“LSD 2” unfolds like a frenetic fever dream deliberately crafted to mirror the digital turmoil we navigate daily, and it ominously hints at a dystopian future we are racing toward. Scenes transition rapidly, reflecting our dwindling attention spans, and the camera becomes a colossal symbol of the myriad screens that dominate our lives.
Ani, having lost his vibrant spirit after his father’s death, retreats into himself, leaving Kavya feeling neglected and unimportant. At home, Kavya’s decisive nature overwhelms Ani, while outside, the wandering photographer seeks the domestic warmth Kavya offers, and Nora looks to Ani for support as her career struggles persist.
ACP Avinash Verma (Manoj Bajpayee) and his SCU are called upon by the Commissioner of Police to investigate a mass shoot-out at the Night Owl Bar in Mumbai. Layers begin to peel at something bigger, deeper, and darker at play.
Freddy and Rocky, two expert soldiers, are court-martialed and expelled from the Army for insubordination. The reasons behind their dismissal are murky and only become clear later in the movie. Meanwhile, Freddy is seen working in an oil mine in a desert, and Rocky is depicted fighting a fire and saving a trapped cat in Delhi.
The unique appeal of Soumendra and Abhishek Yadav’s screenplay stems from its departure from conventional school drama clichés, offering instead a gripping narrative. The script skillfully juxtaposes the lives of affluent and underprivileged students—the former possessing every advantage but lacking motivation and the latter driven to excel despite facing substantial barriers. A notable thread in the story is the universal challenge of parental expectations.
Crew is propelled by three determined women who aren’t afraid to challenge the status quo for their own benefit. Yet, they do not overtly preach empowerment or gender equality; instead, they embody these principles through their actions and achievements. Their battle is twofold: against the airline they work for, which has failed to pay them for six months, and against the circumstances of their own lives.
Vikrant Gandhi (played by Vivek Gomber) rises to power as the uncontested leader in Somalia. Yet, undercurrents of unrest threaten to irrevocably alter his destiny. Central to the unfolding drama is the forthcoming elections for the Somalian port and a valuable shipment aboard a hijacked Ukrainian ship carrying an Indian crew.
The film stars Sara Ali Khan as a khadi-wearing freedom fighter challenging the British Empire. “Ae Watan Mere Watan” succeeds in presenting an obscure yet significant story from India’s fight for independence without succumbing to exaggeration.
Just days before the election, the serene atmosphere of a posh Delhi club is shattered by the sudden death of a muscular Zumba instructor, initially dismissed as an unfortunate gym mishap. However, a seasoned detective, known for his unorthodox investigative approach, senses mischief and embarks on a quest to uncover the hidden layers of the case.
Despite any leniency viewers might extend, or their affinity for Sidharth Malhotra, “Yodha” struggles to maintain coherence, veering erratically from one narrative hiccup to the next. The film toys with the laws of aviation to an absurd degree, suggesting passenger planes can be easily manipulated by its characters, a notion that stretches believability to its limits.
The film does acknowledge Vajpayee’s critiques of Congress and his respect for Nehru, offering moments of ideological reflection reminiscent of a less polarized era. Yet, it remains a missed opportunity to delve deeper into the nuances of Vajpayee’s legacy, ultimately providing a surface-level recounting of his contributions and challenges.
‘Showtime’ is a remarkable creation from the minds of Sumit Roy, Lara Chandni, and Mithun Gangopadhyay, offering a compelling exploration of Bollywood’s less-celebrated facets. The narrative thrives on its eclectic mix of elements – from the aspirational journey of a model, the diva-like tantrums of seasoned actors, to the ambitions of a power-seeking producer and the opulent lifestyle of a celebrated superstar amidst scandals and controversies.
Shaitaan, directed by Vikas Bahl, blends these elements with an excessive dose of supernatural themes, diluting its impact and rendering it somewhat hollow. The presence of an unwelcome visitor (R Madhavan) at a secluded farmhouse, with intentions obscured by dubious mystical practices, feels like a retread of dated narratives rather than a fresh horror proposition.
Season two picks up the investigation with police duo DG (Ranvir Shorey) and Tambe (Girish Kulkarni) on the trail of Mr. Kapoor’s (Ashwin Kaushal) killer, amidst new confessions and developments, including Rosie’s entrance into the Sunflower Society. Rosie, a captivating bar dancer who inherits Kapoor’s penthouse, injects more intrigue and complexity into the case, setting the stage for unexpected relationships and plot twists.
The documentary series on Netflix, spanning four episodes, delves into the Sheena Bora case, casting a critical eye on themes of greed and fidelity while challenging entrenched beliefs about the sanctity of family.
Directed by Aditya Datt, “Crakk: Endgame” promises an adrenaline-pumping ride through the world of extreme sports, interlaced with a narrative of international espionage, underground competitions, and a deeply personal quest for revenge. Jammwal, who is known for his physical prowess and ability to perform death-defying stunts without a double, plays the protagonist with a tormented past, seeking redemption and justice in a world brimming with corruption and deceit.
Anushka is a sharp but ethical lawyer who works with Virat, her ambitious colleague, in her father’s law firm. Their lives change as Ankita joins as an intern, concealing a hidden agenda under the guise of a job opportunity.
Vaishali Singh (Pednekar), a local video journalist, along with her cameraman Bhaskar Sinha (Mishra), stumbles upon alarming evidence concerning a girls’ shelter in Munnawarpur—a name thinly veiled to represent the actual location. Initially hesitant, Vaishali’s investigative zeal is ignited, leading her to embark on a thorough inquiry.
At the heart of this cinematic endeavor is Shahid Kapoor’s Aryan Agnihotri, a robotics programmer who falls for a robot named Sifra, played by Kriti Sanon.
‘One Day’ deviates from the classic romantic trajectory of moving straight from first look to love. Their initial encounter is marked by clumsy dialogue, which eventually gives way to more profound exchanges, sidelining physical intimacy.
This film seems torn between its aspirations for realism, evident in the meticulous depiction of Air Force life and a stunning mid-movie aerial display reminiscent of the best ‘Top Gun’ moments, and the urge to cater to crowd-pleasing nationalism with heavy-handed dialogues.
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