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.
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 titular “monkey man” is a persona of gritty underground fighting embraced by Dev Patel’s character, an unnamed man from the slums who conceals his identity with an ape mask and engages in underground brawls. His backstory, revealed through flashbacks, connects deeply with religious narratives, drawing inspiration from his mother’s (played by Adithi Kalkunte) tales of Hanuman, the monkey-like demigod from the Hindu epic, the Ramayana.
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.
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.
“Sajini Shinde Ka Viral Video” oscillates between being a social drama and a detective story. It delves into the frenetic world of social media, addressing critical issues like slut-shaming and the deeply ingrained patriarchy in society.
Hirani presents the complex issue of illegal immigration by touching upon various perspectives, including humanitarian, legal, economic, and social aspects of the debate; often presenting the case for open borders lucidly.
“Joram” is more than a survival drama; it’s a thought-provoking piece on the repercussions of unchecked development on nature and indigenous communities. It’s a film that not only entertains but also invites reflection on pressing environmental and social issues.
Kadak Singh, streaming on Zee5Global, moves back and forth in time and space. It gives the impression of being repetitive and circuitous. A set of people who have seen the man up close – his daughter, a couple of colleagues, and a friend – provide their individual perceptions of the protagonist, Arun Kumar (AK) Srivastava (Pankaj Tripathi) AK, an officer with the Kolkata unit of a financial crime investigation agency, has been diagnosed with retrograde amnesia.
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