Category: MUST-SEE VIDEOS (News, Comedy, Movies)

By Dhaval Roy

Story: A notorious crime lord and master jewel thief attempt to steal the world’s most elusive African diamond, the Red Sun. However, the perfectly-planned heist spirals out of control, as loyalties shift and a dangerous web of deception and betrayal turns the high-stakes mission into a deadly game.

Review: Jewel Thief follows a conman, Rehan Roy (Saif Ali Khan), trying to steal one of the rarest diamonds when a dreaded criminal, Rajan Aulakh (Jaideep Ahlawat), threatens to go after the former’s family. But Rehan has other plans when he falls for Rajan’s wife, Farah (Nikita Dutta).

Directors Kookie Gulati and Robbie Grewal deliver a fast-paced entertainer with stylish production and edge-of-the-seat thrills in this high-stakes drama. The film checks all the boxes of a classic heist caper, but ramps up the excitement as it evolves into a tense game of double-crossing. Rehan not only uses his wits to steal the diamond from one of the world’s most secure museums, but must also outsmart Rajan—an unflinching crime lord who doesn’t hesitate to eliminate even his most loyal henchmen—raising the stakes and intensifying the thrill. To add to this, Rehan is being chased by a team of cops led by Vikram Patel (Kunal Kapoor).

The potboiler leans on familiar tropes—breaking into an impenetrable vault, a hapless love interest, and an estranged family dynamic. It also leaves a few narrative threads unresolved. The hinted history between Rajan and the shadowy overlord Moosa (Dorendra Singh Loitongbam) is touched upon but never fleshed out. Likewise, Rehan’s aide Nikki Taneja (Meenal Sahu) appears only to assist him, with no backstory or context to ground her presence in the plot. That said, the clash between force and wit—and outsmarting those standing in the way—keeps things engaging.

Sequences of rehearsing for the heist and the drama in the sky are created with finesse. The film has its share of loopholes, and some plot points feel convenient and unconvincing—a much-sought-after conman like Rehan being pursued by two bumbling cops, for instance. Still, the plot maintains a brisk pace, and Jishnu Bhattacharjee’s cinematography lends it a high-gloss look.

Saif Ali Khan steals the show as the slick con artist, nailing every nuance—from sleight-of-hand tricks and high-octane action to emotionally charged scenes with his estranged father, Dr. Jayant Roy (Kulbhushan Kharbanda). Jaideep Ahlawat is pitch-perfect as the menacing villain, managing to send chills down the spine even in moments of silence. The supporting cast — including Kunal Kapoor as cop Vikram Patel and Nikita Dutta as Rajan’s wife — holds its own.

A crisp heist caper with standout performances and high-stakes drama, Jewel Thief makes for an entertaining watch. Its slick execution, tense confrontations, and twists, anchored by the charismatic conman, will keep you hooked throughout. — ToI

By Dhaval Roy

Review: The conflict shifts from the battleground of Saragarhi in Kesari (2019) to the courtroom in director Karan Singh Tyagi’s historical drama. Inspired by The Case That Shook the Empire by C. Sankaran Nair’s grandson Raghu Palat and Pushpa Palat, writers Tyagi and Amritpal Bindra evoke pathos, anger, and thrill in equal measure through their narrative. The recreation of the Jallianwala Bagh massacre tugs at your heartstrings, the injustice fuels your anger, and the legal battle keeps you hooked.

While the pacing is initially uneven—particularly during the sequence of Sankaran helping convict revolutionary Kirpal Singh (Jaipreet Singh) and the pre-trial against General Reginald Dyer (Simon Paisley Day)—the engagement peaks once he faces a fierce nemesis in Anglo-Indian lawyer Neville McKinley (R Madhava

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Production designer Rita Ghosh authentically recreates the pre-Independence era, while Debojeet Ray’s cinematography, along with Tyagi’s direction and treatment, keeps you invested throughout. Shashwat Sachdev’s composition O Shera and Azeem Dayani’s background score elevate the narrative to a rousing level.

The story also portrays corruption within the British Empire, its disdain for Indians, and the growing revolutionary sentiment—without slipping into overdramatisation. However, Sankaran’s transition from Crown loyalist to nationalist feels slightly rushed.

The tight narrative is anchored by Akshay Kumar, who shines as the brilliant and courageous Sankaran. R Madhavan is equally formidable, delivering a controlled yet intense performance. Ananya Panday, as Sankaran’s co-counsel Dilreet Gill and a catalyst in the legal battle, is impactful. Her portrayal blends realism with nervousness as she takes on the mighty Empire—transforming from a hesitant first-timer in court to a fiery cross-examiner in a key sequence.

Simon Paisley Day deserves special mention as the villainous General Dyer. A glimpse into his childhood trauma—being bullied for stuttering and inheriting hatred for Indians from his father—is portrayed effectively. Pargat Singh (Krish Rao), as the young boy who loses his mother and sister in the massacre and bravely raises his voice against it, also delivers a powerful performance.

The tragic Jallianwala Bagh massacre is a well-documented chapter in history. Yet, this deep dive into the lesser-known case that shook the Empire makes for an incredible tale. Its gripping narrative and stellar performances make it a must-watch fare. — ToI

By Archika Khurana

Story: In a remote coastal village, ruthless criminal Ranatunga rules by fear. When a mysterious stranger confronts his men, he uncovers the villagers’ torment. Determined to end the tyranny, he takes a stand—can he bring justice to the oppressed?

Review: Gopichand Malineni’s Jaat, marking his Hindi directorial debut, is an unabashedly loud, hero-driven spectacle that aims to marry the exaggerated swagger of South Indian action with North Indian machismo. The result is a film that offers moments of undeniable impact but ultimately plays too safely within the confines of well-worn formulas.

With a title steeped in cultural pride and defiance, Jaat wears its identity on its sleeve. It’s clearly designed as a star vehicle for Sunny Deol, putting him front and center in a role that brings back his signature style—loud one-liners, heavy action scenes, and a larger-than-life masculinity straight out of the 90s. To its credit, the film doesn’t shy away from this tone and fully commits to the old-school action formula, even if it feels dated at times.

The plot unfolds in a coastal village ruled by the iron hand of Ranatunga (a chilling Randeep Hooda), whose tyranny sets the stage for a classic messiah narrative. A lone drifter—Deol’s Jaat—arrives, bears witness to the injustices, and predictably becomes the avenging force. While the premise holds promise, it’s the execution that falters. The film leans heavily on tropes—blood-soaked revenge arcs, slow-mo punches, and sermon-heavy dialogues—leaving little room for surprise or nuance.

Where Jaat does briefly shine is in its first half. The tension is palpable, the villainy unsettling, and the non-linear screenplay keeps the audience engaged. Hooda, in particular, is magnetic as Ranatunga, portraying menace with mythological flair. His Ravan-obsessed villain is one of the film’s few inventive choices, lending depth to an otherwise familiar face-off. Sunny Deol, meanwhile, thunders his way through with nostalgic bravado, delivering lines like “yeh dhai kilo ke haath ki power poora North dekh chuka hai, ab South dekhega” with such conviction, one can’t help but cheer—even if the screenplay around him doesn’t always rise to the occasion. Vineet Kumar Singh also makes an impact as Ranatunga’s ruthless brother, Somulu, providing a worthy foil in the villain camp.

Visually, the film holds its own. Thaman S’s background score heightens the drama effectively, and the cinematography offers a gritty, lived-in aesthetic. Action sequences, while often overindulgent, are slick and impactful. The dialogues, penned by Saurabh Gupta and Sai Madhav Burra, are over-the-top and theatrical—often more memorable than the scenes themselves.

However, narrative pacing becomes a significant issue post-interval. The second half drags, and the film’s 153-minute runtime begins to weigh heavily. A forced item number featuring Urvashi Rautela feels unnecessary and only adds to the film’s bloated feel.

Perhaps the most glaring flaw in Jaat is its treatment of female characters. Regina Cassandra, as Ranatunga’s wife Bharathi, and Saiyami Kher, as a fierce senior police officer Vijayalaskhmi, are criminally underused. Kher, in particular, starts strong but is soon reduced to a plot device.

Jaat delivers exactly what it promises: a nostalgia-fueled action drama powered by its male leads and dialogue-heavy theatrics. But for all its sound and fury, it lacks the courage to push beyond its comfort zone. It’s a decent one-time watch for fans of old-school Deol-led actioners, but for anyone seeking innovation or depth, Jaat may feel like a missed opportunity wrapped in a thunderous punch. — ToI

By Dhaval Roy

Story: A fertility specialist’s life is upended when he is accused of attempted murder. The courtroom drama chronicles his journey as a pioneer in IVF treatment while simultaneously questioning whether he will emerge unscathed from the legal battle that threatens to destroy his legacy.

Review: What happens when someone revered for bringing hope to countless childless couples finds himself at the centre of a scandal? Director Vikram Bhatt’s Tumko Meri Kasam tells one such tale—of visionary IVF specialist Dr. Ajay Murdia (Anupam Kher), who faces allegations of attempted murder. The film navigates dual narratives—his groundbreaking contributions to fertility treatment and the intense courtroom battle that could unravel his life’s work.
Based on a true story, the film sets the stage for a gripping legal drama intertwined with a heartfelt love story from the outset. Rajeev Khosla (Meherrzan Mazda) accuses Dr Murdia of attempted murder, aiming to usurp his position as chairman of Indira IVF, a vast chain of fertility clinics. Running parallel to this conflict is the doctor’s early journey, where a younger Ajay (Ishwak Singh) battles scepticism and social stigma in the 1980s, a time when fertility clinics were often dismissed as ‘sex clinics.’ Facing opposition from peers and family, Ajay finds unwavering support in his wife, Indira (Adah Sharma). Together, they risk everything to revolutionise fertility treatment and bring hope to struggling couples.

While emotionally engaging, writer-director Bhatt’s storytelling wavers between poignant and dramatic. As the story shifts between romance, tragedy, and the legal battle, the ride doesn’t always feel seamless. At two hours and forty-six minutes, the narrative feels long-drawn and follows a formulaic path with songs. The courtroom sequences oscillate between sharply executed and contrived. However, the film’s emotional core remains intact, especially in moments of personal loss, where the younger Ajay and Indira’s bond is portrayed with tenderness, leaving you teary-eyed.

Anupam Kher delivers a solid performance as the steadfast and betrayed Dr Murdia, fiercely fighting for his clinic and reputation. Esha Deol brings finesse as his defence attorney, Meenakshi, though her role lacks depth beyond the courtroom exchanges. Ishwak Singh as the younger Ajay is a standout—his portrayal captures both the empathy and determination of a doctor ahead of his time. His chemistry with Adah Sharma is natural and compelling, making their love story one of the film’s strongest elements. The duo shines in both romantic and emotionally charged scenes, embodying resilience and unwavering faith in each other.

Durgesh Kumar (Bhushan from Panchayat) makes a brief yet powerful impact in a pivotal courtroom scene. Meherrzan Mazda, playing the antagonist, has a substantial role, yet his motivations feel underexplored. His resentment toward Ajay lacks the complexity needed to make him a formidable adversary.

Tumko Meri Kasam has a strong premise but uneven pacing and a lengthy runtime make it less immersive than it could have been. Still, the film is backed by emotional depth and strong performances. — ToI

By Dhaval Roy

Story: The king of Rajkot takes on a powerful minister and embarks on a mission to protect the recipients of his late wife’s organs—preserving her memory at all costs.

Review: Sanjay Rajkot (Salman Khan), the generous and courageous king of Rajkot, is fondly known as Sikandar or Raja saab by his people. His clash with a powerful minister (Sathyaraj) leads to the tragic death of his beloved wife, Saisri (Rashmika Mandanna). Before passing away, she donates her organs to three individuals in Mumbai. In a ruthless attempt to erase her memory and break Sanjay’s spirit, the minister targets the recipients—a young boy from the Dharavi slums who receives her lungs, a CA topper whose dreams are stifled by her orthodox father-in-law and receives her eyes, and a college girl heartbroken in love and also with a weak heart. The film follows Sanjay’s journey as he protects them from harm while helping transform their lives.

A Salman Khan movie is a genre in itself, and you know what to expect—gravity-defying action, larger-than-life heroism, and punchy dialogues. Written and directed by A Murugadoss, this actioner checks all these boxes but suffers from an underwhelming plot and cliched narrative. Sikandar is the expected righteous, brave, and invincible figure typical of both the genre and a Salman Khan massive Eid release. He saves 6,000 Dharavi residents by arranging their treatment, empowers a homemaker (Kajal Agarwal), and helps a lost in love college girl. Amid all this, he battles the minister’s henchmen.

The predictable storyline is paired with a generic background score by Santhosh Narayanan. Kevin Kumar’s action direction is limited, with no jaw-dropping, extraordinary stunts to impress you. The few action sequences feel repetitive, with slow-motion shots, flying goons, and exploding cars.

Salman Khan drives the film with his signature star power. He strives to deliver an emotional, action-packed performance, but the sluggish narrative holds him back, while throwing in some over-the-top dialogues like, “Ab insaaf ki nahi, inhe saaf karne ki zaroorat hai.” Rashmika Mandanna has a few scenes and some songs, but the problem is not that. Overall, she has a strong screen presence but doesn’t have much to perform or elevate the scenes she appears in. Vatsan Chakravarthi plays a corrupt cop and fits the role well. The surprise element is Sharman Joshi as Salman’s loyal aide—he holds his own opposite the superstar, delivering a restrained and impactful act.

The story and the narrative are the biggest letdown of this larger-than-life movie; even if they are trying to draw in die-hard Salman Khan fans, we wish they had taken the action notches higher. A few standout punches and stunts here and there could have probably salvaged this one. — ToI

By Abhishek Srivastava

Story: Jaishnavi, 65, visits her son’s Mumbai home after years but is left to care for their pet while the family goes to Darjeeling. During her stay, she bonds with the dog and the apartment’s residents.

Review: ‘Aachari Baa’ is a simple film that touches on themes like women’s emancipation, parental neglect, and the loneliness of an elderly widow. While these issues are relevant, the predictable plot and screenplay fail to engage. The film follows familiar tropes—a son calls his rural-dwelling mother to his urban home, where she struggles to adjust. This drama works only in parts but feels too sanitized to offer anything fresh. Despite its emotional core, it lacks the depth needed to leave an impact.

The story follows Jaishnavi (Neena Gupta), a 65-year-old woman who earns her livelihood by making pickles in a small Gujarat town. She shares a strong bond with her co-workers, who are like family to her. It’s been over a decade since she last saw her son, Ketan (Vatsal Seth), now settled in Mumbai. So, when he invites her to stay at his home, she is both surprised and overjoyed. However, upon arriving, she is taken aback to learn that the family is leaving for a vacation to Darjeeling, leaving her in charge of their pet dog, Jenny. Initially struggling, she gradually forms a bond with Jenny, and the apartment residents. When she accidentally feeds the dog pickles and chocolate, society secretary Brijesh Malhotra (Kabir Bedi) steps in to help find a vet. As the community discovers her pickle-making talent, they come together to support her, forging new friendships along the way.

This film treads familiar ground, offering nothing we haven’t seen before. It features an independent elderly woman with a strained, almost non-existent relationship with her son. It also highlights how, in small towns, bonds between neighbours often feel stronger than family ties. Director Hardik Gajjar takes on the triple role of storyteller, screenwriter, and director, but the weight of these responsibilities seems to have affected the film. The script occasionally dips into excessive sweetness, and the forced use of Gen Z slang feels out of place. The absence of strong confrontation scenes weakens key turning points in the story. Vatsal Seth, as the son, is relegated to little more than typing on a keyboard. Had the film explored the reasons behind the mother-son disconnect, it could have added much-needed depth to the narrative.

Neena Gupta delivers a spirited and natural performance as Aachari Baa, but she is constrained by a one-dimensional script that leaves little room for surprises. Vatsal Seth, as her son Ketan, has an inconsequential role with little to contribute. Kabir Bedi, as society secretary Brijesh Malhotra, gives an earnest performance, though his character barely connects with the main plot.

The film shines while set in Rapar, a small Gujarat town, where Baa’s camaraderie with the women who help her make pickles and the ever-loyal Kanu Bhai feels warm and authentic. Their relationships are portrayed with genuine, earthy charm. However, the narrative loses momentum once it shifts to Mumbai, leaning on clichés and predictable storytelling. The songs, with their blend of folk, add some entertainment value. In the end, the film feels too sanitized to make an impression. — ToI

By Dhaval Roy

Story: Based on a true story, the film follows the Deputy High Commissioner who tries to repatriate an Indian girl from Pakistan after she is deceived and forced into marrying against her will.

Review: The breathtaking valleys of Khyber Pakhtunkhwa hide a grim reality—where women are forced into submission, and young boys are trained to wield firearms. Among those trapped is Uzma Ahmed (Sadia Khateeb), a young Indian woman deceived into marriage, held captive, and subjected to sexual violence. Director Shivam Nair’s The Diplomat brings her true story to life, tracing her fight to return to India and how the nation stood unwaveringly behind her. Her rescue was made possible through the relentless efforts of the Indian Embassy, particularly Deputy High Commissioner JP Singh (John Abraham) and then External Affairs Minister Sushma Swaraj (Revathy).

Ritesh Shah’s screenplay and Nair’s direction craft a tight, brisk narrative from the outset. While the film starts off slowly, it steadily draws viewers in, establishing the harrowing reality of Uzma’s captivity. The tension peaks when a desperate Uzma seizes her chance and finds refuge in the Indian Embassy, setting the stage for a gripping diplomatic standoff.

From there, The Diplomat maintains its suspense with sequences such as the embassy outwitting Uzma’s husband, Tahir (Jagjeet Sandhu), his menacing allies, and the ISI to ensure her safety. The urgency intensifies as JP Singh (John Abraham), his colleagues, and Uzma’s lawyer (Kumud Mishra) race against time to secure her legal passage before her visa expires, all unfolding against the backdrop of shifting Indo-Pak relations and the International Court of Justice’s intervention in the accused RAW agent Kulbhushan Jadhav case. One of the film’s most compelling moments is the nerve-wracking drive to the Wagah-Attari Border, with Tahir and his gang in hot pursuit.

The film captures the oppressive reality for women in conflict zones with authenticity, avoiding unnecessary dramatisation. The fear Uzma experiences is palpable, and the dialogue remains restrained yet effective.

John Abraham delivers one of his most nuanced performances as the empathetic and resolute diplomat. He balances quiet authority with wry humour, particularly in moments where he subtly challenges Pakistani officials. “Yeh Pakistan hai, beta, yahan aadmi aur ghoda seedhi chaal nahi chalta,” offers a refreshing break from the usual jingoistic rhetoric. Sadia Khateeb portrays Uzma’s vulnerability and resilience with finesse, while Revathy channels the late Sushma Swaraj’s kindness and strength with conviction. Kumud Mishra stands out as Uzma’s sharp yet warm-hearted lawyer, and Jagjeet Sandhu impresses as the deceptively charming yet terrifying Tahir.

The direct exchange between the Indian and Pakistani ministries, rather than the embassy simply relaying messages, could have heightened the intensity. However, the tense moments crafted are gripping enough to keep you engaged with bated breath. The compelling narrative and John Abraham’s performance make The Diplomat well worth watching. — ToI

By Renuka Vyavahare

Story: To win over her best friends and wriggle out of a sticky situation, poor little rich girl Pia Jaisingh (Khushi Kapoor) convinces her new classmate, a career-driven Arjun Mehta (Ibrahim Ali Khan) to be her rental boyfriend. The Instagram love story looks perfect on reels until things get real between the two.

Review: You can predict this story as soon as it begins. It follows the tropes of any teen romance. Pia offers Rs 25K a week to Arjun, an aspiring lawyer to get him to pretend as her boyfriend. She’s a wealthy Delhi girl; he’s from Greater Noida. He thinks love is a distraction, she thinks her world revolves around love. Her family is patriarchal, his parents are liberal. Despite the differences, the two make a deal. She soft launches him on her socials before the big reveal. What happens when the two catch feelings?

Relationships aren’t as dreamy as they seem on social media. They take effort, communication, and patience. Modern love’s biggest dilemma, our obsession to document everything virtually but our inability to communicate our feelings IRL (in real life), lies at the heart of the story. The thought is relevant, and director Shauna Gautam doesn’t sexualize her story, which is refreshing. The patriarchal mindset in wealthy families is a pertinent point that gets skimmed through. Despite the potential, the storytelling and emotions in Nadaaniyan are as shallow and filtered as beautified Instagram posts. Nothing feels real and the dialogues barely scratch the surface. Scenes seem random with no connection and the lead cast’s wobbly performance doesn’t yield the expected impact.

We get that the film doesn’t intend to be a thought-provoking piece of cinema but a breezy glamorous chick-flick cum teen campus romance with sweet K-drama feels. But, even this light-hearted genre can create binge-worthy narratives like ‘Never Have I Ever’ or ‘To All the Boys I’ve Loved Before’. Ananya Panday starrer Call Me Bae, also written and created by Ishita Moitra (co-writer here) and backed by the same makers had more heart and heft. Nadaaniyan could have perhaps worked better as a series with more time to build characters and their backstories. As a film, it makes you feel nothing. The story moves in a haphazard manner and lacks direction. This takes away from scenes that could have been emotionally charged.

What stands out the most in this film are its end credits, where photos of every artist (not just actors) can be seen along with their names. This is a great initiative. Saif Ali Khan and Amrita Singh’s son Ibrahim Ali Khan, makes a pleasant acting debut here. He is easy on the eyes and likable. We are not sure if his voice was dubbed, but something doesn’t feel organic about the sound. There’s something inherently earnest about Khushi, but beyond working on her acting skills, she needs to loosen up a bit and get comfortable on camera. You sense discomfort and stiffness in her body language. As the quintessential ditzy rich girl, who has more to her than her virtual fame, the newcomer struggles to portray Pia’s inner turmoil.

Suniel Shetty, Mahima Chaudhry, Dia Mirza and Jugal Hansraj bring in that much needed sincerity, but their parts don’t hold much meaning in the bigger scheme of things. The idea of resurrecting Archana Puran Singh’s Miss Braganza character (from Kuch Kuch Hota Hai) falls flat as well.

Sonam Kapoor and Ananya Panday, who often get trolled for their privilege as nepo babies, turned that criticism around cleverly through their portrayal of characters in Aisha and Call me Bae. Kareena Kapoor’s Poo from K3G too was likeable despite its frothy exterior. Nadaaniyan deserved that sort of central character and performance. While Khushi and Ibrahim look good together, there’s no rush of emotions around first love or fiery chemistry between them. Without these elements, this sweet but rambling situationship doesn’t quite land up. — ToI

By Renuka Vyavahare

Story: Based on a true story that also inspired Faiza Ahmad Khan’s heartwarming documentary ‘Supermen of Malegaon (2008)’, Reema Kagti’s delightful film celebrates the passion of Nasir Shaikh, a self-taught filmmaker from Malegaon and his ragtag group of friends who dare to make a film in their town against all odds.

Review: Not all heroes wear branded capes and spandex. Some get their superman costume stitched from a local tailor with boxers replacing the briefs. Superboys of Malegaon pays a resounding tribute to the oddballs who dream. You may call these people delusional, ambitious or foolhardy. They are all Avengers in their own way, wielding the superpower of resilience, and ability to smile through their pain.

Over a period of 13 years starting with the late 90’s, the dramedy follows the lives of the passionate yet practical Nasir Shaikh (Adarsh Gourav) and his friends — loyalist Shafique (Shashank Arora), writer-purist Farogh (Vineet Kumar Singh), videographer Akram (Anuj Singh Duhan) and Shakeel (Saqib Ayub) as they navigate life. Nasir’s small video parlour needs to sell tickets and what better than giving the audience a parody that localises Bollywood and Hollywood’s biggest hit movies? Malegaon ke Sholay, Shaan and Superman follow.

Each fighting to make ends meet, Malegaon’s motley bunch refuses to be defined by their grim reality, which is far from the world of magic and movies. No one wallows in self-pity, nor do the makers milk misery. Writer Varun Grover and director Reema Kagti build a compelling narrative, through this riveting tale of friendship, faith, failure and love of cinema in the absence of privilege. Be it class commentary, presenting feisty female characters or exploring the tenderness beneath the external conflict in male friendship, the writing and character arc are sharp, thoughtful and empathetic. Also, the film highlights the fact that filmmaking requires teamwork. It takes a village to make a film and writer baap hota hai.

Fast-paced and delightful, not a single moment feels dull or stretched. Every character has substance, and each performance adds further value to it. Adarsh Gourav, Shashank Arora and Vineet Kumar Singh deliver a masterclass in acting. The latter stands out the most and is styled like Farhan Akhtar. Manjiri Pupala is perfect as Trupti.

Producers Zoya Akhtar-Farhan Akhtar are often accused of telling elitist-urban stories. With Gully Boy and Malegaon, the desire to shrug off that label is evident. What qualifies as art? Who gets to decide what’s original? Even cringe can be creative, it’s all about the perception. Superboys of Malegaon doesn’t judge or mock the people who try. Set in Khandesh (Maharashtra), this one’s a delightful underdog story that makes you smile and weep. You are reminded that nobodies can be somebodies once they let their dreams take flight. “Because the people who are crazy enough to think they can change the world, are the ones who do.” — ToI

By Archika Khurana

Story: Newlyweds Koyal (Yami Gautam Dhar) and Veer (Pratik Gandhi) are thrown into chaos when they are visited by armed intruders on their wedding night. What follows is a high-octane mix of action, comedy, and mystery.

Review: Dhoom Dhaam is a fast-paced rollercoaster of action, comedy, and mystery, powered by Yami Gautam Dhar and Pratik Gandhi’s electric chemistry. What starts as a routine wedding night in an arranged marriage setup quickly spirals into a chaotic adventure filled with deceptive identities, uninvited guests, and hilariously awkward situations. The central mystery—“Charlie kaun hai and kaha hain?”—keeps the intrigue alive as the newlyweds navigate one unexpected twist after another.

This 108-minute entertainer kicks off like any classic rom-com—families meet, and due to a lack of shubh muhurat, Koyal and Veer are married within just two weeks. But the real fun begins on their wedding night when an intruder (Eijaz Khan) storms into their room, demanding answers. While Veer attempts to reason with him, Koyal proves she’s no damsel in distress—grabbing a pistol without hesitation. What follows is a thrilling yet comedic journey where two seemingly mismatched individuals find an unexpected connection amidst the chaos.

Director Rishab Seth ensures the film maintains a brisk, engaging pace, backed by a snappy screenplay co-written by Aditya Dhar and Aarsh Vohra. While the story treads familiar ground with some predictable twists, its execution is sharp, ensuring there’s never a dull moment. The witty dialogues by Dhar add to the film’s charm, with standout moments like Veer declaring, “I’m a vegetarian because I’m a veterinarian—I can’t eat my patients,” or Koyal playfully warning Veer, “Aap se tum, tum se tu, aur tu se chu par bhi aa sakti hoon!”

At its core, Dhoom Dhaam belongs to Yami Gautam Dhar and Pratik Gandhi. Yami delivers a standout performance, breaking stereotypes as a fearless, no-nonsense bride who takes charge of her destiny. Her powerful monologue about women and their struggles is reminiscent of Kartik Aaryan’s famous Pyaar Ka Punchnama rant—only this time, with a strong feminist twist. Pratik Gandhi, meanwhile, is refreshingly relatable—his comic timing, vulnerability, and knack for handling unexpected situations make him a delight to watch. And don’t miss his special dance moves—they’ll have you rooting for him!

Eijaz Khan and Prateik Babbar (in a brief but impactful cameo) round out the supporting cast with solid performances. Adding to the film’s appeal is Shor Police’s energetic soundtrack, featuring the catchy How Are You and Arijit Singh’s soulful Silsila, both seamlessly woven into the narrative.

With its snappy writing, crackling performances, and an exciting blend of action, romance, and humour, Dhoom Dhaam is an all-out entertainer. A perfect pick for Valentine’s Day, this film delivers high drama, nonstop laughter, and endless surprises, keeping you hooked from start to finish! — ToI

By Renuka Vyavahare

Story: The death of the mighty Chhatrapati Shivaji Maharaj, who founded and led the Maratha empire to its undefeated glory relieved the Mughals. Little did they know they would now be entering the tiger’s den by facing Shivaji’s valiant son Chhatrapati Sambhaji Maharaj, if they wished to expand their empire in the deccan.

Review: Based on Shivaji Sawant’s Marathi novel, Chhaava (lion’s cub) aims to acknowledge the bravery of Shambhu Raje (Sambhaji Maharaj played by Vicky Kaushal), that most history books haven’t been able to. There’s more to him than being Shivaji’s son who was betrayed by his own men, captured and brutally executed by Aurangzeb (played by Akshaye Khanna). The film sheds light on why he was widely revered by his people and feared by rivals in the nine years that he held the Maratha throne.

Still reeling from the loss of his father, Sambhaji and Sersenapati Hambirrao Mohite (essayed by Ashutosh Rana) invaded Mughal stronghold Burhanpur right under their nose. For the nine years that followed, Sambhaji trampled on Mughals’ expansion plans making him a thorn in their side. Sambhaji’s bravery overcame the betrayal he faced by his own people until he was ambushed and captured in Sangameshwar. Even his brutal execution couldn’t kill his warrior spirit and fight for Swaraj.

Director Laxman Utekar builds his historical on a massive canvas, giving the film the larger than life appeal it deserves. The film starts off with promise and a grand slowmo entry but the first half lacks an engaging story beyond the obvious reverence. It feels like a collage of action sequences and songs without investing much in character development or world building. You miss that tension or sense of discovery around the events that unfold. AR Rahman’s songs and background score drive the narrative, overriding the story and dialogues. The legendary music composer’s ‘Aaya re toofan’ (war cry) is a winner with its classic Maharashtrian Nashik Dhol Tasha but rest of the tracks don’t complement the film’s setting or theme. Romantic number ‘Jaane Tu’ is beautiful as a standalone song but throws you off guard when placed in the movie as it sounds way too contemporary for the era. Piano doesn’t go with the paithani. You constantly wonder if Ajay Atul would have been a better fit for a story like this.

The film’s soul lies in the second half, and it is here that Chhaava truly comes alive. The story picks up the pace, gets the emotions right and keeps you on the edge throughout the thrilling climax that sees Sambhaji single handedly fighting the Mughals. “Kuttay ke pillon kay aanese, sher ka baccha nahi bhaag jata” The writing ups the drama. The fight scenes are well choreographed and executed. The last part of the movie has been splendidly shot and deserves a theatrical viewing.

Last but not least, the film belongs to Vicky Kaushal and it’s fair to say he has given his blood, sweat and tears to this titular part. He channels his inner rage, allows his rudra avatar to take over and roars like a tiger in every scene, commanding your undivided attention. This is one of his finest performances till date and no one could have done it better than him. Akshaye Khanna and his one-liners are effective. He is refreshingly understated, even as his makeup and extensive prosthetic work go over the top. Actor Vineet Kumar Singh is a great casting choice to play Kavi Kalash. His conversation with Vicky gives the film some of its best scenes.

The women don’t get as much screen space. The immensely talented Divya Dutta as Maharani Soyarabai has a powerful presence and deserved a meatier role. Rashmika Mandanna looks the part but struggles to get her language, accent and emotions right. Diana Penty turns out to be the biggest disappointment. She barely gets to speak but when she does, her stone-faced performance distracts you from the most intense scenes.

Chhaava’s redeeming factor is its terrific climax. Vicky Kaushal is breathtaking as he exudes Sambhaji Maharaj’s valour and passion for swarajya (self-rule) like it were his second skin. You just wish the film relied and trusted its story more than Rahman’s music, which largely feels out of place. — ToI

By Abhishek Srivastava

Story: Due to unavoidable circumstances, a father and son must spend 48 hours together, leading them to confront their complex relationship and gain a deeper understanding of each other.

Review: ‘The Mehta Boys’ is a poignant drama that delves into the complex yet respectful relationship between a father and his son. Set in Navsari, Gujarat, the film follows Shiv Mehta (Boman Irani), a retired widower preparing to move to the US with his daughter Anu (Puja Sarup) after the death of his wife. His son, Amay (Avinash Tiwary), an architect in Mumbai, shares a distant, almost formal relationship with him. However, a last-minute ticketing mishap forces Shiv to stay with Amay for 48 hours, leading to an uneasy yet transformative experience for both. As the father and son navigate their time together, buried emotions surface, and unspoken words find their place, making for an honest and heartfelt exploration of familial bonds. The film’s understated realism, coupled with a strong narrative and compelling performances, makes for an emotionally resonant watch, capturing the nuances of family dynamics with depth and authenticity.

‘The Mehta Boys’ is a finely crafted drama that feels deeply personal, as if drawn from real-life experiences within one’s own home or neighbourhood. Boman Irani excels both in front of and behind the camera, delivering a film rich in emotional depth and authenticity. The narrative intricately weaves multiple relationships—the strained yet respectful bond between a father and son, the warmth between a father and daughter, and the subtle dynamics of siblinghood—each rendered with finesse and a delicate touch. At its core, the film explores how unforeseen circumstances force a father and son to spend time together, leading to profound changes in their relationship and personal growth. What sets ‘The Mehta Boys’ apart is its ability to balance poignancy with warmth, making it not just an introspective drama but also a deeply heartwarming and feel-good experience.

Boman Irani delivers a stellar performance as Shiv Mehta, a loving yet reserved father whose quirks add charm and depth to the film. His character’s subtle eccentricities—like forbidding his son from sitting on a freshly made bed or instinctively clutching the emergency brake in a moving car—help paint a vivid picture of his personality, making him all the more relatable. Avinash Tiwary impresses as Amay, portraying a man constantly grappling with uncertainty, his restrained performance adding layers to the character. Puja Sarup shines as Anu, the pragmatic yet affectionate daughter, bringing an effortless realism to her role. Shreya Chaudhry, despite limited screen time as Amay’s colleague and girlfriend Zara, leaves a mark with her natural presence. With fine performances all around, this drama thrives on its authentic character portrayals, making it a heartfelt and engaging watch.

‘The Mehta Boys’ does have a minor flaw in that the film never fully explains the root cause of the coldness between the father and son, leaving this crucial aspect unexplored. While this lack of clarity could have enriched the narrative, it remains a minor hiccup that doesn’t significantly detract from the overall enjoyment. A special mention must go to Oscar-winning writer Alexander Dinelaris, who co-wrote the film with Boman Irani. Known for his collaborations with Alejandro Iñárritu on ‘Birdman’ and ‘The Revenant,’ Dinelaris brings his signature brilliance to this project, elevating its depth and emotional resonance. This film is a refreshing reminder of the kind of films Bollywood has long forgotten how to make—real, funny, and heartwarming. By the end, it’s a film that leaves you with a smile, proving that sometimes simplicity and sincerity are the strongest ingredients for a memorable cinematic experience. — ToI

By Dhaval Roy

Story: A rebellious and abrasive cop investigates a murder case but suffers memory loss after a major accident. As he retraces his past, relying only on his muscle memory, he discovers some unsettling truths about his department and himself.

Review: Director Rosshan Andrrews sets the stage for a gripping whodunnit right from the opening scene. Dev Ambre (Shahid Kapoor) calls his boss, DCP Farhan Khan (Pravessh Rana), to declare that he has solved a murder case and knows the identity of the killer. Just as you settle in for a murder mystery, the intrigue deepens—Dev loses his memory after a major accident. Over the course of 156 minutes, the screenplay team—Bobby–Sanjay, Abbas Dalal, Hussain Dalal, Arshad Syed, and Sumit Arora—takes you through the various layers and shades of Dev, and the unraveling of the mystery.

The film’s first half focuses on building the backdrop of the film and the characters world, keeping the pace slow yet engaging. The dynamics between Dev and his friend Roshan D’Silva (Pavail Gulati) slightly overstretches, but their collective pursuit of powerful mafia dons keeps the momentum alive. As the mystery thickens in the second half, the tonality shifts from action to dark and intense emotions and mood. Dev struggles to navigate his world while dealing with memory loss, turning the movie into a slow burn. However, the well-maintained suspense ensures you stay invested.

Amit Roy’s cinematography, combined with action and stunts by Anal Arasu, Supreme Sundar, Vikram Dahiya, Parvez Shaikh, and Abbas Ali Moghul, makes for an entertaining watch. Jakes Bejoy’s background score is a banger, particularly when paired with the action sequences, giving the film a raw and intense edge. However, some visual effects feel gimmicky. Vishal Mishra, along with Bejoy, delivers the songs Bhasad Macha and Marji Cha Maalik, which enhance the film’s mood.

Shahid Kapoor delivers a brilliant performance as Dev Ambre, balancing menace and vulnerability. There are moments where his actions are unpalatable, yet you find yourself rooting for him in some others. His portrayal of Dev before the memory loss (Dev A) and after (Dev B), showcases his range as an actor—his rugged persona intermittently resurfaces within the milder, confused version of himself. However, there are instances where his performance veers into over-the-top territory.

Pooja Hegde is effective as his girlfriend, journalist Diya, though her character remains largely unexplored despite being the first to hint at a possible mole in the police department. Kubbra Sait delivers a powerful performance in her brief role as a cop, Deepti, but is frustratingly underutilized, and appears out of the blue. Pavail Gulati and Pravessh Rana lend solid support.

That said, the film isn’t without flaws. The narrative has several loopholes and moments that feel unconvincing—a sniper shot, for instance, seems far-fetched. Some loose ends remain unexplained (avoiding spoilers here). Dev’s childhood hardships and his motivation to become a cop to arrest his abusive father are referenced multiple times but never fully explored. The overall pace remains slow, yet it manages to keep you engaged and entertained. The film has inconsistencies, however, its intensity, raw appeal, and slick execution make it worth a watch. — ToI

By Dhaval Roy

Story: Inspired by true events during the 1965 Indo-Pak War, Sky Force follows the Indian Air Force’s daring airstrike on Pakistan’s heavily fortified Sargodha airbase. The film centres on a maverick pilot, his mysterious disappearance, and his Wing Commander’s relentless pursuit of the truth spanning nearly two decades.

Review: War films are replete with tales of courage, sacrifice, and patriotism, and directors Sandeep Kewlani and Abhishek Anil Kapur’s Sky Force adds an element of intrigue to the blend. The movie takes the viewer to the 1965 Indo-Pak War and the nation’s first aerial engagement against Pakistan. The story revolves around Squadron Leader T.K. ‘Tabby’ Vijaya (Veer Pahariya), whose disregard for protocols leads him on a solo mission into enemy territory during Mission Sky Force. His defiance results in his mysterious disappearance, and Wing Commander K.O. ‘Tiger’ Ahuja (Akshay Kumar) embarks on a relentless 19-year quest to uncover Tabby’s fate.

The film takes off with a formulaic setup featuring air training sequences and light-hearted moments but struggles to engage initially. However, once the action shifts to the skies, the narrative finds its wings. The screenplay by Kewlani, coupled with A. Sreekar Prasad’s precise editing, ensures a tight narrative that maintains intrigue and emotional engagement. Cinematographer Santhana Krishnan Ravichandran, along with action directors Craig MacRae and Parvez Shaikh, crafts stunning sequences that keep the audience riveted. Political red tape and bureaucratic frustrations are lightly touched upon, adding realism without dragging the pace. The emotional climax, where the truth about Tabby’s mission is revealed, is both heart-wrenching and satisfying, giving viewers a reason to keep tissues handy. Tanishk Bagchi’s musical compositions and Justin Varghese’s background score enhance the film’s patriotic and sentimental tones, complementing the visual storytelling effectively.

Akshay Kumar delivers a nuanced performance as Wing Commander Ahuja, embodying leadership and emotional depth, particularly in his graceful interactions with bureaucratic challenges. Veer Pahariya make a fine debut in a noteworthy role. He brings charisma and intensity to the character and holds his own. Their on-screen camaraderie is authentic and compelling. Sharad Kelkar as Squadron Leader Ahmed Hussain shines in his brief role. Sara Ali Khan in her brief role as Geeta Vijaya is likeable. Nimrat Kaur as Preeti Ahuja, Manish Chaudhri as Group Captain Lawrence, Soham Mujumdar as Tabby’s rival Debashish Chatterjee, and Varun Badola as Air Chief Marshal Amit, lend able support.

Sky Force stands out for its balanced portrayal of patriotism, avoiding overt sensationalism or antagonism. It pays homage to unsung heroes like Squadron Leader Ajjamada Boppayya Devayya, whose bravery is mirrored in Tabby’s character. The film is a fitting tribute, making it a must-watch for those who are drawn to war dramas that blend action with heartfelt storytelling. A few bumps in the narrative aside, it’s a cinematic flight worth boarding. — ToI

By Dhaval Roy

Story: Set against the backdrop of the Emergency imposed in 1975, the political drama delves into the pivotal incidents during the leadership of India’s then-Prime Minister, Indira Gandhi (Kangana Ranaut).

Review: The Emergency (1975–1977) remains one of the most significant and dreadful political events in India’s history, with a profound impact on the nation. Director and lead actor Kangana Ranaut attempts to recreate this tumultuous chapter of history on the big screen with Emergency.

Written by Ranaut (story), Ritesh Shah (screenplay and dialogues), and Tanvi Kesari Pasumarthy, the movie draws inspiration from Coomi Kapoor’s book The Emergency and Jaiyanth Sinha’s Priyadarshini. The narrative starts in 1929 and spans four decades, covering India’s Independence, the Indo-China War and Assam crisis in 1962, Indira Gandhi’s rise to power, and the Indo-Pak war of 1971. However, the screenplay doesn’t flow; it seems like moments of history have been strung together into scenes. Be forewarned, some scenes are overly graphic and sensationalised, particularly those depicting wartime atrocities against women and infants.

While the film aims to capture pivotal moments from Indira Gandhi’s regime, it often fails to provide sufficient background or context for key events and characters, such as Pupul Jayakar (Mahima Chaudhary), a close confidante of Gandhi, leaving audiences struggling to connect the dots. Even the portrayal of the Emergency—the film’s central focus—feels abrupt, as does the depiction of other critical events like the massacre of Bangabandhu Sheikh Mujibur Rahman and his family.

Emergency does deliver some powerful moments. One of the standout scenes is Indira Gandhi’s confrontation with US President Richard Nixon ahead of the Indo-Pak War in 1971. Her emphatic retort, “You have weaponry, we have courage,” is a highlight, followed by the meticulously crafted war sequence, for which cinematographer Tetsuo Nagata deserves credit.

The music complements the narrative’s tone, with Singhasan Khaali Karo (Udit Narayan, Nakash Aziz, Nakul Abhyankar) offering an anthemic vibe and Ae Meri Jaan (Arko featuring Hariharan) standing out as a powerful composition.

As Indira Gandhi, Kangana Ranaut excels in the second half, particularly in scenes after the Emergency is lifted, her meeting with philosopher J Krishnamurti (Avijit Dutt), and her visit to Bihar’s Belchi village on an elephant at the age of 60.

Anupam Kher is effective as Jaiprakash Narayan. Shreyas Talpade’s portrayal of Atal Bihari Vajpayee, while serviceable, isn’t convincing. Milind Soman stands out in his brief role as Field Marshal Sam Manekshaw, and Vishak Nair’s menacing Sanjay Gandhi leaves a lasting impression. Mahima Chaudhary, as Pupul Jayakar, brings gravitas to her role.

Emergency is hindered by its overly dramatised approach and one-dimensional portrayals. The lack of narrative fluidity and context undermines the attempt to narrate an important chapter in Indian history. However, the movie has its share of impactful sequences. — ToI

By Ronak Kotecha

Story: Fateh (Sonu Sood), a humble man from Moga, Punjab, transforms into a ruthless killer when a young girl becomes the victim of a dangerous cyber crime syndicate that preys on unsuspecting lives across the nation.

Review: Sonu Sood’s directorial debut delves deep into the pervasive threat of cyber crime, a modern plague wreaking havoc in India. With mobile phones doubling as vulnerabilities, the film explores how greed and desperation make people easy targets for malicious digital predators. The narrative begins with Fateh’s quiet life in rural Punjab but quickly takes a dramatic turn when a harrowing incident sets him on a mission to dismantle a cyber crime mafia. The film dives into action from the start, taking viewers on a gritty, blood-soaked journey. While the fast pace keeps the audience engaged, the backstory of the lead characters lacks the depth needed to forge a strong emotional connection, making the writing feel somewhat shallow and exaggerated at times.

The action sequences are intense, evoking the stylised brutality of Hollywood films like John Wick and Kill Bill and Animal back home. However, the escalating violence may not sit well with all viewers.

Sonu Sood, who makes his directorial debut with this film, handles the action effectively, and his performance, perhaps by design, doesn’t delve deeply into the character’s emotional side. Naseeruddin Shah and Vijay Raaz make their presence felt despite limited screen time, with Raaz’s sly humor offering moments of relief in an otherwise dark plot. Jacqueline Fernandez does well in her role as ethical hacker Khushi, and it’s refreshing that the film avoids unnecessary romantic distractions.

The screenplay, written by Sonu Sood and Ankur Pajni, traverses various locations to highlight the far-reaching influence of cyber crimes. While the film’s relentless pace is a strength, the story occasionally veers into unrealistic territory, though the rapid evolution of digital fraud today lends some plausibility to even its more far-fetched sub plots. The background score, composed by John Stewart Eduri and Hans Zimmer, enhances the tension, though it can occasionally feel overwhelming.

At its core, Fateh highlights the vulnerabilities of our fast-paced digital lives. While its blood-soaked narrative may not resonate with everyone, it effectively underscores the urgency of its theme. — ToI

By Abhishek Srivastava

Story: An elderly father with dementia is abandoned by his sons on his birthday in Varanasi. He crosses paths with a small-time crook, profoundly transforming the crook’s life and the lives of those around them.

Review: ‘Vanvaas’ marks a return to social dramas for director Anil Sharma, who began his career in the early 1980s with films like ‘Shradhanjali’ and ‘Bandhan Kuchchey Dhaagon Ke,’ tackling social issues of the time. After a long hiatus from the genre, Sharma revisits familiar territory with ‘Vanvaas,’ a film with a socially relevant theme and genuine intent. However, its 160-minute runtime and excessive melodrama dilute what could have been a sharp and impactful narrative. The story—featuring themes of parental abandonment, dementia, and redemption through a ruffian with a heart of gold—feels reminiscent of 80s staples, but lacks the freshness to elevate it. While ‘Vanvaas’ remains a relevant watch, tighter editing could have transformed it into a more engaging experience.

The story follows Deepak Tyagi (Nana Patekar), a retired man enjoying a quiet life with his three sons and their wives. Struggling with early-onset dementia, he often reminisces about his late wife, Vimala Tyagi (Khushboo), whom he deeply loved. His constant corrections and idealistic nature, however, frustrate his family. Tired of his behaviour, they devise a plan to celebrate his birthday in Varanasi and abandon him at an old age home. When asked for identity documents at the home, the family decides instead to leave him at one of the ghats. With no memory of his hometown or family, Deepak believes his sons—whom he remembers as children—are lost and begins a desperate search for them. Along the way, he encounters Veeru (Utkarsh Sharma), a small-time thief, and their unlikely friendship brings profound changes to Veeru and those around him.

This social drama captivates largely due to Nana Patekar’s commanding performance. Portraying a retired man battling dementia, Patekar delivers a deeply impactful act, bringing authenticity and emotional depth to the trauma of being abandoned by his own sons. He dominates the screen, present in almost every scene, and fully embodies the character. Utkarsh Sharma as Veeru offers a sincere performance and shows steady improvement with each film, though his inconsistent Banarasi accent detracts from the authenticity. Simratt Kaur, as Meena, has a minimal role, while Rajpal Yadav and Ashwini Kalsekar provide solid support, doing justice to their parts.

‘Vanvaas’ addresses an important subject but leans heavily on a preachy tone to deliver its message. Nana Patekar’s dialogues, peppered with references to Karl Marx and BR Ambedkar, often veer into excessive moralizing, which can become tiresome. The film is laden with melodrama and feels overstretched, with average songs that fail to leave a mark. However, the cinematography by Kabir Lal beautifully captures the essence of Varanasi. The motivation behind the sons’ decision to abandon their father remains underexplored, leaving a gap in the narrative. While the helplessness of Patekar’s character stirs empathy and brings a lump to your throat, it falls short of delivering the emotional catharsis of films like ‘Baghban.’ Director Anil Sharma’s intentions are genuine, but the execution feels underwhelming, lacking the sharpness needed to truly resonate. — ToI

By Dhaval Roy

Story: A former cop leads a double life to protect his daughter from an old enemy. When his identity is compromised, he must ensure his little girl’s safety while taking the nemesis down.

Review: Bakery owner John D’Silva (Varun Dhawan) is a loving single dad to Khushi (Zara Zyanna). When her teacher, Tara (Wamiqa Gabbi), saves a young girl from being trafficked and takes her to the police station in John’s van, she unwittingly unravels John’s past as a fearless cop, DCP Satya Verma. His real identity exposed, John must confront his nemesis, a dreaded criminal Nana (Jackie Shroff), who seeks revenge for his son’s death. As Khushi’s life is put in danger, John is forced to step back into his past to protect her.

John and Khushi’s endearing bond sets the tone for the movie, with lighthearted moments featuring Tara. However, the promising narrative turns uneven when delving into the flashback of John’s life as a supercop. Atlee, Sumit Arora and Kalees’s story sticks to a tried-and-tested formula, with familiar tropes like kidnappers exploiting children and a hero rising against crime. Even Satya’s romance with a doctor, Meera (Keerthy Suresh), feels formulaic. The story gains steam once Nana’s son abducts a young girl and Satya brings him to justice.

Throughout its runtime of two hours and forty-one minutes, the tracks of John’s past and present-day struggles don’t always feel cohesive, affecting the movie’s overall engagement.

That said, the film offers entertaining moments, including playful self-references like Satya asking a goon about the fastest animal, to which the response is, “Bhediya, aapko toh pata hoga,” a nod to Varun’s horror-comedy. As an action entertainer, the stunt choreography offers some exciting sequences, as Kiran Koushik’s cinematography adds flair with pyrotechnics and sleek camera angles.

Varun Dhawan impresses, balancing a dual role as a caring father and a fearless cop. His performance adds depth and conviction to the otherwise predictable narrative. Wamiqa Gabbi impresses with her screen presence, though her character’s background as an undercover cop remains unexplored. Rajpal Yadav as constable Sevakram and Jacky, John’s trusted aide, is a delightful surprise, offering more than just comic relief. Jackie Shroff’s menacing Nana leaves a lasting impression, making the most of his screen time.

The movie has its moments as an actioner, but in terms of content and narrative, it could have been more impactful. — ToI

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

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