Member Reviews

‘Do Patti’ comes armed with much promise. It is the first offering of a brand new female-led production house, with producer-actor Kriti and writer Kanika Dhillon having created an interesting ensemble led by Kajol, popular TV actor Shaheer Sheikh, Tanvi Azmi, Brijendra Kala and Vivek Mushran. What’s not to like? Turns out, quite a lot.

The growing worry about lack of quality control in the OTT space now has a physical embodiment. Do Patti. A film which may have its heart in the right place but is otherwise all over the place. Do Patti aims to be a sensitive and scathing film on domestic abuse. The other tags it wants to earn for itself are a noir thriller, a police procedural, a film on sibling rivalry, a blistering criticism of privilege and a racy romance laced with sex, lies and videotape (or rather, mobile phone footage). It ends up being neither.

Journalist-turned-director TJ Gnanavel proved his mettle with a hard-hitting second film, Jai Bhim, starring Suriya, Manikandan and Lijomol Jose. In Jai Bhim, despite having Suriya onboard, he played more of a supporting role to brilliant Manikandan and Lijomol Jose. His third film, Vettaiyan, features Rajinikanth, but the director promises to have a solid story that champions Thalaivar. Will Gnanavel be able to strike a balance? Let’s find out! Athiyan (Rajinikanth), Superintendent of Police, is all about successfully carrying out encounters against criminals. He believes that killing a person is justice for those who were wronged and is not willing to wait for the law to take its course. Sathyadev (Amitabh Bachchan), a retired judge, bats against extrajudicial killings. A police case and a major misjudgement by Athiyan bring him face-to-face with Sathyadev.

The millennial attempting to retain individuality and identity, while holding on to old friendships and coping with being a new parent, is a demographic that has hardly, if ever, been represented on the Indian screen. Even if it has been, it has been reduced to a strand or a subplot in a coming-of-age story. The fact that it even goes down this route immediately sets Raat Jawaan Hai apart. That it does it well, making its eight episodes a breezy watch which you want to hold on to and hope it doesn’t end, is a huge feather in its cap. This is a definite clutter-breaker in the Indian streaming space. One which has been long overdue.

The Shameless became highly recognizable after its Cannes 2024 victory. The film’s leading star Anasuya Sengupta made history and became the first Indian actor to win the Best Actress Award at Cannes. The film explores the story of two polar women stuck in the world of prostitution finding hope in each other, but the bleakness and grim reality of the world is always just around the corner to take it away. The film though dramatic and dark has much appreciative theatrical performances with wit of Sengupta’s abrasive character. Devi and Renuka keep the story balanced but the outcome is left for the audience to endure.

Santosh which has been making rounds in the top film festivals including Cannes is by the British-Indian director Sandhya Suri. Focusing on the state of rural India through the eyes of a young femal cop, the film is is Suri’s first fiction feature, which can be seen in its rawness and sincerity. The film is led by Shahana Goswami and Sunita Rajwar as cops on the other side of the law, and their performances are unforgettable.

Girls Will Be Girls is helmed by first time feature film director Suchi Talati. It follows the story of a high school top student in a coming of age story. But the story isn’t just about Mira played by Preeti Panigrahi but also about her mom Anila played by Kani Kusruti. Their complex relationship amid Mira’s rebellious romance with NRI boy Sri (Kesav Binoy Kiron), the tense environment in strict school. The film offers a change for millennials to live through some of their most embarrassing and traumatizing memories but also gives a chance to many more in building a better and more nutriting relationship with their mothers.

Unrequited love in the Devdas mould is often the go-to subject of Indian cinema, and now it seems in Punjabi movies too. When singer-actor Parmish Verma picks up the directorial baton and wears the producer’s hat as well for his latest film, Tabaah, you know what to expect. The title of the film literally translates to devastation, ruin or destruction, and the opening scenes establish our hero, Verma himself, in self-destruct mode. Like good-old Devdas, pining for his beloved, he is drinking himself to death. At the very start of the film, the poetic lines by novelist Kristin Hannah establish the tragic mood of the film. Taken from her novel The Nightingale (2015), it goes: “Some stories don’t have happy endings. Even love stories. Maybe especially love stories.” Clearly, it’s a love story gone sour. Why? Here, the writer, Gurjind Maan, deserves credit. He has not created any archetype villain in this love story. No family rivalry, no class divide and no parental interference either. Amber’s father (Kanwaljit Singh) is as supportive and caring as fathers are meant to be. So, why has it not ended happily ever after for our hero, Amber, and heroine, Raavi, played by the lovely Wamiqa Gabbi?

Aman in red suede pants and jacket walks down a deserted road at night. Another man in a sky blue jacket over a black shirt races across a bridge as gunfire explodes around him. Yet another, in a deep blue shirt knotted at the waist, staggers out of a warehouse and is immediately carried off by a delirious crowd chanting his name.

THE WILD ROBOT is about an all-purpose robot that turns sentient in the wilderness. After washing up on a forest island, Rozzum “Rozz” 7134 learns to feel and discern once it mothers an orphaned goose and befriends a red fox. I’d say it becomes human, but in the context of where we are today, “it grows a heart” is more accurate.