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Dashavatar (2025) : Movie Review -

Dashavatar stars veteran actor Dilip Prabhavalkar in a heroic role that deserves to be experienced by everyone. Watching someone play the lead hero at the age of 81 is nothing short of astonishing. Interestingly, two decades ago, Prabhavalkar had played a villain in Pachadlela, where Bharat Jadhav was the lead hero. In that film, Bharat's character kills Prabhavalkar's character. Now, the roles have reversed. In Dashavatar, Prabhavalkar plays the hero while Bharat Jadhav appears as one of the villains, eventually meeting his end at the hands of the very actor he once killed on screen. Time surely has its ways of rewriting stories, but this twist feels almost poetic. The film attempts to blend spiritual elements, social issues, and local art forms into a cinematic revenge drama, a genre we have seen many times before. The idea itself is fascinating, but the problem lies in the execution. The screenplay often feels scattered and, at times, illogical, leaving the film loose and uneven. Still, the subject matter and emotional weight keep the viewer interested.

Dashavatar tells the story of Babuli (Dilip Prabhavalkar), a respected Dashavatar artist who lives with his son, Madhav (Siddharth Menon). Madhav lands a job at a local mine and urges his father to give up acting in the Dashavatar art form. Babuli reluctantly agrees. On Mahashivratri, however, he decides to perform one last time before retiring. His performance remains unfinished when tragedy strikes-Madhav is found dead, with the police claiming it to be suicide. Babuli, convinced that his son could never take his own life, begins to uncover evidence suggesting murder. When he confronts the authorities, he is brutally beaten and left for dead. But Babuli rises again, channeling spiritual powers, and returns in various forms to avenge his son's death while also highlighting a larger social cause. Will he succeed in his mission?

Subodh Khanolkar has crafted a mystical and engaging script, merging Lord Vishnu's avatars with a revenge-driven narrative. The concept itself is intriguing-you almost wish all ten avatars were explored fully, but practically, the number of villains does not allow for it. Using an old Dashavatar artist to perform those high-stakes, larger-than-life sequences is a masterstroke. Unfortunately, the screenplay fails to support these big ideas convincingly. For example, Babuli is left for dead by the villains, yet they never bother to confirm his death. Later, the 81-year-old hero miraculously survives swimming, fire, chases from trained officers, their bullets, and dogs. Can a 81-year-old guy realistically endure all of that? The climax too raises questions. In the final scene, Sarmalkar shoots Babuli right in front of Inspector D'Costa, but the officer takes no action. Instead, a group of villagers suddenly appears and surrounds the villain with flambeau in hands, with no clear plan or logic behind it. Countless murders take place in the film, yet no arrests are made, and Madhav's case is conveniently closed with a snap of fingers. These loopholes make the writing difficult to believe, though the emotional and spiritual layers still manage to hold the viewer's attention.

On the performance front, Dilip Prabhavalkar delivers a top-notch act. He is a legend, and there is no second thought about it. Hindi audiences know him for his award-winning role in Lage Raho Munna Bhai, while Marathi audiences cherish his memorable work in Moruchi Mavshi, Gangadhar Tipre, Chaukat Raja, and many others. Dashavatar is yet another shining gem in his career. Siddharth Menon portrays his role with conviction, and Priyadarshini Indalkar lends good support. Mahesh Manjrekar, with his commanding presence, works well in his image-driven part. Bharat Jadhav is effective, while Lokesh Mittal, Ravi Kale, Sunil Tawde, Vijay Kenkre, Abhinay Berde, and others deliver decent, if not standout, performances.

Technically, the film has its ups and downs. The music is underwhelming, but the background score provides the right atmosphere. Cinematography offers some stunning frames, especially in the forest sequences, adding realism to the drama. However, editing in the second half feels weak, stretching certain portions unnecessarily. The production design of the stage scenes also leaves much to be desired. As a director, Subodh Khanolkar shows more strength than as a writer. Keeping audiences engaged for over two and a half hours with a flawed screenplay is no easy task, yet he manages to hold attention till the end. In conclusion, Dashavatar is far from perfect. Its screenplay has gaping holes, and logic is often sacrificed for drama. Yet, it remains watchable because of its spiritual core, emotional depth, and above all, Dilip Prabhavalkar's towering performance.

RATING - 5/10*

Kishkindhapuri (2025) : Movie Review -

Kishkindhapuri honestly surprised me in the best way possible. Particularly because it came from Telugu cinema, where horror movies are usually either mediocre or messy, with over-the-top comedy and little genuine thrill. But this film is different-it shows exactly how to craft a perfect Indian horror thriller. It carries an atmospheric brilliance, delivers a truly terrifying experience, and grips you from the very first moment until the last frame. As I watched it, I felt the terror, the uneasiness, the tension, and most importantly, the constant surprise of the twists it throws at you. Kishkindhapuri follows familiar cult-horror templates but shapes them into an entertaining, stylish horror flick. What makes it bigger is the standard it sets for the Telugu industry, especially considering its budget. Bollywood, on the other hand, launched the Bhool Bhulaiyaa franchise with the remake of the Malayalam masterpiece Manichitrathazhu and gave us a gem. But the next two films? They spoiled the legacy with unofficial remakes that were neither clever nor memorable. If Bollywood genuinely wants to revive the franchise on the content front, then I say this loud and clear-remake Kishkindhapuri. Or, at the very least, hire this writer to deliver something in the same zone.

Now, about the story. The film begins with a group of people entering an old radio station, ignoring the warnings surrounding it. What follows is chilling-by disturbing the silence of that cursed place, they awaken a deadly spirit. From that very night, deaths start occurring in strange and unnatural ways. This sets the stage for the protagonist Raghav, played by Bellamkonda Srinivas, to step in. Raghav takes charge of the situation, determined to uncover the truth and stop the wrath of this unsatisfied spirit. Along with his partner Maithili (Anupama Parameswaran), he digs deep into the spirit's past. The two eventually learn about the ghost's painful story: a man tortured to death inside the radio station, a victim of cruelty. Now, years later, his restless soul seeks revenge on those who awakened him. But as determined as the spirit is to kill, Raghav is equally determined to fight back. The film then becomes a clash between human grit and supernatural fury, where Raghav must find a way to stop the ghost before it grows truly unstoppable.

What impressed me most is the way the writers have stitched the narrative together. They use cult horror templates-things we've seen in iconic ghost stories before-but weave them into a massy action-horror setup that feels both familiar and fresh. Of course, being a Telugu film, it couldn't completely avoid the masala formula. So yes, there's the heroic entry of Raghav with an action sequence and a couple of fights later on. For me, those action blocks weren't strictly necessary. But I also understand why they're there. Telugu cinema still caters heavily to its fan base, and such elements help pull in the local audience. Despite that, I must admit, the balance between action and horror has been handled much better than I expected. The first half of the film is all about building tension, creating a mysterious and eerie environment. By the time the interval arrives, the stage is set for a strong second half. And that's exactly what happens-the second half lifts the film even higher. The surprises and twists waiting there kept me hooked, and I found myself leaning forward in my seat. I particularly loved the way the final frame leaves us with a question-an unsettling but brilliant touch. The use of spiritual elements also felt unique, giving the film a deeper layer.

What I appreciated most is how the film's tone evolves. It begins almost like a horror-comedy, which is typical in Telugu cinema. But the moment the ghost enters the frame, the comedy vanishes. From then on, it's serious, gripping horror all the way. I honestly haven't seen an Indian film in recent years manage that switch so effectively. Telugu cinema, with Kishkindhapuri, has now raised the bar for horror across the country. Bollywood, Mollywood, Kollywood-yes, they've all given us some good horror at different times, but this one from Tollywood truly challenges them. Of course, the film isn't flawless. There are a few things I could nitpick about, but mentioning them would involve giving away spoilers, which I don't want to do. So instead of going into that, I simply deduct half a star in my rating.

Coming to performances-Bellamkonda Srinivas starts off as the typical mass hero, but soon moves away from that image. He successfully slips into the skin of Raghav and gives the character real depth. Anupama Parameswaran is decent in the beginning but shines much more in the last quarter, where her transformation makes her stand out. Makarand Deshpande appears briefly but leaves a strong mark. Tanikella Bharani does his job well, while Hyper Adi and Hina Bhatia are passable. But the real star here, without question, is Sandy. This man nails it once again! Playing the ghost, he embodies menace and tragedy at the same time. His performance as the villain and as a physically disabled boy adds both layers and chills. Every frame he appeared in felt alive with dread.

Technically, Kishkindhapuri is rock solid. The color grading perfectly suits the horror tone, with shades of blue and black dominating. The flashbacks are presented beautifully, with a distinct palette that separates them from the present. The cinematography deserves applause, especially in the scarier moments. One scene that stuck with me is the one on the train, where an old woman enters begging. The framing of that sequence gave me goosebumps. I could describe more such standout moments, but I'd rather let you experience them fresh. The sound design and background score are equally effective-chilling, haunting, and immersive. The film doesn't rely much on jump scares. Instead, it creates genuinely tense moments that make your chest heavy and your throat dry.

Director Koushik Pegallapati deserves massive credit here. Working with a moderate budget, he has crafted something far more impactful than many big-budget horror films I've seen. It's proof that skill and vision matter more than money. Kishkindhapuri is a perfect example of how to root horror in culture, suspense, deception, and emotion while still delivering entertainment. Kishkindhapuri exceeded my expectations, and as someone who watches horror across industries, that doesn't happen often. For fans of the genre, this film is a must-watch. Kishkindhapuri proves that Tollywood can do horror not just well, but brilliantly. I didn't think I'd be saying this, but here I am, giving the film not only my recommendation but also half a star extra for being such a pleasant shocker. Watch it-you might just find it better than anything you've seen in this genre in recent years.

RATING - 7/10*

Homebound (2025) : Movie Review -

After delivering a classic cinematic gem like Masaan in his debut, Neeraj Ghaywan returns with Homebound, another film that thrives on realism and emotional depth. Much like his first, this one is slow-paced and deliberate in its storytelling, but it never feels aimless. Instead, it weaves an honest narrative about friendship, ambition, and the harsh truths of society, all while introducing new characters and conflicts that add freshness to the journey. At its heart, Homebound is a film about two best friends navigating the crossroads of their lives-caught between the last phases of their studies and the uncertain beginnings of their careers. The story soon takes a deeper, more subversive turn as it unfolds against the backdrop of the COVID-19 pandemic, a global tragedy that changed and destroyed countless lives.

The film follows Chandan (Vishal Jethwa), a boy from a lower caste, and his best friend Shoaib (Ishaan Khatter), a Muslim youth who has been targeted repeatedly by communal hatred in society. Both boys attempt the Police recruitment exams, but while Chandan clears the written test, Shoaib faces failure. Their paths begin to diverge as Chandan finds love in Sudha (Janhvi Kapoor), only to see their relationship falter when career pressures and hurried choices take over. Meanwhile, Shoaib receives a job opportunity in Dubai, but his family ties and emotional nature keep him homebound. Instead, he settles for a low-profile sales job. Distance eventually grows between the two friends when Chandan moves away, until fate reunites them again in an emotional climax that is best left unspoiled for viewers.

The screenplay balances the warmth of friendship with the weight of social issues. Themes of casteism, nationalism, communal prejudice, career struggles, and survival during the pandemic are layered into the narrative. At times, the film may appear slightly regressive, as some might find it hard to believe that caste-based discrimination and religious targeting still existed so prominently in pre-pandemic urban settings. Yet, the director uses these issues to underline how deep-rooted they remain in society, whether we choose to acknowledge them or not.

Of course, the film is not without flaws. Certain events stretch believability, especially when judged against present-day realities. The pacing could have been tighter too, as the editing occasionally tests patience. Still, the movie shines in its heartfelt depiction of friendship and struggle, and the climax lifts the emotional quotient several notches higher. The way Ghaywan captures the impact of the pandemic-without sensationalism but with empathy-is particularly commendable. Revisiting that dark time could have felt outdated, but here it becomes a moving part of the story.

Performances play a big role in grounding the film. Vishal Jethwa does a fine job as Chandan, bringing authenticity through his physicality, expressions, and mannerisms. He genuinely looks and feels like a small-town boy carrying the weight of societal barriers. Ishaan Khatter shows his acting finesse, especially in the climax, where he leaves a lasting impression. Janhvi Kapoor looks natural in her role, though her dialect could have been more localized. Harshika Parmar shines as the sister, particularly in a heartfelt dialogue about hard work. Vijay Vikram Singh, the familiar voice of Bigg Boss, makes a surprising appearance as a corporate boss and delivers convincingly. Supporting actors like Pankaj Dubey and others add credible layers to the story.

On the technical front, Homebound is carefully crafted. The cinematography beautifully captures the intimacy of friendships and the emptiness of pandemic-era spaces. The production design and chosen locations feel authentic and rooted in reality. Editing could have been sharper, but the absence of unnecessary songs helps maintain focus on the story. Neeraj Ghaywan's direction remains steady and composed throughout, though some may wish for a slightly more progressive take or a fresher subject. While Masaan carried a deeply painful core, Homebound borrows from a real event-the pandemic-to create its emotional weight. Ultimately, Homebound succeeds as a heartfelt story that mixes friendship, social struggles, career dilemmas, and personal choices into a meaningful narrative. For those who appreciate realistic cinema with emotional resonance, Homebound is well worth a watch.

RATING - 6/10*