Member Reviews

Sector 36, based on the gruesome murders of Nithari village in Noida, which were uncovered in 2007, follows a serial killer who lives in plain sight. In Aditya Nimbalkar’s crime drama, Prem (Vikrant Massey) is the house-help of Balbir Bassi (Akash Khurana), an affluent businessman from Karnal. Bassi rarely visits his palatial bungalow in Delhi’s Sector 36, but when he does, his actions are also creepy. Prem, taking advantage of his unsupervised existence, far from his own family that lives in a village, abducts children from the neighbouring migrant settlement, mercilessly killing them to satisfy his deviant appetite.

Young Woman and the Sea is a typical sports drama, like the ones that were made often in Hollywood two to three decades ago. The period drama, directed by Joachim Rønning, follows the real-life story of Trudy Ederle, a young American who set some extraordinary records and inspired a whole generation of women after her.

Everyone in Ullozhukku is stranded, in one way or the other. Even a dead body remains unburied for days, as flood waters have submerged the burial grounds. The less said of the living, the better. Anju (Parvathy Thiruvothu) and her mother-in-law Leelamma (Urvashi) are in a life not of their choosing. One has come to terms with it, tempered by the struggles of family life, and even yearns to protect that way of living, while the other still has some spirit left to fight her way out of it.

Bhuvan Bam’s Vasant Gawde, Mr. Vardaan to the world owing to his ability to see events before they come to pass, is back seeking to make a killing from the prescient news updates that he receives on a mobile phone app. This time around, the Taaza Khabar protagonist is either on the backfoot or, worse still, down on his haunches. His plight necessitates desperate measures as he faces new challenges hurled at him by a man who will stop at nothing. But the show, notwithstanding a series of dramatic confrontations, struggles to skirt around the pitfalls of an idea that is beginning to wear thin.

The opening stretch of Raghu Thathatakes us back to the ‘60s. Even as the opening credits roll, we are shown newspaper clippings of important developments in that period. Anti-Hindi slogans and protests are rampant in Tamil Nadu, a state that is furiously vocal against the imposition of Hindi. Indira Gandhi has taken over as the first woman Prime Minister of the country, something that should ideally given women across the country a lot more confidence and freedom.

Jr NTR, fondly called the ‘Man of the Masses’ by his fans, is back as a solo lead after six years, choosing director Koratala Siva’s Devara (now a two-part film) for his big moment. Devara explores the theme of fear and its impact on an entire generation. Fear is the strongest emotion in Devara, but how is this translated into a cohesive script? Let’s find out! Set in 1996, the story follows a police officer (Ajay), who along with his team are on the hunt for criminals, Daya and Yethi. Their investigation leads them to Singappa (Prakash Raj), who lives in Errasamudram (Red Sea) and recounts the story of Devara (NTR) and Bhaira (Saif Ali Khan). Cut to the 1970s, Devara is a righteous man, who thinks twice before taking a life, while Bhaira, on the other hand, is brutal and kills without hesitation.

Watching a Punjabi film, let alone reviewing it, even for a diehard Punjabi, comes with its own set of misgivings. Sadly enough, as we sit through Sucha Soorma — touted as famous singer-actor Babbu Maan’s comeback film after a gap of four years — doubts turn into a deep, gnawing realisation about said misgivings and a discomfiting feeling. It’s near impossible to rationalise why we are making such films in this day and age, which do not reflect upon the changing matrix of our society; or if they do, god help us. Undoubtedly, this Amitoj Maan directorial is a period film set sometime during the British rule in India, in the early 20th century, even though the only date definitively stated in the film is the year in which the hero, Sucha Soorma (Babbu Maan), was hanged. The very first scene deludes you to believe that here, perhaps, was a warrior who stood up for the downtrodden.