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Maamla legal Hai (season 2): Jolly LLB of OTT

Much like the first season MLH season two does a good job in mixing satire and social commentary. At the same time this season is more emotional while maintaining the humorous tone. Ravi Kishan continues to lead from the front this time with a different character arc. As a judge grappling with the burden of making tough decisions the actor is excellent

Starcast: Ravi Kishan, Nidhi Bisht, Naila Grewal, Anant Joshi, Dibyendu Bhattacharya and others

Director: Rahul Pandey

Writers: Kunal Aneja, Mohak Aneja, Shadan Syed , Tatsat Pandey etc

Genre: Comedy/drama

Producers: Sameer Saxena, Saurabh Khanna, Biswapati Sarkar and Amit Golani

Production house: Posham Pa pictures

Cinematography: Miling Jong

No of episodes: 8

Streaming site: Netflix

For those who haven’t seen Maamla Legal Hai season 1 the plot revolved around the quirky world of Patparganj. The series tackled a wide range of cases based on newspaper reports flashed at the end of each episode. For example, there was one involving a divorce. The husband wants to divorce his wife just because she doesn’t feel shy on their wedding night. Apart from this the web series touched upon different aspects like the connubial rights of prisoners etc. Apart from the witty writing and direction the series also benefitted immensely from the ensemble cast especially Ravi Kishan and Nidhi Bist. Now you have season two also set in Patparganj but with different dynamics.

MLH season two is primarily about the transition of Ravi Kishan’s VD Tyagi. From a street-smart advocate he has turned into a judge. At the same time the trio of lawyers represented by Nidhi Bist, Naila Grewal etc are dealing with a range of cases which are as messy as their personal lives. The interpersonal rivalries especially the one between Naila Grewal and the new entrant Kusha Kapila also forms an important part of MLH season two.

A major strength of MLH 2 season two is the characterization of Ravi Kishan coupled with his solid act. Unlike the first season the flamboyance of Ravi Kishan is more toned down as VD Tyagi is trying to be more serious. His equation with the old acquittances undergoes a strain. The internal struggles of VD tyagi forms the spine of this Rahul Pandey directorial. The scenarios lend itself naturally to both comedy as well as emotional depth. Thankfully this transition lands giving the show some of its best moments.

A special mention must be made of the episode titled “Beyond reform”. VD Tyagi gets through a major inner turmoil before pronouncing the judgement of death by hanging. Ravi Kishan is especially good in a break down preceding this, he eventually decides that being a judge is not his cup of tea.

Coming to the funny portions season 2 offers plenty of laughs this time too. For example, there is a marital case with a very orthodox mother-in-law, and the wife is fed up of her demanding ways. Additionally, the husband doesn’t stand up for her. It’s not that the spouse doesn’t love his wife, but he is afraid to question his mother,

How the husband finds spine amidst a lot of chaos is both well written and enacted. Mention must also be made of a young boy who aspires to be a gangster. The characters played by Neila Grewal, Anant Joshi and Kusha Kapila struggle a lot to change his mind. Eventually the youngster decides to focus on studies after witnessing a particular incident. The scenes here too are laced with humor.

MLH season two also benefits from the scenes of rivalry between Niela Grewal and Kusha Kapila. Kusha Kapila represents a more media savvy breed of lawyer’s profession. The friction between the two has some impactful moments as well.

An underlying theme of MLH season two is negotiating a system which is imperfect at the same functional. Season 2 goes beyond the satirical tone of first one looking at the compromises and how justice in its true form is difficult to achieve so sometimes it has to be negotiated. The chaotic world of Patparganj district court continues to have a lived-in atmosphere. The messy ecosystem of lawyers, clerks, clients etc has a believable feel.

Apart from the splendid Ravi Kishan the ensemble cast also pitch in some fine performances. Niela Grewal especially stands out perfectly showcasing the evolution of Ananya from textbook notions of justice to absorbing shades of grey. Nidhi Bist continues to shine with her comic timing. Dibyendu Bhattacharya as another judge also makes his presence amply felt. His dynamics with Ravi Kishan especially a key confrontation is solidly written and enacted.

Much like the first season the personal life of VD Tyagi does come across as a speed breaker. A few tonal shifts could have been handled better but these are minor blips in an otherwise engaging show.

Final word: Maamla Legal Hai is a worthy follow up and for fans of legal satire definitely worth watching.

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Love Insurance Kompany: An audacious mix of science fiction and romance

This Vignesh Shivan directorial needed better writing especially the trope of love at first sight. Having said that the film is solidly staged and the latter half has good conflict points. The movie also benefits from SJ Suryah act of a comic villain. His face offs with Pradeep Ranganathan lead to some entertaining moments. Among the two leads Krithi Shetty makes a stronger impact

Starcast: Pradeep Ranganathan, Krithi Shetty, S J Suryah and others

Genre: Science fiction/romance

Director and writer: Vignesh Shivan

Music: Anirudh Ravinchander

Cinematography: Ravi Varman

Producer: Nayanathara

Production Companies: Rowdy pictures and Seven screen studios

Running time: 2 hours and 30 minutes

Narratives of social medium algorithms and how they are influencing people have been explored numerous times on the big screen. Whether its the Hollywood movie Social Network or the Bollywood one CTRL starring the excellent Ananya Pandey. But Vignesh Shivan’s Love Insurance Kompany goes notches above in terms of imagination. The director sets his plot in the year 2040 where there is a clear divide between those obsessed with apps and others growing up in an ashram type. The two leads played by Pradeep Ranganathan and Krithi Shetty differ significantly in terms of their lifestyle. The story in brief focuses on how Pradeep Ranganathan’s Vaibhav Vasudevan falls for Krithi Shetty’s Dheema. Their love story forms the core with a message on human connection being more important. S J Suryah is the owner of the dating app Love Insurance Kompany. How he becomes a thorn in the needle for Vaibhav’s love forms an important subplot.

A major strength of LIK is the production design coupled with Ravi Varman’s cinematography. The stark difference between the environments of Dheema and Vaibhav has come out well. The portions of 2040 especially feel like we are really watching a futuristic world where this can really happen. Ravi Varman captures the different color pallets wonderfully through this camera.

The movie also benefits from solid conflict points especially Kriti Shetty’s Dheema. Her backstory on she becomes an influencer more on less than on the phone creating video’s, also the impact of her mother’s failed marriage has come out well. Kriti does a very fine job in capturing the characters over the top nature as well as emotional vulnerability.

Pradeep Ranganathan as Vaibhav is competent both in the scenes of being love struck and the desperation of making his love story a success. However, the writing doesn’t completely support the actor. For example, the typical love at first sight with Vaibhav landing in a hospital feels overtly dramatic. It becomes somewhat difficult to buy Vaibhav’s intense love for Dheema so much so that he starts using LIK.

Having said that Pradeep Ranganathan does a fine job with his natural acting. His face off with S J Suryah are laced with effective humor contributing immensely to a more enjoyable second half. S J Suryah as Suryan is solid too with his eccentric humor. He particularly shines in the scenes of tug of war. Suryan’s desperate attempts in trying to win gives the movie some of its best moments. Having said that the backstory of Suryan on why he set up LIK needed much better writing. Also, the film could have done with a more balanced approach regarding social media addiction. The dangers of an app like LIK are convincingly portrayed, at the same time the positives of social media could have been equally highlighted.

Anirudh Ravichander’s music has its high points. The song Dheema in particularly has a soothing tune and has been picturized well. The backdrop score is fairly fine especially in the confrontation scenes of Pradeep Ranganathan and SJ Suryah.

Final word: Love Insurance Kompany is worth watching for the solid world building and the audacious ideas. Having said that some fine tuning would have made the film more gripping.

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Dacoit (a love story): A gritty cocktail of love and crime

Shaniel Deo who has co-written the story with Adavi Sesh makes a promising debut especially the second half. The post interval portions have some solid thrills with trademark Adavi Sesh twists. The track of hospital mafia with the backdrop of COVID has been smartly integrated. However, the films biggest strength is Mrunal Thakur as Juilet/Sarswati. She stands shoulder to shoulder with Adavi Sesh coming with a brilliant act

Starcast: Adavi Sesh, Mrunal Thakur, Anurag Kashyap, Sunil, etc

Genre: Action drama/romance

Director and writer: Shaniel Deo

Additional writer: Adavi Sesh

Dialogues: Abburi Ravi

Producer: Supriya Yarlagadda

Production Companies: SS Creations and Sunil Narg productions

Music: Bheems Cecriroleo

Cinematographer: Danush Bhaskar

Running time: 2 hours and 32 minutes

Actor, writer and director Adavi Sesh has created a string niche for himself with stories of action and thrillers. There is a credibility attached to his name. Adavi Sesh’s latest Dacoit has some of his trademark elements like the gritty action combined with twists. At the same time the movie also presents a different facet of Adavi Sesh, a rustic role with a specific dialect. Right throughout the movie’s promotions Adavi Sesh has insisted on how Daciot is a two-hero movie and this indeed turns out true. But more on that later.

The story of Dacoit in brief is about two star crossed lovers. Advasi Sesh’s Hari comes from the downtrodden section. Mrunal Thakur’s Sarswati on the hand belongs to a more affluent household. The situation takes a dramatic turn with Hari going to jail and Sarswati marrying someone else. Hari is in deep hurt with plans of revenge. How their paths once again intertwine forms the core of Daciot.

A strong aspect of Dacoit are the dynamics between Hari and Sarswati. The love-hate relationship with Hari’s simmering anger gives the movie some of its best moments. The action sequences amidst the two dodging the police have been solidly staged. There is a sense of them racing against time. The vulnerabilities of the two leads as they are fighting with their own inner demons makes these scenes more interesting. Mention must also be made of the technical department especially the production design and cinematography. Much like last week’s Biker this movie also benefits from the use of real-life locations.

The rugged landscape with the different moods becomes a major character in itself. Danush Bhaskar’s cinematography is first rate, his work in the chase sequences especially stands out.

Bheems Cecrileo’s songs particularly Rubaroo makes an impact. The background score of Gyaani is of a good order too especially in the action sequences.

Coming to the social commentary the movie is successful in taking the viewers back to the harrowing pre-COVID area. The exploitation of corporate hospitals with mounting hospital bills have an authentic feel. Yes, Prakash Raj as a corporate hospital head is underutilized still the subplot works. The dialogues of Abburi Ravi significantly help too in both the halves.

A special mention must be made of the ones questioning caste. The social undercurrents makes Dacoit more than just an action drama with a love story. For an intense film like this it’s important that both the leads deliver, Adavi Sesh and Mrunal Thakur don’t miss a single beat. As Hari Adavi Sesh gets the angst spot on pulling off the grey shades with finesse. He also raises chuckles in scenes of understated humor. A perfect example of humor is the portion of Hari escaping and a punchline with the popular song ‘Kannepettarao from Hello Brother playing in the background. Mrunal Thakur too matches step to step in a multi shaded role. The emotional vulnerability and resilience of Saraswati has been excellently brought out by the actress. A specific mention must be made of the climactic portion when she gives it back to the husband showing that she is no docile wife. The dubbing has been done by Chinmayi Sripada, and this elevates the performance further. It’s great to see Mrunal getting some solid roles in Telugu and she making complete use of it.

Among the rest Anurag Kashyap as the cop on hunt make his presence amply felt too. He brings in the required authority as well as a humanness. The second one can be especially seen in films final stages. Sunil in a grey shaded role is solid as well. But Atul Kulkarni much like Prakash Raj is underutilized.

Coming to the flaws the first half of Dacoit could have been much crisper. An item song especially sticks out like a sore thumb. Also, the love Dovey scenes could have done with better writing.

Final word: Dacoit is a solid addition to Adavi Sesh’s filmography, and definitely worth watching for fans of gritty action dramas as well as Mrunal admirers.

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Biker: Sharwanand’s Jersey moment

The broad arc of Biker follows a familiar sports template. But the difference lies in packaging. The father and son dynamics with different ideologies gives a fresh layer. Sharwanand delivers a performance high on physicality as well emotional depth. Dr Rajeskhar lends gravitas as a father operating more like a coach. He gets a nice arc from the mid second half and the climactic moment with him hugging Sharwanand is sure to move the viewers. Malavika Nair too has a prominent role not reduced to just a cheerleader

Starcast: Sharwanand, Dr Rajeshekar, Malavika Nair, Atul Kulkarni, Bramhaji and others

Genre: Sports drama

Director and writer: Abhilash Reddy Kankara

Additional writers: Sharvan Madala and MVS Bhardwaj

Cinematography: J Yuvraj

Music: Ghibran Vaibodha

Producers: V Vamsi Krishna Reddy and Pramod Uppalapati

Production house: UV Creations

Running time: 2 hours and 42 minutes

Sports films in general come with certain ticked boxes whatever the language. The protagonist would be a champion player quitting midway for different reasons. After a significant gap he or she rises back eventually regains glory with a dramatic finale. Abhilash Reddy Kankara’s Biker belongs to the same terrain. However, the setting of motor cross gives a different dimension. There is enough adrenaline rush in the way these portions have been filmed but more on that later. The brief story of Biker follows Sharwanand’s Vikas Narayan quitting the racetrack leading to an estranged relationship with coach/father Sunil Narayan (Rajeshekar). The storyline alternates between the past and present concluding with Vikas regaining his past glory. Malavika Nair is Ananya Vikas’s love interest in the past and in the present wife cum mother. She had taken a promise from Vikas on how he would never resume racing. But Vikas’s decision of comeback leads to a strain in their marriage.

For a movie like Biker the technical department is of utmost importance, thankfully the movie delivers right from the choreography, background score and the overall presentation. There is a lived-in atmosphere to these parts. A special mention must be of a pre interval and the final blocks. Both these sequences have the right thrills. For example, there is a scene where Vikas Narayan’s prominent opponent catches fire, but he still drives on. Vikas Narayan saves his life by pushing the bike into water. Vika’s bike on the other hand isn’t functioning properly either due to a malfunction still he finishes third. In the climax Vikas falls hard due to a deliberate collision. For a while it appears that everything is over, but Vikas gets back on his feet racing like a fierce beast out there to prove a point.

Biker also scores on the emotional front. As already mentioned Rajasekar’s character comes across as more of a tough coach than a father. There is a sequence of Sharwanand and the uncle played by Bramhaji going to a movie theatre. However, it turns out to be short lived as Rajeshekar makes an entry. He scolds Sharwanand’s Vikas saying these pleasures are not for him. At one-point Malavika Nair talks on how Sunil Narayan views his son as a champion than an offspring. For two thirds of the movie this feels right having said that different layers of Sunil Narayan are gradually revealed.

A special mention must be made of the scenes involving child actor Shourya and Rajeshekar. The grandson has zero inhibitions talking to his grandfather without fear. The scenes between the two show a different side of Sunil. They end up watching a movie together as well. The eventual change in how Sunil looks at relationships has been both well written and enacted. After the final race we see Rajeshekar’s Sunil letting his guard down and hugging his son with great affection. Rajeshekar absolutely owns this part delivering his best act in recent times. The movie also pays homage to Rajeskhar’s angry cop roles through a dialogue by Sharwanand.

Mention must also be made of Malavika Nair. Her character comes with dual shades. In one timeline she is seen as a supportive girlfriend, but all this changes due to an unplanned pregnancy. Tulasi plays the mother of Malavika, thankfully there is no overt melodrama with Tulasi getting hysterical. The character treats it in a matter-of-fact way. Coming back to the past Ananya gives birth to a baby boy who turns out all right after an initial scare. Ananya wants Vikas to give up racing as she cannot handle the anxiety.

The scene is both solidly written and enacted. When Vikas decides to make a reentry, the marriage undergoes tension. Ananya is visibly upset and as viewers you can understand her point of view. Eventually Ananya gets over her anxiousness with the help of Sunil Narayan. There is a poignant conversation where Sunil takes about Vikas needing her and his changing viewpoint on relationships not being a hurdle for success. Malavika does a very fine job in portraying Ananya’s quiet strength.

However, the major ace of Biker is Sharwanand who gives it his all both physically and emotionally. The actor especially shines in the scenes of vulnerability dealing with inner demons. The fighting spirit of a former champion overcoming different hurdles has been excellently portrayed by the actor. Clearly 2026 has turned out to be a solid year first Nari Nari Naduma Murari and now this.

A major problem with Biker are the predictable tropes particularly in the scenes featuring Atul Kulkarni. He plays a typical corporate bigwig. There is nothing wrong with Atul’s performance per say he plays the part with panache, but the scenes needed much better writing. Even the side characters accompanying Atul Kulkarni come across as caricatures. A song and dance featuring Sharwanand and Malavika also appears out of sync coming across as a speed breaker.

Final word: Biker is worth watching for fans of sport movies especially for those into racing. The visuals alone are worth the price.

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Project Hail Mary: A moving tale of unexpected bromance

Project Hail Mary headlined by Ryan Gosling has a standard sci fi story. But the difference lies in the treatment of Phil Lord and Christopher Miller. The movie has a hopeful tone regarding the environmental crisis. The heart touching friendship between the protagonist and an alien takes the viewers on a roller coaster ride

Starcast: Ryan Gosling, Sandra Huller and others

Genre: Science fiction/drama

Based on: Novel Project Hail Mary by Andy Weir

Directors: Phil Lord and Christopher Miller

Screenplay: Drew Goddard

Cinematography: Grieg Fraser

Music: Daniel Pemberton

Producers: Ryan Gosling, Phil Lord, Aditya Sood etc

Production Companies: Pascal Pictures, Lord Miller Productions etc

Running time: 2 hours and 36 minutes

The treatment of extra-terrestrial creatures has often bordered on dangerous entities. They are treated as humankind’s worst enemy with zero redeeming features. Of course, exceptions like Rakesh Roshan’s Koyi Mil Gaya are there. Though inspired from the west the film was a solid emotional drama with Hrithik Roshan’s Rohit developing an unlikely bond with an alien named jadoo. There is a hugely poignant moment when the time for farewell comes. The writing coupled with Hrithik’s performance was first rate. Project Hail Mary takes this notches above by mixing environmental crisis with themes of perseverance and a friendship that is sure to strike a chord.

The story of Project Hail Mary mainly focuses on Ryan Gosling’s Grace. He is a biology teacher. The movie begins with him waking up from coma on a starship. Through various flashbacks the viewers understand how Grace landed here and his mission of saving earth. There is a microorganism called Astrophage dimming the solar system. In this process Grace befriends an alien called Rocky voiced by different artists Ray Porter and Meryl Streep. This is the plot in brief.

It goes without saying that Project Hail Mary’s biggest strength is the strong on-screen brotherhood between Ryan Gosling and the Alien. Their scenes together have a fantastic mix of comedy and drama. Talking about the lighthearted bits a specific mention must be made of the early portions with Grace’s attempt of communication.

Initially Grace gets a shock of his life upon seeing the alien. But soon he warms up as the two gradually open up about their lives. The alien gets into the spaceship of Grace as well. Here too there are some chuckle worthy moments with the commentary of Grace.

Soon though things take a very different turn as Grace and Rocky together set out to solve interstellar problems. In this process the two strike an emotional bond leading to numerous poignant moments. Since I have not read the novel I cannot say how the brotherhood plays there but as far as the movie is concerned its the movie’s beating heart.

The flashback portions are another plus for the movie. Sandra Huller plays Eva Stratt. Eva is the head of an international task force representing the project. Eva comes across as a hardened soul especially in her methods of sending Grace to the spaceship. At the same time there are also scenes of warmth making the viewers think that there are some sparks.

The numerous back and forths also do a good job in establishing Grace personality. Grace is not a protagonist with a natural inclination for saving the day. He is someone who rather prefers teaching science to children and this trait helps in the viewers rooting for the protagonist more. The climax with Grace teaching on Rocky’s planet serves as a perfect conclusion. Ryan Gosling pulls off the different shades with ease whether its the lighthearted bits or moving the viewers. He is one of the major reasons for the movie being so engaging.

The cinematography of Graig Feser coupled with the production design has a lived in in feel. It adds to the immersive experience. A special mention must be made of the scenes involving Grace’s daredevil stunts amidst danger.

Final word: Project Hail Mary is definitely a big screen watch even if you are not into science fiction much.

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Youth: A nostalgia ride worth embarking on

Leading man and director Ken Karunas does a fine job in capturing the general teenage life. The school brawls with the desperation of a girlfriend have an authentic feel. The emotional second half is the film’s biggest ace especially Suraj Venjaramoodu as the caring husband. Having said that the coming-of-age angle comes with its share of problems. The third love track turns into a manipulative device for the hero to understand his parents. This needed to be avoided.

Starcast: Ken Karunas, Suraj Venjaramoodu, Devadarshini, Anishma Anilkumar and others

Genre: Teen romance/drama

Director and writer: Ken Karus

Music: G V Prakash Kumar

Cinematographer: Viki

Producers: C Ram, Sulochana Kumar and Karuppaih

Running time: 2 hours plus

The adolescence phase is a special part of most people’s lives. Numerous stories depicting teenage have been witnessed on big screen. In spite of the many stories on this line the genre always has a fresh appeal. The latest Youth is a mixed kichadi of different slice of life films depicting adolescence. Still the movie works as a nostalgia ride elevated by strong performances.

Youth follows the journey of a wastrel Praveen (Ken Karunas). Praveen is a brat creating trouble in classroom with major focus on having a girlfriend. The mother Sarojini (Devadarshini) though has different ideas; she wants her to son to pursue IAS. Suraj Venjaramoodu is the father and the owner of a bakery. The father and son have a strained relationship. In the process of finding love Praveen falls for three different girls at various points. The third one turns out to be the more serious one. Anishma Anilkumar plays Gaganvalli a focused student with aspirations. The viewers are given the impression of Gaganvalli also loving Praveen, but things turn out to be different. This is the story in brief.

A strong aspect of Youth is the relatable characterization of Praveen coupled with Ken Karuna’s competent performance. There is a certain rakishness to Praveen, and he often comes across as unlikeable. However, there is a solid inner journey from mid second half. Ken Karus nails this in both direction and acting.

Ken Karunas also deserves appreciation for the impactful characterization of parents. The understated romance between Suraj Venjaramoodu and Devadarshini gives Youth some of its best moments. Both the actors get some solid emotional scenes and they are first rate. Suraj Venjaramoodu though makes a bigger impact. Towards the end there is a very poignant moment with the father opening up about his past and getting emotionally vulnerable. Suraj Venjaramoodu absolutely nails this portion. At the same time, he is also impactful in the scenes of anger with the son and showcasing love and affection towards the wife.

The love tracks have its share of enjoyable moments and the pre interval block is absolutely solid. Among the girls Anishma Anilkumar has the most fleshed out one. She plays a strong teenager with clarity on future. Anishma Anilkumar does well in bringing out the feistiness especially in the dramatic scenes but is somewhat let down by the characterization. There is a scene where Gangavalli puts a condition for accepting hero’s love.

The hero passes this test with flying colors and Gangavalli is about to express her love. But Praveen stops her by saying would she have said I love you even if he failed. Praveen compares her love of expectations to his parents. This leaves a bitter after taste in spite of some extremely fine acting. The actors playing Praveen’s friends are competent in their respective parts.

GV Prakash Kumar’s music is of a good order with the right mix of funky and emotional numbers. The tunes especially in the second half elevate the hero’s coming of age.

Final word: Youth is a relatable slice of life movie. Worth watching particularly for those who like breezy cinema with emotional undercurrents.

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Taskaree (The smugglers web): A layered cat and mouse game with moral ambiguities

Directors Neeraj Pandey and Raghav M Jairath shed light on the unexplored lives of custom officers. What majorly works for the show are the grey areas and the nuanced manner in which the characters have been written. Emraan Hashmi in his 2-point O Version blends in wonderfully coming up with a restrained but impactful act. The women characters also have substance

Starcast: Emraan Hashmi, Nandish Sandhu, Anurag Sinha, Amruta Khanvilkar, Zoya Afroz, Sharad Kelkar and others

Genre: Crime thriller

Creator, director and writer: Neeraj Pandey

Additional writer: Vipul K. Rawal

Cinematography: Sudheer Palsane and Arvind Singh

Music: Advait Nemlekar

Producer: Shital Bhatia

Production Company: Friday Storytellers

No of episodes: 7

Streaming site: Netflix

Stories about men and women officers have been explored umpteen times. However, Taskaree (The smugglers web) is a different beast from the narratives we have experienced previously whether it’s on big screen or OTT. A big reason for the freshness is the airport backdrop becoming a major character in itself. After watching Taskaree, the viewers are sure about to ponder about the happenings behind the baggage belts.

Taskaree in brief focuses on the fight of Emraan Hashmi’s Arjun Meena and co against international smuggling rackets. The setting is Mumbai International Airport a place mostly associated with fan selfies etc. But here we see a completely different side. Sharad Kelkar plays the primary antagonist Bada Choudhary, however Bada Choudhary is not the only villain here. He is aided by a few more especially a person from the custom office.

For most part of Taskaree viewers are kept in suspense about the identity of informers as well as the ones working for Bada Choudhary. This is a major strength of this seven-episode saga. The show also benefits immensely from a non-fussy approach regarding the crime operations.

There is nothing flashy or heavily dramatic about the smuggling of goods. Routine baggage checks with bribed officials among other things give a sense of realism. The web series also does a fine job in not caricaturing people. The struggles of custom officers in dealing with family responsibilities, career stagnation etc lends a moral ambiguity.

The web series also gives an insight into how criminals are not always born out of a twisted mind. Sometimes it becomes a matter of survival where is no other resort. The perfect example of this is the angle of officials taking bribes.

As already mentioned the women characters have been written with substance. Whether it’s Amrita Khanvilkar as a single mother or Zoya Afroz as an airhostess turned informer. Both the actresses get solid parts, and they do a good job in portraying the different nuances.

Nandish Sandhu as Arjun’s confidante is solid too. He particularly shines in the emotional scenes. Anurag Sinha as the head of Arjun Meena has a character with different shades. Not much can be revealed since it will be spoilers, but the actor does a very fine job especially in a crucial reveal.

Emraan Hashmi has always been a proficient actor often undermined due to his serial kisser image. But as last year’s Haq showed the actor is having a resurgence with impactful roles. Taskaree is a solid addition to this. There is a controlled intensity to Arjun Meena and Emraan portrays that brilliantly. Sharad Kelkar as Bada Choudhary is understated yet very effective in bringing out the menace.

But the conclusion to the cat and mouse comes across as somewhat hurried. It could have done with more intensity. Similarly, a few passages could have been trimmed too. The rest of the cast are in fine form as well especially Jammel Khan in a twisted role.

Final word: Taskaree is a well-made crime thriller with a new concept. Definitely worth binge watching.

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Aspirants 3: A gripping tale of ideological clash

Unlike the last season which made a mess of the pertinent social issues. This one does a far superior job in tackling the themes of linguistic and cultural divide, political pressures, ethical dilemmas etc. The series also tackles the strained interpersonal dynamics with the character of DM Abhilash Sharma coming across as more of a grey shaded character.

Starcast: Naveen Kasturia, Jatin Goswami, Shivankit Singh Parihar, Abhilash Thapliyal, Sunny Hinduja, Tengam Celine and Namita Dubey

Genre: Drama

Director and writer: Deepesh Sumitra Jagdish

Additional writers: Anurag Goswami, Anurag Ramesh Shukla etc

Music: Sangeet Haldipur and Siddharth Haldipur

Cinematography: Sreechith Vijayan Damodar

Producer: Shreyansh Pandey and Arunabh Kumar

Production Company: The Viral Fever (TVF)

No of episodes: 5

Streaming site: Amazon Prime

The production house of TVF has created a strong identity with its heartland stories whether its Panchayat or Kota Factory among others. There is a relatability factor to the characters. The web series Aspirants is no different. The first season of Aspirants focused on the struggles of UPSC students in cracking the exams. At the center of the story are the characters played by Naveen Kasturia, Shivankit Singh Parihar and Abhilash Thapliyal. Season two on the other hand focused on the rise of Naveen Kasturia’s DM Abhilash Sharma and the trickly balance of professional career with personal relationships. On the side there was also the subplot of protesting villagers. This was dealt in an extremely haphazard manner making them come across as semi villains. However, the series wasn’t a complete washout with some well written tracks especially Abhilash journey as a district magistrate.

Like season 2 season 3 also juggles between different timelines. One of them is Abhilash facing an enquiry on showing favoritism to his friend Guri (Shivankit Singh Parihar). The complaint was filed by Sunny Hinduja’s Sandeep Baya. Sandeep was once upon a senior to Abhilash and co. Now he is the Assistant labor commissioner. However, the heart of season 3 is the rivalry between Naveen Kasturia and Jatin Goswami’s Pawan Kumar. Pawan has been a rival of Abhilash since the days of Rajendra Nagar and that has only grown. This is mainly because of their different ideologies in going about their job. Pawan comes from Hindi medium, and this is where the show’s theme of linguistic divide comes in.

A major strength of third season are the scenes involving Naveen and Jatin Goswami. The social angle of both class and language divide has come out in a strong manner. The two have a very different way of handling things leading to an intense rivalry. The arguments between the two on emotional approach versus practical gives the show its best moments. Jatin Goswami nails the insecurities of a student who has risen from Hindi medium and does not want others to suffer like him. The actor especially shines in a crucial dramatic monologue.

Mention must also be made of the changed dynamics between the three friends. This particularly comes out well in the attitude of Abhilash Thapliyal’s SK. There is a brilliant scene where SK pours out his anger on Abhilash being emotionally unavailable when he needed him the most. The anguish is palpable and the actor absolutely nails it. Having said that the viewers get the impression of Abhilash being too easily forgiven.

Nevertheless, how power and position can have a big impact on old friendships has been well explored by Deepesh Sumitra Jagadish. Naveen Kasturia’s role had shades of grey in the second season but in this season that aspect has been fully explored. The moral dilemmas and the fight to maintain position has been well portrayed by Naveen Kasturia. As the third friend Shivankit Singh Parihar also lends solid support.

The harsh realities of administration with corruption allegations and ethical compromises is another key aspect of 3. Both the director and the writers have done complete justice to it. Mention must also be made of the love story between Abhilash and Tengam Celine’s Deepa. The role of Deepa has been etched much better here as a vulnerable past aspirant and now confident IPS officer. Tengam does complete justice to her role. The lovey Dovey scenes like the one in the hospital shows a different facet of Abhilash bringing a smile to the viewer’s face.

Among the rest Sunny Hinduja in spite of a brief role makes his presence amply felt. He particularly shines in an important conversation with Naveen Kasturia. Coming to music Lamhe Lamhe makes for a soulful tune elevating the emotional core.

Final word: Aspirants season 3 is a solid comeback for TVF after the middling season of Panchayat four and Aspirants 2.

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Ustaad Bhagat Singh: Second half saves the day

The reunion of Harish Shankar with Pawan Kalyan doesn’t have the entertainment value of Gabbar Singh. Nevertheless, the post interval portions save the film from being a sinking ship. The social issues dealt with are not new but at least there is a coherence with enjoyable fan moments. Sree Leela appears in mid second half delivering her best act in recent times. Pawan Kalyan plays to the gallery for a substantial part at the same time there are some solid moments of acting too.

Starcast: Pawan Kalyan, Partiban, K S Ravi Kumar, Sree Leela, Rashi Khanna and others

Genre: Action/drama

Direction and story: Harish Shankar

Screenplay: Dasardh and Ramesh Reddy

Music: Devi Sri Prasad

Cinematography: Ayananka Bose

Producers: Naveen Yerneni and Yalamanchili Ravi Shankar

Production Company: Mythri Movie Makers

Running time: 2 hours and 34 minutes

There has been a certain apprehension about Ustaad Bhagat Singh being a remake of Vijay Thalapathy’s Theri. A big reason for the fear is the director’s last Mr Bachchan based on the first Raid, an absolute mockery. The good news is that Ustaad Baghat Singh is an original story even though the beats harp back to numerous other cop dramas. The film tries to be a mix of fan appeasement with Pawan Kalyan’s political ideology. And the result is a mixed bag especially the first half.

Ustaad Bhagat Singh begins with the childhood story of how Pawan Kalyan’s character grows up in an orphanage. How his thought process is influenced by books especially the one on revolutionary Bhagat Singh. Filmmaker and actor KV Ravikumar plays a father figure, and he is the one who names the younger version of the protagonist Ustaad Bhagat Singh. KV Ravikumar’s character soon enters politics but before leaving the village he takes a promise from Bhagat. Bhagat soon grows to be a daredevil cop but this daredevilness comes with a cost. And this is connected to a cunning politician Chandala Maari Nalla Nagappa (a suitably evil Partiban). How the paths of Bhagat and Nagappa cross along with the protagonists fight against different social evils forms the core of UBS. In between the masala there is Sree Leela’s radio jockey Leela.

It goes without saying UBS is largely dependent on Pawan Kalyan’s screen presence and his overall star power. To Pawan Kalyan’s credit the actor delivers a competent act playing to the gallery when required as well as the few emotional scenes. A special mention must be of the scene in a hospital involving a sexual assault victim. The scene does not have much novelty per say but Pawan Kalyan’s understated but thoroughly effective act elevates the moment. Similarly, there is another sequence when an attack happens and a person close to Bhagat dies. The aggression mixed with the moist eyes is also well done.

The movie in particular picks up pace in the second half. The love story mixed with Pawan Kalyan’s face off moments have a good dose of masala. Sree Leela as the hyperactive radio jockey makes Leela’s bubbly nature work. At the same time there are a couple of emotional too like a breakdown when the friend is found assaulted and the actress does an effective job. Also, the shock mixed with happens when Bhagat proposes is very nicely done.

The use of the soulful duet ‘Nee Manesa’ from Tholi Prema with Leela bestowed by Bhagat Singh is nostalgia done right. Partibaran as already said is suitably evil especially in the scene where he challenges Bhagat when the latter is down and out. KV Ravikumar as the father figure lends in a certain warmth in the interactions with Pawan Kalyan.

A mention must also be made of some masala dialogues. A couple of them are as follows ‘Gandhi Garu Ante Gauravam. Bhagat Singh Ante Pranam’. ‘Aasthulu andaru pogesukuntarandi. Aasirvadalu matram kondare pogesukuntaru’.

A major problem with UBS is the uneven first half. Rashi Khanna’s Sloka does not bring any value and her interactions with Pawan Kalyan are in no way entertaining. Satyam Rajesh as the supposed psychiatrist comes across as more of a caricature than a professional. The entire angle of the so-called depression Sloka is going through is a perfect example of lazy writing.

An elongated gag involving Bhagat’s dancing skills also overstays its welcome. It does not add anything substantial to the story. In fact, the comedy of the first half involving Satyam Rajesh and also Prabhas Srinu as a sidekick of Bhagat produces more groans than laughs. There is also an unnecessary homosexual detour.

While the second half is definitely better the social issues handled have been seen in umpteen better masala films. The terrorism angle in particular with Pawan Kalyan’s dialogues has a major Hindutva hangover. The character of the terrorist head and his punchline leads to unintentional humor rather than the viewers hating him. A couple of so-called twists have a repetitive nature as well.

The music of Devi Sri Prasad is nowhere close to the previous collaborations with Pawan Kalyan. Having said that Dekhlenge Saala makes an impression thanks to the tune and Pawan Kalyan’s nimble dance steps. Thaman S background score is in tune with the celebration of Pawan Kalyan.

Final word: UBS is passable entertainment for diehard fans provided one can overlook the clumsy first half.

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Dhurandhar 2 (The Revenge): Aditya Dhar’s Hindutva version of Gangs of Wasseypur

There is no denying Aditya Dhar’s technical prowess and his ability in staging a scene. However, it’s high time that the young director steps out of government mouthpiece image. Ranveer Singh as Jaskirat/Hamza Ali Makari gets a more of an author backed role here and the actor chews the scenery perfectly oscillating between understatedness and emotionally charged. Rakesh Bedi continues to entertain as the conniving politician with a solid twist towards the end

Starcast: Ranveer Singh, Rakesh Bedi, Arjun Rampal, Sanjay Dutt, Danish Pandor and others

Direction, story and production: Aditya Dhar

Additional screenplay: Ojas Gautam and Shivkumar V Panicker

Music: Shaswat Sachdev

Cinematography: Vikas Nokawala

Producers: Aditya Dhar, Jyoti Deshpande and Lokesh Dhar

Production Companies: Jio Studios and B62 Studios

Running time: 3 hours and 53 minutes

There are two major reasons for the mega success of Dhurandhar movies. One is the YRF spy template with increasing focus on style with the same aesthetics. This has led to a lag after an impressive start with EK Tha Tiger, Tiger Zinda Hai etc. The other big reason for Dhurandhar’s blockbuster success is the gritty texture. The spy here takes his own sweet to roar. The first part of Dhurandhar in spite of the polarizing views became a monstrous hit especially Akshaye Khanna as Rehman Dakiat. Dhurandhar (the revenge) comes with massive expectations and is most likely to go the way of its predecessor splitting up the viewers on Aditya Dhar’s craft versus the political propaganda.

For those who haven’t seen Dhurandhar one the plot focused on Ranveer Singh’s Hamza infiltrating into the gang of Rehman Dakiat on the orders of R Madhavan’s Arjun Sanyal. The first one hinted at a backstory of how Jaskrit turned into Hamza. The second part is both a continuation and a prequel. The viewers see Jaskrit transforming from a young man with big dreams to his life turning upside down. In the present timeline the journey of a spy continues with him taking down the nation’s enemies one by one in a methodical manner. There is also the reveal of Bade Saab with a Dawood Ibrahim inspired character, but the biggest twist comes in the pre climax with Rakesh Bedi. The details of which are better enjoyed on the screen.

A strong aspect of Dhurandhar (The Revenge) is the effective world building. Much like the first part there is a lived in a feel to the proceedings whether it’s the Baluchistan politics or the internal strife especially the rivalry of gangs. In one way the film can be easily termed as Aditya Dhar’s Gangs of Wasseypur. The sprawling world of Lyari is a good example of this.

Shaswat Sachdev’s music and the background score also uplifts many scenes. The Aari Aari song continues to be a pulsating number, the placement of this signifying the transformation of Jaskirat is extremely well done. Another number worth mentioning here is Jaan Se Guzarte Hain. The background score is another winner for the movie, especially in the portions of tension and Ranveer turning into a ferocious beast.

Vikas Nokawala’s cinematography is of an excellent order too. He captures the rugged atmospherics of Lyari in a first-rate manner. His work in the hardcore action sequences also deserves a mention. A special mention must be made of the brutal showdown involving Ranveer and Arjun Rampal.

Talking about the villains the presence of Akshaye Khanna is definitely missed. There was a magnetic charm in the way Rehman Dakiat was written and performed. Arjun Rampal’s major Iqbal lacks that nevertheless the actor makes for a formidable antagonist especially in the scenes of Hamza’s real identity coming out. Aditya Dhar also gives a slight backstory into why Iqbal hates India and this gives a good psychological insight.

Sanjay Dutt as the semi villain is entertaining with his one liners like the humorous interaction with Rakesh Bedi amidst a shoot-out. He plays the grey shaded cop in a charismatic manner. However, Rakesh Bedi continues to be the strongest pillar. Much like the first part his character switches shades like a chameleon and the actor nails it. At the same time there is a surprising emotional touch in the pre climax conversation with Ranveer showcasing a different facet.

Ranveer Singh in the titular role gets more of a wholesome arc unlike the first one. The actor throws himself deeply coming up with a first-rate performance. The performance has the right mixture of emotional vulnerability and ferociousness. At the same time, he also plays the part with the required understatedness. Ranveer especially stands out in a post interval stretch when the cover is almost blown. R Madhavan also gets more screen time in comparison to the first one and the actor makes his presence amply felt as the strategist. Among the rest Danish Pandor as Rehman Dakiat’s younger brother starts off promisingly but is soon relegated to the background.

Blatant glorification of ruling party:

A major problem with Dhurandar (The revenge) is the extremely blatant glorification of the ruling party. Narendra Modi twice makes an appearance and there is an extended subplot of praising demonetization. His dialogues talk about how the entire operation created a big dent for terrorists and this is stretching enmity too far. The first part had its share of open propaganda, but this one makes the movie look like a film funded by BJP whether it is the demonetization angle or the slogans of Bharat Mata ki Jai. The surgical strikes also find a mention.

The women characters are also patchily written. Sara Arjun as the wife is relegated to the background for most part. Apart from being tensed in the post interval portions there is nothing more. There is a crucial emotional sequence with the character going through a heartbreak but as viewers you don’t feel anything because the romantic relationship was hardly developed in the first place. Even the powerhouse Yami Gautam is wasted in a cameo adding zero substance.

The violence is also more grating than the 2025 movie. Its more violence for the sake of effect than anything else in spite of Ranveer putting his heart and soul.

The Pakistani characters too are more of barbarians than fleshed out human beings. There is an attempt at nuance when Jaskirat talks about how Pakistan is equally suffering due to terrorism and that his war is not against the common man. But this feels like more of lip service than something concrete.

Final word: Dhurandar 2 (The Revenge) is best enjoyed for fans of patriotic action dramas or if you are a huge admirer of Ranveer Singh.