Category: Recent Posts

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Youth: A nostalgia ride worth embarking on

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

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

Genre: Teen romance/drama

Director and writer: Ken Karus

Music: G V Prakash Kumar

Cinematographer: Viki

Producers: C Ram, Sulochana Kumar and Karuppaih

Running time: 2 hours plus

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

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

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

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

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

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

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

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

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

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

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

Genre: Crime thriller

Creator, director and writer: Neeraj Pandey

Additional writer: Vipul K. Rawal

Cinematography: Sudheer Palsane and Arvind Singh

Music: Advait Nemlekar

Producer: Shital Bhatia

Production Company: Friday Storytellers

No of episodes: 7

Streaming site: Netflix

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

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

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

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

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

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

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

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

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

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

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Aspirants 3: A gripping tale of ideological clash

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

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

Genre: Drama

Director and writer: Deepesh Sumitra Jagdish

Additional writers: Anurag Goswami, Anurag Ramesh Shukla etc

Music: Sangeet Haldipur and Siddharth Haldipur

Cinematography: Sreechith Vijayan Damodar

Producer: Shreyansh Pandey and Arunabh Kumar

Production Company: The Viral Fever (TVF)

No of episodes: 5

Streaming site: Amazon Prime

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

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

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

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

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

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

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

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

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Ustaad Bhagat Singh: Second half saves the day

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

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

Genre: Action/drama

Direction and story: Harish Shankar

Screenplay: Dasardh and Ramesh Reddy

Music: Devi Sri Prasad

Cinematography: Ayananka Bose

Producers: Naveen Yerneni and Yalamanchili Ravi Shankar

Production Company: Mythri Movie Makers

Running time: 2 hours and 34 minutes

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Direction, story and production: Aditya Dhar

Additional screenplay: Ojas Gautam and Shivkumar V Panicker

Music: Shaswat Sachdev

Cinematography: Vikas Nokawala

Producers: Aditya Dhar, Jyoti Deshpande and Lokesh Dhar

Production Companies: Jio Studios and B62 Studios

Running time: 3 hours and 53 minutes

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

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

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

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

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

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

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

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

Blatant glorification of ruling party:

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

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

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

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

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

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Made In Korea: A charming tale of resilience and womanhood

Made In Korea perfectly fits the definition of a sunshine movie. A couple of subplots are rushed through, but the emotional core coupled with the performances make this cross-culture worth watching. Priyanka Arul Mohan as Shenba delivers a strong act and her scenes with Kim Young-Oak gives Made In Korea its best moments.

Starcast: Priyanka Arul Mohan, Kim Young-Oak, Park Hye-Jin and others

Genre: Comedy/drama

Director and writer: Ra. Karthik

Music: Hesham Abdul Wahab

Producer: Sreenidhi Sagar

Production Company: Rise East Entertainment

Cinematography: Prasanna Kumar

Running time: 1 hour and 51 minutes

Streaming site: Netflix

Ra. Karthik’s Made in Korea can be easily termed as a spiritual sequel to Vikas Bahl’s Queen. Just like that film here too the heroine gets dumped and has to navigate a foreign country. In both the movies the female protagonists re discover themselves and become stronger individuals. Keeping aside the similarities Made In Korea is very much its own beast. The uniqueness majorly comes from the Korean cast especially Kim Young-Oak a familiar name for those who have seen Squid Games. Through her character and the on-screen friendship with Priyanka Arul Mohan the movie celebrates the theme of womanhood.

Made In Korea primarily focuses on a Tamilian girl Shenba (Priyanka Arul Mohan in an author backed role). Shenba is hugely fascinated with the city of Korea thanks to binge watching K Dramas. Her dream is going to Seoul, and this does come true but not in the happiest of circumstances. How Shenba navigates the different challenges eventually finding acceptance forms the core of this movie. An important subplot connected to Shenba’s journey is Kim Young-Oak’s elderly woman.

A strong aspect of Made In Korea is the depiction of Shenba’s challenges. Her struggles with the language in particular have moments of understated humor. The entry of Park Hye-Jin as a vlogger and a growing bond between the two is filled with warmth. However, the movie’s biggest strength are the scenes between Priyanka and Kim Young Oak.

Initially the viewers are given the impression of Kim Young Oak being a bedridden lady who needs to be fed. However, the movie soon springs a surprise with an important revelation. There is a reason for the character pretending to be bedridden and this is revealed at a crucial juncture.

The theme of womanhood comes out in a striking manner as Shenba also grows into a more confident individual. The scenes between Priyanka and Kim Young have a good balance of emotions and humor. Apart from womanhood theme Made In Korea gives an important life message too. This is explored through the quote “Where you think it ends, it begins”.

The transformation journey of Shenba is a good example of how we should move forward whatever the setbacks. Of course, the movie has a feel-good treatment. This may not work for all nevertheless the importance of message cannot be denied.

The background score by Dharan enhances the emotional scenes. The music of Hesham Abdul Wahab is pleasant going perfectly well with the movie’s tone. Both the upbeat and mellow numbers do a good job in capturing Shenba’s transformation. Prasanna Kumar’s cinematography is of a good order as well. He captures the different shades of Seoul effectively through his camera.

Priyanka Arul Mohan as Shenba springs a very pleasant surprise. She captures the different nuances with an understated but thoroughly effective act. Kim Young Oak makes her presence amply felt especially in an important confrontation scene with the son. Park Hye Jin as the vlogger who becomes an important part of Shenba’s life is good too. He brings in the required warmth making the viewers wish that they come across a friend like him.

As far as the flaws are concerned a subplot of Kim Young oak and Shenba opening a restaurant has a rushed treatment. The same applies to the track of a music band which needed more fleshed out writing.

Final word: Made In Korea is a good watch for fans of feel good/optimistic cinema and the central message.

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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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Subedaar: Anil Kapoor and Radhika Madan lift this old school masala

The story of Subedaar is a classic one-man army plot. But director and writer Suresh Triveni manages to bring some newness within this. The fractured father and daughter relationship with a feisty Radhika Madan is the best thing about Subedaar

Starcast: Anil Kapoor, Radhika Madan, Aditya Rawal, Faisal Malik, Saurabh Shukla, Mona Singh, Khusboo etc

Genre: Action/drama

Writer and director: Suresh Triveni

Additional writer: Prajwal Chandrasekhar

Producers: Anil Kapoor, Suresh Triveni and Vikram Malhotra

Cinematography: Ajay Saxena

Music: Rohan Vinayak, Raj Mawar etc

Production Companies: Abundatia Entertainment and Anil Kapoor productions

Streaming site: Amazon Prime

Running time: 2 hours plus

Suresh Triveni’s latest feature plays out like a cross between the masala cinema of 70’s and 80’s with a dash of western influence. At the center of Subedaar is Anil Kapoor’s Arjun Maurya. A retired major struggling to deal with civilian life. Radhika Madan is the angsty daughter Shyama. Arjun and Shyama have a fractured relationship and in terms of temperament they share more than one similarity. Arjun’s life turns upside down when his world collides with Aditya Rawal’s prince. Prince is a mafia hair to Mona Singh’s Babli Didi. Panchyat fame Faisal Malik is the calculating operator often frustrated with Prince temperament. Finally, there is Saurabh Shukla too as Arjun’s confidante and longtime friend Prabhakar. The story in simple terms focuses on Arjun’s fight back as well as Shyama’s own battles.

A strong aspect of Subedaar is the gritty texture. The backdrop of sand mafia with the rugged atmospherics has an authentic feel. A major reason for that is Ajay Saxena’s cinematography along with the production design. There is a lived-in feel to the area of prince and Babli Didi. The extreme lawlessness though a cliched trope has come out well.

Mention must also be made of the portions depicting Arjun Maurya’s internal struggles. This includes a certain guilt on not being with his wife when she needed him as well as identity crisis. There is a crucial scene where Arjun talks about the cost of being patriotic. The gradually simmering anger has been built up well. When the pent-up anger eventually explodes the action feels justified rather than just a regular hero and villain thing. Anil Kapoor plays the part with a good mixture of emotional vulnerability and volatileness. It’s a treat to watch the actor doing hard core action proving that he can give any young actor a run for his money.

The characterization of Radhika Madan is also a big plus coupled with her act. Shyama carries a certain inner resentment towards her father and there is a confrontational nature to the way she handles things. Radhika does a very good job in pulling off a feisty woman especially in the action sequence where she saves herself from a bunch of guys.

Subedaar also scores on the account of strong villains. Aditya Rawal as Prince is deliberately hammy but the young actor more than holds his own opposite the veteran Anil Kapoor. Aditya brings in the required intimidation in spite of a one note character. Mona Singh as Babli Didi is more understated but thoroughly effective. Her interaction with Anil Kapoor over a video call is especially entertaining. The actress once again proves her versatility. Faisal Malik underplays beautifully for a large part; at the same time there is a certain switch too when he gives it back to Babli. Faisal Malik is absolutely solid.

Saurabh Shukla as Arjun Maurya’s longtime friend brings in the required warmth. His scenes with Anil Kapoor have a tender nature. Khushboo Sundar as the dead wife could have done with more screen time rather than being just a memory. Yes, she plays her part with grace but a few more scenes of her and Anil would have enhanced the emotional quotient.

The core of Subedaar is nothing new and this does become a deterrent in the eventual scheme of things. From mid second half things start to stagnate. Also, the subplot connected to sand mafia with Arjun Maurya becoming a savior needed better writing.

Final word: Subedaar is worth watching for fans of gritty action dramas and Anil Kapoor admirers.

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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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Accused: A nuanced character study of women in power

Director Anubhuti Kashyap does an interesting gender flip with the backdrop of Me Too. In this case the victim as well as the accused is a woman. Using this as a microscope the film looks at society’s double standards on how men feel threatened by a woman rising to the top. A strong aspect of Accused is the same sex relationship of Konkana and Pratibha Ranta. Their bond is portrayed in a matter-of-fact way like any man and woman in the same situation.

Starcast: Konkana Sen Sharma, Pratibha Rana, Aditya Nanda, Mashhor Amorahi and others

Director: Anubhuti Kashyap

Genre: Thriller/drama

Writers: Sima Agarwal and Yash Keswani

Producers: Karan Johar, Somen Mishra, Apoorva Mehta and Aadar Poonawala

Production Company: Dharmatic Entertainment

Running time: 1 hour and 46 minutes

Streaming site: Netflix

There is an important line in Anubhuti Kashyap’s Accused streaming on Netflix. It goes like this Jab Aadmi successful hota hai to hum kehta hain deserve karte hain but when a woman reaches a powerful position, we doubt Aisa Kya Kiya hoga. This statement pretty much sums up the core of Accused. After the story of male doctor practicing gynaecology Anubhuti once again chooses a medical workplace for the film. But this one operates in a very different zone.

Konkana and Pratibha as a queer couple in Accused

The story of Accused in simple terms focuses on Konkana Sen Sharma’s Geetika Rao and Pratibha Ranta’s Meera. The two are in a solid relationship with plans of adopting a baby. Geetika is a celebrated doctor who is known for her hard work as well for her no-nonsense nature. Geetika Rao has a tough exterior and is not necessarily likeable. Meera on the other hand is the more emotional one. The difference in their personalities is not a hindrance for their co living as things are going stable. However, all that changes due to some anonymous mails hinting at sexual misconduct. Geetika Rao’s reputation faces a major hit. Complaints about her being a taskmaster are common but this time around the nature of accusations threaten to destroy both her professional and personal career. This is the story in brief.

A strong aspect of Accused are the characterizations of both Geetika and Meera. There are portions in the movie where Geetika comes across as very self-centered. A heated argument between Konkana and Pratibha is a solid example of this. Also, the way Geetika does certain things makes the viewers think that she is actually guilty of the accusations levelled on her.

Meera on the other hand is not reduced to a submissive spouse. There is both vulnerability and strong inner strength. She wants the previous normalcy to return but at the same time Geetika’s distant attitude makes things difficult. The dynamics have an organic feel as both Konkana and Pratibha feed off each other wonderfully.

As the mystery is unraveled a different layer comes out which is how and why Geetika was framed for sexual misconduct. This is where the film slips into a feministic zone on how men feel threatened by a woman achieving high position. An important monologue of Konkana Sen Sharma reflects this. At the same time there is a psychological insight too into the mindset of Geetika on why she is hard with her colleagues expecting absolute efficiency.

In the end Geetika accepts her flaws and rejects the promotion of dean saying that she still needs to work on herself. The patch up of Konkana and Pratibha has some heartfelt dialogues ending the movie on a high.

Both Konkana and Pratibha handle the tricky subject matter with ease. Konkana is of course a seasoned performer, but Pratibha is the surprise package here capturing the different shades of Meera with admirable precision. Aditya Nanda as Meera’s colleague with some unspoken feelings does a good job too. Mashhor Amarohi as the investigator has his moments as well.

Technically speaking the production design coupled with the atmospherics add to the mystery. One major issue with Accused is the portrayal of Me-Too movement. There is a surface level treatment to the entire subplot. The significance of Me-too gets somewhere lost in the thriller treatment.

Final word: Accused is a largely satisfying thriller/drama especially for the solid acting and the themes it tackles.