Pippa is a well-scripted and better-executed war film, minus the frills and fancy associated with usual Bollywood films from the genre. The soldiers, officers, revolutionaires and radicalists, all look and seem real. There's no heavyweightedness of stardom associated with the actors here and the narrative connects with the viewer right from the start, when the voiceover pulls you in while providing the context for what is to come. 

Pippa paints a picture of battlefield valour that shines and sparkles against the backdrop of war, patriotism, nationalism and the fight against injustice. This is not just a story of men who fight for their land and the courage they display, but also that of their personal lives. Produced by Ronnie Screwvala's RSVP and Siddharth Roy Kapur's Roy Kapur Films, Pippa places the 'crusader,' the 'fighter,' 'the soldier' at the centre of the plot as he navigates violence, courage and death with aplomb. 

Based on the landmark Battle of Garibpur in November 1971, the 140-minute-long Pippa is about three siblings - two army boys and their sister, who is recruited by India's spy agency to decipher wartime messages. And in that character of real-life war hero Captain Balli Singh is Ishaan Khattar; this really has to be his come-of-age role.

Inspired by the book 'The Burning Chaffees', screenwriters Ravindra Randhawa, Tanmay Mohan and the director have added drama and melodrama in good measure, but that never overshadows the narrative, only supplements it. Son of a martyr and younger brother of 1965 war hero Ram Mehta, Balli works with his commander, Major Daljit Singh Narag (Chandrachoor Rai) and the dynamics and equation between the two is real, rugged and raw. 

He is ably supported by Mrunal Thakur, as his code-breaker sister and Priyanshu Painyuli. The name Pippa refers to the 45 Cavalry's PT-76 battle tank. 

The story is set in a time when India faces pressure from the influx of refugees as a result of Pakistan's ruthless Operation Searchlight. The Indian war room is made up of the then Prime Minister, Field Marshal Sam Manekshaw and a spy chief. All in all, Pippa is a good watch and a breath of fresh air in this genre. 

Movie: Pippa

Language: Hindi

Cast: Ishaan Khatter, Mrunal Thakur, Priyanshu Painyuli, Soni Razdan

Director: Raja Krishna Menon

Rating: 3.5/5

Karthik Subbaraj is known to be a trendsetter in Tamil cinema. In a recent press conference, he revealed that the script of Jigarthanda DoubleX has been inspired by the old Westerns.

If Clint Eastwood appeared in a poster in the first promo for Jigarthanda, the sequel has maximum references to Clint Eastwood. Alias Caesar (Raghava Lawrence), is a huge Clint Eastwood fan. His theatre is named Clintis Talkies and he carries a camera gifted to him during his childhood, thinking it to be a gun.

Like the first installment, Jigarthanda DoubleX evolves around filmmaking with a gangster at the centre of it all. If Jigarthanda redefined the gangster genre in Tamil films, the sequel goes back to cinema and politics in the 1970s. A periodic action drama set in the 1970s, with Jigarthanda DoubleX, Subbaraj tells the story of tribals and links it with politics. The director is a fan of Rajinikanth and he tries to weave in the thoughts during the 70s and 80s. “Can’t a dark-skinned guy become a cinema hero,” he asks, and brings in the era of cinema in the 70s, taking a playful dig at the existing trends in today’s cinema.

The film opens with an elephant lying dead and a few policemen explaining to their higher official about a forest brigand Shetttani, who targets elephants, the local tribals and the policemen. But the movie isn't about Shetttani, it is about actor-politician Jayakodi. His political rival controls the theatres and enjoys respect in the party. Jayakodi plans to kill the four men who are his rival’s strength. Kirubakar (played by S. J. Suryah), a murderer in prison, is assigned to kill Alias Caesar, a gangster in Madurai.

Suryah as Kirubakar/Ray Dasan is fantastic. Both Suryah and Lawrence bring in much energy and intensity to their performances, although the latter's body language and actions may bore you a bit. Santhosh Narayan’s BGM adds strength to the film. However, there are too many plot points that confuse the audience as the film travels from one template to another, from the hills and tribals to gangsters to politicians and comes back to the hills.

If you had watched the first chapter of Jigarthanda and expected something big from Subbaraj, you are likely to be disappointed.

Movie: Jigarthanda DoubleX

Language: Tamil

Director:Karthik Subburaj

Cast: Raghava Lawrence, SJ Suryah, Naveen Chandra, Shine Tom Chacko, Nimisha Sajayan

Stars : 2/5

Bandra promised a lot of things—the return of Ramaleela duo Arun Gopy and Dileep and the Malayalam debut of popular actress Tamannaah Bhatia—packaged in an action flick set in 1988 Bombay. Dileep takes on a new look as the thuggish but righteous Alen Alexander Dominic aka Ala in the film written by Udaykrishna.

His life takes a dramatic turn when he crosses paths with Bollywood superstar Tara Janaki (Tamannaah Bhatia). Their relationship brings him to Bombay where Ala comes face to face with villains of the Bombay underworld.

The film begins when a young aspiring director, Sakshi (Mamta Mohandas) stumbles upon the suicide of Bollywood icon Janaki in her search for a compelling story. As she investigates the truth behind the tragedy, Sakshi encounters Mirchi (Kalabhavan Shajohn), one of Ala’s old friends. It is Mirchi who narrates the story of Tara and Ala. Predictably, this story is made into a film by Sakshi, resulting in a ‘movie-within-a-movie’ scenario.

With a handful of good action sequences—the parallel fight sequence in the tunnel, in particular, is done really well—and big colourful dance numbers, Bandra is a decent film to watch on the big screen. It is the writing that disappoints by being unoriginal, dull and simply boring. The storyline, despite forcing ineffective plot twists, becomes predictable and leaves the audience wondering if they have seen this before.

The story is stretched beyond its limit in the second half as the film seems reluctant to end, moving from one potential ending to another. Too many subplots and eye-roll-worthy twists and shock elements drag the story to an underwhelming conclusion.

The acting performances from both Dileep and Tamannaah are good but not exceptional. It is worth adding that Dileep is at his best whenever there is a hint of humour to the larger-than-life heroism and swagger of Ala. Dino Morea is convincing as the menacing Bollywood villain dressed in stylish three-piece suits, if not a tad too typical.

It is ironic that a film that begins by stating that a compelling story is the most significant aspect of good cinema is let down by the very lack of it. Overall, a dull script, decent performances from the cast and enticing action and dance sequences make Bandra a forgettable but somewhat entertaining action flick.

Film: Bandra

Director: Arun Gopy

Cast: Dileep, Tamannaah Bhatia, Mamta Mohandas, Kalabhavan Shajohn

Rating: 2.5/5

In 2017, writer David Grann of The New Yorker delivered an investigative gem—a 250-page yarn that shed new light on the serial killings of Osage tribesmen in Oklahoma, US, in the 1920s. At the time of the killings, the Osage Indians owned one of the largest oil deposits in the country. They let white oilmen lease land from them and extract oil for a dividend, and the resultant economic boom around their territory attracted characters honourable and dishonourable—from big-city businessman, engineers and financiers, to bootleggers, soothsayers, cowboys and fortune-hunters. The oil money made the Osage Nation unimaginably rich, but the tribesmen also began losing hold on their land.

And then the murders started. Between 1920 and 1926, as many as 60 tribesmen were killed under suspicious circumstances. Years later, the Bureau of Investigations, the precursor to the FBI, would be called into the reservation, and its investigation would blow the lid off a white-supremacist conspiracy to kill Osage Indian landlords, deprive the community of its property rights, and steal its oil wealth.

Sarvesh Mewara’s Tejas starring Kangana Ranaut strives to tell a story of courage, sacrifice and patriotism but falls flat with its lacklustre storyline and underwhelming action sequences.  

The plot revolves around the Indian Air Force Officer Tejas Gill played by Kangana Ranaut. Tejas has dreamed of becoming a fighter pilot and serving her nation since she was a little girl. Fiercely patriotic and brave, Tejas sets out on a high-risk assignment to rescue an Indian spy taken hostage by a terrorist organisation in Pakistan. 

Through aptly spaced flashbacks Mewara gradually unravels Tejas’ personal tragedy to contextualise her determination and rage. Even so, the plot feels thin and devoid of any real complexity. 

The marker of any strong action film is a compelling antagonist, for the hero is only as good as the villain. The terrorists of Tejas are one-dimensional -- weak and unrealistically foolish. Thus, needless to say, they are easily defeated by the protagonist. 

It's not just the villains who meekly wither away in Tejas’ aura. In an effort to keep the spotlight on Kangana, the rest of the characters exist solely in the margins with very little impact on the plot. Unfortunately for the film, it is when Tejas is in the company of the other characters—her father, friends and love interest— that she seems the most nuanced. 

To her credit, Kangana puts on a fairly convincing performance, often let down by the tepid storytelling. Anshul Chauhan who plays the co-piolet is a breath of fresh air amidst the blaring background score and hollow, booming one-liners. There is no lack of swagger as well as themes of women empowerment when Tejas and her co-pilot Afiya lead the rescue mission and emerge successful. However, overall Tejas ends up being all style and no real substance. 

Tejas is most disappointing towards the end. The fight sequence in the air defies all logic and the visual effects looked poorly done. Each time a threat arises, it is put down by Tejas without her even breaking a sweat. 

The film tries to tackle too many issues all at once — from stopping suicide bombers at the Ram Mandir to rescuing hostages in Pakistan and counter-attacking a terrorist base. 

For a film that seeks to evoke goosebumps and appeal to patriotic sentiments, Tejas fails to tug at the heartstrings. The dialogues are hollow and often bear no resemblance to how people actually speak. The high stakes do not feel convincing and the adversities never appear insurmountable. The underwhelming action sequences do very little to salvage the film.

Film: Tejas

Language: Hindi

Director: Sarvesh Mewara

Cast: Kangana Ranaut, Anshul Chauhan, Varun Mitra

Rating: 2.5/5

A History of Violence.

A violent past. A sabbatical, either forced or by choice. A trigger. And then, the return. This template in Indian cinema is now as old as the industry itself.

To his credit, Lokesh Kanagaraj admits at the outset that his Vijay-starrer Leo is ‘inspired’ by A History of Violence – a graphic novel in the 1990s, which was adapted into a Hollywood thriller by David Cronenberg in 2005. Talk of inspiring generations! Throw in a family in the midst, and you think you have the perfect recipe—for a disaster or a masterpiece.

Kanagaraj had whipped up blockbusters with a similar recipe in 2019 – Karthi-starrer Kaithi – and in 2022 – Kamal Haasan-starrer Vikram. Leo is the third instalment in the now-famous Lokesh Cinematic Universe (LCU). The canvas has been expanding with each film, with Leo setting the stage for, probably, the grand finale.

But, how do you make it large? By bringing in more big names? By weaving in more drama? By multiplying violence and bloodshed? Kanagaraj does these all in Leo, but still falls short of engaging the audience the way he did in Kaithi or Vikram. A story of substance is the major ingredient missing in his recipe this time around.

With names as big as Sanjay Dutt, Arjun, Trisha, along with none other than ‘Thalapathy Vijay’, Leo should have been an edge-of-the-seat thriller. Instead, what we get is a string of violent and bloody albeit well-choreographed fight scenes, interspersed with doses of lukewarm family drama. The mantra nowadays seems to be more the blood and gore, more the frenzy and mass appeal.

There are others like Anurag Kashyap, Babu Antony and Madonna Sebastian in blink-and-you-miss roles. Most of the character building seems forced. As does the LCU link.

Vijay, though, shines. As café owner Parthiban and Leo Das. It is nothing that he hasn’t done earlier, but his intensity and energy need to be applauded. In the midst of chopping and bashing the goons, there are instances, where Vijay lets his emotions do the talking. The beginning of the second half is almost a tribute to the vintage Vijay, which will thrill his die-hard fans. Anirudh Ravichander’s beats take care of that.

Arjun, as Harold Das, stands out in the limited screen time he gets. His swag and punches are a delight to watch. This when he is rubbing shoulders with the King of Swag, Dutt. But the Bollywood star is mostly wasted in the one-man show. Trisha, on the other hand, gets a meatier role, but is resigned to playing the perennial wife in distress, waiting for her husband to save her.

Leo is probably the weakest film in the LCU. Despite the highly stylised action sequences, the clichés in the script prove to be its biggest stumbling blocks. Nothing good ever comes of violence, it is said. Touché.

Film: Leo

Language: Tamil

Director: Lokesh Kanagaraj

Cast: Vijay, Trisha, Sanjay Dutt, Arjun, Gautham Vasudev Menon

Rating: 3/5

Here is a thrilling ride at full speed you absolutely don't want to miss. Dhak Dhak puts the spotlight on biker women and it does that quite efficiently. The women in this film, all four of them—Fatima Sana Shaikh, Ratna Pathak Shah, Dia Mirza and Sanjana Sanghi—are perfectly cast for their characters; each of them bring on board a certain authenticity and vibe, that holds the viewer in rapt attention.

The storyline with all its well fleshed-out character arcs is foolproof, creative and gripping and the screenplay does full justice to it as it brings it from paper to screen. All four women come from diverse backgrounds and that one element which binds them all together is a yearning for adventure biking.

They march together on a road trip to Khardung La point near Leh, known to be one of the world's highest motorable passes in Ladakh. This film is not just about that trip but more about how they all get together on that trip, rather, how, that one trip is a testament to their grit, an unflinching determination and the ambition to pursue their dreams, which remains at the back of their minds even as they are consumed by other worldly cares including domesticity.

Let's start with the ever astute Ratna Pathak Shah who essays the role of sexagenarian grandmother Manpreet Kaur Sethi aka Mahi, who feels devoid of love and attention. But that does not bother her as much as that nagging pull of the heart that keeps reminding her to fulfil her desire of riding a bullet on Khardung La Pass.

Then there is Dia Mirza as Uzma who feels stifled by her burqa and a dominating husband, but is a pro at fixing bikes and understanding the motor mechanics. Fatima Sana Shaikh as SKY, a YouTuber, is ever charming and relatable. She tries to battle cyber harassment and the fallout of a broken relationship and Sanjana Sanghi as Manjari is a young, wondrous kid who is just discovering the pleasures of life, particularly biking, in the shadow of a single mother. The stories of all these four women are beautifully weaved together with layers of supporting narratives, through an equally convincing supporting cast.

Writer and director Tarun Dudeja has ensured that the discourse around patriarchy does not hold centrestage in this cleverly written plot. There are ots of graffiti, murals and street art which the filmmaker uses to subtly send across the message he wants to. Friendship, camaraderie, love, hate, anger, envy, everything is visible in the dynamics between the four women and their banter is extremely endearing. It seems organic and natural, despite the age gap between them in real life.

Shah aces as a Punjabi woman who is straddling the time gap between conservatism and modernism, Dia brings a freshness and calmness to her role as Uzma and is literally relatable as the girl next door who might be an ace biker. All in all, together, these women make us laugh, cry and cheer for them in equal measure. Dhak Dhak is a must watch.

Film: Dhak Dhak

Director: Tarun Dudeja

Cast: Ratna Pathak Shah, Dia Mirza, Fatima Sana Shaikh and Sanjana Sanghi

Rating: 4/5

Way back in 1989, Additional Chief Mining Engineer Jaswant Singh Gill led a rescue operation to evacuate 65 mine workers out of a flooded coal mine in West Bengal's Raniganj. The task was so challenging, dangerous and a near-impossibility, that Gill's daredevilry became a legend in itself.

In Mission Raniganj, Akshay Kumar plays Gill, in a script that aims to chronicle the story of the braveheart who believed that even if one worker was alive down under, it was his duty to save him. When almost everyone had given up on the thought of their survival, Gill followed his conviction that the men might be awaiting help and that without having seen with his own eyes he could not conclude that they were dead. The rescue operation which went on for three days, became significantly historical, and one of the bravest rescue operations in the country.

The film aims to narrate this story, which it does beautifully, but not without its over-the-top 'chaotic drama' that is characteristic of every Akshay Kumar film.

The plot is highly engrossing but the screenplay by Vipul Rawal lacks the punch to keep one hooked throughout. Dance sequences are loud and flashy, and at times, too many characters occupy the screen space leading to chaos and confusion. Yet, director Tinu Suresh Desai tries to keep the central narrative going strong and Kumar's larger than life persona adds heft to Gill's character.

The first half is dedicated to explaining the entire structure and framework of the mines, at a reasonably good pace that does not bore you out. The second half is rather slow, and by the end of the film, one comes out thinking that this was an entirely one man driven operation, and not a team effort by everyone involved including government agencies. In terms of his own character, Kumar does exceedingly well but everyone else seems to be playing second fiddle to him, in the film.

Supporting cast is stellar—there's Kumud Mishra in the role of a senior mining officer who works tirelessly alongside Gill sifting through government procedures in a bid to get things going, then there is also the highly able Pawan Malhotra as T.P. Bindal, a 'jugadu' who has a welding workshop. Dibyendu Bhattacharya is convincing as the pessimist and cantankerous mining officer who is against this rescue mission.

There is no doubt that Mission Raniganj is a highly absorbing and engaging thriller taken from a true story, just that, if we were to ignore Kumar's imposing persona that largely dominates the narrative, we'd appreciate the storyline much more.

Yet, one cannot deny the beautifully portrayed steely resolve of which Gill became known for, post his success with the rescue mission. Kumar internalises that emotion, beautifully. He underplays the heroism and appears very close to the "real hero" he essays in the film. Parineeti Chopra who plays Gill's wife (Nirdosh Gill) hardly has anything to do in the film.

Although there are several forgetful moments in the film, it never goes astray; it largely maintains the focus on the human tragedy in question. This story of human triumph is overall, an engaging experience.

Movie: Mission Raniganj

Director: Tinu Suresh Desai

Cast: Akshay Kumar, Kumud Mishra, Pawan Malhotra, Dibyendu Bhattacharya, Parineeti Chopra

Rating: 3.5/ 5

Kannur has long been a hotbed of political violence in Kerala. The political violence in this Malabar district, ironically home to an ancient folk ritual called theyyam, which symbolises divinity in humanity, is closely intertwined with the class and caste dynamics of the region. The violence and murders in Kannur, carried out in the name of party and ideology, as well as the subsequent retaliations, have been the subject of multiple films in Mollywood over the past four decades. Tinu Pappachan's third film, Chaaver, also utilises this familiar theme to deliver a stylish action thriller. It follows the narrative of how innocent lives, especially those of marginalised sections, become inadvertently entangled in the violence perpetrated by politicians, as seen in films like Eeda, which also used Kannur politics as its central theme. What sets Chaaver apart is the director's decision to treat it in a highly stylised manner while exploring theyyam as a narrative device to convey the futility of violence.

The term "chaaver" refers to those who are deployed on the frontlines, or martyrs. The film revolves around four "party workers" who come together from different places to carry out a murder assigned by a party leader. The film begins with the group brutally killing a 24-year-old youth. Ashokan (played by Kunchacko Boban), a hardline party member, leads the group. During the operation, Ashokan sustains severe injuries. Unable to seek medical attention at a hospital without raising suspicions, the group turns to a young medical student (Arjun Ashokan) for help. Without fully comprehending the predicament, the medical student offers his assistance. The film then portrays the group's journey for survival, leading them to realise how they have become pawns in the hands of powerful leaders.

The film does not explicitly mention the political party to which the murderers belong, but there are enough instances in the film to indicate the party or ideology being referred to. The film strongly conveys the idea that the "party" is controlled by inhumane and powerful men who exploit the poor and marginalised for their vested interests. It wouldn't be surprising if one interprets Chaaver as writer Joy Mathew's attempt to convey his personal politics (and criticism of a particular party) through cinema.

However, one issue this reviewer noted was the predictability of the plot in the third act. Also, the dialogues, also written by Mathew, were subpar at certain points. Inconsistencies in the Kannur slang, particularly in Ashokan's delivery, were also evident.

Overall, Chaaver excels on the technical front. Pappachan is a filmmaker who has already demonstrated his prowess in crafting films that may lack substance but not style. Compared to his last two movies, Swathanthryam Ardharathriyil and Ajagajantharam, Chaaver boasts a stronger plot with standout moments. Pappachan, along with cinematographer Jinto George, capitalises on these moments, elevating them with their superior visual sense. The film's first half is tightly edited and visually captivating, offering a one-of-a-kind interval block.

However, in the second half, the movie undergoes a shift - from a political thriller to a survival thriller. It struggles to maintain its pace. An extended gunfight scene close to the climax hinders the film's ability to provide a satisfying conclusion that resonates with the audience. Justin Varghese's music remains captivating as ever, but in the mentioned gunfight sequence, it becomes monotonous and grating.

The film marks Pappachan's third collaboration with Antony Varghese (Pepe). Despite having limited number of scenes, his character plays a crucial role in the overall narrative. Boban delivers a commendable performance as a devoted party worker willing to go to any lengths for the "party". Manoj K.U. and Sajin Gopu also portray their roles effectively. However, a loosely constructed third act becomes the film's primary drawback.

Pappachan, a filmmaker who has assisted Lijo Jose Pellissery, naturally incorporates elements reminiscent of the latter's films into his own work. Interestingly, certain aspects from movies like Jallikkettu and Churuli can be observed being repurposed by Pappachan in Chaaver.

A tightly woven and more engaging third act would have taken Chaaver to the next level. It's highly probable that the film may face criticism from political quarters and supporters, especially upon its release on OTT platforms.

Film: Chaaver

Language: Malayalam

Director: Tinu Pappachan

Cast: Kunchacko Boban, Arjun Ashokan, Antony Varghese and others

Rating: 3/5

‘Mridhu Bhave Dhrida Kruthye’. Soft in temperament, yet firm in action.

- motto of Kerala Police.

Khaki and the Malayalam film industry have a history. On the silver screen, that is. Bharathchandran IPS and Inspector Balram – immortalised by actors Suresh Gopi and Mammootty – are household names for any average Malayali.

But such larger-than-life portrayal of superheroes in uniform saw a tectonic shift with the release of Abrid Shine’s Nivin Pauly-starrer Action Hero Biju (2016), which showcased the trials and tribulations of an average policeman. It was a trendsetter of sorts, spawning a string of realistic investigative films involving humans in uniform, and staying true to the motto of Kerala Police. Films like Thondimuthalum Driksakshiyum, Unda, Nayattu, Kuttavum Shikshayum have been a welcome change.

It is to this genre Roby Varghese Raj’s Kannur Squad belongs. But it was also the debutant filmmaker’s biggest challenge – to retain the novelty factor. The film is inspired by a real-life police team with the same name, put together by former Kannur SP Sreejith. Mammootty essays the role of ASI George Martin who leads the team of four – the others being Jayan (Rony David), Shafi (Shabareesh Varma) and Jose (Azeez Nedumangad) – which investigates a high-profile murder case, which takes them on a cat-and-mouse chase across the country.

The trailer had invoked comparisons with Rajeev Ravi’s Kuttavum Shikshayum, which had a similar storyline. One cannot deny the similarities, but the writers (one being the actor, Rony David) have ensured these are kept to a minimum. One may even be reminded of the Tamil flick Theeran Adhigaaram Ondru but it stands apart because of the treatment of the protagonist.

This is where Kannur Squad breaks free from the pack. The presence of a veteran like Mammootty at the forefront, takes the film a notch higher. While Kuttavum Shikshayum was too realistic (and, perhaps, flat) to digest for some, Kannur Squad has sequences – the fight scenes, in particular - which raise the tempo of the film every now and then. Sushin Shyam’s pulsating background score and music help, of course. There are shades of the brilliant Mammootty-starrer Unda in Kannur Squad but ASI George Martin is not SI Manikandan. With the latest flick, the legendary actor has continued his impressive run post the pandemic, which has seen gems like Nanpakal Nerathu Mayakkam, Puzhu, Rorschach and Bheeshma Parvam.

But it’s not a Mammootty show all the way. The next character of substance is easily CPO Jayan, which Rony has written for himself. He is temperamental, flawed but as real as any other man next door. The tension in the team because of him smoulders like a dying ember before bursting into flames at a crucial juncture in the film. Azeez and Shabareesh, too, have done complete justice to their characters. Another actor who deserves a special mention is Arjun Radhakrishnan. If Shyam in Dear Friend was a spark, Ameer in Kannur Squad is fire. Watch out for him.

There are hardly any female characters in the film, but it works in the film’s favour.

The script may seem cliched (and flawed) at times, but it succeeds in holding the viewer's attention. The portrayal of efforts in zeroing down on the criminals in Kannur Squad is mind-boggling. It is through such films a layman understands the struggles of the police to crack a case. Not every mission is a success, but they have to stay firm.

Film: Kannur Squad

Language: Malayalam

Director: Roby Varghese Raj

Cast: Mammootty, Rony David, Azeez Nedumangad, Shabareesh Varma and others

Rating: 3.5/5

In 2021, Dr Balram Bhargava, the then director general of the Indian Council of Medical Research (ICMR) which was handling all communication and research around Covid-19 in the pandemic years, published a book titled, Going Viral - Making of Covaxin: The Inside Story.

The book was a tribute to all those involved in the making of Covaxin—India's indigenous vaccine to fight the novel coronavirus that had wreaked havoc in India and the world. It was an ode to the entire medical fraternity that was involved in the making of the vaccine and the frontliners who played a commendable role in ensuring that the dose reached the last man standing, in the remotest of places across the country.

However, it failed to talk about lapses in communication, the critical arguments that questioned the efficacy, impact and the sheer possibility of developing a vaccine in such a short span of time.

Likewise, Vivek Agnihotri's latest film, The Vaccine War, too, toes a similar line. It highlights the seven-month journey that it took for Indian researchers and scientists to bring out an indigenous vaccine, and that it does in a convincing and engrossing way. But it fails to address the other pertinent aspects.

In an earlier interview to THE WEEK, Dr Pragya Yadav, lead scientist at ICMR's National Institute of Virology which was the foremost institution in India to crack the genetic code of the novel coronavirus in India, had recalled the "nightmarish nights" during the initial days of the pandemic when an all-women team at the NIV would spend day and night at the institute in a bid to get cracking on the slightest clues that came in with the first patients landing in India from abroad. This has been beautifully and heartwarmingly captured in the film, and one really gets a good glimpse into how life was back then for our leading researchers and scientists, when the pressure to contain the virus and its spread was at its peak.

However, going forward, the question that remains on the top of our minds is—what really happened? Was this a lab leak? A natural virus transmitted by bats? What really happened? These questions are entirely missing from the narrative.

The portrayal of the media in its coverage of the pandemic and vaccine development does not come across as convincing, and feels as if there was only all-pervading sensationalism everywhere, which is a biased viewpoint. In a bid to highlight the scientific community's exemplary achievements, the then prevailing mood across the country has been shown to be dipped in 'negativity' and 'all pervading pessimism,' that undermines the efforts and capability of its leading researchers. This again, might not be entirely true.

In its story-telling approach, the film offers a rewarding cinematic experience because it entertains and engrosses the viewer. Acting is stellar and the music is apt.

In the role of Dr Priya Abraham, the head at NIV, Pallavi Joshi is convincing. But as a Malayali, she falters. Abraham's mallu accent is difficult to match; yet, in the hat of a scientist, Joshi pulls off the part well.

Raima Sen, in the role of a fake news champion, nails the part. Girija Oak, in the character of Dr Nivedita gives us a glimpse into the lives of the frontline medical workers who braved it all. The film stays clear of any reference to the part played by the minorities in spreading the virus, viz, the Tablighi Jamaat, a religious congregation that took place at Delhi's Nizamuddin Markaz Mosque in early March 2020 and was termed to be a super spreader event. Rather the film mentions how the Kumbh Mela celebrations and rallies during that time added to the spread during the Delta (third) wave.

The film makes its pro-government stance clear in numerous places, unapologetically. There is Dr Bhargava (played by Nana Patekar) praising the PM saying he is “pro-science”.

As a film, The Vaccine War is highly watchable; but, it is definitely not an unbiased portrayal of what happened.

Movie: The Vaccine War

Director: Vivek Agnihotri

Cast: Nana Patekar, Pallavi Joshi, Raima Sen, Girija Oak, Anupam Kher

Rating: 3/5

Jaane Jaan is an engrossing murder mystery, with a difference. And that difference is in the way it is packaged. At the centre of the story, obviously, is a murder, but woven around it are compelling narratives of obsessive, possessive love, flirtatious romance, betrayal, friendship, and loads of suspenseful drama. This is a love triangle cum crime thriller-cum murder mystery, based on the famous and very gripping novel 'Devotion of Suspect X' by Keigo Higashino.

The entire narrative is led by three main characters, all of whom are significant and integral to the story. First, Kareena Kapoor's character Sonia/Maya D'Souza is that of an estranged wife and single mother of a teenage daughter. She runs a cafe in the picturesque small town of Kalimpong. She left her abusive husband of 14 years to lead a peaceful life in this quaint town. But things turn awry when the husband returns to find her and threatens to exploit their daughter for money. That night, in self-defense, D'Souza kills her husband. Helping her dispose of the body and dodge police enquiry is Jaideep Ahlawat's Naren, a math professor who is in love with D'Souza. He stalks her, eerily listens in to her everyday conversations by plugging in a microphone through the walls, and visits her daily at her cafe but never directly expresses his feelings towards her. That is until he sees her murder her husband. Then comes in the police in the form of the very talented Vijay Verma, whose job is to look for Dsouza's husband who also happens to be a sub-inspector.

Now, as the investigation proceeds, newer details come to light, and at all times we remain with the characters; engrossed and waiting to see what happens next.

Jaane Jaan is a very interesting film which is worth a re-watch. The cast has given stellar performances and each one of them is believable and relatable.

Movie: Jaane Jaan

Directed by: Sujoy Ghosh

Starring: Kareena Kapoor Khan, Jaideep Ahlawat, Vijay Varma

Rating: 4 on 5

Three and a half hours of ‘Jawan’ offers full entertainment and more. There are takeaway lessons, advice, emotions, humour, dance and loads of drama. Beyond that, there's loads and loads of Shah Rukh Khan, two of them actually; yet, not an overdose. Jawan is the kind of film you watch and forget about where you are and what time it is. This is the kind of movie that offers escapism at its best. The film takes up real issues that are timely and relevant and sends across a strong political message that makes it a film rooted to the times. 

At the heart of the film is a father-son duo - the father is Vikram Rathore an ex-army officer and the latter, Azad, is a jail superintendent who also doubles up as a Robin Hood-cum-activist. Both, exemplary daredevils, profess in their own ways a deep love for the country and take it upon themselves to fight the corrupt and the venal. Although the story in itself might not seem novel or new, what lifts it is the way it is packaged and delivered on screen. 

Jailer Azad has a team of women prisoners and together they take up one heist after the other, all of which make for a thoroughly enjoyable watch. It is a reminder of SRK's ‘Chak De’ in which he is a coach to a team of women hockey players. Azad's pairing with Nayanthara and Vikram Rathore, the older SRK's pairing with Deepika Padukone, work beautifully and help in taking the story further. One has to admire the casting choices in this film and the meticulously written script in which subtle references are made to other classic SRK films (Kaveri Amma from ‘Swades, Priyamani from his Chennai Express and more). One strategic choice made in Jawan, in a bid to bring in the huge fanbase in the South, has been the roping in of South stars such as Nayanthara and Vijay Sethupathi; the latter plays the bad wolf here in the role of a menacing arms dealer-cum-businessman whose wealth fuels the machinery of the government in power. 

One thing that we do not want to take with us from Jawan is its music. It is neither hummable nor colourful. The dance sequences seem extra-long at times. Yet, the film does keep us hooked right till the end; when Sanjay Dutt walks in as an Onam-loving officer and both SRKs come together to give us a jaw-dropping dollop of entertainment.

Dialogues such as, 'Bete se nahin Baap se baat karo,' 'Jab main Villain Banta Hoon, Toh Achhe Achhe Hero bhi nahin tik Paate,' and more remind you of the SRK magic, his magnetism and aura and that undying charm that has continued to entertain us over the years. When he exhorts the audience to use that forefinger as their most important weapon when it comes to choosing the right government, we know for sure that 'Pathaan,' has returned to the screens to reclaim his identity as a loud and proud Indian. The audience in the theatre cheering for him out aloud was a testimony to that. 

 Director – Atlee

 Movie cast – Shah Rukh Khan, Vijay Sethupathi, Nayanthara, Priyamani, Sanya Malhotra, Deepika Padukone, Sunil Grover

 Rating – 4 stars

Goldfish is a heartwarming mother-daughter story that stays with you long after you've watched it. Anamika Fields (Kalki Koechlin) is the daughter who has just returned home after her mother Sadhana Tripathi (Deepti Naval), a person with dementia, narrowly escaped a mishap.

The story is set in the United States, a neighbourhood in which Anamika spent her childhood years - one gets to see the kind of close community bond between fellow Indians and Asians who reside in the neighbourhood and are always there for each other. This is evident from the fact that one of Sadhana's neighbours, Laxmi Natrajan (Bharti Patel), a retired NHS nurse sends an SOS to Anamika, when she senses that Sadhna might need someone to look after her. However, Sadhana resents help. She is a firm believer in her own ability to look after herself notwithstanding the onset of dementia.

Character arcs of both, the mother and daughter are well fleshed out - Sadhana, a music teacher, enjoys time with her students and their presence makes her feel all is well with her and the world. She reminisces the time when Pandit Ravi Shankar would play on and on until wee hours of the morning and years to attend concerts like that which indulge one's heart and mind. She is shown to have been a control freak to her daughter, often hurting the latter's sentiments in a bid for oneupmanship.

Anamika, on her part, is looking at sending her mother to a Care Home but she finds herself in a dilemma as to whether to go ahead with it or not and that forms the centre of the narrative.

Now, we come to the film's title. The Goldfish becomes a point of contention between the mother and daughter and adds meaning and context to the film. Many years back when she was young, Anamika is unable to let go of the memory that had scarred her for life. It was of her mother flushing a live goldfish down the toilet. Years later, when she returns home, she demands an answer. Her mother initially refutes the allegation saying that the fish had died but later on, she admits that it was indeed living and that she flushed it only to hurt her daughter. The pace is slow; the narrative is rich and deep, contextual and steady. The flow is highly engrossing as well.

What does it mean to parent a parent? Especially when one is an estranged daughter, trying to come to terms with one's troubled childhood. As a mother's memory begins to slip away to a point when she cannot even recognise her own daughter, it is the complex emotional and psychological dynamics that come into play and this has been ably portrayed by Arghya Lahiri and Kripalani's top-notch writing and the director's deft camerawork.

Produced by Amit Saxena's Splendid Films and presented by Anurag Kashyap, Goldfish is an immersive watch, as is the superb delivery by two very able actors - Deepti Naval and Kalki Koechlin. However, if you're into fast and racy plots, please give this one a miss, because Goldfish has top be savoured piecemeal. It is slow and moves at its own pace; there is no rushing here.

Cast: Kalki Koechlin, Deepti Naval, Rajit Kapur

Director: Pushan Kripalani

Rating: 3.5/5

Kushi movie leaves you with moments of happiness only till snow-clad peaks, valleys and streams of Kashmir form the postcard backdrop of the actors, Vijay Deverakonda and Samantha. Once the movie’s locales are shifted down south, the level of interest of the audience also goes downhill.

The movie garnered interest as Samantha broke away from the cycle of acting in heroine-oriented roles to play a lead in a romantic commercial flick. Vijay, who also enjoys a huge fanbase is desperate for a hit after his pan-Indian action movie, Liger, died out with a whimper.

Coming to the story, Viplav (Vijay) is a central government employee who opts to work in an exotic location, away from the monotonous life in Hyderabad. He is posted to Kashmir peaking his excitement until he encounters—on the border area, poor facilities and hardships of curfews. On the brighter side, he spots Aradhya (Samantha) on a houseboat and falls for her, mistaking her to be a Kashmiri Muslim due to her Burkha attire. To get him off his back, Samantha’s friend lie about their identity of being Pakistanis searching for a lost family member.

Viplav is shown as a liberal character subtly through his choice of being fine with marrying a Pakistani or offering her beef biryani. Only later is the truth revealed to him that she is an orthodox Brahmin from Kakinada who is on an office vacation in the hill station.

Both express love for each other and decide to take their relationship forward. The only hitch? Viplav’s father is a well-known atheist and Samantha’s father is a popular Hindu scholar. Poles apart in ideologies, both even get into fights on TV news debates. With the characters now moving back to Hyderabad and Kakinada, how the lovers handle their belief systems and their respective fathers stubbornness forms the second half.

Except for the song ‘Na Roja Nuvve’, others look misplaced and sometimes, unnecessary, just like the action sequences which are cliché. Even some characters like Zoya and Thomas, a Malayali inter-faith couple don’t have much significance except to try and add novelty which falls flat. The first half is at least fresh and teases the audience with something unique but the second half is nagging, dragging and unnecessarily gloomy.

The director, Shiva Nirvana’s attempt to highlight post-marriage issues that crop up between couples leaves Samantha with very less scope for acting as she is reduced to weeping scenes. Vijay and Samantha look good on screen and being seasoned actors, have put up a good show but clearly remind the audience of uncanny resemblance to their past roles. The dialogues are average and on expected lines. The movie has some funny scenes which is the saving grace of this product that doesn’t exactly give any ‘Kushi’ to the audience.

Cast: Vijay Deverakonda, Samantha, Murali Sharma, Sachin Khedekar, Vennela Kishore, Rahul Ramakrishna

Director: Shiva Nirvana

Rating: 3/5

Want an original storyline without any formulaic hyperbole that will jolt you out of your eye sockets and make you run down the multiplex aisle screaming eureka? Well, this movie is definitely not it. But in virtually every other sense, Gran Turismo checks the right boxes, taking you careening down a race track full of thrills, spills and a whole lot of (if wee bit cliched) big screen masala that is a bang for your Imax ticket’s buck.

Perhaps it was just a matter of time before Gran Turismo, the popular video game that has earned billions for Sony PlayStation since 1997 when the first version was released, got a cinematic jack-up. After all, Hollywood, and an increasing number of movie-going audiences, are getting hugely unexcited with the prospect of getting further swamped by comic book superhero franchises continuing to rule the roost offering Dolby-buffed crash-boom-bangs without a soul. So, then, why not turn towards that other post-millennial eyeball grabber — no, not social media, but video gaming, and offer a big screen crash-boom-bang version of its own?

To its credit, Gran Turismo does possess a storyline with a soul, however lightly it may be textured, and however much it veers away from the original true story it is based on. Small time boy Jann (pronounced ‘yaan’, he’s Welsh) whiles away time on his racing simulator playing GT and to his surprise finds he is selected to be part of Japanese auto giant Nissan’s audacious marketing ploy to attract a new demographic, “a generation of couch potatoes” to come out and buy cars (preferably those sporting that heraldic symbol of Japan in steel) by taking sim gamers and turning them into actual race track drivers.

Nissan’s team, including said audacious marketing ploy mastermind Danny (Orlando Bloom) and down-and-out trainer (he had to be, it’s a must ingredient in underdog formulas) Jack (David Harbour, you’ve seen him play Eleven’s dad in Stranger Things), try to finesse up the raw rookie recruit through near misses, fatal crashes, pitstop sledging and even lazy talk over what is a better motivational music before a race, Black Sabbath or Kenny G (Or Enya).

The rest is history, as in the history of a hundred million underdog-trying-to-make-it-in-the-big-bad-world films we’ve seen before. But what works for Gran Turismo is, surprisingly enough, the juxtaposing of this familiar formula at the unique crossroad of simulated racing games and actual real world blood-and-metal races. To make the point, director Neill Blomkamp alters Jann’s bedroom sim races by conjuring up physical vehicles of different makes around him. And when he’s out racing in the physical world, the visuals are inter-stitched with graphics and console-like effects.

Blomkamp, who shocked the world with his Oscar-nominated District 9 (a story of aliens who came to invade the earth being segregated as a parallel to racism and apartheid) back in 2009 shows he can infuse some element of gravitas to even a formulaic big budget plot. The script is fair enough while the slick editing papers over its cracks. The BGM soars high and never misses a high point, even while ensuring it doesn’t crank up mindlessly into a decibel assaulter.

Lead actor Archie Madekwe is fresh faced, earnest and easy on the eyes, and slips into his role with an ease which promises that his best is yet to come. And millennials may get a bit unnerved when they see who’s playing his parents — dad is Djimon Hounsou (you saw his sculpted Greek god bod in anything from Amistad to Gladiator) while the mom is, wait for this, Geri Halliwell ! You are reminded of your mortality when THE spice girl who shook her bum at the establishment in the late nineties with ‘Girl Power' sits demurely at the dinner table mouthing, “These lentils are quite nice”.

Through the many races including the final Le Mans one, the biggest success of this movie could well be that it manages to keep audiences engaged — we’re at our seat’s edge as Jann’s car makes its life or death careening down to the chequered flag, even if we know deep down in our hearts what the outcome could only be. That could well be this film’s eureka moment.

Movie: Gran Turismo

Director: Neill Blomkamp

Cast: Archie Madekwe, Orlando Bloom, David Harbour

Rating: 3.5/5