kuch Kehta Hai captures the essence of familial love, wrapping it in a heartwarming, simple narrative that many can resonate with. The film touches upon a universal theme: the clash between traditional values and modern lifestyles, or as it aptly puts it, “Purane zamaane ke sanskaar v/s aajkal ke modern vichaar!” Director Ssanjay Tripaathy’s storytelling is crisp and straightforward, delivering a drama that, while largely predictable, still manages to create emotional moments.

    The first half paints a lively picture of Binny’s (Anjini Dhawan) vibrant London life, marked by parties, rebellion, and the typical trappings of Gen Z freedom. The sudden arrival of her grandparents from Bettiah, Bihar, disrupts her routine, as their conservative outlook introduces restrictions she finds suffocating. This leads to humorous yet thought-provoking clashes between the generations. The film takes a more emotional turn in the latter half, especially after the passing of her grandmother. Binny’s growing relationship with her grandfather becomes the heart of the story, as the two embark on a poignant journey of understanding and mutual growth.

    The film succeeds in presenting three key perspectives: Binny’s yearning for freedom, her grandparents’ adherence to tradition, and her parents’ struggle to balance the two. The dialogues feel natural, and lines like “Zindagi ka expiry date ho sakta, but zindagi jeene ka expiry date nahi hota (life comes with an expiry date, but living a life has no expiry date)“ add moments of wisdom and depth.

    Anjini Dhawan makes a confident and impressive debut, portraying Binny’s transformation from a rebellious teen to someone who begins to embrace her grandparents’ values. Pankaj Kapur delivers a standout performance, particularly in his portrayal of grief and loss. His scenes with Binny are the emotional core of the film, filled with subtle, unspoken emotions. Himani Shivpuri, as the gentle but firm grandmother, perfectly complements Kapur, and their chemistry brings authenticity to their Bihari characters. Their quirks—like stitching Binny’s ripped jeans and enforcing curfews—will remind viewers of their own family members.

    Rajesh Kumar and Charu Shankar give convincing performances as Binny’s parents, particularly in emotional moments where they struggle to mediate between their daughter and her grandparents. Debutant Naman Tripathy, as Binny’s brand-obsessed friend Bhavesh, adds comic relief, particularly with his fixation on luxury labels.

    While some elements—such as the quick travel between London and Bihar—lean into comedic territory, the film is visually captivating. Mohit Puri’s cinematography contrasts the simplicity of Bettiah with the vibrant energy of London, emphasizing the cultural differences that the family navigates. Lalit Pandit’s soothing music complements the narrative and enhances the emotional moments, making the film a cohesive, visually pleasing experience.
    —
    At its core, Binny And Family carries an important message: “Do generations ke beech mein jitna zayada communication gap hoga, utna generation gap badha hoga.” It highlights the significance of bridging generational divides through understanding and open communication. The film is a heartwarming reminder that despite differences, families can learn from each other, fostering stronger bonds across generations. Simple yet impactful, it’s a feel-good movie that leaves audiences with a message of unity, love, and respect. — TNN

  • ‘The Buckingham Murders’: A Sombre Murder Story

    ‘The Buckingham Murders’: A Sombre Murder Story

    By Renuka Vyavahare

    Story: British Indian detective Jasmeet Bhamra aka Jas, (Kareena Kapoor Khan) must solve a murder mystery in an English town even as she finds her own life crumbling around her. Can she put the pieces together of a rather complex case without succumbing to the pressure of its social implications?

    Review: After a young Sikh boy goes missing in a British town, a Muslim teen is looked upon as the prime suspect. Given the religious violence in the region, the investigation faces ample roadblocks. Jas (Kareena Kapoor Khan), a 40-something stoic detective, haunted by the loss of her own child is assigned the case. She chooses to get too busy to grieve and deep dives into the investigation that not only reopens personal wounds but also has the potential to spark communal discord within immigrants.

    British police procedurals like Happy Valley, Broadchurch, Blue Lights have set the benchmark quite high. Kate Winslet starrer Mare of Easttown followed their footsteps to give us an impeccable masterclass in female-led detective dramas that revolved around personal trauma and professional upheaval. They went beyond the standard realm of crime thrillers to decode human behaviour, relationships and its warped doings in everyday life.

    The Buckingham Murders has clearly taken pointers from its celebrated predecessors. There’s this eerie silence and darkness that engulf Hansal Mehta’s police procedural-crime drama. There is no attempt to lighten up the atmosphere or dial down the paranoia. The slow burn crime drama retains the grit and unpredictability but lacks the nervous energy and tension that are integral to this genre. Somewhere, the intent of making a larger point, be it political, religious, social, sexuality or gender driven, overshadows the murder case at hand. This makes the interrogation seem stagnant and bleak.

    Sleepy English towns make for great murder mysteries, but the characters don’t feel like they inhabit the spaces they are shown to live in. Sonam Kapoor starrer ‘Blind’ faced a similar issue.

    Despite a middling narrative, the film unfolds as an interesting character study on unresolved grief and repressed anger. Jas’ reluctance to confront her psychological state and get on with her life is well captured. A scene between Jas and her father stays with you. Her tragic backstory lends an edge to the proceedings along with alleged suspects and plot twists. Performances and an unapologetic climax also work in the film’s favour.

    Though known for her commercial success, Kareena can be subtle, nuanced and understated. Glimpses of this were visible in Udta Punjab, Jaane Jaan and Talaash. A de-glam Bebo weaponises her silence amid the chaos as she seeks closure in solving the case. She hasn’t done anything like this before and this is a welcome change. Chef Ranveer Brar and Ash Tandon also play significant roles convincingly.

    This may not be an edge-of-your-seat, hard-hitting crime thriller as you expect it to be, but its understanding and expression of grief, isolation and repressed anger is noteworthy. Also, you won’t be able to guess the killer till the end. If that’s what you are looking for, this film succeeds. You just wish the build up was more chilling and captivating. — TNN

  • ‘Berlin’: A Refereshing and Yet Powerful Thriller

    ‘Berlin’: A Refereshing and Yet Powerful Thriller

    By Dhaval Roy

    Story: Set in 1993 in New Delhi, Berlin is about a deaf-mute young man arrested as a suspected spy and murderer. A sign language expert is called in to help but soon finds himself caught up in a dangerous and complex web of espionage. With rival agencies and other hidden forces at play, a twist turns the case on its head: is the real spy hiding in plain sight?

    Review: What makes a good spy? Jagdish Sondhi (Rahul Bose), the head of the Soviet Desk at the intelligence agency called Bureau, believes it’s sharp vision, hearing, and fit body. Yet, a scrawny and deaf-mute Ashok Kumar (Ishwak Singh) is suspected of being a German spy involved in a murder and an assassination conspiracy during Russian President Boris Yeltsin’s Indian visit in 1993. Pushkin Verma (Aparshakti Khurana), a teacher at a school for the deaf and mute, is appointed to interrogate Ashok. However, as the former delves deeper into the case, he discovers the shadowy truth about spies, bureaucracy, and politics as his ideas of nationalism change.

    The thriller’s refreshing aspect is its authentic story, departing from the India-neighbourhood rivalry trope. Instead, it opts for a more nuanced exploration of internal politics, one-upmanship between intelligence agencies (Wing and Bureau), and what power dynamics can do to unsuspecting bystanders.

    The A-team of writer-director Atul Sabharwal, editor Irene Dhar Malik, cinematographer Shreedutta Namjoshi, composer Krishna Kumar, and sound designer Anthony Ruban crafts a high-stakes game of espionage that will keep you on the edge of your seats throughout. The clever narrative is about the business of information trading and how the hearing and speech impaired are used as ‘walls’ between these ‘businessmen’ at a coffee house called Berlin. The title also alludes to the collapse of the Berlin Wall shortly before the movie’s setting.

    Ishwak Singh shines as he conveys emotions through his eyes and body language. Aparshakti Khurana is equally impressive as a simple teacher caught in the crossfire, bringing empathy and a quest for truth to the narrative. As both actors deliver brilliant character arcs, their understated connection is heartwarming and heartbreaking. Rahul Bose is impressive as a suave, wily, and sharp agent — he may not know the sign language, but Pushkin and Ishwak cannot fool him.

    The film’s suspenseful reveal is underwhelming, and the plot twist is predictable. Also, the attempts at cat-and-mouse thrills within the Bureau’s office fail to fly effectively. Still, the world-building, visual style, atmospheric tension, and intricate details make up for the minor missteps. The film seamlessly integrates themes of pain and loneliness, adding depth to the narrative without straying from the overarching theme of a spy drama.

    Despite some flaws, Berlin is a masterclass in suspenseful storytelling and character development. It is a must-watch for fans of spy thrillers and those seeking a film that offers more than just surface-level excitement. — TNN

  • ‘Tikdam’: An Ode to Small Town Life and Family Ties

    ‘Tikdam’: An Ode to Small Town Life and Family Ties

    By Abhishek Srivastava

    Story: After Prakash loses his job when the hotel closes, he receives an offer to work in Mumbai with the same chain. But his children set out on a mission to stop him from leaving their hill town.

    Review: ‘Tikdam’ arrives like a breath of fresh air in an era dominated by superhero spectacles, hyper-masculinity, and profanity. Its simple plot, combined with heartfelt performances, strikes a chord and makes you reflect on the beauty of a simpler life. The story, centered on an impoverished father and his two children, evokes a sense of nostalgia, transporting you to a time when life felt uncorrupted. Though primarily aimed at children, ‘Tikdam’ has enough depth to appeal to adults as well, poignantly portraying the bond between a father and his kids. It’s a charming film that stands out and leaves you with a smile.

    Set in the hilly town of Sukhtaal, the story follows Prakash (Amit Sial), a widower and low-level employee at a hotel chain. The town’s declining tourism and ecological changes have taken a toll on the hotel’s business, leading its owner, Rose (Jennifer Piccinato), to shut it down permanently. However, due to Prakash’s dedication, he is offered a position in another branch in Mumbai. When his children, Samay (Arisht Jain) and Cheeni (Aarohi Saud), learn of this, the idea of their father leaving their ancestral home deeply saddens them. Unable to accept his departure, the kids, with the help of their close friend Bhanu (Divyansh Dwivedi), hatch plans to keep their father from moving to Mumbai.

    The film touches on the subjects of migration from small towns to big cities and the ecological crises these towns face. Just as the plot seems to drift into a preachy tone, with school kids led by Samay and Bhanu taking steps to halt deforestation, ban plastic use, and reduce noise pollution, the screenplay shifts and stays grounded. Its greatest strength lies in its simplicity, often reflecting realism. The actions of the schoolchildren feel authentic, never exaggerated. The film is a slice-of-life portrayal of a below-middle-class family content with small-town life, despite its challenges. A particularly poignant scene occurs when Prakash’s mother confronts his elder brother after he loses a card game on Diwali, encapsulating the film’s core message with great impact. Watch out for the hilarious moment when Prakash humorously explains and defines the meaning of “chudail” to Rose, the hotel owner.

    The film’s strong performances elevate the viewing experience. Amit Sial shines as Prakash, a widower and simple man who would do anything to bring joy to his children. His connection with the kids feels genuine and deeply moving. Some scenes are emotional, and they may bring tears to your eyes, making you truly empathize with Sial’s character. Nayan Bhatt, as the lively grandmother, adds energy with her clever antics, while Ajit Sarwottam Kelkar as the grandfather, brings a touch of humour to lighten the mood. However, it’s the children who form the heart of the film, with Samay (Arisht Jain), Bhanu (Divyansh Dwivedi), and Cheeni (Aarohi Saud) all delivering authentic and captivating performances. Divyansh Dwivedi, in particular, steals the show with his ‘wise-beyond-his-years’ dialogue. Films like ‘Tikdam’ have become rare, and director Vivek Anchalia deserves full credit for taking on such a daring and unique subject. If you’re weary of life’s daily grind, this film offers a soothing escape. — TNN

  • ‘Khel Khel Mein’: A Wildly Entertaining Comedy

    ‘Khel Khel Mein’: A Wildly Entertaining Comedy

    By Dhaval Roy

    Story: A game night takes a dramatic turn when friends agree to keep their phones unlocked, sharing every text and call publicly. Secrets spill out, dynamics shift, and lives are forever changed.

    Review:     At her sister’s lavish Jaipur wedding, writer Vartika (Vaani Kapoor) suggests a twisted game, unleashing a hilarious, heart-rending, and dramatic chain of events. As private lives are exposed, the group discovers hidden secrets: Rishabh’s (Akshay Kumar) Casanova personality, Kabir’s (Fardeen Khan) personal struggles, Happy (Taapsee Pannu) and Harpreet’s (Ammy Virk) marital issues, and Naina (Pragya Jaiswal) and Samar’s (Aditya Seal) dark past.

    Mudassar Aziz’s direction and writing shine through the entertaining script, taut screenplay, and emotional dialogues—Rishabh’s call with his 18-year-old daughter where she wants to stay over with her boyfriend for the first time, and his speech at his sister-in-law’s wedding will win your heart. The writer-director proves a movie can be entertaining and engaging even when the set-up is confined to a hotel room’s dining table.

    The couples’ introductory part follows a template, but once that’s out of the way, the rest of the movie, which portrays the course of the evening, will keep you hooked to the screen and laughing out loud. However, every couple’s story is predictable, often veering toward being cliched. But the performers delivering lines with pitch-perfect comic timing and expressions make up for the flaws in the stories.

    Akshay Kumar is in top form as an incorrigible man who can read a person and convincingly spew white lies. He has unconventional views on relationships and loyalty, which will also resonate with the viewer. Ammy Virk delivers an outstanding performance as a hotheaded Sardar. He has an undeniable chemistry and comic timing with Fardeen Khan. While the latter’s character’s back story could have been better, he delivers a powerful performance. Taapsee Pannu as a ditzy and loud Punjaban shines in every scene—especially when the friends find out her nicknames for them or when her husband reads out his text messages aloud. The actress effortlessly alternates between side-splitting and poignant scenes. Vaani Kapoor as a chic writer, Aditya Seal as a professional trying to prove his worth, and Pragya Jaiswal as a clueless, high-society girl play their parts with aplomb.

    Khel Khel Mein has minor flaws, but its smart writing, tight direction, and performances make it worth a watch, especially with a bunch of friends. However, if you get too inspired by this game, do it at your own risk! — TNN

  • ‘Stree 2’ : This Sequel is a Headless Wonder That’s Got Humor in Spades

    ‘Stree 2’ : This Sequel is a Headless Wonder That’s Got Humor in Spades

    By Abhishek Srivastava

    Story: Chanderi is once again haunted by a sinister force, as women in the town are mysteriously abducted by a headless entity. Bicky, Janna, Bittu, and Rudra reunite to confront and defeat the evil once more.

    Review: Horror comedy is a challenging genre, but the makers of ‘Stree 2’ have nailed it once again. This sequel retains all the charm of the first film, from the quirky small-town atmosphere to the eccentric characters and the simplicity of its people, blending these elements seamlessly for a winning formula. Sequels are often tricky, but the clever script flips the original plot—while Stree kidnapped men in the first film, this time a male villain, Sarkata, terrorizes and abducts women. With the characters already established, the story dives straight into action, delivering a fast-paced, tight screenplay that keeps viewers hooked, bolstered by a strong ensemble cast in top form.

    The plot of ‘Stree 2’ picks up after the events of the first film, focusing on a new terror in Chanderi—Sarkata, a headless entity targeting and kidnapping women who have embraced modernity. The story takes a personal turn when Bittu’s (Aparshakti Khurana) girlfriend, Chitti, falls victim to Sarkata’s attacks. A letter received by Rudra (Pankaj Tripathi) contains the missing pages of the Chanderi Puraan, which played a key role in the first film. Using these clues, Bicky (Rajkummar Rao), Bittu, and Jana (Abhishek Banerjee) embark on a mission to track down Sarkata and end his reign of terror, with help from Shraddha Kapoor’s character, who remains nameless in this installment as well.

    Rajkumar Rao is once again in top form, delivering his signature performance with strong support from Aparshakti Khurana and Abhishek Banerjee. Pankaj Tripathi continues to shine as Rudra, stealing scenes with his witty one-liners and impeccable shuddh Hindi. The screenplay gives each character their moment in the spotlight, allowing them all to stand out. However, Shraddha Kapoor’s character feels underwhelming, as she appears sporadically and, apart from adding some intrigue, doesn’t contribute much. One standout moment is when Sarkata chases Jana, who is riding with Pankaj Tripathi’s character; Jana even manages to make the headless entity drink alcohol, offering a brief glimpse of a smiling Sarkata. Another highlight is Rajkumar Rao’s hilarious rendition of Rema’s ‘Calm Down.’ The film is filled with laughs and hits all the right notes for a horror comedy.

    However, in the second half, the screenplay starts to feel sloppy, as if the makers were in a rush and running out of ideas. This becomes evident with the sudden special appearances by Akshay Kumar and Varun Dhawan. While Akshay’s character does steer the plot in a new direction, it’s clear his role was added to draw in more viewers—or perhaps hint at the creation of a shared ‘Stree-Bhediya’ universe. The pacing feels rushed, and one wishes the writers had given more attention to this part of the film. Despite this, ‘Stree 2’ delivers plenty of entertainment, and Amar Kaushik once again excels in direction. The film retains the energy and charm of the original, with a clever script that brings a fresh twist. — TNN

  • ‘Ulajh’: An Engaging Watch Despite Some Flaws

    ‘Ulajh’: An Engaging Watch Despite Some Flaws

    By Sreeparna Sengupta

    Story: When an IFS officer lands a plum posting as the youngest Deputy High Commissioner of India in the UK, it raises a few eyebrows but she is determined to prove that she’s the best choice for the job. However, she soon finds herself entangled in a web of conspiracies and realises she is just a pawn in a much larger game.

    Review: Suhana (Janhvi Kapoor) is thrilled when she’s offered her new office because she believes this will finally impress her father, Vanraj Bhatia, (Adil Hussain). While he has his reservations on why she’s the chosen one, Suhana’s convinced it’s owing to her professional prowess and strategic acumen and not just because she comes from an illustrious family of high-ranking diplomats. As his daughter takes off to assume her new position, Vanraj is also appointed as the permanent representative of India to the UN.

    In her London office, Suhana is greeted by her team, Jacob Tamang (Meiyang Chang) and Sebin Kutty (Roshan Mathew) who view her appointment as a result of nepotism. On the other hand, her driver, Salim (Rajesh Tailang), seems firmly on her side, offering advice and help whenever required. At a party hosted at the Indian High Commission, Suhana bumps into Nakul (Gulshan Devaiah), a Michelin star-chef, who switches between languages and accents with as much ease as he sweeps her off her feet. And a whirlwind romance ensues. But soon Suhana’s dream life begins to crumble like a house of cards as Nakul resorts to blackmailing her with a surreptitiously recorded video in exchange of Indian intelligence and trade secrets. And while Suhana gives in, wanting to save face and not disrupt her father’s new appointment, she finds herself sinking deeper and deeper into a mess she can’t seem to wriggle out of. As the storyline juggles between London, India and Pakistan, there is another facet to this whole game brewing.

    Though most ‘Ulajh’ rests on Suhana’s shoulders, the film is sprinkled with a multitude of characters, who zip in and out as the story traverses through its many twists, betrayals and unlikely friendships. The screenplay (Parveez Shaikh, Sudhanshu Saria) engages enough to keep one invested till the end with some legit shocks and thrills. However, the weakest link in the story is Suhana’s lack of judgement and discretion when it comes to falling for Nakul and dealing with the situation before it gets too murky. Pace slackens at times and there are a few loose ends. As a spy-thriller ‘Ulajh’ is gripping in parts and a tad flat in others.

    That said, Jahnvi Kapoor pulls off a convincing performance as she blends in seamlessly with the many shades to her character. Arguably, among her best work so far. Gulshan Devaiah as the main antagonist channels an impressive evil avatar. Roshan Mathew’s character progression is deftly handled and the actor pulls it off with charm. Rajesh Tailang, Meiyang Chang and Adil Hussain lend support with their assured performances. The cinematography (Shreya Dube) and soundtrack (Shashwat Sachdev) add to the mood of the film.

    Despite some flaws, ‘Ulajh’ makes for an engaging watch and the film leaves scope for a sequel and a cute new pairing. — TNS

  • ‘Bad Newz’: Vicky Kaushal and Ammy Virk’s Hilarious Rivalry Elevates This Laugh Riot

    ‘Bad Newz’: Vicky Kaushal and Ammy Virk’s Hilarious Rivalry Elevates This Laugh Riot

    By Dhaval Roy

    Story: Saloni Bagga (Triptii Dimri) gets pregnant with twins conceived through a rare phenomenon, heteropaternal superfecundation, which means there are two biological dads. In a hilarious rivalry, the would-be papas compete to win her heart and fatherhood. Whom will she choose?

    Review: In the laugh riot that comes after Good Newwz (2019), Saloni Bagga dreams of culinary stardom and resists her mother’s marriage pressure until a whirlwind romance and marriage with Akhil Chaddha (Vicky Kaushal). While she craves career glory, her husband longs for a family, as his carefree attitude creates friction in their relationship. An incident throws her dreams and job into disarray, forcing them to acknowledge their incompatibility. Divorce ensues, and Saloni seeks a fresh start in Mussourie. There, she has a one-night stand with her boss, Gurbir Pannu (Ammy Virk).

    Fate throws another curveball: Akhil reappears, and on the same night, things get tangled again. Six weeks later, a bombshell drops—Saloni’s pregnant with twins, and a paternity test reveals both Akhil and Gurbir are fathers! This unexpected twist sets the stage for a side-splitting battle between the two men, each vying for Saloni’s love and a shot at fatherhood.

    Two heroes in a comedic duel for the heroine feels like a familiar rom-com setup. The plot might not surprise you, but the film shines in its outrageous humour. While the script and screenplay remain on uneven ground, director Anand Tiwari and writers Tarun Dudeja and Ishita Moitra understand that laughter is the key ingredient. Jokes and one-liners (by Dudeja) pepper the narrative, ensuring you’ll chuckle even after a supposedly serious scene. The film feels light and breezy, with the cast seemingly having a blast themselves.

    Highlights include hilarious self-referential jabs at Karan Johar, from Akhil’s (Vicky Kaushal) possessiveness over a Katrina Kaif poster to Gurbir’s deadpan declaration that he’s “no Manmarziyan’s Vicky Kaushal” (referencing another Kaushal rom-com). These playful nods at Bollywood tropes add another layer of amusement and will crack you up.

    The film’s pacing suffers from a rushed first act, as Akhil and Saloni’s romance, marriage, and subsequent split feel underdeveloped. Similarly, Saloni’s fling with Gurbir lacks depth and is unconvincing. While the soundtrack boasts catchy tunes like Raula Raula, Mere Mehboob Mere Sanam, and Jaanam, their rapid-fire placement disrupts the narrative flow. Repetition in comedic situations and a predictable plot further hinder the film, especially in the second half, which feels overstretched.

    Vicky Kaushal shines as the self-centred and loud Punjabi who eventually undergoes a satisfying character arc, learning to prioritise Saloni’s dreams. His impeccable comedic timing and energy are matched by Ammy Virk, who holds his own as Gurbir, the other more polished father figure in the chaotic equation. The best scenes are between the duo and their strong chemistry enables the comedy to roll out effectively. Triptii Dimri looks pretty and pulls off emotional scenes but struggles with comedy. — ToI

  • ‘Sharmajee Ki Beti’: A Delightful Grandeur of Womanhood

    ‘Sharmajee Ki Beti’: A Delightful Grandeur of Womanhood

    By Archika Khurana

    Story: A celebration of womanhood, weaving a tapestry of stories that capture the essence of women across different age groups.

    Review: Tahira Kashyap Khurrana’s directorial debut, ‘Sharmaajee Ki Beti,’ stands out for its authentic portrayal of female experiences, resonating deeply with audiences of all ages. Tackling heavier subjects with a light touch, Kashyap crafts funny situations without being forced or over the top—a rare feat the film achieves with ease.

    Bound by a common surname, the film explores the lives of ordinary Indian women divided by age and their situations. School friends Swati (Vanshika Taparia) and Gurveen (Arista Mehta) navigate the pressures of their teen years. Swati resents her career-oriented mother, Jyoti (Sakshi Tanwar), who struggles to balance work and parenting despite support from her caring husband, Sudhir (Sharib Hashmi). Gurveen’s mother, Kiran (Divya Dutta), feels lonely in a city she has yet to embrace, finding solace in her love for Tambola, also known as Housie. Tanvi (Saiyami Kher), a state-level cricketer, faces constant discouragement from her selfish boyfriend. The film follows these five vibrant lives as they resolve their ordeals.

    The film offers a perspective on celebrating one’s body and being unapologetic about individual choices without casting judgment. Kashyap’s narrative covering teenage girls grappling with identity and growing pains is commendable, as is her depiction of the complex relationships between mothers and daughters. While the film addresses pertinent themes affecting many Indian families, it sometimes feels overstuffed in trying to cover everything within its less than two-hour duration.

    The strength of Kashyap’s writing lies in her well-etched characters, which evoke empathy, laughter, and warmth. Sakshi Tanwar proves her formidable talent, while Sharib Hashmi plays a sweet, supportive husband reminiscent of his role as Nalin Dalal in Tarla Dalal’s biopic. Teen actors Vanshika Taparia and Arista Mehta are phenomenal, serving as the film’s beating heart. Divya Dutta delivers a nuanced, scintillating portrayal of Kiran Sharma. Saiyami Kher’s track, though understandable, is the film’s weakest, partly due to her stiff performance. Ravjeet Singh, as Tanvi’s self-absorbed boyfriend, is convincingly unlikeable, and newcomer Sushant Ghadge, playing Kiran’s house-help Chotu, is equipped with some of the film’s best lines.

    The overall message of ‘Sharmaajee Ki Beti’ is not to provide happy endings or instantly break age-old notions but to remind viewers to love, respect, and treat women equally and deservedly. This message is well conveyed through Tahira Kashyap Khurrana’s vision and some commendable performances. — ToI

  • ‘Kalki 2898 – AD’ : Big B’s powerful punches and stunning visuals shine above the film’s flaws

    ‘Kalki 2898 – AD’ : Big B’s powerful punches and stunning visuals shine above the film’s flaws

    By Ronak Kotecha

    Story: In the year 2898 AD, the tenth and final avatar of Lord Vishnu, Kalki, is poised to be born, heralding a new era amidst a dystopian world fraught with malevolent forces.

    Review: ‘Kalki 2898 AD’ begins with a gripping depiction of the aftermath of the Mahabharata war, when Lord Krishna cursed Ashwatthama (Amitabh Bachchan) with immortality. This sets the stage for a fictional narrative within a star-studded cinematic universe, deeply rooted in Hindu mythology. A story about the tenth avatar of Lord Vishnu, who is prophesied to arrive on a white horse, signaling the end of the Kali Yuga.

    Writer-director Nag Ashwin crafts his story around it, but the film is a precursor to what you can expect in the future installments of this massive universe. To do that, he uses his imaginative prowess and transports the audience into a visually stunning world. This is the biggest and most obvious strength of the film. Ashwin, with the help of his cinematographer Djordje Stojiljkovic, takes us into the lone existing city of Kasi, ruled by the evil Commander Manas (Saswata Chatterjee) and led by God King Supreme Yaskin (Kamal Haasan), who lives in a mysterious powerhouse known as Complex. It’s a dark world where fertile women are killed and men are enslaved. The only ray of hope, perhaps, is Bhairava (Prabhas) and a motley bunch of rebels from Shambhala until they rescue one of the subjects from the Complex, SUM80 (Deepika Padukone), the bearer of the awaited avatar.

    It’s a simple story thrown into a complex web of too many characters and subplots, some of which have little to do with the broader narrative. Ashwin’s plot meanders into unnecessary detours so many times that it gets tiring to wait for it to get back on track. The entire first half suffers from this back and forth, especially with Prabhas’ character. The futile attempts to generate comedy, even with a veteran like Brahmanandam (who plays Bhairava’s landlord Rajan), fall flat, much like his half-baked love angle with Roxie (Disha Patani) that could have been completely done away with.

    Thankfully, the film picks up pace in the second half with Amitabh Bachchan’s re-entry. The veteran superstar wows us with his infectious energy in high-octane action scenes. Even with all the special effects and latest tools of computer animation, he manages to breathe life into his character and bring a level of realism into Ashwatthama’s unbridled power. Deepika Padukone shows commendable restraint and skill in playing a subdued character who is destined to eventually be powerful.

    South superstar Shobhana provides good support as the wise Mariam. Saswata Chatterjee comes across as somewhat caricaturish in his role of Commander Manas. Kamal Haasan once again delivers a role that is strikingly distinctive and sends chills down the spine. Special appearances by Vijay Deverakonda, Mrunal Thakur, Dulquer Salmaan, S.S. Rajamouli, and Ram Gopal Varma leave a brief but memorable impact.

    The film’s production design by Nitin Zihani Choudhary deserves special mention for creating a captivating visual landscape that enhances the immersive experience. Although the music score by Santhosh Narayanan is a letdown, the background score effectively complements the film’s narrative, elevating key moments.

    ‘Kalki 2898 AD’ is undeniably a larger-than-life visual spectacle that transports viewers into a vividly imagined universe. In fact, the film’s visual quality is so high that it overshadows many of its obvious flaws by engaging the audience into the atmospherics of the make-believe world of Kasi and the Complex. Moreover, it’s a concept that can spark imaginative experiences beyond the cinema. If you enjoy diving into a world of epic battles between gods, good, and evil, then ‘Kalki 2898 AD’ offers quite a satisfying audio-visual experience, even though it may require some patience. — TNN

  • ‘Ishq Vishk Rebound’: A Lighthearted and Delightful Tale with Some Narrative Fumbles

    ‘Ishq Vishk Rebound’: A Lighthearted and Delightful Tale with Some Narrative Fumbles

    By Dhaval Roy

    Story: The line between friendship and love blurs for three best friends as they become entangled in a web of a breakup, a rebound relationship, and self-discovery.

    Review: In the era of situationships and breadcrumbing, when most love stories are too complicated for their own good, director Nipun Dharmadhikari’s romantic comedy comes as a breath of fresh air. The latest entry in the Ishq Vishk (2003) franchise is about three childhood best friends: Raghav (Rohit Saraf), Sanya (Pashmina Roshan), and Sahir (Jibraan Khan). Sanya and Sahir’s on-again, off-again relationship constantly drags Raghav into the drama. When the couple breaks up simultaneously with Raghav and Riya (Naila Grrewal), Raghav and Sanya find themselves in a rebound romance. But will this ‘ishq vishk’ fling mess up their lifelong friendship?

    Packed with laughs, the first half shows Raghav hilariously juggling his friendships and new fling. From Raghav stealing Sahir’s dog to him going on a ‘haunting trip’ with Sanya, the delightful sequences are thoroughly entertaining. Written by Vaishali Naik, Vinay Chhawal, and Ketan Pedgaonkar, the movie is also a window to modern love: Raghav believes relationships are baggage-free transactions, justifying his rebound with Sanya. The narrative also touches upon how familial ties complicate romantic relationships. For example, Sanya’s broken home makes her confrontational, often causing friction with Sahir, as he is pressured by his iron-fisted and abusive father, causing their break-up. The film advocates for self-discovery and finding happiness beyond romantic entanglement.

    The film’s pace slows down in the second half as the group’s complicated relationships become repetitive. The initial premise of Raghav attempting to mirror his story in his film’s script does not land. Some plot points, like Riya’s lingering jealousy towards the trio’s bond, aren’t fully fleshed out. Although well-choreographed, slick, and foot-tapping, the songs break the narrative flow in the latter half. Rochak Kohli’s melodious Rehmat, and the remakes of Chot Dil Pe Lagi and Ishq Vishk Pyaar Vyaar make for a good soundtrack.

    Rohit Saraf steals the show with his impeccable comedic timing and effortless delivery. He seamlessly breaks the fourth wall, captivating viewers with his character’s journey. Pashmina Roshan is impactful in the role of a troubled and immature young girl who blames her immaturity on her broken family. Jibraan Khan also performs ably, and Naila Garewal delivers a serviceable performance in her limited role.

    Ishq VIshk Rebound is a film for Gen Z. While older viewers might not fully connect with its portrayal of modern love, the humour, engaging performances, and entertainment value make it a decent one-time watch.

  • ‘Chandu Champion’ : Kartik Aaryan Gives Best performance in this Sports Biopic

    ‘Chandu Champion’ : Kartik Aaryan Gives Best performance in this Sports Biopic

    By Renuka Vyavahare

    Story: Based on a true story, the film celebrates the fascinating and surrealistic life of Murlikant Petkar, an army man and athlete, who won India its first Paralympic gold in 1972. His achievements and remarkable tryst with destiny lurked in anonymity, until he decided to claim the honour and respect he deserved.

    Review: We often hear that it’s wise to leave the table if respect is not served. But what if you decide to sit at the table, compelling people to acknowledge your presence? Victory belongs to the most tenacious after all. Kabir Khan’s film celebrates this thought. It’s about building yourself as a champion, even when the world labels you as a chandu, chomu or looks at you as a laughing stock.

    Oscillating between past and present, the story takes us through Petkar’s life, right from the 1950’s to 2018, when he was finally awarded the Padma Shri. We discover that the man who nurtured an Olympic dream since his childhood has a strange love-hate relationship with fate and God. He survived when he didn’t hope he would and was left devastated when he least expected. However, never defeated.

    The film has Forrest Gump’s free flowing nature and Bhaag Milkha Bhaag’s essence to it, but unlike the two, this one feels a tad rebellious without a pertinent cause or conflict. Being ridiculed unleashes Petkar’s aggression, giving an outlet to his talent and persistence. He dared to question the naysayers, ‘Hasta kayko hai’, which ignited the fire within him. Medal se izzat milti hai, he tells himself.

    Most sports biopics follow athletes who pursue a certain sport and excel in it against the odds. Kabir Khan’s film feels different because it’s about a man who desperately wants an Olympic medal, for which he tries everything – Wrestling, boxing and swimming. Sounds preposterous and ridiculously ambitious but that’s the fun of it. Petkar makes you wonder if being delusional to a certain level helps. Only then can you see yourself as a champion, even when no one thinks you are in the reckoning.

    In many ways, Kartik Aaryan’s ambition to be taken seriously as an actor, coincides with the inner turmoil of the character he essays here. You almost hear him say, “Ae hasta kayko hai? Actor hai main actor.” Kabir Khan’s choice of leading man is a clever casting move. Kartik shows considerable restraint, spontaneity and brings a certain ease to his character that we haven’t seen from him before. He is impressively uninhibited in ‘Satyanaas’, a well-shot train song. Along with undergoing physical transformation, he does justice to the character’s emotional arc. Bhuvan Arora deserves a special mention as Petkar’s likeable sidekick. Rajpal Yadav and Vijay Raaz add a lot of depth to the story with their presence. For a sports drama, the music could have been far more inspiring though.

    Kabir Khan loves to make feel good cinema and CC (Chandu Champion) falls into that category, too. Be it Salman Khan in Bajrangi Bhaijaan, Ranveer Singh as Kapil Dev in 83 or Kartik as Petkar, he extracts the best out of his mainstream actors. He loves to infuse humour, sports and earnestness into his stories, but he can dig deeper than that. There’s more focus on what happened to a person than their inner conflict. Things get monotonous and tiring beyond a point, making the climax less effective. CC is engaging and heartwarming even, but it seems to follow a template. Staying the course is fine, but breaking the rules is not a bad idea. — TNN