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.

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.

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.

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.

Kanguva 2024

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Director: Siva
Writer: Madhan Karky, Adi Narayana, Siva
Release Date: November 14, 2024
Language: Tamil, Hindi

Kanguva Movie Review: The opening sequence of the present-day Suriya is the trailer for the outdated writing of Kanguva. Yogi Babu hypes up Suriya’s Francis, a bounty hunter, as he jumps out of his shower and attacks a few enemies, and there goes our hero introduction. What follows is a template romance song in Goa and a breakup that’s announced just using TEXTS (a different approach to the “show, don’t tell” format?). We are introduced to so many characters within the first five minutes of Kanguva – including those played by prominent actors like Disha Patani, Redin Kingsley, Kovai Sarala, and KS Ravikumar – but disappointingly, we hardly see them for 15 minutes on screen.

The film oscillates between two different timelines: 1070 and 2024. In the present, Francis feels strangely drawn towards a young kid, a mere stranger. He goes to the lengths of risking his own life to save the kid. On the other hand, back in 1070, Suriya’s Kanguva, a mighty tribal prince and warrior, vows to save a kid. While the premise, connecting the two mysteries, is quite intriguing and you look forward to seeing how their bond is depicted, the execution tires you. Just like how too many characters are introduced in the present, you are transported to a different world in 1070, where five different villages with different ethics and ideologies co-exist. Two worlds are built and are overdosed with so many details that add little value to the story. But even if you want to try and understand the world – the five villages, their ethics, their past fights, etc – you are given limited time to grasp it all. Besides the reason that the makers have nestled in too much information, the way it is presented also contributes to the confusion. For instance, if texts are how the characters in the present day are introduced to you (eg: Francis, Bounty Hunter), you are welcomed to the past with a strange narration in Sentamizh, haphazardly explaining the five different villages. Also, the tonal shift as the film jumps from a party in GOA to an upcoming war in an age-old village is jarring.

One of the few interesting aspects of Kanguva is its innovative fight sequences – one involving snakes and scorpions and another of the women in 1070 attacking their enemies. Watching it in 3D also gives you the effect of being part of blood baths and sea waters splashing out of the screen. Props to the acting, you also get a few emotional sequences. But the grand visuals – Vetri Palanisamy captures the bright streets of Goa and the scenic visuals of the past world aesthetically – and impressive fights are all you get in Kanguva, as the story meanders a lot without a central focus.

For instance, after announcing a war, Suriya is temporarily exiled from his village for a few reasons. And immediately, we get a song where Suriya and the little kid are reconnecting. Now, as previously said, the bond between them is central to the whole film. However, their sequences are inserted randomly in the film’s runtime, mostly as montages, so you don’t get the chance to emotionally connect with them. There’s also too much happening around – a war, a foreign invasion, the return of a past feud, a simmering vengeance, all while you are just still trying to wrap your head around the lifestyle of the village people.

There are a few moments that impress us like the fight sequences, the metaphorical moon and birds, the reason behind Kanguva wanting to protect the child and more. There are also glimpses of how Francis could be the reincarnation of Kanguva – even with the sea of differences they share, there are hints that connect them. Like how Kanguva forgives and protects someone who tries to kill him, Francis, too, goes out of his way to save his ex-girlfriend, who minutes ago wanted him dead. Suriya also impresses as Kanguva – the difference he brings to his two characters in terms of body language is quite intriguing. And after a point, it becomes a one-man show, with Suriya solely carrying the entire film on his shoulders.

Interestingly, although there is an overdose of information, you can see how the makers have carefully crafted this past world, which has a personality and culture of its own. For instance, each village has its own dance traditions, punishment plans, etc. Likewise, Kanguva’s village has a ritual of not using weapons while praying before a big war. There is also a focus on the kind of weapons they use – like a double-edged sharp stick. However, all of these are shown in glimpses. Even the villain (Bobby Deol), who rules the enemy village has four sons – but we never get the time to know or understand them. Add to this the sequences set in the present timeline, which are filled with bland jokes and outdated writing – there is so much you wish the makers had avoided. And this is why you wish the film had focused only on one timeline, letting the frames and the characters breathe a little more. Its ambitions go unnoticed in its mess of convoluted and confused writing choices.

Yashoda(2022)

Yashoda(2022) Full Movie

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Director: Harish Narayan, K. Hari Shankar
Writers: K. Hari Shankar, Harish Narayan, Pulagam Chinnarayana
Release Date: November 11, 2022
Language: Telugu

Review: Survival thrillers are not a new genre but Tollywood does one of them so few and far in between that it's a delight to see- especially when done well. Hari and Hareesh's Yashoda takes a very real-world situation, ups the ante and on top of everything, bank on a dependable actor like Samantha to carry it through.

Yashoda (Samantha Ruth Prabhu) is a surrogate in desperate need of money. Instead of carrying out her pregnancy in the basti she lives in, she is urged to move to the high-end facility Eva, owned by Madhu (Varalaxmi Sarathkumar). It also helps that she has Dr Gowtam (Unni Mukundan), who's easy on the eyes, looking after her health. While the clinically white rooms, pastel outfits, luxurious food and great company seem like a dream-come-true for any pregnant woman, cracks soon form on the surface. A disappearance here, a glitch there and soon Yashoda finds herself unravelling the mystery behind it all.

On the other hand, in the world outside Eva, we also have a murder mystery unravelling. A Hollywood starlet dies under mysterious circumstances, so do a tycoon and a super model. An unknown drug (apart from a fairness cream!) seem to hold the key to the whole mystery. Secret codes, dead policemen, loose ends - how does it all connect to the facility?

The first half of Yashoda banks heavily on comedy and emotion. The scenes where smart-mouthed Yashoda flirts with Gowtam, pulls pranks on the facility workers and banters with the many women like her there makes you chuckle. Every woman there has a story and more often than not, it's much more to do with than just being a vessel to help childless parents. The more Yashoda seems to find out about the facility, the more a team of police men (Murli Sharma, Shatru, Sampath Raj) seem to lose track of their investigation, stumbling upon road blocks.

A fight scene right before the interval sets the tone for what's to follow - an edge-of-the-seat thriller that sees Yashoda claw and fight her way out of the situation she's in. If you've seen the 2004 Hong Kong horror film Dumplings you can kind of guess the secret behind it all. That's not to say Hari, Hareesh and Samantha don't make the ride as interesting as they can. There's something visceral about the way Samantha's character is hunted and even more so in the way she fights for survival. Even if you're able to predict what happens next (which is rare), the film ensures to keep you engaged.

Where it doesn't work is when it gets hammy with some of the dialogues regarding Yashoda, mother's love, pregnancies and deliveries. The film could have done even without them because they just seem to add to the run time and don't land how they're expected to. The VFX could've also been much better in order to sell the story completely. And if we're really picking at the nitty gritty, characters of the other girls at the facility could've also been fleshed out better. Few key scenes depend on it and it's not as immersive as it should've been. Art director Ashok, M Sukumar's cinematography, Mani Sharma's score and Yannick Ben's stunts aid the film well.

Samantha steals the show as the titular Yashoda. This is her film through and through. She even draws whistles with the way she kicks butt and delivers punch dialogues with ease. The more she gets into action mode the more you both have fun and flinch at the same time. Varalaxmi and Unni Mukundan sell their roles well. You just know there's something simmering beneath the surface, waiting to come out. And when it does, it comes out well. However, Varalaxmi struggles a little with her dubbing and you wish it was better. Rest of the cast, including Rao Ramesh, Murli Sharma, Sampath Raj and co play their parts well.

Yashoda is the film to catch this weekend if you're looking for something beyond the usual masala fare or love stories. Watch it especially if you're a fan of thrillers or are a fan of Samantha. You won't regret it.

Singham Again Movie 2024

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Director: Rohit Shetty
Writers: Vidhi Ghodgaonkar, Abhijeet Khuman, Anusha Nandakumar
Release Date: November 1, 2024
Language: Hindi

Review: The wild ride begins as Bajirao Singham unleashes his fury in writer-director Rohit Shetty's ferocious instalment of the Singham cop universe. This time, he's on a mission to tame the terrorist Omar Hafiz's (Jackie Shroff) drug ring in Sri Lanka, led by the dreaded Danger Lanka or Zubair Hafiz (Arjun Kapoor). However, Singham also needs to rescue Avni as she’s abducted by Danger. The jungle mein dangal just got wilder.

The relentless action is wild, leaving little room for the story (by Kshitij Patwardhan) to breathe. But who's complaining when you're in it for the high-octane thrills and the posse of beasts, including Lady Singham (Deepika Padukone), Satya (Tiger Shroff), Simmba (Ranveer Singh), and Sooryavanshi (Akshay Kumar)!

Writer-director Shetty plays to the gallery, blending action with cultural revival nods to Ramayan and Kalaripayattu. The entire cast's entries are whistle-worthy, playing perfectly to the gallery. Shantanu Srivastav's dialogues pack quite a punch. Sample this: ‘Sitare aasman mein achhe lagte hain ya phir sheron ke kandhe pe.” (Stars look good in the sky or on a brave cop's uniform). However, some references to the Ramayan don't quite land and feel forced into the narrative.

The film’s production is top-notch, with Raza Mehta's stunning cinematography capturing the wild beauty of Sri Lanka and Tamil Nadu. The recreation of Ramayan for the stage is a visual treat. Action directors Grant Hulley, Sunil Rodrigues, and Shetty deliver heart-pumping sequences that will keep you on the edge of your seat. However, at 144 minutes, the narrative is long and could benefit from a tighter edit.

Ajay Devgn owns the screen with his quintessential swag, taking the lion's share as a performer. However, Ranveer Singh steals the show with his razor-sharp comic timing, digging his claws into the role with hilarious lines and scenes. His mimicry of Devgn and Kumar is spot-on, and his entry injects new energy into the film. Deepika Padukone, Tiger Shroff, and Akshay Kumar deliver short but impactful roles, while Kareena Kapoor charms as Avni. Arjun Kapoor delivers a powerful performance in his menacing antagonist avatar. The actor passes off as a worthy nemesis to Singham.

The movie is unabashedly entertaining, cheesy, and wild, with moments that will have you laughing out loud. Simmba's (Ranveer Singh) landing at a super-serious and traditional wedding in Sri Lanka while evading goons, or his interactions with Sooryavanshi (Akshay Kumar), are comedy gold.

Keep an eye out for the wild card at the end of the credits. Singham Again unleashes a high-octane blend of action and entertainment. Despite some flaws, this actioner roars.