Housefull 5

Housefull 5 Movie

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Director: Tarun Mansukhani
Writers: Tasha Bhamnbra, Sparsh Khetarpal, Tarun Mansukhani

Release Date: June 6 2025

Language: Hindi

Review: Housefull franchise‘s existence is rooted in slapstick comedy, so you walk in knowing what to expect. Akshay Kumar slapping CGI monkeys, girls blatantly objectified and Riteish Deshmukh gobbling a parrot as annoying as the one in ‘Main Prem Ki Diwani Hoon’, don’t surprise you. You snigger at lines like ‘Thokte raho……. Taaliya’, ‘mera popat kabhi nahi uthega’, but overlook the cringe because that’s what the brand is all about. What surprises you is the utter lack of humour, even dirty humour if we may say so in the script and sheer wastage of a zillion actors who are known for their comic timing.Directed by Tarun

 Mansukhani, a far cry from his brand of humour in Dostana, Housefull 5 deserved a script, let alone better writing. In a span of 2 hours, 45 minutes (a bit too long for a whodunnit-comedy), the banal first half is loaded with random songs, pointless arguments, juvenile jibes and loud noise… everything but humour. You desperately miss comic punches. Even Sanjay Dutt and Jackie Shroff’s inclusion as baba and bhidu don’t add up. You feel sorry for these actors reducing themselves to caricatures of their former glory.The film somewhat takes off in the second half but truly sheds its stagnancy only in the climax, a bit too late. This also marks the

 arrival of Nana Patekar. The senior actor, a master of the genre (control Uday… control of Welcome) shows how it’s done. As a dhoti clad interpol chief based in London, rooted in Maharashtra, Patekar is terrific and infuses life into this overloaded, derailed cruise. Sajid Nadiadwala tries to blend comedy with murder mystery through his script and fails at both barring the climax. It’s the last 20 minutes along with Nana’s entry that truly entertain you. This is what you expected Housefull 5 to be… thrilling, unpredictable and funny. Sajid even manages to conceal the identity of the killer till the end, but the humour aspect falls miserably flat.Barring Riteish who manages to entertain, both Abhishek Bachchan and Akshay Kumar get little to play with as far as words are concerned. The women have nothing much to do except for upping the glam quotient and being the butt of several adult jokes. Sonam Bajwa, Fardeen Khan and Dino Morea act sensibly. Shreyas Talpade, Johnny Lever and Chunky Panday are criminally wasted. Talpade just disappears for a major part of the film, but we can’t expect logic here. Can we?

Stolen

Stolen Full Movie

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Director: Karan Tejpal
Writer: Karan Tejpal, Gaurav Dhingra, Swapnil Salkar

Release Date: June 4, 2025
Language: English, Hindi

Review: ‘Stolen’ is one of those films that pulls you in from the very first scene and doesn’t let go until the end. At just over 90 minutes, it’s lean, tense, and surprisingly emotional. Based on a real incident, the story unfolds over one chaotic night — where everything that can go wrong, does — but it still manages to end on a strangely hopeful note. What really works here is how fast the film moves. There’s no unnecessary detour, no backstory flashbacks — just a tight, focused narrative that keeps the tension high. The setting adds so much: the cold, dusty railway station, the local dialect, and the uneasy quiet. It all feels very grounded and real. The cinematography leans into natural light and long takes, which builds a kind of quiet dread that suits the story.The film opens at a small-town railway station in Rajasthan. Gautam (Abhishek Banerjee), a well-off, slightly uptight guy, is there to pick up his younger brother Raman (Shubham Vardhan), who missed his flight and had to take a train. Their mother is getting married the next day, and Gautam just wants to get home in time for the ceremony. But then a baby goes missing.

 Jhumpa (Mia Maelzer), a poor woman sleeping on the platform with her infant, wakes up to find her daughter gone. Raman happens to be nearby and is briefly suspected. He’s cleared soon enough, but the police rope him in as a witness and ask both brothers to stick around. Gautam, clearly uncomfortable and in a rush, wants to wrap things up and leave. But things only get messier. Jhumpa overhears a tea seller mention the missing baby, and he ends up confessing under pressure. As the brothers try to navigate this mess, their SUV photo goes viral, and they’re suddenly being chased by angry mobs, mistaken for kidnappers.That said, a few things do get repetitive. The scenes with villagers chasing the brothers start to feel overused — they lose their punch after the second or third time. And toward the end, the film strays a bit from its core plot before coming back around. A few tighter edits could’ve helped, especially in the third act. But the performances more than make up for it. Abhishek Banerjee as Gautam is excellent — a man used to getting his way, slowly realising he has no control here. He plays the tension and panic really well without going overboard. Shubham Vardhan as Raman brings a nice contrast — calmer, more thoughtful, and someone clearly more grounded.

 Their dynamic feels very real — two brothers who are different but still look out for each other. Mia Maelzer as Jhumpa is heartbreaking. Director Karan Tejpal in his debut film makes you feel every bit of her pain and desperation as a mother looking for her child. It’s a role that could’ve easily slipped into melodrama, but she keeps it raw and restrained.What’s refreshing about ‘Stolen’ is that it doesn’t try to overdo anything. There’s barely any background music, no melodrama, and no flashy moments. It relies on the mood, the setting, and the actors to carry the story — and they do. Produced by Anurag Kashyap, Kiran Rao, Nikkhil Advani, and Vikramaditya Motwane, it has that stripped-down, indie feel that works really well for a story like this.It also says a lot about the India we don’t often see on screen — the divide between the privileged and the poor, the deep mistrust, the quiet desperation of those with no safety net. All of that is woven in without feeling preachy or obvious. Stolen isn’t perfect, but it’s gripping, well-acted, and emotionally honest. If you’re in the mood for something raw and real — a thriller that keeps you hooked without feeling overcooked — this one’s definitely worth checking out.

Jaat 2025

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Director: Gopichand Malineni
Writer: Saurabh Gupta, Gopichand Malineni
Release Date: April 10, 2025
Language: Hindi

Review: Gopichand Malineni’s Jaat, marking his Hindi directorial debut, is an unabashedly loud, hero-driven spectacle that aims to marry the exaggerated swagger of South Indian action with North Indian machismo. The result is a film that offers moments of undeniable impact but ultimately plays too safely within the confines of well-worn formulas.

With a title steeped in cultural pride and defiance, Jaat wears its identity on its sleeve. It’s clearly designed as a star vehicle for Sunny Deol, putting him front and center in a role that brings back his signature style—loud one-liners, heavy action scenes, and a larger-than-life masculinity straight out of the 90s. To its credit, the film doesn’t shy away from this tone and fully commits to the old-school action formula, even if it feels dated at times.

The plot unfolds in a coastal village ruled by the iron hand of Ranatunga (a chilling Randeep Hooda), whose tyranny sets the stage for a classic messiah narrative. A lone drifter—Deol’s Jaat—arrives, bears witness to the injustices, and predictably becomes the avenging force. While the premise holds promise, it’s the execution that falters. The film leans heavily on tropes—blood-soaked revenge arcs, slow-mo punches, and sermon-heavy dialogues—leaving little room for surprise or nuance.

Where Jaat does briefly shine is in its first half. The tension is palpable, the villainy unsettling, and the non-linear screenplay keeps the audience engaged. Hooda, in particular, is magnetic as Ranatunga, portraying menace with mythological flair. His Ravan-obsessed villain is one of the film’s few inventive choices, lending depth to an otherwise familiar face-off. Sunny Deol, meanwhile, thunders his way through with nostalgic bravado, delivering lines like “yeh dhai kilo ke haath ki power poora North dekh chuka hai, ab South dekhega” with such conviction, one can’t help but cheer—even if the screenplay around him doesn’t always rise to the occasion. Vineet Kumar Singh also makes an impact as Ranatunga’s ruthless brother, Somulu, providing a worthy foil in the villain camp.

Visually, the film holds its own. Thaman S’s background score heightens the drama effectively, and the cinematography offers a gritty, lived-in aesthetic. Action sequences, while often overindulgent, are slick and impactful. The dialogues, penned by Saurabh Gupta and Sai Madhav Burra, are over-the-top and theatrical—often more memorable than the scenes themselves.

However, narrative pacing becomes a significant issue post-interval. The second half drags, and the film’s 153-minute runtime begins to weigh heavily. A forced item number featuring Urvashi Rautela feels unnecessary and only adds to the film’s bloated feel.

Perhaps the most glaring flaw in Jaat is its treatment of female characters. Regina Cassandra, as Ranatunga’s wife Bharathi, and Saiyami Kher, as a fierce senior police officer Vijayalaskhmi, are criminally underused. Kher, in particular, starts strong but is soon reduced to a plot device.

Jaat delivers exactly what it promises: a nostalgia-fueled action drama powered by its male leads and dialogue-heavy theatrics. But for all its sound and fury, it lacks the courage to push beyond its comfort zone. It’s a decent one-time watch for fans of old-school Deol-led actioners, but for anyone seeking innovation or depth, Jaat may feel like a missed opportunity wrapped in a thunderous punch.

Dragon 2025

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Director: Ashwath Marimuthu
Writers: Ashwath Marimuthu, Pradeep Ranganathan
Release Date: February 21, 2025
Language: Hindi

Dragon Movie Review: Something special about Ashwath Marimuthu's Dragon is how it never judges anyone in the film, neither when its hero makes wrong decisions, nor when a girl decides to reject a proposal or leave a man she deeply loves. Of course, there is a lot of magic happening in Dragon, just like in the director's debut Oh My Kadavule, however, the magic here rather stems from the cinematic liberties that Ashwath makes use of. In simpler words, there are just too many coincidences, and Raghavan (Pradeep Ranganathan) keeps finding easy ways to solve all his problems even when he repeatedly makes careless decisions. Although such coincidences test your patience, the emotional connection you feel with the characters and the spin in the roaring second half make the ride enjoyable.

Raghavan is a typical Tamil hero, who rules the college with his rowdy vibes (Hello Gautham from Sillunu Oru Kaadhal!), doesn't study well, and is ungraduated (we are looking at you, Dhanush from Padikathavan) but besides his stubborn ego and cheating skills, he also happens to live in a world where from his innocent and caring parents and selfless friends to even the college principal or a random stranger — everyone is just too kind and supportive. But what makes this exaggeratedly kind world real is how the characters don’t blindly stand by his side; they advise or chide him before lending a helping hand. And with some tricks up his sleeve, he manages to crack both life and the corporate ladder.

In any other film, all of these would have stuck out like a sore thumb. But Ashwath's magic wand — his interesting writing choices — make this an intriguing outing. For instance, simple choices like deciding to not show the love story of Raghavan and Keerthi (Anupama Parameswaran) until it reaches the verge of breakup and then taking us through their cute romance through a sad song makes even the usual plot line interesting.

Just like in OMK, Raghavan finds an amazing friend and lover in Keerthi (Anupama Parameswaran), who goes out of her way to keep him happy. But Dragon highlights that sometimes a missed chance is a missed chance. From the rainy nights hinting at a change to second chances and college friendships, both frames and characters remind you of the director's debut outing, which works organically for his sophomore venture. Even the famous “Idhu ungallukku sonna puriyaadhu sir” dialogue makes a cameo. Apart from these, you also get hat tips to Premam, Simbu, and other films and actors, adding flavour to the comedy sequences. From roping in VJ Siddhu and Harshath Khan to all the interesting meta references, Ashwath has managed to cater to the youth in all possible ways. Speaking about such references, the film’s other big strength is the small but emotionally loaded dialogues — for example, "Oru thappu panitu easy ah kadantharlaam nu nenaikurom, but adhu thoratite iruku la" — that are written with care.

The casting, too, is simply perfect. Pradeep Ranganathan as Raghavan aka Dragon makes you empathise with him even as he repeatedly makes wrong choices. Anupama as Keerthi too is as expressive as always. Behind all the jokes and silliness the film paints the situations with, there is something deeper to look at. Do we regret our decisions? 

What if we go back to a place we didn't want to be in the first place? Would we live a changed life? And a lot more questions that make the central plot firm and nuanced. The songs and the way they are woven into the narrative is also a great plus to the film.

If you remember well enough, a lot of coincides, magic, and second chances happen in Oh My Kadavule, too but the actual change happens in the characters’ real life, where every action attracts an equal and opposite reaction. In fact, this angle - where the film wanders into even a dreamy land but doesn’t lose touch with reality - is what made OMK relatable, emotional, and special. Retaining the same essence, Ashwath Marimuthu’s second outing is also a fun, emotional, and fully charged ride.

Chhaava Movie 2025

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Director: Laxman Utekar
Writer: Rishi Virmani, Laxman Utekar, Kaustubh Savarkar
Release Date: February 14, 2025
Language: Hindi, Telugu

Review: Based on Shivaji Sawant's Marathi novel, Chhaava (lion's cub) aims to acknowledge the bravery of Shambhu Raje (Sambhaji Maharaj played by Vicky Kaushal), that most history books haven’t been able to. There’s more to him than being Shivaji’s son who was betrayed by his own men, captured and brutally executed by Aurangzeb (played by Akshaye Khanna). The film sheds light on why he was widely revered by his people and feared by rivals in the nine years that he held the Maratha throne.

Still reeling from the loss of his father, Sambhaji and Sersenapati Hambirrao Mohite (essayed by Ashutosh Rana) invaded Mughal stronghold Burhanpur right under their nose. For the nine years that followed, Sambhaji trampled on Mughals’ expansion plans making him a thorn in their side. Sambhaji’s bravery overcame the betrayal he faced by his own people until he was ambushed and captured in Sangameshwar. Even his brutal execution couldn’t kill his warrior spirit and fight for Swaraj.

Director Laxman Utekar builds his historical on a massive canvas, giving the film the larger than life appeal it deserves. The film starts off with promise and a grand slowmo entry but the first half lacks an engaging story beyond the obvious reverence. It feels like a collage of action sequences and songs without investing much in character development or world building. You miss that tension or sense of discovery around the events that unfold. AR Rahman’s songs and background score drive the narrative, overriding the story and dialogues. The legendary music composer’s 'Aaya re toofan' (war cry) is a winner with its classic Maharashtrian Nashik Dhol Tasha but rest of the tracks don’t complement the film’s setting or theme. Romantic number ‘Jaane Tu’ is beautiful as a standalone song but throws you off guard when placed in the movie as it sounds way too contemporary for the era. Piano doesn't go with the paithani. You constantly wonder if Ajay Atul would have been a better fit for a story like this.

The film’s soul lies in the second half, and it is here that Chhaava truly comes alive. The story picks up the pace, gets the emotions right and keeps you on the edge throughout the thrilling climax that sees Sambhaji single handedly fighting the Mughals. “Kuttay ke pillon kay aanese, sher ka baccha nahi bhaag jata” The writing ups the drama. The fight scenes are well choreographed and executed. The last part of the movie has been splendidly shot and deserves a theatrical viewing.

Last but not least, the film belongs to Vicky Kaushal and it’s fair to say he has given his blood, sweat and tears to this titular part. He channels his inner rage, allows his rudra avatar to take over and roars like a tiger in every scene, commanding your undivided attention. This is one of his finest performances till date and no one could have done it better than him. Akshaye Khanna and his one-liners are effective. He is refreshingly understated, even as his makeup and extensive prosthetic work go over the top. Actor Vineet Kumar Singh is a great casting choice to play Kavi Kalash. His conversation with Vicky gives the film some of its best scenes.

The women don't get as much screen space. The immensely talented Divya Dutta as Maharani Soyarabai has a powerful presence and deserved a meatier role. Rashmika Mandanna looks the part but struggles to get her language, accent and emotions right. Diana Penty turns out to be the biggest disappointment. She barely gets to speak but when she does, her stone-faced performance distracts you from the most intense scenes.

Chhaava’s redeeming factor is its terrific climax. Vicky Kaushal is breathtaking as he exudes Sambhaji Maharaj’s valour and passion for swarajya (self-rule) like it were his second skin. You just wish the film relied and trusted its story more than Rahman's music, which largely feels out of place.

Deva 2025

Deva 2025 Full Movie

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Director: Rosshan Andrrews
Writers: Sumit Arora, Bobby, Abbas Dala.
Release Date: January 31, 2025
Language: Hindi

Review: Director Rosshan Andrrews sets the stage for a gripping whodunnit right from the opening scene. Dev Ambre (Shahid Kapoor) calls his boss, DCP Farhan Khan (Pravessh Rana), to declare that he has solved a murder case and knows the identity of the killer. Just as you settle in for a murder mystery, the intrigue deepens—Dev loses his memory after a major accident. Over the course of 156 minutes, the screenplay team—Bobby–Sanjay, Abbas Dalal, Hussain Dalal, Arshad Syed, and Sumit Arora—takes you through the various layers and shades of Dev, and the unraveling of the mystery.

The film’s first half focuses on building the backdrop of the film and the characters world, keeping the pace slow yet engaging. The dynamics between Dev and his friend Roshan D’Silva (Pavail Gulati) slightly overstretches, but their collective pursuit of powerful mafia dons keeps the momentum alive. As the mystery thickens in the second half, the tonality shifts from action to dark and intense emotions and mood. Dev struggles to navigate his world while dealing with memory loss, turning the movie into a slow burn. However, the well-maintained suspense ensures you stay invested.

Amit Roy’s cinematography, combined with action and stunts by Anal Arasu, Supreme Sundar, Vikram Dahiya, Parvez Shaikh, and Abbas Ali Moghul, makes for an entertaining watch. Jakes Bejoy’s background score is a banger, particularly when paired with the action sequences, giving the film a raw and intense edge. However, some visual effects feel gimmicky. Vishal Mishra, along with Bejoy, delivers the songs Bhasad Macha and Marji Cha Maalik, which enhance the film’s mood.

Shahid Kapoor delivers a brilliant performance as Dev Ambre, balancing menace and vulnerability. There are moments where his actions are unpalatable, yet you find yourself rooting for him in some others. His portrayal of Dev before the memory loss (Dev A) and after (Dev B), showcases his range as an actor—his rugged persona intermittently resurfaces within the milder, confused version of himself. However, there are instances where his performance veers into over-the-top territory.

Pooja Hegde is effective as his girlfriend, journalist Diya, though her character remains largely unexplored despite being the first to hint at a possible mole in the police department. Kubbra Sait delivers a powerful performance in her brief role as a cop, Deepti, but is frustratingly underutilised, and appears out of the blue. Pavail Gulati and Pravessh Rana lend solid support.

That said, the film isn’t without flaws. The narrative has several loopholes and moments that feel unconvincing—a sniper shot, for instance, seems far-fetched. Some loose ends remain unexplained (avoiding spoilers here). Dev’s childhood hardships and his motivation to become a cop to arrest his abusive father are referenced multiple times but never fully explored. The overall pace remains slow, yet it manages to keep you engaged and entertained. The film has in consistencies, however, its intensity, raw appeal, and slick execution make it worth a watch.

MRS 2023 Full Movie

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Director: Arati Kadav
Writers: Harman Baweja, Anu Singh Choudhary, Arati Kadav
Release Date: February 7, 2025
Language: Hindi, English

Review: When Richa (Sanya Malhotra) meets Diwakar (Nishant Dahiya) in an arranged marriage set-up, sparks fly. Once married, Richa dutifully begins to help her mother-in-law in the kitchen, preparing elaborate meals for the family. Mornings begin with her father-in-law (Kanwaljit Singh) and husband having freshly prepared breakfast at the dining table, while the women serve them hot rotis, from the kitchen. And evenings end with a pile of dirty dishes in the sink, that the women wash up. While her father-in-law seems to be mostly busy reading or going for walks, Diwakar, a gynae by profession, spends long hours at his clinic or playing squash to unwind.

As days pass, demands from the kitchen seem never-ending, with her father-in-law having strong views that restaurant food shouldn't be eaten in the house (a view that surprisingly doesn't hold when the women in the house have their periods). When Richa's mother-in-law has to travel for a few months all the kitchen responsibilities are meticulously explained and handed over to her.

Directed by Arati Kadav, 'Mrs.' is the official remake of the Malayalam film, The Great Indian Kitchen (2021) by Jeo Baby, a film that garnered unanimous critical acclaim. 'Mrs.' follows the same story arc as the original, changing some cultural references like adding in Karwa Chauth, only to drive home the message further. The narrative subtly weaves in the shifting dynamics in relationships, the power play in traditional family set ups and the deep seated patriarchy which doesn't evade any gender. Copious amounts of beautifully composed food shots, perfectly prepared meals delicately laid out on the table, stare back at you in stark contrast to the trail of sweat, toil and often filth that it leaves behind. The build-up to Richa's final showdown as her relationship with her husband completely breaks down, is seamless, with each emotion clocking in her ticking frustration.

Sanya Malhotra impresses with a very nuanced performance that makes Richa's journey very palpable. She manages to balance the emotional switch effortlessly to show a young wife with stars in her eyes and hope in her heart being chipped away at slowly handling the daily rigours of the house, managing unrealistic expectations and her dreams getting left behind. The pleading look in her eyes speaks volumes. Nishant Dahiya is commendable in his role as Diwakar, with all the shades to his character and Kanwaljit Singh is dependable as always.

For those who haven't watched the original, "Mrs" is a must watch. Especially for its affecting, potent and provocative storytelling which drives home the subtle, everyday patriarchal and societal norms that turn a blind eye to a woman's desires, wants and needs.

Sky Force Full Movie

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Director: Abhishek Anil Kapur, Sandeep Kewlani
Writer: Niren Bhatt, Sandeep Kewlani , Amil Keeyan Khan
Release date: January 24, 2025
Language: Hindi

Review: War films are replete with tales of courage, sacrifice, and patriotism, and directors Sandeep Kewlani and Abhishek Anil Kapur’s Sky Force adds an element of intrigue to the blend. The movie takes the viewer to the 1965 Indo-Pak War and the nation’s first aerial engagement against Pakistan. The story revolves around Squadron Leader T.K. ‘Tabby’ Vijaya (Veer Pahariya), whose disregard for protocols leads him on a solo mission into enemy territory during Mission Sky Force. His defiance results in his mysterious disappearance, and Wing Commander K.O. ‘Tiger’ Ahuja (Akshay Kumar) embarks on a relentless 19-year quest to uncover Tabby’s fate.

The film takes off with a formulaic setup featuring air training sequences and light-hearted moments but struggles to engage initially. However, once the action shifts to the skies, the narrative finds its wings. The screenplay by Kewlani, coupled with A. Sreekar Prasad's precise editing, ensures a tight narrative that maintains intrigue and emotional engagement. Cinematographer Santhana Krishnan Ravichandran, along with action directors Craig MacRae and Parvez Shaikh, crafts stunning sequences that keep the audience riveted. Political red tape and bureaucratic frustrations are lightly touched upon, adding realism without dragging the pace. The emotional climax, where the truth about Tabby’s mission is revealed, is both heart-wrenching and satisfying, giving viewers a reason to keep tissues handy. Tanishk Bagchi's musical compositions and Justin Varghese's background score enhance the film's patriotic and sentimental tones, complementing the visual storytelling effectively.

Akshay Kumar delivers a nuanced performance as Wing Commander Ahuja, embodying leadership and emotional depth, particularly in his graceful interactions with bureaucratic challenges. Veer Pahariya make a fine debut in a noteworthy role. He brings charisma and intensity to the character and holds his own. Their on-screen camaraderie is authentic and compelling. Sharad Kelkar as Squadron Leader Ahmed Hussain shines in his brief role. Sara Ali Khan in her brief role as Geeta Vijaya is likeable. Nimrat Kaur as Preeti Ahuja, Manish Chaudhri as Group Captain Lawrence, Soham Mujumdar as Tabby’s rival Debashish Chatterjee, and Varun Badola as Air Chief Marshal Amit, lend able support.

Sky Force stands out for its balanced portrayal of patriotism, avoiding overt sensationalism or antagonism. It pays homage to unsung heroes like Squadron Leader Ajjamada Boppayya Devayya, whose bravery is mirrored in Tabby's character. The film is a fitting tribute, making it a must-watch for those who are drawn to war dramas that blend action with heartfelt storytelling. A few bumps in the narrative aside, it’s a cinematic flight worth boarding.

Amaran 2024 Movie

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Director: Rajkumar Periasamy
Writer: Rajkumar Periasamy
Release Date: October 31, 2024
Language: Tamil

Amaran Movie Review: Amaran is a biographical war drama based on Major Mukund Varadarajan, a member of the 44th Battalion of the Rashtriya Rifles, who was killed in action during an encounter operation in Kashmir’s Shopian district. The film, helmed by Rajkumar Periasamy, chronicles multiple phases of Mukund’s life — starting from when he was a student at Madras Christian College with the aim of being in the military to his subsequent training at the Officers Training Academy to him rising the ranks in the Indian army.

Tamil mainstream movies, especially the ones that feature a massive star as the protagonist, almost always show their heroes coming out unscathed at the end, no matter how much odds are stacked against them. In some way, it can be said that the audience has also been accustomed to watching the protagonist fight against all odds and emerge scatheless.

In Amaran’s case, we already know that the officer on whom the movie is based is no more with us, and throughout the film, even during the comforting moments that Mukund shares with his family and colleagues, there is a bittersweet feeling that we carry with us. But, even if Rajkumar Periasamy wasn't able to completely do justice to Mukund as a family man, he has given justice to the brave soldier that Mukund was and continues to be remembered as. This is evident from the final moments of Mukund shown in the film; rather than going for an overdramatic farewell, the makers chose to handle the moment with dignity.

With that said, it takes a while for Amaran to get things going. Mukund’s story is told through the eyes of his wife, Indhu Rebecca Varghese. We first see them meet when they are in college, and as their love blossoms, they get past the initial opposition raised by both their families to be together. But both the leads are not at all convincing in these portions. It's only when Mukund gets into the Officers Training Academy that the film picks up.

Each of the action setpieces in the film is nail-biting and keeps us on the edge of our seats. Those portions truly manage to elevate the film and help the film fully justify its genre. Similarly, the interactions between the officers also make us care for not just Mukund but also for his colleagues. All the actors who feature as military officers, including Bhuvan Arora and Rahul Bose, are wonderful in their part.

Not just them; all the supporting cast in the film are aptly cast, especially a wonderful Geetha Kailasam, who plays Mukund’s mother, Geetha. Coming to the leads, Sivakarthikeyan is seen in a never-before-seen avatar in the film. The funny part is that, in the film, the actor, who came into prominence for his boy-next-door charm and comic timing, looks most out of sync in the lighter portions set in the college. But he is phenomenal as the film progresses, and after he puts on the military uniform, the actor doesn't miss a beat.

It goes without saying that Sai Pallavi is good at emoting what her character’s feeling; she always is. In the film, she plays a Malayali from Trivandrum, and even her good emoting cannot make up for the bad Malayalam she speaks. As an actor, she isn't miscast for the part, but, considering how much Malayalam she speaks in the film, they could have focused more on perfecting her pronunciation. Even during a tearjerker moment, where Sai gives her all as a performer, her Malayalam pronunciation acts as an obvious distraction.

This also goes to show how much Tamil mainstream cinema doesn't care when it comes to casting its female actors. In a large chunk of commercial films, they cast a Malayali or a North Indian as the female lead who is supposed to be from Tamil Nadu, but when it comes to casting a Malayali who speaks a lot of Malayalam, they cast someone who isn't fluent in the language.

Also, a moment between the army officers name-dropping Thuppakki to Fahadh Faasil should have been a candid moment between Mukund and his team. But rather, it comes across as a name-dropping contest to mention as many popular names as possible to get the cheers in the theatres.

All said and done, there is no denying that Amaran is a worthy tribute to the legacy of Major Mukund Varadarajan. Even with all the glitches in between, the film makes us cherish and celebrate Mukund and the courageous officer he was.

Sikandar Ka Muqaddar 2024

Sikandar Ka Muqaddar 2024 Full Movie

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Director: Neeraj Pandey
Writers: Neeraj Pandey, Vipul K Rawal
Release Date: November 29 2024
Language: Hindi

Review: After a string of successful and taut Bollywood thrillers like A Wednesday, Special 26, and Baby, director Neeraj Pandey has carved a niche for himself with his gripping stories of secret agents and men in uniform. His recent OTT successes, Special Ops and Khakee: The Bihar Chapter, further solidify his mastery of the thriller genre. However, his latest offering, Sikandar Ka Muqaddar, while still watchable, fails to reach the high bar set by his earlier works.

Set against the backdrop of 2009 Mumbai, the film begins with an intriguing heist, where precious red solitaires worth Rs 60 crores are stolen during an exhibition. Officer Jaswinder Singh (Jimmy Shergill) quickly narrows his list of suspects to three suspects—Mangesh Desai (Rajiv Mehta), a veteran employee at the jewellery store; Kamini Singh (Tamannaah Bhatia), his colleague; and Sikandar Sharma (Avinash Tiwary), a computer techie in a hurry to leave the scene after the alarm is triggered. While Jaswinder’s instincts point towards Sikandar, his growing obsession with solving the case sends him on a 15-year-long pursuit that spans multiple cities, including Abu Dhabi. At the heart of the story is the question of whether Sikandar or any one of the other suspects is truly guilty, or if Singh’s relentless pursuit is driven by his need to protect his reputation.

The film starts strong, with a compelling setup that draws the audience into the mystery of the missing diamonds. However, when the narrative jumps ahead 15 years, the pacing slows considerably. The back-and-forth between the past and present becomes sluggish, and as the film shifts focus from the heist itself to the prolonged cat-and-mouse chase between Singh and Sikandar, the intrigue

 gradually fades. Although a few plot twists attempt to keep the tension alive, many are predictable, and by the time the climactic face-off between Singh and Sikandar unfolds, it struggles to hold the suspense it initially promised.

The performances are undeniably strong, with Jimmy Shergill delivering a standout turn as Officer Singh. He brings depth to the character, portraying a man driven by both duty and personal demons, struggling to maintain his reputation while dealing with mounting frustrations. Avinash Tiwary also shines as Sikandar, a man caught in the crossfire of his own choices and a determined cop’s obsession. Tamannaah Bhatia impresses in a non-glamorous role, playing a single mother who becomes inadvertently entangled in the investigation. Despite Tiwary having more screen time, Bhatia’s portrayal arguably provides greater emotional depth. Rajiv Mehta rounds out the cast well as Mangesh Desai, another suspect whose role adds complexity to the mystery.

Visually, the film impresses. Cinematographer Arvind Singh does a great job of capturing the locales, from the vibrant streets of Mumbai to the sleek cityscape of Abu Dhabi and the historical richness of Agra. However, the 143-minute runtime feels unnecessarily stretched, with songs—though well-composed—detracting from the narrative’s momentum.

Despite flashes of brilliance, Sikandar Ka Muqaddar fails to fully capitalize on its potential. The tension wanes as the story progresses, and the twists arrive too late to redeem the sluggish pacing. While the performances and initial premise keep it afloat, the film ultimately lacks the razor-sharp intensity that defines Neeraj Pandey’s best works.

Sikandar Ka Muqaddar is worth a watch for its strong performances and intriguing start, but it’s not the gripping thriller fans of the genre might expect.

Pushpa The Rule Part 2

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Director: Sukumar
Writers: A.R Prabhav, Sukumar, Srikanth Vissa
Release Date: December 5, 2024
Language: Telugu, Hindi

Pushpa 2 Review: Director Sukumar’s brilliance shines through in Pushpa 2: The Rule. He masterfully balances a mass entertainer with a film rich in social commentary, weaving layers of emotion, action, and intrigue into a compelling cinematic experience. Despite the extensive runtime of 3 hours and 20 minutes, the film keeps its audience riveted with a mix of high-octane sequences, character-driven moments, and a poignant emotional arc.

Sukumar doesn’t just focus on the grandeur of action; he incorporates subtle humour through the quirks and mannerisms of the characters, whether it’s Pushpa Raj, Banwar Singh Shekhawat, or the supporting cast. Each character has a distinct identity that enriches the story. Even when the film seems to linger towards the end, the emotional payoff in the climax redeems it, providing satisfying closure to Pushpa’s internal and external conflicts.

Allu Arjun ascends to a new echelon of his career with a transcendent performance. He is firmly in a "god zone," surpassing expectations and cementing his status as a force to reckon with in Indian cinema. The Jathara sequence is a landmark moment in his career, bound to be celebrated for years to come. Every aspect of his performance during this sequence—his physicality, emotional depth, and sheer energy—is awe-inspiring. The choreography, visuals, and editing amplify the impact of his performance, creating a euphoric high for audiences. In Pushpa 2, Allu Arjun proves yet again that he is not just a star but an artiste who redefines the boundaries of performance.

Rashmika Mandanna shines as Srivalli, moving beyond the archetype of a supportive partner. She becomes Pushpa’s emotional anchor, adding layers of resilience and warmth to the narrative. Her chemistry with Pushpa Raj captivates, and their peppy number Peelings is thoroughly entertaining, showcasing their dancing skills.

Fahadh Faasil is chillingly entertaining as Banwar Singh Shekhawat. His understated menace and simmering quest for respect create palpable tension in every scene he inhabits. As a formidable antagonist, he matches Allu Arjun’s intensity with a performance that commands attention.

Rao Ramesh and Jagapathi Babu bring depth to their roles as political leaders, adding intrigue and complexity to the narrative. The supporting cast, including Sunil, Anasuya Bharadwaj, Saurabh Sachdeva, Tarak Ponnappa, Jagadeesh Prathap Bandari, Brahmaji, Ajay, Kalpa Latha, Pavani Karanam, Sritej and Divi Vadthya, ensures the world of Pushpa remains immersive.

The film’s technical excellence is remarkable and a step up from the first instalment. Mirosław Kuba Brożek’s cinematography vividly captures the vibrant chaos of the forest, the intensity of the action, and the emotional nuances of quieter moments. Scene transitions are seamless, and the framing of shots is exquisite. Devi Sri Prasad’s music elevates the narrative, with tracks like Sooseki and Kissiki blending into the storytelling. The background score complements the film’s tone, while the action choreography balances grit and grandeur, offering a visual treat.

Though the film has its flaws—like, a not-so-strong story and over-the-top action sequences—its smart screenplay, brilliant performances, and top-notch production values overshadow these drawbacks.

Pushpa 2: The Rule is a sequel that surpasses its predecessor in scale, storytelling, and emotional depth. Sukumar’s vision, combined with Allu Arjun’s powerhouse performance, layered narrative, breathtaking visuals, and stellar ensemble cast, makes it a cinematic triumph that demands to be experienced on the big screen.