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Sharmajee Ki Beti REVIEW: Sakshi Tanwar, Divya Dutta & Saiyami Kher’s film is a mature take on women’s problems but lacks in certain departments

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• June 28, 2024
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Rautu Ka Raaz REVIEW: Nawazuddin Siddiqui is the only interesting bit in this half cooked story

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The 5 Best Indian Films of 2022 That Weren’t RRR

One of the year’s biggest entertainment stories was RRR — or Rise. Roar. Revolt. — S.S. Rajamouli’s enrapturing Tollywood epic, which has broken through a western barrier that seemed impenetrable for Indian films, becoming a critical and commercial hit. A quintessential theatrical experience between its audacious dance number and raucous scenes of animal mauling, the Telugu-language period musical has also found global success online following its surprise streaming release in May via its Hindi dub on Netflix (and, to a lesser degree, its original version on the Indian streaming service Zee5 ). For many viewers outside South Asia, it was their first experience with an Indian movie of any kind, potentially opening the door to a wider exploration of the world’s largest film industry.

India’s nearly 2,000 annual productions are spread across several regional and language-specific subindustries. The Hindi-language Bollywood was the unprecedented financial leader until recently , when it was overtaken by industries in the nation’s south thanks in part to the dual Telugu and Tamil releases of Rajamouli’s own Baahubali duology (also available on Netflix ). But while RRR typifies what some of the Indian mainstream has on tap — violent bombast, banger tunes, emotional sincerity, and sometimes-uncomfortable jingoism — this year has played host to a wide variety of great Indian pictures. Some play in the same sandbox as RRR , though they express their splendor and action in different modes. Others depart significantly in their style and politics, acting almost as counterweights to the perception of Indian films in the West as colorful, spectacle-first musical melodramas.

Of course, none of these movies were made with the express intent of changing that perception (even RRR wasn’t created with western viewers in mind), but since the curiosity now exists, a quick scroll through your chosen streaming service will likely turn up a litany of Indian movies you may not have noticed before. Five of the year’s best are now streaming on various platforms, and they each represent wildly different facets of Indian filmmaking from ongoing independent movements to mainstream sister industries with their own lengthy histories of stars and styles.

Director: Lokesh Kanagaraj Language: Tamil

Vikram is a prime example of how even star-driven, over-the-top extravaganzas can feel nothing like RRR . The second entry in director Lokesh Kanagaraj’s shared black-ops universe — though you don’t need to have seen predecessor Kaithi to keep up — it’s a seedy action spectacle led by 68-year-old superstar Kamal Haasan, who plays an intriguing dual role of sorts (the less revealed beforehand, the better). With his signature buttery-smooth bravado in tow, he leads a string of conceptually original action scenes that explode Vikram ’s crime-drama plot from within.

Haasan’s mysterious character crosses paths with black-ops officer Agent Amar (Fahadh Faasil), whose covert unit skirts the law in pursuit of drug kingpin Sandhanam (played by Vijay Sethupathi, one of the world’s most magnetic character actors in an especially zany role). However, this seemingly straightforward genre romp collides headfirst with a parallel tale of a masked, militarized cult seeking to wipe out corruption before all hell breaks loose in a series of tightly wound, white-knuckle set pieces. Cinematographer Girish Gangadharan’s camera crafts a lurid atmosphere as it follows each man down dark corridors and murky moral paths in one of the most ludicrously enjoyable movies of 2022.

Gangubai Kathiawadi

Director: Sanjay Leela Bhansali Language: Hindi

Starring Alia Bhatt and Ajay Devgn (who also appear in RRR ), Gangubai Kathiawadi is the latest period musical from the purveyor of modern Bollywood’s most visually intoxicating works, Sanjay Leela Bhansali, whose stylized expressionism lends credence to the idea that places can be characters, too. A loose biopic based on the book Mafia Queens of Mumbai , it follows a young girl sold into prostitution, Ganga (Bhatt), and her subsequent 1960s rise to crime-boss madame and, eventually, pro–sex work politician.

Set in an ornate, heightened red-light district, it’s the kind of operatic character piece at which Bhatt excels, centered on a tough-as-nails woman with concealed vulnerabilities. Devgn, despite having a smaller role as a local gangster who takes Ganga under his wing, forms a vital part of the feminist credo of the film, which attempts to normalize and even valorize sex work — often demonized by Indian society — with surprising appeals to mainstream sensibilities (in the vein of Bollywood’s “social issues” filmmaking). Rather than trying to eke out a new place for sex workers in conservative society, it makes the convincing case that they are already a vital fixture.

Director: Achal Mishra Language: Maithili

Achal Mishra’s photography background seeps into each frame of Dhuin , his restrained, 50-minute filmic novella about a young stage actor during the pandemic. An emerging master of composition, Mishra’s carefully considered 4:3 vistas draw particular focus to unspoken social dynamics as protagonist Pankaj (Abhinav Jha) absorbs the quiet indignities often foisted upon young artists in a utilitarian world and even dishes them out himself on occasion.

A frigid mist sets in over the small town of Darbhanga. Soon, Pankaj’s dreams of moving to Mumbai turn similarly foggy, torn between his duty toward his elderly father — a worker displaced by COVID, a story Mishra wove from the struggles of an actor on his previous film, Gamak Ghar — and Pankaj’s realizations of his own artistic shortcomings the more he compares himself with his peers. Even in group scenes, Mishra’s camera rarely averts its gaze from Jha’s subtle performance, resulting in a quiet portrait of insecurity and the fragility of dreams beset by harsh realities.

Director: Nagraj Manjule Language: Hindi

One of the premier voices in Marathi-language cinema, Nagraj Manjule’s Bollywood breakout is a fitting biopic to watch in a World Cup year. Starring screen legend Amitabh Bachchan as Vijay Borade (based on Slum Soccer founder Vijay Barse), Jhund brings a unique flair to the Indian sports drama and leaves you wishing you could spend more time with its characters even after three whole hours.

With an ensemble of newcomers scouted from actual slums — and a few regulars from Manjule’s previous films, Fandry and Sairat — it’s led by a fiery first-time performance from Ankush Gedam as a listless youth who battles not only perception (of caste and economic circumstance) but the legal limits of personhood in a world where something as fundamental as identity requires money and paper. Manjule and cinematographer Sudhakar Reddy Yakkanti imbue each movement with enormity — practically every second shot in the opening act is a dolly zoom — and each dialogue exchange with intimacy, building a stylish, propulsive, and resonant tale of frustrations channeled through sport.

A Night of Knowing Nothing

Director: Payal Kapadia Language: Bengali, Hindi

Ideologically and aesthetically, Payal Kapadia’s debut feature is the polar opposite of RRR , though it’s just as (if not more) exacting in its use of cinematic imagery. A haunting piece of docu-fiction, it weaves a dreamlike narrative about lost film reels found at the prestigious Film and Television Institute of India — the director’s alma mater — discovered alongside love letters written by an anonymous student. As these mournful notes are read aloud, Kapadia combines this story with real footage of student protest and resistance against Narendra Modi’s right-wing Hindu government, revealing a lucid collage of life in modern India.

A tapestry born of light and physical texture (its digital impersonation of 16-mm. film grain is nothing short of magical), A Night of Knowing Nothing is a rousing example of cinema as activism and an avenue to confronting the deep, unavoidable entanglements between the personal and the political.

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Fighter movie review: Hrithik Roshan, Deepika Padukone’s aerial war drama runs high on adrenaline and patriotism

Fighter movie review: hrithik roshan and deepika padukone's action film keeps you invested and engaged to a point that you barely focus on the loopholes..

Fighter movie review: Bollywood’s love for telling India-Pakistan stories on the big screen knows no bound. And the subgenre of war drama takes precedence, when the director wants to lace it up with an overdose of adrenaline and thrill. Siddharth Anand ’s latest visual spectacle Fighter, has only upped the stakes in the genre, and mostly for right reasons. Also read: Fighter review and release live updates

Touted as India’s first aerial action film with Hrithik Roshan and Deepika Padukone playing top combat aviators, Fighter creates an immersive experience and turns out to be equally impressive. No, it’s flawless, but honestly, the near perfect screenplay keeps you invested and engaged to a point that you barely focus on the loopholes.

Fighter's storyline

Not having watched the Fighter trailer , but from all the buzz on social media, I went into Fighter thinking it’s going to be riding high on the sizzling chemistry between its lead actors, but I was in for a surprise, and a rather pleasant one. An ode to the relentless and undying courage of the Indian Air Force (IAF), Fighter doesn’t digress or distract, and stays committed to its sole intention — presenting a visually stunning experience and give adrenaline rush that lasts for pretty long.

Though it’s never explicitly stated which exact period the film is set in, but there are enough and more references to the deadliest terror attack on Indian air forces in Pulwama, and the subsequent strike by India across the border in Balakot. The film begins with Commanding Office Rakesh Jai Singh aka Rocky ( Anil Kapoor ) forming a quick response team comprising top AIF fighter pilots — Squadron Leader Shamsher Pathania aka Patty (Hrithik), Squadron Leader Minal Rathore aka Minni (Deepika) — to form a special unit called Air dragons. Together they display a great camaraderie, brotherhood and serve several fun moments while bonding with each other and at the same time, fighting the enemies.

The story co-written by Anand and Ramon Chibb offers a fine mix of action, emotion, patriotism, music, humour and a bit of romance too. Though I wish the way Anand has paid attention to minute details when it comes to action and execution, he had thought a bit more about the storytelling, too. The plot is intriguing yet so predictable and doesn’t let you feel awestruck on any big reveal. Dialogues by Hussain Dalal and Abbas Dalal are so average that it actually takes away from the impact the story could have had. I mean we have heard those cliched lines — ‘Time aa gaya hai Pakistan ko batane ka ki baap kaun hai’ or ‘Dushman strategy bana kar attack nahi karega’ — over and over again, and they no longer excite.

Stellar performances from almost everyone

Despite the story barely managing to stay afloat, it’s a smooth screenplay by Chibb that keeps you on the edge of your seat as you watch that spectacular air combat. Here, I’d like to mention Satchith Paulose’s cinematography that gets full credit for making Fighter a visual treat and a stunning extravaganza. The film captures some extraordinarily gorgeous locales and snowcapped mountain ranges that adds to the whole experience. Having said that, Fighter doesn’t suffer from pace issues. After a super engaging first half with a well-timed built-up, the film nosedives in the second half with portions that are forced fit only to cover the desired runtime. It’s only in the last 20 minutes then during the climax that the film picks up and moves towards an enthralling finish.

What’s definitely worth lauding in Fighter is the stellar performances from almost everyone. Hrithik is a sight for sore eyes. With his unmatched swag, chiseled body and glares on, he just owns every frame with so much ease. Whether it’s in the air doing all the aerial combat, donning the uniform or him just doing that stylish walk across the big screen, Hrithik is the strongest link in Fighter. Don’t miss checking out the hand combat between him and a terrorist on Pak land, which is one of the most well-shot sequences.

Talk of Deepika, and she’s once again effortlessly delivers a convincing act. Having seen her do some high-octane action in last year’s Pathaan, I can easily say that she has taken her act a notch higher in Fighter and you won’t complain that it’s not just her glamorous avatar that gets highlighted here. As for their onscreen chemistry, the dance sequence, the flighting and a few emotional scenes are sure to make you go awww.

Anil Kapoor once again shows why he can give the younger lot a run for their money. As a strict and brooding officer, he imbibes the traits so well in his body language.

Fighter is a full-on entertainer

Karan Singh Grover as Squadron Leader Sartaj Taj Gill aka Taj and Akshay Oberoi as Squadron Leader Basheer Khan aka Bash are brilliant in their respective parts, and it’s good to see them having well-etched out characters pivotal to the storyline, and not just supporting cast. Also, watch out for heartwarming cameos from Sharib Hashmi, Ashutosh Rana and Sanjeeda Shaikh, who put a smile on your face with their couple of scenes each.

On the other hand, Rishabh Sawhney as Azhar Akhtar, the head of terrorist organization Jaish-e-Mohammad brings freshness on screen with a strong introduction scene, but sadly, his character leaves zero impact as the lead antagonist. He’s perhaps one of the weakest negative portrayals in a war drama I’ve seen in a long time. There’s barely anything menacing or terrorizing about him barring that red eye, which, after a point looks like he got punched hard during some fight.

Fighter is a full-on entertainer that engages and excites in equal parts. It is high on patriotism but it never resorts to chest-thumping chants of Jai Hind or Hindustan Zindabad. The scene where Hrithik makes a reference to IOP (India Occupied Pakistan) in the climax certainly calls for loud cheers, and proves why Hindi films know best how to show love for their country. Watch Fighter for a pure paisa vasool experience, good looking performances and some gravity defying aerial action that won’t give you a headache but leave you with a sense of pride.

Film: Fighter

Cast: Hrithik Roshan, Deepika Padukone, Anil Kapoor, Karan Singh Grover, Akshay Oberoi, Rishabh Sawhney

Director: Siddharth Anand

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‘Andaz Apna Apna’: The Best Bollywood (Midnight?) Movie the West Has Never Heard About

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On Friday nights,  IndieWire After Dark  takes a feature-length beat to honor fringe cinema in the streaming age. 

First, the spoiler-free pitch for one editor’s midnight movie pick — something weird and wonderful from any age of  film  that deserves our memorializing. 

Then, the spoiler-filled aftermath as experienced by the unwitting editor attacked by this week’s recommendation .

The Pitch: A Star-Studded Cult Comedy That Doesn’t Fit in Any Bollywood Box

I don’t think Rajkumar Santoshi’s seminal comedy was made with a nine-year-old American girl in mind, but I ate the film up . It’s not overtly childish or adult, but boasts the kind of evergreen yet brilliant humor that most comedies only dream of. When they do achieve it, they’re lucky to nail even one joke genre, from slapstick to verbal — but “Andaz Apna Apna” has it all.

The film starts out by introducing Amar ( Aamir Khan ) and Prem (Salman Khan, no relation), two lazy boys with big dreams and schemes for getting rich and famous. Amar believes you have to spend money to make money — crucially focusing on the spending, and skipping the part where you also work hard; Prem spends his days getting headshots taken at a sham casting agency in exchange for false promises of stardom.

Their prayers are answered by the arrival of the English heiress Raveena Bajaj (Raveena Tandon), who arrives in India to find a husband because “ Yahaan ke log dimaag se nehi, dil se sochta hai” — “People here think not with their brains, but with their hearts.” The two boys meet on the road to Raveena, alternating between fast friendship and vicious enmity as they concoct plans to compete for her affection.

“Andaz Apna Apna” is two hours and 40 minutes (it’s a Hindi movie, suck it up) of constant bits and barely any breath — in the best way. Some parts are randomly sped up to quirky music; some are self-referential jokes about Bollywood itself and other movies, and some are clearly just a read that the actor or director must have liked and included. Side characters Robert (Viju Khote), Bhalla (Shehzad Khan), Anand (Javed Khan Amrohi), Sevaram (Harish Patel), and many more provide a parade of scene stealing performances, and the songs — a mere four — marry classic Bollywood charm from the time with the movie’s eclectic visuals and story.

With more people discovering Indian cinema every day, “Andaz Apna Apna” deserves its exploding flowers . Even if part of me wants to hold it close and quiet, it’s already beloved by millions of fans. But another part of me is developing a muscle cramp from modulating my facial response to people who say “I love Indian movies! I’ve seen ‘triple R!'” or think all Hindi cinema is love stories and period dramas — or even independent masterpieces and festival darlings. I could not be clearer: “Andaz Apna Apna” does not belong at Cannes, or even on certain Best Of lists and Bollywood primers depending on the metrics. But it is a perfect midnight movie, and my favorite ever. Looking back at my formative age and the sheer joke volume, it’s easy to see why I gravitated to the kinds of TV comedies I now love, or to films like “Scott Pilgrim vs. the World.”

I’m going to cut myself off because I could and will talk about this movie for the rest of my life, and turn it over to IndieWire’s Alison Foreman. For the record, the last time I recommended a Hindi movie to her, I low-key changed her life. —PK

The Aftermath: There’s Always a Midnight Musical Showing in Bollywood

Curation can be a fickle business and Best Of lists change all the time, but as of publishing this article today, the 1998 love triangle from writer/director Karan Johar is still ranked No. 1 on IndieWire’s list of The Best Romantic Comedies Ever Made . I’ve since stepped away from editing that section (h/t its current king Wilson Chapman , long may he reign), but I stand by the decision as the most objectively right cinematic upset I’ve ever helped champion. 

“Just want you to know we’re on the ‘Kuch Kuch Hota Hai’  WIKIPEDIA PAGE ,” Proma messaged me on Slack soon after that article posted. “Pinnacle of my career.” 

If you’ve read Proma’s work, then you know she’s demanded better of the West’s representations of Indian cinema for years. From critiquing the lackluster choreography in Disney’s live action “Aladdin” to flagging how the Oscars failed Best Original Song winner “RRR” at the ceremony last year , Proma can explain Indian pop culture to non-Indian people better than anyone I know. That Kumail Nanjiani performed his highly hyped Bollywood number for “The Eternals” in English might not be the biggest problem with that particularly bad Marvel movie, but it’s the one specific criticism I’m still talking about today.

Just a touch earlier than my beloved “Kuch Kuch Hota Hai,” this gem from 1994 comingles jokes about liquid shits with touching exchanges of sincere affection in a way I’ve not seen attempted outside of “Along Came Polly.” That’s among my all-time favorite American rom-coms ( No. 68 on the aforementioned list right now ), but even after just one viewing, I can already tell that I might like “Andaz Apna Apna” more. There is a puritanical fear of fun baked into a lot of American culture, and the sense that films which prioritize laughs, music, and/or spectacle need to be rushed has always made me sad. Even when adapting the most legendary Broadway shows for the big screen, filmmakers routinely cut numbers and rush the editing tempo to make up for what’s too often seen as lost time. 

Twists on twists make watching the central foursome of Karishma, Raveena, Prem, and Amar, perpetually mid-identity swap (“ Who are you calling, Tilu?!” ), feel akin to spectating a game of flirty musical chairs in the most gratifying way. Better still are the outrageous editing choices that complement those antics, with precise but knowingly goofy jump-cuts and sound effects providing an endless sky of cinematic experience to gaze into. For me, it’s the details that make Bollywood feel so big and “Andaz Apna Apna” glitters with too many referential moments to count — intentional and not. Santoshi can’t have meant for those stings in the last-act action sequence with Crime Master Gogo to sound exactly like Buffalo Bill’s night-vision camera in “Silence of the Lambs,” but I dare you to do a comparison and tell me I’m wrong .

There’s plenty about “Andaz Apna Apna” I know now that I could not have learned screening it on my own. So, in no particular order, here are just a few facts Proma told me while I watched: 

• Depending on which translation you’re watching, you might see a quote that’s not right. If you see Robert say, “I made a mistake by oversight,” or “I made a mistake by fault,” then know the original line was much better and translates to “I made a mistake by mistake.”
• Aamir Khan and Salman Khan are both cast against the type they’ve since settled into. Aamir is known as a very serious dramatic actor and Salman is more of “a commercial popcorn macho guy,” but as Proma pointed out, “Neither is that in this movie.” 
• When Prem is asked if he has seen the 1975 movie “Sholay,” he responds saying his dad wrote it. Salman’s father, Salim Khan, was indeed a co-writer on that film. 
• Shehzad Khan’s father gained acclaim during his career for playing iconic villains, and Bhalla is a spot-on Ajit Khan reference for those familiar with his work.
• You might recognize Harish Patel, who played the lovable Karun Patel in “The Eternals” and plays Sevaram the motel owner here. 
• The character Mogambo, the main antagonist in Shekhar Kapur’s “Mr. India” from 1987, is a major villain known across Bollywood movies, hence the joke of Crime Master Gogo being his nephew. 
• In 2022, Proma dressed as Gogo for her own Bollywood Halloween (AKA “Bollyween”) wearing a $9 red cape and some combat boots she had on hand. It was, she says, “the best costume of my life.” —AF

You can rent “Andaz Apna Apna” on Prime Video, Apple TV, YouTube, and Google Play (it’s also inexplicably free on YouTube at press time, definitely not legally, but hey — it’s IndieWire After Dark).   IndieWire After Dark publishes midnight movie recommendations at 11:59pm ET every Friday. Read more of our deranged suggestions…

• Spanish Revenge Flick ‘In a Glass Cage’ Unleashes Homoerotic Hell on a Nazi in an Iron Lung
• ‘Girltrash: All Night Long’: ‘D.E.B.S.’ Filmmaker’s Lesbian Soft Rock Musical Is a Banger
• Watch Dudley Dursley Get Dommed by a Leather Daddy Right Now in ‘Please Baby Please’

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'A Family Affair' Review: Zac Efron, Nicole Kidman's film is forgettable

Released- Fri Jun 28, 2024

Netflix's new rom-com 'A Family Affair', starring Zac Efron and Nicole Kidman, attempts to blend romance and comedy. However, it doesn't leave a lasting impression.

'Jatt and Juliet 3' Review: Diljit Dosanjh at your service with a clean family film

In 'Jatt & Juliet 3', Diljit Dosanjh and Neeru Bajwa bring you thrice the fun, humour and romance. Directed by Jagdeep Sidhu, it is not the best romantic comedy but it doesn't disappoint.

'Rautu Ka Raaz' Review: Nawazuddin Siddiqui film has the right amount of thrill

'Rautu Ka Raaz' Review: The film highlights Nawazuddin Siddiqui's role in a thrilling cop drama, set in a small Uttarakhand village.

'A Quiet Place: Day One' Review: Third time is no charm for this thriller

'A Quiet Place: Day One' Review: Starring Lupita Nyong'o and Joseph Quinn, the apocalyptic horror film falls short in keeping you engaged throughout.

Sharmajee Ki Beti Review: Out-of-depth film celebrates women without bashing men

Sharmajee Ki Beti Movie Review: Tahira Kashyap falls just short of achieving the benchmark of being the best as her film stumbles often, before getting back on track, though with relative ease.

Kalki 2898 AD Review: Prabhas reigns supreme, Big B is exceptional

Released- Thu Jun 27, 2024

'Kalki 2898 AD' Review: Director Nag Ashwin's 'Kalki 2898 AD', starring Prabhas, Deepika Padukone and Amitabh Bachchan, is a sci-fi flick with ample doses of Hindu mythology. With grand visuals and superlative performances, the film is a visual extravaganza. Read our review.

Maharaj Review: Junaid Khan's debut deserves more attention than controversy

Released- Fri Jun 21, 2024

Superstar Aamir Khan's son, Junaid Khan's debut, 'Maharaj,' is finally streaming on Netflix. The film also stars the versatile Jaideep Ahlawat. Read our complete take on it here.

'Ishq Vishk Rebound' Review: A frivolous, lazy attempt on young romance

'Ishq Vishk Rebound' Review: Director Nipun Dharmadhikarai's 'Ishk Vishk Rebound', starring Rohit Saraf, Pashmina Roshan and Jibraan Khan, is a half-baked attempt on young romance. Read our review.

'The Iron Claw' Review: Zac Efron film is one of the best sports dramas

Directed by Sean Durkin, 'The Iron Claw' tells the tragic story of the Von Erick family of professional wrestlers and their struggles with ambition and legacy in the 1980s-1990s. Read the review of the film here.

Chandu Champion Review: Kartik Aaryan turns formulaic sports drama into worthy watch

Released- Fri Jun 14, 2024

Chandu Champion Movie Review: What makes the Kartik Aaryan-led film worth a watch, is the way that Kabir Khan truly believes in his story and turns it into a feel-good experience.

'Inside Out 2' Review: An emotional tide that's worth riding

'Inside Out 2' Review: Director Kelsey Mann's 'Inside Out 2' is so relatable that you might shed a tear as well. Read our review.

'Hit Man' Review: Glen Powell film redefines 'till death do us part'

Released- Fri Jun 07, 2024

Richard Linklater's 'Hit Man' stars Glen Powell as Gary, a professor-turned-undercover operative. The film explores themes of identity and transformation, offering both action and philosophical depth.

Maharaja Review: Vijay Sethupathi film is bogged down by convenient writing

Maharaja Review: Director Nithilan Swaminathan's 'Maharaja', starring Vijay Sethupathi and Anurag Kashyap, is a well-intentioned film about an important topic. Convenient writing overshadows some great moments, says our review.

'Weapon' Review: Sathyaraj-Vasanth Ravi's film not sharp enough to create impact

Director Guhan Senniappan's 'Weapon', starring Sathyaraj, Vasanth Ravi and Rajeev Menon, is a sci-fi thriller with a message about nature. The film overfeeds you with lots of sub-plots, says our review.

'Godzilla Minus One' Review: The best Godzilla film ever!

'Godzilla Minus One' Review: Director Takashi Yamazaki's 'Godzilla Minus One' won rave reviews during its premiere in Tokyo and USA in 2023. Now, the much-awaited film is premiering on Netflix. Read our review.

Blackout Review: Vikrant Massey film seems like an extended Instagram reel

Blackout movie review: The Vikrant Masey film is all over the place with multiple characters and subplots. It never gets a chance to swim smoothly through and makes for an exhausting watch.

'Bad Boys Ride or Die' Review: Will Smith, Martin Lawrence strike again

Hollywood stars Will Smith and Martin Lawrence are back in action with 'Bad Boys: Ride or Die'. The pair once again hit it out of the park. Read our complete take on the movie here.

'Mr and Mrs Mahi' Review: Rajkummar-Janhvi film is an imperfect game

Released- Fri May 31, 2024

Director Sharan Sharma's 'Mr and Mrs Mahi', starring Rajkummar Rao and Janhvi Kapoor, is a romantic sports drama. The film fails to create an impact despite having an interesting story on paper, says our review.

'Bhaiyya Ji' Review: Manoj Bajpayee is a Robin Hood no one asked for

Released- Fri May 24, 2024

'Bhaiyya Ji' Movie Review: The Manoj Bajpayee film starts with a story that seems worth investing your emotions in but loses steam almost immediately.

'Furiosa A Mad Max Saga' Review: Fun but not on par with 'Fury Road'

'Furiosa: A Mad Max Saga', directed by George Miller, is an adrenaline-pumping action drama. However, the film doesn't match up to 'Fury Road', says our review.

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Paradise movie review: Roshan Mathew, Darshana Rajendran’s political-personal film is among the finest of the year

Paradise movie review: Sri Lankan director Vithanage has come up with a deftly-plotted-and-executed film, knitting together a political-personal story filled with powerfully-calibrated emotions, well-judged performances, and a stunning, shocking climax.

Sharmajee Ki Beti movie review: Divya Dutta-Sakshi Tanwar-Saiyami Kher's film is feel-good and rooted in the everyday, and its dailiness makes it very ‘gharelu’ and relatable, even when you want it to break out of its flat framing.

Kalki 2898 AD movie review: Kalki may have Prabhas as the headliner, but it is Amitabh Bachchan all the way -- his Ashwatthama is suitably gravelly and towers over the film. Kamal Haasan comes on sparingly but does leave an impact.

Jatt & Juliet 3 movie review: The jodi of Diljit Dosanjh and Neeru Bajwa lock horns once again in the romantic comedy and come up with quite an entertainer.

I Am Celine Dion movie review: Equal parts cruel and contemplative, Prime Video's documentary film makes top use of Celine Dion's deeply expressive face as it details her journey with a rare disease.

Trigger Warning movie review: Jessica Alba jumps onto Netflix's assembly line of action movies to expectedly disappointing results.

Maharaj review: The only one who is completely in sync with the film’s tonality is Jaideep Ahlawat, who has given us a ‘dharm ka thekedar’ to beat all ‘dharm ke thekedars’.

The Bikeriders review: The Bikeriders is like that nice cross-country summer drive, wind in the hair, hands out of the window, but necks craving for a little something round the corner.

Ullozhukku movie review: Christo Tomy's directorial is a captivating drama about the moral dilemma of a wife, played by Parvathy Thiruvothu, right after her husband's death.

The Exorcism movie review: The Russell Crowe-Ryan Simpkins film lurches around, up and down corridors, round corners, in shadows and locked rooms, finally exiting after exhausting the last of our patience.

Ishq Vishk Rebound movie review: Three of the film's four leads, including Rohit Saraf, have proved their mettle before; first-timer Pashmina Roshan (who happens to be Hrithik Roshan’s cousin), is styled in the standard Bollywood starlet way, but does loosen up when given a chance.

Federer Twelve Final Days movie review: Much like Roger Federer's matches, the Amazon Prime Video documentary unfolds in a controlled manner before exploding with emotion at the end.

Harom Hara movie review: Guns and violence define Harom Hara, starring Sudheer Babu, Sunil Malvika Sharma and Jayaprakash.

Grrr movie review: Suraj Venjaramoodu's ability to effortlessly generate humour from thin air proves invaluable, while Kunchacko Boban, for whom comedy has never been a strong suit, shines in Grrr.

In telling simply how there are all these emotions within us, and that it is up to us to make of it what we will, Inside Out 2 is a winner.

Kudi Haryani Val Di, starring Ammy Virk and Sonam Bajwa, is a fun entertainer where love unfolds in the wrestling arena.

Dakota Fanning, whose quiet, worried face suggests questions with uneasy answers, does her best to lift the film. Olwen Fouere meanwhile channels her inner Glenn Close.

Chandu Champion movie review: Kartik Aaryan makes you root for his character even though Kabir Khan's film falls into declarative, underlined patches.

Maharaja movie review: Vijay Sethupathi plays the role of a single father who is desperate to get back a stolen dustbin, but there is a lot more to his complaint than what meets the eye.

Hit Man movie review: Richard Linklater brings an otherworldly slickness to the new Netflix romantic thriller, featuring Glen Powell and Adria Arjona in proper movie star form.

Am I OK? movie review: Dakota Johnson washes away the stench of her recent superhero misfire Madame Web by returning to her roots with a charming Sundance dramedy, available in India on JioCinema.

Little Hearts movie review: Right from the beginning, the Shane Nigam-Mahima Nambiar starrer attempts to present itself as a simple and rooted film, but these efforts fall flat soon due to the overuse of clichés.

Satyabhama movie review: Satyabhama is a film that has predictable twists and turns and has incorporated some aspects we have seen in earlier cop films. However, having Kajal Aggarwal at its centre makes it a tad more interesting.

Weapon movie review: Watching Weapon was like reading Wikipedia pages of Marvel superheroes and going on a rabbit hole clicking the hyperlinks.

Blackout, starring Vikrant Massey, Anant Vijay Joshi, Sunil Grover, Mouni Roy, Chhaya Kadam, Jisshu Sengupta and Ruhani Singh, makes you wonder if anyone involved in this enterprise knows anything from anything: a premise also needs execution.

The T20 World Cup final saw intense pressure on Indian players Hardik Pandya, Jasprit Bumrah, and Arshdeep Singh. South Africa also struggled, needing 26 runs from 24 balls with six wickets in hand. But Pandya's slower ball and Yadav's catch turned the game in India's favor. This victory was especially sweet for Rohit Sharma and Rahul Dravid, who had faced disappointment in previous World Cups.

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Sharmajee Ki Beti Movie Review: Predictably Feminist

Kalki 2898 ad movie review: an epic disaster, maharaj movie review: blind faith & social melodrama, hamare baarah review: meanders a dozen times, ishq vishk rebound review: beer, burps & break-ups, chandu champion movie review: a medal winner, gullak season 4 review: middle class piggy bank overflows, munjya movie review: merry times with a maharashtrian monster, filmy flashback: bts from govinda & manisha koirala’s ‘maharaja-maharaja’..., dharmaveer 2: blockbuster sequel on cm eknath shinde hitting..., ben affleck is said to have taken his belongings..., katrina kaif’s reaction on her ‘cameo’ in husband vicky..., kalki 2898 ad movie earnings on day 2: prabhas....

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अमर उजाला एप इंस्टॉल कर रजिस्टर करें और 100 कॉइन्स पाएं

केवल नए रजिस्ट्रेशन पर, अब मिलेगी लेटेस्ट, ट्रेंडिंग और ब्रेकिंग न्यूज आपके व्हाट्सएप पर.

सभी नौकरियों के बारे में जानने के लिए अभी डाउनलोड करें अमर उजाला ऐप

क्षमा करें यह सर्विस उपलब्ध नहीं है कृपया किसी और माध्यम से लॉगिन करने की कोशिश करें

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मूवी रिव्यू

मूवी रिव्यू: शर्मा जी बेटी

मूवी रिव्यू: रौतू का राज

मूवी रिव्यू: कल्‍क‍ि 2898 एडी

मूवी रिव्यू: महाराज

मूवी रिव्यू: हमारे बारह

मूवी रिव्यू: इश्‍क विश्‍क रिबाउंड

मूवी रिव्यू: चंदू चैंपियन

मूवी रिव्यू: ब्लैकआउट

मूवी रिव्यू: मुंज्या

मूवी रिव्यू: बैड बॉयज- राइड ऑर डाई

मूवी रिव्यू: डेढ़ बीघा जमीन

मूवी रिव्यू: सावी

सिनेमा, एक ऐसी दुनिया जहां हर शुक्रवार को 'भगवान' बदल जाते हैं। अपने फेवरेट एक्‍टर, एक्‍ट्रेस और डायरेक्‍टर्स की फिल्‍मों रेटिंग पर रखें नजर। किसी फिल्‍म में क्‍या अच्‍छा है और क्‍या बुरा, 'मूवी रिव्‍यू' में जानिए बिना किसी पक्ष-विपक्ष के सटीक एनालिस‍िस, हमारे सबसे बेहतरीन फिल्‍म समीक्षकों की नजर से।

Screen Rant

Upcoming indian action movie with 94% on rotten tomatoes is one of 2024’s most exciting films.

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Every Action Movie Releasing In 2024

Moana's live-action recasting repeats the animated movie's brilliant decision, next monsterverse movie after godzilla x kong gets release date.

• "Kill" is a boundary-pushing action movie set on a train, captivating audiences with intense fight sequences and a gripping story.
• Critics praise the film's immersive quality, inventive use of space, and brutal action scenes that pay homage to genre classics.
• The movie is a rare collaboration between Indian and Hollywood studios and is set to release in July 2024 with high anticipation and positive reviews.

An upcoming Indian action movie with 94% on Rotten Tomatoes is one of the most exciting films of 2024. Produced by famed Bollywood producer Karan Johar ( Kuch Kuch Hota Hai, Kabhi Khushi Kabhie Gham, and My Name Is Khan) and Apoorva Mehta of Dharma Productions and Academy Award-winning producer Guneet Monga ( The Elephant Whisperers) and Achin Jain of Sikhya Entertainment, the film premiered at the Toronto International Film Festival last year . Recognized as first runner-up for the People's Choice Award: Midnight Madness, this particular project is a thrilling addition to the genre.

2024 has already been an exciting year for action movies. Following in the footsteps of action movies like John Wick , releases such as Monkey Man have helped push new boundaries in the genre, laying the foundations for even more future success. However, while action films have undoubtedly been revitalized in recent years, there is a growing sense of formula to major releases. One 2024 movie promises to challenge this.

Dharma Productions and Sikhya Entertainment previously collaborated on the critically acclaimed 2013 drama film The Lunchbox, which won the Critics' Week Viewers Choice Award at the Cannes Film Festival and was nominated for Best Film Not in the English Language at the 2015 British Academy Film Awards.

2024 may potentially be one of the greatest years for action movies, with intriguing originals and impressive franchise releases on the way.

Kill Is An Action-Packed Movie Set On Board A Train

A romantic escape goes horribly – and thrillingly – wrong.

Directed by Nikhil Nagesh Bhat, Kill has been dubbed the " most violent and goriest film India has ever produced ," according to the trailer. The movie follows an army commando named Amrit (Lakshya) and his newly engaged fiancé, Tulika (Tanya Maniktala), aboard a train bound for New Delhi. Initially, the couple's journey seems to be a romantic escape, but things go awry when a gang of knife-wielding dacoits begins to terrorize the passengers . Amrit's sense of duty is awakened, and he engages in a relentless fight against the thieves, transforming the train into a battleground.

The narrative confines itself to the claustrophobic environment of the train, amplifying the tension and urgency as Amrit combats the increasingly violent criminals to protect his fellow passengers.

Kill is the first Hindi-language genre film of its kind. The narrative confines itself to the claustrophobic environment of the train, amplifying the tension and urgency as Amrit combats the increasingly violent criminals to protect his fellow passengers. Through a rare deal with Lionsgate (via Deadline ) , this is one of the first times an Indian production has partnered with a Hollywood studio on a theatrical release in North America and the UK for a mainstream Hindi-language film. Its cinematic release on July 4, 2024, is therefore especially exciting thanks to its boundary-pushing content and provocative story.

Why Kill’s Reviews Are So Good

Critics praise its relentless action and unabashed commitment to the genre.

Most critics appear mesmerized by Kill 's unabashed commitment to the genre, immersive quality, and inventive use of the train's claustrophobic environment.

Kill's reviews praise its gory, visceral violence, well-choreographed fight sequences, and gripping feel. Among all the movies set on a train , Kill has been likened to Bullet Train, Train to Busan, and Snowpiercer by Peter Debruge of Variety , who praises the film's relentless brutality and graphic action. Most critics appear mesmerized by Kill 's unabashed commitment to the genre, immersive quality, and inventive use of the train's claustrophobic environment. They also appreciate its sincere homage to Indonesian genre classics like The Night Comes for Us and The Raid.

Matt Donato of Slashfilm , for instance , celebrates Kill as a " near-perfect action thriller that's stuck in overdrive," calling it " sublimely savage" and " an action masterclass. " Similarly, Indian independent film critic Sucharita Tyagi commends the film's technical excellence , including the cinematography, editing, set design, and sound work to build tension and craft action sequences within a small, overcrowded train carriage. While some criticized the relatively thin plot, most lauded Kill for excelling as a classic action thriller, successfully combining Bollywood style with the genre's popular excesses.

Kill releases in cinemas on July 4, 2024.

Sources: Variety , Slashfilm , Sucharita Tyagi ,

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Kalki 2898 AD movie review: Prabhas and Deepika Padukone can't save this dystopian drama

Entertainment bollywood.

Despite its star-studded cast and massive budget, Kalki 2898 AD struggles to deliver

Even with the biggest stars from across India and a Rs6 billion budget that could feed a small country, a visual spectacle can still fall flat if it doesn't emotionally connect. My thoughts on the post-apocalyptic sci-fi adventure Kalki 2898 AD border on this sentiment.

The star-studded dystopian drama, led by a galaxy of stars including Deepika Padukone, Amitabh Bachchan, Kamal Haasan, and Prabhas, should have been a deliriously fun adventure. However, the underwhelming first half, filled with lame jokes by Telugu superstar Prabhas and unintentionally funny villains (here’s looking at a fine actor like Saswata Chatterjee being reduced to a hammy, clownish evil lord), makes it a tiring watch.

Dystopian films often depict societies where oppression, dehumanization, and environmental degradation are rampant, and Kalki 2898 AD fits squarely within this genre. The significance of what Hollywood director Denis Villeneuve said about his desire to make Dune 2 more emotionally resonant than the first part made more sense after sitting through 180 minutes of Kalki 2898 AD. The film, which borrows heavily from Indian mythology Mahabharata and a slew of Hollywood films like George Miller’s Mad Max series, The Matrix, and even Villeneuve’s Dune, reduces it to a pale imitation of the superhero and fantasy franchises from the West. The first hour of this film is as exciting as getting your teeth cleaned.

The movie opens with Hindu mythological hero Ashwatthama (Bachchan) being cursed with immortality by the Indian God Krishna and then switches to tens of thousands of years into the future where evil reigns in the capital city of Kasi. Oxygen, water, and scruples are rare commodities in this new world. Prabhas plays the playful and morally unscrupulous bounty hunter Bhairava. An inverted triangle, known as the complex and manned by Manas (Chatterjee), runs a tight ship for its tyrant ruler Yaskin (Kamal Haasan), and Bhairava desperately wants a way into the complex. Enter the pregnant Sumathi (Padukone), a human experiment who escapes the clutches of the evil despots at the complex and is desperate to survive. Amitabh Bachchan and many other minions, played by the nifty Anna Ben, come to her rescue in this rocky road adventure. But a spectacle filled with big stars and no souls makes for a frustrating watch.

If you can somehow survive the first hour of this film, the second half is relatively redemptive. Credit must go to the aging matinee idol Bachchan who stands tall and lends immense gravitas to the film. Prabhas, despite his best efforts, is unable to rise above the mediocrity of the script. The scenes in which this Herculean man flirts with his girlfriend (Disha Patani) are awkward, and his inconsequential banter with his swanky vehicle GPS Bujji (“put some music and I will get into the mood to fight”) falls flat. But what do they do when they realize that things aren’t picking up? Lump in as many star cameos as they possibly can. From Baahubali director SS Rajamouli to the dishy Vijay Deverakonda, kitted with bow and arrow, playing the Hindu warrior Arjun, this film is filled with who’s who of Indian stars. But cameos can’t gloss over an exhausting plot that tries too hard to impress. Before the movie nose-dives into senseless oblivion and is powered by pithy dialogues, the stunt-filled climax showing the showdown between Bachchan and Prabhas saves the film. Seasoned actor Kamal Haasan as the powerful despotic ruler and Shobana as the matriarch Mariam from the rebel group leave an impression in an otherwise loud and psychedelic film.

Padukone is gloriously under-utilized in this film. She’s on call to look perennially stricken and scared. While she occupies a wide berth in terms of screen time, her turn as the pregnant woman on the run is hardly riveting. None of the characters, barring Bachchan’s role, has been fleshed out.

Watch this film if you are someone who’s drawn to superhero films minus any soul.

Gulf News rating: 

Film: kalki 2898 ad (hindi), director: nag ashwin, cast: deepika padukone, amitabh bachchan, prabhas, kamal haasan, saswata chatterjee, shobhana, anna ben, mrunal thakur, stars: 2.5 out of 5, more from bollywood.

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Kalki 2898 AD Review in Hindi: ये कल्कि तो अमिताभ बच्चन ले गए...जानें कैसी है कल्कि 2898 एडी

Kalki 2898 ad movie review in hindi: प्रभास, दीपिका पादुकोण, दिशा पाटनी, अमिताभ बच्चन और कमल हासन की कल्कि 2898 एडी रिलीज हो गई है. फिल्म को साउथ के जाने-माने डायरेक्टर नाग अश्विन ने डायरेक्ट किया है. .

Kalki 2898 AD Movie Review in Hindi: प्रभास, दीपिका पादुकोण, दिशा पाटनी, अमिताभ बच्चन और कमल हासन की कल्कि 2898 एडी रिलीज हो गई है. फिल्म को साउथ के जाने-माने डायरेक्टर नाग अश्विन ने डायरेक्ट किया है. कल्कि की कहानी ऐसे दौर की है जब दुनिया पूरी तरह से उलट-पलट गई है. जरूरत है तो एक उम्मीद की और ये उम्मीद आती है दीपिका पादुकोण के ज़रिये और यह एक प्रोजेक्ट का हिस्सा है. दीपिका पादुकोण के ज़रिये इस उम्मीद की किरण के रक्षक बनते हैं, अमिताभ बच्चन. वहीं कमल हासन को दीपिका पादुकोण की तलाश है. प्रभास बने हैं बाउंटी हंटर उन्हें भी दीपिका चाहिए, लेकिन अपने फायदे के लिए. 

इस तरह की है कल्कि फिल्म की कहानी. डायरेक्टर ने पूरी कोशिश की है दर्शकों को ऐसी दुनिया दिखा सकें जो भारतीय सिनेमा में कम ही देखने को मिली है. लेकिन यहीं पेंच फंस जाता है. ये दुनिया हॉलीवुड और बॉलीवुड की कई फिल्मों से प्रेरित लगती है. यह दुनिया उधार की नजर आती है और यह उधार लिया गया है, पद्मावत से, मैड मैक्स से, ट्रांसफॉर्मर्स से, अवेंजर्स से, अवतार से और ऐसी ही कई ब्लॉकबस्टर फिल्मों से इस तरह. फिल्म का सेकंड हाफ ही दमदार है जिसमें कुछ देखने को मिलता है, वर्ना डायरेक्टर पूरी तरह से कल्कि 2 के लिए माहौल बनाते नजर आते हैं. फिल्म खत्म होने पर दिमाग में यही बात आती है कि ये तो अमिताभ बच्चन की फिल्म है. 

कल्कि 2898 एडी में एक्टिंग की बात करें तो सितारों के पास ज्यादा स्कोप नहीं है क्योंकि यह हीरो और इमोशंस सिर्फ टेक्नोलॉजी है. अगर किरदारों की बात करें तो इनमें पूरी फिल्म में जिस पर नजर रहती है और वह है अश्वत्थामा. यानी अमिताभ बच्चन. इस फिल्म को देखकर कहीं से नहीं लगता कि ये फिल्म प्रभास की है. पूरी तरह से हर एंगल से अमिताभ बच्चन को समर्पित नजर आती है और उन्होंने जो किया है, वह उनके बेस्ट रोल में से एक है. प्रभास एक्शन स्टार हैं, लेकिन उनसे डायरेक्टर कॉमेडी करवाता है. जब पूरा माहौल गंभीर है तो ना जाने प्रभास को किस दुनिया में दिखाता है. दीपिका पादुकोण का जो रोल है, उसे कोई भी अदाकारा बिल्कुल ऐसे ही निभाती. कमल हासन को फुल फॉर्म में देखने के लिए कल्कि 2 का इंतजार करना पड़ेगा.

कल्कि 2898 एडी के वर्डिक्ट की बात करें तो इसमें एक्शन है, जोरदार वीएफएक्स हैं, पौराणिक पात्र हैं, पौराणिक घटनाएं हैं, लेकिन इसके साथ ही कमजोर कहानी है. मिसफिट प्रभास हैं. कई ब्लॉकबस्टर फिल्मों का कॉकटेल है. अगर आप प्रभास के फैन्स हैं तो आपको गुस्सा आ सकता है, अगर अमिताभ बच्चन के फैन हैं तो जमकर तालियां बजाएंगे. कुल मिलाकर जिन्हें एक्शन, टेक्नोलॉजी और बड़े स्टार्स को देखना पसंद है वह इस फिल्म को एक बार जरूर देख सकते हैं, बाकी नाराज हो सकते हैं.

रेटिंग: 2 स्टार डायरेक्टर: नाग अश्विन कलाकार: प्रभास, दीपिका पादुकोण, दिशा पाटनी, अमिताभ बच्चन और कमल हासन

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Kalki 2898 AD

A modern-day avatar of Vishnu, a Hindu god, who is believed to have descended to earth to protect the world from evil forces. A modern-day avatar of Vishnu, a Hindu god, who is believed to have descended to earth to protect the world from evil forces. A modern-day avatar of Vishnu, a Hindu god, who is believed to have descended to earth to protect the world from evil forces.

• Amitabh Bachchan
• Kamal Haasan
• 292 User reviews
• 25 Critic reviews

Top cast 23

• Ashwatthama

• Supreme Yaskin

• Commander Manas

• Rajan - Bhairava's Landlord

• Counsellor Bani

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• Trivia The most expensive Indian film in history.
• Soundtracks Bhairava Anthem (Telugu) Music by Santhosh Narayanan Lyrics by Ramjogayya Sastry Vocals by Deepak Blue & Diljit Dosanjh

User reviews 292

• Jun 26, 2024
• When was Kalki 2898 AD released? Powered by Alexa
• June 27, 2024 (United States)
• Kalki 2898-AD
• Ramoji Film City, Hyderabad, Telangana, India
• Vyjayanthi Movies
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• ₹6,000,000,000 (estimated)

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• Runtime 3 hours
• IMAX 6-Track
• Dolby Atmos
• Dolby Digital

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A Quiet Place: Day One (English)

Release date: 28 june, 2024, a quiet place: day one (english) movie.

A QUIET PLACE: DAY ONE is the story of two strangers who bond while surviving an extra-terrestrial attack. Sam (Lupita Nyong'o), a terminally ill patient, resides in Little First Hospice outside New York City, USA. Reuben (Alex Wolff), who works at the hospice and is Sam's friend, asks her to ...  join him and some more patients on an outing to Manhattan. Sam agrees on the condition that she should be treated with a pizza. In NYC, Sam, Reuben and other patients attend a puppet show. While they are inside the theatre, the city gets attacked by hostile extra-terrestrial creatures. What happens next forms the rest of the film.

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