IKKIS MOVIE REVIEW

Films like Johnny Gaddar, Andhadhun, Merry Christmas among others had already cemented Sriram Raghavan’s reputation as the undisputed king of noir and suspense in the Hindi film industry. Ikkis, however, marks a departure from his comfort zone to tell a story of strength & valor demonstrated by late Indian Army Tank Commander Arun Khetarpal Singh, who was martyred in the Indo-Pak war of 1971. Without bearing an inkling of resemblance to any of his previous films, Ikkis is as much an ode to Singh’s courage as it is a testament to Raghavan’s versatility. 

Ikkis is a befitting title in more ways than one. In the story’s context, of course, it represents the age at which Second Lieutenant Arun Khetarpal died on the battlefield. In the context of military rituals, the phrase “ikkis topon ki salami” is a grand ceremonial 21-gun salute that symbolizes ultimate respect for a martyr. Coincidentally, Agastya Nanda (the lead actor of the film, who by the way is a spitting image of Abhishek Bachchan in some angles) was 21 years old when signed for the film. This was a bold casting choice and has paid off very well. 

Writing a period war film while consciously avoiding the trappings that accompany this genre is a tricky task. There’s not much wiggle room to refashion the story to suit certain cinematic sensibilities. The characters, too, cannot be tinkered with too much to uphold respect for the soldiers. On top of that, Indian war films are known to be excessively jingoistic and one dimensional, leaving a filmmaker creatively straitjacketed. In Ikkis, however, Raghavan and writers do a fine job of eschewing the temptation to paint in broad strokes and instead present the actors as real flesh and blood characters, including the Pakistanis. What truly stands out, though, is the way in which the action is staged. Choreographed with the help of Russian stunt directors, these scenes transport you directly to the battlefield and commandeer your full attention. 

The film, unfortunately, is not without its share of flaws. The first half is merely peppered with anecdotes from journeys of the main characters in the two criss-crossing timelines. Although sporadically engaging and competently directed, the film never feels more than a sum of its parts. But if you’re able to get through this initial phase of uneventfulness, you’ll be handsomely rewarded by what follows. It has a solid uplifting core, and the terrific cast leave no stone unturned in doing all the emotional heavy lifting.

I’m going with 3.5/5 for Ikkis. Although the aching plea for peace might strike someone as naive, a little dose of positivity has never done any harm. As the end credits rolled, I was caught juggling the dual tasks of wiping off my tears and applauding at the same time. It was a lost cause, much unlike what the film has achieved.

DHURANDHAR MOVIE REVIEW

If a film is roughly 200 minutes long and you don’t want it to end because it is so much fun, that speaks a lot about its sensational appeal. Dhurandhar is one such film. It isn’t an easy watch for sure. It glorifies violence in an unprecedented way; there’s a generous use of gaalis throughout the film (the stuff of nightmares for the Indian censor board); the scene related to the 26/11 attack might evoke strong feelings for some. Yet, what separates Dhurandhar from films like Animal is that all of the above excesses are in service of dialing up the entertainment quotient of the film. To that extent, director Aditya Dhar has done a remarkable job. Can he be called the real ‘Dharandhar’?

Despite the competent writing and direction, Dhar’s biggest achievement lies in the marshaling of an extremely talented cast who hold back no punches in bringing this high-octane drama to life. Ranveer Singh shines through a deliberately understated performance. Akshaye Khanna seems to have had a lot of fun with the role of a lifetime. Arjun Rampal, Sanjay Dutt, Rakesh Bedi and a bunch of lesser known faces all rise to the occasion and make a meal of their parts. 

The film has its share of flaws, of course. I found the first half too long. An Indian spy trying to infiltrate a Pakistani group is not novel, and this lack of originality made the 2-hour long first half feel unreasonably stretched. 

I’m still going with 4/5 for Dhurandhar. If you have the appetite for all the gore and more, give it a chance. You won’t be disappointed. It’s that rare film where the hype is justified. 

HOMELAND SERIES REVIEW

Where do I start?

It’s intimidating to even attempt reviewing what I think is one of the best shows ever made. It’s hard to articulate my admiration for Homeland. 

Just when you think it couldn’t get any better, the next season presents itself to upend that notion and serve you with the same bold writing, a myriad of colorful characters, gritty direction and utterly convincing performances if not more. Thanks to the pitch-perfect casting, not a single actor looks out of place. Some seasons, of course, are a little weaker than the others, but even when the show doesn’t appear to be at its biting best, it still remains way above the standards set by ‘regular’ shows. When we talk of great shows, I’ve heard a lot of Breaking Bad, Succession, Game of Thrones, etc. But not once did I hear Homeland being counted among the best. For a show whose filmmaking not only touched the epitome of excellence but also handsomely sustained it for 8 seasons, it’s an absolute shame. 

Each season follows a different primary storyline with multiple interconnecting threads. You cannot and should not make the mistake of skipping a season. The action keeps shifting between US, Berlin, Pakistan, Afghanistan, Israel and multiple other regions rocked by the instability perpetuated by warring extremist groups. Amidst the thicket of all the drama, espionage, double crossings and negotiations, what truly stands out is that the show never shies away from laying bare the moral dilemmas faced by the key decision makers in the government who only act under the pretext of serving one’s nation: an entity born out of our collective imagined reality.

As extolled before, the show boasts of phenomenal actors. Yet, it can’t be said enough how much the show rests on the able shoulders of the two protagonists: Carrie Mathison (played by Claire Danes) and Saul Berenson (played by Mandy Patinkin). Their majestic performances matches up to the solid storytelling and even towers above the weaker episodes to keep the proceedings consistently engaging. 

I’m going with a perfect 5/5. After consuming about 100 hours of the show, there’s a big Homeland-shaped void in my life. 

YOU (Netflix show) REVIEW

Chilling, disturbing, misogynistic and yet somehow deliciously thrilling, YOU is a must-watch for anyone in search of a frequently engaging edge of a seat drama riddled with volatile twists. 

The reason I used the phrase ‘frequently engaging’ is because it is, in fact, far from perfect. The show spanning 5 seasons, much like its characters, goes through waves of highs & lows and mood swings during which many episodes deviate from the main plot and become occasionally tiring to watch. Each episode in each season is roughly around the same time (50 min per episode and 10 episodes per season), and I wish the makers didn’t feel the need to stick to the same length for those episodes which could easily have been wrapped up in around 30 minutes.

Still, if there’s one reason why I insist you watch YOU, it is for lead actor Penn Badgley. Joe Goldberg (the main protagonist played by Penn) is one of the most complex written characters with multiple facades of fear, believability, vulnerability, creepy romance among others, and yet Penn portrays the role with a dignified comfort that’s so rare to find. Although the show boasts of countless unforgettable characters played by extremely competent actors, Penn’s omnipresence through his voiceovers and impeccable acting makes it quite hard to associate the show with anyone or anything else but him.

It’s impossible not to be mesmerized by the plot development, intelligent twists and the sheer unpredictability of the actions of the principal characters. It’s a show which you’re willing to wholeheartedly accept with all its flaws. In all the hoo ha of the double crossings, scheming partners and waterfall murders (meaning one murder leading to the other), the central and recurring theme is to question if it’s ultimately wrong to judge the actions of an adult in isolation from the hardships and neglect they face in their childhoods.

I’m going with an average of 4/5 for all the seasons combined. Although each season has its own merits and drawbacks (the details of which I chose not to discuss in this review), I felt it’s more fitting to think of it and review it as one homogenous entity. 

PAATAL LOK SEASON 2 REVIEW

What a great way to begin 2025! First Black Warrant and now season 2 of Paatal Lok. While the tone of Black Warrant was deliberately more indie and hence more palatable only to a discerning audience, Pataal Lok emerges as a solid entertaining thriller painstakingly spun out of a complex web of scheming politicians, drug dealers, unstoppable police officers and much more. All this in a backdrop of the tense and sensitive sociopolitical environment of Nagaland, where violence and protests are just around the corner waiting to erupt.

Without giving away anything about the juicy narrative in which no character (however small) exists without a reason, all you need to know is this show is a must watch. Season 1 had already raised the bar mighty high, but season 2 is riveting in its own distinct way. The makers (the genius combo of writer-creator Sudeep Sharma and director Avinash Arun) have thankfully not tried to emulate the story or style of first season merely for the sake of legacy. The only repetition they could be accused of is that of harnessing their collective storytelling prowess to craft a binge-worthy show yet again riddled with shocking twists and turns that merit repeat viewing just to fully absorb the multiple facets of the dense plot. 

Perhaps what Sudeep and team can pride themselves the most on are the indelible impressions left behind in the form of the colorful and utterly relatable characters and the actors that inhabit these roles. Hathiram Chaudhary, in my opinion, is one of the best fictional characters created for screen. Jaideep Ahlawat (easily the baap of all actors by a handsome margin) practically lives the character and, in a way, does become its permanent nivasi. I know it sounds creepy, but there’s a kind of sensory delight in watching him bash up the bad guys topped with the flamboyant use of gaalis that hit the ears like a soothing melody. Although Ishwak Singh and Tillotama Shome also deserve special mention it can’t be said enough that each and every character neatly and well deservedly fits into this jigsaw puzzle.

I’m going with 4/5 for season 2 of Paatal Lok. Notwithstanding the minor issues of pacing in some episodes, the show will be (and should be) regarded worldwide as one of the best thrillers produced by India. If you haven’t watched season 1, I hope this review compels you to set foot into the netherworld. 

LAAPATA LADIES MOVIE REVIEW

Laapata Ladies is a triumphant concoction of humor, social satire and inherent sincerity that is packaged to fill your heart with warmth and leave a big smile on your face. 

It also marks Kiran Rao’s entry into mainstream cinema after her indie debut Dhobi Ghat. Her complete submission to the light-hearted yet consistently engaging script by Sneha Desai took me by surprise. It’s hard to tell to what extent Aamir Khan (Producer) contributed to the filmmaking process, but given his impeccable track record as Producer of successful comedies like Peepli Live and Delhi Belly to name a few, it goes to show that his creative sensibilities continue to remain solid.

Barring a few familiar faces like Ravi Kishan, a majority of the cast is populated with newcomers who display a supreme level of screen command which many seasoned actors still try to find. 

The story charts relatively tested territory in terms of misplaced identities and regressive marital traditions in rural India, yet Kiran Rao consciously abstains from going into preachy mode and instead lets the inherent farcical nature of the premise deliver the message.

I’m going with 4/5 for Laapata Ladies. The film serves as a reminder that what’s actually Laapata is such innocence associated with Hindi films nowadays.

ROCKY AUR RANI KI PREM KAHANI MOVIE REVIEW

Karan Johar’s directorial debut Kuch Kuch Hota Hain released in 1998. 25 years and 7 feature films later, not much has changed in his stories or style of filmmaking. That’s not necessarily a bad thing, though. While watching the latest film of his ‘Dharma’tic universe Rocky aur Rani (the actual name is too long), what struck me was the dichotomy of the constant feeling of ‘been there seen that’ and the ability of Johar to milk the most of this situation to craft a consistently engaging film. In that sense, familiarity is both the film’s biggest enemy as well as biggest strength. 

Welcome to the world of Karan, ‘Jo-har’ film mein bahut paise kharch karta hain. One of Bollywood’s biggest ambassadors of extravagant filmmaking, he pays no heed to his detractors’ questioning and bashing of this splurging on costumes & songs, but instead revels in filling every frame of his films with affluence. Be it students showing off their Louis Vitton products in a college that looks nothing short of a palace, or a rich spoilt brat pursuing ‘Mere Baap ki Aarzoo (MBA) in London, or inserting an elaborate wedding sequence just for a short film, Johar spends more money on one song than Anurag Kashyap or Dibakar Banerjee spend on their entire film. It’s a crime to be poor in his world. In fact, Jaya Bachchan’s name in the film is ‘Dhan’lakshmi. No kidding! Now, if all of this financial freedom was used in vain, it would be unacceptable, but I have to give credit to Johar that his films are genuinely delightful to savor. He usually has a strong grip on his screenplay, which although is just recycling a similar story each time, is fun to watch for most part. 

Rocky aur Rani falls in the same category. The first half is light, breezy that sails through mainly because of the electrifying chemistry between its leads. The makers do go occasionally overboard by relying so heavily on the nostalgia of old hit songs (like abhi na jaao chhod kar) that the novelty of the whole idea dries up quickly. There are, of course, the catchy songs and the grandeur at display which is captivating, but what lends the film the emotional heft in the second half is the way he sets up conflict between the main characters and sustains that tension between families and relationships. 

At almost 3 hours of running time, Rocky aur Rani seldom feels boring, thanks to the perfect casting. Alia Bhatt in a saree and bindi can win hearts without even acting by just appearing on screen. It’s hard to think of anyone playing Rocky other than Ranveer Singh. Their solid performances help overlook many of the film’s inconsistencies. Except Jaya Bachchan, all the other actors complement each other and the story very well. 

I am going with 3/5 for Rocky aur Rani. Amidst all the shine and glamour lies an emotional core that is unabashedly tapped into for good measure by Karan Johar. The film rarely soars like it should have, but I still recommend giving it a shot for a dose of good humor and wholesome entertainment.