Akhil Arora

Christopher Nolan’s The Odyssey serves as a massive anti-war critique of the insatiable appetites of men and the erosion of trust. From useless suitors to disgraced conquerors, and from Agamemnon’s bloody fate to the dishonour trailing Odysseus’ crew everywhere they go, the film isn’t subtle about its themes. We also talk about the terrifyingly atmospheric hell scene, contrast the stunning visual spectacle with its rushed pacing in parts, and question why the dialogue swings wildly between cryptic symbolism and super basic hand-holding.

Satluj traces the long battle human rights activist Jaswant Singh Kalra fought to uncover the insidious violence embedded in ’90s Punjab—and just like its protagonist, the biopic too fought its own battle to release. We discuss Honey Trehan’s documentary-like realism, the film’s uncompromising, eerie atmosphere, and its uncompromising visuals of dread and fear that establish the sheer horror of police brutality—including a scene that rivals Inglourious Basterds in pure tension. We also debate the film’s sharp tonal pivot into a police procedural, the decision to show Khalra’s torture, as well as the characterisation of the titular figure—does Satluj do a good job of separating the man from the myth?

Dug Dug, the long-delayed satirical comedy from director Ritwik Pareek, doesn’t take its intriguing premise to the pinnacle. We discuss the film’s languid opening act that has little to do with the following hour. We also talk about its commentary on blind faith and superstition, and wonder why it doesn’t train its targets on bigger enemies, choosing instead to punch down.

Apex—the new Netflix survival thriller starring Charlize Theron and Taron Egerton—is like an anti-Australia propaganda video paid for by people still traumatised by the 2003 Cricket World Cup final. We discuss Netflix’s dedication to making instantly forgettable movies, its digitally created natural landscapes, and its by-the-numbers plot that has exactly two unexpected twists.

Samay Raina reveals his opportunistic soul in the self-aggrandising comedy special Still Alive. We discuss his decision to portray himself as a victim, to conflate the suffering of his parents with his own, and the consequences of giving in to bullies while projecting himself as a martyr. We also compare his stance to that of his fellow comedian Kunal Kamra and discuss the differences between the YouTube version and the live performance.

Mardaani 3 has the same flawed feminism as its predecessors, but a larger canvas to project it on. We discuss the evolution of Rani Mukerji’s vanity project, which is coming up on nearly 15 years. We also talk about the film’s jarring third-act plot twists and Shivani Shivaji Roy’s Bond villain-esque new adversary. Along the way, we touch upon its attempts to create some sort of Avengers-type team for future instalments.

Dhurandhar: The Revenge doubles down on everything that made the first film so controversial. The level of sycophancy on display borders on the pathetic. We discuss the film’s plodding narrative, pointless diversions, and shameless devotion to the ruling party. We also talk about plot twists that you see coming from a mile away, the protagonist’s muddled motivations, and the convenience with which certain hurdles are overcome.

Netflix’s new Indian original movie, Made in Korea, is a lazy excuse of a film made by an inept group of people with no idea what they’re doing. The very existence of such slop is a slap in the face of talented filmmakers who struggle for decades trying to do honest work. This is an insult not only to them, but also to audiences who pay hard-earned money to Netflix every month. Here is proof that the unemployment crisis isn’t restricted to men. We discuss the film’s clueless protagonist, her pointless motivations, and the aimless narrative that she is confined to. We also raise questions about the plausibility of such a premise, and the movie’s cartoonish attempts to “honour” Korean culture.