DRISHYAM: THE CONCLUSION MOVIE REVIEW

The writers of Drishyam: The Conclusion made a bold move by pursuing a completely different trajectory from the Malayalam version. It is clear that the scripts for the two versions were developed in parallel, and directors Jeethu Joseph and Abhishek Pathak don’t even seem to have exchanged notes during the scripting process. Does this necessarily translate into a better film? Read on to find out.

The new central characters introduced in the film are the Special Branch Inspector, played by Jaideep Ahlawat, and the prosecutor, played by Prakash Raj. Jaideep’s opening scene announces his arrival in the big league of so-called stars. Although the scene (and, frankly, most of the film) is designed to play to the gallery, it is immensely gratifying to see an actor of his calibre finally receive the recognition he deserves. Of course, we have Akshaye Khanna to thank for this. His abrupt exit from the film, reportedly due to a dispute over his revised compensation following Dhurandhar’s massive success, gave birth to Jaideep’s Inspector Tomar. Complementing him are Prakash Raj, Kamlesh Sawant (the menacing, later comical, Gaitonde), and Ajay Devgn, who remains assuredly understated even when the film itself is decidedly exaggerated.

And this is probably my biggest frustration with the film. While I found it consistently engaging, I thought the stylised treatment of the story and its characters lent the film a certain flamboyance that didn’t sit well with the reputation of Jeethu Joseph’s Drishyam. In the first half, every character speaks in metaphors involving jungles, cigarettes, and whatnot, simply to emphasise that this time, Vijay Salgaonkar will not be spared. By the end, when it becomes clear that Vijay has pulled another ‘Vijay’ on all his opponents, metaphors are once again used aplenty. Only this time, they convey a sense of respect for his inventiveness, coupled with the crushing feeling of defeat. This familiar template engenders fatigue and rarely allows the audience to genuinely feel anxious that Vijay might actually be in serious danger this time around. You may not know how, but you know for sure, all along, that he will get away with it yet again! In a way, Drishyam: The Conclusion could well have been called Drishyam 2: Part 2, if you know what I mean.

This is the main reason I liked the Malayalam version much more. Although the effectiveness of the climax is debatable, I was impressed by Jeethu Joseph’s efforts to add another maniacal dimension to Georgekutty’s character. He is not simply a man who misleads law enforcement agencies at every turn; rather, he is someone who will go to any length to protect his family, even if that means putting the very people he seeks to protect in harm’s way.

I’m going with 3/5 for Drishyam: The Conclusion. I read in an interview that director Abhishek Pathak felt the need to cater to the sensibilities of Hindi-speaking audiences and therefore chose to take the plot in an independent direction. Perhaps someone should remind him that Nishikant Kamat achieved the same degree of success with the first Drishyam by sticking to the original format. May Sam’s soul finally rest in peace!

OPERATION SAFED SAGAR SERIES REVIEW

One can heap praise on this fantastic six-episode Netflix show for numerous aspects: technical prowess in the action department; spot-on casting; an engaging screenplay; earnest performances. Yet, what stands out the most is its restraint. The restraint to eschew over-the-top jingoism; the restraint to avoid caricaturing the Pakistani establishment and Army, however problematic they were in real life; the restraint to prevent the screenplay from being hijacked by gratuitous subplots.

War dramas are a tried-and-tested genre. There’s barely any room to manoeuvre the screenplay to deliver twists and turns or play around with character arcs to satisfy creative indulgences. Most of the tropes have been employed by Hindi cinema before. The story of Kargil itself has been depicted in scores of films: LOC Kargil, Lakshya, Shershaah and Gunjan Saxena are the recent ones that come to mind. Yet, by embracing all these limitations, the show weaponises familiarity (and the restraint I lauded above) to craft a riveting narrative built around the Air Force’s contribution to, and support for, the Army in reclaiming Indian territory from Pakistan that was illegally captured to coerce India into relinquishing its hold on the much-disputed Kashmir.

The first few episodes, which serve as a build-up to the actual war, are judiciously written. The characters, their conflicts and dialogue exchanges are relatable; the sortie exercises of the pilots are compelling; the politics, war planning and power struggles playing out on the other side of the border are utterly convincing. The latter half of the show is dominated by breathtaking action scenes. There are moments when the edginess takes a back seat and the screenplay treads predictable territory, but even then, the show rarely runs out of fuel.

In a case of inspired casting, Manu Rishi Chaddha, who plays Pervez Musharraf, and Vinay Pathak, who plays Nawaz Sharif, practically steal every scene they are in. Equally inspired is the casting of Siddharth as the late Squadron Leader Ajay Ahuja, who needs just one scene to remind us what a good actor he is. The show is replete with seasoned actors like Jimmy Shergill and Adil Hussain, alongside a bunch of lesser-known faces like Abhay Verma (The Family Man), Mihir Ahuja, Prajakta Koli and many others. Let’s just say: no one disappoints.

Rating: 4/5

A restrained war drama that knows exactly when to roar—and when to hold its fire.

DRISHYAM 3 (ORIGINAL) REVIEW

If someone told me back in 2013 when I watched the OG Drishyam that the legacy, story and characters are going to live on sequel after sequel, I wouldn’t believe it. In fact when I recently learnt that there is going to be a part 3, I was skeptical. For me, part 2 had reached the pinnacle of suspense and it had all the elements of a grand finale. Renewing the series raised concerns that the makers were possibly burdened by the box office pressure and lure to deliver yet another blockbuster.

Now, having watched part 3 of what I think is the best franchise ever made in India, I’m convinced that there is still scope for more. Not because there are many loose ends in the latest film, but because the story has been set up in such a way right from the beginning. And because I want more, of course! Who wouldn’t want to continue to be invested in Georgekutty’s sly and almost maniacal efforts to bulletproof his family from outside threats?

The big man to thank for all of this is director Jeetu Joseph, who has nurtured Drishyam over the years like his own child. Not tainted by the tendency to needlessly experiment or re-invent the wheel, a big part of why Drishyam has been working is the by-the-book filmmaking by Jeetu Joseph. The trick is to let the film be driven by the fear and anticipation that something bad is about to happen even when everything seems perfectly normal on the outside. In that sense, by letting the film direct itself, Jeetu has displayed the restraint of a great filmmaker.

What’s also somehow holding this film together is Mohanlal’s outstanding performance, or should I say the lack of performance. His eyes have the ability to transform a blank piece of paper in the script to a gripping scene on screen.

Abhishek Pathak, the director of the second part of Drishyam in Hindi, recently said in an interview that the Hindi version of this latest installment was written independently of the Malayalam script, under the pretext of catering specially to a Hindi audience. In my opinion, that’s the dumbest thing to do. It’s like taking away a grown up child from his/her biological parents and then leaving the rest of the upbringing in the hands of the foster parents. The plot is universally engaging and requires no tailor-made tweaking.

I’m going with 4/5 for Drishyam 3. Although I think part 2 was slightly better, and the final twist is a bit of a stretch and out of character even for a guy as smart as Georgekutty, it’s all in service of delivering what Drishyam has come to be known for over the years and is in its DNA: shock value. Let’s celebrate this insanely original piece of work that has redefined the boundaries of mystery films.

THE LINCOLN LAWYER S4 REVIEW

The first word that comes to mind when I think about The Lincoln Lawyer series is ‘charming’. There is a certain sincerity in the writing, the treatment of its characters, the plot development and acting performances that stands out from other shows. There is probably a better word to describe the show, but let’s settle on charming for now. 

Co-creators Ted Humphrey and David Kelly are back with S4 of this affable Netflix series. While retaining the inherent charm, witty dialogues, kickass characters and a well-paced screenplay that builds the plot brick by brick, Haller & Associates show no signs of slowing down. 

Known for his unorthodox tricks in the courtroom and his penchant for aggregating enemies in the form of the LAPD, Armenian mafia, DA, and God knows who else, Mickey ‘fucking’ Haller (as he is lovably called) is under strict judicial scrutiny in this season. Pitted against practically the entire system in LA, the show traces his navigation from prison to freedom.

Mickey (played by the charming Manuel Garcia-Rulfo) is in handcuffs for most of the season not just because he is accused of murder, but also because Manuel’s performance is simply arresting. It’s a performance that skillfully switches from delivering snarky remarks with panache in one moment to the next where he is commanding authority as he scalpels out the lies hiding behind a witness‘s testimony. It’s really hard not to be bowled over by his charm (I apologize for the injudicious use of this word) whenever he lands a blow on the prosecutor.

It would be a crime to give away more details about the delicious plot of this season, but be rest assured that the makers have done complete justice to the legacy of the show. The magic of the previous seasons is preserved in letter and spirit! The ensemble cast remains largely untouched, with a few characters added for good measure. There is a certain fluidity in the writing that helps the show take off exactly from where it was left, not just in terms of story but also in character continuity. 

I’m going with 4/5 stars for season 4 of Lincoln Lawyer. It’s one of the most clean and entertaining shows I’ve ever watched (did I forget to mention ‘charming’?). I’m not sure how religiously the makers have stuck to the original source material (all 4 seasons are adaptations of different books in the Lincoln Lawyer world), but it would be almost rude to not thank author Michael Connelly for laying a solid foundation to build on. 

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. My efforts to do so were clearly 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.

LAAL SINGH CHADDHA MOVIE REVIEW

Our homegrown Gump knocked on the doors of the cinemas last week in India but released in theatres in the Netherlands only the day before yesterday. After listening to incessant backlash from critics and audience alike for a week, my hopes on the film should ideally have slumped. However, given Aamir Khan's previous track record as a Producer, I remained sanguine. After all, Aamir the Actor may have made some questionable decisions in the past, but Aamir the Producer has never faulted (Jaane Tu Ya Jaane Na may have been the worst of the lot, but as a standalone film that was not too bad either). Thankfully, this hypothesis was further strengthened after watching Laal Singh Chaddha; a lovingly crafted film that takes quite some getting used to its tone and atmospherics, but halfway into the film I was consumed entirely by it, struggling to hold back tears on many occassions. It's not a perfect film, but it's so extemely likeable that you are willing to forgive its shortcomings in return for giving you a good time.

Forrest Gump was a classic....at least that's what they say...I, particularly, was not very impressed by that movie for the prime reason that I could not connect with the characters and the story. That is where Laal Singh Chaddha emerges real strong: it establishes a genuine affection for the tiny little world it creates around itself. Still, it takes quite some guts and belief to recreate a movie which has been seen and talked about so many times in the past. Returning as a director after his very endearing debut Secret Superstar, Advait Chandan handsomely rises to the occasion and sticks faithfully to the original (original screenplay by Eric Roth and adapted screenplay by the talented Atul Kulkarni) by keeping things simple and light hearted. Despite having the groundwork being laid by Eric Roth, the makers of Laal Singh have done a commendable job at translating that vision to suit Indian cinema without ever diluting it. The script had an inherent sincerity which has been retained in essence, which I consider a big win for the film. 

Having said that, Laal Singh also retains the flaws (or at least what I consider flaws) of the original. My patience was seriously tested in the first one hour of the film where the direction in which the film was moving appeared hazy. I agree that it is not a plot based film, but without a convincing enough story, my attention began to wear thin. Aamir Khan, too, is not instantly likeable at first. There's always that thought constantly running in your head if a younger actor should have been playing his part. But, all these concerns were put to rest in the second half where his mettle as an actor overshadowed everything else. Coupled with the soft directorial touches by Advait Chandan, Aamir outdoes himself in some crucial scenes, especially towards the end, portraying the gradual growth and maturity of his character with unmatched ease. The film may not be everyone's cup of tea, but I would recommend watching it just for him. In fact, almost every actor has been perfectly cast in their roles, including Kareena Kapoor Khan, Mona Singh, Manav Vij among others. A loud shout out also to Pritam's terrific score and Amitabh Bhattacharya's profound yet entertaining lyrics. They play a big role in sustaining the mood of the film throughout. 

I am going with 3.5/5 for Laal Singh Chaddha. The extra half star is for Aamir. Although the film is long and does not have a dense plot to boast of, I was so settled in eventually that I did not want the film to end. Your mind knows that the movie should end given that all loose ends have been tied, but your heart doesn't want it to end. This exact thought is echoed in the theme of the film "zindagi golgappe ki tarah hoti hain, pet bhale hi bhar jaave hain par mann nahi bharta". 

GEHRAIYAAN MOVIE REVIEW

Soaked in themes of infidelity, morality and the harsh realities of modern urbanism, Gehraiyaan, directed by Shakun Batra, is a wildly engrossing and occasionally disturbing (okay, maybe more than occasional) film that is as much a victory of the writing as it is of the internalized lived-in performances. 

Shakun Batra's directorial curve has grown more exponentially than the surge in COVID cases in Europe in the last few months. Debuting with Ek Main Aur Ek Tu, which frankly was a passable romantic comedy, he upgraded to the terrific Kapoor & Sons, a film which dented the image of the typical cutesy Indian middle class family which Hindi films have portrayed for years before. The characters were flawed, they made seriously questionable decisions and they all kept secrets of their own, all of which were strategically and elegantly let out in an extremely engaging fashion. Despite all its merits, I still felt the film could have been crisper and more focused, especially in the first half. At a running time of two and a half hours, however, Gehraiyaan rarely feels long because Batra and his co-writers painstakingly build up the plot and imbue each frame with moody atmospherics, throwing in twist after twist to sustain the tension. The film is darker and more unsettling, even by Batra's own standards.

While his direction certainly cannot be faulted, the real hero of the film remains the script. Just when we begin to think that the film is essentially one character's story, the writers turn the spotlight onto another character, making this person now the "interim protagonist". Bolstered by a radiant ensemble, each and every actor gets a chance to shine. Rajat Kapoor is suitably sly; Ananya Pandey, although still raw, is nicely cast in a role which seems like her natural self for the most part. Deepika Padukone and Siddhant Chaturvedi do most of the emotional heavy lifting and they come off as utterly convincing. They bring the required depth to every scene, something which the film aimed to explore even through its title. 

My only complaint with the film is a revelation about one of the 'interim protagonist's" relation with the parents in the last bits of the film. It felt force-fed into the story for the supposed purpose of tying up loose threads but it comes off as a tad tacky. This, however, is offset by the makers' decision to keep an open ending and let us mull over the consequences of that final encounter. It's probably a manifestation of Batra's inherent cynicism where he cannot let his characters and their lives stay happy for too long.    

I am going with 4/5 stars for Gehraiyaan. While this may not be everyone's cup of tea, I highly recommend you to give it a shot, especially because films of this supreme quality and texture rarely knock on the doors of Hindi cinema. 

SARDAR UDHAM REVIEW

The reason for my 5-month long hiatus from reviewing films is a concoction of 5% adjusting to new life changes, 10% laziness and 85% declining quality of hindi films. I thought this period would get extended by many more months after I watched Shiddat last week - an atrocious, mind numbing film whose story was probably picked up straight out of the trash can of a writer in the 80’s. Nevertheless, I was still sanguine about Sardar Udham because of the rich portfolio of the makers associated with it. The good news is that not only did the film surpass my expectations, it also can claim to be one of the best biopics ever made in the country. While one Kaushal brother tried to save the dignity of one film (Sunny Kaushal’s performance was the only redeeming quality of Shiddat), the other (Vicky Kaushal) has saved the dignity of the entire industry. Well done boys!

 

Just a few minutes into Sardar Udham, it becomes quite evident that the filmmaking on display is first rate. Director Shoojit Sircar, who helmed some of the best films of the previous decade (except Gulabo Sitabo, every film of his is a gem), wastes no time in feeding us with backstories, gratuitous caricatures and/or unsolicited joingoism, all of which have at some point or the other plagued so many other films of this genre in the past. Here, he chooses to tell a rather complex story in an honest, unadulterated fashion which keeps us invested in the plot and the characters throughout even during some unconvincing bits, especially in the middle portions of this justifiably long film. Sircar strikes real gold not when he is following the dense plotting to assassinate the perpetrator of the globally infamous Jallianwala Bagh massacre, but instead when he taps into the emotional energy of the characters by giving us a tour into their heads to see what drives them and what leads them to do what they do. As a result, the film is more of a stripped down character study with a deliberately meditative pace that allows us to meet Udham Singh in person. In fact, without giving away too much, I must say that the last one hour or so of the film is so masterfully directed and exquisitely shot that I wish you good luck in holding back your tears. A huge shout out also co-writers Ritesh Shah and Shubhendu Bhattacharya who weave together plenty of tense moments in a well researched but shrewd screenplay despite minimum available information on this part of our history.

It is a well known fact that the central role was originally meant to be essayed by Irrfan Khan. While there is no doubt about the additional depth he would have brought to the character, Vicky Kaushal handsomely rises to the occassion and delivers a performance that would be remembered for years to come. He oozes a natural charm and inherent believability that helps establish an instant connection with his character.

I am going with a solid 4/5 and two big thumb up for for Sardar Udham. The British government has yet to offer an official apology for all the deaths in the 1919 tragedy. Meanwhile, the Indian filmmakers who resort to repetitive stories and lazy remakes also ought to apologize for their actions and take lessons from this film. Despite his varied filmography and story landscapes, the only repetition which Shoojit Sircar can be accused of is melting our hearts each time with his keenly observed and sure-footed direction. And I forgive him for that :D. Do yourself a favour and watch the film right away!

MEEL PATTHAR MOVIE REVIEW

Blurring the lines between cinema and reality, Meel Patthar offers an unflinching portrayal of a marginalized section of the society 

Every scene of Meel Patthar is lovingly crafted. Typically, a conversation in a scene is designed to convey a great deal of information about the world that is being studied but at the same time to hold back enough so as to sustain a sense of equivocacy that looms large over the film. It is this distinctive style of unobtrusive filmmaking adopted by director Ivan Ayr which is particularly engrossing.

Ivan Ayr, who helmed one of my favorite films of 2018 Soni, tries to capture the essence of the daily life of a truck driver by populating it with flesh and blood actors who walk and talk as if they are unaware of the presence of a camera around them, conversations that are instantly relatable and long single takes which allow you to soak yourself in the scene.  

(Read my review of Soni here: https://filmistaanreviews.blogspot.com/2019/01/soni-movie-review.html)

Meel Patthar is a well-researched film. It is quite evident in the casual exchanges between truck drivers, the pertinent problem of agitation of workers used for loading and unloading of material from trucks against the minimum wage, and most importantly in the honest attempt to give the audience a tour inside the head of an individual caught up in the hassles of the profession. Ayr explores themes like the thankless nature of such a job, the inadvertence towards personal health, and the risk of training a newbie only to realize that the goal of this mentorship is to guide them enough to eventually take over from their master. There is a running track around the sudden death of the protagonist’s wife, but Ayr is in no mood for spoon-feeding us with a backstory and instead imbues the script with a mysterious aura around characters whom we don’t see but are still immensely curious about.

Perhaps, my only problem with the film is that it lacked an uber goal. I understand the fact that it’s not plot-driven, but given that the film dealt with multiple relevant societal issues, it could have further benefitted from anchoring the script in one of these themes which ultimately could take the shape of its true identity. Take the example of Soni. That film was an evocative commentary on the state of the police ecosystem in Delhi but gender bias served as the primary medium for Ayr to express his views on other components of the system. However, to give the director his due, I guess in this film, his agenda was to reinforce the irony of constantly travelling but not getting anywhere in this process.

I am going with 3.5/5 for Meel Patthar. You can watch it on Netflix. Just two films old, Ivan Ayr has silently made his way into the list of directors whose work I eagerly look forward to. I am not sure if this is everyone’s cup of tea but I still recommend you give it a chance. How often can we boast of making a film that stays true to its art form and yet remain gripping in its own charming way? 

AK vs AK movie review

 

AK vs AK, director Vikramaditya Motwane’s fifth feature film, belongs to the genre of meta cinema wherein a film within a film is being shot. It is touted as an experimental film, but anyone even remotely familiar with Motwane’s filmography will attest to the fact that every single film of his has been experimental in many ways. After debuting with Udaan (a film which shaped my cinematic sensibilities; some of you reading this are already aware of my obsession with it :P) he was labelled as an Indie filmmaker. Not a wrong assumption given that the film was bankrolled by the pioneer of independent cinema in India (Hint: He’s one of the AK’s in the title :P). But then he came up with the poetic beauty Lootera, which revealed his predisposition to the captivating use of color, sound and imagery to create a film brimming with purity. His third film, Trapped, was a survival drama about a man locked up in own house and left without the basic needs of food and water. Unlike its title, the film was a liberating experience that left many of his fans struggling to give a name to his style of filmmaking. Post Trapped, Motwane was like “I wanna make a superhero film” and Boom! Bhavesh Joshi swoops in to give us our own Avenger. Although the film did not do well at the box office (sadly not unlike his other films) and wasn’t as critically acclaimed either since it was a victim of bad timing of release, it wasn’t his direction at fault because the story itself could have been so much better. Oftentimes we hear people saying “the film had his/her stamp all over it”….that just doesn’t apply to Motwane. The guy changes his ink pad with every film!!!

Anyway, my apologies for the long eulogy :P. Let’s talk about AK vs AK, his latest tryst with experimental filmmaking. If you’ve seen the trailer, you already know the basic plot: In an attempt to set a new standard of filmmaking, a critically acclaimed director (Anurag Kashyap) kidnaps the daughter of a superstar (Anil Kapoor) and films his search in real time. This makes for a fascinating plot and Motwane & team (what an audacious premise by Avinash Sampath!!) handle the proceedings deftly by positioning it as a cat and mouse chase thriller; the only difference being that the cat and mouse both are running alongside each other. In this intense battle between an actor and a director both Anil and Anurag dive into this dark world no holds barred, sportingly playing exaggerated version of their real selves.

There’s a lot of pleasure to be derived through all the inside jokes targeted at their careers and family members and the inventiveness of filmmaking is made clear by fact that the makers use this humor to actually build the tension and sustain the pressure cooker urgency throughout. In the hands of a less competent director, the film would have crushed under needless desire to assign more importance to technicalities of camerawork and gratuitous cameos at the cost of entertainment. Another reason why the film works is because Mumbai is weaved into the script as an indispensable character. In one of the film’s best scenes, Anil, wounded and helpless, has to nevertheless perform for a crowd gathered at a procession at their request. After all, he is a fan-made superstar and catering to his fans is his only responsibility as an actor. Pure Genius!

I am going with 3.5/5 for AK vs AK. The minor inconsistencies in the pacing & climax aside and the fact that it does have a limited scope to engage, the film offers an experience you’ve never had before and will surely not in a long time to come. Don’t miss it!

(Warning: The other release this week is Coolie No. 1. If AK vs AK is a battle of an actor and director, Coolie No.1 is the battle of David Dhawan and Logic. The choice is yours! :P)

MY 10 FAVORITE HINDI FILMS OF THE LAST DECADE

 

It’s almost the end of 2020. It’s almost been a year since the pandemic started. It’s almost as if the year went by in a minute….Phewwww!!!…I wasn’t initially planning to write this article until a friend of mine sent me a list of top 20 Telugu movies compiled by The Hindu. I then thought it might be a good idea to take some time out of my busy (and yet grossly unproductive) schedule, sit back and look at some of my favorite Hindi films of the last decade (2011-2020).

This list is an extremely personal one. Given the inherent subjectivity associated with each viewer (the word favorite itself is such a subjective word), it surely is a tough task to come up with this list of the best films. Choosing 10 films from a particular year is easy (because there are hardly more than a handful of good films in one year). But here we are talking about a whole decade. So naturally the stakes are high! Which is why I’ve chosen those films which made me feel a certain way as I walked out of the theater. They either made me ecstatic, or were satisfyingly poignant, or simply evoked a feeling of pride of having watched such a great film. But most importantly, these are the films which have stayed with me for all these years and make we wish that I get a chance to see them for the first time all over again. Anyone coming up with a time machine soon??...Please?

So without wasting more time, here’s my list (in ascending order of the impact it had on me):

 

10. Delhi Belly

 

Irreverent, cocky, and straight up hilarious, Delhi Belly reinforced the fact that comedy is so much more than simply being braindead, slapstick and loud. Everything about it was so damn fresh; the characters, their casual abusive exchanges, the eccentric but catchy soundtrack (If I had to choose the song of the decade, it definitely had to be Bhaag DK Bose!) and the fact that these crisp 90 odd minutes of unapologetic humor were all being sponsored by Aamir Khan. The film was so bold that I remember when I first watched it, I was afraid to even admit that I liked it. The film has a song called “I hate you like I love you”…that actually echoed my reaction to the film…I hate you, but I actually love you :p

9. Aankhon Dekhi

This was another gem. It was such a relief to see Sanjay Mishra finally get a role he truly deserved. Rajat Kapoor yet again proved that he is one the most interesting filmmakers of our time with a unique voice in every film of his. The film is about a man who refuses to believe anything which he hasn’t seen or experienced himself. That, inevitably, leads to a lot of nuisance for the people living around him since none of them is now able to see the world the way he sees it. This makes for a thoroughly fascinating film that refuses to bow down to the expectations set by conventional cinema. Aankhon Dekhi is made with the utmost sincerity which makes it such an immensely likeable film. Go treat yourself and watch it straightaway!

8. Zindagi Na Milegi Dobara

After watching Luck By Chance (which I absolutely loved – please check it out if you haven’t), I associated Zoya with a certain sense of artistic sensibility that was not of the most crowd pleasing kind. She was perceptive but not within the realm of what people call “mainstream”. Which is why I was pleasantly surprised when I watched ZNMD because it was thoroughly entertaining. This is the kind of happy film which leaves a big smile on your face every time you just think about it. And NO – ZNMD is not the modern Dil Chahta Hain. I have heard a lot of people draw comparisons between the two but I have my reasons as to why they are completely different. Anyone who wishes to take this argument forward feel free to send me a message or drop a comment below 😊

7. Tanu Weds Manu Returns

Full Review: https://filmistaanreviews.blogspot.com/2015/05/tanu-weds-manu-returns.html

Look at that innocent smile on Kangana’s face. Who would have thought she would now transform into this attention-seeking poster girl for the media who holds no bars in speaking her mind out, even when no one asks for it or cares for it…Anyway, coming back to Tanu Weds Manu Returns…a time when her acting was restricted only to on-screen. To be honest, I am a sucker for such rom-coms set in UP and Bihar, chiefly for the dialect, quirky characters and some really catchy tunes. Director Anand L Rai and Himanshu Sharma ticked all these boxes and so much more. Making a meal out of the task assigned to her, Kangana made us root for both her characters….something which not every actor is capable of so effortlessly doing.

6. Soni

Full Review: https://filmistaanreviews.blogspot.com/2019/01/soni-movie-review.html

I know most of you must be wondering what this movie is about. I am pretty sure not many might have even heard of it. It released only on Netflix in 2018 and mostly went unnoticed for understandable reasons. When I watched the film the first time I didn’t love it. I thought it was a well-made film which probably lacked the punch. But, a few days passed and I found myself constantly thinking about the film, its characters and the message it tries to convey. Only when I re-watched it did I truly appreciate its subtlety and nuances that made it such a wonderful film. This too talks about the gender discrimination in the police sector, but this is cut off a completely different fabric as compared to Article 15. The director gives us a lived-in feel of the scenes with long single take-shots and that, although demanding patience, is a rewarding experience. I urge you to drop everything else and watch Soni right away. Thank me later 😉

5. Masaan

 

I regret not watching this movie in the cinema hall. Seldom has a film that predominantly talks about loss of a loved one, guilt and death felt so emotionally satisfying. The passionate soundtrack strongly evocative of the ghats of present day Varanasi, UP, still gives me the goosebumps (my favorite being “Mann Kasturi”). Masaan is a victorious amalgamation of strong casting (it brought the supremely talented Vicky Kaushal into the limelight) and heartfelt writing which make this bittersweet tale a compelling watch.

4. Lootera

Okay I know I might get into trouble for ranking this film so high. I’ve heard polarizing reactions to it when it released but I can’t seem to understand why. Lootera, for me, is as close as a film can get to perfection! Yes, the second half could have been better and by the director’s own admission, he would have preferred to tell the story in the second half from the point of view of Ranveer’s character….But again, these are just minor complaints in a film that has accomplished a great deal. Who could have imagined Vikramaditya Motwane to make a love story as a follow up to Udaan? (And before you accuse me of bias, No! I don’t have a soft corner for Lootera just because he made Udaan)….Who could have thought that he could make Sonakshi Sinha act?....I mean, mazaak nahi hain boss :p…But jokes aside, I seriously think everything ranging from Motwane’s direction to the production design of the 50’s and 60’s and Amit Trivedi’s soulful soundtrack have an immortal quality to it…And that’s why this will always remain a very special film to me!

3. Piku

Full Review: https://filmistaanreviews.blogspot.com/2015/05/piku-movie-review.html

I think it’s safe to say that best writer-director duo in the Hindi film industry is Juhi Chaturvedi and Shoojit Sircar respectively. With Piku, what they have achieved is nothing short of genius. If I were ever to make a film, I couldn’t even dream of making a character-driven film. Just imagine the amount of effort which must go into writing a film that is not taken forward by the story but instead by its characters and still be engaging. Some filmmakers take themselves too seriously and let their film slip into the mundane territory where a 2 minute long still shot of traffic where practically nothing is happening is considered to be a sign of a great filmmaker. Sorry, I disagree…that’s just plain boring. But, in Piku that’s not the case. These are real flesh and blood people, the dialogues they mouth, their idiosyncrasies, the clothes they wear….everything is pitch perfect and instantly relatable. Piku’s character, especially, is possibly the most complete and rounded female character that has ever been written for the screen.

2. October

Full Review: https://filmistaanreviews.blogspot.com/2018/04/october-movie-review.html

This one, again, is a very personal choice. I was confused between Piku and October for this second spot. Both are the product of the same writer-director duo but yet so distinct in its treatment. Just a while ago you heard me extol their skills of making an engaging film without much of a plot. In October, they take that to the next level. At least in Piku the action shifts from Delhi to Kolkata and there is an entire road trip in between. October, on the other hand, is confined to the closed spaces of a hospital. Okay, I know I might not be helping the cause of getting more people to watch this film, but the truth is, till date I don’t know what is it about the film that has had such a profound effect on me. All I know is that I was in a complete mess as I left the theater, miserably trying to fight back my tears even long after the film ended. I shouldn’t even try to explain what the film is about…it can only be experienced…and I sincerely request you to give it a shot if you haven’t so far.

1.Andhadhun

Full Review: https://filmistaanreviews.blogspot.com/2018/10/andhadhun-movie-review.html

The above image and the entire scene revolving around it continue to haunt me. I didn’t have an iota of doubt while thinking about which film should top this list. It’s a film which made me feel proud as a cinemagoer. I always knew Sriram Raghavan was an excellent filmmaker. Ek Hasina Thi, Johnny Gaddar and Badlapur….that’s a very handsome filmography man. But, Andhadhun belongs to a different league altogether. I don’t know whether Akash is ultimately blind or not in the film…but during the film, the mastermind puppeteer Sriram Raghavan has surely played a game of blind man’s bluff with the audience by constantly tricking us into believing whatever he wants us to….and the fun part is we so loved getting fooled by him at every step :D

 

 

 

 

So that was the list of my favorite films of the last decade. There were plenty of others which didn’t make the cut but nevertheless I loved watching. Films like Bala, Secret Superstar, Article 15, Shubh Mangal Savdhan, Shahid, Dangal, Sky is Pink, Sir (the most recent film which blew my mind) and many more go into a category which I’d like to call “Respect in Retrospect”.

I would love to hear what you thought of this and what would have been your top 10 lists as well. Feel free to drop a comment below and let’s get this thing rolling!