Best Bollywood Movies of 2022

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While I didn’t give any of the Hindi films from 2022 a perfect 4-star rating, there were a lot of great titles to choose from. (I did rate RRR 4-stars, but I’ve decided to limit this year’s Best list to just Hindi movies. I know, I named Baahubali 2: The Conclusion my best film of 2017. Chalk it up to website owner’s prerogative.) So, here are my ten Best Bollywood Movies of 2022!

Let’s start with a possibly controversial pick. I liked the growth of the socially deviant main characters in Ek Villain Returns, which is much more morally consistent than the original Ek Villain. There’s some interesting stuff happening with Disha Patani’s character that I enjoyed, though I don’t want to spoil it by going into detail. Ek Villain Returns knows what kind of movie it wants to be and executes its vision.

Qala and Brahmāstra Part One – Shiva both earn their spots for being visually stunning — Qala via its lush period sets and costumes and Brahmāstra via its thrilling special effects.

The family drama Maja Ma treats a very complicated subject with the care it deserves and considers it from all angles, reminding the audience that it’s not possible to distill a person down to a single adjective.

Thar shook things up as the rare Hindi neo-noir western, shot in an evocative landscape and with nuanced performances that suit the harsh environment.

2022 has two very fun comedies about characters who’ve gotten by as the big fish in their small ponds who painfully realize just how much they have to learn about the world. Dasvi takes a family-friendly approach to a clever story about a disgraced politician whose position is usurped by his wife. Tamannaah Bhatia plays my favorite character of the year in Babli Bouncer, a delightful fish-out-of-water tale about lovable tomboy who needs to grow up.

I’ve been anticipating director Vasan Bala’s feature followup to Mard Ko Dard Nahi Hota (which topped my Best of 2019 list), and Monica, O My Darling did not disappoint. Bala builds an eye-catching, offbeat world for his characters, and the dynamite cast takes advantage of the opportunities he gives them

Alia Bhatt gives the standout performance of the year as Gangubai Kathiawadi. Director Sanjay Leela Bhansali brings his trademark flair and visual style to the picture (resulting in the year’s best song picturizations), but Bhatt carries the film, playing a character who is complicated and conflicted but always self-possessed.

Like Ek Villain Returns, my top film of the year is another sequel that improves upon its predecessor. My Best Bollywood Movie of 2022 is the action drama Khuda Haafiz: Chapter 2 — Agni Pariksha.

Khuda Haafiz: Chapter 2 isn’t just better than the original Khuda Haafiz. It builds on the first story, providing its characters with growth arcs that span two films. Shivaleeka Oberoi didn’t have much to do in the original picture, but she carries the first part of the sequel as a rape survivor trying to reintegrate into society and her marriage. Martial arts master Vidyut Jammwal changes his fighting style throughout the film as blind rage transforms into targeted revenge. And Sheeba Chaddha plays my favorite villain of the year. Filmmaker Faruk Kabir takes his characters and their struggles seriously, resulting in an action movie with real substance. Khuda Haafiz: Chapter 2 is a winner.

Kathy’s Best Bollywood Movies of 2022

  1. Khuda Haafiz: Chapter 2 – buy at Amazon/stream on Zee5
  2. Gangubai Kathiawadi – stream on Netflix
  3. Monica, O My Darling – stream on Netflix
  4. Babli Bouncer – stream on Hulu
  5. Dasvi – stream on Netflix
  6. Thar – stream on Netflix
  7. Maja Ma – stream on Amazon Prime
  8. Brahmāstra Part One – Shiva – stream on Hulu
  9. Qala – stream on Netflix
  10. Ek Villain Returns – stream on Netflix

Previous Best Movies Lists

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Streaming Video News: February 21, 2023

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It’s last call for a bunch of Dharma Productions titles on Amazon Prime and Netflix, which will also lose a ton of Balaji Motion Pictures films this week as well. Here’s what’s leaving when, and why this may not be cause for panic.

First of all, thanks to CinemaRare on Twitter for listing the movies on the way out. One thing to notice immediately is that some of the titles on CinemaRare’s list are currently available in India but not the United States. This is because streaming rights are negotiated on a regional — and sometimes country-specific — basis between the company that owns the film’s rights and the streaming service interested in licensing them. These contracts cover a specified time period, after which the rights holder can renegotiate a new contract or shop their content elsewhere.

That’s likely what’s happening with Dharma and Balaji now. There’s every chance that they will simply sign a new contract with the same streaming companies for another few years. Balaji did that in late 2020 with Netflix. If that’s the case, then the titles may only be unavailable for a short window. I’m going to wait a week or two before removing the links to the expiring titles from my Netflix list and my Amazon Prime list just in case the films are renewed.

However, there is a chance that the Dharma Productions titles may not return to Netflix. Karan Johar and Dharma have a deal with Amazon Prime to bring their newest theatrical releases to Prime and to create new streaming content for the service. I won’t be shocked if they want to make the back catalog exclusive to Prime as well. If you subscribe to Netflix but not Prime, you may want to prioritize watching the expiring Dharma titles listed below this week.

Here are all of the Dharma Productions and Balaji Motion Pictures titles expiring from Netflix and Amazon Prime in the next week (note that the last day to watch is the day before the expiration date):

Expiring from Netflix February 27 (Balaji Motion Pictures titles)

Expiring from Netflix February 28 (Dharma Productions titles)

Expiring from Netflix March 1

Expiring from Amazon Prime February 27 (Dharma Productions titles)*

*The Amazon Prime Dharma list looks small by comparison to the Netflix list because some of the films are available on Eros Now instead of Prime, while others have already expired from Prime. Keeping track of all this stuff is no joke!

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Movie Review: Lost (2023)

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1.5 Stars (out of 4)

Watch Lost on Zee5

Lost is a fitting title for Yami Gautam’s latest drama, because that’s how I felt when the movie was over.

Gautam plays Vidhi, an investigative journalist in Kolkata who stumbles onto a story when she meets Namita (Honey Jain) at a police station. Namita’s brother Ishan (Tushar Pandey) — a street performer who produces plays about Dalit rights — has been missing for two weeks. His disappearance came during a rough patch with his girlfriend Ankita (Piaa Bajpai), a news anchor who recently accepted a job and an apartment from politician Ranjan Varman (Rahul Khanna). But Ankita never reported Ishan missing.

Before Vidhi can dig in to the disappearance, a story is leaked that Ishan is involved with a Maoist group accused of terrorism. With Ankita refusing to answer her phone calls, Vidhi figures she might as well seek out the Maoist leader to confirm or deny Ishan’s involvement.

Lost is a very busy film. It speed-runs a plot that is dense with details but light on character motivation and devoid of atmosphere. Calling it a thriller is being extremely generous, since it lacks any tension whatsoever.

The only scenes that are allowed to breathe are between Vidhi and her grandfather Nanu (Pankaj Kapur), with whom she lives. She bounces ideas about the case off of him and he tries to pretend that he’s not worried about her safety, despite noticing two creeps taking photos of their house. The two actors have an easy rapport that helps regulate the story’s pace.

One way to improve Lost would have been to have Kapur play Vidhi’s father, and to eliminate her parents from the story entirely. Their absence could’ve freed up time for plot development elsewhere. Besides, Kapur is only thirty-four years older than Gautam, and the actors cast to play her parents are styled to look just as old as Kapur anyway.

There’s also an under-cooked subplot with Vidhi and her long-distance boyfriend Jeet (Neil Bhoopalam), who is coming to realize that relocating to be with a woman who’s addicted to her job might not be a great idea. The only good thing to come from his involvement in the story is an early scene in a restaurant where they discuss Ishan’s case. A song plays with on-the-nose lyrics like, “The road is dark and dangerous. You might get killed.” Vidhi hears this upbeat ditty and decides it’s time to dance. For a movie that lacks subtext, this feels appropriate.

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Movie Review: Khuda Haafiz – Chapter 2 (2022)

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3.5 Stars (out of 4)

Buy Khuda Haafiz: Chapter 2 on DVD at Amazon

2020’s Khuda Haafiz presented action star Vidyut Jammwal in a different light, playing an ordinary man on a mission to rescue his kidnapped wife. The sequel Khuda Haafiz: Chapter 2 — Agni Pariksha shows the devastating consequences that the events of the first film have on both characters, propelling them to change in whole new ways.

The sequel picks up in 2008, one year after Jammwal’s Sameer rescued his wife Nargis (Shivaleeka Oberoi) from sex traffickers in the fictional Middle Eastern country of Noman. Getting her home safely wasn’t the end of their troubles as Sameer had hoped. Nargis is depressed and anxious, tired of the constant whispers about her ordeal by neighbors and coworkers. Sameer walks on eggshells, cautious not to upset Nargis but not sure how to fix her or their relationship.

In a well-meaning but misguided attempt to help Nargis open up emotionally, Sameer offers to look after his friend’s newly orphaned niece, 5-year-old Nandini (cute Riddhi Sharma). The girl’s presence initially has the opposite effect that Sameer wanted, reminding Nargis of the dreams that were taken from her in Noman. But when Nandini suffers a medical emergency, Nargis’s protective side takes over, and soon the three are living together as a happy family.

That joy doesn’t last. While heading home from school with a teenage neighbor named Seema (Anushka Marchande), the girls are kidnapped by three boys who’ve been stalking Seema. Their ringleader is Bacchu (Bodhisattva Sharma), grandson of a powerful family lead by matriarch Sheela Thakur (Sheeba Chaddha). The local police are either in cahoots with, or in fear of, Sheela. So, it becomes clear that Sameer will have to take matters into his own hands once again.

The public wants justice for the girls, thanks to sympathetic news coverage by reporter Ravi Kumar (Rajesh Tailang). Filmmaker Faruk Kabir — who wrote and directed both Khuda Haafiz movies — demonstrates how to properly include news reports in a film. Ravi is shown out in the field with his camera crew or recording in a studio. There are no annoying “man on the street” interviews or shots to make the audience feel as though they are watching a TV news report.

While the first film was based on a true story, the plot of the second is entirely Kabir’s own creation. This allows him to focus on character growth and the consequences of their actions. The result is a story that is exciting but grounded in reality. Unlike some Hollywood movies where superheroes destroy entire cities and get to go about their merry way, choices produce results that the characters in Khuda Haafiz – Chapter 2 have to deal with, good or bad.

Nargis was primarily acted upon in the first film, but here Oberoi gets to display real emotional range, carrying most of the story in the early stages. Nargis’s struggles are centered, as they should be. Only after Nandini is taken does she turn the reins over to Sameer.

As befits Jammwal’s martial arts background, Sameer’s character evolution is demonstrated through his fighting styles. In his first fight, he beats a callous police official in a blind rage, all fury and no finesse. This lands him in jail, where he is attacked by a gang that works for Sheela. He fights to survive in a manner that is still desperate but more calculating. When he’s released from prison, he’s a predator on the hunt, powerful and merciless.

The jail fight scene is particularly chilling because the prisoners’ improvised weapons — half of a pair of short scissors or a small piece of metal — require them to get very close to one another when attacking, stabbing in small bursts rather than taking long swipes from a distance. The sequence’s intimacy makes it especially terrifying.

Chaddha’s icy demeanor as Sheela is just as scary. At one point, she visits Nargis at her parents’ home, requesting a glass of milk from Nargis’s mother. After threatening Nargis and being met with defiance, Sheela drains the glass of milk in one go, sending the unambiguous message that she could make Nargis disappear just as easily. One would hardly imagine that drinking milk could be a menacing act, but Chaddha does it with aplomb.

Khuda Haafiz – Chapter 2 deals with a grim subject in a respectful way. While not taken from a single news story, Kabir distills the Indian public’s frustrated desire for justice in response to similar crimes into a fictional plot that feels cathartic but not pandering. Kabir treats his characters and the topic of crimes against women and girls with respect, and he trusts his audience to do the same.

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Streaming Video News: February 9, 2023

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I updated my list of Bollywood movies on Amazon Prime with today’s premiere of Raj & DK’s brand new series Farzi (“Fakes“), starring Shahid Kapoor in his streaming debut.

While weeding inactive links from my Amazon Prime list, I noticed that a handful of Dharma Productions movies are not currently available (at least not in the United States), including Kapoor & Sons, Gori Tere Pyaar Mein, Shaandaar, Kuch Kuch Hota Hai, and Kabhi Alvida Naa Kehna. I’m assuming their absence just temporary, but we’ll have to wait and see.

I also updated my list of Bollywood movies on Hulu with the 2022 Telugu film Raajahyogam and the premiere of the Telugu series Hansika’s Love Shaadi Drama, which is also available in English, Hindi, and Tamil.

Earlier in the week, I updated my list of Bollywood movies on Netflix with the 2023 Tamil film Thunivu, which is also available in Hindi, Kannada, Malayalam, and Telugu (as “Tegimpu“). It sounds like we’ll be getting a new trailer for the Netflix Original series Rana Naidu next week, and hopefully a release date.

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Movie Review: Ram Setu (2022)

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1.5 Stars (out of 4)

Watch Ram Setu on Amazon Prime

Ram Setu is interesting because it explains many of the limitations placed on the Hindi film industry by India’s current political environment, then proceeds to exemplify all of the problems it identifies. It’s a thought-provoking movie, albeit for the wrong reasons.

The story is set in 2007, allowing the filmmakers to plausibly deny that the movie is about present day India. Atheist archeologist Aryan (Akshay Kumar) discovers important artifacts in Afghanistan that reinforce the country’s connections to India via the Silk Road. Aryan notes that the whole region shares a cultural history, regardless which religion predominates, past or present.

It’s significant that writer-director Abhishek Sharma has his main character voice the merit of preserving history based on cultural import — which often aligns closely to religious import, to be fair — because Sharma spends the rest of the movie ignoring that nuanced sentiment in favor of pandering to religious zealots.

Aryan is hired by the Indian government to write a paper declaring that Ram Setu — a now-submerged land bridge connecting India to Sri Lanka — is a naturally occurring structure. This crucial step will allow shipping magnate Indrakant (Nassar) to demolish part of the bridge for speedier ocean transit. There are environmental concerns about the project, too, but they are nothing compared to the vociferous opposition by Hindu groups who believe that Rama himself built the bridge.

Aryan’s wife Gayatri (Nushrratt Baruccha) is a believer and warns Aryan against getting involved. He does anyway. Due to the ferocity of the protests, Aryan is scapegoated and suspended, and the couple’s son is bullied at school. Aryan figures that the only way to clear his name is to accept Indrakant’s offer to investigate Ram Setu personally and prove that it is not a man-made structure.

Indrakant and his villainous lackey Bali (Pravesh Rana) are condemned for demanding Aryan and the other researchers — including environmental scientist Dr. Rebello (Jacqueline Fernandez) and geologist Dr. Gabrielle (Jeniffer Piccinato) — cherry-pick their findings to support the bridge’s destruction rather than follow the evidence where it leads. Yet Ram Setu does the exact same thing. It lays out plenty of plausible counter-arguments, but it ends up with Aryan being converted and publicly declaring that God is real.

Sharma writes a couple of courtroom scenes in which the lawyer for the state argues that that even if Ram Setu was man-made, Aryan hasn’t proven that Rama was the one who built it. And further, why is the bridge’s significance to Hindus more important than its significance to Christians and Muslims? All these claims could fall under the cultural value statement that Aryan himself made earlier in the film, especially if they are considered collectively. But Aryan insists that Rama is the architect and that Hinduism’s claims on the bridge are the only ones that matter.

Based on the positions Sharma writes for the opposition, he knows what a movie that trusts in the intelligence of its audience would sound like. Unfortunately, he took to heart one of the lessons Aryan learns: don’t anger the mob. The end result is a movie that feels pandering, and therefore forgettable.

The adventure aspects of the film are not bad in concept, but there wasn’t the budget to execute them properly. There’s lots of obvious green-screen usage, with backgrounds and environments that feel fake. The practical sets that are used are pretty good.

Performances across the board are uneven, with Kumar being needlessly shouty at times. His emoting in the film’s lone dance number is unappetizing. Telugu star Satyadev Kancharana is a welcome addition to the story as helpful Sri Lankan tour guide AP.

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Streaming Video News: February 2, 2023

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I updated my list of Bollywood movies on Netflix with today’s surprise addition of the 2022 Hindi thriller Vadh, starring Sanjay Mishra and Neena Gupta. The new Original series Class — a Hindi remake of Netflix’s Spanish show Elite — debuts on the service tomorrow.

Netflix announced that Ranveer Singh’s Cirkus will be available February 16, and they released a trailer for a new documentary series about Yash Raj Films called The Romantics, which debuts on Valentine’s Day:

If you missed any of the new Indian shows and movies added to Netflix last month, be sure to check out my January roundup for What’s on Netflix.

I also updated my list of Bollywood movies on Amazon Prime with today’s addition of the 2023 Malayalam film Ennalum Nteliyaa.

Finally, I updated my list of Bollywood movies on Hulu with today’s addition of the Tamil film Sembi, which is also available in Hindi, Kannada, Malayalam, and Telugu.

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Movie Review: Mission Majnu (2023)

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1 Star (out of 4)

Watch Mission Majnu on Netflix

Not much thought went into Mission Majnu, but the filmmakers probably figured they didn’t need to bother. Slap together a bunch of cliches from the historical patriotic genre playbook that’s so popular in Bollywood right now, and voilà! — Mission Majnu.

The film kicks off its spy story with a soapy romance set in mid-1970s Pakistan. Humble tailor Tariq (Sidharth Malhotra) falls for a stunningly gorgeous, blind woman Nasreen (Rashmika Mandanna). They get married over the objections of her father, who owns a garment shop that makes military uniforms and therefore knows just how little Tariq earns. Nevertheless, love prevails.

Little do Nasreen and her father know that Tariq is actually Amandeep Singh — an Indian spy who’s been living in Pakistan for an indeterminate period of time. We know very little about Tariq/Amandeep other than his father was a traitor, and so the son became a spy as a kind of penance for Dad’s misdeeds. His instructor at the academy R.N. Kao (Parmeet Sethi) — who serves for a time as India’s RAW chief — says Amandeep was the best student he’d ever had.

Amandeep is tasked with finding out information about Pakistan’s burgeoning nuclear weapons program. The film opens by saying that Pakistan started developing nukes in response to losing the war with India in 1971, painting Pakistan as over-reactionary sore losers. Moments later, the narrator clarifies that actually, Pakistan didn’t start its nuclear program until after India tested its first nuclear weapon in 1974 with Operation Smiling Buddha.

This is par for the course in Mission Majnu. India’s actions are always justified even when they are problematic, and any politicians who think about engaging in diplomacy with Pakistan are naïve wimps. Likewise, Pakistan is portrayed as fundamentally deceitful, and their sweets aren’t as good as Indian sweets. No level of insult is too petty.

With a viewpoint rooted in such simplistic nationalism, there can be no question as where Amandeep’s loyalties lie. Duty to country obviously has to win. There’s no tension or moral conflict regarding his marriage to Nasreen, unlike the emotional tug-of-war the main character faces in the much better historical spy drama Raazi (which came out back when movies with political nuance were still acceptable).

Nasreen isn’t much of a character. As written, she exists to give a Amandeep a reason to be emotionally conflicted (even though he’s not), but to never get in his way. Nasreen is perpetually smiling and supportive, grateful that someone was willing to marry her despite her blindness. She’s aware that her husband keeps secrets from her but she doesn’t press him about it, despite the enormous cost she (unknowingly) pays for those secrets.

Any intrigue in the story happens at a national level. Israel is just as worried about Pakistan developing a nuclear weapon as India and has its own spies on the case. But if Israel is mistaken about where the test is happening and bombs the wrong site, India will be on the receiving end of retaliation from Pakistan. Therefore, it’s imperative that India’s spies — which include Aslam (Sharib Hashmi) and Raman Singh (Kumud Mishra) in addition to Amandeep — get the correct location. But even this crisis is handled in a cheesy manor, with imminent destruction being averted just as a countdown from ten reaches one.

Malhotra is quite hammy in Mission Majnu. He plays up his “aw shucks” simple tailor act while goading Pakistan’s generals into bragging about the nuke program, then furrowing his brow and looking concerned when they divulge useful intelligence — as though they wouldn’t notice his abrupt change in demeanor mid-conversation. When Raman Singh shaves his beard and ditches the Muslim scholar garb he’s been wearing for ten years, no one in town cares. And don’t get me started on Aslam’s ridiculous method for reaching for a phone when assassins are after him.

Mission Majnu was cobbled together from tropes and cliches we’ve seen a million times before. Give the movie about as much thought as the filmmakers did — none at all.

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Streaming Video News: January 20, 2023

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I updated my list of Bollywood movies on Netflix with today’s premiere of the new Hindi spy thriller Mission Majnu, starring Sidharth Malhotra. Earlier in the week, the Malayalam film Kaapa became available for streaming, and the Telugu movie Dhamaka becomes available tomorrow.

Netflix announced earlier this week that it secured the rights to a slate of 18 Tamil movies and 16 Telugu movies that will stream on the service after their theatrical release. Netflix has long been criticized for its heavily Hindi-focused catalog, and this is a strong statement about the company’s desire to expand its Indian offerings into other languages.

This week’s other new direct-to-streaming Hindi film is the comedy Chhatriwali on Zee5.

I’m planning to review Mission Majnu and Chhatriwali next week. Today and tomorrow, I’m catching up on movies so I can vote in the annual Online Film Critics Society awards. The winners will be announced on January 23. This year’s list of nominees contains some really, really good movies, including RRR, which is nominated in three categories.

I also updated my list of Bollywood movies on Amazon Prime with yesterday’s debut of the documentary series Cinema Marte Dum Tak, which covers cult films from the 1990s. Gunda is featured, so obviously I have to watch it at some point.

Finally, I updated my list of Bollywood movies on Hulu with the addition of the 2022 Marathi film Sarsenapati Hambirrao and the debut of Season 2 of the Telugu series Jhansi (also available in Kannada, Malayalam, Marathi, and Tamil). Hulu/Disney+Hotstar just released the trailer for the new Anil Kapoor-Aditya Roy Kapur series The Night Manager, which premieres February 17:

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Movie Review: Double XL (2022)

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0.5 Stars (out of 4)

Watch Double XL on Netflix

Double XL is a trainwreck. Good intentions can’t save a movie so utterly clueless.

Rajshri (Huma Qureshi) wants to be a sports broadcaster, and Saira (Sonakshi Sinha) aspires to be a fashion designer. Both face discrimination in their personal and professional lives for being overweight. A chance meeting convinces the two to travel to London for a week, working together to enhance their portfolios and build a lasting friendship.

It’s a simple story setup that in no way requires the forty minutes of annoying backstory that leads up to the two meeting. In fact, the setbacks that bring them together — Rajshri is denied the chance to audition for a job because of her weight, and Saira discovers her boyfriend is cheating on her with a thin woman — should have been used to introduce the main characters and establish them as underdogs.

Rather, much of the superfluous character development actually makes the characters less likeable. Both Rajshri and Saira yell at service workers or people who aren’t in decision-making roles about unfair policies, despite knowing that the person they are screaming at isn’t responsible or able to fix the situation. The solution to systemic discrimination is not bullying.

The story of Double XL feels like it was made with minimal effort and zero research. Rajshri and Saira are both 30 but act like they were frozen in time after they earned their bachelors degrees and only recently thawed out. In the intervening years, they appear to have learned nothing about career paths in their chosen fields and instead expect to be magically elevated to the top of their industries, just as soon as the powers that be can look past their weight.

For a movie about weight bias, it has very little insight to offer on the topic. When characters discuss the subject, it’s with a surface-level understanding that is belabored to death. Some problems that aren’t necessarily weight-related are made so for the sake of keeping the film on topic. The movie offers nothing new to viewers already attuned to weight bias, and it won’t do much to change to the minds of those who weren’t concerned or aware of the problem.

There’s nothing that Sinha and Qureshi — two actors I enjoy — can do performance-wise to save this film, and they get no help from the supporting cast. It’s further confounding that Qureshi co-produced Double XL and didn’t remedy its obvious shortcomings. I really wanted to like this film. I just couldn’t.

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