himanshumaharaj

8 A. M. Metro is a gentle, soul-stirring experience that quietly seeps into your heart with its simplicity and emotional depth. The story of two strangers each carrying their own invisible wounds finding solace in shared silences and honest conversations feels incredibly real and healing. Saiyami Kher delivers a beautifully restrained performance, while Gulshan Devaiah brings warmth and quiet wisdom to his role, making their connection both believable and moving. The poetry, the stillness, and the unhurried rhythm of the film create a space where you reflect, breathe, and feel. It's not just a story, it's a reminder that even in the most unexpected places, we can find understanding, comfort, and a new beginning.

Thug Life fails to live up to its hype, offering a predictable and disjointed narrative that lacks both emotional depth and originality. Despite Kamal Haasan's presence, the film suffers from weak writing, uninspired performances, and dialogues that feel forced rather than impactful. The pacing is uneven, dragging in places where it should thrill, and the action sequences, instead of adding excitement, come off as exaggerated and unconvincing. Visually underwhelming and poorly edited, the film lacks the grit and intensity one expects from a crime drama. Ultimately, Thug Life is a missed opportunity that leaves no lasting impression-neither entertaining nor meaningful.

Sikandar is a massive letdown, failing to bring anything fresh or engaging to the table. The story is painfully predictable, packed with overused clichés that make it feel like a rehashed version of countless past action dramas. Salman Khan's performance lacks depth, making his character feel one-dimensional, while his chemistry with Rashmika Mandanna is practically non-existent. A. R. Murugadoss relies too much on formulaic storytelling, resulting in a sluggish and uninspiring narrative. The action sequences, instead of being thrilling, are exaggerated to the point of absurdity, failing to add any real excitement. The music by Pritam is forgettable, and the background score by Santhosh Narayanan does little to enhance the weak emotional beats of the film. Even the technical aspects, such as S. Tirru's cinematography and Vivek Harshan's editing, do nothing to salvage the film's dull pacing. Overall, "Sikandar" is an uninspired, drawn-out experience that wastes its potential, offering neither a gripping story nor memorable performances.