Member Reviews

The new music documentary Yo Yo Honey Singh: Famous attempts to show the darker side of fame. It prods and probes, but eventually, it allows the artist to be. The Netflix documentary is engaging enough, showing how an ordinary young man from Punjab rises to become the Indian music industry’s most well-known artist and goes on to open doors for others as well. The real truth of the docu-film lies when it features the man himself and those closest to him to open up about what he went through during his self-imposed break.

The ‘mismatched’ couple Dimple and Rishi is back for another season in the popular Netflix series. Mismatched Season 3 returns with a three-year time jump as viewers are plunged back into the long-distance couple’s lives, with updates on their friends and family. Against the background of the virtual versus real world, the show puts its characters through new sets of problems that often feel misplaced. Focusing on its large cast and some faces, the new season feels like an odd reset back to its first season.

Inside Out 2 returned this year to theatres with great fanfare as the sequel took audiences back to Riley’s life as she begins high school. The new animated series, Dream Productions, is set slightly before the film and follows Riley as a pre-teen adjusting to the time in-between being a kid and a teenager. Instead of the core gang of emotions that we are used to, the miniseries focuses on bubbly dream director, Paula Persimmon, who finds herself being obsolete.

Returning after two years, the second season of the political drama Tanaav was split into two parts. The first six episodes premiered in early September, and the remaining six episodes of Vol. 2 wrap up the story that was introduced in part one. Manav Vij’s Kabir Farooqui and the Special Task Group (STG) race to contain Fareed aka Al Damishq (Gaurav Arora) before a crucial peace conference in the valley. While the first part felt like unfinished business, the second part comes to a thrilling end.

More than two decades ago, Love Actually became the quintessential British Christmas film. The rom-com featured connected stories of love, family, and, of course, Christmas. Writer-director Richard Curtis’s latest holiday offering is a family film, That Christmas, that follows the same template, but even with the mighty touch of Santa Claus, it can’t recreate that one-of-a-kind feeling. However, for a younger audience, the craziness of the narrative might be just passable.

The newest Star Wars series is a good old-fashioned space adventure led by a bunch of pre-teen heroines and heroes. Skeleton Crew brings together four imaginative children who embark on a trip to the outer galaxies that they won’t forget. The series also features Jude Law as a mysterious space pirate, whose role is yet to be determined. With only two episodes airing so far, the sci-fi series Skeleton Crew looks to unite Star Wars fans, young and old, in a classic adventure saga.

While watching Mufasa: The Lion King, all I could think about was this: 4 precious years of Barry Jenkins’ career were spent in front of Disney green screens and sound stages to not even create something madly original? Don’t get me wrong, I’m not against effects-driven or photo-realistically animated movies; visionaries like Peter Jackson and James Cameron have redefined the relationship between technology and storytelling over the years. But Disney? Another Lion King film? My viewing experience was laced with the frustration of realising that yet another Hollywood studio franchise was doing wasteful Hollywood things.

The standard for Indian documentaries about cultural icons is so low that Yo Yo Honey Singh: Famous, out now on Netflix, comes across as a refreshing change of pace. The streamer is itself guilty of lowering the bar with glorified PR exercises like Nayanthara: Beyond the Fairytale, Modern Masters: SS Rajamouli, and the worst of them all, The Romantics. They functioned more like corporate orientation films than the genuinely engaging journalistic profiles that they’re supposed to be. Not that the Honey Singh doc provides any real insight into his artistic process, barring the hilarious scene in which he is stumped by none other than Salman Khan. It does, however, do a decent enough job of giving audiences a peek inside his troubled mind. And for his fans, that will be enough. Many of them appear on camera, either commenting on his well-publicised fall from grace, or expressing their dismay at the lacklustre music that he has been releasing recently. In one scene, a woman tails him on a bike, and weeps openly as he stops to interact with her. A highly sensitive person himself, Honey recognises the emotions that she is experiencing, and begins serenading her with his biggest hit, “Blue Eyes.” Any cynical suspicion that you might have had about the woman being a plant disappears instantly. In another scene, a couple of flower sellers attempt to sell him a garland at the traffic signal. Honey quips that he needs a woman in his life to gift it to. They recognise him, and comment about his past troubles. “You’re looking smart now,” the young flower seller says to him. Honey is ecstatic.

A gruesome murder shakes Kolkata. Seasoned cops Kanishka Chatterjee (Tota Roy Chowdhury) and Naseer (Anirban Chakrabarti) of the Kolkata Police Detective Department see an uncanny similarity in the execution from an old case. Along with these two, Ritesh Kumar (Shantanu Maheshwari) – a young enthusiastic IPS, and Bishwa (Indrajeet Bose) get together in action. Soon there are more bodies. Nothing beats a chilling thriller on a winter night, and Pratim D Gupta serves it with a delectable plot garnished with a handful of red herrings. The film, which occasionally runs into predictability, is far too engaging to find flaws. It is fast, lethal, and entertaining, keeping the guessing game on.

The blood begins to flow even before the first scene in Marco. For a film about a bastard son avenging the murder of his adopted brother, it’s appropriate for even the opening credits to show his family tree in the form of a (literal) bloodline, as blood flows from one generation to next. Haneef Adeni, after the unwatchable comedy Ramachandra Boss & Co, returns home to a world he is most familiar with, in Marco. All his obsessions return too, including the Biblical references, Christian symbolism, Malayali men dressed for black tie events in peak summer, and the cringiest of English dialogues that are too lethal even for TikTok.