“Vedaa” is a film that’s as uneven as it is ambitious. It offers moments of brilliance, particularly in the performances of its leads, but it also leaves you wondering what it could have been with a tighter script and a more focused approach.
Srikanth tells the remarkable story of a young man with exceptional vision and tenacity, yet it doesn’t shy away from depicting the delicate junctures in Bolla’s life.
“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.
Chamkila’s story is that of a lower-caste man rising from poverty, an “ordinary man” who knew the power of delivering what his peers sought.
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.
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.
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.
Loh Kiwan’s poignant tale resonates, particularly when the focus remains on his struggles and quest for identity amidst adversity, rendering the film a compelling and emotionally resonant experience.
“Article 370” is a significant achievement in Indian cinema, offering a compelling, nuanced, and balanced exploration of a complex issue. It stands out for its factual approach, exceptional performances, and the sensitivity with which it handles a delicate subject matter.
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.
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.
As a Kopino living in the Philippines, Marco earns money through underground boxing. His journey becomes more desperate as he seeks funds for his mother’s critical surgery, leading him to reconnect with his estranged Korean father.
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.
Merry Christman loosely adapts the work of French crime fiction author Frederic Dard, specifically his book “Le Monte-charge,” known in English as “Bird in a Cage.” The story finds a fitting setting in the Christian neighborhoods of 1980s Bombay, with the title symbolically reflecting elements of entrapment and fluctuation central to the plot.
Shailaja, a middle-aged Mumbaikar, while faced with borderline dementia, asks her husband Dipankar (Swanand Kirkire) to accompany her on a trip to Vengurla, a sleepy hamlet in Maharashtra’s Sindhudurg.
The trio of Imaad Ali (played by Siddhant Chaturvedi), Ahana Singh (Ananya Panday), and Neil Pereira (Adarsh Gourav) are in their 20s, inseparable friends living in a fragile bubble that’s close to bursting. Despite a bustling social life and thrilling adventures, beneath the surface, they’re isolated individuals grappling with an array of issues.
I have read and agreed with the terms and conditions and privacy policy.
in your inbox every week.