Toxic Movie Review - Yash Delivers a Power Packed Mix of Action Emotion and Entertainment

Director: Geetu Mohandas

Cast: Yash, Kiara Advani, Nayanthara, Huma Qureshi, Tara Sutaria, Rukmini Vasanth

Duration: 3 hours 14 minutes

Rating: 4

Released on the festive occasion of Onam and Eid-e-Milad, Toxic: A Fairy Tale for Grown-Ups arrives with the kind of buzz that comes with a big Yash release. The makers have waited for the right holiday window to bring the film to theatres, and the timing could work strongly in its favour at the box office. With the festival holidays, Yash's huge fan base and the film's large scale coming together, there is already strong trade expectation around its opening. The film is even expected to cross the Rs 100 crore mark on day one if the audience response matches the hype. For Yash fans, this release feels nothing short of a festival celebration.

But Toxic is not simply a star vehicle or a regular gangster drama. Geetu Mohandas creates a world of her own, mixing crime, action, family, love and complicated relationships. The film carries the feel of a fairy tale for adults, but it is firmly rooted in a gangster world. What makes it interesting is the way the story slowly introduces its characters and their connections instead of giving everything away at once.

The film takes its time to build its world. The first half has a good mix of drama, action and mass moments, while also giving the characters enough space to establish themselves. There is a lot happening beneath the surface, and the story keeps adding new details as it moves forward. The interval block is one of the film's strongest moments. It changes the mood of the story and leaves you wanting to know what happens next.

Yash is easily the biggest highlight of the film. He plays two characters, Raya and his son Ticket, and brings a different energy to both. Raya is at the centre of the gangster world, while Ticket brings another emotional layer to the story. Yash handles both sides well. His screen presence, dialogue delivery, style and action scenes are exactly what his fans have been waiting for. At the same time, he does not play the characters only through attitude. There are emotional moments where he gets a chance to show another side of his performance.

The supporting cast adds plenty to the story. Nayanthara as Ganga and Kiara Advani as Nadia bring an emotional side to the film. Kiara adds warmth to her character, while Nayanthara gives the family track more weight. Huma Qureshi as Elizabeth has a strong presence and fits well into the complicated world of the film. Rukmini Vasanth as Melissa comes in as a pleasant surprise with a quiet but effective performance. Tara Sutaria, Akshay Oberoi, Da'rell D'Silva and Sudev Nair also add different shades to the story.

The second half takes the film to a much bigger level. The action becomes bigger, louder and more intense. What begins as a gangster drama slowly turns into a full-scale action entertainer. There are several sequences that are clearly designed for the big screen, and Yash owns many of these moments. The action has a raw quality to it, which works well with the world Geetu Mohandas has created.

What also works for Toxic is that it does not forget its emotional side. Family, love, loyalty and relationships remain important throughout the story. The bond between Raya, Ticket, Ganga and Nadia gives the action a personal reason. Without these emotions, the film could have easily become just another gangster action movie. Instead, the personal relationships give the bigger moments more meaning.

The film also keeps some surprises for the final stretch. Just when you think you have understood where the story is heading, Toxic takes another turn. The climax adds another layer to the narrative and leaves you with things to think about even after the film ends. It is not simply a big action finish; it tries to give the story a proper conclusion while keeping some questions open.

The biggest issue with the film is its 3-hour-14-minute runtime. The world-building and character tracks are important, but some portions could have been shorter. There are moments when the pace slows down and the film asks the audience to be patient. A tighter edit could have made the overall experience sharper. However, once the film enters its action-heavy portions, the pace picks up considerably.

Geetu Mohandas deserves credit for trying something different with a familiar gangster setup. Toxic does not follow the usual template from beginning to end. It has its own visual style, its own world and a story that keeps opening new layers. Not every experiment works equally well, but the ambition is clear. The film wants to be more than just a star-driven action movie.

Toxic is a big-screen entertainer with plenty of Yash moments, action, emotion and drama. It is long, but it has enough scale and entertainment to keep the audience engaged. The festive release gives it an additional advantage, and with Onam and Eid-e-Milad holidays working in its favour, the film has a strong chance of making a huge opening at the box office. If the audience response stays strong, the Rs 100 crore opening-day mark could be within reach.

Yash's powerful performance, large-scale action and Geetu Mohandas' different take on the gangster genre make Toxic a solid theatrical entertainer. It may be long, but for Yash fans and lovers of big-screen action, there is plenty to enjoy.

Awarapan 2 Review: Emraan Hashmi Finds Shivam Pandit Again in a Story About Loss, Love and Redemption

Director: Nitin Kakkar

Writer: Bilal Siddiqui, Vishesh Bhatt

Cast: Emraan Hashmi, Disha Patani, Shabana Azmi

Duration: 140 Minutes

Rating: 4

It is not easy to bring back a character after almost two decades, especially one that became such an important part of an actor's identity. But Shivam Pandit was never just another role for Emraan Hashmi. In Awarapan (2007), he played a hitman who looked like he had nothing left to lose, yet carried an enormous amount of emotion beneath that cold exterior. The film found its audience over the years and eventually became a cult favourite. Awarapan 2 knows it has to live with that legacy, but instead of spending two hours trying to recreate the first film, it asks a more interesting question — what happens to Shivam after all these years?

The answer begins in a graveyard. Shivam is still visiting Aaliyah's grave when fate puts another abandoned child in front of him. He takes the infant to an orphanage and begins quietly looking after her, eventually naming her Aaliyah. There is something touching about the gesture because Shivam isn't trying to replace the woman he lost; he is simply trying to protect someone when he couldn't protect the person who mattered most to him. When a couple comes forward to adopt the girl, Shivam accepts it despite her reluctance, believing that a family will give her a better future. He soon discovers that the couple are actually linked to an international child-trafficking syndicate. And when Interpol informs him that the girl has been kidnapped, Shivam has to make a choice he thought he had already made years ago — return to the world of crime.

What makes the setup work is that Shivam isn't looking for a fight. He is dragged into one. Interpol wants his help in bringing down the trafficking network, but his reason for getting involved is Aaliyah. The film therefore gives his violence an emotional trigger. This is not a man suddenly deciding that he wants to be a gangster again. He knows exactly what that life has cost him. Yet when someone he feels responsible for is in danger, all those old instincts return. From there, Awarapan 2 opens up into a much larger crime thriller, dealing with trafficking, organised crime, drugs, revenge and sacrifice. The first film was more intimate and inward-looking; this one is clearly built on a larger scale, with action and spectacle playing a much bigger role.

Emraan Hashmi is at his best when he doesn't have to explain everything his character is feeling, and that works particularly well here. Shivam has aged, and there is a tiredness to him that wasn't there in the same way before. He isn't trying to prove how dangerous he is. He has already lived through that phase. Hashmi plays the character with a controlled intensity, allowing the silences to do some of the work. When the violence comes, it feels less like an introduction to a hero and more like an old part of Shivam's personality that he wishes he could keep buried. His return also carries the weight of his long association with Vishesh Films. There is a particular emotional and musical style associated with the Emraan Hashmi-Bhatt combination, and Awarapan 2 clearly knows how much that association means to its audience.

The film's other characters keep the story from becoming entirely dependent on Shivam. Disha Patani plays Zara, who is caught in a criminal world she did not necessarily choose for herself. Her brother Zorawar, played by Puran Gabbi, is involved in the drug trade, and that family connection puts Zara in a difficult position. Patani brings a vulnerability to Zara that gives her portions of the story some emotional grounding. Gabbi, on the other hand, is one of the film's more interesting discoveries. There is something unpredictable about his performance, and he manages to give Zorawar menace without turning him into a familiar gangster stereotype. Shabana Azmi plays Nafisa, who operates at the centre of the trafficking network, and her presence gives the film the kind of authority that the character demands. Suvinder Vicky as Jaideep, Vijayant Kohli as Mehmood, Atul Kumar as Samarth and Aniruddh Rawal as Sikandar also add to the film's expanding world.

And then there is the music, which is almost a character in the Awarapan franchise itself. Mithoon, Amaal Mallik and Jeet Gannguli continue that musical legacy, with lyrics by Sayeed Quadri and Rashmi Virag. "Tera Mera Rishta" and "Toh Phir Aao" return in reimagined versions by Mithoon, while Arijit Singh's "Yeh Awarapan" gives the sequel a new emotional anthem. What works here is that the songs don't feel like they're simply being inserted because the franchise needs a soundtrack. They belong to the story. They help establish mood, carry Shivam's emotions and add to the sense of longing that runs through the film. And this is one soundtrack that makes more sense on the big screen. The theatre sound gives the compositions a different weight, and when the music, visuals and action come together, Awarapan 2 becomes much more of an audio-visual experience.

Vishesh Bhatt's role in taking the franchise forward is also important. As the co-producer of the original and now the writer-producer of Awarapan 2, Bhatt has clearly approached this as more than a nostalgia project. His vision of turning Awarapan into a franchise gives the sequel a larger purpose. Nitin Kakkar and the creative team follow that direction while giving the film its own identity. Interestingly, the marketing campaign begins to look different once the movie has been seen. Some of the things teased beforehand are deliberately better understood within the film, and that gives audiences a reason to experience the story rather than simply rely on the trailers. It is also why the theatrical setting matters here. The action, music and scale have been designed to work with an audience and on a large screen.

Awarapan 2 doesn't try to convince you that it is the same film you watched in 2007. It isn't, and it shouldn't be. Cinema has changed, Emraan Hashmi has changed and, most importantly, Shivam Pandit has changed. The sequel takes the emotional DNA of the original and puts it into a bigger, more commercial crime thriller. At times, the scale comes at the expense of the raw intimacy that made the first film so memorable, but the heart of Shivam's story remains intact. Emraan Hashmi brings the character back with conviction, Disha Patani adds emotional weight, Puran Gabbi makes a strong impression, Shabana Azmi brings gravitas and the music keeps the franchise connected to its roots. Vishesh Bhatt's larger franchise vision gives it direction. After 19 years, Shivam Pandit doesn't feel like a character being brought back simply because audiences remember him. He feels like a man whose story still has somewhere to go. Rating:

Batwara 1947 Review: Sunny Deol and Rajkumar Santoshi Return With a Powerful Story of Humanity Beyond Hatred

Director - Rajkumar Santoshi

Cast - Sunny Deol, Preity Zinta, Shabana Azmi, Karan Deol, Ali Fazal, Abhimanyu Singh, Khushi Hajare, Kanikka Kapur, Isha Sandhir.

Duration – 145 Minutes

Rating – 3

There are some stories that become difficult to revisit because history has already told them with unimaginable cruelty. Partition is one such chapter. Batwara 1947, directed by Rajkumar Santoshi and produced by Aamir Khan, goes back to that period through a story that is less interested in explaining the politics of Partition and more concerned with what happened to ordinary people once the lines were drawn. Based on Asghar Wajahat's acclaimed play Jis Lahore Nai Vekhya, O Jamya E Nai, the film finds its emotional centre in a haveli in Lahore, where a Muslim family that has migrated from Lucknow is given a house abandoned by its Hindu owners, only to discover that an elderly woman, Mai, is still living there. What follows is a story about displacement, ownership, fear, hatred and, ultimately, the possibility of humanity surviving when everything around it is falling apart.

Santoshi takes his time establishing this world. The first half is relatively measured as the characters, their circumstances and the tension inside the haveli are introduced. That patience works to the film's advantage because it allows the audience to understand the absurdity of what Partition did to people. A house that was once someone's home suddenly becomes an allotted property. Neighbours become enemies. Identity becomes a matter of survival. Sikander Mirza, played by Sunny Deol, arrives in Lahore with his family hoping to rebuild his life, only to find himself caught between the new reality and an old woman who refuses to leave the home that belongs to her family. The central conflict is simple on paper, but Santoshi uses it to explore a much larger question: can a person claim another person's home simply because history has handed it to them?

The film becomes considerably more powerful in its second half. This is where Santoshi's familiar ability to build dramatic confrontation comes into play. The assault on Shabana Azmi's character by a mob on the streets of Lahore is difficult to watch, and what follows gives the sequence an even greater impact. Sunny Deol's fiery police-station sequence is another moment where the actor's familiar screen persona comes alive, but it is used differently here. The film doesn't shy away from violence, anger and aggression. There are street fights, confrontational dialogues and moments clearly designed to connect with the mass audience. Yet underneath all of that is a message that remains consistent: hatred cannot be allowed to erase humanity. The finale, in particular, is likely to stay with audiences and may lead to conversations well beyond the theatre.

The reunion of Sunny Deol and Rajkumar Santoshi naturally brings expectations. Their collaborations in Ghayal, Damini and Ghatak produced some of the most recognisable moments of their careers, but Batwara 1947 is not simply another addition to that template. Santoshi gives Deol a character that requires more restraint than aggression. Sunny is excellent because he doesn't constantly play Sikander as the larger-than-life man audiences expect. There is authority in his presence, but there is also uncertainty and vulnerability. When the familiar anger finally comes through, it has greater impact precisely because the film has spent time showing the man underneath it. This is perhaps one of his more interesting performances in recent years.

Shabana Azmi is exceptional. As Mai, she brings dignity and emotional depth to a character who could easily have been written as simply stubborn or confrontational. She gives Mai a sense of history, as though the haveli isn't merely a building she refuses to surrender but the last remaining connection to a life that has already been taken away from her. The chemistry and tension between Azmi and Deol give the film much of its emotional weight. Preity Zinta's return to the big screen is another welcome aspect of the film. She is first-rate and brings warmth to the story, making her comeback feel meaningful rather than merely promotional. Abhimanyu Singh is dependable, while Karan Deol is still raw and has room to grow as a performer. Ali Fazal has his moments, although his character feels less developed than some of the others.

The recreated Lahore of 1947 is one of the film's strengths. Santoshi and his team create an atmosphere of uncertainty and fear without making every scene feel like a history textbook. The streets, homes and crowded spaces contribute to the sense that these characters are living through something much larger than themselves. The film also understands that Partition was not simply about migration. It was about losing homes, relationships, identities and a sense of belonging. That emotional displacement is present throughout the narrative. The production design and period setting help make the world credible, while the screenplay keeps returning to the human cost behind the historical event.

There isn't much room for songs in a narrative this tightly focused, and that restraint works. A.R. Rahman's music doesn't attempt to turn the film into a conventional musical drama. The song that stands out is "Kahaan Chale Gaye Ho Ram", which arrives at an important point and flows naturally into the pre-climax and finale. Rather than interrupting the storytelling, it becomes part of the emotional build-up. This is also where the film's background score and atmosphere do much of the heavy lifting. Batwara 1947 is at its strongest when it allows the emotion of the situation to speak rather than forcing it through excessive exposition.

What makes Batwara 1947 worth watching is that, despite using the familiar grammar of a Sunny Deol film at several points, it isn't really a Sunny Deol-style revenge story. It is a film about people who have inherited the consequences of decisions they didn't make. Santoshi brings back some of the aggression, powerful dialogues and confrontations associated with his cinema, but he uses them in service of a larger idea. The film argues that humanity has to rise above religious hatred, and it does so through characters rather than speeches alone. The first half takes its time, and some supporting characters could have been developed better, but the second half delivers several genuinely powerful moments. Sunny Deol and Shabana Azmi are the heart of the film, Preity Zinta makes a welcome return, and Santoshi once again demonstrates his ability to stage emotionally charged confrontations. Batwara 1947 isn't flawless, but it has conviction, strong performances and, most importantly, something meaningful to say.

Director - Destin Daniel Cretton

Cast - Tom Holland, Zendaya, Jacob Batalon, Jon Bernthal, Mark Ruffalo, and Sadie Sink

Writers - Chris McKenna and Erik Sommers

Duration – 145 Minutes

Rating: 3

Ever since Spider-Man: No Way Home ended with Peter Parker sacrificing his own identity to save the world, fans have wondered what comes next for a hero who has lost everything. Spider-Man: Brand New Day answers that question by shifting its focus away from multiverse spectacle and toward the emotional cost of being Spider-Man. Rather than chasing bigger surprises, director Destin Daniel Cretton delivers a story that explores loneliness, responsibility, and resilience, reminding audiences that Peter Parker's greatest battles are often the ones he fights without his mask.

Set four years after the events of No Way Home, Peter Parker (Tom Holland) is living a life of complete isolation. Thanks to Doctor Strange's spell, nobody remembers who he is—not MJ (Zendaya), not Ned (Jacob Batalon), and not the countless people whose lives he once touched. Living alone in a modest New York apartment, Peter devotes himself entirely to protecting the city as Spider-Man while intentionally keeping his distance from anyone he cares about. His quiet existence is disrupted when Mac Gargan, better known as Scorpion, emerges as a dangerous new threat. As the conflict escalates, familiar faces like Hulk (Mark Ruffalo) and The Punisher (Jon Bernthal) become part of the narrative. Yet beneath the action and superhero confrontations lies a more personal story about a young man trying to rebuild his life, embrace adulthood, and discover who Peter Parker can be when nobody remembers him.

Tom Holland once again proves why he remains the defining strength of this Spider-Man series. His performance is noticeably more mature, restrained, and emotionally layered, capturing Peter's loneliness without relying on melodrama. Holland conveys heartbreak and hope with subtle expressions, making several quiet moments more memorable than the film's biggest action scenes. Jon Bernthal makes a commanding impact as The Punisher despite limited screen time, while Zendaya's brief appearances carry genuine emotional weight and remind viewers of the chemistry that made Peter and MJ's relationship so compelling. Jacob Batalon effortlessly slips back into the role of Ned, bringing warmth and familiarity whenever he appears, even with a smaller role. Sadie Sink adds intrigue through her mysterious character, while Mark Ruffalo's Hulk helps steer the story toward intriguing possibilities for the future.

Director Destin Daniel Cretton balances superhero spectacle with heartfelt character drama, refusing to let visual effects overshadow Peter Parker's emotional journey. The film opens confidently, drawing audiences into Peter's new reality before delivering several exciting action sequences. Technically, Spider-Man: Brand New Day is polished throughout. The web-swinging scenes across New York are exhilarating, the hand-to-hand combat feels grounded, and many action sequences rely more on choreography than excessive CGI, giving them greater impact. The background score complements the emotional tone beautifully and enhances several key moments. However, the film loses some momentum after the interval. At nearly two and a half hours, the second half feels stretched, and juggling multiple antagonists means some characters don't receive the development they deserve. The climax, while entertaining, lacks the emotional surprise and narrative payoff many viewers may expect, making the ending feel more satisfying than unforgettable.

Spider-Man: Brand New Day isn't designed to replicate the multiverse spectacle of No Way Home, and audiences expecting another event film on that scale may leave wanting more. Instead, it chooses a quieter, character-driven approach that highlights Peter Parker's humanity over his superhero abilities. While pacing issues and an underwhelming climax prevent it from reaching the heights of the franchise's very best entries, Tom Holland's heartfelt performance and the film's emotional core ensure it remains an engaging and worthwhile chapter in Spider-Man's journey. It may not redefine the superhero genre, but it successfully reminds us that Peter Parker's greatest superpower has never been his web-shooters—it's his unwavering humanity.

Verdict: Spider-Man: Brand New Day trades multiverse spectacle for emotional storytelling, delivering a more grounded and mature Spider-Man adventure. Though an uneven second half and a predictable climax hold it back, Tom Holland's compelling performance and the film's heartfelt exploration of Peter Parker's resilience make it a satisfying return to New York's friendly neighborhood hero.

Director - Vivek B. Agrawal

Cast - Raghav Juyal, Sanjay Kapoor, Nikki Walia, Niharika NM, Barkha Singh, Vivan Bhatena, Parvathy Omanakuttan, and Vikalp Mehta

Writers -Vivek B. Agrawal and Sudipto Sarkar

Duration – 1h45m

Rating: 1

Comedy is one of the toughest genres to get right. It demands sharp writing, believable characters, and impeccable timing. Bhai Tera Star Hai attempts to deliver a madcap comedy driven by misunderstandings and outrageous lies, but instead of generating laughter, it creates an exhausting experience that struggles to justify its nearly two-hour runtime. What could have been a quirky entertainer ends up becoming a noisy, repetitive affair where every joke feels stretched beyond its limit.

Set over the course of a single chaotic night, the film follows Ajay (Raghav Juyal), a struggling actor living in London whose biggest talent appears to be lying. After borrowing £10,000 from local bar owner Fatty (Sanjay Kapoor), Ajay fabricates a story about his sister's pregnancy and abortion to arrange the money. At the same time, his girlfriend Roshni (Niharika NM) invents her own pregnancy story to extract money from her brother. From there, the screenplay spirals into an endless cycle of lies, mistaken identities, misunderstandings, and frantic running around. Instead of building momentum, the narrative keeps repeating the same formula until it begins to feel like the story has stopped moving altogether. By the time dawn approaches in the film, the audience has been waiting for the night to end far longer than the characters themselves.

Raghav Juyal, who impressed audiences with his restrained and impactful performance in Kill, looks surprisingly out of place here. His energetic performance never finds the right comic rhythm, with several punchlines falling flat before they even land. The exaggerated expressions and constant shouting often become more irritating than amusing. Sanjay Kapoor puts in a sincere effort and occasionally brings some energy to the proceedings, but even an experienced performer cannot overcome a screenplay that offers little substance. The supporting cast—including Nikki Walia, Niharika NM, Barkha Singh, Vivan Bhatena, Parvathy Omanakuttan, and Vikalp Mehta—perform with commitment, yet the underwritten characters leave none of them with a memorable moment. By the time the credits roll, very few faces or performances linger in memory.

Director Vivek B. Agrawal appears to rely heavily on loud performances, animated graphics, exaggerated sound effects, and on-screen text to manufacture humour. Instead of enhancing the comedy, these stylistic choices repeatedly interrupt it, almost as if the film feels the need to explain every joke rather than trust the audience to enjoy it. The screenplay by Vivek B. Agrawal and Sudipto Sarkar lacks structure and rhythm, with scenes stitched together without natural progression. Rather than escalating the comedy through clever writing, the film depends on constant commotion, leaving little room for genuine wit, emotional connection, or even breathing space between the chaos.

Bhai Tera Star Hai is a comedy that forgets its primary responsibility—to make its audience laugh. Beneath the relentless shouting, implausible situations, and endless misunderstandings lies a film with a weak story, an uneven screenplay, and humour that rarely connects. While the cast makes an honest attempt, the material simply isn't strong enough to support them. The biggest relief the film offers is that it eventually comes to an end. If you're looking for a genuinely entertaining comedy, this one is unlikely to reward your time or money.

Bhai Tera Star Hai mistakes volume for humour and chaos for entertainment. Despite an earnest cast and an interesting premise, weak writing, repetitive gags, and an exhausting execution make this one of the year's most disappointing comedies.

Director/Writer: Padmakumar Narasimhamurthy

Cast - Siddharth Menon, Medha Shankr, Adil Hussain, Nasser, Mandira Bedi

Duration – 138 Minutes

Rating – 3

Not every film needs explosive action, grand romance, or shocking twists to leave a lasting impression. Max, Min & Meowzaki proves that sometimes, the most compelling stories are the ones rooted in everyday emotions. This intimate family drama explores grief, generational conflicts, identity, love, and acceptance with remarkable honesty. Director Padmakumar Narasimhamurthy crafts a film that feels deeply personal, inviting audiences into the lives of flawed but relatable characters who are all searching for peace in their own ways.

At the heart of the story is Ramesh Mahadevan (Adil Hussain), a widower battling insomnia after losing his wife. Therapy sessions with psychologist Dhaara (Mandira Bedi) slowly force him to confront not only his grief but also the unresolved issues that defined his marriage and relationships. Meanwhile, his son Mahesh—better known as Max (Siddharth Menon)—is navigating heartbreak after separating from his live-in partner Min (Medha Shankr). Add to that Ramesh's strained bond with his father Sridhar (Nasser), whose belief in humanity rises above religious divides, and the film transforms into a beautifully layered portrait of three generations learning to understand one another.

What makes Max, Min & Meowzaki stand apart is that it refuses to paint its characters as heroes or villains. Everyone carries emotional baggage, and everyone makes mistakes. Instead of dramatic confrontations, the screenplay relies on heartfelt conversations, awkward silences, therapy sessions, and subtle emotional breakthroughs. The writing never rushes to offer easy solutions, making every moment of reconciliation feel earned. While themes like live-in relationships, therapy, dating apps, and interfaith romance make the film distinctly urban, they are handled with maturity rather than sensationalism.

The performances elevate the material considerably. Adil Hussain once again demonstrates why he remains one of India's finest actors, delivering a restrained yet deeply moving performance as a man imprisoned by his own prejudices and regrets. Siddharth Menon is effortlessly charming as Max, bringing vulnerability and humour in equal measure. Medha Shankr lends warmth and sincerity to Min, ensuring the character never feels like just a romantic interest. Mandira Bedi impresses with a calm, dignified performance as the therapist whose quiet observations often carry the film's emotional weight. Veteran actors Nasser and Nafisa Ali share some of the film's most touching scenes, proving that companionship and emotional connection know no age. Even the adorable cat, Meowzaki, manages to steal a few scenes with effortless charm.

Technically, the film complements its storytelling with understated finesse. The cinematography captures everyday spaces with intimacy rather than glamour, making the characters' emotional journeys feel authentic. The background score never overwhelms the narrative, instead gently enhancing the mood of each scene. The editing keeps the multiple storylines flowing smoothly, ensuring the film remains engaging despite its dialogue-driven nature. The screenplay deserves special appreciation for balancing humour and heartbreak without ever slipping into melodrama.

That said, Max, Min & Meowzaki isn't a film designed for everyone. Its predominantly English dialogues, urban sensibilities, and unconventional title may limit its reach among mainstream audiences expecting a conventional commercial entertainer. Those looking for larger-than-life drama or a traditional love story may find its measured pace challenging. However, viewers who appreciate thoughtful storytelling and character-driven cinema will likely find themselves emotionally invested from beginning to end.

Ultimately, Max, Min & Meowzaki is less about finding perfect relationships and more about learning to forgive, evolve, and reconnect. It gently reminds us that healing often begins with difficult conversations and a willingness to confront uncomfortable truths. Rich in emotion, anchored by outstanding performances, and told with refreshing sincerity, this is the kind of film that stays with you long after the credits roll. It may not dominate the box office, but it certainly deserves a place among this year's most heartfelt independent films.

Max, Min & Meowzaki is a mature, emotionally intelligent drama that rewards patient viewers with memorable performances and meaningful storytelling. It is a refreshing reminder that cinema can be both entertaining and deeply human without relying on spectacle.

Director: Akashaditya Lama

Cast: Khushalii Kumar, Mahesh Manjrekar, Piyush Mishra, and Omkar Kapoor

Duration – 2h7m

Rating – 1.5

Bollywood has delivered its fair share of wedding entertainers, where misunderstandings, family drama, and comic confusion come together to create memorable cinematic celebrations. Dulhaniya Le Aaeegi attempts to follow that familiar formula by combining a lavish wedding backdrop with comedy and emotional moments. Unfortunately, despite an interesting premise and a dependable supporting cast, the film struggles to generate enough laughs or emotional investment, resulting in a wedding that feels more exhausting than entertaining.

The story revolves around Navya (Khushali Kumar), the only daughter of influential businessman Devi Prasad (Mahesh Manjrekar). As preparations begin for her extravagant wedding, a series of unexpected incidents throw the celebrations into complete disarray. With everything seemingly falling apart, Navya refuses to let the wedding collapse and takes it upon herself to ensure the ceremony goes ahead. The setup promises a chaotic family entertainer filled with surprises, but the narrative never fully capitalises on its potential.

The biggest weakness of Dulhaniya Le Aaeegi is its screenplay. Instead of building momentum through engaging twists or genuinely funny situations, the film unfolds like a collection of disconnected comedy sketches. Many scenes appear designed to provoke laughter, but the humour rarely lands. The jokes feel repetitive, while the dialogue lacks the wit needed to elevate the situations. As a result, the film often loses its pace, making even its relatively short runtime feel longer than it should.

Performance-wise, Mahesh Manjrekar once again proves why he remains one of the industry's most reliable actors. As the authoritative yet emotionally invested father, he brings conviction to a role that could have easily become stereotypical. Piyush Mishra adds his trademark screen presence, making the most of his limited material, while Snehil Dixit Mehra leaves a pleasant impression. Omkar Kapoor delivers a few enjoyable moments, and Larissa Bonesi plays her part adequately. However, Khushali Kumar, who shoulders much of the film as Navya, delivers a performance that lacks the emotional depth and comic timing required for a character at the centre of the narrative. Her portrayal remains serviceable but never truly memorable.

Director Akashaditya Lama keeps the proceedings visually polished, but the storytelling never rises above routine commercial filmmaking. The film boasts colourful wedding sets and vibrant costumes, yet the visual grandeur cannot compensate for the lack of engaging content. The music serves the story without producing a standout chartbuster, while the choreography and background score fail to inject the festive energy that a wedding comedy desperately needs. The editing could also have been tighter, as several scenes overstay their welcome.

What makes the disappointment more noticeable is that the premise had genuine potential. A modern-day wedding spiralling into chaos could have been a perfect recipe for laugh-out-loud moments, family emotions, and unpredictable twists. Instead, the film plays it safe, relying on familiar tropes without adding anything fresh. Even the emotional scenes struggle to make an impact because the characters are not developed enough for audiences to truly care about their journeys.

Released on 24 July 2026, Dulhaniya Le Aaeegi positions itself as a comedy-drama for family audiences, but it falls short of delivering either memorable humour or heartfelt emotions. While a handful of performances provide some relief, they cannot rescue a screenplay that lacks originality and narrative spark. Fans of light-hearted wedding entertainers may find a few scattered moments to enjoy, but most viewers are likely to walk away feeling that the film missed an opportunity to turn a festive premise into an engaging cinematic celebration.

Final Verdict: Dulhaniya Le Aaeegi has all the ingredients for a colourful wedding entertainer but never manages to bring them together effectively. A weak screenplay, inconsistent comedy, and predictable storytelling outweigh the sincere performances of its supporting cast. It is a film that looks festive on the outside but lacks the heart, humour, and excitement needed to make the celebrations memorable.

Director - Milap Milan Zaveri

Cast – Aman Indra Kumar, Akanksha Sharma, Paresh Rawal, Johnny Lever

Duration – 146 Minutes

Rating: 2

Romantic dramas often thrive on emotional conflict, memorable chemistry, and characters audiences can root for. Tera Yaar Hoon Main tries to blend romance, family values, and friendship into a wholesome entertainer, but despite its promising premise and a veteran like Paresh Rawal in the cast, the film struggles to rise above predictable storytelling. What could have been a heartwarming tale about love versus family expectations instead ends up feeling like a patchwork of scenes borrowed from better films.

The story follows Sanju Deshmukh (Aman Indra Kumar), a cheerful young man who falls deeply in love with Anu Purohit (Akanksha Sharma). Their romance hits an immediate roadblock when Anu's father, Vishwanath Purohit (Paresh Rawal), reveals that he has already promised his daughter's hand in marriage to another man. Bound by his principles and unwilling to break his word, Vishwanath refuses to reconsider. In an unusual twist, however, Sanju and Vishwanath share a friendly bond, with the youngster constantly asking him to think like a friend instead of a father. This relationship offers the film's only genuinely fresh idea, but unfortunately, it isn't explored deeply enough to make a lasting impact.

The screenplay is where Tera Yaar Hoon Main loses its way. Inspired by the Telugu hit Hello Guru Prema Kosame, the film rarely surprises its audience. Almost every twist feels predictable, while several scenes evoke a sense of déjà vu, reminding viewers of countless Bollywood romances that have tackled similar themes far more effectively. Emotional moments lack intensity, romantic sequences fail to create butterflies, and even the family drama never reaches the emotional highs it aims for. The result is a narrative that moves forward without ever becoming engaging.

Debutant Aman Indra Kumar has the responsibility of carrying the film on his shoulders, but his performance remains ordinary. While he appears sincere, he struggles to bring charisma and emotional depth to Sanju, making it difficult for viewers to invest in his journey. Akanksha Sharma also delivers a performance that never quite rises above average, leaving the central love story without the spark it desperately needs. Paresh Rawal, as always, lends credibility to his role through his effortless screen presence, but even an actor of his calibre cannot do much with a character that lacks memorable writing. Johny Lever provides a few light-hearted moments in a special appearance, while Darshan Jariwala and Rajesh Khera leave respectable impressions in their limited screen time.

Director Milap Milan Zaveri keeps the film visually neat, but the storytelling lacks energy and conviction. The narrative unfolds mechanically, with one predictable scene following another, making it difficult to stay emotionally invested. The music is pleasant in parts, with a few songs fitting naturally into the narrative, but none have the lasting appeal expected from a romantic entertainer. The cinematography captures the film's locations well, while the background score and action sequences remain functional without adding much excitement.

One of the biggest disappointments is that the film never fully capitalises on its strongest emotional conflict. The friendship between Sanju and Vishwanath could have delivered meaningful conversations about trust, responsibility, and changing family dynamics. Instead, the screenplay chooses familiar romantic clichés over emotional depth, leaving the audience with a love story that feels rushed and underdeveloped. Even the supporting track involving Tanisha appears incomplete, disappearing without offering any meaningful closure.

Ultimately, Tera Yaar Hoon Main is a film with good intentions but weak execution. It attempts to celebrate love, friendship, and family values, yet it never succeeds in making viewers emotionally invested in its characters or their choices. While Paresh Rawal's dependable performance and a handful of lighter moments prevent the film from becoming completely forgettable, they aren't enough to rescue a story that feels outdated and formulaic.

Final Verdict: Tera Yaar Hoon Main had the ingredients for an emotional family romance but fails to blend them into an engaging experience. Predictable writing, underwhelming lead performances, and a lack of genuine emotional payoff make it a forgettable watch. Fans of conventional romantic dramas may find a few enjoyable moments, but overall, this is one relationship that never truly blossoms on screen.

Director - Chettan DK

Writer - Sagar B Shinde

Cast - Kajal Aggarwal, Shreyas Talpade, Murali Sharma, Manish Wadhwa, Trisha Sarda, Atul Tiwari, Kamlesh Sawant, Sham Mashalkar

Duration – 2h10m

Rating – 3

Courtroom dramas work best when they combine emotional stakes with razor-sharp legal battles that keep audiences on the edge of their seats. The India Story arrives with a socially relevant premise and raises uncomfortable questions about food safety, pesticides, and public health. It deserves applause for tackling an issue rarely explored in mainstream Indian cinema. However, while its intentions are admirable, the execution lacks the dramatic intensity needed to transform an important subject into a truly compelling cinematic experience.

The film follows Yogesh Patil (Shreyas Talpade), a grieving father whose world is shattered after losing his young daughter Pari (Trisha Sarda) to cancer. Refusing to accept the tragedy as mere fate, Yogesh discovers scientific studies linking excessive pesticide exposure to serious health risks. Believing that harmful chemicals entered his daughter's body through everyday food, he files a landmark case against the Government of India, farmers, and multinational fertiliser companies. Represented by advocate Archana (Kajal Aggarwal Kitchlu), Yogesh embarks on a legal battle that seeks accountability from an entire system rather than a single individual.

What immediately stands out is the film's willingness to spotlight a rarely discussed issue. Instead of relying on fictional conspiracies, The India Story roots its narrative in concerns surrounding pesticide usage, the legacy of the Green Revolution, and the long-term impact of chemical farming. The subject itself is engaging and thought-provoking, encouraging viewers to reflect on what eventually reaches their dining tables. The first half effectively balances family emotions with legal proceedings, creating curiosity about how the case will unfold.

Unfortunately, the momentum begins to fade after the interval. Instead of escalating the courtroom battle through intelligent legal strategies and dramatic confrontations, the screenplay repeatedly shifts focus to the emotional suffering of Yogesh and his family. While these scenes are heartfelt and often moving, they gradually overshadow what should have been the film's strongest asset—the courtroom conflict. The legal exchanges never develop into the gripping battle of minds audiences expect from the genre, largely because the opposition appears surprisingly underprepared. Without a worthy challenge for the protagonist's legal team, the proceedings lose much of their suspense, making the climax less impactful than it could have been.

Shreyas Talpade delivers a sincere and emotionally grounded performance as a father driven by grief and determination. He convincingly portrays Yogesh's pain, although the role doesn't offer enough dramatic highs for him to truly excel. Kajal Aggarwal Kitchlu brings dignity and composure to advocate Archana, handling courtroom scenes with confidence even if the screenplay limits her opportunities to shine. Manish Wadhwa performs capably as the defence lawyer, while Murali Sharma, Atul Tiwari, C.P. Thakur, and Kamlesh Sawant provide dependable support. Young Trisha Sarda leaves a lasting impression despite limited screen time, bringing innocence and warmth to Pari's character.

Director Chettan D.K. deserves credit for presenting a socially conscious narrative without resorting to unnecessary melodrama. However, the film never achieves the edge-of-the-seat quality associated with memorable courtroom dramas. The music blends naturally into the narrative, and the emotional songs support the story without disrupting its flow. The cinematography remains functional, while the production design keeps the focus firmly on the characters and the legal proceedings. Tighter editing, particularly in the second half, could have significantly improved the film's pacing.

The biggest achievement of The India Story lies in the conversations it is likely to spark after audiences leave the theatre. It raises valid questions about agriculture, food quality, public health, and corporate responsibility without becoming preachy. Even when the narrative stumbles, the film succeeds in reminding viewers that environmental issues and health concerns are not distant headlines but deeply personal realities affecting countless families.

The India Story is driven by a noble message and an important social issue that deserves mainstream attention. While the emotional performances and thought-provoking premise make it worth watching, an underwhelming courtroom narrative and uneven second half prevent it from reaching its full potential. It's a film that informs and provokes discussion, even if it doesn't fully satisfy as a legal thriller.

Director: Avinash Arun Dhaware

Screenwriter: Rajkumar Hirani, Abhijat Joshi, Suyash Trivedi

Cast: Arshad Warsi, Vir Hirani, Vikrant Massey, Mona Singh, Naina Sareen, Shruti Marathe, Satyadeep Misra

Platform: JioHotstar

Episode – 6

Rating – 1

Rajkumar Hirani's arrival on the streaming platform should have been an exciting moment. After decades of delivering some of Hindi cinema's most beloved films, expectations were naturally high for Pritam and Pedro. However, what arrives on screen feels surprisingly dated, confused, and lacking the emotional precision that once defined Hirani's storytelling. Reports of creative disagreements and delays during development suddenly make a lot more sense after watching the finished product, because the series often feels like an unfinished idea stretched into six episodes rather than a fully realized vision.

The story revolves around Pritam, a young tech-savvy man who unexpectedly becomes an asset to Goa Police officer Pedro after demonstrating his cyber skills. On paper, the premise offers enormous potential to explore modern cybercrime, online identity, digital fraud, artificial intelligence, and generational differences. Instead, the series repeatedly settles for simplistic jokes about older people struggling with technology while portraying basic internet knowledge as extraordinary brilliance. Rather than creating tension through intelligent investigation, the writing chooses convenience over credibility.

One of the biggest disappointments is how cybercrime itself is presented. Today's digital crimes are layered, psychologically complex, and constantly evolving, yet Pritam and Pedro treats technology as a villain instead of a tool. Nearly every conflict is blamed on social media, smartphones, hackers, or the internet, reducing important conversations into simplistic moral lessons. Instead of asking difficult questions about privacy, surveillance, misinformation, and online manipulation, the series repeatedly falls back on the message that technology is responsible for everything wrong in society.

Rajkumar Hirani has always been known for balancing humour with heartfelt social commentary, but that signature formula struggles to find relevance here. Pedro is writtaen in the familiar Hirani mould of the lovable outsider whose emotional intelligence eventually wins everyone over. The difference is that earlier protagonists earned those moments through layered writing. Pedro, unfortunately, succeeds because everyone around him is deliberately written to appear less capable. The emotional speeches arrive exactly when expected, but they feel manufactured rather than earned, making the inspirational moments lose much of their impact.

The performances also fail to elevate the material. Arshad Warsi brings sincerity to Pedro, but the screenplay rarely allows him to move beyond repetitive reactions and predictable emotional beats. Vir Hirani, making his acting debut, shows confidence in front of the camera but lacks the natural screen presence and emotional depth required to carry a central role. Vikrant Massey arrives too late to leave a lasting impression, while Mona Singh remains criminally underutilized despite being one of the strongest performers in the cast. Several talented actors appear briefly without making any meaningful contribution to the overall narrative.

Visually, the series carries the polished production values expected from a Rajkumar Hirani project, and Avinash Arun's direction ensures that nothing looks amateurish. Yet the storytelling never develops urgency or suspense. The pacing remains uneven, the investigations lack genuine mystery, and many episodes feel longer than they actually are. Instead of building momentum, the narrative keeps repeating the same conflict between old-school policing and digital intelligence without offering fresh insights or meaningful evolution for either character.

Pritam and Pedro ultimately becomes a missed opportunity more than an outright failure. A story inspired by real cybercrime cases could have explored the digital age with intelligence, nuance, and relevance. Instead, it delivers familiar lectures, predictable emotional beats, and outdated assumptions about technology that feel disconnected from today's audience. Rajkumar Hirani's first OTT venture isn't without occasional warmth or sincerity, but neither quality is enough to compensate for weak writing and underdeveloped ideas. In an era where streaming audiences expect smarter crime dramas and sharper social commentary, Pritam and Pedro feels like a series trapped between two generations, unable to fully connect with either.

Director - Steven Spielberg

Screenplay - David Koepp

Cast - Emily Blunt, Josh O'Connor, Colin Firth, Eve Hewson, Colman Domingo

Runtime – 145 Minutes

Rating – 2

What would happen if humanity discovered, beyond any doubt, that we are not alone in the universe? It is one of the most fascinating questions science fiction has ever asked. Such a revelation would challenge religion, politics, culture, and our entire understanding of existence. It would force humanity to reconsider its place in the cosmos. Yet for all the enormous possibilities contained within that premise, Steven Spielberg's Disclosure Day seems surprisingly uninterested in exploring them. Instead, it settles for a far safer story about government secrets, whistleblowers, and the importance of truth.

At first, the film appears to be building toward something profound. Set in the present day, Disclosure Day revolves around the idea that extraterrestrials are real and have secretly been present on Earth for decades. The public simply doesn't know it yet. Rather than focusing on first contact or alien invasion, the story centers on the government's efforts to suppress evidence of their existence. The result is less of a traditional alien movie and more of a conspiracy thriller, with echoes of political dramas and chase films rather than classic science fiction.

The story follows Josh O'Connor as a whistleblower who obtains classified footage proving the existence of extraterrestrial life. As he attempts to bring this information to the public, he becomes the target of a powerful organization determined to keep the secret buried. Along the way, he crosses paths with Emily Blunt's mysterious character, whose connection to the alien phenomenon gradually becomes central to the narrative. Together, they find themselves pursued by government agents while racing to reveal what may be the biggest secret in human history.

For much of its first half, Disclosure Day is genuinely engaging. Spielberg remains one of cinema's greatest storytellers when it comes to suspense and momentum. The mystery unfolds gradually, clues are revealed at the right moments, and the film maintains a constant sense of tension. Even when very little is happening, Spielberg's direction keeps the audience invested. There is an old-fashioned thriller quality to the movie that makes it easy to enjoy on a scene-to-scene basis.

Unfortunately, the screenplay never develops beyond its setup.

The film's biggest problem is that it seems far more interested in the act of revealing the truth than in the consequences of that truth. Everything builds toward disclosure, yet the story rarely pauses to consider what disclosure would actually mean. This becomes increasingly frustrating because the film repeatedly presents the existence of aliens as a world-changing revelation while refusing to examine how the world might change.

Would governments lose credibility? Would religious beliefs be challenged? Would humanity unite, panic, or simply move on? These are the questions that naturally emerge from the film's premise. Yet Disclosure Day largely ignores them. Instead, it relies on a broad and somewhat simplistic message about empathy and understanding.

That theme is primarily delivered through Emily Blunt's character, who possesses an extraordinary ability to emotionally connect with people. Throughout the film, she repeatedly defuses conflict through brief emotional interactions, convincing strangers and even government pursuers to reconsider their actions. The idea that empathy is a uniquely human strength is not inherently flawed, but the execution feels heavy-handed. The film treats empathy almost like a magical solution capable of overcoming every obstacle. Rather than feeling profound, many of these moments come across as unrealistic and overly sentimental.

The aliens themselves are also surprisingly underwhelming. Spielberg has created some of cinema's most memorable extraterrestrial beings in the past, yet the creatures in Disclosure Day feel disappointingly generic. Instead of offering something imaginative or unique, the film relies on familiar grey-alien imagery that has dominated UFO mythology for decades. For a filmmaker known for wonder and creativity, this lack of originality is difficult to ignore.

That said, the performances help keep the film afloat. Josh O'Connor brings urgency and conviction to his role, while Emily Blunt does everything she can with material that often struggles to support its own ambitions. The supporting cast is equally solid, and Spielberg's direction ensures that the movie remains entertaining even when its ideas fall short.

The real disappointment arrives in the final act. After spending two hours building anticipation around the revelation of extraterrestrial truth, the film finally reaches its moment of disclosure. Audiences expect some exploration of the aftermath, some attempt to grapple with the implications of such a discovery. Instead, the movie chooses ambiguity. The truth is revealed, a few vague statements about listening and understanding are offered, and the story comes to an abrupt end. It feels less like a conclusion and more like an avoidance of one.

The problem is not that the film leaves questions unanswered. Great science fiction often thrives on ambiguity. The problem is that Disclosure Day never seriously engages with those questions in the first place. It repeatedly hints at enormous philosophical ideas but seems reluctant to explore them. For a movie built around one of the most significant revelations imaginable, its imagination feels surprisingly limited.

Disclosure Day is an entertaining conspiracy thriller elevated by Spielberg's undeniable filmmaking skill. The mystery is compelling, the performances are strong, and the suspense works. But beneath the polished surface lies a screenplay that lacks the courage to confront its own premise. It asks one of science fiction's biggest questions and then walks away before the conversation truly begins.

Director – Chinmay D. Mandlekar

Cast – Manoj Bajpayee, Adah Sharma, Madhoo, Naushad Mohammad Kunju, Paritosh Sand, and Krisha Kurup

Writers – Shubhendu Bhattacharya, Saurabh Bharat, Ravi Asrani, and Vipul Amrutlal Shah

Producers – Vipul Amrutlal Shah, Sunshine Pictures

Runtime – 122 Minutes

Rating – 3

Historical dramas often struggle to make policy and governance engaging for mainstream audiences, but Governor: The Silent Saviour takes on that challenge with sincerity and ambition. Set against the backdrop of India's economic crisis in the early 1990s, the film revisits a crucial chapter in the nation's history and shines a light on the individuals who worked behind the scenes to prevent financial collapse. Rather than relying on sensationalism, the film focuses on the power of intellect, leadership, and difficult decision-making during one of the country's most uncertain periods.

The story follows A. Ramanan, played by Manoj Bajpayee, an RBI Governor-inspired figure tasked with guiding India through a severe economic downturn. The film explores the enormous responsibility placed on his shoulders as foreign reserves dwindle, pressure mounts from political circles, and public anxiety grows. While economic policy is rarely considered cinematic material, the screenplay manages to transform complex financial challenges into a human story about duty, resilience, and national service.

Manoj Bajpayee once again proves why he remains one of India's most dependable performers. His portrayal of Ramanan is restrained yet powerful, capturing the calm determination of a man who understands the gravity of every decision he makes. Bajpayee never resorts to dramatic theatrics; instead, he allows the character's intelligence and conviction to speak for themselves. His performance gives the film emotional weight and keeps viewers invested even during its most technical moments.

The supporting cast complements the narrative effectively. Madhu Sharma brings warmth and stability as Vandita, offering glimpses into the personal life of a man consumed by professional responsibilities. Adah Sharma stands out as journalist Aditi Verma, whose pursuit of answers adds another dimension to the story. Through her character, the film examines the role of the media during times of national uncertainty. The rest of the ensemble delivers solid performances that contribute to the film's authenticity and grounded tone.

Director Chinmay D. Mandlekar deserves credit for approaching the subject with seriousness and respect. Rather than turning the story into a political thriller, he keeps the focus on the economic realities of the era and the people working to address them. The production design successfully recreates the atmosphere of 1990s India, helping viewers appreciate how different the country was during that period. The film serves as a reminder of how far India has come and the difficult choices that helped shape its economic future.

That said, Governor: The Silent Saviour is not without flaws. The pacing occasionally slows, particularly in sections that lean heavily on discussions and procedural details. Some viewers may also feel that the film does not fully explore the government's role in resolving the crisis, choosing instead to remain focused on its central character. While this keeps the narrative streamlined, it leaves certain aspects of the larger picture underdeveloped.

Despite these shortcomings, the film succeeds as both an educational and engaging experience. It tells an important story that many younger viewers may know only from a brief mention in history or social science textbooks. More importantly, it highlights a rarely discussed aspect of nation-building—economic leadership during moments of crisis.

Governor: The Silent Saviour may not appeal to audiences looking for high-octane action or commercial spectacle, but viewers interested in history, governance, and real-life stories of leadership will find plenty to appreciate. Anchored by an excellent performance from Manoj Bajpayee and backed by thoughtful direction, the film is a meaningful watch that deserves attention for bringing an overlooked chapter of India's journey to the screen.

Writer/Director - Manoj Tapadia

Starring - Kangana Ranaut, Girija Oak Godbole , Smita Tambe, Suhita Thatte, Asha Shelar, Priya Berde, Esha Dey, Rasika Aghase, Amrutha Namdev, Aditya Mishra, Zahid Khan

Producer - Kangana Ranaut, Shailesh R Singh, Dhaval Gada, Babita Ashiwal, Adi Sharma

Runtime – 130 Minutes

Rating – 3

The story of the 26/11 Mumbai terror attacks has been told multiple times through films, documentaries, and web series. Most of these narratives have focused on the terrorists, the police force, or the commandos who fought back during those terrifying hours. Bharat Bhhagya Viddhaata takes a different and refreshing approach. Instead of concentrating on the gunfire and counter-terror operations, the film highlights the courage of nurses and hospital staff who risked their lives to protect patients trapped in the middle of a national tragedy.

Set primarily inside Cama Hospital, the film follows Geeta Madhav, played by Kangana Ranaut, and her team of nurses as they go about their routine duties on what initially appears to be an ordinary day. The film spends time introducing the staff, their friendships, family struggles, and personal responsibilities. These moments help establish an emotional connection with the characters before events take a dramatic turn.

As news of coordinated terrorist attacks begins to spread across Mumbai, panic slowly creeps into the hospital corridors. With uncertainty growing by the minute, Geeta and her colleagues find themselves responsible for the safety of vulnerable patients, pregnant women, and frightened families. The film effectively captures the tension and confusion of those moments. More importantly, it emphasizes that heroism is not limited to people carrying weapons; sometimes it is demonstrated by those who continue doing their duty despite overwhelming fear.

Kangana Ranaut delivers one of her most controlled performances in recent years. She avoids unnecessary dramatics and portrays Geeta with sincerity and conviction. Her performance feels natural, particularly in scenes that require her to balance fear with responsibility. The actress also brings warmth to the lighter moments, reminding viewers of the effortless charm that made some of her earlier performances memorable. Her expressions communicate anxiety, determination, and compassion without ever feeling exaggerated.

The supporting cast adds significant strength to the narrative. Girija Oak, Smita Tambe, Asha Shelar, and Priya Arjun Berde all contribute believable and emotionally grounded performances. The decision to cast several actors from Marathi cinema enhances the authenticity of the Mumbai setting and makes the hospital environment feel more realistic. Importantly, the film functions as an ensemble piece rather than relying solely on its lead star.

Director Manoj Tapadia deserves credit for bringing an overlooked perspective to the screen. Instead of recreating the attack through action-heavy sequences, he focuses on the emotional experience of ordinary people caught in extraordinary circumstances. The confined hospital setting allows the audience to experience the fear and uncertainty from the viewpoint of those who had no idea what was happening outside but still had lives depending on them.

However, this creative choice also becomes the film's biggest limitation. By restricting the story almost entirely to the hospital, the narrative occasionally loses the larger context of the attacks. The scale of the tragedy that engulfed Mumbai that night is not always fully conveyed. Younger audiences unfamiliar with the events may not completely grasp the magnitude of the crisis unfolding beyond the hospital walls.

The pacing is another area where the film struggles. The first act takes longer than necessary to establish its characters, causing the story to find momentum rather late. While several emotional moments work effectively, a few scenes appear designed to evoke tears rather than allowing emotions to emerge organically.

Despite its flaws, Bharat Bhhagya Viddhaata succeeds in shining a spotlight on individuals who are often forgotten in discussions about 26/11. It tells a story of courage, compassion, and responsibility during one of India's darkest nights. While it may not fully realize the immense potential of its subject matter, it remains a sincere and respectful tribute to the healthcare workers who quietly became heroes when their city needed them most.

Director - Imtiaz Ali

Cast – Diljit Dosanjh, Naseeruddin Shah, Vedang Raina, Sharvari, Danish Pandor, Banita Sandhu, Kumud Mishra, Rajat Kapoor, Sanjay Suri, Jaipreet Singh, Dolly Ahluwalia, Vinod Nagpal, Manish Chaudhary, Anjana Sukhani

Writer – Imtiaz Ali, Nayanika Mahtani

Producer - Sameer Nair, Deepak Segal, Mohit Choudhary, Shibhasish Sarkar

Runtime – 167 Minutes

Rating – 3

Love stories have always been Imtiaz Ali's strongest territory, and Main Vaapas Aaunga is yet another attempt to explore love that refuses to fade with time. Set against the lingering wounds of the India-Pakistan Partition, the film tells an emotional story about memories, unfinished relationships, and the longing to say goodbye to someone who never truly left the heart. While the film doesn't always maintain its footing, it eventually blossoms into a moving and deeply emotional experience.

At the center of the story is 94-year-old Keenu Grewal, played by Naseeruddin Shah, who has spent nearly eight decades carrying the memory of a love that remained incomplete. Before his final farewell to life, he wishes to seek permission from the woman he once loved to say goodbye properly. That woman now lives across the border in Pakistan, making the journey nearly impossible. Determined to fulfill his grandfather's wish, Nirvair Grewal (Diljit Dosanjh) embarks on a mission that becomes far more than a simple search. What follows is a journey through memories, history, and emotions that have survived generations.

One of the film's biggest strengths lies in its performances. Vedang Raina impresses as the younger Keenu, bringing sincerity and vulnerability to the role. Sharvari is charming and graceful as Afsana, creating a character who remains memorable even when she is absent from the screen. Naseeruddin Shah once again proves why he is considered one of India's finest actors. Despite limited dialogue, he conveys decades of longing, regret, and affection through subtle expressions and body language.

Diljit Dosanjh delivers a restrained and heartfelt performance. His natural screen presence works perfectly for a character carrying the emotional burden of another generation's unfinished story. The supporting cast, including Danish Pandor, Manish Chaudhari, and Rajat Kapoor, contributes meaningfully to the narrative and helps create a believable emotional landscape.

However, Main Vaapas Aaunga is also a film of two distinct halves. The first half feels slow and occasionally difficult to connect with. The narrative takes considerable time to establish its characters and emotional stakes. Some scenes feel overly literary, as though pages from a novel have been transferred directly to the screen without sufficient cinematic adaptation. As a result, the film occasionally struggles to maintain momentum.

Fortunately, the second half is where Imtiaz Ali reminds audiences why his storytelling continues to resonate. The emotional depth increases dramatically as the film explores the human cost of Partition. Beyond political boundaries and historical events, the story focuses on families torn apart, relationships left unfinished, and the emotional scars carried across generations. These moments are beautifully handled and often leave a lasting impact.

The film is not entirely free of flaws. Certain creative choices, particularly the use of a cricket-related narrative device, feel unnecessary and occasionally distract from the central emotional journey. Similarly, some aspects of Keenu's portrayal during his illness can feel slightly exaggerated. A more understated approach might have strengthened the emotional authenticity of several scenes.

Yet despite these shortcomings, Main Vaapas Aaunga succeeds where it matters most. It captures the pain of separation and the enduring power of love with sincerity. The film speaks not only about romance but also about memory, identity, and the invisible wounds left behind by history.

For viewers who appreciate slow-burning dramas filled with emotion and nostalgia, this film offers a rewarding experience. Those expecting a fast-paced narrative may find the journey demanding, but patient audiences will discover a story that lingers long after the credits roll. Emotional, thoughtful, and beautifully acted, Main Vaapas Aaunga is a film that deserves to be experienced with patience and an open heart.

Director – Prosit Roy

Cast – Ali Fazal, Sonali Bendre, Aamir Bashir, Rakesh Bedi, Divyendu Bhattacharya, Aakash Makhija, Ramandeep Yadav, Divya Sharma, and Vivan Sharma

Writers – Anusha Nandakumar, Sandeep Saket

Producers – Deepak Dhar, Rishi Negi, Mrinalini Jain, Shyam Rathi

Platform - Prime Video

Season – 1

Episode – 8

Rating – 3

Crime thrillers have become one of the most crowded genres on OTT platforms. Every week seems to bring another murder investigation, serial killer hunt, or police procedural. Standing out in such a crowded space requires more than shocking twists and graphic violence. Raakh understands this. Instead of relying solely on suspense, the series focuses on the fear and trauma that a horrific crime leaves behind, creating a psychological impact that lingers long after the credits roll.

Inspired by the infamous 1978 Ranga-Billa case, Raakh revisits one of India's most disturbing crimes. While the case itself has been portrayed in various formats over the years, this series takes a different approach. Rather than simply recreating the crime, it explores its emotional and social aftermath, examining how a single act of brutality can shake an entire community.

The story revolves around the Arora family, whose lives are turned upside down when their children, Suman and Sahil, fail to return home after attending a radio station event. What begins as a missing persons case gradually transforms into something far darker. Running parallel to this storyline is the journey of two petty criminals, Babu and Rajjo, whose reckless decisions trigger a horrifying chain of events. As these narratives slowly converge, the series builds a sense of dread that becomes increasingly difficult to ignore.

One of the show's strongest assets is its character-driven storytelling. Ali Fazal delivers one of the finest performances of his career as police officer Jaiprakash. Unlike the loud and larger-than-life cops often seen in crime dramas, Jaiprakash is quiet, thoughtful, and emotionally burdened. Fazal effectively conveys his character's frustration, determination, and vulnerability through subtle expressions rather than dramatic speeches. It is a refreshingly restrained performance that elevates the entire series.

Sonali Bendre also makes a powerful impact as Mona Arora. Her portrayal of a mother desperately searching for answers feels authentic and deeply emotional. She avoids melodrama and instead brings a heartbreaking realism to the role. Aamir Bashir provides solid support, while Divyendu Bhattacharya adds depth whenever he appears on screen.

The biggest surprise, however, comes from Aakash Makhija and Ramandeep Yadav as Babu and Rajjo. Their performances are genuinely unsettling. Rather than portraying cartoonish villains, they create characters who feel disturbingly real. There are moments when their actions evoke anger, discomfort, and fear simultaneously—exactly the reaction the narrative demands.

Director Prosit Roy once again proves that atmosphere is one of his greatest strengths. Much like his earlier work, Raakh thrives on tension rather than spectacle. The recreation of 1970s Delhi feels immersive, and the show's visual language constantly reinforces a sense of unease. The simplicity of the filmmaking often works in its favor, making several scenes more disturbing because they feel grounded in reality.

However, the series is not without flaws. Its biggest challenge is pacing. While the slow-burn approach helps build tension, several episodes stretch scenes longer than necessary. There are moments where the narrative appears trapped in a particular emotional state without making meaningful progress. As a result, the middle portion occasionally feels repetitive and loses some momentum.

The series also takes itself very seriously throughout its runtime. While that seriousness contributes to the atmosphere, it sometimes comes at the expense of narrative urgency. The creators seem more invested in maintaining a mood of dread than consistently moving the story forward. Fortunately, the finale delivers a satisfying payoff that justifies much of the slow build-up.

Raakh is not designed for viewers seeking constant twists and rapid-fire storytelling. It demands patience and attention. Those willing to invest in its world will find a disturbing, emotionally charged thriller that prioritizes character and atmosphere over easy thrills.

While not flawless, Raakh succeeds in creating the kind of crime drama that remains in your thoughts long after the final episode ends. In an era overflowing with forgettable thrillers, that alone makes it worth watching.

Director: Manish Saini

Cast: Jackie Shroff, Mihir Godbole, Shivansh Chorge, Bhagyashree, Prateik Babbar, Sharat Saxena

Duration: 112 minutes

Rating – 2..5

Manish Saini’s The Great Grand Superhero: Aliens Ka Aagman arrives with the kind of sincerity that modern family films often struggle to embrace. Beneath its playful title and comic-book premise lies a surprisingly heartfelt story about childhood loneliness, storytelling, and the power of believing in something bigger than yourself. At a time when cynicism has become the default setting for both audiences and filmmakers, the film dares to suggest that imagination is not an escape from reality—it is often what helps us survive it.

At the center of this adventure is Dipu (Mihir Godbole), a bright but lonely boy who has become accustomed to changing schools and starting over due to his father's frequent transfers. Making friends doesn't come naturally to him, so he does what many children do when reality feels insufficient—he invents a better one. In Dipu's version of events, his grandfather is no ordinary pensioner but a secret superhero locked in an eternal battle against aliens. The story begins as a harmless attempt to fit in, but soon grows into something much larger when his classmates start demanding proof of these extraordinary claims.

The film finds much of its charm in the contrast between fantasy and reality. Jackie Shroff's Jagdish Chandra appears to be the exact opposite of a superhero. He worries about his health, fears lizards, and carries himself like any other retired grandfather. Yet the brilliance of the screenplay lies in how it never dismisses Dipu's belief. Instead, it constantly plays with the possibility that perhaps ordinary people contain extraordinary qualities hidden beneath everyday appearances. When Dadaji discovers the mythology Dipu has built around him and decides to play along, the film transforms into a delightful game between skepticism and wonder.

Mihir Godbole delivers a wonderfully natural performance, capturing both Dipu's intelligence and vulnerability without slipping into sentimentality. Shivansh Chorge, as the endlessly curious Laddoo, becomes the perfect companion in this world where faith and imagination overlap. Their friendship forms the emotional core of the narrative. The interactions between the children feel authentic, reflecting the way kids create entire universes from half-truths, rumors, and boundless curiosity. The film understands that childhood friendships are often built not on facts, but on shared belief.

Jackie Shroff, however, remains the soul of the film. Bringing warmth, humor, and effortless charisma, he transforms Dadaji into the kind of grandfather every child wishes they had. There is also a delightful meta quality to his casting. Once introduced to audiences as a hero in Hero (1983) and later appearing in the campy superhero adventure Shiva Ka Insaaf (1985), Shroff's presence carries decades of cinematic nostalgia. The film cleverly uses that history to strengthen its central idea—that heroes don't disappear; they simply change shape as generations grow older.

What elevates The Great Grand Superhero beyond a simple children's fantasy is its subtle social commentary. The film gently explores how children use imagination as a tool for survival—whether to overcome loneliness, gain acceptance, or create meaning in unfamiliar environments. It also pokes fun at a society that increasingly values certainty over wonder. The inclusion of aliens concerned about environmental degradation adds another layer, allowing the film to weave themes of ecological responsibility into its playful narrative. Even the aliens' complaints about how Bollywood portrays them become a source of clever humor.

The film does lose some of its magic in the second half. The wonderfully mysterious blur between reality and fantasy gradually gives way to straightforward explanations and larger action sequences. In trying to clarify everything, the narrative sacrifices some of the ambiguity that made the opening acts so engaging. The visual effects, while serviceable, lack the inventiveness needed to match the film's imaginative ambitions. Yet these shortcomings never fully diminish its charm because the emotional foundation remains strong throughout.

Ultimately, The Great Grand Superhero: Aliens Ka Aagman succeeds because it understands something many family films forget: children do not need stories that talk down to them—they need stories that respect their capacity to dream. Warm, funny, nostalgic, and refreshingly sincere, it reminds us that imagination is not something we outgrow. Sometimes, all it takes is a grandfather, a wild story, and a child willing to believe for the world to feel magical again.

Director - Suresh Triveni

Writer – Pooja Tolani

Cast - Madhuri Dixit, Triptii Dimri, Dharna Durga, Ravi Kishan

Platform – Netflix

Duration – 127 Minutes

Rating – 3

Suresh Triveni’s Maa Behen begins like a dark comic misfire waiting to explode—a dead body, a middle-class living room, and three women who have absolutely no time for either morality or panic. On the surface, it plays like a crime caper gone slightly off the rails, but underneath the noise and absurdity, the film is far more interested in something sharper: how women are pre-written into society’s scripts long before they get to speak their own lines.

The film cleverly reclaims the familiar cultural shorthand of “Rekha, Jaya, Sushma”—names once used in a 1990s detergent advertisement to represent idealised, obedient domestic womanhood. Here, those same names belong to three very different women who refuse to fit neatly into any such category. Rekha (Madhuri Dixit), a widowed mother in Patna, finds her already unstable world collapsing further when she discovers a dead body in her home. The shock is immediate, but the film refuses melodrama; instead, it leans into chaos that feels oddly procedural, almost like crisis management disguised as domestic life.

From that point, Rekha calls upon her estranged daughters—Jaya (Triptii Dimri), trapped in a suffocating marriage and performing “ideal daughterhood” like an unpaid full-time job, and Sushma (Dharna Durga), a social media influencer whose currency is attention in a world that constantly demands visibility without substance. The three women gather not as a reunited family in the emotional sense, but as reluctant co-managers of a problem that refuses to stay buried—literally.

What follows is less a straight narrative and more a spiralling chain of decisions, cover-ups, misunderstandings, and escalating absurdity. A ransom subplot enters, relatives begin circling like vultures, a lovelorn cop adds procedural weight, and neighbours transform into informal investigators driven entirely by gossip. The dead body becomes less of a plot device and more of a ticking moral inconvenience—one that forces the women to constantly improvise survival strategies in a world that is already watching and judging them.

The film’s sharpest idea lies in its meta-commentary through the fictional crime show Khalbali, which reinterprets the central trio as sensational headlines rather than human beings. Rekha is reframed as a morally dubious widow, Jaya as a scheming “good daughter gone rogue,” and Sushma as a social media seductress. This is where Maa Behen becomes most pointed—it shows how narratives about women are manufactured, amplified, and accepted long before truth has a chance to enter the room. Gossip becomes evidence, and speculation becomes verdict.

The performances keep the film grounded even when its structure threatens to scatter. Madhuri Dixit plays Rekha with a fascinating mix of confusion and survival instinct, never letting the character slip into either victimhood or exaggeration. Triptii Dimri delivers the film’s emotional tension with controlled intensity, especially in moments where the “ideal daughter” mask finally fractures and something more volatile breaks through. Dharna Durga brings an unfiltered, restless energy to Sushma, avoiding the easy trap of turning her into a caricature of influencer culture and instead making her feel impulsive, sharp, and strangely vulnerable.

If the film stumbles, it is in its ambition to juggle too many narrative threads at once. The police investigation, the ransom angle, and several supporting characters don’t always receive the same level of narrative discipline, causing parts of the film to feel slightly overextended. Yet even this clutter feels thematically consistent—almost as if the film is intentionally mirroring the noise and overload of public judgment itself, where multiple stories compete but none fully resolve.

In the end, Maa Behen works less as a tightly controlled crime story and more as a chaotic, self-aware commentary on perception, morality, and the stories women are forced to inhabit. It is messy, loud, and occasionally uneven—but that messiness feels intentional, like a world where truth is always competing with storytelling, and storytelling almost always wins.

Director - Robbie Grewal

Writer - Kandarp Shroff, Karan Vyas, Niraj Dasa

Cast - Jim Sarbh, Naseeruddin Shah, Vaibhav Tatwawadi, Namita Dubey, Lakshvir Saran

Platform – Amazon MX Playe

Season – 1

Episode – 6

Rating – 3

There are business stories, and then there are stories about belief. Made In India: A Titan Story belongs firmly in the latter category. While the six-episode series chronicles the rise of Titan from a bold idea to one of India's most recognizable brands, it is ultimately less interested in watches and more interested in the people who dared to imagine that India could create something world-class on its own terms. The result is an engaging, often inspiring drama that blends corporate ambition with the spirit of nation-building.

At the center of the story is Xerxes Desai, played with infectious energy by Jim Sarbh. Visionary, stubborn, charismatic, and occasionally impossible, Xerxes emerges as the driving force behind Titan's creation. Sarbh once again proves why he remains one of the most compelling performers working today. He captures the contradictions that often define great innovators—the confidence that borders on arrogance, the passion that fuels impossible dreams, and the relentless refusal to accept limitations. Rather than portraying him as a flawless corporate icon, the series allows him to be wonderfully human.

Yet for all of Xerxes' ambition, the soul of the show belongs to Naseeruddin Shah's JRD Tata. Shah doesn't merely play the legendary industrialist; he inhabits him. From his measured speech and gentle authority to the warmth that radiates through even the simplest conversations, Shah creates a portrayal that feels deeply authentic. Every time JRD enters a scene, the show finds a new level of emotional depth. He becomes the embodiment of the Tata philosophy—that success is meaningful only when it serves a larger purpose. His scenes don't feel like boardroom discussions; they feel like lessons in leadership.

The relationship between JRD Tata and Xerxes Desai forms the emotional backbone of the series. One represents wisdom built through decades of experience, while the other embodies the restless energy of a man determined to challenge conventions. Their conversations are among the show's finest moments, filled with admiration, disagreement, mentorship, and mutual respect. Whenever the two share screen space, the series comes alive in a way that few business dramas manage. In fact, one of the show's biggest shortcomings is that it doesn't give us nearly enough of these interactions.

Where Made In India occasionally falls short is in translating corporate challenges into dramatic tension. The series introduces significant obstacles—from skepticism within the industry to international competition—but often resolves them too neatly. Some conflicts feel more like checkpoints than genuine crises. The European expansion storyline, in particular, should have been one of the most gripping chapters of the narrative, yet it never quite delivers the emotional stakes its setup promises. Time and again, the performances elevate moments that the writing only partially develops.

Fortunately, the supporting cast helps maintain the momentum. Vaibhav Tatwawadi brings welcome stability as a grounded counterbalance to Xerxes' larger-than-life personality, while Kaveri Seth and Lakshvir Singh Saran contribute warmth and credibility to the ensemble. Together, they help create a believable ecosystem of dreamers, professionals, and risk-takers working toward a common goal.

The production values are consistently impressive. The recreation of Bombay, Bangalore, and Hosur across different decades is detailed without becoming overly nostalgic. The visual style, particularly the use of sepia-toned documentary-inspired transitions, gives the series a distinctive personality. Aditya Kapur's cinematography captures both the intimacy of personal conviction and the scale of industrial ambition, while the use of classic Hindi songs and archival footage adds texture and authenticity to the storytelling.

What makes Made In India: A Titan Story resonate is that it understands success isn't just about market share or profitability. It is about building something that lasts, something that reflects the values of the people behind it. The series may not always generate the dramatic intensity its story deserves, but its sincerity is impossible to dismiss. More importantly, it gives audiences one of the finest performances of the year in Naseeruddin Shah's JRD Tata—a portrayal so graceful and convincing that it lingers long after the final episode ends.

By the time the credits roll, you may remember Titan's journey, but you'll remember JRD Tata's quiet wisdom even more. And that, perhaps, is the show's greatest achievement.

Director - Buchi Babu Sana

Cast - Ram Charan, Shiva Rajkumar, Janhvi Kapoor, Jagapathi Babu, Divyenndu, Boman Irani

Runtime – 189 Minutes

Rating - 2

Peddi arrives with massive expectations, combining the star power of Ram Charan, a pan-India release strategy, and months of anticipation. Unfortunately, while the film showcases Ram Charan's dedication and screen presence, it struggles to transform its ambitious ideas into a compelling cinematic experience. What could have been an inspiring underdog story ends up feeling overstuffed and emotionally inconsistent.

The film follows Peddi, a laborer from a remote village who dreams of earning respect for both himself and his community. The story explores themes of caste discrimination, social inequality, identity, and personal ambition. From cricket grounds to wrestling arenas, Peddi's journey is packed with challenges that test his determination. However, the narrative frequently shifts directions, making it difficult to identify a clear central focus.

The strongest aspect of the film is undoubtedly Ram Charan. He delivers a committed and physically demanding performance that elevates even the weaker moments of the screenplay. Whether expressing anger, heartbreak, or resilience, he commands attention in every scene. His transformation and dedication are visible throughout the film, proving once again why he remains one of Indian cinema's biggest stars.

The supporting cast performs admirably despite limited opportunities. Shiva Rajkumar brings warmth and authority to his mentor role, while Divyendu and Ravi Kishan leave a lasting impact despite their brief appearances. Jagapathi Babu and Boman Irani add credibility to the narrative with solid performances. Janhvi Kapoor, however, is underserved by the script. Her character lacks depth, and the film never gives her enough meaningful moments to leave a strong impression.

Director Buchi Babu attempts to blend multiple genres into a single film. Social drama, sports drama, romance, revenge, and family emotions all compete for attention. While each element has potential individually, their combination creates a scattered narrative. The film often abandons one storyline to pursue another, preventing viewers from becoming fully invested in any particular emotional arc.

Visually, Peddi is impressive. The cinematography captures the beauty of rural landscapes, while the production design creates a convincing and immersive world. The action sequences are larger than life and entertaining, even when they stretch credibility. The songs and dance sequences add energy, and the background score successfully amplifies several key moments.

One of the film's biggest weaknesses is its excessive runtime. At nearly three hours, the screenplay often feels repetitive. Several emotional scenes are stretched beyond necessity, and the romantic subplot remains underdeveloped. An item song inserted into the narrative feels particularly unnecessary and disrupts the film's pacing rather than enhancing it.

Overall, Peddi is a film that showcases extraordinary effort from its lead actor but suffers from an unfocused script and uneven storytelling. While Ram Charan gives audiences plenty of memorable moments, the film itself struggles to match his commitment. Fans of the actor may still find enough reasons to watch it, but viewers expecting a tightly written and emotionally satisfying drama may leave the theater wanting more.

Director - Anurag Kashyap

Cast - Bobby Deol, Sanya Malhotra, Sapna Pabbi, Saba Azad, Indrajith Sukumuran, Raj B. Shetty, Jitendra Joshi

Runtime – 136 Minutes

Rating – 2.5

In an industry crowded with formula-driven entertainers, Bandar arrives as a refreshing change. Directed by Anurag Kashyap, the film blends legal drama, social commentary, and psychological tension into a compelling narrative. The title may initially seem unusual, but as the story unfolds, it becomes a fitting metaphor for a man forced to dance to the unpredictable tunes of the legal system and public opinion.

The film follows Sameer Mehra, a former television superstar struggling to rebuild both his career and personal life. Just when stability appears within reach, his world is turned upside down when his ex-girlfriend Gayatri accuses him of rape. What begins as a legal battle soon evolves into a complex examination of truth, perception, and justice. The narrative constantly keeps the audience guessing about who is right and who is wrong.

One of the film's greatest achievements is its refusal to offer easy answers. Rather than presenting a straightforward courtroom drama, Bandar explores the emotional and social consequences of allegations, media scrutiny, and public judgment. The legal proceedings become a backdrop for a larger conversation about power, reputation, and the flaws within the justice system.

Bobby Deol carries the film almost single-handedly. His portrayal of Sameer is layered, restrained, and emotionally powerful. Whether expressing fear, frustration, or vulnerability, Bobby delivers a performance that feels authentic and deeply human. This role showcases a maturity and intensity that may well rank among the finest performances of his career.

Sapna Pabbi is equally impressive as Gayatri. She brings mystery and unpredictability to the character, ensuring that the audience remains uncertain about her true intentions. Saba Azad provides solid support as Sameer's partner, while Sanya Malhotra makes a strong impact despite limited screen time. Together, the cast creates a believable world filled with morally complex characters.

Anurag Kashyap's direction is sharp and uncompromising. His trademark realism is evident throughout the film, from the dialogues to the portrayal of legal and social institutions. He raises uncomfortable questions about justice and accountability without turning the film into a preachy lecture. The storytelling remains grounded, making the drama feel both relevant and unsettling.

The film is not without flaws. The first half progresses at a measured pace, and certain portions in the middle feel stretched. Additionally, the climax lacks the emotional punch that the rest of the narrative builds toward. The soundtrack is largely forgettable, although the background score succeeds in maintaining tension and supporting the film's dark atmosphere.

Overall, Bandar is a thought-provoking legal drama elevated by Bobby Deol's exceptional performance and Anurag Kashyap's fearless storytelling. Despite a few pacing issues and an underwhelming ending, the film succeeds in delivering a gripping, realistic, and socially relevant experience. For viewers looking for intelligent cinema that challenges conventions and sparks discussion, Bandar is definitely worth watching.

Director - David Dhawan

Cast - Varun Dhawan, Mrunal Thakur, Pooja Hegde, Maniesh Paul, Chunky Panday, Jimmy Sheirgill, and Mouni Roy

Runtime – 136 Minutes

Rating - 1.5

Hai Jawani Toh Ishq Hona Hai attempts to revive the brand of chaotic comedy that once defined Bollywood in the 1990s. Directed by David Dhawan, the film embraces mistaken identities, romantic confusion, and over-the-top situations in an effort to recreate the magic of his earlier hits. While the film occasionally delivers a few laughs, it often feels trapped in a style of storytelling that no longer holds the same appeal.

The plot revolves around Jaswinder "Jass" Ahuja, a wedding photographer whose life takes an unexpected turn when he finds himself caught between two women, both expecting his child. What follows is a series of misunderstandings, desperate cover-ups, and increasingly absurd situations. The premise has the potential to generate plenty of comic chaos, but the screenplay rarely takes full advantage of it.

Varun Dhawan throws himself completely into the role, bringing tremendous energy and enthusiasm to Jass. Whether he is running from trouble or trying to talk his way out of impossible situations, he remains committed to the film's exaggerated tone. His performance keeps the narrative moving even when the writing begins to lose momentum.

Mrunal Thakur and Pooja Hegde provide strong screen presence as the two women at the center of the confusion. Although their characters are not given much depth, both actresses make the most of their roles and contribute effectively to the film's lighter moments. Their chemistry with Varun adds some charm to an otherwise predictable story.

The supporting cast is one of the film's strongest assets. Jimmy Shergill stands out with his deadpan delivery and commanding presence, while veterans like Johny Lever, Rajpal Yadav, Manoj Pahwa, Chunky Panday, and Rakesh Bedi provide moments of amusement. Even brief appearances leave an impression, reminding viewers of the comic talent assembled for the project.

Despite the star power, the humor often feels repetitive. Many jokes rely on familiar formulas, and the film rarely surprises the audience. Since viewers can easily predict where the story is heading, much of the suspense and comic payoff is lost. The film generates smiles more often than genuine laughter.

Technically, the film is colorful and energetic, featuring lively songs, extravagant wedding sequences, and vibrant visuals. However, style frequently overshadows substance. The narrative jumps from one comic situation to another without developing its emotional or dramatic stakes, making the experience feel uneven.

Hai Jawani Toh Ishq Hona Hai is a lighthearted entertainer that pays tribute to David Dhawan's trademark style of comedy. While it contains moments of fun and benefits from a hardworking cast, it ultimately feels like a throwback to a bygone era rather than a comedy designed for modern audiences. Fans of classic Bollywood farce may enjoy the nostalgia, but others may find the film's humor outdated and its storytelling overly familiar.