Member Reviews

There are two ways to be disappointed with Sky Force. One, through the lens of its creators. Up until now, the production company Maddock Films — on a high following the dizzying success of its horror-comedy multiverse — has managed to innovate and stay interesting without conforming to mass trends and jingoistic patterns. It’s worth noting that Sky Force is its first real foray into this zone. But within the contours of the herd-mentality move, it tries something different. It chooses to dramatise a real-life story that’s equal parts war movie and investigative drama.

A year ago, almost to the day, when Fighter released and didn’t exactly set the box office on fire, director Siddharth Anand put forth a bizarre claim. He said that the Hrithik Roshan-Deepika Padukone starrer, described by its makers as “India’s first aerial action film”, had not found much favour with the audience because “90 per cent of Indians haven’t flown in planes”. By that logic, one would have to be an Italian mafioso to appreciate The Godfather. The good thing is that you don’t have to sign up for a fighter pilot licence before you walk in for a show of Sky Force. This bi-annual Akshay Kumar deshbhakti dose — ‘a fictional story inspired by real events’ — has the kind of thrill and drama that every viewer, brought up on a steady diet of Bollywood patriotic films, is familiar with. Which is both a good and a bad thing.

Have you spared a minute to check if your bank balance has an insignificant discrepancy? Would you invest precious time and energy to make the bank accountable for Rs 27.50? It’s precisely this common customer lethargy that makes suave and merry Micky Mehta (Neil Nitin Mukesh) make dizzy sums like Rs 20,000 crore. Small amounts that don’t tally, interest credited just a day later, inconsequential figures that account holders ignore. Micky preys on just this customer ignorance to live life like a party. But there’s always one aam insaan whose brain works like a calculator. Senior Ticket Collector Radhe Mohan Sharma (R Madhavan) arrives laden with oranges that he generously shares with passengers. “I don’t touch stolen goods,” huffs passenger P Subhash (Kirti Kulhari). His enthusiastic reply about taking oranges to balance what the fruit seller owed him as change, delightfully introduces Radhe’s quirk. Debits and credits must tally. He’d once rejected a marriage proposal too because the girl was weak in Maths.

The title of director Dhinakaran Sivalingam’s debut film Bottle Radha makes its intentions clear. It is about alcohol addiction, and it is about Radhamani, who is an alcoholic. While there is no doubt that the movie trains all its focus firmly on Radhamani and his seemingly never-ending tryst with the bottle, some of the best moments of the film comes in the scenes involving his wife Anjalam. This is also due to the fact that Bottle Radha feels like being an anonymous fly during one of the many meetings of Alcoholics Anonymous, and it is the portions involving Anjalam gives the movie a refreshing change of pace. The opening shot of Bottle Radha is a drone shot that captures the expanse of the Chennai city that is not often shown in our films. We see Radhamani creating a ruckus over being admonished for coming drunk to work. Interestingly, the entire opening stretch wonderfully introduces the world of Radhamani, and how despite being around near and dear, the allure of the bottle takes him to unsavoury places. Again, the places he goes to might not seem really dire, but the look on Anjalam’s face when he comes home drunk says a lot more than what pages of dialogues could do. She feels insulted. She feels violated. She feels neglected. She feels distraught. And all that she can do is stand resolutely with tears streaming down her face. But Radhamani doesn’t see any of this because he is blinded by the booze, and when one things leads to another, and he finds himself arrested by the police, Bottle Radha decides to take a different route to tackle the issue of addiction.

As a fan of the 2004-2010 sci-fi island drama Lost, I thought I’d never find a show that would be weirder or more out there. I was wrong. The Apple TV+ series Severance is a fascinating thriller set in the corporate world that might just be one of the most intriguing streaming series right now. Exploring the premise of having an ‘inner’ and ‘outer’ self at work and home, the show created by Dan Erickson returns for a second season that continues to examine what it means to be human in a world that is out to exploit you constantly. The second season picks up after the uprising from the innies at the Macrodata Refinement team at Lumon Industries, where Mark (Adam Scott), Helly R (Britt Lower), and Irving (John Turturro) are able to explore the outside world. Management is not happy as the gang is put through their paces initially and pushed even further as they come to terms with the added knowledge of their outie selves. Audiences get to explore more of the Lumon offices with new expanded departments and co-workers like Miss Huang (Sarah Bock), the new deputy manager who is just a child.

In 2023, The Night Agent became Netflix’s most-watched series, and it’s easy to see why. Gabriel Basso plays the earnest young government official Peter Sutherland, an FBI agent in this case, who accidentally uncovers a conspiracy to kill the president. The action drama mixed all the right ingredients, and now as it returns for Season 2, it continues where it left off, and adds more urgency. The new season takes place 10 months after the first season, with Peter on assignment as a Night Action agent. Within the first 15 minutes, there’s immediate danger, putting him in the same position as he was in Season 1, not knowing who to trust. However, the smart-thinking agent follows his own leads to find out who amongst the agency is leaking information on the outside. He is reunited with his former girlfriend Rose Larkin (Luciane Buchanan), who proves to be a great asset to him, even as another plotline on the side involves suspicious goings on at the Iranian mission to the United Nations.

Private eye Dominic, like all wannabe Sherlocks, has a habit of making quick deductions about other people just from their appearances. But, unlike in most other films, the protagonist of Gautham Vasudev Menon’s Dominic And The Ladies’ Purse gets it wrong in the opening sequence when he makes assumptions about a person aspiring to be his assistant. It is a delightful subversion of the overused detective trope, which fills one with hope for what is to follow. Unfortunately, the film does not always live up to this early promise except in a few interesting patches. Gautam Menon, in his first Malayalam outing, appears to be in a bit of a dilemma as to how to treat the star at the centre of his film. While there are a few scenes lampooning the pompous private detective Dominic (Mammootty), there are an equal number of scenes of his assistant (Gokul Suresh) being amazed by his investigative abilities.

At one point in Dominic and the Ladies’ Purse, a classic Gautham Menon-esque heroine enters the world of Dominic (Mammootty). She’s cultured, performs Bharatanatyam, speaks a bit of Tamil and Malayalam, and the English too flows elegantly. Dominic, a middle-aged single man, seems drawn to her, and if you have seen Yennai Arindhaal, you know this isn’t unfamiliar territory for the filmmaker. Except. It is. Even if initially, this might feel like an indulgent distraction from the case Dominic is so fixated on, when a revelation is presented, everything changes. It’s perhaps the earliest sign that this isn’t a film keen to populate its world with characters or relationships as cursory additions. In this world, every element, every human, exists for a reason. Even a random stranger bumping into Dominic in the beginning, gets revisited. Or take an angle that’s more substantial, like the corporate organisation subplot: you think it’s a red herring perhaps, just a way for the film to buy some time to delay the reveal of the real culprit. Yet, it evolves into something transformative, humanising one character while driving another’s arc forward. It’s a film filled with such subtle, beautiful subversions.

10 minutes into Gautham Vasudev Menon’s Dominic And The Ladies’ Purse is all it takes for one to fall in love with CI Dominic (Mammootty), the eccentric, pompous detective with a serious cash-flow issue. We meet him through Vicky (Gokul Suresh), Dominic’s new “Watson” on his first day of work, in what can best be described as a “zero introduction” scene. Dominic works out of his dilapidated home-office filled with props and furniture (his office chair is an abandoned salon seat) well past its glory days. So when he hires Vicky in a matter of seconds, it’s probably not because he’s finally found an intellectual equal, it’s just that Vicky has enough money at home to not ask for a salary.