6u532b

Pirates of Caribbean, animal and The Good, The Bad and The Ugly, version,

Watched on Monday June 9, 2025.

Watched on Monday June 9, 2025.

watched both parts back to back, and had a jolly great time hahahaaahah.

both the endings are the same ALMOST, the comedy never works except in some instances, Akshay Kumar is the only good part of the film.

The long-awaited reunion of director Mani Ratnam and actor Kamal Haasan—the duo behind what many consider Indian cinema's answer to The Godfather—was nothing short of a cinephile’s dream. After nearly four decades, they return with Thug Life, a modern gangster drama that promised intensity, scale, and gravitas. Unfortunately, what unfolds on screen is a film that begins with promise but quickly spirals into disappointment.

The film opens with a bang—literally. A stylized black-and-white prologue, followed by a tense shootout, immediately sets the tone. At first, it feels like Mani Ratnam is in full control, crafting something that could become another classic. But as the narrative unfolds, the grip loosens. What starts as compelling quickly turns hollow.

A Mani Ratnam film devoid of emotional depth is a rarity—and that’s the most jarring thing about Thug Life. The emotional stakes are barely present. Characters come and go without impact. Kamal Haasan and Silambarasan (STR) both deliver solid performances, but their characters are underwritten and forgettable. ing characters fare worse—especially the female roles, which, in stark contrast to Ratnam’s usual storytelling, are reduced to background noise with no agency or weight in the plot.

The first half has moments that hint at something larger, something brewing underneath the surface. But just before the interval, the film takes a sharp left turn. The second half derails entirely—it’s tonally inconsistent, narratively confused, and feels like it belongs in a completely different film. Gone is the Mani Ratnam touch, the layered drama, the character arcs, the emotional payoff.

Technically, Thug Life still bears Mani’s signature. The cinematography is gorgeous, every frame dripping with style. A.R. Rahman’s score occasionally elevates moments, and the soundtrack holds its own. But even the best visuals and music can’t compensate for a script that lacks soul and a story that meanders without purpose.

In the end, Thug Life is a frustrating watch—because it had everything going for it. A powerhouse combo in Mani and Kamal, a strong ing cast, stellar production design, and a genre ripe for exploration. But all of it is let down by poor writing, underdeveloped characters, and a muddled execution.

What was expected to be a cinematic event feels more like a missed opportunity. Disappointing, especially when the pedigree involved is so legendary.

My disappointment is immeasurable and my day is officially ruined.

Watched on Thursday June 5, 2025.

Been watching this film, for the whole of a week.
What a film, every little emotion is so vivid and perfectly, it is haunting.
The ending especially really clicked with me. Although, I would probably not watch this film again, I would definitely recommend this film to each cinema lover out there, who would want to, experience art in it's truest.

*Saint Maud* is a taut, slow-burning horror film from indie powerhouse A24, steeped in eerie atmosphere and religious overtones that ultimately blur rather than clarify. The film's wiry, contorted camerawork often feels more like a showcase of visual flair than a meaningful contribution to the narrative. While the scarcity of jump scares aligns with the conventions of modern "elevated horror," the psychological tension never quite lands with the intended impact. The film gestures at profound ideas but fails to explore them with depth or coherence, leaving its stellar performances stranded in a story that lacks the substance to them.

Need to watch more of, Tom Cruise's films where he is more than just an "action star". This is one of those films.

Watched on Tuesday May 27, 2025.

First Panahi film, very well made.

Acid Trip.

I went in expecting a fun watch, given the intriguing concept behind the film. Unfortunately, I walked out regretting the decision to see it in theatres. None of the jokes land, and while the performances are decent, they feel repetitive—nothing we haven’t seen before. It follows the same tired template of a middle-class story, sprinkled with a few new elements here and there.

The film drags, especially towards the end, which feels unnecessarily stretched. The pacing is dull, and apart from a handful of good performances, a couple of enjoyable songs, and the interesting idea of a time loop, there’s little to hold on to. Bhool Chuk Maaf turns out to be a major letdown.

The first 20 minutes of the film are easily the highlight—every second had me completely hooked. While the rest of the movie tries to maintain that momentum, it eventually settles into something more mediocre, even though I still had fun with it. It's clearly in the vein of Final Destination, but it feels rushed at times, and the final twist is quite predictable. That said, I genuinely enjoyed the ride—watching the over-the-top deaths, the gore, and the chaos was entertaining, even if some of the kills didn’t make much sense. All in all, a flawed but fun watch.

A film which has shed light on a very important topic, well and good, but at times, it feels like it is too simple for the protagonist, there is no real challenge. Everything feels, easy.

The issue of "addiction" has not been issued, somehow, which I think could've been executed into the film.

Blasphemy as to why this film got an A rated certificate. Should be watched by parents and children all together

I won’t sit here and break down a detailed review of the film—the highs and lows, the technicals or the critique.

What I will say, loud and clear, is this: this film is a must-watch on the biggest screen possible, for one reason, and one reason only—Tom Cruise. Everything else comes after: the stunning set pieces, the jaw-dropping practical effects, the insane stunts, the timely relevance of the story, the emotional beats, the nostalgia (especially if you’re a die-hard Mission: Impossible fan like me), and the edge-of-your-seat climax—even when you kinda know how it’s all going to end. It all blends together to deliver one thing: ABSOLUTE CINEMA.

That’s how Mission: Impossible remains so relevant. An old man sat beside me at the theatre. When I asked if it was his first time watching something on the big screen, he smiled and said, “I’ve seen almost every Mission: Impossible film in theatres.” That’s the kind of legacy this franchise holds.

Even though I’m satisfied with how it wrapped up, a part of me hopes it doesn’t stop here. This is pure, unfiltered action cinema—packed with thrills, tension, and heart. It’s near perfect. Almost. If only the villain had more weight, the plot had a bit less armour, and the story took fewer creative liberties… and yes, if we didn’t get spoon-fed certain moments.

But despite all that, it delivers. It’s fun. It’s thrilling. It’s Mission: Impossible.

A film, released at the wrong time.

Excited for part 2.

Watched on Friday May 16, 2025.

Adam always gets a hot wife.

Watched on Sunday May 11, 2025.

Spielberg?

Outrageously bad.
Go and read the story, or, listen to it on Radio Mirchi
Terrible Adaptation. Last Episode felt like it's straight out of Thakumar Jhuli.

I walked into Retro with high expectations, hoping for a grounded, realistic gangster romance. However, what I got was something far more commercial, chaotic, and inconsistent in tone.

From the outset, it's clear that Retro is a mixed bag—a classic pot-boiler that tries to do too much at once. While the film is packed with clever cinema references that cinephiles will appreciate, they ultimately feel like fleeting distractions rather than essential pieces of the narrative. The homage is fun, but it doesn’t gel with the rest of the film's emotional or thematic core.

The biggest issue lies in the film’s tone. At times, it flirts with dark, brooding themes, and at others, it veers into absurd, wacky territory that feels jarring and out of place. This dissonance makes it hard to fully invest in the story. Suriya, to his credit, delivers a solid performance, and the writing shows flashes of brilliance. However, Karthik Subbaraj struggles to translate those ideas effectively to the screen, resulting in a film that feels more like a collection of set-pieces than a cohesive whole.

Michael’s character was a pleasant surprise, and the production value is commendable. The music hits the right beats, and the ambitious 14-minute one-take sequence is a standout. But these positives can't entirely make up for the film's sluggish second half, mythological detours, and weary runtime.

Ultimately, Retro leaves you with a sense of what could have been—a film with potential that gets lost in its own stylistic indulgence. It might work for a one-time, light-hearted watch, but it doesn't offer much beyond that.,

God-damn, what did they do to my Jisshu...

Well, it's an out and out Nani show. The whole film is carried by Nani, the action blocks and the overall tone and setting. It is fairly different from the first two parts, making it much more "massy" and "commercial". I loved the grounded approach the, other two films had. The antagonist is way too weak. The setup is too slow, the post interval tonal shift is jarring. .

Me being a fan of, extra violence, hoped to like the "violent" scenes. Although visually, these scenes are shot well, again, it feels like it is following the usual trend that is popular nowadays in Indian cinema, as the violence is unnecessary and doesn't feel rooted. It feels quite over the top for a thriller as such. Violence for the sake of violence..

All in all, HIT : THE THIRD CASE, is just good for a one time watch, for Nani and the last 30 minutes for some. And obviously, the cameos, some of which felt something straight out of MCU.

NOT AS HYPED FOR HIT : THE FOURTH CASE, AS I WAS FOR THIS, at the end of HIT : THE SECOND CASE.

An extremely bad adaptation of the game.

Shame.

Whatta film.

Watched on Monday April 28, 2025.

Watched on Monday April 28, 2025.

Watched on Monday April 28, 2025.

I walked into Sinners with modest expectations—what I walked out with was the undeniable feeling that Ryan Coogler has just dropped his magnum opus. Scratch that—even if you strip the entire film down to one particular scene (you’ll know it when you see it), it alone is powerful enough to cement this movie as something extraordinary.

From a technical standpoint, Sinners is nothing short of masterful. The camera glides through intricately staged one-takes with grace, the score pulses with precision, and the atmospheric recreation of the 1930s is both haunting and immersive. Every frame feels deliberate. Every sound feels like it belongs.

Michael B. Jordan? Phenomenal. Playing a double role, he doesn’t just carry the film—he elevates it. His performances are layered and raw, reflecting both vulnerability and fire. The ing cast is no slouch either; everyone brings their A-game.

Yes, there's horror. There's dread. But if you're a seasoned viewer, it might not send chills down your spine in the traditional sense. Instead, Sinners digs deeper—it evokes something more enduring: a creeping sense of inherited pain, racial trauma, and the slow burn of generational unrest. The film’s exploration of Black folklore, blues music, and the harsh realities of systemic racism is woven so seamlessly into the narrative, it feels less like a movie and more like a living, breathing piece of American history filtered through myth.

My only gripe? The setup. It does take its time to get moving. While it’s a necessary foundation for what comes next, it tested my patience slightly.
But in the grand scheme? Minor quibble. Sinners is bold, unapologetic, and artistically fearless. Coogler didn’t just make a film—he made something else.

"Get the f*ck out of my country!."

Kesari Chapter 2: The Untold Story of Jallianwala Bagh isn’t directly connected to Kesari Chapter 1 in of story, but it carries forward the same emotional depth and intensity.

Where the film truly shines is in the performances—every actor delivers, but it’s Akshay Kumar who steals the show. This might just be one of the finest performances of his career, and it could very well mark a strong comeback for him. While some of his moments border on being over-the-top, they resonate powerfully, especially in a packed theatre. R. Madhavan follows closely with an impressive turn as the antagonist. Though his character is rather thinly written, his performance adds depth and conviction, elevating what could have been a flat role. Ananya Panday is able—nothing remarkable, but she holds her own.

Emotionally, the film lands perfectly. Several scenes are set up beautifully and executed with genuine impact. The overall filmmaking is impressive, with a strong sense of vision and craft on display.

However, the film does suffer from underdeveloped writing. There’s a noticeable lack of exposition, and certain plot points feel underexplored. Once again, the British characters are portrayed as one-dimensional villains—an outdated trope that offers little nuance. While the emotional beats are strong, some scenes do go over-the-top, though they still manage to be enjoyable. The “Mitti” song, in particular, feels forcibly inserted and somewhat out of place.

That said, the film’s biggest win is its spectacular music and background score. The sound design feels grand, almost Hollywood-like, and adds immense power to already impactful scenes. For the first time in a long while, a film with nationalistic undertones gave me goosebumps.

In conclusion, Kesari Chapter 2 is a well-crafted cinematic experience that deserves a watch in theatres. Despite its flaws, it stands tall, largely due to its emotional core, technical finesse, and Akshay Kumar’s commanding performance. It's a film that marks a significant moment in his career—his long-awaited return to form.

Watched on Saturday April 19, 2025.

Watched on Friday April 18, 2025.

As straightforward as a courtroom drama can be. Well made, yes, but could've been better.

Srijit seriously needs to step out of his little narcissistic bubble, take a long, hard break, and maybe—just maybe—return when he has something meaningful to say. Because right now, making films with undercooked scripts, rushed shoots, and a mountain of little flaws isn’t doing anyone any favors—least of all his legacy.

Killbill Society, pitched as a direct sequel to the cult-classic Hemlock Society, has a one-liner premise that sounds intriguing on paper: an actress, suicidal, hires a hitman to end her life. That’s it. That should’ve stayed as a cool one-liner idea. But no, we had to get a full-length feature out of this. And what we got was a rancid, confused, self-indulgent mess that not only disrespects the emotional weight of the original but also chips away at whatever was left of Srijit’s credibility.

Let’s talk positives—because yes, there are some. The performances? Surprisingly solid. Koushani delivers. Parambrata reprises his role with grace and impact. The music is excellent—well-composed and thoughtfully woven into the narrative. The humor? Genuinely sharp. The meta touches and comedy do land. Biswanath’s “Pet Kata Shaw” is a standout—his role adds a unique flavor that actually works. Dialogues? Well-written. Cinematography? Visually pleasing. And the core idea is, again, good.

But here’s where it all falls apart.

Firstly, we didn’t need a sequel. Full stop. The way this film is written completely erases the emotional core of Hemlock Society. It’s like someone read the script of the first film, learned nothing from it, and then decided to do a parody without telling anyone. The ending? Offensive. Painful. It honestly made me wonder—how does a once-sensible filmmaker write this dreamy, logic-less drivel and still think it deserves a theatrical release? Our Ananda Kar would NEVER. But apparently, this version of him does. And the execution? So clumsy, it felt like a rushed web-series pilot stretched into two hours.

The second half is where things really nosedive. The central conflict wraps up early, and what follows is a barrage of pointless subplots—none of which make sense or add narrative weight. Just a whole lot of filler dressed up as emotional arcs. It felt fake. Hollow. Like Srijit had nothing left to say, so he just made stuff up to hit the runtime.

And the big “reveal”? Don’t even get me started. What was a haunting, brilliant twist in Hemlock is now reduced to a cheap, half-hearted rehash. It brought nothing new, nothing bold—just a faded photocopy of a once-impactful moment, this time soaked in melodrama and lacking any real setup.

There are so many other flaws I could dive into, but honestly? It’s not worth turning this into a thesis paper. What matters is this: Killbill Society is not just a weak sequel—it’s a destructive one. It undoes the legacy of its predecessor, and ends in a way that feels like a slap to the face of anyone who loved the original.

If you enjoy fairytale romances with zero brains and lots of style-over-substance, maybe this one’s for you. As for me? I hated it. The comedy was the only thing that truly worked.
Srijit, if you’re reading this—stop. Please. Just stop.
Another BAL ER CINEMA, logged and shelved.

anirban the actor you are.

marry a woman

Well, it is a technical marvel.
Russian ftw.

Khasha Blanca!

Felt like a 2010 YT skit with a 150 million dollar budget, no structure and no soul and with Jack Black being the only good thing in this flick. Waste.

It’s hard to know where to begin with Adolescence (2025). From a purely technical standpoint, the series is nothing short of extraordinary—crafted as a seamless one-take experience across all four episodes. The single-location setting is designed with meticulous detail, creating an immersive world that feels both intimate and suffocating, mirroring the tension within the story.

However, while the "one-take" execution is undeniably innovative, it might prove overwhelming for viewers with a shorter attention span. The lack of cuts adds to the realism but also demands absolute focus, making it an experience that’s as exhausting as it is impressive.

Beyond its technical brilliance, Adolescence thrives on raw, emotionally charged performances. The cast—especially the young boy, his father, and mother—deliver standout performances, grounding the narrative in a chilling sense of realism. The story, revolving around a child accused of murdering a girl his age, is unsettling yet deeply relevant, shining a harsh light on toxic masculinity, incel culture, and the uncomfortable reality that such crimes can happen at any age.

That said, the exploration of the case itself feels somewhat underdeveloped. There’s so much potential, particularly in the third episode, which deserves deeper analysis for its psychological and societal implications. A more in-depth examination of the crime and a clearer resolution would have elevated the impact even further.

Sharp-eyed viewers may also notice certain narrative loopholes that momentarily break the immersion. While these don’t take away from the overall impact, they do leave lingering questions that could have been addressed with tighter storytelling.

Despite its flaws, Adolescence remains a powerful, thought-provoking commentary on the dark undercurrents of a patriarchal society. It may not be a flawless masterpiece, but it is undeniably an important and haunting piece of storytelling that lingers long after the credits roll.

Waiting for the day someone says to me, that, ami apnar preme porechi and I tell her, gnaar mereche.

**Sikandar** is yet another misfire from Salman Khan, proving that his recent streak of underwhelming films is far from over. While the film has a handful of redeeming factors—some well-executed action sequences, a decent core idea, and a few mass-appeal dialogues from Salman—it ultimately crumbles under the weight of its flaws.

The editing is choppy, making it feel more like an overlong Instagram reel than a feature film. The fast-paced, incoherent screenplay does no favors, and the performances across the board are lackluster—even Salman himself appears disinterested. The songs are forgettable, the chemistry between Salman and Rashmika is nonexistent, and the antagonist is painfully underdeveloped. The film lacks any real challenge for the protagonist, resulting in one-dimensional characters and a predictable, over-the-top climax.

Visually, the cinematography is excessively vibrant to the point of distraction, and the execution feels dated. Overall, **Sikandar** is a colossal disappointment, making one wonder if it's time for Salman to step away from the big screen. An absolute waste of time and money.

A very boring affair, which requires no brain to watch honestly. Visually stunning (considering the 320 million dollar budget), but an emotionally and cinematically hollow affair, very disappointed and in worry about the Avengers films with the same directors.

A good first half, filled with Vishal Bhardwaj trying to recreate his "dark-comedy" tone, followed by a mediocre second half. All in all, the film is quite slow, and I expected more from a "Spy-Espionage Thriller." The performances are a huge aspect which carries the film. Tabu and Gabbi are the showstealers.

Indian justice system has failed it's own country, time and again.
Well made, relevant, and well researched film. Irfan carries the film, the film is quite slow in my opinion, though heartbreaking.

A quiet, deeply emotional drama about love, time, and inevitable loss. The film unfolds over a single night, as an elderly couple celebrates their 50th anniversary. The wife, battling cancer, is cared for tenderly by her husband, while their son and daughter-in-law remain distant, living in another part of the country.

What makes this film stand out is its microscopic exploration of emotions—presented with remarkable nuance and subtlety. The lead performances by Anjan Dutt and Aparna Sen are nothing short of extraordinary—understated yet profoundly moving. Though I don’t usually consider myself the audience for such films, I still found it engaging, despite moments of sluggish pacing due to long monologues, minimal plot progression, extensive backstory, and an old-world sentimentality that might not resonate with everyone. The exposition and occasional forced metaphors felt somewhat overdrawn.

Yet, for all its contemplative slowness, the film’s tear-jerking moments struck deep. The beautifully written dialogues and raw, heartfelt performances managed to break through, leaving me misty-eyed, even if I wasn’t fully immersed the whole way through.

The film had me hooked right from the start. A compact 90-minute genre mashup, it blends elements of an investigative thriller with an intimate character study. At its core, it follows a father desperately trying to rescue his kidnapped daughter while also confronting his own personal demons.

What sets this film apart is its unique execution—Abhimanyu Sood, played brilliantly by Sohum Shah, is the sole character whose face is ever shown (outside of photographs or video calls). His performance is captivating, carrying the entire weight of the narrative on his shoulders. Conceptually, this is a fresh and bold experiment for Bollywood, and I truly hope we see more of such innovative storytelling.

However, despite its strong writing, tight pacing, and gripping tension, the film falters in its second half—particularly in the final act. The last "twist" feels convoluted and difficult to digest. While the message behind it is commendable, its cinematic execution feels underwhelming, dragging down the otherwise well-crafted experience.

That being said, the film still delivers some stellar moments. One standout sequence involves Abhimanyu simultaneously changing a car tire, responding to the relentless calls of the kidnapper, and instructing his junior to perform a crucial surgery via video call. The sheer tension in this scene is masterfully executed, making it one of the film’s highlights.

Despite its flaws, the film remains a compelling watch, driven by a strong lead performance and a fresh concept

The review, may contain some spoilers.

A film that will remain relevant until the end of time, 12 Angry Men continues to resonate because the issues it portrays—bias, prejudice, justice, and moral responsibility—are never-ending. Every rewatch unveils new layers of detail, making it a cinematic masterpiece that rewards close analysis.

While the premise is simple—a jury deliberating the fate of a young defendant—the way the characters are written and performed elevates it into something extraordinary. The claustrophobic setting, combined with the sweltering heat, places the audience in the same tense and oppressive atmosphere as the jurors. The heat itself symbolizes the rising tension, frustration, and conflict among them, mirroring the internal struggles of each character. When the rain finally pours, it acts as a form of catharsis, washing away the intensity of emotions and signaling a shift in the conversation. The fan, which initially doesn’t work, begins functioning only after progress is made in their discussion, metaphorically representing the refreshing breeze of reason and rationality overcoming blind prejudice.

The cinematography plays a crucial role in storytelling. As the film progresses, the camera slowly moves from high angles—where the jurors appear superior and in control—to lower angles, making them seem more vulnerable and exposed. This subtle shift mirrors how the discussion deteriorates, with tempers flaring and personal biases overtaking logic. The gradual closing in of the camera frames also heightens the tension, emphasizing the isolation of certain characters as their arguments crumble.

Each juror represents a different facet of society. Juror #10 embodies deep-seated bigotry, spewing prejudice until even his peers turn away in disgust, symbolizing society's rejection of blatant discrimination. Juror #7 is indifferent, caring more about a baseball game than justice, reflecting the apathy of those who see civic duties as an inconvenience. Juror #3, arguably the most complex character, allows his personal trauma to cloud his judgment, showing how unresolved emotions can distort objectivity. His breakdown at the end—where he finally tears up the photograph of his estranged son—serves as a powerful metaphor for letting go of personal baggage to see the truth.

At its core, the film is a reflection of democracy, justice, and the power of a single voice. Juror #8’s unwavering commitment to fairness demonstrates how one person, armed with reason and empathy, can challenge the majority and bring about change. The film warns against the dangers of mob mentality, emphasizing the importance of independent thought and moral courage.

12 Angry Men is not just a courtroom drama; it is a timeless study of human psychology, societal structures, and the fragile nature of justice. It is a film to be studied, discussed, and revisited endlessly, solidifying its place as one of the greatest films ever made.

The List May Change From Time To Time And Then More, If I Am Patient Enough.

1. Vikram
2. Fight Club
3. Enemy
4. The Killing of a Sacred Deer
5. Rear Window
6. Girls Will Be Girls
7. Memories of Murder
8. Fantastic Mr. Fox
9. Oppenheimer
10. 12 Angry Men

...plus 62 more. View the full list on Letterboxd.

Happy New Year 2024.
Favs of 2024.

• Girls Will Be Girls
• Dune: Part Two
• Monkey Man
• The Substance
• Meiyazhagan
• Furiosa: A Mad Max Saga
• We Live in Time
• Bramayugam
• Aavesham
• Lucky Baskhar

...plus 21 more. View the full list on Letterboxd.

watched alot.

These are my favourite films, which released in 2023.

1. Animal
2. Oppenheimer
3. Spider-Man: Across the Spider-Verse
4. Killers of the Flower Moon
5. Past Lives
6. 12th Fail
7. Guardians of the Galaxy Vol. 3
8. Ponniyin Selvan: Part II

comment down the films you think would fit best in this list

• Fight Club
• American Psycho
• Drive
• Joker
• Taxi Driver
• Blade Runner 2049
• The Godfather Part II
• A Clockwork Orange

Vikram 3 there too

• Kaithi
• Vikram
• Leo
• Kaithi 2

1. Avatar
2. Avatar: The Way of Water