Category: Recent Posts

Posted on

Lust Stories 3: A strong exploration of female desire and physical intimacy

Much like its predecessors Lust Stories 3 also dwells into some so called taboo topics. Among the four segments three stand out. Vishal Baradwaj’s segment in particular deserves a special mention. Starring the real-life couple Siddarth and Aditi Rao Hydari this short explores female orgasm, how it isn’t some indulgence but a need comes across in a strong manner

Starcast: Radhika Apte, Konkana Sen Sharma, Abhishek Benarjee, Vijay Verma, Ali Fazal, Radhika Madan, Gurfateh Pirzada, Sana Thampi, Ali Fazal, Radhika Madan, Rajat Kapoor, Aditi Rao Hydari, Siddarth, Gajaraj Rao and others

Genre: Anthology

Directors: Vikramaditya Motwane, Kiran Rao, Shakun Batra and Vishal Baradwaj

Music directors: Yash Sahai, Ram Sampath, Vishal Baradwaj etc

Cinematographers: Siddarth Dhawan, Shreya Dev Dube and Saurabh Goswami

Producers: Ronnie Screwala, Ashi Dua Sara etc

Production Companies: RSVP and Flying Corn Entertainment

Running time: 2 hours and 44 minutes

Streaming site: Netflix

Lust Stories franchise holds a unique place among anthology movies for how they have explored female desire. The anthology has never shied away from exploring sex and sexuality in different ways. For example, in Lust Stories 2 there was R Balki’s made for each other. Through Neena Gupta’s lovable dadi the director looked at the importance of sexual compatibility before marriage. Lust Stories 3 goes even bolder with its depiction of sex from the perspective of females.

Lust Stories 3 begins with Vikramaditya Motwane’s segment. It follows two middle aged couples in Kandivili. Abhishek Benarjee and Vijay Verma play the clueless husbands. Radhika Apte and Konkana Sen Sharma play the wives who are also good friends. The characters of Radhika and Konkana are going through a marriage crisis; they are desperate for excitement especially the latter. This leads to an audacious plan the details of which are better seen on the screen.

A strong aspect of this short is the exploration of the two female protagonists reclaiming their agency. On paper this is a story of emotional crisis, but Vikramaditya Motwane injects some solid humor through the whacky scenarios. There is also the subplot of K dramas influence on the two women, and this has also been well integrated. Beneath the comedy of errors, the director also does a solid job in exploring the feelings of being unseen and undesired.

Both Konkana and Radhika have a ball feeding off each other wonderfully. Their camaraderie is a major highlight, Abhishek Benarjee and Vijay Verma also make their presence amply felt as husbands struggling with emotional distance.

Next up is the one directed by Kiran Rao. This follows the tale of a pizza delivery job (Gurfateh Pirzada in a double role) and a nails artist Lisa (Sana Thampi). Its instant attraction for the two, however the story takes a different turn with the twin’s entry.

This segment takes a while to find its rhythm and is a weak link among the four. Having said that it has its moments especially in Kiran Rao’s exploration of sexual attraction and power dynamics.

Desire as a manipulation weapon with Lisa conning the two brothers saves this segment from being a disaster. Gurfateh Pirzada pulls off the dual role well bringing in the subtle variations in an efficient manner. Sana Thampi also delivers a competent act pulling off the grey areas well.

Shakun Batra’s segment featuring Ali Fazal and Radhika Madan focuses on a soon to be divorced couple. Here Lust becomes an escape route for the estranged couple to vent out unresolved marital issues. The scenes leading to intimacy have an interesting pattern with arguments followed by sex.

Apart from Shakun Batra’s deft handling the acting performances also make it engaging. Both Ali Fazal and Radhika Madan bring alive the emotional messiness without missing a single beat. The frantic sexual energy has also been well portrayed with zero inhibitions. Rajat Kapoor as the therapist decoding their intimacy patterns also gives a good account of himself.

Last but the not least is Vishal Baradwaj’ segment. Among the four this is the most unsubtle but highly effective. The director along with the cast deliver a delightful period story on sexual repression and how a woman puts her sexual fantasies in the form of a prose. Aditi Rao Hydari plays a literature professor and a fan of Manto. She is a big believer in how sexually explicit content can also make for respectable literature.

Siddarth plays the husband/husband. The actor also has a tiny double role as a dream boy of Aditi Rao Hydari. The Hyderabadi Hindi with the specific dialect adds an extra flavor to the segment. Through this segment Vishal Baradwaj dwells into female autonomy and satisfying a woman sexually.

The performances are in complete sync led by a delightful Aditi Rao Hydari. The actress brings mischief, intelligence and sensuality in equal measure. Siddarth has a ball too especially as a desire of lust. Gajaj Rao as the supportive father-in-law makes his presence amply felt too, but the dialogues suffer somewhat on the account of constant paan chewing.

Final word: Lust Stories 3 is a solid addition with a bolder exploration. Definitely worth binging.

Posted on

Daayra: An interesting ideological clash on what makes swift justice popular

Meghana Gulzar bases her story on a well-known incident of extra judicial killing. A gang rape and the controversial police encounter, Prithviraj Sukumaran and Kareena Kapoor’s characters represent two sides of justice. One justifies bending the law in order to serve justice: the other believes in procedural integrity. This clash had the potential to be cracker of a movie, but Meghana doesn’t fully utilize it. Among the two leads Prithviraj walks away with the best moments whether its acting or character wise.

Starcast: Prithviraj Sukumaran, Kareena Kapoor Khan, Jitender Joshi, Kshitee Jog and others

Director and writer: Meghana Gulzar

Additional writers: Sima Aggarwal and Yash Keswani

Music: Amit Trivedi

Cinematography: Saurabh Goswami

Producers: Vineet Jain and Dhaval Gada

Production Companies: Junglee Pictures and Pen Studios

Running time: 2 hours and 23 minutes

There is an extremely popular line in Rajkumar Santhoshi and Sunny Deol’s Damini on the process of our judicial system. It goes like this “Tarik Pe Tarik, Tarik Pe Tarik, Tarikh Par Tarik milti gaya hai, lekin insaaf nahi mila (Date after date, date after date, date after date has been given, but justice has not been received) This monologue of Sunny Deol in many ways represents a common man’s anger on the functioning of our judiciary. Meghana Gulzar’s Daayra uses this as a foundation to explore the popularity of police encounters/extra judicial killings.

As already mentioned Daayra takes its inspiration from a well known police encounter. Prithviraj Sukumaran is ACP Raman Kumar, Raman Kumar and his team kill four men who are charged with a brutal rape and murder. The public hail Raman Kumar and co as heroes. However, things take a turn with the human rights commission complaint. Kareena Kapoor Khan is Ajooni: Ajooni spearheads the team appointed to investigate the encounter. Most of the movie goes back and forth exploring the viewpoints of Raman Kumar and Ajooni. Their different belief systems on the meaning of justice forms the main premise of Daayra.

A strong aspect of Daayra are the different social themes tackled by Meghana. A special mention must be made of the slow legal procedures and an uncooperative bureaucratic system. The scenes of Kishitee Jog as a desperate mother is a perfect example of this.

When she goes to the police station complaining about her missing daughter the inspector takes it casually. He says that she would be with her friends or a boyfriend and will return in the morning. This casually dismissive attitude and the subsequent time wasted becomes an important reason for the girl’s rape and murder.

Daayra also dwells into juvenile law with one of the rapists being a minor. How this can impact a case with references to Nirbaya has some impactful lines. The movie also lays bare the polarizing debates surrounding the legal framework for underage offenders.

The movie also benefits from a first rate Prithviraj Sukumaran. Of course, the film is more skewed towards Raman Kumar’s ideology, still Prithviraj does a fantastic job bringing in a quiet intensity coupled with a striking screen presence. Jitender Joshi playing an important part of Raman Kumar’s team also makes his presence amply felt.

Kshitee Jog as the mother also tugs at the viewers heartstrings. A specific mention must be made of her act involving the daughter’s dead body, thankfully Meghana doesn’t dwell very long here by showcasing the girl’s mutilated body.

A big problem with Daayra is Kareena Kapoor’s Ajooni. The actress is at her competent best portraying Ajooni’s conviction in the legal system well: but the characterization leaves something to be desired. The character and Kareena come across as an extended special appearance rather than an equal presence.

Ajooni lacks the meat of Raman Kumar. This uneven balance becomes a major problem especially the post interval portions. Even the pre climax of Raman and Ajooni discussing their respective ideologies lack a hammer strong impact, again this is due to the inffective writing.

There isn’t much space for music in a film like Daayra; There is only one song Sach Ka Daayra. B Praak’s singing coupled with Amit Trivedi’s composition makes for a soulful number. The lyrics have a solid weight too perfectly in sync with the movie’s theme.

Posted on

Mandaadi: Familiar underdog story but stunning visuals

This action drama delivers some solid thrills. The climactic stretch in particular is a major highlight. The boat racing sequences has been superbly shot with Soori and Suhas giving it their all both physically and emotionally. The core plot is a mixed kichadi of numerous films, still Mandaadi makes for a good theatrical experience

Starcast: Soori, Suhas, Mahima Nambair, Ravindra Vijay, Sathyaraj and others

Direction, screenplay and dialogues: Mathimaran Pugazhendi

Additional dialogues: Ameer Jamal Khan

Additional screenplay: Elred Kumar, R Mohanvasanthan and Thiral Sankar

Music: GV Prakash Kumar

Cinematography: S R Kathir

Producer: Elred Kumar

Production Company: RS Infotainment

Running time: 2 hours and 34 minutes

Stories involve sports follow a certain template of redemption and a grand comeback; the settings do vary but the proceedings unfold in a template manner. Mandaadi isn’t particularly different ticking familiar boxes. Still Mathimaran Pugazhendi packs in enough thrills and drama to make the movie engaging. The second half in particular exploring how Soori and Suhas go from friends to bitter foes and the history associated with catamaran sailboat races packs a solid punch.

Mandaadi story in brief explores the dynamics between Soori’s Muthukaali and Suhaas’s Sattupali. Muthukaali is a former boat racing champion in exile, he has deliberately shut himself away from the sport but certain circumstances lead Muthukaali to make a comeback. What’s the past history between Muthukaali and Sattupali with the former finding redemption forms the main core of Mandaadi.

A story aspect of Mandaadi is the sequences shot on the high seas. Whether it’s the portion of practice match in the initial half, or the big finale with the two teams going all out. The cinematography coupled with VFX is flawless making the viewers feel tensed on how Muthukaali is going to win, given both the turbulent weather and Sattupali’s attack. The fight sequence with the leads battling it out on the boat in itself is worth the prize in itself.

The crucial flashback exploring the growing differences has also been etched in an engaging manner. Sathyaraj’s presence as a former mentor to the two leads and a couple of dramatic sequences between him and Soori also elvates the proceedings.

The love story between Soori and Mahima Nambair playing Sathyaraj’s on-screen daughter has some nice moments. The two actors share a warm chemistry making the viewers wish that they had a happy ending. Mahima stands shoulder to shoulder with Soori in both the lovey Dovey moments and the intense scenes.

The performances all around enhance the film. Soori of course has the biggest arc with ample moments of mass swagger and emotional moments, the former comedian pulls off the different shades in a solid manner. Suhas making his Tamil debut shows once again why he is a chameleon; his rugged appearance coupled with the overall body language is a treat to watch. His act in the climatic stretch in particular deserves a special mention. Ravindra Vijay in an important supporting role is good too, his confrontation scene with Mahima has been well written and enacted.

The life of coastal community and the importance of boat racing there has also been well fleshed out. This aspect elevates the movie beyond a mere sports movie. As already mentioned Mandaadi is a familiar underdog story. The unfolding of the plot for those who has grown up on this genre may feel tiresome. Also, the story takes its own sweet time to find its footing. The film picks up pace with the practice match and the interval portion in specific.

Apart from the solid cinematography GV Prakash’s music and background score is another plus for Mandaadi. GV’s background score enhances the boating sequences in particular.

Posted on

Epic (First Semester): A differently flavored romance

Aditya Hassan’s expansion of 90’s Middle Class Biopic web series comes with its highs and lows. The young director deserves praise for how he has integrated different social topics like menstruation and casteism, he has also drawn excellent performances from both Anand Devarakonda and Vaishnavi. But the film suffers somewhat with its Ott style of storytelling; still Aditya shows that he is a promising new talent

Starcast: Anand Devarakonda, Vaishnavi Chaitanya, Vasuki, Sivaji and others

Genre: Romance

Writer and director: Aditya Hassan

Music: Hesham Abdul Wahab

Cinematography: Azeem Mohammad

Producers: Suryadevara Naga Vamsi and Sai Soujanya

Production houses: Sithara Entertainments and Fortune Four Cinemas

Running time: 2 hours and 30 minutes

In a short span of time Aditya Hassan has created his own niche with both 90’s Middle Class Biopic and his production venture Little Hearts. His observation of middle-class families especially the father characters is quite interesting. Epic (First Semester) takes certain characters from MCB but with a different flavor. In one way a comparison can be made to last week’s Mirzapur (the movie). Epic primarily focuses on Anand Devarakonda’s Aditya and Vaishnavi Chaitanya’s Kadali. Sivaji and Vasuki also feature in small but important roles. Aditya is an aspiring filmmaker with plans of becoming a successful director, however a situation comes where he has to put his passion aside for supporting the family. In UK he meets the free-spirited Kadali, she is a more secure individual with a few psychological scares. How the two get into a live in relationship and the roller coaster journey forms the core of Epic (First Semester)

A strong aspect of Epic (first semester) is the dynamics between the leads. Aditya Hassan does an interesting gender flip with Kadali being the more strong footed, in physical intimacy too she takes the first step. After an act of sex its Aditya who feels emotionally overwhelmed with tears in his eyes. At the same time Kadali has her own deep-rooted scars. Aditya gradually unravels the vulnerability of Kadali underneath the flamboyant nature.

Both Anand and Vaishnavi feed off each other with strong performances. Anand does a fine job in capturing Aditya’s naivety and his inner dilemmas. Vaishnavi too gets into the skin of her role portraying the strong footedness as well as her insecurities very well. A specific mention must be made of Kadali’s breakdown where she opens up about her menstruation problems and the subsequent mood swings.

The director treats this topic with the required sensitivity integrating it seamlessly into the narrative. The film also dwells briefly into the obstacle of caste with Kadali specifically talking about the different social hierarchies they belong to. Aditya Hassan also does a good job in showcasing the emotional turbulence of early adulthood.

The hero’s conflict between professional and personal ambitions and how this impacts both has been well showcased.

Hesham Abdul Wahab’s songs have a good variety. The folk number ‘Sancharamey’ works as a strong foundation number. On the other hand, you have the melodious Priya Sakhi. This portion features some nice lovey Dovey moments.

Azeem Mohammad through his lens does an efficient job in capturing the different moods. One of the major issues with Epic (First Semester) is its Ott style of storytelling especially the cliff hanger, it feels more suited to a web show rather than a movie. The early UK portions also feel contrived with Aditya finding a live in partner with a single song sequence.

Apart from the leads Sivaji and Vasuki also make their presence amply felt. Sivaji in particular makes a solid impact as a father with a seemingly tough exterior. There is a scene of Sivaji going into his son’s empty room and sleeping in his bed. Without any dialogue this portion conveys how Sivaji’s character is missing Aditya. Even the pre climax of the father accepting his son’s filmmaking dreams is done with minimal melodrama, nothing flashy but it works.

Posted on

Mirzapur (movie): A slick upgrade with interesting additions

The film directed by Gurmeet Singh functions as a parallel story to the popular web show. Some of the dead characters Munna and Bablu make a comeback from the grave, the ever-competent Jitender Sharma takes over Vikrant Massey’s slot. Ravi Kishan as one of the new additions makes for a solid villain with a cute romantic side. His swag filled moments gives the movie some of its best moments. However, the spine of Mirzapur is the trio of Divyendu Sharma, Ali Fazal and Pankaj Tripati.

Starcast: Divyendu Sharma, Ali Fazal, Pankaj Tripati, Jitender Sharma, Ravi Kishan, Khulbushan Karbanda, Rasika Duggal, Sonal Chauhan and others

Director: Gurmeet Singh

Genre: Crime

Story: Puneet Krishan

Music: John Strewart Eduri

Cinematography: Sanjay Kapoor

Producers: Ritesh Sidwani and Farhan Akhtar

Production Companies: Excel Entertainment and Amazon MGM Studios

Running time: 3 hours and 17 minutes

The three seasons of Mirzapur has a strong fan following, the characters of Divyendu, Ali Fazal and Pankaj Tripati in particular have become household names. The entertaining one liners and scenes from the series have been used as memes too. Now you have the world of Mirzapur in a movie format, the nutshell of the film is the same as the series which are gang wars and the fight for the throne of Purvanchal. This spin off primarily focuses on the dynamics between Munna (Divyendu Sharma) and Guddu (Ali Fazal). Guddu along with Jitender Sharma’s Bablu are the right- and left-hand men of Pankaj Tripati’s Kaleen Bhaiya. Ravi Kishan plays Baban Yadav; a man who is on the run with a consignment of drugs. Baban is also one of the numerous candidates aiming for the throne of Mirzapur. Nothing more can be revealed given the numerous other subplots.

A strong aspect of Mirzapur is the character design of Divyendu and Ali Fazal. Both Munna and Guddu are the two sides of the same coin, whether it’s the hot-headed nature or the need for constant validation from their respective fathers. The undercurrents of jealousy and insecurity has come out well in the intense moments.

Here a crucial mention must be made of a post interval portion set in Rajasthan. Kaleen Bhaiya gets kidnapped and numerous lives are at stake. A point comes where Munna and Guddu have to put aside their egos and work as a team. Jitender Sharma’s dialogues pointing out how they are essentially similar and then persuading the two to put aside their differences is the films biggest highlight.

A special mention must also be made of Ravi Kishan. His entry gives a different energy to the movie. His character Baban comes with two shades. One is the extremely ruthless gangster and two a love-struck man. Sonal Chauhan plays a dancer cum love interest, their scenes though few in number have a few adorable moments. For example, there is a scene of Baban stitching a blouse for his lady love. Their interactions have some cute moments with Ravi Kishan pulling off both the shades in a solid manner.

Rasika Dugal’s role in the film comes with an important backstory giving a different dimension to the web show. Rasika does well in pulling off both the shrewdness and an inner strength. Jitender Sharma taking over from Vikrant Massey fights in well, his on-screen chemistry with Ali Fazal and their different approaches has come out well.

As already mentioned Divyendu, Ali Fazal and Pankaj Tripati are the spine of the movie. The trio get some solid individual moments aided by the masala flavored writing; Divyendu’s Munna continues to be the entertaining bad guy with a flamboyant nature. Much like the web show Divyendu doesn’t miss a single beat in portraying the different shades, what stands tall admist the larger-than-life persona is an aching vulnerability.

Ali Fazal too slips into his role with practiced ease. A strong physical persona majorly helps along with a certain daredevil nature. Pankaj Tripati also makes a strong impact with his understated approach. The way he exudes power underneath a calm exterior is a treat to watch. Abhishek Benarjee as Munna’s loyal aid has his moments too.

Two major issues with Mirzapur movie is its super stretchy run time and the weakly written love stories. The scenes featuring Shriya and Swetha Tripati have a pleasant nature but in the larger scheme of things don’t make much of an impact. The music too barring Sonal Chauhan’s raunchy number come across as major speed breakers.

Sanjay Kapoor as a cinematographer does a fine job in capturing the rustic locations. A particular mention must be made of the action blocks set in Rajasthan desert. It immerses the viewers making them feel the danger.

Final word: Mirzapur is worth watching for fans of the show and those who like crime dramas in general.

Posted on

One Film Can Change Everything: The Great Comebacks of 2026

There’ a saying in showbiz on how one release can change everything. An out of form actor can make a smashing comeback; similarly an in form artiste can struggle to deliver if the content doesn’t appeal. There are numerous examples justifying this adage. 2026 has seen some strong comebacks for the likes of Samantha, Akhil, Ravi Teja, Chiranjeevi, etc. They have found scripts resurrecting their careers after being written off.

First up in this list is Samantha Ruth Prabhu. Irrespective of her box office outcomes Samantha has always enjoyed a strong fan following, but a strong commercial success was eluding the actress for some time. Nandini B Reddy’s Maa Inti Bangaram gave Sam a much-needed hit. However, Maa Inti Bangram’s triumph isn’t confined to just Sam scoring a hit, it also about the film being the biggest women centric grosser in Telugu. Yes, the film isn’t flawless by any means, but Samantha’s all-around act coupled with the novelty of a saree clad action heroine drew the audiences in a big way.

Akhil’s career journey before Lenin is a good example of how being a star kid doesn’t guarantee instant success. The journey started on a disastrous note and till Lenin Akhil went through a very uneven patch. Most Eligible Bachelor was a mild relief in between but the devastating results of Agent pushed back Akhil’s career significantly. Lenin scoring at the box was very important for Akhil, thankfully the young actor more than rose to the occasion with a solid act. The movie proved to be a good platform for Akhil to establish himself as a potential star and a much improved actor, on both counts the film was a success.

Ravi Teja has had a long career starting off with supporting roles and grey shaded characters. As a leading man Ravi Teja’s career took off much later, director Puri Jagnath has played a key role in building the current mass Maharaja image of Ravi Teja. Vikramarkudu directed by SS Rajamouli is another substantial movie in Ravi Teja’s career. The dual shades endeared the actor to masses and classes equally. But the last few years has seen an extreme mixed bag, whether its debutant/upcoming directors or even established ones like Harish Shankar. Irumudi came at a crucial time with reinvention being of utmost importance. After a long time, Ravi Teja played a layered role with vulnerabilities, the film has been smashing box office numbers and deservedly so.

Anil Ravipudi’s Mana Shankara Vara Prasad presented megastar Chiranjeevi in his vintage commercial avatar, something which the fans have been waiting for a long time. In Anil Ravipudi’s typical style the story was wafer thin, its an amalgamation of Chiranjeevi’s Daddy as well Nayanathara’s Viswasam. But what worked for the film was Chiranjeevi’s all round act.

The usual self depreciation associated with Anil Ravipudi’s heroes was on full display here too, the best part of MSVP was Chiranjeevi’s act of self depreciation with his signature comic timing. A special mention must be made of his scenes with Harshvardan, Abhinav Gomatam and Catherine Teresa as Vara Prasad’s teammates. 

RRR star Ramcharan also made a mini comeback this year with Peddi. Yes the box office numbers aren’t on the level off RRR and the film had its share of criticism over Janhvi Kapoor’s character. Having said Peddi was still a substantial comeback in terms of fair box office numbers. On the performance front Ramcharan delivered easily one of the best performances in 2026 along with Satyadev.

Tamil actor Suriya has immense fan following in Telugu too. In Radhika Sarathkumar’s words he is Telugu cinema’s adopted son. There was a period when Suriya struck a perfect balance between mass and class; this however took a nose dive with the Singham sequels and Kanguva. Yes Jai Bhim and Soorai Potru were acclaimed hits (both OTT releases) but the big screen comeback was missing for the Ghajini star. But with Karuppu and Vishwanth &Sons the actor has made a grand return.

Karuppu on one hand is an unabashed massy entertainer in a courtroom set up. The actor was seen in the role of Karuppu Swamy, god coming in human form as lawyer Sarvanan. Suriya brought in his trademark intensity to the fiery episodes, at the same time there a few vulnerable bits too with Sarvanan struggling to deliver justice. Here too Suriya aced it. Vishwanath &Sons was 360 degrees turn from Karuppu. The character of Vishwanath is more internalized, and the actor did a fantastic job here as well. He particularly shined in the portion of Vishwanath revealing his feelings about Mamitha Baiju’s Maddy.

Final word: From the above overview a strong conclusion can be made on how one film can change an actor’s trajectory. A common thread binding the success of Samantha, Suriya, Ravi Teja etc is a solid script and role. The beauty of an actor’s career lies in how careers are rarely linear and sometimes all it takes is just one release to turn things around.

Posted on

Bethlehem Kudamba Unit: An endearing age gap romance

Mamitha Baiju as Ashley continues her golden run with another sparkling performance. BKU’s core has a strong hangover of Vishwanath &Sons, another movie featuring the same heroine and a large age gap. But Mamitha imbibes the character with a different flavor showcasing her versatility. A couple of binding traits are an absolute clarity on wanting to be with an older man and a strong inner strength

Starcast: Nivin Pauly, Mamitha Baiju, Sangeeth Pratap, Suresh Krishna, Manjushree, Vinay Forrt and others

Genre: Romance

Director and writer: Girish AD

Additional writer: Kiran Josey

Music: Vishnu Vijay

Cinematography: Ajmal Sabu

Producer: Dileesh Pothan, Fahadh Fassil and Syam Pushkaran

Production Companies: Fahadh Fassil and Friends, Bhavana Studios and Working Class Hero

Running time: 2 hours and 37 minutes

There is something so enjoyable about a well-made rom com, it leaves the viewers with a warm and fuzzy feeling. Girish AD’s Bethlehem Kudamba Unit is a perfect example of this. After the blockbuster Premalu Girish AD takes another simple plot but the presentation coupled with the actors makes BKU largely entertaining. A major usp of BKU is the chemistry between Nivin and Mamitha, the two actors share a warm chemistry making the viewers root for Justin and Ashley to unite.

In simple terms the story of BKU focuses on Nivin Pauly’s Justin and Mamitha Baiju’s Ashley. Justin is a middle-aged bachelor nursing a heartbreak, Ashley on the other hand is going through the trauma of leaving her home place. Certain things have happened forcing the family to relocate. Ashley’s initial impression of Justin starts on a wrong note but the two end up bonding over a rock band. By the end of first half Ashley confesses her feelings to Justin and he also reciprocates. However, the path towards happy ending is filled with certain obstacles especially Ashley’s mother and uncle. How Justin and Ashley overcome these hurdles forms an important part of Bethlehem Kudamba Unit. Running parallel to this is the subplot of Justin’s younger brother Sangeeth Prathap’s Joel Davis. He is a short movie filmmaker. Joel’s love interest is Sayoojya (Parvathy Ayyapadas). This interfaith relationship forms a key subplot of BKU.

The strong aspect of Bethlehem Kudamba Unit is the building of Justin and Ashley’s love story. As already mentioned Ashley’s first impression of Justin starts on a wrong note, she thinks he is an absolute ruffian however this gradually gives way to love. This entire process has been wonderfully handled by Girish AD and Kiran Josey. As a result, when the happy ending happens the viewers feel happy. A special mention must be made of Justin’s reaction when he first comes to know about Ashley’s feelings through a third person. There is a palpable tension in his demeanor given the past heartbreak.

The cute meet moments between the two are filled with small but adorable moments. Whether its Ashley bearing her feelings in the car or a kiss on his cheek. Even the scene of Justin saying I will miss you with a sheepish face makes for a wonderful watch. Both Nivin and Mamitha feed off each other wonderfully making the relationship feel organic.

The age gap factor is also treated in a sensitive manner without making it creepy. As Justin Nivin balances the brittleness and vulnerability in a solid manner. Mamitha portrayal of Ashley perfectly complements Nivin. The role could have easily slipped into a xerox copy of Maddy from VS but the actress coupled with the writing give it a different flavor. The contrast between Maddy and Ashley can be particularly seen in the scenes with Manjushree playing the on-screen mother. The scenes of conflict between the two has been solidly written with Manjushree not reduced to a caricature.

Yes, the mother does come across as cold hearted with a certain rigidity, however her reason for opposing Justin comes from a certain place and the actress does a fantastic job. Vinay Forrt as the uncle makes for a good opposition too.

Sangeeth Pratap as Justin’s younger brother also makes his presence amply felt. Through his track there is subtle social commentary on how interfaith relationships are perceived by some. Shyam Mohan as Sayoojya’s elder brother makes for an intimidating figure especially his body language. But a Kantara spoof featuring the actor feels laborious making the viewers restlessness. It would have been much better if Girish AD and Kiran Josey scrapped this and gone straight to Justin and Ashley’s happy ending.

BKU also benefits from a wonderful soundtrack. “Illeya Illa and “Indrajalam stand out among the songs. Ajmal Sabu’s cinematography is of a good standard capturing the bustling neighborhood well through his lens.

Posted on

Musafir Cafe (novel): A good exploration of relationships and finding oneself

A major difference between the novel and the web series is the characterization of Preeti. A strong inner strength in how she handles things was brought out wonderfully by both Mahima Makwana as well as the writing team. In one way she can be considered as an equivalent of Shivani Nagaram’s Katyayani in Little Hearts. A life partner not everyone is lucky to get. Chander and Sudha are well etched in both the web series and the book. Keeping aside this comparison author Divya Prakash Dubey does a fine job in exploring different societal aspects, for example pressures of conventional society related to marriage and career plans

Musafir Cafe streaming on Netflix has become a much-discussed show. The characters of Chander, Sudha and Preeti have become household names with many doing a psychological analysis of the three protagonists. The cliff hanger at the end with the question of how season 2 will unfold has sparked numerous speculations. For those not aware this superhit web series is based on a novel by the same name.

Ruchir Arun’s interpretation of Musafir Cafe has certain similarities but also varies significantly to how the novel unfolds. Apart from the already mentioned contrast the web series has a back-and-forth storytelling unlike the book which is more linear. There is no suspense on whom Chander eventually ends with, the culmination is on excepted lines and readers would be happy on whom Chander eventually chooses. The pregnancy subplot in the book plays out very differently too in comparison to the web show. I wouldn’t get into specific details, it’s better to discover it while reading.

But one binding point is the dynamics between Chander and Sudha. Their contrasting personalities gives the novel much of its strength. The conversations have the right mix of light and poignant moments. How Sudha plays a small but crucial role in Chander chasing his dream makes for an engaging read.

Through their love story Divya Prakash Dubey also looks at individual ambitions acting as a speed breaker in a seemingly perfect relationship. Sudha has major professional ambitions, and marriage is the last thing on her mind. Chander on the other hand wants to settle down, at one point he even drops the idea of the cafe too.

This friction leads to a quite drifting with neither being labeled as a villain. Of course, in the web series the same scenario plays out differently with explosive arguments. But this balance of light and poignant moments gives the novel much of its strength.

Mention must also be made of how Divya Prakash Dubey justifies the title of Musafir Cafe. The cafe run by Chander and Preeti represents a perfect resting place for hearts caught between life expectations and personal freedom. Much like the web series the place is a character in itself, it represents a temporary pit stop for lost hearts to pause and reflect briefly before moving on.

Final word: Musafir Cafe is a breezy read for fans of romance or those into relationship stories.

Posted on

Irumudi: A solid comeback vehicle for Ravi Teja

Irumudi presents Ravi Teja in a different avatar within the commercial parameters. The broad structure of Irumudi can be divided into four parts, for more than two thirds Shiva Nirvana keeps the viewers engaged. The final act though is a mixed bag, the significant hangover of Rangasthalam plays a major spoilsport. But in the final tally Irumudi is the best Ravi Teja film in years. The father and daughter bond largely steers the proceedings even when the writing stagnates. The film has an important message too on how females should confront their abusers instead of suppressing themselves

Starcast: Ravi Teja, Baby Nakshatra, Priya Bhavani Shankar, Sai Kumar and others

Story, screenplay, direction and dialogues: Shiva Nirvana

Genre: Family drama/action thriller

Music: GV Prakash kumar

Cinematography: Vishnu Sharma

Producers: Naveen Yerneni and Y Ravi Shankar

Production Company: Mythri Movie Makers

Running time: 2 hours and 25 minutes

2026 has seen some solid comebacks in the form of Samantha in Maa Inti Bangaram, Akhil in Lenin, Suriya with Karuppu and Vishwanth &Sons among others. Ravi Teja much like the others mentioned has seen a very lean patch. The films have had a major deterioration even with the commercial parameters. Shiva Nirvana’s last two movies Khushi and Tuck Jagadish didn’t have a great response either. This makes Irumudi an extremely important venture for both its director and leading man. Thankfully Ravi Teja and Shiva Nirvana deliver a competent film even with its flaws.

As already mentioned the broad structure of Irumudi can be divided into four parts. On one level its about two distinct styles of parenting. Sai Kumar’s Gopal Raju raises his daughter to not raise her voice, for him its the best way to shield her from conflicts however Gopal Raju doesn’t understand that he is suppressing his daughter’s voice. Ravi Teja’s Trinath on the other hand has brought up his daughter to be fearless. Trinath has an extreme weakness for alcohol, but he is inherently a good man with a deep paternal feeling. This paternal feeling just doesn’t extend to his own child (a wonderful Nakshatra) but to other teenage girls as well. The second part of the story is the lord Ayyappa angle giving it a strong cultural and emotional setting. The third part is the mystery associated with certain murders and finally challenging a certain social conditioning. This is a heavy cocktail to manage, and the film does keep you invested in three areas barring the culmination of the murder mysteries.

The strong aspect of Irumudi is the contrasting parenting styles of Ravi Teja and Sai Kumar’s characters. Shiva Nirvana gives some strong dialogues to both the actors making sure that the ideological clash doesn’t become one sided. As viewers you understand Gopal Raju’s concerns on standing up against abusers, but at the same time Trinath’s viewpoint also holds relevance. A crucial sequence between the two when an important mystery is cracked has been brilliantly written and enacted. Sai Kumar as the vulnerable father does a very good job, he particularly excels in a scene of moral condroum.

The father and daughter chemistry between Ravi Teja and Nakshatra is another ace of Irumudi. Trinath Rao is presented as an extremely doting father who encourages the daughter to share everyday happenings, the warmth is palpable in the way Ravi Teja portrays the paternal love. A crucial mention must be of the interval point; Trinath Rao decides to give up alcohol forever. The dialogues coupled with the acting is one of the film’s biggest highlights.

The Ayyapa Swamy background with the annual 41-day Deeksha has also been presented well, it becomes a major character in itself rather than a mere side plot. GV Prakash Kumar songs and background score help significantly too. An action sequence of Trinath dodging villains in the Ayyapa Swamy dress has been excellently choreographed with some first-rate cinematography. Vishnu Sharma as the cinematographer deserves appreciation for a job very well done.

Ravi Teja as Trinath Rao delivers his best performance in a long time. Yes, you have the usual larger than fights with the character operating as a savior. Still Ravi Teja is excellent in portraying the different shades. Whether it’s the alcohol weakness or the vulnerable moments the actor is in excellent form. Baby Nakshatra compliments Ravi Teja at every step, she brings in innocence, vulnerability and strong inner strength in equal measure.

Priya Bhavani Shankar as the often-exasperated wife is good too. A few scenes between her and Ravi Teja have some nice moments of understated romance. The rest are fine in their respective parts, but certain actors suffer on the account of half-baked characterization. This particularly holds true for Swasika as a disgrace to teaching community.

One of Irumudi’s major issues is a Rangasthalam like structure in the concluding portions. The reveal of the primary antagonist has a significant hangover of Rangasthalam’s third act. As a result, the shock value is less when the revelation is finally out. Also, the film more or less plays to the template of a male savior in spite of Trinath Rao’s ideology on females confronting their abusers. Having said that one sequence of teenage girls attacking the antagonist makes for a good sight.

Posted on

Vishwanath&Sons: A wholesome family entertainer with a Trivikram touch

After Lucky Bhaskar Venky Atluri takes another out of box premise, this time a huge age gap romance with the backdrop of surrogacy. In spite of some dips post interval the film is largely engaging. Mamitha Baiju as the chirpy Madanakameswari akka Maddy is the films beating heart. The young actress more than holds her own opposite Suriya and Radhika Sarathkumar. Suriya as Sanjay Vishwanath delivers a performance which is more internalized nevertheless highly effective. The climax signifying a happy ending for Vishwanath and Maddy ends the film on a high.

Starcast: Suriya, Mamitha Baiju, Radhika Sarathkumar, Raveena Tandon, Nassar and others

Director and writer: Venky Atluri

Genre: Romance/family drama

Dialogues: KN Vijaykumar

Music: GV Prakash Kumar

Cinematography: Nimish Ravi

Producers: Suryadevara Naga Vamsi and Sai Soujanya

Production Companies: Srikara Studios, Sithara Entertainments etc

Running time: 2 hours and 41 minutes

Vishwanath& Sons is a very anticipated release for numerous reasons. Venky Atluri’s last Lucky Bhaskar was a major hit both critically and commercially. Suriya after a series of theatricals debacles made a strong comeback with the massy hit Karuppu. However, the biggest reason for the buzz is it’s out of box plot. How the huge age gap romance will unfold has created curiosity. Thankfully Venky Atluri does justice to the theme, and the happy ending is the icing on the cake. At times the film ventures into a classic Trivikram territory, the family drama in second half does slow down the movie thankfully though the film never slips off the rails.

The story of VS revolves around a businessman cum Olympic shooter played by Suriya and a free-spirited medical student Maddy (Mamitha Baiju). Vishwanth has an aversion for marriage due to certain reasons, but he ends up having a baby boy through surrogacy. Radhika Sarathkumar plays Vishwanath’s mother who wants her son to get married. The lives of Vishwanath and the surrogate mother Maddy intertwine due to a medical crisis. How Maddy entry changes Vishwanath’s life forms the main core of VS.

The strong aspect of VS is the polar opposite characters. Vishwanath has a more serious demeanor; there is a certain restraint to the character. Maddy though is wilder with an unfiltered attitude. How the two end up developing a deep bond even with the mismatched personalities is a major plus for VS.

Vishwanath’s emotional trauma is revealed in installments, and this helps the viewers in understanding the man’s personality. The subplot of Raveena Tandon and her dynamics with Vishwanath has some solid moments too. Radhika Sarathkumar as the ageing matriarch is elegance personified. The veteran actress balances authority and warmth in her signature style. Her scenes with both Suriya and Mamitha give the film some of its best moments.

Among the lighter scenes a specific mention must be of the portion involving Suriya’s condoms. Venky Atluri treats the entire portion of Vishwanath having flings with 30 plus women in a matter-of-fact way. There is no overt sensationalization with the mother also being cool about it.

Vishwanath &Sons wouldn’t be what it is without the performances apart from the solid writing. After an unabashed massy turn in Karuppu Suriya effortlessly slips into a classy avatar portraying Vishwanath in an understated but highly effective manner. The actor especially shines in the scenes of Vishwanath facing his inner demons and revealing his feelings about Maddy.

Mamitha Baiju though is the showstopper, she brings in both warmth and an infectious energy. The stubbornness of Maddy could have been easily mistaken for infatuation but both the writing and the actress bring an emotional resonance. As viewers you understand where Maddy is coming from making the happy ending even more satisfying.

The rest also pitch in some fine performances especially Raveena Tandon. Nassar on the other hand brings in some laughs amidst the second half’s emotional drama. The music of GV Prakash Kumar isn’t a chartbuster, but the songs go well with the films flow. Neno Butterfly deserves a special mention for Mamitha’s portrayal of a love-struck woman.

The cinematography is suitably blingy, but it has a significant hangover of other movies depicting rich families.

Final word: Vishwanth& Sons is a refreshing family entertainer with a good mix of emotions. Definitely worth seeing for fans of comfort cinema and Suriya.