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.