Category: Movie Reviews

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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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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.

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The Bride: Feminism wrapped in a gothic romance

Maggie Gyllenhaal’s The Bride is a touching story of two outsiders finding companionship with each other. The movie also examines the monster within us with sharp social commentary; this comes out well in the scenes of monsters having more humanity than human beings

Starcast: Jessie Buckley, Christian Bale and others

Genre: Horror/romance

Director, writer and producer: Maggie Gyllenhaal

Based on: Frankenstein; or the Modern Prometheus by Mary Shelly

Additional producers: Talia Kleinhendler, Osnat Handelsman- Keren etc

Cinematographer: Lawerence Sher

Production Companies: First Love Films and In the Current Company

Running time: 2 hours and 6 minutes

The character Frank created by Mary Shelly has influenced numerous filmmakers with a range of stories. This includes something as recent as the 2025 one. The different shades of this creature coupled with a deep desire for love makes it a fascinating personality. The 2025 movie for example looked at the monster’s deep desire for human connection and the suffering he faces due to the physical appearance. On the other hand, creator Viktor Frankenstein is portrayed a flawed master. The latest movie influenced by Mary Shelly’s work upgrades this with socially relevant themes.

Frankenstein 2025

The story of The Bride is set in the 1930’s. In simple terms the plot focuses on Dr Euphonious radical social experiment she brings back to life a dead woman. The purpose is to find a companion for Christian Bale’s Frank. However, this leads to a huge catastrophe beyond the imagination of Dr Euphonious.

A strong aspect of The Bride is the juggling of different social themes. Yes, the storytelling at times gets into an incoherent zone. Still the treatment makes an impact for a large part. Among the themes mention must be particularly made of comparisons between the monsters and so-called normal people.

The actions of some men towards Jessie Buckley’s Ida are a solid example of this. In comparison Frank comes across as a more empathetic human. How true monsters often turn out to be humans has come out in an impactful manner.

Mention must also be made of the female agency. The transformation of Ida from a constructed object to an independent and volatile being has a good feminist touch. The film highlights the need for women to be a whole in themselves and their identity not being tied to someone’s else’s name.

The female rage is very visible in Jessie Buckley’s fiery monologues. References to important social movements has been smartly integrated as well. The performances of the two central players is exemplary to say the least.

As the monster/creature craving for companionship Christian Bale is top notch. Of course, the film belongs to Jessie Buckley in a double role, but Christian Bale makes his presence amply felt with a strong act. Jessie Buckley gets the fiery spirit bang on convincingly portraying the transformation. Apart from Ida she is also seen as author Mary Shelly and here too she gives a strong act. The feminist monologues in particular are a delight.

Among the rest a specific mention must be made of Peter Sarsgaard and Penelope Cruz. Peter Sarsgaard’s police/ detective has a past connection with ida and this gives a good emotional touch. A crucial reveal with Peter Sarsgaard letting his guard down has been solidly written and enacted. Penelope Cruz as the assistant also makes her presence amply felt. Her character comes with the ambition of moving up the ranks. In this subplot too the feminist touch is visible.

The cinematography of Lawerence Sher is of a very high order especially in the scenes of Jessie Buckley’s double act. The production design adds to an immersive experience creating a lived-in gothic world.

Final word: The Bride is a solid watch for the sheer audacity of Maggie Gyllenhaal coupled with some excellent acting

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Mrityunjay: A focused crime thriller/drama

Some of the early portions could have done with a tighter edit. But the film gets into top gear when the cat and mouse game begins. It also helps that director and writer Hussain Sha Kiran creates a formidable antagonist who cannot be easily defeated. The absence of romance and songs also makes the film tight.

Starcast: Sree Vishnu, Veer Aaryan, Reba Monica, Baby Uha, Sudharshan and others

Genre: Thriller/drama

Writer and director: Hussain Sha Kiran

Producers: Sandeep Gunnam and Vinay Chilakapati

Cinematography: Vidya Sagar Chinta

Music: Kaala Bhairava

Running time: 2 hours

Production companies: Light Box Media and Picture-Perfect Entertainment

Sree Vishnu’s latest Mrityunjay bears a striking resemblance to Trivikram Srinivas’s Julayi. Much like that movie here too the hero and villain trying to outsmart each other plays a crucial role. For a film of this nature, it’s necessary that the viewers feel the tension on how the antagonist will be defeated. Hussain Sha Kiran aces this aspect with powerful mind games. Yes, the writing needed to be tighter in some places but there is no denying that Mrityunjay grips the viewers. After a series of lighthearted films Sree Vishnu showcases a refreshingly different facet of him this is something which I will get to later.

The early portions of Mrityunjay establishes the work of Sree Vishnu’s Jay. Jay’s job is securing obituary ads for a newspaper however his ambition is something else. But this is not happening due to some reasons. However, things take a dramatic turn when Jay notices something unusual on his routine of getting an obituary ad. How this leads to a clash with the mysterious killer (a formidable Veer Aaryan) forms the core of Mrityunjay.

A strong aspect of the movie are the characterizations of both Sree Vishnu and Veer Aaryan. Sree Vishnu in particular surprises the viewers with a solid act. He portrays the vulnerability and determination of Jay in an excellent manner. A good example of Jay being vulnerable is the scene where everything appears lost. A sense of frustration is palpable when Sree Vishnu says that he is fighting a villain who operates from the shadows and is not visible. There is also a good emotional thread connected to Baby Usha. Jay’s reason for getting into an investigative mode is majorly connected to this. Sree Vishu aces this part as well. Overall, it’s refreshing to see the actor explore a different side of him.

Veer Aaryan does not have many dialogues, but he brings in an understated villainy. He plays the role with the right amount of menace and a mysterious air. The actor especially shines in the climatic portion.

Reba Monica as the police officer also makes her presence felt. She pulls off the no nonsense nature well, also she looks stylish in a mini action sequence firing gun. Having said that her character could have been a more active participant. Among the rest Sudharshan as one of Jay’s friends plays his part with practiced ease.

Kaala Bhairava’s background score also adds to the thrills. The BGM is especially striking in the tense sequences like the portion involving a market yard. The cinematography of Vidya Sagar Chinta is first rate too. His finesse is very visible in the interval and climax. The eerie atmospherics in these sequences enhance the proceedings.

Coming to the flaws the writing could have been more logical given the genre of Mrityunjay. The way Jay finds out clues on some occasions comes across as too implausible. Also, the police characters become more of bystanders depending wholly on Jay.

Final word: Mrityunjay is a good watch for fans of crime thrillers in spite of some implausibility’s.

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Assi: A heavy-handed social drama

Director Anubhav Sinha’s latest crusade has the right intentions. The society’s attitude towards sexual assault victims coupled with corruption in legal systems. The first half moves along smoothly but the second half is bloated with the angle of vigilante justice. Also, the track of opposition lawyer feels like a recycled version of Pink. Strong performances led by Kani Kusruti keeps the movie afloat

Starcast: Kani Kusruti, Taapsee Pannu, Mohammed Zeeshan Ayub, Kumud Mishra and others

Genre: Drama

Director, writer and producer: Anubhav Sinha

Additional writer: Gaurav Solanki

Additional Producers: Bhushan Kumar and Krishna Kumar

Production Companies: Beneras Media Works and T Series Films

Cinematography: Ewan Mulligan

Running time: 2 hours and 14 minutes

Anubhav Sinha’s filmography from romance, action and now social dramas has an interesting trajectory. Right since 2018’s Mulk Anubhav Sinha has consistently chosen hard hitting subjects. Both Mulk and Article 15 were solid films, but a certain jadedness has crept into the director’s recent work barring the web show IC 814: The Kandahar Hijack. Assi is another example of how Anubhav Sinha needs to reinvent his social drama format.

The storyline of Assi mainly focuses on the sexual assault of Kani Kusruti’s Parima. This happens when she is coming back from a school celebration. Taapsee Pannu plays advocate Raavi. She stands up for Parima in spite of a long ordeal fighting desperately to give justice. However, the road ahead is very difficult given the loopholes of legal system. This is the story in brief.

A strong aspect of Assi is definitely the actors. Kani Kusruti as the rape survivor particularly stands out: Parima’s gradual recovery both physical and mental has been well portrayed by the actor. There is a strong fighting spirit in spite of everything and Kani Kusruti brings that out well. She particularly shines in a courtroom scene when giving it back to the opposition lawyer. Mohammed Zeeshan Ayub as the supportive husband plays with his part with understated strength. The way he stands with her more through actions than words is a delight to watch.

Taapsee Pannu brings out Raav ‘s anguish well but is somewhat let down by the melodramatic dialogues. This holds especially true of the pre climax stretch. Kumud Mishra as Karthik plays a character dealing with his own trauma. Not much can be revealed about his track, but the senior actor does a good job in portraying Karthik’s inner turmoil. His conversations with Naseerudin Shah has some hard-hitting dialogues.

Revathy as the judge lends dignity. Her expressions of exasperation in particular has understated moments of humor. A special mention must also be made of Manoj Pahwa. He plays the father to one of the boys. His son doesn’t assault Parima but he is also responsible for the rape as he doesn’t actively do anything to stop his friend. As a guilt-ridden father fighting for his son Manoj Pahwa does an excellent job in pulling off the dual shades.

A major problem Aasi is the second half especially the track of vigilantism. The frenzy of social media in supporting a vigilante by the name of Umbrella Man has moments of relevance but the overall integration is very clumsy. It doesn’t add much to the narrative since the case is won through the legal system even though the process is lengthy.

Some scenes also border on too much of melodrama, and this holds true of Taapsee’s speech. It comes across as a more of a moral sermon on the lines of self-defeating rather than packing a punch. The inclusion of school children in this sequence also comes across as insensitive. The role of Satyajit Sharma as the opposition lawyer doesn’t help the matters either. His line of questioning feels like a rehash of Piyush Mishra from Pink. Finally, the statistics of rape on numerous occasions feels more of a shock value than adding something cohesive.

Final word: Assi is a perfect example of how noble intentions alone cannot make for a compelling movie.

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Hey Balwanth: A whacky entertainer with a unique plot point

Debut director Gopi Atchara handles a tricky subject with finesse especially the backstories of the women. The second half slips into a Srinu Vaitla zone but the film recovers ground with a good emotional pay off. The perspective change of both Suhas and Shivani towards their respective parents forms the spine of the story

Starcast: Suhas, Shivani Nagaram, VK Naresh, Sudharshan, Vennela Kishore, Sravanti and others

Genre: Comedy/drama

Writer and director: Gopi Atchara

Story: Shankuma Prasanth

Producer: B Narendra Reddy

Production house: Trishul Visionary Studios

Music: Vivek Sagar

Cinematography: Mahi Reddy Pandagula

Running time: 2 hours and 14 minutes

Hey Balwanth previously titled Hey Bhagwan has created a strong curiosity with its business angle. The suspense has been well maintained right through its promotional material. Thankfully the movie doesn’t take long to unravel the suspense.

Without giving spoilers its related to customer satisfaction. Most of the comedy and drama is structured around Suhas’s Krishna wanting to take over his father Balwant’s business (VK Naresh in another solid act). But Krishna isn’t aware of what his father actually does. Sudharshan is Krishna’s buddy. Shivani Nagaram plays Mithra. A career woman running an NGO. Suhas joins there as a business consultant. Soon love strikes. But things take a dramatic turn with the real nature of Balwant’s business coming out. Krishna hides the matter for a while but is eventually forced to reveal the truth. Mithra is visibly hurt yet decides to give Krishna a second chance. However, the complications don’t end there as Mithra gets a shock of her life too connected to her grandfather. There is a scene early on where she talks about following in her grandfather’s footsteps and the interval bang with Mithra facing a major shock sets the base for the second half. Nothing more can be revealed given the various developments.

A strong aspect of Hey Balwanth is the balancing of comedy and drama. Sudharshan punch lines in particular deliver ample laughs even though some of them border on double meaning. His banter with both Suhas and Shivani has come out well. A special mention must be of the sequences in the lodge. It’s a perfect mixture of situational humor mixed with tension. Suhas too raises ample chuckles in the portions of the truth coming out. There is a hilarious bit when Mithra confesses her love to Krishna while he is in a dumbstruck state. The actor’s expressions are a delight to watch. In the emotional scenes too Suhas does a wonderful job whether it’s being ashamed of his father’s business or in the eventual realization on why his father does it.

Shivani Nagaram has perfected the act of a strong woman in the girl next door roles and Hey Balwanth is no exception. Mithra is someone who takes pride in belonging to an orthodox family, this of course gets shattered in the interval and the feelings of shock mixed with tension has been well portrayed by the actor. Her repeated talks about belonging to ‘Maadi Chala orthodox family’ generates chuckles. Like Krishna, Mithra has her own track of self-realization. This has come out well in the scene where she compares her father (Harshavardhan) to Balwant on how the latter has given life to many women unlike her scheming father politician. The different shades of Mithra has been well portrayed by Shivani.

Vennela Kishore as the son of a goon gets a role that has comedy with some impactful dialogues. His track with anchor Sravanti especially has good depth in the scenes where he talks about falling in love with her. The happy union between the two with an important back story elevates Hey Balwanth beyond the comedy of errors.

Sravanti as one of the women in Balwanth’s business gets some impactful scenes as well. A particular mention must be made of the portion where she talks about the past. Veteran actress Annapoorna as the grandmother plays her role with lots of warmth and also a good comic touch.

However, VK Naresh is the main pillar of Hey Balwanth. The senior actor has minimal presence in the first half but in post interval portions his role has more prominence. VK Naresh does a very fine job in the emotional sequences and more importantly he lends dignity as a father figure to the numerous women. Heartfelt conversations between Naresh and Suhas in the pre climax and the climax has been solidly written and enacted. Naresh also gets some fun mass moments. The spoof on Nandamuri Balakrishna is especially hilarious.

The music of Vivek Sagar is more situational, but Kallonu Neeve makes for a soothing listen and watch perfectly capturing the blossoming romance between Suhas and Shivani. The background score adds to the situational humor especially in the lodge sequence.

The cinematography of Mahi Reddy Pandagula gives the film a vibrant look. Coming to the flaws the second half has moments of stagnation with Srinu Vaitla brand of comedy but thankfully the proceedings pick up pace.

Final word: On the whole it is a perfect watch for those wanting a wholesome package with a progressive angle.

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Tu Yaa Main: A gritty survival thriller and a solid relationship drama

Director Bejoy Nambiar strikes a good balance between scares and emotions. Shanaya Kapoor as the rich influencer is the surprise package here. She brings in both emotional vulnerability as well as solid inner strength. Her character Avani is the one who saves the day for herself, and also the male protagonist played by an excellent Adarsh Gourav

Starcast: Adarsh Gourav, Shanaya Kapoor etc

Genre: Thriller/drama

Direction: Bejoy Nambiar

Writer: Abhishek Bandekar

Story: Himanshu Sharma

Based on: The Pool (Thai Movie)

Cinematography: Remy Dalal

Music: Aditya N

Producers: Aanand L Rai, Himanshu Sharma etc

Production Company: Color Yellow Productions and Bhanusali Studios limited

Running time: 2 hours and 30 minutes

Bejoy Nambiar’s Tu Yaa Main is a mix of different themes. On one level the movie examines the world of content influencers and a certain need for validation. At the same time the film also looks at the topics of trust and responsibility in love. How the principal characters stick together as a team getting out of a life-threatening situation is the perfect example of this. The different social backgrounds in this case rich and poor is also a key part especially with Adarsh Gaurav’s character who wants to climb up the social ladder. Last but not the least the movie also briefly addresses animals being displaced from their natural environment and how this can lead to violent consequences. All this a heady cocktail but Bejoy Nambiar does a good job for most part.

In brief the storyline of Tu Yaa Main focuses on the paths of Adarsh Gourav’s Maruti Kadam and Shanaya Kapoor’s Avani Shah interconnecting. Avani finds Maruti Kadam’s ruffian like nature interesting in spite of the vastly different social backgrounds. The two soon fall in love much to the displeasure of Avani’s family. Things take a dramatic turn with Avani becoming pregnant and Maruti developing cold feet. Cracks start appearing as Avani is thinking of keeping the baby which Maruti doesn’t approve. While on the way to Goa the bike of Maruti faces problems. With the help of a kind inspector, they reach a hotel late in night. Without giving much away the film soon descends into a horror story with a killer crocodile and two young people put to extreme test. The only way to get out of the mess is working together as one unit. How the two eventually come out alive with the relationship becoming stronger than before forms the main premise of Tu Yaa Main.

A major strength of Tu Yaa Main is how Bejoy Nambiar and Abhishek Bandekar built the worlds of Avani and Maruti. The huge contrast in the terms of the social dynamics and also the aspirations of Maruti has come out in an excellent manner. The love story plays out in an interesting manner too with the gradual evolution. A key emotional sequence with Avani talking about her parents’ death connected to an accident in water is solidly written and enacted. This scene holds an important connection in the pre climax where one of Maruti’s legs is stuck with a crocodile following them. Avani’s desperation is juxtaposed with what happened to her parents. Thankfully here though the situation doesn’t end in a tragedy as Avani is able to free Maruti.

Tu Yaa Main also works because of the atmospherics especially the design of the reptile and the deep pool. The pool with its 20 feet length feels like a scary forest in itself and add to that you have two crocodiles one underground and one above. The cinematography of Remy Dalal especially shines in the second half. The way he captures the dread through the lens is fantastic. The background music by Prateek Rajgopal is chilling too in the scenes of face between the crocodile and the two leads. The production design also has an authentic feel whether its the two worlds of Mumbai or the pool sequences. The use of monsoon drenched Mumbai also plays an important role in amplifying the horrors of pool sequences.

The themes of responsibility and trust in a relationship have also been well explored in the conversations between Adarsh and Shanaya. Shanaya’s Avani in spite of her rich background isn’t presented as a caricature. She comes across as a flesh and blood human being with her vulnerabilities and a firmness on doing what she wants to do. Shanaya delivers a very good act especially in the dramatic moments of the second half. Adarsh Gourav as the ambitious rapper with dreams of better life is solid as well. He gets the attitude of a ruffian type spot on both in terms of body language and dialogue delivery. Yes, there is a Siddhanth Chaturvedi hangover from Gully Boy on a few occasions. But Adarsh does a fantastic job in capturing the angst and a desire to rise above his social status.

The theme of environment, in this case displacement of animals could have been explored a bit more though rather than just reducing it to a conversation between Adarsh and a helpful police officer. On the musical front the remixes work more than the original numbers. Having said that Jee liya featuring the blossoming romance works well.

Final word: Tu Yaa Main is an immersive watch especially for fans of high-stake thrillers