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Cross (2024)
A Fresh Take on Serial Killler Pshycological Thriller Crime Drama With Intelligent Writing !!!
'Cross' opens with the murder of Detective Alex Cross' (Aldis Hodge) wife, Maria (Chauntee Schuler Irving), who is gunned down just moments after leaving a restaurant where she was meeting Alex's best friend, John Sampson (Isaiah Mustafa), and his wife. The loss devastates Alex, leaving him to grapple with the dual challenge of mourning his wife and raising two children on his own. The story then jumps ahead a year, where we find Alex, still wrestling with his grief, interrogating a criminal in his signature style to elicit a confession. The plot takes a darker turn when the African American community of Washington is shaken by the murder of Emir Goodspeed. A Black Lives Matter activist. Alex Cross, convinced that foul play is involved, delves deeper into the case, uncovering a chilling pattern. When art aficionado Shannon Witmer (Eloise Mumford) goes missing, Alex is presented with an opportunity to tighten the noose around the killer.
'Cross' is a tense, emotionally charged crime thriller that blends personal loss with the relentless pursuit of justice, all while exploring the psychological complexity of its lead detective. The show effectively balances action with poignant character development, as Alex Cross becomes more than just a man hunting a killer-he is a father, a husband, and a man grappling with the emotional weight of his past. 'Cross' stands out not only for its gritty plot but also for the immersive ambience that enhances the viewing experience. The character of Alex Cross, a decorated Black detective living and working in a predominantly Black neighborhood, brings a unique depth to the series.
Aldis Hodge brings a commanding physical presence to the role of Alex Cross, fully inhabiting the character with ease. His performances shine both in the high-stakes police sequences and the quieter, more intimate moments with his family, skillfully balancing the two aspects of his life. The dynamic between Cross and his childhood friend-turned-partner, John, is one of the show's highlights-moving, humorous, and believable. However, it's Ryan Eggold's chilling portrayal of Ed Ramsey, a DC powerbroker, that truly steals the show. He strikes a perfect balance between his calm, suave demeanor with friends and the menacing, intimidating presence he exudes when confronting his victims.
At first glance, 'Cross' may seem like just another serial killer thriller, but it stands out with elements that set it apart from the typical genre. The most distinctive trait of Alex Cross is his humanity-his values and vulnerabilities make him relatable and grounded. While the series doesn't break new ground, the dynamic camaraderie between Cross and his colleagues adds a layer of enjoyment to the viewing experience. There are moments where the writers could have explored deeper, particularly when an old video of Cross resurfacing while beating a man could have been developed further. 'Cross' is neither groundbreaking nor dull-it does what it sets out to do, delivering entertainment.
Freedom at Midnight (2024)
A Solid Portrayal of Ind-Pak Partition Politics With Stellar Acting !!!
At the stroke of midnight on August 14, 1947, India gained freedom from over 200 years of British colonial rule. While the birth of a free India should have been a moment of celebration, it was overshadowed by the darkness of Partition. Nikkhil Advani's Freedom At Midnight, a latest web series on SonyLIV, which takes its title and story from Larry Collins and Dominique Lapierre's seminal book, offers a powerful glimpse into the trials, tragedies, and turmoil of that fateful period.
The series begins in 1946 with a persistent Mahatma Gandhi declaring, "Hindustan ka batwara hone se pehle, mere shareer ka batwara hoga (Before the Partition of India, my body will be divided)." It soon moves over to offer a painful account of India's Partition and the violent birth of Independent India. Religious conflicts, border wars, and political sacrifices unfold with each episode, like dramatic scenes in a grand pageant.
The dialogues and performances strike emotional chords quite effectively. Take, for example, lines like "Aam aadmi vo badlaav laa sakta hai jo sarkaar saalon mein nahi laa sakti" (The common man can bring about change that the government couldn't in years) or "Ye log Hindu hone se pehle bhi Punjabi ya Bengali hain" (These people are Punjabi or Bengali before they are Hindu).
The central characters in the show include Lord Mountbatten, the great-grandson of Queen Victoria, who constantly haggles with Jawaharlal Nehru, the leader of the Congress party, torn between his principles and his party's ideals; Mohammed Ali Jinnah, the fanatical leader of the Muslim League, who sees only two options: "Ya toh Hindustan batega ya barbaad hoga" (Either Hindustan will be divided, or it will be destroyed); and MK Gandhi, who ultimately gives up his dream of a united India, over the terms of how an independent India will move forward.
Siddhant Gupta, who was well admired in Prime Video's Jubilee, once again proves his acting prowess as he steps into the role of India's first Prime Minister, Jawaharlal Nehru. But the standout performance comes from Arif Zakaria as Mohammed Ali Jinnah. He is utterly convincing as the resolute leader of the Muslim League, whose singular vision was the creation of Pakistan. Chirag Vohra as Gandhi and Rajendra Chawla as Sardar Vallabhbhai Patel also deliver strong performances. The supporting cast further elevates the series, adding an extra layer of depth to the story.
Nikkhil Advani closes the show just before the horrors of the Partition unfold on India's land, accompanied by the song "Vaishnav jan to tene kahiye je, peer paraayi jaani re" (A good human being is the one who knows the pain of others). It's a haunting note that leaves you wishing political leaders, from any period - past or present - could truly feel the pain of the people they serve.
Not only is it competently crafted and acted, it also tells a story replete with known and unknown nuggets of information that are processed with skill and sensitivity. It has no grandstanding, and no hectoring and hollering of the sort that mainstream Bollywood is prone to.
The show gives history its due, meticulously piecing together the fragments that went into the making of an essential and wondrous, if inevitably imperfect, whole.
The Diplomat (2023)
The Diplomat is One of the Solid Political Thriller Drama Series of the Year !!!
In the bathroom of a plush function room, the US ambassador to the UK, Kate Wyler (Keri Russell), is struggling to take off her dress. She's desperate to get out of this strappy orange cage so she can put on a jacket and jeans and get back to work. Eventually, unable to find a fastener among all the delicately interlocking loops at the back of her neck, she rips the thing in two, discards a couple of grand's worth of fine fabric, changes, and stalks purposefully off.
This scene from the first episode of season two of The Diplomat is the sort of thing that used to happen all the time in the drama's early days. It began with forthright problem-solver Kate, a US diplomat versed in war-zone management, rerouted against her will to become America's representative in London, a role that usually carries little responsibility and is taken up by complacent types who enjoy saying and wearing the right thing.
Dutifully popping canapes at events with minimal real-world importance is not Kate's style, which initially created a deft, very funny comedy of manners, sharply considering the fusty traditions that slow British politics down. But Kate's arrival - and that of her semi-estranged husband Hal (Rufus Sewell), a more experienced, smoothly manipulative operator dedicated to advancing his own interests - was not by chance. A British warship had just been attacked in the Persian Gulf, with Iran the chief suspect and Russia mentioned in the corridor chatter, too. Fixers in Washington had spotted Kate's ability and sent her to London to manage the looming international crisis.
As season one gathered speed, The Diplomat morphed into a proper political/conspiracy thriller, a tale of layered agendas and hidden alliances. Kate still bridled at anything involving ceremony or protocol, but found herself adept at playing the game diplomacy becomes when the stakes are raised: it requires the ability to discern motives, improvise solutions and take nothing on trust, which are Kate's core skills.
Season two carries straight on from the explosive twist that ended the first run - it was one of the best last two minutes of any season of anything, ever - and continues to be a masterclass in "therefore/but" storytelling: this happens, therefore that happens, but then this happens, therefore that happens. No moment is wasted and, before you know it, it's 2am and you're still watching.
The Diplomat's politics, meanwhile, are a spicy mix of fantasy and reality. The fantasy is roughly the same as the one in The West Wing - a wide-eyed overestimate of how many people in positions of real power in the US and UK are faithful adherents to doing the right thing without fear or favour. The harsh reality is that Kate and the other conscientious characters are dealing with a British rightwing government dangerously in hock to the far right; season two builds on the horribly plausible idea that this corrupt administration has tolerated or even orchestrated terrorism against itself for political gain.
Rory Kinnear is terrific as rogue British PM Nicol Trowbridge, a man who is essentially Boris Johnson but worse: the chippy self-regard and whiff of imperial perversion are there, but the buffoonery is toned down. We switch back from reality to fantasy with David Gyasi as Austin Dennison: terse, precise and fastidiously principled, even when it would obviously be beneficial not to be, Dennison is hard to imagine as a real foreign secretary but easy to picture in a tailcoat, moodily heading up a Brontë novel.
The new episodes see Kate again romantically triangulating between Dennison, the perfect man who is professionally and emotionally unavailable, and Hal, who will always let her down but knows her better than anyone ever will. So Keri Russell has three strong male foils, but The Diplomat is still her show. Kate Wyler has a lot of the ferocity and resourcefulness of Elizabeth Jennings in The Americans, only with more humour and vulnerability. Nothing will ever be a better vehicle for Russell than The Americans, but this one asks for more versatility and relatability, and Russell is easily equal to it.
Russell has been given her second great TV role by showrunner Debora Cahn, who has, if a glance down her CV is any guide, spent her career working towards this moment. Cahn has written for The West Wing, Homeland and Grey's Anatomy, qualifying her to create a series that is several great shows all at once. Kate Wyler may never quite feel that she fits in at work, but The Diplomat should slot effortlessly into any list of the best dramas of the year.
Reacher (2022)
Alan Ritchson as Jack Reacher is Superbly Brilliant !!!
Pon the arrival of a beefed-up former war dog-Jack Reacher-in Margrave, Georgia dead bodies start popping up in and around the small town. Parallelly, the unofficial 'godfather' of this Georgian community is raising suspicions amongst local cops (triggered by Reacher, of course). In 2022, what new adventures is this iconic character from Lee Child's novels going to offer ? Turns out, the viewers' in for some pleasant surprise!
In current-day world, problems are aplenty-drugs, cybercrime, human trafficking, just to name a few-and Reacher is here to take on the bad guys, and combat an issue that screams of relevance, and 'being topical'. Alan Ritchson, and 'a Blues fan', this Hobo (self-proclaimed) happened to be passing by Margrave only because he had heard a rumour: his favourite musician died there. But, as the catchphrase goes, "he always finds trouble". After being roughed up by goons and policemen alike, Jack Reacher (Alan Ritcher) finally realises that his being near the scene of the crime is no accident. Thus begins a slow yet peppy chase that navigates multiple socio-political hurdles that involve bullets flying out of dusty lanes... and a lot of cussing!
One of the biggest hindrances that most television studios must overcome-with a character as mammoth as Reacher-is to separate the book from the series for the latter to stand out, while rendering complete justice to its source material. Also, it doesn't help, in this case, that Tom Cruise could very well be standing between success and Jack Reacher, the show: his film version is etched in the minds of those who have been ardent fans of the novella and of the star, hence the reference. Thankfully, Alan Ritchson's gigantic appearance towers over his affable co-stars-a recurring theme for comic relief in the series-and any comparisons with Cruise be damned. As Reacher in the pre-pandemic world, Ritchson is dreaded, mostly distant and exhibits an outlook towards life that is part-nihilistic and part-cold. "You are an emotional dumpster fire," his colleague screams, frustrated.
If the action sequences and systemic tension-peculiar to thrillers-feel easy on the eyes, and natural, then 'Prison Break' scriptwriter Nick Santora is to be credited for it: here, he serves both as the helmer and the thinker behind those thoughts-in-action. Except for the much-needed breathers-bickering, hilarious one-liners and the whole nine yards-'Reacher' is by and large intense and gripping. Sure, it could have patrolled at a faster speed, especially the first few episodes, but the element of intrigue and mystery heightens the excitement to a substantial extent towards the end, so much so that you almost forget about the tedious build-up in episodes one and two. Forgiven. Lee Child's inclusion has proved to be a major positive for the show as he, Reacher being his brainchild, has contributed to retaining the character's quirks and eccentricities: clearly winning brownie points from the loyalists.
Loud, omniscient yet obnoxious and larger-than-life are some of the adjectives we felt best describe Ritchson's rendition of Reacher-which is not essentially a bad thing for an action protagonist to possess-and his role is chalked out in a fashion that there's an immense amount of co-dependency amongst cast members. For instance, Reacher's highbrow-ness would not have been half as impactful and humourous without an uptight Harvard-return detective Oscar Finlay (Malcolm Goodwin). Likewise, the titular character's vagrant vibe is substantiated by his relationship with lady love Roscoe Conklin (Willa Fitzgerald).
Over the years, 'Reacher' and his legend has seen many variations but this is by far the most thrilling: enigmatic music, teamed with unpredictable climax and an ensemble that has the potential for individual spin-offs. Having said that, this eight-part series should have been put through a proper trimming session. It's not that it's insufferable, just a tad longer than perhaps needed.
In conclusion, it is safe to say that 'Reacher'-both the character and this series- is your quintessential modern-day hero that has risen from the ashes and now finds himself in the 21st century, dealing with technology-backed obstacles. And, he is here till he kicks some a**es.
Citadel: Honey Bunny (2024)
Can't Believe, It Has Been Made by Raj & DK, A Promisining Led Down !!!
Citadel: Honey Bunny attempts to do proves way too much for a script that, even at its best, can only laboriously inch its way forward - and backwards. Citadel: Honey Bunny is an Indian spinoff of Amazon Prime Video's Citadel Spyverse that was birthed last year in an espionage thriller series fronted by Priyanka Chopra and Richard Madden and executive produced by the Russo brothers. While it has its share of action, it runs low on intrigue and suspense.
The Russo brothers are on board again, this time alongside another successful filmmaking pair - executive producers and directors Raj & DK - but the fare that they produce with Varun Dhawan and Samantha playing the titular agents makes heavy weather of the genre.
The series plays out in two timelines - 1992 and 2000. In the earlier phase, it has a sequence in which Bollywood stuntman Bunny asserts that the way actors die in Hindi films is fake and proceeds to show Honey how death occurs in real life when a man is shot.
The various ways of dropping dead that Bunny demonstrates in jest are strewn all across Citadel: Honey Bunny as the action alternates between India (Bombay/Mumbai and Nainital) and Belgrade. None of them look either real or startling.
The six-episode series looks in vain for an emotional core by utilizing its quieter moments to explore family and friendship, love and loyalty, betrayal and moral dilemmas. Those portions of the series are always drowned out by the din generated by Honey and Bunny's fight for survival in a slippery world where one false step could prove to be the last.
Honey and Bunny's pasts go beyond 1992 and the series would have done well to give the audience a little more of what the two protagonists endured as children. Both seek to erase memories of the troubles they have had to contend with growing up lonely and unhappy.
Their backstories are devoted to brief flashbacks that serve to just about explain the mindsets that they have carried into adulthood, while the series squarely focuses on the spunky little girl who they must protect at all costs from rival agents.
Citadel: Honey Bunny has two facets to it. One centres on the conventions of the spy thriller, which Raj & DK so skillfully turned on their head in The Family Man.
The other exudes the sort of retro Bollywood potboiler spirit that the duo at once celebrated and lampooned in Guns & Gulaabs. On the former count, they take no risks. On the latter too, they hold back.
Panchayat (2020)
Stellar Performances Brings Back The Magic of Panchayat in Season 3 Also !!!
The third season of 'Panchayat' remains a riveting and gripping watch, delivering entertainment in abundance. Just when viewers wondered if the makers could pull off another surprise, they certainly do. Despite lacking a central plot, the series compensates with numerous parallel events that keep you invested. This season shifts the spotlight to other characters, sidelining Jitendra Kumar's role, with Bhushan, his wife Kranti Devi, Prahlad, Binod, Chandrakant Singh, the local MLA, taking center stage. The setting and milieu of 'Panchayat' still have plenty of charm, and the season ends on a cliffhanger, hinting at another season.
The season begins with a new Secretary arriving in Phulera to replace Abhishek Tripathi (Jitendra Kumar), who was unceremoniously transferred in the previous season. The opposition from Pradhan's side is so intense that the new Secretary is simply unable to complete the joining formalities, and Prahlad's (Faisal Malik) intimidation tactics worsen the situation, ensuring Abhishek Tripathi's return to Phulera. Meanwhile, Pradhan Ji (Raghubir Yadav) and Manju Devi (Neena Gupta) conspire to falsely allot a flat to an old lady under the PM Aawas Yojana scheme. Bhushan (Durgesh Kumar) and Binod (Ashok Pathak), suspecting wrongdoing, investigate the matter. Chandrakishore Singh (Pankaj Jha), the local MLA, is jailed for a dog-killing incident, and upon his release, a truce is arranged between Pradhan Ji and the MLA. However, chaos ensues when a pigeon is killed.
The shift of 'Panchayat' to an event-based series is a double-edged sword. While viewers interested in a continuous plot might be disappointed, new viewers can easily catch up without much effort. In the third season, the makers excel in capturing the setting, dialect, and milieu, ensuring plenty of engaging content. The scenes featuring Bhushan and Binod are the highlight of the show, with their chemistry and Binod's candid manner of speaking being particularly magical. More attention is given to Prahlad's character, and others like Jagmohan and his mother also share the spotlight. The rivalry between Phulera residents and the local MLA is now out in the open, and the screenplay does a fantastic job of making the scenes very realistic.
Jitendra Kumar has excelled as Abhishek Tripathi, but in the third season, the role feels unidimensional with no new surprises. Neena Gupta and Raghubir Yadav remain central to the storyline. Chandan Roy shines once again as Vikas, and Faisal Malik's expanded role as Prahlad adds to the enjoyment. However, Durgesh Kumar as Bhushan and Ashok Pathak as Binod steal the spotlight once again with their brilliant performances. Full credit goes to the dialogue writers for providing earthy lines to Binod's character, delivered to perfection.
It was believed that 'Panchayat' would conclude after its third season, but the events of this season suggest the makers intend to continue the series. While this is a welcome move and the show remains enjoyable, it's evident that the series has run its course. Without a proper plot, it cannot sustain itself on events alone. However, the characters remain fascinating, and the show's simplicity continues to be a winning element. 'Panchayat' is one of those rare shows where the performers outshine the plot, maintaining its appeal even in its third season.
The Dark Knight Rises (2012)
The Dark Knight Rises Serves as an Epic Conclusion to the Masterpiece Trilogy !!!
The Dark Knight Rises begins 8 years after the events of The Dark Knight, after Bruce Wayne (Christian Bale) decides to let Batman take the blame for Harvey Dent's (Aaron Eckhart) murders to keep Gotham's hope alive and his efforts in cleaning the streets intact. At the beginning of The Dark Knight Rises, this seems to have worked, with major criminal activity in Gotham all but eliminated. However, it doesn't take long to recognize a few things that aren't quite right beneath the surface. Crooked businessmen like John Dagget (Ben Mendelsohn) are still making shady deals and working with villains like Bane (Tom Hardy) to try and get ahead. Many orphaned children still remain impoverished and uncared for, something that's not criminal activity but still shows signs of a great systemic problem in the city. And, of course, the achieved peace stemmed from a lie at the hands of a police commissioner. It's evident that, while the Dent Act certainly brought down crime, it did little to cleanse the core of Gotham that spawned that crime in the first place. It's the equivalent of trimming weeds to make a garden look nicer rather than getting the weeds out at the roots.
N this case, Bane, Talia (Marion Cotillard), and their army are the deadliest of all weeds, taking advantage of Gotham's festering corruption to set their plans in place and tear down eight years of progress with one brutal blow. The Dark Knight Rises shows the dangers of such crooked, insufficient solutions: if anything, they only ended up inspiring more bitterness, hatred, and cynicism in the long run. Bane not only takes advantage of this to set up his siege, but he uses it to inspire the kind of domestic terrorism that feels disturbingly real especially nowadays.
In between The Dark Knight and The Dark Knight Rises, Bruce Wayne has hung up the cape and cowl of Batman. Many were surprised and confused as to why, with the misconception rising that he quit being Batman due to his grief from the death of Rachel Dawes (Maggie Gyllenhaal). But in The Dark Knight, he's trying to raise Harvey Dent up as the new face of justice so that Gotham would no longer need Batman. Over the following eight years, that's seemingly happened. Plus, Batman has been branded as a murderous criminal, meaning he can't continue to help people without compromising the lie (unless he began actually killing innocent people, which ... wouldn't be the best idea). I just assumed ahead of time that Batman wouldn't be around anymore, so I don't know why that caught people off-guard.
While I slightly prefer Heath Ledger's Joker as a villain, Tom Hardy's Bane is very close behind him, ranking alongside the Joker as one of my favorite villains in all of cinema. His physical presence alone is something to behold, not just for his hulking, imposing figure, but the way he carries himself with such a matter-of-fact assurance that he's always the most menacing person in the room. Nolan also knew how to plan out the most imposing shots and angles of him possible, to a point where you constantly forget that Tom Hardy is actually shorter than Christian Bale! Hardy's ability to convey a wide range of intense expressions just through his eyes is a sight to behold, making Bane even scarier and more intriguing to watch. Some people have a hard time understanding Bane with his distorted voice, but I was able to understand about 90-95% of his dialogue on my first viewing, and I was able to easily infer what I couldn't make out from context. It's really a non-issue for me.
The Dark Knight Trilogy has thrived on, among many other things, its roster of fantastic characters, and The Dark Knight Rises is no exception, whether we're talking about the major players or the supporting roles. James Gordon (Gary Oldman) continues to be a big part of the trilogy's soul, and he ended the previous film telling a terrible lie that paints his child's would-be killer as the patron saint of Gotham. His sins and his self-corruption in an already-corrupt system are catching up with him all these years later, and the burden makes him more sympathetic than he's ever been in this trilogy. Talia al Ghul is an effective deceiver, with Cotillard being very convincing as Miranda Tate and sinister as Talia (bafflingly poorly acted death scene notwithstanding). Morgan Freeman's Lucius Fox is as charismatic as always, Ben Mendelsohn is great as the wormy, pathetic Dagget, and Matthew Modine's Peter Foley has a small, solid arc as a cop who finds the bravery to fight when everything is on the line. And then there's Michael Caine as Alfred. While everyone agrees that Caine's performance is top-notch, Alfred's stance against Bruce continuing as Batman has had a few viewers scratching their heads, seeing as he'd urged Bruce to endure as Batman in the last film. But those are two very different situations. Whereas Batman had a role to play in The Dark Knight, it's clear that Bruce is latching onto Batman now for unhealthy reasons, as I already discussed earlier. And as far as Alfred knew, Batman didn't have a purpose anymore, so why wouldn't Alfred want Bruce to move on?
On the other side of the law, we get Anne Hathaway playing Selina Kyle, who provides a lot of dry wit and has a lot of the film's funniest lines, without coming across as forced comic relief in a trilogy that thrives on its dark, serious storytelling. Though she contributes to Bane's horrific acts, not only is she boxed into doing so, but she clearly doesn't realize how far he was going to take things. As she wanders through someone's abandoned house during the riots, you can see her realizing that maybe what sounded great in her head - the rich getting what's coming to them and the poor rising to claim their rights - has a much uglier reality. But then we also see her enjoy unleashed life in a city with no rules ... but then Bruce's consciousness rubs off onto her and she partakes in his mission to save it instead of fleeing to save herself. She's a great addition to this trilogy's cast of memorable characters redefined by Nolan's vision.
Most of all, though, what sorely needs to be praised more is that The Dark Knight Rises concludes a multi-film story definitively. If Nolan had wanted to keep this series going longer and milk as much money as possible from it, he could have done that. But instead, the Dark Knight trilogy has a beginning, middle, and end to an overarching story, it tells that story without any gimmicks or thoughts of further franchise expansion, and thanks to The Dark Knight Rises, it goes out on the most fitting note possible and knows when to stop. How rare is that, especially now? So many other film series either backtrack on promises at the last minute, end unexpectedly because of negative reception, or keep going and overstay their welcome. The Dark Knight Rises should at the absolute least be respected for the integrity of not falling into any of those traps. But I'm hoping that more newfound respect will also come to it for many, many other reasons.
The Dark Knight (2008)
A Perfect Masterclass Sequel by the Christopher Nolan !!!
Holy smoke ! Batman may be the Dark Knight, but guess who's the Shining Knight who steals the show away from the super-hero ? He's none other than the super-villain, the manic, irrepressible, jaw-dropping Joker. Yes, Heath Ledger pitches in a breath-taking performance as Batman's arch rival in Christopher Nolan's breath-taking renditition of the comic book hero's second caper after Batman Begins. It wouldn't be wrong to say that Ledger's Joker is even more mesmerising than Jack Nicholson's Joker in the 1989 film, Batman. Nor would it be wrong to salute Nolan for bridging the gap between pop art and pure art with this high-energy, explosive battle of good versus evil.
Like the earlier film, Batman Begins, our super-hero is still in an introspective mood, not too sure about his role in vice-ridden Gotham city which needs a hero with a face, rather than a mysterious, masked man in a rubber suit. And he feels it's time to take a back seat when the city actually finds such a hero in the district attorney, Harvey Dent (Aaron Eckhart) who seems to have successfully put most of the criminals behind bars. Except the Joker, a painted-faced, master craftsman of evil who calls himself an agent of chaos and likes to carve smiles on people's faces after posing the query: 'Why so serious ?' The Joker has a mission. He wants to corrupt the soul of the city and send it reeling back to vice. His mission seems to be accomplished when hero Harvey metamorphoses into Harvey Two-Face, the heart-broken, disfigured district attorney who feels there's nothing good about being decent in an indecent world.
But hey, there's Batman, remember. Although we do confess we almost forgot him with the hypnotic spell the Joker seems to cast on us, each time he swaggers onto screen with his devilish, lipsmacking act and his quotable quotes about virtue and vice; heroes and villains. Of course, the magic of the Batmobile and the batty antics - flying, and all that - is still heart-stopping. Even as is the topicality: once again there's an attempt to portray Batman's heroics as post 9/11 American heroism. But finally, the Joker hits the nail on the head, when he gate crashes into a party and declares: Ladies and Gentlemen, we are the entertainers for the night. Truly, a posthumous Oscar lies in wait.
Do Patti (2024)
A Dumb Premise Leads to Dumb Execution !!!
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.
Citadel: Diana (2024)
Citadel Diana is Better than The Orginal Citadel !!!
Citadel is seriously thinking of creating its own universe and world. We have had spy agents like Priyanka Chopra and now Matilda De Angelis, in the Italian version. Just less than a month later, we will see Varun Dhawan and Samantha Ruth Prabhu in the Hindi language called Citadel: Honey Bunny. All the spies have one thing in common- They are tough, intelligent, and in the case of Angelis, who is called Diana, angry.
Set in the year 2030, 'Citadel: Diana' follows Diana Cavalieri (Matilda De Angelis), a Citadel agent planted as a mole within Manticore. She joined Citadel after discovering that Manticore was responsible for the plane crash that killed her parents. Driven by a desire for revenge, she is trained by Citadel veteran Gabriele (Filippo Nigro) to infiltrate the syndicate. Just as Diana plans to disappear and leave the world of espionage behind, she receives unexpected help from Eduardo Zani (Lorenzo Cervasio), heir to Manticore Italy and son of the ruthless Ettore Zani (Maurizio Lombardi), who is playing his own power games against his German and French counterparts. As alliances shift and betrayals unfold, Diana must navigate a dangerous web of deceit, where trust is a rare and costly commodity.
Matilda De Angelis shines as Diana, the undercover Citadel agent, delivering a strong performance in both the dramatic and action-packed scenes. Her interactions with her sister and trainer offer glimpses of her acting range in a series largely defined by action. Maurizio Lombardi impresses as Ettore Zani, the head of Manticore Italy, suspicious of Diana's activities. His cool demeanour and sharp Italian style stand out. However, the real scene-stealer is Lorenzo Cervasio as Eduardo Zani, Ettore's son and heir to Manticore Italy. Lorenzo's calm, calculated approach, even when surrounded by enemies, is captivating. His sharp instincts and ability to anticipate threats make his performance highly credible.
Unfortunately, the basic plot and screenplay let the series down, failing to keep viewers engaged. The meeting between the heads of the Italian, French, and German Manticore branches feels outdated, with their hideout resembling a 70s-style mountain den. While the series boasts high-octane action, gadgets, and advanced tech, the lack of a gripping, edge-of-your-seat plot undermines their impact on the overall storyline.
IC 814: The Kandahar Hijack (2024)
The Hijack of IC 814 Stays True to its Approach and Reality !!!
IC 814: The Kandahar Hijack, filmed in Jordan, Nepal and Mumbai, is based primarily on Captain Devi Sharan's book Flight to Fear. The script uses additional inputs from another book, Anil Sharma's IA's Terror Trail, which recounts 16 cases of hijacking of Indian aircraft from the early 1970s to the late 1990s.
Besides what the solid research and script bring to bear upon the series, a wonderful ensemble cast elevates IC 814: The Kandahar Hijack above the ordinary. Including those playing the passengers in the aircraft, the show has well over 100 actors, many of whom are little-known. However, each one of them contributes to heightening the impact of the drama.
In the face of grave danger and provocation - IC 814, on the way from Kathmandu to Delhi on Christmas eve of 1999, is hijacked by five masked terrorists and forced to fly with a fast-depleting fuel tank to Amritsar, Lahore, Dubai and finally Kandahar, Afghanistan - the captain demonstrates exemplary courage and presence of mind.
Vijay Varma 'pilots' the show as a man whose planned yearend vacation with his wife and daughter is scuttled by the hijacking. The actor's subdued intensity conveys tenacity rather than showy bravado, a characterization strategy ingrained in the writing itself. Patralekhaa is splendid as flight attendant Indrani whose inner turmoil is accentuated by the fact that she has had to leave her ailing father at home. She isn't the only woman in the series but she is nearly as much in the thick of the action as most of the show's other key characters.
Dia Mirza plays a newspaper editor who believes in the virtues of caution. Amrita Puri is cast as an irrepressible newshound. Working in tandem, the two have frequent run-ins with each other on professional matters. The collision of their differing approaches lends the show an extra dimension.
IC 814: The Kandahar Hijack would not be half the series it is without its formidable slew of veteran actors - notably Naseeruddin Shah, Pankaj Kapur, Arvind Swamy, Kumud Mishra and Manoj Pahwa. They immeasurably enhance the show's depth and weight.
The camera swirls around them. They hover over each other. They go head-to-head with contrarian points of view that underscore inter-departmental divergences. Individually and together, these past masters of their craft are a treat to watch.
Kanwaljit Singh, Yashpal Sharma, Sushant Singh and Dibyendu Bhattacharya are somewhat underutilised, which is perhaps unavoidable in a miniseries with a wide array of characters vying for attention. But there is little else in IC 814: The Kandahar Hijack that one can find fault with.
Authentic and to the point, IC 814: The Kandahar Hijack is as good a web series as any we have seen this year.
Khel Khel Mein (2024)
A Widlily Entertaining Comedy After A Long Time !!!
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!
The Greatest of All Time (2024)
Thalapathy Vijay - Venkat Prabhu Packs a Wholesome Action-Drama !!!
It's Ilayathalapathy versus Thalapathy. One is a good guy and the other is bad one. A young man vs an older one, bringing double the fun and double the action. Director Venkat Prabhu tries to show the audience why this film and Vijay is GOAT to his fans and the audience.
GOAT takes off in Kenya in 2008 where we see a special anti-terrorist squad (SATS) team recover stolen uranium from a group of terrorists led by Omar and Rajiv Menon (Mohan). Gandhi (Vijay) and his team members-cum-friends Kalyan (Prabhu Deva), Sunil (Prashanth), Shaaam (Ajay) come back victorious to India but create havoc in the mission and receive flak from their chief Nazeer (Jayaram) for this. The group of men are thick as thieves and like to party and this is what gets Gandhi into trouble with his pregnant wife Anu (Sneha), who is quite suspicious of his activities.
To keep Anu and his son Jeevan happy, Gandhi decides to take them to Thailand when he is assigned a mission. And this is where things go terribly wrong. Gandhi and his family are attacked by a gang and Anu ends up in hospital while Jeevan ends up kidnapped and killed. Cut to years later and we see things have changed - Gandhi is on a desk job and he is separated from Anu. But terror strikes again in the form of Sanjay. What does Gandhi do ? Who is Sanjay ? How does the SATS team save the day ? Does Gandhi reunite with his family ? Is it a happy-ever-after ?
Director Venkat Prabhu must first be lauded for writing a story that travels the world and has family sentiment, action, humour and drama interlaced with twists and plenty of tributes. He has given Thalapathy Vijay a story that is quite different from the Tamil star's last few outings and it's refreshing. Vijay is seen in two roles and the two characters are radically quite different and that's what makes it interesting. Venkat Prabhu has loaded the film with a lot of tributes starting from Captain Vijayanath, SPB and Ajith's Mankatha hook step to his late cousin, Bhavatharini, and numerous Vijay films.
The first half of GOAT is extremely engaging with the director setting up the stage for superb interval block that takes you by surprise. There is a lot of family drama and high-octane action in various missions around the world before the film hits the interval. Post interval, the film takes off with a face off between the Gandhi and Sanjay and the director tries to keep it fast-paced. Through the film, Venkat Prabhu shows he is a fanboy of Vijay, the Kollywood (references to Ghilli, Thirumalai, etc) and the climax of the film definitely proves this. This is not to say that there are no lags in the film but the superb performance of Vijay and the large ensemble cast makes you forgive this. The director capitalises totally on Vijay's trademark charm, sentiment, action, dance and humour and this is sure to appeal to his fans and the audience.
GOAT is a Venkat Prabhu treat for Thalapathy Vijay fans and the audience. This Vijay film is an action-packed, fun, wholesome entertainer!
Aranmanai 4 (2024)
A Predictable and Decent Horror Comedy Entertainer !!!
Given that Aranmanai 3 ended up making money despite the negative reviews, it is no wonder that Sundar C has once again returned to this franchise to prop up his box office cred after the misstep that was Coffee With Kadhal. But you have to give credit to the director for having developed a formula that is essentially critic-proof. All that a reviewer has to do is take a leaf out of the director's playbook, rehash observations from their reviews of the previous films, and it would perfectly pass off as a review of this latest instalment. And so, here we go !
Aranmanai 4 does what it sets out to do - faithfully tread the formula set by the first film (a reworking of the plot of Aayiram Jenmangal), content to be coasting along with a 'people will see this movie no matter what' attitude. It has the failsafe must-haves - good-looking A-list stars who can draw the youth (here, it is Tamannaah, who gets to dial up the melodrama to an extent she's never done before, and Raashi Khanna, in a role that appears throughout the film while hardly making any impact), scares that thrill kids without disturbing them (they can take a peek at the scenes through their fingers without worrying about having nightmares), a spiritual element that might appeal to the women (featuring a cameo by a yesteryear actress in the climactic song; here, we have two!), and comedy that works for the entire family (though the humour quotient keeps going down with each film; Yogi Babu and co are quite unfunny here).
And the tropes keep coming - palatial mansion, formless smoke figures, brutal murders, children who can sense/see the ghost, bumbling comedians who get thrashed by the ghost, godmen spouting mystic mumbo jumbo, tragic flashback, tacky visual effects, and, of course, Sundar C in a part-detective part-mass movie hero avatar, taking on both henchmen and ghost with the same unfazed expression.
This time, the plot or the clothesline on which the director hangs these tropes, involves a mother trying to protect her kids from the spirit realm after having been tragically killed by a demonic entity. This is baak, a creature from Assamese folklore that can take the shape of the person it kills (though it is still treated in a way that's no different from the way the ghosts in the previous films were). In another film, the fact that the wife dies trying to protect her kids from the baak, which has taken the form of her husband, could be read as a commentary on domestic abuse, but subtext is the last thing this film could be bothered about.
The one noticeable difference is the slightly different visual aesthetic in the first half (borrowed from the Kannada film Vikrant Rona); the glossy, ad film-like forest we see here at once feels unreal and unsettling. But the director soon returns to the chaotic, hyper-saturated look of the second and third films and the rapid cuts.
On the whole, Aranmanai 4 does what it intends to do - overwhelming us with kitsch and underwhelming us with its lack of imagination and originality, in utterly predictable, instantly forgettable and mildly entertaining fashion.
Batman Begins (2005)
Batman Begins Made Everyone Take Superhero Movies Seriously !!!
Batman Begins kicked off Christopher Nolan's Dark Knight Trilogy, which has gone on to become an integral part of the world's conception of not only Batman but also superhero movies in general. While debuting in 2005, Batman Begins is a far (at least 4,350 miles) cry from the last Batman flick-1997's critical Titanic Batman & Robin. While Batman Begins no longer feels like anything particularly special, there is no doubt that it ushered in an era where superhero movies are taken seriously, both by critics and broad audiences.
The production value of the film is off the charts. Seventeen years later, it still feels natural to watch and does not struggle too much with outdated visuals or storytelling. Helmed by 11-time Academy Award winner and acclaimed director Christopher Nolan, it is obvious that the film's baseline quality was one of the most important characteristics of Batman Begins. This next paragraph is about to be obnoxious, but it makes a point.
The movie stars Academy Award winner Christian Bale as the titular Batman, Academy Award winner Michael Caine as Alfred, Academy Award winner Gary Oldman as Commissioner Gordon, Academy Award nominee Liam Neeson as the villain as Ra's al Ghul, Golden Globe nominee and the guy with the super intense eyes Cillian Murphy as Scarecrow, and Academy Award winner and global treasure Morgan Freeman as Lucius Fox. Batman Begins is scored by Academy Award winner and legend Hans Zimmer, and the Batsuit was even designed by Academy Award-winning costume designer Lindy Hemming. These likely only scratch the surface of the level of talent brought in for Batman Begins and The Dark Knight Trilogy.
Aside from the output quality, the story comes across quite differently than most-if not all-superhero movies to come before the film. The focus is on Bruce Wayne himself. His own personal demons and battles drive the narrative rather than fantastical, caricaturized, and shallow shiny-costumed heroes or villains. Rather than the adversary being campy or corny villains taken straight out of a classic comic book, Batman's fight is ultimately against the manifestations of long-lasting systemic crime in Gotham City. There is an element of realism in Batman Begins that frankly did not exist before in the cinematic genre. The film takes its time-albeit a lot of time-to try and explain Bruce and his origin like a fully-established character. We are not just given the Bat. We have to earn the Bat.
Batman Begins is certainly not perfect. Watching it now, it can be rather dull and boring at times. While systemic crime is the real culprit, a somewhat messy mixture of Ra's al Ghul, Scarecrow, and Carmine Falcone make up the individual villains. Because each is diluted, none have the presence of an actually foreboding villain, but the combination and realism influence gives the movie more of its well-rounded and structurally-solid qualities. One thing that the movie provides that was surprisingly refreshing upon re-watch is the steady building of Batman's arsenal. As far as previous Batman movies are concerned, Batman already existed and had his awe-inspiring collection of gadgets, gear, and Batmobiles. Here, watching it all play out with genuine attempts at describing how Batman's stuff works is nice.
Thalavan (2024)
A Watchable Investigative Crime Thriller With Some Good Performances !!!
Biju Menon and Asif Ali probably have the most bankable chemistry, even when they are at each other's throats. Thalavan works to a large extent, even with a messy second half, thanks to this duo.
Karthik (Asif Ali) joins as the SI at Chepannamthotta station, where CI Jayasankar (Biju Menon) is the SHO. They are both hot headed and get off on the wrong foot, and seem to be working at cross purposes throughout. The situation turns even more tense when Jayasankar is implicated in the murder of a goonda's wife and Karthik is put in charge of the investigation. The story and how the case is solved is narrated in flashback by DySP Udayan (Dileesh Pothen), who initially headed the tricky investigation.
The first half of the film, directed and co-scripted by Jis Joy, along with Sharath Perumbavoor and Anand Thevarkad, is straightforward and takes a total hold of you, with a couple of interesting red herrings. In the second half, however, the investigation takes a different turn and gets confusing with new suspects and situations added to the ones from the first half. Also, the climax seems to get overly dramatic and the flow gets a bit bumpy.
Despite keeping the typical cop demeanour, both the lead actors have amazing screen presence and are well-supported by side characters, be it Dileesh or the other cops, and even Miya and Anusree in smaller roles.
Jis Joy, who is veering away from his earlier lighthearted genre like Sunday Holiday and Vijay Superum Pournamiyum, has made a fairly engaging investigative thriller, but missed the opportunity to craft a super one.
Ishq in the Air (2024)
Shantanu Maheshwari and Medha Rana's Journey of Ishq is Sweet and Adorable !!!
Ishq In The Air - brings a familiar romantic formula but does so with fresh vibrancy, making it a binge-worthy watch. Set against the contrasting backdrops of Indore and Mumbai, the series follows Kavya (Medha Rana), a spirited hairstylist, and Naman Kothari (Shantanu Maheshwari), a shy and aspiring photographer caught in his family's namkeen business. Their chance meeting during a flight delay sparks a romance that gradually unfolds over five episodes.
The series stands out in its depiction of the stark differences between the protagonists' worlds. Naman's calm, small-town life contrasts sharply with Kavya's fast-paced, urban lifestyle, and this difference adds a layer of charm to their budding relationship. The way these two environments shape the characters and the inevitable clash of values they represent is captured beautifully, giving depth to an otherwise simple love story.
Medha Rana and Shantanu Maheshwari's performances are a highlight, especially with their chemistry making every moment believable. Shantanu's portrayal of the gentle, soft-spoken Naman complements Medha's spirited Kavya, and watching their interactions feels effortless and heartwarming. Their connection feels organic, and the evolution of their relationship adds a layer of emotional depth to the series.
While the romance is central, Ishq In The Air also explores personal growth, showing how love can inspire change and push individuals to face their insecurities. The characters evolve as they grapple with the differences in their lives, and the series gently nudges the idea that love, despite its challenges, can bridge even the widest divides.
However, the show doesn't stray too far from familiar territory. Directed by Tanmai Rastogi, known for Ishq Express, the premise of two strangers meeting at an airport feels like a small tweak on his earlier work, where the meeting happened on a train. This familiarity might make the story predictable, but it's saved by the charming performances and the emotional journey of the characters.
In a nutshell, Ishq In The Air may not offer groundbreaking storytelling, but its relatable themes, endearing characters, and the contrast between two worlds make it a heartfelt and entertaining watch. It's a sweet tale of unexpected encounters that turn into lifetime memories.
Saripodhaa Sanivaaram (2024)
Nani, SJ Suryah and Vivek Athreya Brings An Absolute Commercial Entertainer !!!
Surya (Nani) is an LIC agent by profession who leads a normal life on all days but has the principle of letting his anger out only on Saturdays. He picks the side of weak and vulnerable to fight against the bad guys. Charulatha (Priyanka Mohan) is the new joiner at the police station where the ruthless CI Dayanand (SJ Suryah) is the head. What happens between Surya and Dayanand ? How Surya gets involved in the issues and what he does to solve them is all about Saripodhaa Sanivaaram.
Nani as Surya nailed it with his performance. Be it emotional sequences with his mother, father and sister characters, action episodes, confrontation sequences with SJ Suryah & 'Eega' episode with Priyanka Mohan, he is at his best. Also, kudos to Nani for letting the director to come up with a performance driven, action packed antagonist character in the film.
How often we see Nani getting outshined by an actor in the film ? SJ Suryah in an author backed role in Saripodhaa Sanivaaram is just brilliant & he even outshined Nani in a few sequences. His comedy timing in a serious role is too good to watch.
Priyanka Mohan is alright. Her role lacks the required depth and emotional connect. Sai Kumar, Ajay Ghosh, Murali Sharma, Harshavardhan got good roles and all of them made their presence felt. Abhirami as hero's mother and Aditi Balan as hero's sister did their roles well and bought the film the required emotional connect.
Nani has been picking scripts with variation and is making sure that no two consecutive films from him have the same genre. Saripodhaa Sanivaaram is an action drama with a unique theme where Nani excels in the lead role with great support from the remaining cast. SJ Suryah's combination sequences with Nani, Murali Sharma and Harsha Vardhan along with Jakes Bejoy's background score made the first hour in the second half very racy and thoroughly enjoyable. Although the sequences in the second half are routine, almost all the actors pulled it off with their brilliant acting abilities.
Right from the word go, Vivek Athreya with his unique screenplay established the characters & conflict very well. His writing needs a special mention. There were many well-written & meaningful dialogues throughout the film. Also, the way he generated fun using Saikumar & Harshavardhan characters is very commendable. Another good thing about Saripodhaa Sanivaaram is that almost every character in the film has a significance & purpose.
Basic plot of the film is a simple & routine one but Vivek Athreya's magic with screenplay made the film standout from the other commercial films. However, editing in the film would have been better. Although, the characters introduction & their purpose were established well, director took almost fifty minutes to do so. Also, climax part was a little stretched. At least fifteen minutes of editing would have taken the film to another level.
Overall, although it has a few flaws like length & a bit over the top background score in first half, Nani's Saripodhaa Sanivaaram is entertaining with a good first half and a decent second half and it can be watched with friends and family.
Kohrra (2023)
Genuine Performances and Authentic Approach Makes This Investigative Crime Thriller Engaging and Compelling Watch !!!
Co-created by Sudip Sharma and directed by Randeep Jha, 'Kohrra' is an intriguing procedural thriller that explores the dark underbelly of the countryside in Punjab. Although slow-paced, the screenplay by Gunjit Chopra and Diggi Sisodia keeps viewers interested throughout the series, shedding light on various aspects of Punjab's society, such as migration, feudal skirmishes, drugs, consumerism, and land inheritance. The show highlights the importance of honesty, empathy, and understanding in breaking free from the cycle of darkness and creating a harmonious community where love and compassion prevail.
The story begins with a dead body found in the village of Jagrana, Punjab, and two dedicated Punjab Police officers, Balbir Singh (Suvinder Vicky) and Amarpal Garundi (Barun Sobti), taking charge of the investigation. As they dive into the case, they learn that the victim is an NRI who returned to his hometown to marry. The news of the murder spreads rapidly, putting pressure on the police to solve the case. The detectives delve deep into the lives of the dysfunctional families involved, uncovering a complex network of secrets and lies. With each clue they uncover, Balbir and Garundi persistently pursue leads, interrogate family members, and piece together the events leading up to the murder.
This six-part series stands out for its genuine approach and layered storytelling. Aside from the inquiry, the series provides a glimpse into the lives of different members of society, exploring the struggles of dominant yet miserable men, helpless mothers, and the desperation of the younger generation. It delves into the buried dark truths that are kept hidden owing to societal constraints and the lies that hold families together.
The performances by the cast are commendable, with Suvinder Vicky portraying the dedicated cop Balbir Singh with authenticity. His character's troubled personal life, affected by his daughter Nimrat (convincingly played by Harleen Sethi), adds intrigue to his journey. Barun Sobti, who plays Balbir's sidekick Garundi, takes some time to master the Punjabi dialect, but once he does, it adds more depth to his performance. The supporting cast, including Varun Badola, Manish Chaudhari, and Rachel Shelly, deliver honest performances that grab the viewers' attention.
Mostly shot in and around Ludhiana, the cinematography by Saurabh Monga adds a realistic feel to the series. The background score by Benedict Taylor and Naren Chandravarkar enhances the tension throughout, heightening the overall viewing experience.
'Kohrra' offers a satisfying conclusion without leaving any cliffhangers or the promise of a second season. By the end of the series, when the true events are revealed, viewers experience a sense of relief. The show provides a clear and conclusive end, leaving the audience satisfied.
Overall, 'Kohrra' is a captivating and well-crafted crime thriller that immerses viewers in the dark secrets and dysfunction of the Punjab countryside, while delivering an engaging storytelling experience.
Karthikeya 2 (2022)
A Worthy Successor to Part 1 That Takes The Story Forward !!!
Chandoo Mondeti made a successful debut years ago with Karthikeya, hinting that the titular character Nikhil Siddhartha plays allowed for the series to carry on through his quest for truth. With Karthikeya 2, he does the same, leaving the ending open for another part in the series that takes us on an adventure along with the curious doctor.
Karthik (Nikhil Siddhartha) is now a doctor who has a successful career not just in the medical field but also otherwise as a myth-buster. We're told that after the events at Subrahmanyapuram, he has continued to provide logical answers to supposedly supernatural questions across the country. When his mother (Tulasi) takes him along to Dwaraka, he finds himself in midst of an adventure he did not seek out. With a murderous clan and a secret society on his heels, will he and Mugdha (Anupama Parameswaran) manage to find a missing anklet that might hold the answers to a future catastrophe ?
Chandoo ups the ante with Karthikeya 2 when it comes to Nikhil's character and the extent of danger he finds himself in. While the prequel spent a lot of time exploring his agnostic character's curious nature, apart from his love story with Valli (Swathi, who's completely missing from this tale with no answers given), the sequel dives right into things from the get-go, almost wasting no time in setting up new characters. As Karthik finds himself in the middle of an already on-going journey, so do we, with new issues cropping up along the way.
The change in tonality and even the budget definitely suits the Karthikeya series, allowing for an immersive experience and richer storytelling that's much more focused than the predecessor. While it's odd that a lengthier runtime has been chosen this time around, with some scenes dragging unnecessarily, the film remains an engaging one for the most part. You're already invested in Karthik, you know how he thinks and you know he won't get off the metaphorical train until it reaches the desired destination. And you're happy to be along for the ride for the most part.
Where the film doesn't work is when it gets too hammy and in-your-face with the fact that the characters believe Lord Krishna's story isn't just mythology, it's in fact 'history'. The attempt comes across as jarring, especially when two key characters suddenly change their tune by the end. This stands out like a sore thumb because you have already believed that Lord Krishna handed over an important anklet, you didn't need Karthik to suddenly be not-so-inquisitive anymore, nor did you need a speech from Anupam Kher hailing the god for his scientific prowess. A key character even says a particular line more than once, in case you missed it the first time. A subtler approach would've suited the way the first part of the series and even the second part initially resumes. It's also sad that where the original underlined the fact that sometimes men of science use faith for their greed, almost every scientist, architect, et al remains a staunch devotee in this film.
None-the-less Nikhil picks up where he left off with Karthik, adding a touch of maturity but maintaining the almost haughty nature the character possesses. He breathes life into the character and shoulders the story well. His character arch and growth should've been handled a little more smoothly for the desired effect at the end. But it's thankful the film doesn't spend too much time on trying to force a romance between him and Anupama, who does a good job as the sidekick whose intentions aren't always transparent. Satya and Praveen, Karthikeya's friends are traded in for Srinivasa Reddy and Harsha Chemudu, who bring some much-needed laughs to an otherwise serious story. The latter's 'paan, pyaar aur paisa' line in particular is hilarious. Rest of the cast don't really get to do much as their characters never really evolve enough and when they do, it doesn't feel organic.
Karthikeya 2 remains a worthy successor to Karthikeya minus the over-the-top strong-arming of Nikhil's character by the end. If you've loved Karthik's questioning nature, you just won't buy it. Watch this one if you're a fan of the first film, you might just have to wait a while though to meet the curious adventurist again in Karthikeya 3.
Citadel (2023)
Richard Madden and Priyanka Chopra Jonas - Citadel is 300 Million USD Average Spy Series !!!
For a series whose plot elements include remembering and forced forgetting, Citadel barely attempts to create recall value.
The Prime Video show has been releasing one episode each week since April 29. The sixth and final episode that came out on Thursday clears up some of the secrets teased in the beginning while pointing to the next of several spin-offs. Citadel: Diana, set in Italy, precedes a chapter revolving around Indian Citadelians. Directed by Raj & DK, Citadel: Hunny Bunny, the Indian branch stars Varun Dhawan, Samantha and Sikandar Kher.
The existing Indian connection to Citadel, is, of course, Priyanka Chopra Jonas. Sporting a low voice bordering on a purr and displaying her athletic side, Chopra Jonas thrives in a series that often feels like a better-produced, less schmaltzy version of the Bollywood fare she swapped for Hollywood.
Citadel revolves around competing independent spy agencies. The one named Citadel claims to be maintaining world peace, like the fictitious Impossible Missions Force from the Mission: Impossible movies. The other, Manticore, represents various regimes who like to see the world order disrupted. It's headed by British diplomat Dahlia (Lesley Manville), who achieves more mayhem simply by picking up the phone than anybody else in the show.
Among those backstopped are Mason Kane (Richard Madden) and his colleague Nadia Sinh (Priyanka Chopra Jonas). Following a failed operation, Mason has a new name and identity, a wife, Abby (Ashleigh Cummings) and a daughter. Summoned back to work by his handler Bernard (Stanley Tucci), Kyle struggles to become Mason again, which means reuniting with Nadia. These spearheads of Citadel were lovers too, adding a layer of frisson to a professional collaboration.
Priyanka Chopra Jonas, in her second global platform after the American show Quantico, lends an air of smoky mystery to her heroine. Nadia is a beauty-brains-brawn package, evident in the moments when she is an eyeroll away from telling Mason how to conduct himself during a critical mission. Richard Madden's frequent glowering doesn't help his poorly sketched character.
The most noteworthy performances have nothing to do with the action. Stanley Tucci, as the sly and wry Citadel handler, and Lesley Manville as his ruthless adversary, bring serious craft to the art of spycraft. These veterans give Citadel a semblance of purpose, rather than the contrived ardour between Nadia and Mason and the increasingly wearying question of who is backstabbing whom.
A recurrent visual gimmick of flipping shots upside-down suggests that nothing is what it appears to be. The world has apparently been turned on its head. But the stakes are too low, the writing and direction too vapid and the leads too dull to make Citadel memorable.
Auron Mein Kahan Dum Tha (2024)
Found This Slow Musical Romance Quite Interesting !!!
Neeraj Pandey's Auron Mein Kahan Dum Tha is a departure from the typical romantic fare and a slow-burn exploration of love, loss, and longing. The narrative unfurls in a prison, introducing us to a formidable Krishna (Ajay Devgn) before it shifts gears to unveil a tender love story. The flashback takes us to a younger Krishna's (Shantanu Maheshwari) romance with Vasudha (Saiee Manjrekar) and how an incident sends him to prison for 25 years. Upon an earlier release owing to good behaviour, Krishna reunites with a now-married Vasudha (Tabu). The ensuing story between the past and present is the film's core.
Pandey's script is a lesson in subtlety, allowing the characters and their emotions to take centre stage. The narrative is anchored by Ajay Devgn's nuanced portrayal of Krishna and his transformation from a formidable convict to a vulnerable lover. Interestingly, Shantanu Maheshwari has a completely contrasting character arc (from a simple and noble guy to a savvy prison survivor) but is as effortless as his senior co-star. Tabu delivers a performance of quiet intensity, capturing the complexities of a woman haunted by the past and coming to terms with her present. The duo's chemistry is palpable, adding depth to the film's emotional core. While Saiee Manjrekar delivers an equally good performance, Jimmy Shergill has a short but impactful role as Vasudha's husband, Abhijeet.
In addition to the powerful performances, MM Kreem's evocative background score is a standout element, contributing significantly to the film's poignant vein.
On the flip side, the movie is inconsistent in its tonality, with elements reminding you of 90s Bollywood fares, complete with festival songs, an athletic Krishna taking on beefy goons, action sequences in the rain, and so on. Kathikuloth Praveen's editing is jerky at various places in the first half. The major twist and the crime's revelation are predictable and have nothing new to offer. Although deliberately languid, the plot feels stagnant by the interval, picking up pace in the second half. Post-interval, the movie also elicits a few chuckles thanks to Krishna's best friend, Jignesh (Jay Upadhyay).
Auron Mein Kahan Dum Tha is an attempt at a mature love story that falters in execution, with its slow pace and predictable plot hindering its impact. Watch this one if you appreciate deliberate pacing and emotionally charged narratives.
Teri Baaton Mein Aisa Uljha Jiya (2024)
This Quirky Man-Machine Love Story is Intermittently Engaging !!!
A robotics engineer, Aryan Agnihotri (Shahid Kapoor), goes to the US to work on a new project for his maasi and boss, Urmila (Dimple Kapadia). There, he is looked after by her manager, Sifra (Kriti Sanon), the robot programmed to make him fall in love with her. And he does. But when he discovers her reality, he is outraged at being used for a lab test. However, he feels drawn towards her and convinces his maasi to send her to India so that she can go through the ultimate test - surviving a big, crazy Indian family (that's obsessed with Aryan's marriage). Whether he will have his happily ever after with the almost-perfect robot forms the rest of the story.
Amit Joshi and Aradhana Sah serve a novel, breezy, and fun concept with a quirky situation. The laughs here are in the absurd situations that the human-robot couple encounters along the way. However, the story takes a while to build up, and the scenes where Aryan's family warms up to Sifra are overstretched. The story picks up steam almost towards the end after a big twist.
Although the concept is unique, the narrative often finds itself going around in circles while trying to build the story around it. The movie also touches upon the man vs machine debate, and using AI and robots responsibly. This aspect seems rushed and wraps up too quickly.
The film elicits quite a few laughs, mainly owing to the characters' reactions. The humour is not so much in the dialogues but in their delivery and timing - especially Aryan's interaction with his friend and colleague, Monty (Ashish Verma), who pulls off his goofy act very well.
The movie's appeal lies in romance, and Shahid Kapoor and Kriti Sanon have a smashing on-screen chemistry. Kriti's poker-faced robotic act and on-cue laughter are hilarious, and she delivers every scene where she glitches in the human world with aplomb.
Shahid breezes through the role of an irreverent guy hopelessly in love. Dharmendra as Shahid's grandfather is adorable, and Dimple Kapadia is a treat to watch. Sachin-Jigar, Tanishk Bagchi, and Mitraz deliver a banger of a soundtrack, especially the title track (redux of Raghav's Angel Eyes) and Laal Peeli Ankhiyan.
At a time when mega-scale action films are ruling the big screen, this one comes as a refreshing concept packaged with humour and good music. The situational comedy gets repetitive and doesn't take off as smoothly, but when it lands, it proves to be an entertaining fare.
Gyaarah Gyaarah (2024)
An Intense Time-Travel Crime Thriller With Brilliant Performances !!!
Set in the mystical hills of Uttarakhand, the story begins 15 years ago when Aditi (Azaya Seth), a young girl, is kidnapped from a fair, and a young Yug (Yug Pandya) witnesses the crime. A few days later, the girl is found dead, and the police are unable to find the culprit. Aditi's mother, Sanjana Tiwari (Gautami Kapoor), fights for justice as time passes. Fifteen years later, Yug (Raghav Juyal) is now a police officer and tries to seek justice for Aditi, but things don't turn in his favour until one day, he finds a walkie-talkie that allows him to contact Shaurya Anthwal (Dhairya Karwa), who is in the past. Meanwhile, Inspector Vamika Rawat (Kritika Kamra) takes charge of solving Aditi's murder before the government decides to close all unsolved cases that are older than 15 years. Will they be able to solve the case together ?
Soon after this case, a cold case unit is set up, headed by Vamika and her team of Yug, Balwant Singh (late Nitesh Pandey), and forensic expert Deepali (Preshah Bharti), who are all set on a journey to solve all unresolved cases from the past.
'Gyaarah Gyaarah' has an extremely interesting beginning-a cop from the present time (2016) finds a walkie-talkie and discovers that the person on the other side is also a cop from the past (1990). It is intriguing right from the start to connect the dots and find out what happened in the past and what will happen now in the present, too. These two characters are also the drama's highlight-you'll get attached to them quickly and root for them to solve the cases and their own mysteries, too. The plot is solid, splitting into many instances while focusing on the major one involving the leading trio.
Raghav Juyal is fantastic as an impulsive and determined cop who never misses the point, even when judging someone's body language. His character, Yug, instantly forms a connection with the viewers and keeps you involved in his struggle to seek justice.
Kritika Kamra's Vamika's past, her connection with Anthwal, was quite all over the place initially, as she appeared as a puppy-eyed new officer joining the police department. But as the story progresses, she emerges as an independent, smart, and determined police officer who fights to solve the case and supports her colleagues. Kamra does well in portraying both emotions.
Dhairya Karwa is convincing as the dedicated cop Anthwal, who is at par with Yug. The rest of the supporting cast, including Gautami Kapoor, Harsh Chhaya, Purnendu Bhattacharya, and Mukti Mohan, helps take the narrative forward.
In this eight-episode crime thriller, which will have its next season to unveil many facts from the past and present, the story is full of flashbacks tampering with the drama's pace. However, director Umesh Bist skillfully handles the multiple timelines and maintains a consistent tone throughout the series. The storytelling is impressive, with each era distinctly portrayed, immersing the viewers in the respective timelines. The plot does drag in bits and pieces, but still, it's a solid drama for those who love this time travel genre.
Bad Newz (2024)
Bad Newz is a Complete Bad Movie !!!
Directed by Anand Tiwari and written by Ishita Moitra and Tarun Dudeja, Bad Newz is more frizzle than sizzle. It is a still-born comedy about a pair of dads and a mom with twins in her womb as a result of being impregnated twice in the same ovulation cycle. Forget the lack of combustible chemistry between Vicky Kaushal and Triptii Dimri, the film struggles to find the right combination of the biology of the relationships and the physics of the plot.
Akhil Chadha (Vicky Kaushal) runs a chaap shop that his father set up in Delhi's Karol Bagh. He is the sort of guy who does not take no for an answer and bamboozles his way into Saloni's life while harping incessantly on his no-mo (no mobile) phobia. He isn't a pretty specimen on the face of it but the audience is constantly encouraged to warm up to his cavalier ways, part of which stems from the overwhelming attention his doting mother (Sheeba Chaddha) showers on him.
Gurbir Singh Pannu (Ammy Virk) is a Mussoorie hotelier who owns a Gujarati restaurant to atone for a beloved he lost because he failed to give up his love for chicken for her sake. Ammy Virk, playing a far more sorted man, is the slow and steady one who serves as an ideal foil to the mercurial Akhil Chadha, whose presence on the screen is accompanied on the soundtrack by a sab ton vadda (greatest of them all) refrain.
As for Triptii Dimri, she seems intent on concealing the sea of emotions swirling within and around her behind an inscrutable mask as the befuddled character fights to assert her right to decide what is best for her and her unborn babies.
Bad Newz is a 2-hour-20-minute film that feels like a cringe TikTok video that's two hours too long. The first 30 minutes to one hour is mildly fun as you watch Akhil woo Saloni, and her falling for him despite valid concerns about her career. The chemistry sizzles and Vicky Kaushal is easy on the eyes and ears with his Dilli ka launda act.
Overstuffed with subplots and lacking genuine emotional depth, Bad Newz ends up being more of a headache than a headline.