Streaming Video News: May 8, 2025

I updated my list of Bollywood movies on Netflix with today’s streaming debut of John Abraham’s political thriller The Diplomat. Yesterday, the streamer added the Tamil film Good Bad Ugly and the Telugu comedy Jack. All eyes are on tomorrow’s premiere of the new Hindi Original romance series The Royals, starring Ishaan Khatter and Bhumi Pednekar.

I also updated my list of Bollywood movies on Amazon Prime with today’s premiere of the Hindi series Gram Chikitsalay and yesterday’s addition of Tamannaah Bhatia’s Telugu supernatural thriller Odela 2. News broke today that the romantic comedy Bhool Chuk Maaf — starring Rajkummar Rao and Wamiqa Gabbi — is forgoing its planned May 9 theatrical release and instead premiering directly on Amazon Prime on May 16 (or the afternoon of May 15 if you’re in the United States). [Update: The movie’s release on Prime probably won’t happen as scheduled due to a lawsuit. Update 2: Bhool Chuk Maaf will get a theatrical release, but with a shorter exclusivity window. It could come to Prime as soon as June 6.]

Announcement: In light of recent events and the heightened security drills across the nation, we at Maddock Films and Amazon MGM Studios have decided to bring our family entertainer Bhool Chuk Maaf directly to your homes on May 16--only on Prime Video, worldwide. While we were eagerly looking forward to celebrating this film with you in theaters, the spirit of the nation comes first. Jai Hind.

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Movie Review: Costao (2025)

1 Star (out of 4)

Watch Costao on ZEE5

Producer Sejal Shah makes an uneasy transition to the director’s chair with her feature debut Costao. Nawazuddin Siddiqui plays a principled customs officer in a biographical drama that takes a lot for granted.

Set in the 1990s in Goa, the story follows Costao Fernandes (Siddiqui). He takes his responsibilities as a customs agent seriously, risking his own well-being to investigate tips on illegal smuggling operations.

Goa’s most notorious smuggler is a businessman and aspiring politician named D’Mello (Kishore Kumar G). Costao’s informer (played by Ravi Shankar Jaiswal) lets the officer know that D’Mello is planning to bring in a massive amount of gold without paying duties on it.

A last-minute tip finds Costao staking out the smuggling operation alone and unarmed, with no hope for backup in the pre-cell-phone era. He chases D’Mello’s younger brother Peter (Hussain Dalal) and stops him near a small village. Peter pulls a knife and stabs Costao several times before the agent accidentally kills Peter in self-defense. Bleeding, Costao shows the villagers the gold in Peter’s car trunk and tells them to call the customs office. He runs before the cops arrive, since they’re all on D’Mello’s payroll.

When Costao finally turns himself in days later — after the regional head of customs offers him protection — he’s in big trouble. The gold was gone before customs agents arrived at the scene, and D’Mello has made sure that none of the villagers will testify to having seen it. All Costao has is his word as to what happened, but he fled a crime scene. Soon enough, he’s on trial for murder.

The case on which this fictional story is based set an important legal precedent for the protection of civil servants against retaliatory prosecution. It has all the makings of a gripping courtroom thriller. Yet Shah and screenwriters Bhavesh Mandalia and Meghna Srivastava treat the trial portions of the story as an afterthought rather than the point of the film.

Instead, they focus on Costao’s personal life, painting an unflattering portrait in the process. In an effort to depict him as a man who puts his principles first, they portray him as a terrible husband and absent father. He frequently fights with his wife Maria (Priya Bapat), ignoring her pleas to think about the danger he’s put her and their three children in and the upheaval he’s caused by forcing them to move into secure housing.

As Costao’s murder trial proceeds, he’s prohibited from fieldwork and assigned to desk duty. He quickly gets bored and negotiates a transfer to Mumbai, leaving his family behind. Even when he’s eventually cleared of charges, he doesn’t return to them.

Whether or not this is accurate to the man who inspired this story, one could understand some reputation laundering by the filmmaker in this kind of movie. Yet it doesn’t seem like Shah realizes how unflattering his portrayal of Costao is. Rather, the story justifies Costao’s neglect of his family by having the officer’s daughter serve as narrator, closing the film with her praising his heroism without mentioning the price she paid for it.

If Costao is a movie about a man torn between love and duty, we need to see that. If this is about a man whose freedom is threatened by state-sanctioned corruption, we need to see that, too. What we get is a film that expects the audience to side with the civil servant because of his job title, regardless of how much of a jerk he’s portrayed to be. It’s a real disappointment.

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Movie Review: Crazxy (2025)

3 Stars (out of 4)

Watch Crazxy on Amazon Prime

It takes guts to make a movie that is essentially just a guy driving around taking phone calls for ninety minutes, but that’s what writer Girish Kohli did with his feature directorial debut Crazxy. The unconventional thriller works beautifully, until a bizarre sequence renders it mostly unwatchable. Still, you’ve gotta admire its gumption.

Tumbbad‘s Sohum Shah — who also produced Crazxy — stars as the film’s only onscreen character, surgeon Abhimanyu Sood. We meet him as he loads a duffel bag full of something into the trunk of his Range Rover in a parking garage. The gloomy lighting and stark shot-framing let us know that he’s probably not packed for a weekend getaway.

Rather than follow the cinematic trend of flashing back to days or weeks earlier, his loading the trunk is where the story begins. It concludes in about as much time as it takes to finish the film, giving the plot a sense of urgency.

Abhimanyu is on his way to drop off money to get him out of trouble, though we’re not sure what kind of trouble at first. It’s the kind of trouble that takes 5 crore rupees (nearly $600,000) to get out of, apparently. En route, he gets a call from an old man (Tinnu Anand) who claims to have kidnapped Abhimanyu’s 16-year-old daughter Vedica (Unnathi Suranaa). Abhimanyu doesn’t have much of a relationship with the girl, so he wouldn’t know where she is anyway.

We learn more about Abhimanyu through his phone calls, as he tries to figure out what’s going on. His ex-wife Bobby (Nimisha Sajayan) can barely stand to talk to him. His girlfriend (Shilpa Shukla) — whom we only know as “Jaan,” based on her contact name on Abhimanyu’s phone — figures the call is a ploy by his ex to shake him down for money. His boss “White Coat” (Piyush Mishra) is anxious that Abhimanyu will be late to his appointment to drop off the bag of cash.

Further contact with the kidnapper assures Abhimanyu that his daughter really has been taken. The man wants 5 crore rupees — exactly the amount Abhimanyu has on him.

Most movie dads would rush to their daughter’s aid without a second thought, but not Abhimanyu. He’s a good doctor and a terrible father. Before Vedica was born, tests determined that she had Down Syndrome. Bobby didn’t care, but Abhimanyu did. He wanted a “normal” child. Hence their divorce. Is he heartless enough to not save his own teenage daughter?

Shah clearly enjoys playing anti-heroes, as he previously did in Tumbbad. He makes the most of this opportunity to have the camera all to himself. One would think it would get old watching a guy driving around taking calls, but Shah brings out all of Abhimanyu’s internal conflicts and calculations while he cruises around. Top notch voice acting by all of the performers on the other end of the phone definitely makes his job easier. Catchy songs by Vishal Bhardwaj and an evocative score by Jesper Kyd set the mood.

Before we reach the climax, things get gross. I won’t spoil how or why, but I had to stop watching for about 10 minutes, only stealing occasional glances at the subtitles. Even then, I got way more than I bargained for.

This wild sequence knocks points from Crazxy‘s total score, and the ending didn’t work perfectly for me either. But I admire Kohli’s boldness. We’re unlikely to get any other Hindi movies quite like Crazxy this year, and that’s a shame. The industry needs more risk-takers.

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Movie Review: Jewel Thief – The Heist Begins (2025)

3 Stars (out of 4)

Watch Jewel Thief: The Heist Begins on Netflix

Netflix kicks off an entertaining new (potential) franchise with Jewel Thief: The Heist Begins, a fun, vibrant caper with a charming leading man.

Saif Ali Khan stars as Rehan Roy, a master thief who’s eluded Indian police for years. The cops follow him all the way to Budapest, Hungary, where he delights in giving them the slip.

Cheeky Rehan isn’t the first character we’re introduced to. That honor goes to Rajan Aulakh (Jaideep Ahlawat), a gangster-turned-art-collector who isn’t as far removed from his former profession as he purports to be. His accountant learns that the hard way when an error costs Rajan money, and the accountant meets a brutal end at his boss’s hands. It’s one of the rare instances of violence in an otherwise mostly bloodless film, but it establishes high stakes for anyone who gets involved with Rajan.

The gangster learns of an upcoming Mumbai exhibition of a rare African diamond called the Red Sun. One of the only people in the underworld who could fence something so expensive is the crime boss Moosa (Loitongbam Dorendra Singh), whom Rajan double-crossed a decade ago. Handing over the Red Sun would finally get Rajan off Moosa’s hit list, but he needs the help of an expert thief to get it.

Rehan doesn’t join forces willingly. He learns he’s been pressed into service when his estranged brother Avi (Gagan Arora, who brings intense emotion to his small role) arrives in Budapest to tell him that Rajan donated dirty money to their father’s charity hospital. Unless Rehan returns to Mumbai to steal the jewel, Rajan will report Baba (Kulbushan Kharbanda) to the authorities, destroying him and his hospital.

From this point on, we see Rehan doing what he does best: executing complicated plans that keep him one step ahead of everyone else. It starts with getting into India before top cop Vikram Patel (Kunal Kapoor) can nab him at the airport. Then Rehan, Rajan, and Rajan’s goons devise a scheme to nab the Red Sun before the museum exhibition opens. These sequences are a ton of fun, giving fans of heist movies everything they want from the genre.

Another necessary genre convention is a beautiful woman to complicate the thief’s plans. That would be Rajan’s wife, Farrah (Nikita Dutta), a painter trapped in an abusive marriage. When she lends a sympathetic ear to Rehan about his family problems, he resolves to steal her away from Rajan along with the diamond.

Having multiple subplots — not always a given in Hindi films — enriches the story and adds depth to Rehan’s character. It gives him more to explore in subsequent movies (which haven’t been officially greenlit by Netflix but are clearly planned by the film’s creator and producer Siddharth Anand).

The good news is that, should Netflix opt out of future films, this franchise could easily transition to a theatrical model because it feels like a big-budget release. International filming locations like Budapest and “Istanbul” (which at one point is represented by a shot of the Griffith Museum overlooking Los Angeles) contribute to the vibe, as do the glamorous sets and vivid color palette. It’s a very pleasing movie to look at.

Best of all is its perfect cast. Khan knows how to blend humor with sincerity, making Rehan a crook you love to root for. Kapoor and Dutta are a bit underutilized, but they do exactly what their roles need to impact the story.

Fans of Ahlawat are in for a treat. He’s menacing in a quiet, controlled way, making him all the scarier. When he unleashes upon someone, it’s quick and devastating. Ahlawat’s dancing in the disco-inspired credits song “Jaadu” grabbed attention because it’s not something he’s done much on screen, but he shows in the film’s few, highly entertaining fight scenes that he’s a skilled physical performer.

Also, kudos to Mohd. Faiz Abrar for really well-executed English subtitles. Jewel Thief: The Heist Begins has real crossover hit potential, and quality subtitles will play a big part if it takes off internationally.

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Streaming Video News: April 24, 2025

I updated my list of Bollywood movies on Amazon Prime with today’s streaming debuts of two Hindi theatrical releases: Sohum Shah’s kidnapping drama Crazxy and director Reema Kagti’s Superboys of Malegaon (which I really, really liked). Earlier this week, Prime added the Tamil film Veera Dheera Sooran – Part 2.

I also updated my list of Bollywood movies on Netflix with today’s streaming debut of the Telugu film MAD Square. The Netflix Original action flick Jewel Thief: The Heist Begins makes its world premiere on Friday. I previewed the new Hindi film for What’s on Netflix.

Here’s one final reminder that this is the last weekend to watch any of the 35 Hindi movies by UTV Motion Pictures expiring from Netflix on April 30.

Finally, I updated my list of Bollywood movies on Hulu with the streaming debut of the Malayalam film L2: Empuraan (also available in Kannada, Tamil, and Telugu). Hulu also added the 2018 Hindi horror flick 1921 earlier this week.

[Disclaimer: my Amazon links include an affiliate tag, and I may earn a commission on purchases made via those links. Thanks for helping to support this website!]

Movie Review: Mere Husband Ki Biwi (2025)

0.5 Star (out of 4)

Watch Mere Husband Ki Biwi on Hulu

The question at the heart of any love triangle movie should be “Who’s going to win?”, not “Why are they fighting over this guy?”. The women in Mere Husband Ki Biwi (“My Husband’s Woman“) would’ve been better off staying single.

The man in the middle of this unfunny comedy is Ankur (Arjun Kapoor), who has no defining character traits. Two years after his divorce from Prabhleen (Bhumi Pednekar), he still hallucinates her everywhere. Even the opportunity to have sex with a Russian stripper at a bachelor party can’t take his mind off Prabhleen.

Ankur’s long-suffering best friend Rehan (Harsh Gujral) suggests that Ankur leave Delhi and go sell real estate for his dad (played by Shakti Kapoor) in Rishikesh. There, Ankur runs into his former college classmate, Antara (Rakul Preet Singh), who’s now a physiotherapist with a passion for adventure sports. Ankur immediately falls for her, and Rehan encourages him to be open about why his marriage failed.

Based on the way Prabhleen haunts Ankur, we assume she must have been a nightmare to live with. But in Ankur’s own retelling of the relationship, he’s obviously the villain. He expected her to clean up after him, even though she worked full-time as a journalist — a job he didn’t respect, going so far as to assault her boss and getting her fired. She makes a drastic decision unilaterally, but only because she was in a time crunch and Ankur refused to speak to her.

Even in this recounting, Ankur never owns up to his role in the breakup, seeing himself as a victim only. (We’ve also seen that he’s still a slob.) Antara’s takeaway is not concerns that he’ll repeat his mistakes with her. Instead, she’s worried that he won’t be able to top the grand romantic proposal he made to Prabhleen, should he propose to her.

Ankur being messy seems somewhat trivial, but it’s symbolic of his relationships with women. In the case of his marital home with Prabhleen, he covers their beautifully decorated living room in pizza boxes and empty bottles. It smells bad and attracts pests, and (most importantly) he knows it bothers his wife. He says that their maid can clean it up the next morning (which isn’t kind, either), but he surely knows that Prabhleen won’t rest until her beautiful home is tidy once more. He reduces her to his servant not just as punishment for her working outside the home, but simply because he can.

There’s nothing wrong with working as a house cleaner, but Ankur was attracted to Prabhleen because she was ambitious and educated. Yet once he married her, he wanted her to stop being who she was and slot into the role of “one of the women who cleans up after me.” Given that Antara is just as driven and accomplished as Prabhleen, it’s almost as if he’s choosing this type of woman deliberately — another beautiful thing for him to make a mess of.

Of course, none of these gendered relationship dynamics are interrogated in Mere Husband Ki Biwi. On the day Ankur proposes to Antara, Prabhleen gets in an accident and loses the last five years of her memory. She thinks the current day is the day Ankur proposed to her. The doctors warn everyone not to tell her the truth, lest it set back her recovery. Thus everyone has to pretend that Ankur and Prabhleen are still in love until the climactic reveal.

Just kidding! Within a few minutes, Prabhleen’s dad (played by Mukesh Rishi) tells her about the divorce, and that whole plot setup is abandoned. Prabhleen decides she wants Ankur back as a do-over.

The writing and direction of Mere Husband Ki Biwi — both the fault of Mudassar Aziz — are terrible, but the English subtitle translations don’t help. I’m not sure if the subtitles included with the version of the film showing on Hulu are the theatrical originals or if they are new for streaming, but they don’t even hint at what’s supposed to be funny in much of the dialogue. For example, when Rehan questions how Ankur has managed to get two women chasing after him, he asks, “Got some magical asphalt or something?”.

Bhumi Pednekar infuses more charm into Prabhleen than the movie deserves. Dino Morea is likewise amusing as Antara’s intimidating older brother Ricky. Arjun Kapoor and Rakul Preet Singh are just there. Same goes for Mukesh Rishi and Shakti Kapoor, who get nary a Gunda reference in this Bulla-Chutiya reunion, as far as I could tell.

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Movie Review: Logout (2025)

2.5 Stars (out of 4)

Watch Logout on ZEE5

An influencer loses control of his life when he loses his phone in the tech thriller Logout.

Babil Khan plays Pratyush, better known as “Pratman” to his 9.9 million social media followers. Hitting 10 million subscribers is more than just a milestone for his comedy and lifestyle channel. It would open him up to seriously lucrative advertising contracts, which is saying something, since he already appears on billboards shilling a vegan food brand.

His slavish devotion to his phone is taking a toll on his real-life relationships, ruining his ability to focus on those in front of him as he tends to his online persona. He’s also outsourced many of the mundane duties of life to his phone, whether it’s the smart devices that control his lights, the food delivery apps through which his orders food, or the contact list where he stores phone numbers so he doesn’t have to remember them.

After a drunken night out, he wakes up and can’t find his phone. A woman contacts him using a messaging app on his computer, saying that she met a cab driver who has his phone. Pratyush foolishly gives her his phone’s password to facilitate wiring the cab driver money to return it. Only there is no cab driver. The woman — who we eventually learn is named Sakshi (Nimisha Nair) — is a super-fan of Pratman, and now she has his phone, with access to all of his accounts and private information.

Most of the film is Khan acting alone in Pratyush’s apartment, with the influencer tethered to his messenger app as Sakshi threatens to destroy his carefully curated brand and harm his family members. This is Khan’s most confident performance in his young career, and he displays great range. Nair does an equally fine job in a role that is almost exclusively voice-acted. She finds a creepy balance between sweet and menacing.

The story setup is very similar to Vikramaditya Motwane’s 2024 Netflix Original film CTRL, which saw Ananya Pandey acting mostly solo while playing an influencer who gives control of her computer to a malicious AI program. CTRL leaned more heavily into telling its story visually via screens and apps than Logout does. Logout also features a more traditional villain — one bad person taking advantage of another — whereas Pandey’s character in CTRL is victimized by a faceless corporation.

Those differences in scope and presentation give the edge to CTRL, if one had to chose between two similar films. But one does not, and Logout is an effective cautionary tale in its own right. If nothing else, it’s a reminder to put your phone down every once in a while and focus on the people most important to you. And memorize their phone numbers.

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Streaming Video News: April 17, 2025

I updated my list of Bollywood movies on Hulu with today’s streaming debut of the romantic comedy Mere Husband Ki Biwi, starring Arjun Kapoor, Bhumi Pednekar, and Rakul Preet Singh. Hulu added a couple of older movies as well: 1988’s Ram Avtar (Hindi) and 2004’s Saatchya Aat Gharat (Marathi).

I also updated my list of Bollywood movies on Amazon Prime with today’s premiere of the 8-episode Hindi horror series Khauf.

Today’s global premiere Hindi film is the ZEE5 Original tech thriller Logout, starring Babil Khan.

Finally, I updated my list of Bollywood movies on Netflix with a May 9 premiere date for the splashy Hindi romantic comedy series The Royals.

[Disclaimer: my Amazon links include an affiliate tag, and I may earn a commission on purchases made via those links. Thanks for helping to support this website!]

Movie Review: Chhorii 2 (2025)

2 Stars (out of 4)

Watch Chhorii 2 on Amazon Prime

The followup to Amazon Prime Video’s 2021 folk horror flick Chhorii (“Girl“) doesn’t quite match the quality of the original. Chhorii 2 starts strong but meanders toward an unsatisfying conclusion.

Chhorii 2 takes place seven years after the events of the first film, which saw heavily pregnant Sakshi (Nushrratt Bharuccha) escape the clutches of her husband Rajbir (Saurabh Goyal) with the help of his former wife Rani (Pallavi Ajay). The two women now live together in a city, raising Rani’s daughter Ishani (Hardika Sharma) in a home owned by police inspector Samar (Gashmeer Mahajani).

Samar recounts the events of the first film and explains what happened immediately after. Rani and Sakshi walked to the police station where Samar worked. In order to protect Rani, Sakshi confessed to murdering Rajbir and his parents. When the women led Samar to the scene of the crime, the bodies were gone. Panicked Sakshi went into early labor, and Ishita was born. Samar’s sheltered them in his family home ever since.

One night, Ishita and Rani are kidnapped and taken to the fields surrounding Rajbir’s village. Sakshi and Samar follow, but Sakshi is nabbed, too, dragged into an underground complex of rooms accessible via wells in the field. The dry wells are evidence of the drought plaguing the village — a problem tribal leader Taau (Kuldeep Sareen) believes Ishita can fix.

The village worships an entity called Pradhan Ji that lives in a room at the bottom of one of the wells. He’s alternatively described as the deity responsible for the drought and the ancestor of the residents of the village, all of whom will die if Pradhan Ji does. The mythology at work is a little unclear. Taau’s solution is to get a new wife and servant for ancient Pradhan Ji, and Ishita is chosen even though she’s only seven years old.

The task of preparing the girl for the marriage ritual falls to Pradhan Ji’s current wife, Daasi Ma (Soha Ali Khan), whose very name means “servant.” In serving Pradhan Ji, Daasi Ma gained a few magical powers, including astral projection. Of course that comes at the expense of all of the other women and girls in the village, who live in subjugation to men if they aren’t killed right after birth.

The social justice message in Chhorii 2 is just as unmistakable as it was in Chhorii, yet writer-director Vishal Furia again closes his film with statistics about child marriage in India. If viewers can’t get the moral point from a story this unambiguous, they should stick to documentaries.

Even before the stats appear on screen, Chhorii 2 ends in disappointing fashion. In order to set up a third film — which is clearly Furia’s goal, even though one hasn’t been officially announced yet — Furia eschews a true cliffhanger and instead just cuts the story off mid-scene. It feels unfinished as-is, and it will be totally unsatisfying should a third film not materialize.

Chhorii 2 has the same creepy rural aesthetic that worked so well in the original movie, and the labyrinthine underground lair is unnerving. Sakshi’s navigation of the haunted maze is the film’s strongest sequence. The story becomes less compelling when it veers away from horror and into revenge territory. There’s little catharsis to be found when battling a misogynistic culture this violent.

Bharuccha again proves herself a capable lead performer. Khan doesn’t act with the same frequency she once did, so it’s fun to see her in this chilling role as the demonic bride. Little Hardika Sharma does a nice job, too.

Furia has built a compelling world for this franchise, and he’s taking a real gamble by not giving Chhorii 2 a distinct (if slightly ambiguous) ending. Here’s hoping it pays off and he gets to finish his story.

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Streaming Video News: April 10, 2025

I updated my list of Bollywood movies on Amazon Prime with today’s world premiere of the Hindi horror flick Chhorii 2. This is a true sequel to 2021’s Chhorii, which I really enjoyed. Amazon Prime also announced an April 24 streaming debut for the great film Superboys of Malegaon.

I also updated my list of Bollywood movies on Hulu with today’s debut of Season 6 of the Hindi animated series The Legend of Hanuman (also available in Bengali, Kannada, Malayalam, Marathi, Tamil, and Telugu). Hulu randomly added the 1994 Hindi film Dulara earlier this week.

Finally, I updated my list of Bollywood movies on Netflix with a trio of newly added theatrical releases: Chhaava (Hindi), Court: State vs a Nobody (Telugu), and Perusu (Tamil).

The BIG Netflix news is that 3 dozen movies from UTV Motion Pictures are set to expire on April 30. A mass UTV exodus happened before in 2022, and while most of the films that expired returned after a month or two, some didn’t come back — and a lot of those movies aren’t streaming anywhere in the United States. If there’s something on this list that you really want to watch (or re-watch), best to prioritize it, just in case. Here’s what’s leaving Netflix at the end of this month:

[Disclaimer: my Amazon links include an affiliate tag, and I may earn a commission on purchases made via those links. Thanks for helping to support this website!]