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Dude, I was so hyped for "Bade Miyan Chote Miyan." Like, seriously, a desi buddy-cop flick with Akshay Kumar and Tiger Shroff? Sign. Me. Up. But let me tell you, this movie left me feeling more disappointed than after finding out the pizza place was closed.

Director Zafar seems stuck on repeat. Instead of something fresh, we get reheated Bollywood clichés. The only surprising thing was the pre-interval helicopter stunt, and even that felt more like a magic trick than anything mind-blowing. The rest of the action scenes? Total snoozefest. Shaky camerawork made it impossible to see the fight choreography, and the whole thing felt rushed and forgettable.

Don't get me wrong, I love Kumar and Shroff. They're both awesome actors. But the script did them a dirty trick. Their banter felt forced, and their characters had zero depth. They never clicked as a team, which left me wondering why they were even paired up. Even the villain, played with some energy by Prithviraj Sukumaran, couldn't save this flick from being a total meh.

The jokes were stale, like week-old reheated puns that wouldn't even make my dad laugh (and trust me, that's a low bar). The plot itself was a narrative wasteland, with no real stakes or emotional connection. Zafar's previous films at least had a touch of heart or social commentary, but "Bade Miyan Chote Miyan" felt completely hollow.

Adding to the disappointment was Alaya F's performance as Pam. Her acting felt one-note and forgettable. It makes you wonder if a more experienced actress could have brought more life to the role and maybe even lifted up the whole movie.

Honestly, skip this one. Bollywood has tons of fantastic comedies and action flicks. Don't waste your time on this forgettable mess with recycled jokes, generic action, and zero originality. Do yourself a favor and find something else to watch. You deserve way better.

"Maidaan" isn't just a film; it's a cinematic triumph that pulsates with the heartbeat of Indian football's golden era. At its core, it's a testament to the indomitable spirit of champions and a celebration of the visionary who shaped their destiny. Ajay Devgn's portrayal of Syed Abdul Rahim is nothing short of mesmerizing, a portrayal that transcends mere acting to embody the essence of a man driven by passion, resilience, and an unyielding belief in his team's potential.

Devgn's performance as Rahim is a revelation, capturing the essence of a man whose quiet strength and strategic brilliance propelled Indian football onto the world stage. With every nuanced expression, he breathes life into Rahim's unwavering conviction and unwavering dedication to his players, making it arguably his career-best performance in over three decades of cinematic brilliance.

"Maidaan" isn't just about victories on the field; it's a deeply human story that delves into the complexities of ambition, integrity, and the relentless pursuit of excellence. Through Devgn's portrayal, we witness Rahim's battles not only against formidable opponents but also against the corrosive forces of corruption and cynicism. His portrayal is a masterclass in character study, highlighting the depth and complexity of a man driven by a singular vision.

Director Amit Ravindernath Sharma's deft hand ensures that every frame pulsates with the energy and emotion of the era, transporting audiences to a time when football was more than just a game-it was a beacon of hope and unity. The film's breathtaking cinematography and AR Rahman's soul-stirring score further elevate the viewing experience, immersing audiences in the raw intensity of the matches and the quiet moments of triumph and despair.

But at its heart, "Maidaan" is Ajay Devgn's triumph. His portrayal of Syed Abdul Rahim is not just a performance; it's a revelation-a reminder of the transformative power of cinema to illuminate the human spirit. Through his portrayal, Devgn honors not only Rahim's legacy but also the countless unsung heroes who paved the way for Indian football's ascent. So, do yourself a favor and witness this cinematic masterpiece unfold on the big screen. You'll leave the theater not just exhilarated by the game's glory but also enriched by the journey of a man who dared to dream against all odds.

Ugh, gotta be honest. I was hyped for "Monkey Man." Gritty crime saga exploring the depths of Indian society? Sign me up! But let me tell you, this movie felt more like a cheap vacation package than a real adventure.

From the first trailer, it was clear "Monkey Man" was playing to the cheap seats. Blaring sitar music Come on, that's like showing cowboys and tumbleweeds for the Wild West. It felt like they googled "India clichés 101" and hit "film it." Where was the nuance? Where was the effort to portray the incredible diversity of Indian music traditions, beyond stereotypical carnival music?

And don't even get me started on the "realistic" portrayal of India. Poverty, crime - sure, those are realities, but they're only part of the story. Where's the celebration of the vibrant markets, the rich history, the deep spiritual traditions? It's like they took a postcard of a dusty alley and called it a documentary. India is a land of breathtaking beauty, ancient traditions, and cutting-edge innovation. "Monkey Man" couldn't be bothered to show any of that.

Here's the thing: Hollywood loves to point fingers at human rights issues in some places, but give others a free pass. "Monkey Man" screams hypocrisy. It shines a spotlight on India's struggles while ignoring similar problems happening elsewhere. We get it, social issues! But where's the even-handedness? Where's the courage to spark a conversation about the complexities of global challenges, instead of this cheap trick of picking on one target?

The whole movie felt like the protagonist was narrating a travel vlog for someone who's never left their couch. Their perspective? Totally catered to Western stereotypes of snake charmers and mysticism. It was like watching India through a distorted lens, completely detached from the reality of everyday life there. Instead of exploring the fascinating contradictions of a modernizing nation steeped in tradition, we get a one-dimensional view of poverty and struggle.

Look, I appreciate a good crime story. But "Monkey Man" sacrificed authenticity for flash. It was all style, no substance. They could've explored the complexities of Indian identity, the social dynamics - anything deeper than this surface-level junk. Imagine a film that delved into the lives of young entrepreneurs navigating the tech boom in Bangalore, or a documentary that explored the tensions between modernization and religious traditions in rural villages. "Monkey Man" could have been a thought-provoking exploration of a fascinating country. Instead, we got a flashy, forgettable flick.

Honestly, the only ones entertained by "Monkey Man" will probably be those who wouldn't know a dosa from a dhoti. Anyone looking for a genuine look into India will be left high and dry. This movie is a missed opportunity, plain and simple. It offered nothing but popcorn entertainment when it could have been a real cultural exploration. Maybe next time, filmmakers will ditch the tourist guide and take a real journey. Until then, I'll stick to exploring the world through documentaries that don't treat entire cultures like theme parks.

As someone eagerly anticipating Crew, I had high hopes for an exhilarating heist comedy. However, the film never quite reaches its full potential. Despite featuring a star-studded cast and a promising concept, it struggles to soar due to its lackluster execution.

One aspect that shines is the trio of leading ladies. Kareena Kapoor, Tabu, and Kriti Sanon dazzle on screen with their charm and elegance, injecting life into their characters. Their performances add some much-needed flair to the movie, masking some of its flaws. Additionally, Director Rajesh A. Krishnan's signature absurd humor, reminiscent of "Lootcase," brings occasional chuckles, though it's not enough to compensate for the film's shortcomings.

The crux of the issue lies in the narrative's inability to sustain momentum. While the first half promises excitement and intrigue, the second half disappointingly falls flat. Predictable plot points and lack of depth leave much to be desired, ultimately failing to deliver the anticipated thrills.

**To sum it up:** Crew is a visually appealing but ultimately forgettable film. While it may serve as a pleasant diversion for those seeking star power and a light-hearted storyline, it falls short of delivering the gripping heist comedy it initially promises. Disappointment awaits those expecting a more captivating and surprising cinematic experience.

"Swatantrya Veer Savarkar" completely floored me. It's a powerful cinematic journey that doesn't shy away from the complexities of Vinayak Damodar Savarkar, a controversial yet undeniable force in India's fight for independence. Randeep Hooda's performance is nothing short of a revelation. He inhabits Savarkar's skin - the steely resolve in his eyes, the unwavering defiance in his voice - making you feel the weight of his struggles and convictions.

As a history buff, I was particularly impressed by how the film weaves a rich tapestry. It seamlessly blends the grand narrative of India's independence movement with the intimate details of Savarkar's personal odyssey. The screenplay is robust and meticulously crafted, offering depth without sacrificing clarity. The dialogues are equally impactful, leaving a lasting impression and often igniting spontaneous applause in the theater.

But what truly elevates "Swatantrya Veer Savarkar" is its technical mastery. The cinematography is breathtaking, creating a visually immersive experience that transports you right into the heart of the freedom struggle. You feel the suffocating dampness of Savarkar's cell in Kaala Paani, the electrifying energy of revolutionaries plotting their next move, and the simmering tension of confrontations with the iron fist of the British Raj.

One of the most thought-provoking aspects of the film is the dynamic between Savarkar and Gandhi. Their contrasting ideologies are brought to life through a series of powerful, nuanced exchanges. These conversations highlight the fascinating complexities of India's fight for independence, where different leaders advocated for different paths to freedom. The film doesn't shy away from portraying the friction between their approaches, sparking contemplation about the multifaceted nature of a nation's struggle for self-rule.

It's worth noting that the film isn't without its flaws. The pacing could be tightened in certain stretches, particularly during the first part of the second half where Savarkar is incarcerated. A minor edit of 15-20 minutes could enhance the overall flow without compromising the depth of the story.

Despite this minor drawback, "Swatantrya Veer Savarkar" stands out as a remarkable achievement in historical cinema. It's a testament to the passion and commitment of the filmmakers. The film offers a profound and engaging experience that is both educational and entertaining. It left me contemplating the complexities of India's freedom struggle, the legacy of its key figures, and the enduring significance of their fight for self-determination.

After viewing Ae Watan Mere Watan I couldn't shake the feeling that the film leaned more towards being a love letter to the Congress Party rather than a faithful biopic of Usha Mehta. While the production design by Amrita Mahal Nakai and Sabrina Singh beautifully recreated the era, the narrative seemed to prioritize political agendas over Mehta's personal journey.

The film's exploration of radio as a tool for resistance during the 1942 Indian independence movement was intriguing, but it felt overshadowed by a strong bias towards the Congress Party. Rather than presenting a balanced portrayal of historical events, the film seemed intent on glorifying the party's role in the independence movement.

Sara Ali Khan's portrayal of Mehta, though competent, felt secondary to the film's political messaging. Her character lacked depth, reducing her personal struggles to mere background noise amidst the larger political narrative.

Furthermore, the film's extended runtime of 133 minutes only served to accentuate its political agenda, with scenes often feeling drawn out to emphasize certain political ideologies.

In summary, "Ae Watan Mere Watan" appears more concerned with celebrating the Congress Party than offering a genuine biopic of Usha Mehta. While it may resonate with certain audiences, those seeking a nuanced portrayal of history may find themselves disappointed by its overt political bias.

Stepping out of the theater after "Razakar," I grappled with a tangled mix of emotions. The weight of the film's subject matter settled on my chest - a historical exploration I felt was long overdue. The plight of Hindus under the brutal rule of the Nizam and the Razakars was a dark chapter in Indian history, one that demanded remembrance. "Razakar" served as a stark reminder, a cinematic gut punch that refused to shy away from the gruesome realities of the past.

The film's power stemmed not just from its thematic importance, but also from the dedication of its cast and crew. Bobby Simha's portrayal crackled with raw emotion, while Anasuya delivered a performance that resonated with quiet strength. The visuals were impressive, the dusty streets and weathered structures transporting us back to that tumultuous period. Bheems Ceciroleo's music served as a constant undercurrent, heightening the tension and amplifying the emotional impact of each scene.

Yet, a critical voice nagged at the back of my mind. The narrative, particularly in the first half, felt sluggish at times. Certain scenes, meant to emphasize the horrors inflicted by the Razakars, ended up becoming repetitive, their effectiveness diminishing with each iteration. More importantly, a nagging question lingered - were some historical events sensationalized for dramatic effect? Did the film prioritize emotional manipulation over a nuanced portrayal of the past?

Ultimately, "Razakar" left me with a bittersweet satisfaction. Here was a film that dared to delve into a forgotten corner of history, a space that desperately craved illumination. Its existence felt like a small victory, a step towards a more complete understanding of the Indian narrative. The mere act of bringing this story to the screen was commendable, a spark that could ignite further exploration and discussion.

However, the feeling of "what could have been" remained stubbornly present. A tighter narrative, a more balanced exploration of the historical context, a deeper dive into the motivations of all parties involved - these elements could have elevated "Razakar" from a history lesson into a truly transformative cinematic experience. It successfully ignited a conversation, but left me yearning for a more definitive and impactful execution of this significant story. "Razakar" may not have been a perfect film, but it served a crucial purpose - a reminder of a dark past, a spark for further inquiry, and a testament to the enduring power of storytelling to keep history alive.

"Thank you for existing," I whispered to the empty theater screen as the credits rolled. Despite its flaws, "Razakar" stood as a testament to the unflinching power of cinema. It dared to confront the shadows, to unearth a buried truth, and for that, it deserved a silent ovation.

Wow, did "Yodha" ever deliver! Directed by the dynamic duo of Pushkar Ojha and Sagar Ambre, this movie throws Sidharth Malhotra into a whirlwind of action sequences that are both exhilarating and surprisingly fresh for Indian cinema. The narrative might utilize some familiar genre tropes, but "Yodha" injects a whole new energy level that keeps you riveted to the screen from the opening scene.

The film thrives on a breakneck pace. Each scene throws you right into the heart of the action, eschewing lulls and propelling you forward. The directors are masters at building suspense, with each plot twist ratcheting up the tension. Even when things veer towards predictability, "Yodha" manages to surprise and keep you on the edge of your seat.

The undeniable chemistry between Malhotra and Rashi Khanna adds another layer of depth to the story. You can't help but become invested in their journey, rooting for them as they confront danger together. Their camaraderie and connection become an anchor amidst the high-octane action.

The movie's one minor stumble lies with the supporting cast. The Yodha task force, with its intriguing name, promises a compelling team dynamic. However, the film doesn't provide enough opportunities to delve into their backstories or motivations. Exploring their backgrounds could have added another layer of intrigue, but perhaps the relentless pacing simply didn't allow for it.

Despite this minor drawback, "Yodha" is a thrilling rollercoaster ride from beginning to end. The plot is tightly constructed, with the action sequences serving not just as spectacle but also as plot drivers. The over-the-top climax leaves a lasting impression, solidifying the film's place as a must-watch for pure adrenaline junkies.

After a compelling film like "Shaitaan" last week, "Yodha" marks another strong start to the cinematic calendar, promising audiences an adrenaline-fueled ride they won't soon forget.

I just saw Shaitaan, and wow! This movie is intense. I went in with high expectations, having heard all the buzz about Ajay Devgn and R. Madhavan's performances, and let me tell you, they didn't disappoint. Devgn is fantastic as the desperate father, and Madhavan is downright creepy as the mysterious stranger.

Here's the thing, though: while I was on the edge of my seat the whole time, trying to find any kind of plot hole or misstep, part of me wondered if it being a remake affected things. I haven't seen the original Gujarati film "Vash," so maybe for people who have, the story might feel a little predictable.

That being said, even if the plot isn't the most original, the way it's executed is top-notch. Vikas Bahl definitely knows how to build suspense. There were moments where I literally had to cover my eyes, and the scares felt genuine, not cheap jump scares.

The other thing I wasn't sure about is whether the film fully explores the emotional side. Sure, Devgn and Jyothika are convincing as a married couple thrown into this nightmare, but I would have liked to see a bit more depth in their relationship. Maybe that would have made the whole experience even more gut-wrenching.

Overall, Shaitaan is a must-watch for horror fans. It's a masterclass in building tension and delivering genuine scares. While it might not be the most groundbreaking story, the performances and execution are flawless. Just be prepared to be creeped out!

In the ever-expanding landscape of attempted screen adaptations of Frank Herbert's monumental novels, Denis Villeneuve's "Dune: Part Two" emerges not only as a fitting conclusion but also as the crowning achievement of his illustrious career. This film doesn't just push the boundaries of storytelling; it redefines the very essence of state-of-the-art commercial cinema.

From the opening scenes to the final frame, "Dune: Part Two" is a visual and narrative tour de force. Villeneuve's meticulous attention to detail transforms every pixel into a work of art, creating a cinematic experience that transcends mere entertainment. It's a journey that takes audiences to distant realms, seamlessly blending broad archetypes with profound ideas, making every moment a visual and intellectual feast.

The film stands as a testament to Villeneuve's directorial prowess. It not only embraces the epic scope of Herbert's novels but also captures the nuanced themes and aesthetics that have been a constant thread throughout Villeneuve's career. Each frame is a carefully crafted tableau, reflecting the director's commitment to storytelling excellence.

"Dune: Part Two" is more than a sequel; it's a triumph of craft and storytelling. It skillfully mirrors the political intrigue of its predecessor, only to unravel deeper layers of complexity. The hubristic political gamesmanship gives way to the tragic weaponization of religion, providing a thought-provoking commentary on power dynamics and societal structures.

Javier Bardem's portrayal adds an extra layer of brilliance to the film. His iconic sandworm surfing scene not only showcases the film's visual grandeur but also injects moments of sheer delight into the narrative. It's a perfect encapsulation of how "Dune: Part Two" strikes a delicate balance between gravitas and entertainment.

In summary, "Dune: Part Two" is not just a sequel; it's a cinematic milestone that elevates the source material to unprecedented heights. Denis Villeneuve has not only succeeded in adapting a beloved literary work but has also crafted a timeless piece of cinema that will undoubtedly leave a lasting impact on the medium. This film is a testament to the evolution of storytelling and an immersive experience that will resonate with audiences for years to come."

Teri Baaton Mein Aisa Uljha Jiya ambitiously endeavors to bring together elements of science fiction, romance, and humor, yet ultimately succumbs to its own aspirations, resulting in a lackluster cinematic experience. Penned and directed by Amit Joshi and Aradhana Sah under the banners of Dinesh Vijan's Maddock Films and Jio Studios, the film attempts to navigate the delicate balance between rom-com and family drama but falls short on both fronts.

The central flaw lies in the film's inability to provide a cohesive and meaningful narrative. The dialogues, delivered by the charismatic Shahid Kapoor and Kriti Sanon, seem to meander without purpose, failing to engage the audience in any profound or thought-provoking conversations. The promised fusion of science fiction elements is relegated to the sidelines, overshadowed by the film's struggle to define its genre identity.

Despite its purported comedic undertones, "Teri Baaton Mein Aisa Uljha Jiya" manages to elicit laughter more through unintentional awkwardness than intentional wit. The screenplay's attempts at humor often miss the mark, contributing to the overall disjointed feel of the film. The promised romance and family drama elements suffer a similar fate, leaving the audience longing for depth and coherence.

One of the film's significant shortcomings is its lack of a clear genre identity. The promised science fiction backdrop appears to be an afterthought, failing to integrate seamlessly into the narrative. As a result, the film stumbles along, unable to establish a compelling direction or purpose.

In conclusion, "Teri Baaton Mein Aisa Uljha Jiya" is a disappointing venture that fails to capitalize on its intriguing premise. Despite the potential for a unique amalgamation of genres, the film succumbs to an incoherent script and uninspired execution. Shahid Kapoor and Kriti Sanon's talents are underutilized, leaving audiences with a half-baked concoction that lacks the depth and engagement expected from a well-crafted romantic comedy or family drama. The film, unfortunately, becomes a forgettable entry in the cinematic landscape, overshadowed by its unrealized potential.

Matthew Vaughn's "Argylle" takes audiences on a wild ride through the realms of espionage with a daring departure from convention. While the film's relentless commitment to Vaughn's fantastical and cartoonish style provides a consistently clever and frequently funny experience, the relentless upping of the stakes threatens to disconnect the narrative from any tangible sense of reality.

From the opening scenes, it's clear that Vaughn is unapologetically embracing a unique cinematic language. The world of "Argylle" is an extravagant playground where the boundaries of plausibility are stretched to their limits. Vaughn's refusal to adhere to the constraints of reality can be both a strength and a weakness. On one hand, it allows for a refreshing and unpredictable narrative, but on the other, it risks diminishing the impact of the unfolding events by constantly escalating the stakes.

As the film progresses, the line between the fantastical and the absurd becomes increasingly blurred. The relentless pursuit of more outlandish scenarios might leave some viewers yearning for moments of groundedness to provide a sense of consequence. Vaughn's refusal to let the narrative breathe occasionally leads to a loss of emotional weight, as what should be high-stakes moments are overshadowed by the next over-the-top spectacle.

Nevertheless, "Argylle" thrives on its sharp wit and clever writing. The screenplay, filled with snappy dialogue and unexpected twists, keeps the audience engaged and entertained. Vaughn's ability to inject humor into even the most intense moments creates a unique fusion of espionage and comedy. The film's pacing is brisk, and the twists and turns in the plot keep viewers guessing, ensuring that boredom never has a chance to set in.

The ensemble cast, led by a charismatic performance from the lead, brings the exaggerated world of "Argylle" to life with infectious energy. The chemistry among the cast members adds an extra layer of enjoyment, making the characters and their outlandish escapades all the more endearing. Each actor fully embraces the absurdity of the narrative, enhancing the overall comedic and thrilling experience.

"Argylle" may not be everyone's cup of tea, especially for those seeking a more grounded and traditional spy thriller. However, for those willing to suspend disbelief and embark on a whimsical journey through espionage, it offers a unique and entertaining experience. Vaughn's signature style, coupled with the film's relentless humor and unpredictable narrative, makes "Argylle" a worthwhile watch for fans of the genre and those who appreciate Vaughn's audacious storytelling approach.

Fighter helmed by Sidharth Anand and featuring a stellar cast including Hrithik Roshan, Deepika Padukone, and Anil Kapoor, unfortunately, falls into a myriad of pitfalls that collectively diminish the film's overall impact. The most glaring issue is the excessive use of slow-motion shots, which not only overwhelms the viewer but also detracts from the storytelling. The repetitive nature of these sequences becomes a veritable headache, diluting the potential impact of pivotal moments.

While the star power of the cast is undeniable, the film's visual effects leave much to be desired. The CGI elements lack the finesse expected in contemporary cinema, diminishing the overall cinematic experience. Furthermore, the inclusion of songs seems more like a gratuitous platform for Deepika Padukone's dance performances rather than serving a purpose within the narrative, contributing to a disjointed viewing experience.

The inclusion of songs in the movie felt forced and unnecessary. While music can undoubtedly elevate a film, in "Fighter," it appeared more like a platform for Deepika Padukone to showcase her dance skills than an integral part of the storytelling. This diversion from the plot not only disrupted the flow but also left me questioning the purpose of these musical interludes.

A notable drawback is the film's length, and this issue could have been mitigated by a judicious removal of the superfluous slow-motion shots. Trimming the runtime would not only enhance the pacing but also potentially salvage the film's narrative cohesion.

The dog-fight scenes, crucial in a film of this genre, disappoint with their lackluster execution. The fighter plane's appearance verges on the cartoonish, compromising the realism necessary for such intense sequences. This, unfortunately, positions "Fighter" as a pale imitation rather than a worthy contender in the action-thriller genre.

**Military Maneuvers by Hollywood, Not the IAF:** The movie throws around military ranks and procedures like confetti at a party. Group leaders can't just transfer squadron leaders, and "borrowing" a fighter jet is pure fantasy. Come on, guys, some basic research goes a long way.

**Action Sequences That Defied Physics:** The action scenes were more like action *comedy*. Pilots teleporting after ejection and mid-air fistfights? I get it, Hollywood loves explosions, but some semblance of realism would have been nice. This wasn't "Top Gun," it was "Top goof."

**Radio Silence...Except It Wasn't?:** They tried to create tension with a jamming scene, but any real pilot knows fighter jets have ways to counter that. It felt like the writers forgot about basic military tech in their quest for drama.

**War Crimes for Entertainment? No Thanks:** Adding insult to injury, the movie depicts a war crime that was just plain insensitive. Using such a serious topic as a plot point was a massive low blow.

**Showcasing Indian Power...Except They Didn't? ** India has some impressive military tech, like the BrahMos missile. This movie could have been a chance to showcase that, but instead, it was a complete no-show. Talk about a missed opportunity!

**Overall, "Fighter" felt like a flashy brochure for fighter jets written by someone who wouldn't know a wingman from a wing nut.** It wasn't entertaining, and it wasn't even a good kind of unrealistic. If you're looking for a movie that respects the Indian Air Force and delivers thrilling aerial combat, this one's a total dud. Stick to documentaries, people.

Comparisons with Ajay Devgn's "Runway 34" further amplify the film's shortcomings. Despite a potentially smaller budget, "Runway 34" managed to deliver a more engaging and commendable cinematic experience. The discrepancy raises questions about the directorial choices made in "Fighter," leaving audiences longing for a more polished and well-thought-out production.

In conclusion, "Fighter" struggles to soar to the heights anticipated from a film of this caliber. Sidharth Anand's vision, marred by a lack of restraint in certain aspects, results in a movie that feels like a missed opportunity rather than the cinematic triumph it could have been.

Abhishek Chaubey's "Killer Soup" simmers with a delectable blend of eccentricity, deceit, and dark humor, crafting a narrative that keeps viewers on the edge of their seats. This culinary caper introduces a cast of quirky characters entangled in a web of lies, making it a thrilling and entertaining experience.

The series opens with Swathi Reddy (Konkona Sen Sharma) serving Paya Soup to her husband, Prabhakar Shetty (Manoj Bajpayee), setting the stage for a tale brimming with mystery and unexpected twists. While Swathi dreams of opening a restaurant, the unfolding events reveal a world filled with transactional relationships, deceit, and devilry.

Abhishek Chaubey's directorial prowess shines through in the meticulous attention to detail in each scene. Symbolism, such as the recurring theme of mushrooms, adds depth to the narrative. The careful interweaving of elements requires viewers to pay close attention, as correlations reveal themselves later, creating a satisfying viewing experience. Though the plot may seem busy with multiple character arcs, Chaubey maintains a tight grip on the overall narrative, ensuring a seamless flow of the storyline.

The infusion of supernatural elements and poetry adds an extra layer of intrigue to "Killer Soup." The series seamlessly transitions between a dark fairytale ambiance, reminiscent of a witch's forest, and whimsical scenes featuring fireflies. This juxtaposition of contrasting elements enhances the overall atmosphere, making it a visually and narratively stimulating journey.

Konkona Sen Sharma and Manoj Bajpayee deliver outstanding performances, embodying characters that are morally ambiguous yet intriguing. Umesh's guilt and Swathi's genuine affection for her niece, portrayed by Anula Navlekar, add layers to their personas. Secondary and tertiary characters, notably Sayaji Shinde and Vaishali Bisht, contribute significantly to the series' power, commanding attention with their compelling on-screen presence.

"Killer Soup" emerges as a dark comedic thriller with nuanced storytelling and layers that captivate audiences. The series offers a culinary feast served by Abhishek Chaubey, a binge-worthy experience that leaves viewers craving more of its killer flavor. As the characters navigate a world of deception, desperation, and dark humor, "Killer Soup" stands out as a delectable and thoroughly satisfying addition to the genre.

Forget the fruitcake and spiked eggnog, "Merry Christmas" is the real holiday treat you deserve. This isn't your grandma's feel-good Christmas movie; it's a suspenseful, stylish, and morally ambiguous masterpiece from Sriram Raghavan. Picture "Inception" meets "Casablanca" with a dash of Mumbai masala chai, and you're getting close.

Imagine a forbidden romance between a lonely housewife and a mysterious stranger, set against the twinkling lights and bustling chaos of Christmas Eve Mumbai. Pari Maheshwari Sharma smolders as the housewife, trapped in a gilded cage, while the enigmatic Vijay Varma saunters in with secrets simmering in his eyes. Raghavan paints every frame like a visual poem, using light, shadow, and even the way a sari swirls to hint at the tangled web of desires and betrayals to come.

Get ready for Hitchcockian twists that'll leave you gasping, like unwrapping a perfectly-shaped present only to find a ticking bomb inside. But Raghavan isn't just playing games; he's using this suspense to dig deep into the messy heart of human relationships. Is love a refuge or a prison? Where does loyalty lie when faced with temptation? And can you ever truly escape your past?

The music in this film is like a monsoon rainstorm on a Mumbai rooftop, swirling with sitar twangs and melancholic cello cries. It seeps into your bones and adds another layer to the film's intoxicating atmosphere. You'll be humming these tunes long after the credits roll.

Raghavan isn't afraid to borrow from the best, weaving the suspenseful chills of Hitchcock with the philosophical musings of Eric Rohmer. It's a genre-bending cocktail that's both familiar and refreshingly unique. He throws in unexpected pop culture references and Bollywood winks that'll have you grinning between gasps.

"Merry Christmas" isn't a film to passively watch; it's an invitation to participate, to puzzle over clues, question characters, and grapple with the moral tightrope they walk. It's a slow burn that explodes into a finale that will leave you shaken, stirred, and maybe a little bit hungover on existential questions.

So, ditch the fruitcake and dive into "Merry Christmas." It's a cinematic feast that will linger long after the last bite, leaving you questioning everything you thought you knew about love, loyalty, and the magic (and mayhem) of the holiday season.

P. S. Don't forget to pay attention to the little details in this film. Raghavan loves hiding clues and symbolism in every frame, from the color of someone's shirt to the stray object on a table. It's like a treasure hunt for the observant viewer!

I went into "Hanu Man 2024" with a mix of excitement and trepidation. I'm a big fan of superhero movies, and the idea of a Telugu film taking on the epic tale of Hanuman was intriguing. However, I also knew that director Prasanth Varma had a bit of a hit-or-miss track record.

So, what did I think? Well, it was a mixed bag.

On the one hand, the film is visually stunning. The special effects are top-notch, and the action sequences are truly exhilarating. The climax, in particular, is a real showstopper.

On the other hand, the story is a bit predictable. It follows the well-worn superhero tropes of a good guy versus a bad guy, with a few twists and turns thrown in for good measure. There's not much here that you haven't seen before.

Also, the pacing is a bit off in the first half. It takes a while for the film to get going, and there are a few too many slow-motion scenes. I found myself checking my watch a couple of times.

However, the film does pick up in the second half, and the Hanuman showcase is definitely worth the price of admission. It's a powerful and visually stunning sequence that will leave you in awe.

Overall, "Hanu Man 2024" is a decent superhero film with some impressive visuals and action sequences. However, the predictable story and pacing issues hold it back from being something truly great. If you're looking for a fun popcorn flick, this is worth checking out. But if you're looking for something more groundbreaking, you might want to look elsewhere.

**Here are some specific things I liked and disliked about the film:**

* **Liked:** The visuals, the action sequences, the Hanuman showcase * **Disliked:** The predictable story, the pacing in the first half, the lack of emotional depth

**Would I recommend it?**

If you're a fan of superhero movies and don't mind a bit of predictability, then I would say go for it. But if you're looking for something more original or emotionally resonant, you might want to skip it.

Neon-drenched action and pulsating music ignite Prashanth Neel's Salaar, but beneath the dazzling surface lies a narrative wasteland. While fleeting moments of potential flicker in supporting performances, the film ultimately stumbles under the weight of its own bombast, failing to connect with audiences on an emotional level.

Neel's penchant for spectacle over substance permeates the film. Thundering soundtracks and flamboyant set pieces mask a predictable plot built on overused tropes like "friends turned enemies." The narrative, echoing Neel's previous work, feels reheated and lacks the thematic depth and emotional resonance that captivated audiences in KGF.

Prabhas, burdened by a stoic script, becomes a passive observer in his own film. His slow-motion walks and unemotional delivery fail to inject depth into the protagonist, leaving viewers struggling to connect with him or his motivations. The supporting cast, however, fares better. Prithviraj and Shriya Reddy deliver nuanced performances, hinting at the complexities their characters could have possessed had the script delved deeper.

Action sequences, despite their visual flair, remain emotionally hollow. They roar with bombast but lack the raw power and thematic weight that fueled the fights in KGF. Neel throws spectacle at the screen, but it's like empty confetti - flashy and fleeting, leaving nothing behind but a sense of disappointment.

Salaar's greatest sin lies not in its flaws, but in its missed potential. Glimpses of a compelling story, exploring complex relationships and emotional turmoil, flicker briefly before being extinguished by the film's relentless pursuit of spectacle. These fleeting moments serve as a painful reminder of what Salaar could have been, a film that resonated with audiences on a deeper level than mere visual thrills.

Ultimately, Salaar is a disappointing detour for Neel.

It descends from the raw power of KGF into a hollow spectacle, devoid of the emotional core and thematic depth that made his previous work so impactful. While sparks of potential glimmer in the supporting performances, they're not enough to salvage the overall underwhelming experience. Skip Salaar and revisit KGF for a more fulfilling encounter with Neel's directorial talent.

The highly anticipated sequel to the aquatic superhero saga, "Aquaman and the Lost Kingdom," emerges from the depths with ambitions of taking audiences on a deeper and weirder journey. Yet, beneath the surface, the film reveals itself to be tethered to familiar narrative anchors, wheeling out old tropes that border on the contemptible.

One of the most glaring missteps of "The Lost Kingdom" is its treatment of antagonists. The film seems waterlogged with adversaries who lack the depth and complexity needed to elevate the overarching narrative. In contrast to its predecessor's visually stunning underwater landscapes, this sequel disappointingly fails to make waves with its visuals, leaving audiences with a sense of underwhelm.

The original Aquaman film managed to strike a delicate balance, marrying seriousness with elements of fantasy seamlessly. However, "The Lost Kingdom" takes a daring detour into cartoonish territory, marking a departure from the established tone. This shift in approach may prove divisive, alienating those who were drawn to the first film's ability to blend epic fantasy elements with a grounded narrative.

As the sequel relentlessly pursues spectacle, it becomes apparent that the quest for visual grandiosity takes precedence over a compelling and innovative storyline. The financial imperative to outdo its predecessor in terms of visual extravagance appears to compromise the significance of delivering a fresh and engaging narrative. In this pursuit of grandeur, "Aquaman and the Lost Kingdom" loses sight of the elements that made the first film a success - a captivating story set against the backdrop of a visually stunning underwater world.

Struggling to stay afloat in a sea of expectations, this sequel seems to grapple with the challenge of recapturing the magic that distinguished Aquaman in the superhero genre. As it navigates through familiar waters, "The Lost Kingdom" finds itself at odds with its own ambitions, leaving audiences with a sinking feeling that the sequel falls short of the cinematic depths explored by its predecessor.

In the enchanting realm of romantic comedies, "Anyone but You" emerges as a 2023 gem that rekindles the magic of the genre. Starring the charismatic Sydney Sweeney and Glen Powell, this film, directed by the talented Will Gluck, takes a bold step by weaving a contemporary narrative around William Shakespeare's timeless classic, Much Ado About Nothing.

The film introduces a palpable and delightful chemistry between Sweeney and Powell, injecting a new vitality into the age-old formula of romance. Gluck, in collaboration with co-writer Ilana Wolpert, skillfully adapts Shakespeare's work, creating a storyline that feels simultaneously familiar and refreshingly new. The result is a romantic comedy that stands out in a landscape that has been craving innovation for years.

What sets "Anyone but You" apart is its witty dialogue, clever humor, and the charming performances of its lead actors. Sweeney and Powell navigate their roles with ease, bringing a modern sensibility to the age-old tale of love and misunderstanding. The film successfully blends humor and romance, creating a delightful journey that resonates with both fans of classic literature and those seeking a contemporary love story.

Director Will Gluck's vision and Wolpert's co-written screenplay showcase a keen understanding of the genre, delivering a film that captures the essence of romantic comedies while injecting a breath of fresh air. "Anyone but You" is not just a movie; it's a celebration of love, laughter, and the enduring appeal of romance in cinema.

For those who have longed for a standout American rom-com, "Anyone but You" is a satisfying treat that proves the genre can evolve and captivate audiences anew. This film marks a triumphant return to the heartwarming and entertaining spirit of romantic comedies, making it a must-watch for anyone seeking a delightful cinematic experience.

Ah, the bittersweet symphony of "Rebel Moon." I hear you there, fellow traveler to Pandora and Tatooine. We can both appreciate Zack Snyder's stylistic flourishes - the slow-mo ballet of violence, the operatic landscapes, the characters carved from myth. But as the curtain falls on "Part One," a mournful sigh escapes. This could have been a glorious space opera, a love letter to sci-fi's golden age, yet it stumbles over familiar tropes and squanders its vast potential.

Snyder's fingerprints are all over the screen. The visuals are undeniable - gargantuan spaceships casting ominous shadows, crimson blades carving through darkness, desert vistas whispering forgotten empires. He paints with a grand brush, but the canvas starts to feel repetitive. We've seen the grizzled warrior with a troubled past, the damsel in distress with hidden fire, the villain who chews scenery like it's his birthright. It's a well-worn costume rack, and while Snyder drapes it with his signature flair, the threads of originality begin to fray.

The plot, a familiar melody of rebellion against tyranny, starts strong but loses its harmonic richness. Characters, instead of complex chords, become predictable arpeggios. Their motivations are thinly veiled, their backstories a rushed montage. The dialogue, meant to resonate like thunder, echoes with the hollowness of recycled sci-fi cliches.

What hurts most is the unrealized potential. The glimpses of a deeper world, the whispers of ancient powers, the seeds of a nuanced conflict - all wither in the harsh glare of action sequences. Snyder loves his spectacle, and "Rebel Moon" is awash in it, but spectacle alone can't sustain a film. We crave emotion, depth, resonance. We want to be swept away, not merely bombarded.

So, as the credits roll, a bittersweet symphony resonates. We acknowledge the maestro's talent, the flashes of brilliance, the echoes of what could have been. But the lingering taste is one of missed notes, of potential left unrealized. "Rebel Moon" is a spectacle, no doubt, but a hollow one, leaving us yearning for the sci-fi opera that might have been.

In the realm of mindless action comedies, "The Family Plan 2023" treads a well-worn path, featuring Mark Wahlberg as the protagonist, former elite government assassin Dan. Faced with the resurgence of adversaries from his past, Dan opts for an unconventional escape strategy - packing his wife (Michelle Monaghan), teenage daughter, teenage son, and a surprisingly pivotal character, their 10-month-old baby, into a minivan for an impromptu cross-country road trip to Las Vegas.

While the film doesn't break any new ground in terms of its narrative, what elevates it from the run-of-the-mill action comedy is the unexpected star power of the youngest member of the ensemble - the adorable 10-month-old baby. In the midst of explosions, car chases, and typical action sequences, the infant manages to steal the spotlight, providing moments of genuine humor and heart that resonate with audiences.

Wahlberg and Monaghan deliver performances true to their seasoned capabilities, injecting charm and charisma into their respective roles as parents navigating the chaos. However, it's the interactions involving the 10-month-old that inject a refreshing element into the formulaic proceedings. The clever use of the baby's innocence and unpredictability adds a layer of authenticity to the family dynamic, serving as the unexpected source of both comedic relief and genuine warmth.

Despite the film's adherence to a tried-and-true formula, the endearing presence of the youngest family member helps "The Family Plan 2023" rise above the monotony. The action-packed road trip may not offer groundbreaking storytelling, but the delightful twist of placing the spotlight on the 10-month-old character gives this predictable family adventure an endearing and memorable touch, making it a worthwhile watch for those seeking a lighthearted blend of action and family dynamics.

Sofia Coppola's "Priscilla" promised a subversive biopic, a kaleidoscopic glimpse into the life behind the sequined curtain. But as the film unfolded, I felt myself drifting further and further away, captivated by the spectacle but yearning for substance.

Coppola's signature aesthetic mastery is undeniable. "Priscilla" is a visual feast, each frame dripping with the opulent decadence of Elvis' world. Yet, amidst the glitter and rhinestones, Priscilla herself seemed to fade into the background. The film skimmed over pivotal moments in her life, leaving me with a series of dazzling tableaux rather than a cohesive narrative.

The rushed pacing felt like a cruel joke on Priscilla's agency. We flitted from Graceland's gilded cage to sun-drenched Vegas stages, never truly allowed to inhabit her perspective. This superficiality was particularly disappointing from Coppola, a director known for her deft touch with complex emotions. Where was the vulnerability beneath the bouffant wigs? Where was the heartbreak of a life lived in the shadow of an icon?

Priscilla's relationship with Elvis, the very core of the film, remained frustratingly opaque. Their interactions felt choreographed, their emotions muted. I longed to see the cracks in the facade, the quiet battles of power and identity that surely played out behind the scenes.

Coppola's choice to tackle Priscilla's story was undeniably intriguing. She seemed the perfect artist to peel back the layers and reveal the woman behind the myth. But somewhere in the process, the focus shifted. "Priscilla" became a love letter to an era, a glittering postcard from a bygone world, rather than a portrait of a soul.

Ultimately, "Priscilla" feels like a missed opportunity. It's a visually stunning film, but its beauty remains hollow without the emotional depth and narrative coherence that could have truly elevated it. I left the film with a lingering sense of dissatisfaction, like I'd glimpsed a mirage shimmering in the desert, only to find nothing but sand upon closer inspection.

Bradley Cooper's "Maestro" is a visual feast, a glittering tapestry woven from Leonard Bernstein's iconic life. Every frame hums with the electrifying energy of his music, performed with breathtaking precision. Yet, amidst the operatic grandeur, a haunting note lingers: the film fails to truly capture the maestro's soul, the incandescent flame that fueled his every note.

The live performances are undeniable magic. They aren't mere background noise; they're the beating heart of the film, pulsing with Bernstein's raw genius and the characters' emotional turmoil. Cooper understands this, and his directorial baton conducts the camera with masterful precision, pulling us into the intoxicating vortex of sound and light.

But then, the music fades, and the narrative stumbles. The love story, though beautifully told, feels like a diverting aria, eclipsing the symphony of Bernstein's artistic journey. We glimpse the sparks of creativity, the whispers of inspiration, but the film never delves into the furnace where his music was forged. We're left wanting to know: what ignited this musical inferno? What drove Bernstein to push the boundaries of sound, to paint the world with his sonic brushstrokes?

Instead, "Maestro" drowns in the sea of its own spectacle. The dazzling sets, the whirlwind romance, the electrifying performances - they all become distractions, glittering baubles that momentarily blind us to the true treasure: the unyielding devotion that resided within Bernstein, the man who dared to make music his mistress, his obsession, his very lifeblood.

The film pays homage to Bernstein's legacy, yes, but it leaves us with a hollow echo, a yearning for a deeper exploration of the maestro's soul. We see the man, the lover, the artist, but we never truly hear the music that made him sing. "Maestro" is a stunning performance, a technical marvel, but it's a love letter penned in the wrong key, one that ultimately misses the beat of Bernstein's true passion.

Wonka, the latest film from director Paul King, takes us on a journey into the fantastical world of Willy Wonka's early life. While the film is visually delightful and boasts a strong performance from Timothée Chalamet, its chaotic story and forgettable music leave it feeling bittersweet.

Chalamet shines as a young Willy Wonka, brimming with youthful enthusiasm and boundless creativity. His performance is a welcome departure from the more jaded interpretations of the character, injecting a much-needed dose of innocence and wonder. Olivia Colman and Hugh Grant round out the cast with memorable supporting roles, adding humor and depth to the film.

The film's greatest strength lies in its visual feast. The vibrant sets and costumes bring the Chocolate Factory to life in all its fantastical glory, creating a truly immersive experience for the audience. King's signature whimsical style shines through, crafting a lighthearted and enjoyable atmosphere that is sure to captivate children and adults alike.

However, Wonka's charm is somewhat diminished by its chaotic story. The plot feels convoluted and lacks focus, making it difficult to follow at times. This is further exacerbated by the film's foray into musical territory. While the songs are visually stunning, they are unfortunately plagued by generic melodies and forgettable lyrics. They ultimately feel disconnected from the narrative, serving as unwelcome interruptions rather than emotional enhancements.

While not quite reaching the heights of King's Paddington films, Wonka manages to entertain with its whimsical tone and charming performances. Fans of Chalamet and visually stunning musicals will likely find much to enjoy. However, those seeking a more focused and emotionally resonant experience may find themselves left wanting. Overall, Wonka is a visually delightful and whimsical film that ultimately feels like a mixed bag of treats, leaving one with a taste of both satisfaction and disappointment.

Devashish Makhija's third directorial venture, "Joram," unfolds as a masterfully crafted and refreshingly unconventional thriller. Unlike its counterparts, this film doesn't follow the predictable path of escalating tension; instead, it embraces an agonizing oppressiveness that sets it apart from the mainstream. The movie weaves together sizzling action, a lawless atmosphere, and vibrant locations with undeniable vigor and attention to detail.

In "Joram," Makhija skillfully juggles two narrative focuses - one centered around activism and the other delving into the gripping territories of survival and revenge. While both storylines contribute to the film's overall impact, one stands out as particularly compelling. Manoj Bajpayee's portrayal of Dasru is nothing short of fantastic, effortlessly capturing the character's desperation as a father fighting against the odds to ensure the safety of his child. Bajpayee not only convinces us of a father's vulnerability but also embodies the strength of a determined individual thrust into dire circumstances.

Makhija's storytelling prowess shines through as "Joram" seamlessly navigates between these dual narrative threads. The film's unique blend of elements - from intense action sequences to a lawless atmosphere and lively locations - creates a distinctive cinematic experience that keeps the audience on the edge of their seats.

What truly distinguishes "Joram" is its willingness to explore unconventional themes within the thriller genre, offering a fresh perspective on activism and survival. The film strikes a perfect balance between these themes, delivering a thought-provoking narrative that transcends the typical boundaries of the genre.

In summary, "Joram: A Riveting Descent into Desperation and Retribution" is a testament to Devashish Makhija's directorial brilliance. With Manoj Bajpayee's exceptional performance, the film becomes a powerful exploration of desperation, survival, and the lengths a father will go to protect his child. This isn't just another thriller; it's a compelling journey that leaves an indelible mark on its audience, making "Joram" a must-watch for those seeking a unique cinematic experience.