Shomini Sen

A series of events and misadventures transpiring over the course of a night is a trope that Bollywood has used in many films. Some have been mystery thrillers and some situational comedies. Netflix’s new film Dhoom Dhaam falls in the latter category where a newly married couple - Prateek Gandhi and Yami Gautam- are on the run from alleged goons across Mumbai - both looking for a certain Charlie. Filmmaker Rishabh Seth merges chaos and comedy- again a tried and tested combination- and delivers a light breezy situation comedy that brings in the laughs and makes you enjoy the 108-minute-long film. Arranged marriages are scary and especially when you barely get to spend time with your partner before tying the knot. Yet scores of people willingly jump in only to be left surprised or disappointed by their partners. Koyal(Yami Gautam Dhar) and Veer (Pratik Gandhi) are one such couple. She pretends to be shy, he is actually shy and while the parents think they are a match made in heaven, they have a lot of revelations in store on their wedding night.

The beauty of Sanya Malhotra’s latest Mrs lies in the little nuances in the screenplay. The film never fully spells out the issues, yet it’s the little moments, an expression here and a dialogue there that give out the message loud and clear. Making a remake of a critically acclaimed film comes with a huge amount of expectations. Mrs is based on 2021’s critically acclaimed Malayalam film The Great Indian Kitchen which had earned praise worldwide. The Malayalam film is still fresh in the minds of many, so making a Hindi version so soon may feel unnecessary. Yet, the Hindi language remake Mrs is an important film which speaks a universal language. Filmmaker Arati Kadav takes up the challenge and delivers a deeply impactful film that may resonate with many viewers personally.

Hathiram Chaudhary, the permanent resident of Paatal Lok (netherworld) is back, and with him, so is the world of crime and murky dealings that need a desperate cleanup. Paatal Lok Season 1 came out during the first lockdown and blew everyone’s mind with its taut storyline and strong performances. It opened up ways for other similar cop stories that dealt with cases from the underbelly of society. Some were good, some were mere copies, but none captured the attention of viewers the way Paatal Lok had. It took the makers 5 years to come up with a sequel, and after watching season 2 of Paatal Lok, I have to admit it was worth the wait.

Kangana Ranaut’s much-talked-about film Emergency finally hits theatres across the country where Ranaut directs and acts as former Indian prime minister Indira Gandhi and retells an era considered one of the darkest phases in the Indian democracy. But re-telling the era of Emergency (1975-77) authentically, without bias, is not easy and Ranaut’s film slips ever so often, making Emergency the movie quite a passable affair. While the film primarily focuses on the 21-month-long emergency period, it also tries to showcase Indira Gandhi’s rise to power. From being termed as Gungi Gudiya (dumb doll) who grew out of her father, Pandit Nehru’s towering shadow to becoming the megalomaniac, despondent leader who saw nothing wrong in imposing arbitrary bans on the basic rights of citizens during the emergency, Indira Gandhi had quite a journey. Emergency tries to capture all this and tries to even humanise the authoritative leader, making her look flawed and even vulnerable at times- unsure of her own decisions. But Ranaut, who also serves as the writer of the film, never really delves deeper into the incidents and loosely strings important political events into a 2.5-hour-long film.

Neeraj Pandey is credited with some incredibly sharp films that have remained iconic for years after their release. Pandey has the knack for making quintessential Bollywood thrillers engaging with his screenplay, plot line and technical finesse. Sure he has also had a few misfires but films like A Wednesday, Special 26, Baby, and MS Dhoni remain popular and relevant till now. His latest Sikandar Ka Muqaddar starts on a promising note and one almost finds Pandey’s Midas touch to the narrative but somewhere through the course of 2 hours 23-minute-long film. Starring Avinash Tiwary and Jimmy Shergill, the film is a heist drama that shows potential in the beginning to be an engaging story but becomes an exhausting watch by the end of it.

For a man who has delivered the simplest of the stories in the most heartwarming films, Shoojit Sircar falters a bit with his latest I Want To Talk. The film, based on a real person, talks of a man’s relentless pursuit to live despite the medical challenges that life keeps throwing at him. The film highlights the journey of Arjun Sen (Abhishek Bachchan) through years of medical misfortunes and surgeries and his constant ability to fight back. It also highlights his evolving relationship with his daughter over a few years. I Want To Talk deals with loneliness, illness and impending death - themes that Sircar has deftly handled before in films like October and Piku. But unlike the previous films, Sircar’s latest doesn’t leave a defining impact - despite Abhishek Bachchan delivering one of his finest performances in recent years.

Is there something called an overdose of spyverse? If there is, I am one of the first victims of it. Too many spyverses are in play in pop culture and quite honestly none offer anything new. In Prime Video’s latest series Citadel: Honey Bunny – an Indian prequel to Russo Brothers’ Citadel featuring Priyanka Chopra – the action sequences are in plenty and almost relentless yet seem repetitive. Raj & DK have spoiled us with The Family Man, a sharp series where wit and action were quick on their heels. In Citadel: Honey Bunny – the lead pair Samantha Ruth Prabhu and Varun Dhawan give their all to the action sequences and perform some awe-inspiring stunts, yet the series lacks the thrills. Mostly.

Can we let the epics be? Rohit Shetty’s latest film Singham Again - a part of his elaborate cop universe essembles some of the biggest stars of Bollywood to narrate an unoriginal story and borrows the full plot from Hindu epic mythology Ramayan. But at a time when films like Adipurush and the anime Ramayan are already available in the digital space, how good an idea is it to again refurbish a known story and force-feed it through Shetty’s larger-than-life, over-the-top cop universe? Questions such as this and a few more remain unanswered throughout the runtime of the film.