Tag Archives: 3.5 Stars

Movie Review: Kho Gaye Hum Kahan (2023)

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3.5 Stars (out of 4)

Watch Kho Gaye Hum Kahan on Netflix

Kho Gaye Hum Kahan thoughtfully explores relationship challenges in the age of social media. Debutant writer-director Arjun Varain Singh integrates smartphones into the lives of his characters organically, emphasizing their importance without letting the tech overshadow the humans at the heart of the story.

Three Mumbai twentysomethings have been best friends forever. Imaad (Siddhant Chaturvedi) can afford to pursue his dream of being a stand-up comedian, thanks to his rich dad (played by Rahul Vohra). Corporate consultant Ahana (Ananya Panday) shares an apartment with Imaad but is dating Rohan (Rohan Gurbaxani). Personal trainer Neil (Adarsh Gourav) lives with his working-class parents and wants to open his own gym.

Their love lives are rocky. Rohan asks Ahana to take a break but immediately posts suspicious cupcake photos to his Instagram and likes posts by a beautiful baking influencer. Neil is hooking up with another influencer named Lala (Anya Singh), who’s also one of his personal training clients — although Neil is convinced their relationship is more exclusive than it is. Imaad uses a fake name to meet women on Tinder, then ghosts them after they have sex.

Imaad’s romantic fortunes change when he meets Simran (Kalki Koechlin), a photographer working on an exhibition about Tinder users. She’s older and more mature than Imaad is, yet they have enough fun together for them to consider committing to one another.

Meanwhile, Neil is increasingly angry at Lala’s refusal to make their relationship public and for her flirting with a potential advertiser. Ahana posts racy photos to her own Instagram account in order to get Rohan’s attention. It works.

The trio also decide to go into business together and make Neil’s dream of owning a gym a reality. Ahana quits her dead-end office job to focus on a business strategy, and Imaad invests the money — although his dad warns him that money isn’t the only thing that can be lost when you start a company with your friends.

While the characters’ relationship problems aren’t new, Director Singh skillfully shows how constant access to social media adds a fresh layer of complexity to them. Smartphones have only been around for an eye-blink of human history, and it’s unreasonable to expect us as a species to immediately adapt individually and culturally to the profound emotional consequences of such technological advancement. Singh’s screenplay — which was co-written with Zoya Akhtar, Reema Kagti, and Yash Sahai — offers a comprehensive snapshot of this moment in history for Generation Z.

The only real complaint about the writing is Imaad’s stand-up comedy material. Stand-up routines within movies are often uncomfortable to watch, and none of the writers are themselves comedians. That said, Imaad’s material sounds amateurish enough to befit his status as a comic who hasn’t hit it big yet. Chaturvedi does reasonably well given the challenge of performing the sometimes awkward material he’s given.

Neil is the most volatile of the main characters, and Gourav plays him within the perfect emotional range. When Neil takes revenge via social media, it reinforces the technological themes in Singh’s story.

Panday is so natural as Ahana that she disappears into the role, delivering a subtle and wholly believable performance. This should erase any doubts for those still skeptical of Panday’s abilities.

Kho Gaye Hum Kahan puts a modern spin on the classic problems of young adulthood. I’m excited to see what Arjun Varian Singh does next.

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Movie Review: Pippa (2023)

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3.5 Stars (out of 4)

Watch Pippa on Amazon Prime

Pippa is a welcome counterpoint to the many mediocre war films Bollywood has churned out in recent years. This adaptation of the autobiographical book The Burning Chaffees by Brigadier Balram Singh Mehta balances family drama with well-shot battle scenes.

At first, Pippa seems like Top Gun with tanks. Set during the run-up to India’s war with Pakistan in late 1971, Balli Mehta (Ishaan Khatter, playing the book’s author) is his squad’s best leader, but he’s a bit of a maverick. While training on a new Russian amphibious tank nicknamed the Pippa, Balli ignores commands to return to shore, pushing his crew and their tank into deep water. Men and machine survive unharmed, and Balli celebrates by wooing a pretty Russian translator in the film’s only — and very entertaining — dance number, “Main Parwaana.”

One thing to notice in “Main Parwaana” is how long many of the shots are and how few edits are used to piece the finished number together. That’s only possible because Khatter and Leysan Karimova (who plays the translator) are such talented dancers, but it’s a technique director Raja Krishna Menon reuses later in the film to make for some gripping action sequences.

Despite the story’s early focus on Balli, Pippa isn’t about a singular hero, but about where he fits among his fellow soldiers and within his military family. Balli’s father died in combat decades earlier. Balli’s upright older brother Ram (Priyanshu Painyuli) followed Dad’s career path and enlisted Balli against his will. Their sister Radha (Mrunal Thakur) is in medical school, where her interest in cryptography catches the eye of India’s secretive Communications Analysis Wing.

All three siblings play their part in the war, with Ram assigned to go undercover with freedom fighters in East Pakistan (now Bangladesh) and Radha deciphering coded messages from West Pakistan. After a brief punishment for his tank stunt, Balli is sent to the front, where he hopes to reunite with his brother and repair their contentious relationship. Being able to jump from one sibling’s vantage on the war to another gives a comprehensive view that connects the narrative in a natural way.

Khatter has the most to do in the film, and he’s more than capable as the story’s fulcrum. But terrific, focused performances by Thakur and Painyuli are essential to Pippa‘s success. The rest of the supporting cast is also quite good, including Chandrachoor Rai and Anuj Singh Duhan as Balli’s comrades Chiefy and Speedy, respectively.

Pippa has some great period details, including Radha’s killer wardrobe. Best of all are the tanks themselves. The way they roll slowly, menacingly over the terrain while belching clouds of dark grey exhaust makes one appreciate filmmakers who utilize physical props, not just computer generated effects. Scores of extras enhance the movie’s realism.

After all, the ultimate point of Menon’s story is to showcase the effects that war has on people. The characters state explicitly that this conflict is not just about one country versus another — the reductive way many directors have framed their movies about the 1971 war in recent years — but rather a war against tyranny. The suffering of the people of East Pakistan is centered, with Indian soldiers seeing themselves as agents to alleviate that suffering. Balli’s mother (played by Soni Razdan) reminds him that they were refugees after Partition, too, and seeing the dire state of the refugees on his way to the front helps him become the responsible leader he needs to be. It’s a refreshing, humanizing perspective.

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Movie Review: Jawan (2023)

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3.5 Stars (out of 4)

When successful Tamil-film director Atlee decided to make his first Hindi movie, he went straight to the top of the Bollywood food chain and nabbed Shah Rukh Khan as his star. The resultant action-fest Jawan (“Soldier“) is a novel treat for fans of Hindi cinema.

Jawan‘s gorgeously shot introductory sequence sets the tone for the film. A man’s body floats down a river near a village along India’s border with China. He’s so severely injured that the local healer wraps him entirely in bandages, like a mummy. Months later, as the man lays comatose, Chinese troops stage a nighttime raid on the village, brutally slaughtering men, women, and children. As the healer prays to god to send them aid, the man (Shah Rukh Khan) awakens and kills all the Chinese troops.

From this sequence, we learn that this is intended to be a larger-than-life story not strictly grounded in realism. It’s also very bloody and violent. It introduces recurring themes like government indifference to the suffering of its citizens and a subsequent need for vigilante justice.

The story jumps thirty years into the future as a band of six women and another man whose head is wrapped in bandages (also Khan) hijack a Mumbai Metro train. One of the passengers is the daughter of crooked businessman Kalee Gaikwad (Vijay Sethupathi), and the hijackers demand a large ransom from him. They use that money to pay the debts of 700,000 impoverished farmers, earning the respect of both the hijacked passengers and the general public.

The hijackers escape and return to their hideout: a women’s prison where the now-unbandaged man, Azad, is the warden. Because of its zero recidivism rate and emphasis on social welfare projects, Azad and the inmates win an international award. Cue a prison dance number!

If all this seems wild, well, it is. A ton of stuff happens across multiple timelines featuring a huge cast of characters. And I haven’t even touched on Azad’s matchmaking subplot, the cop Narmada (Nayanthara) who’s out to nab the hijackers, and an extended flashback starring Deepika Padukone.

Yet because of the terms laid out in Jawan‘s opening, none of this seems “too much.” Or maybe it’s “too much” in a good way. All these plot points are punctuated by exciting fights and chase scenes and a number of entertaining dance numbers. Atlee puts the pedal to the floor at the beginning and never lets up. There isn’t a boring moment in Jawan.

[Side note: I watched the “Extended Cut” of Jawan on Netflix, which is only one minute longer than the version released in theaters, as far as I can tell. The story is so dense as is that it doesn’t feel like it needs anything else, except for perhaps more backstory for all of Azad’s accomplices.]

Khan is thoroughly enjoyable in his multiple avatars and looks like he’s having fun while treating the material sincerely. Nayanthara and the women in Azad’s crew — including Sanya Malhotra — give nice performances in their supporting roles.

Padukone’s extended cameo appearance is a delightful surprise. Hers is the film’s most emotional subplot, and it’s enhanced not just by her steady acting but by some terrific music as well.

If there’s a weak point in Jawan, it’s Sethupathi’s turn as the villain. Sethupathi seems distant from the material and doesn’t make Kalee Gaikwad as menacing an adversary as Azad and company deserve.

But Jawan is bigger than any individual performance. It’s understandable that regular lead performers like Malhotra and Sunil Grover (who plays Narmada’s assistant Irani) would be willing to take small supporting roles to participate in such an epic story. Atlee and Shah Rukh Khan swung for the fences and hit a home run with Jawan.

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Movie Review: Ponniyin Selvan – Part 1 & Part 2 (2023)

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3.5 Stars (out of 4)

This is a review of the Tamil versions of Ponniyin Selvan: Part 1 and Ponniyin Selvan: Part 2, both available on Amazon Prime.

Mani Ratnam’s two-part historical epic Ponniyin Selvan is a stunner. The adaptation of Kalki Krishnamoorthy’s novel is full of tremendous performances and an absolute delight to look at.

Since I waited to watch Ponniyin Selvan: Part 1 until Part 2 was also available on streaming — and because both films are of similar quality — I’m reviewing the two of them together.

The Chola Dynasty rules over South India in the 10th century, but a blazing red comet in the sky portends calamity. While Aditha (Vikram) — crown prince and eldest son of Emperor Sundara Chozhar (Prakash Raj) — expands the empire via military campaigns, other noble families plot treason. They aim to use Madhurantaka’s (Ramesh) legitimate claims to the throne to install him as the new emperor, but only after killing Aditha, Sundara Chozhar, and his younger son Arulmozhi (Jayam Ravi), who is nicknamed Ponniyin Selvan.

Aditha suspects there’s funny business afoot, so he sends his comrade Vallavaraiyan Vandiyadevan (Karthi) to gather information and pass it along to the emperor and to Aditha’s politically savvy sister, Kundavai (Trisha). The first half of the first film is mostly a road trip adventure, with Vandiyadevan getting into trouble alongside his new pal Nambi (Jayaram), a pot-bellied holy man. The two make for a very funny duo, but Vandiyadevan is the real star of the films. Karthi plays him with a mischievous twinkle in his eye and an irresistible charm. He pledges his undying devotion to every pretty woman he meets (and there are a lot of them), and they all take him into their confidence anyway. He’s a terrific character played perfectly.

One of the beautiful women he meets is Nandini (Aishwarya Rai Bachchan), whom Nambi knew when she was a young temple servant. When Nandini and Aditha were teenagers, they fell in love, but his family disapproved and she was driven out. Years later, Aditha ignored her pleas to spare the life of the man who took her in, driving a permanent wedge between the former lovers. Vandiyadevan agrees to act as messenger for her as well, even though her loyalties are initially unclear.

With so many characters — many of whom have additional nicknames, titles, and family affiliations — it is hard to keep track of everyone and their relations to one another. There were a few things I didn’t understand until seeing the Part 1 recap that starts Part 2. The source material is dense enough that this could’ve easily been a television series, so some confusion is perhaps unavoidable. Still, it made it a little hard for me to get fully into the story until well into the second film.

That said, Ratnam gives viewers more than enough to keep them hooked. Ponniyin Selvan is stunning to look at, with the director using the natural environment to compose shots of incredible beauty. He also knows how to make his already very good-looking cast look exceptionally good-looking at all times. Many of Rai Bachchan’s scenes take place in dim, candlelit rooms, yet her face is always bathed in an angelic glow.

Rai Bachchan’s reserved but emotionally expressive performance is the perfect counterpoint to Vikram’s intensity. He plays Aditha like a tiger in a cage, pacing back and forth and ready to lash out. Vikram displays some impressive horsemanship in a couple of scenes where he circles a vanquished foe on horseback or guides his mount in tight loops, essentially having the animal do the pacing for him.

That’s an example of another thing that Ponniyin Selvan does well — so much of the world is created from real, tangible things. Living things like horses, elephants, and hundreds of extras, and real objects like bamboo scaffolding for characters to run on and hats decorated with dozens of peacock feathers. The tangible stuff is so good that it makes the instances of CGI stand out as such (at least on a television screen).

For all the excitement of battle sequences, chase scenes, and musical numbers, the most memorable parts of the films are the quieter moments filmed at smaller scale. For me, the absolute best scene in either film is a meeting of the emperor’s three children. Aditha punctuates his conversation with his brother and sister by pulling Kundavai and Arulmozhi in for hugs, with the actors perfectly hitting their marks so as to not block each other’s faces in the shot. It’s a very precise kind of choreography that allows the audience to experience the emotions of the scene to its fullest. Even in a movies as large-scale as Ponniyin Selvan: Part 1 and Part 2, the details make all the difference.

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Movie Review: Tarla (2023)

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3.5 Stars (out of 4)

Watch Tarla on Zee5

A new biopic about late celebrity chef Tarla Dalal offers meaningful insight into the important role food plays in family life and what it means to be a truly supportive partner.

Dalal’s story begins when Tarla (Huma Qureshi) is a college student. She wants to make something of herself, but she’s not sure what. Her parents’ insistence that she get married threatens to close the door on her undefined ambitions, but her groom-to-be, Nalin (Sharib Hashmi), promises to support her whenever she finds her passion.

Twelve happily married years and three kids later, Tarla remembers the dreams she once had for herself, though she’s no closer to figuring out how to make her mark on the world. Inspiration finally comes when — in a very funny sequence — pure vegetarian Tarla drops off lunch for Nalin at work, only to spot him in the company canteen gorging on the mutton another coworker brought from home. Horrified, Tarla decides to cook vegetables in the sauces traditionally reserved for meat dishes. Chicken 65 becomes Gobi 65, a cauliflower dish. Nalin is suitably impressed and gives up his secret carnivorous ways.

Word of Tarla’s vegetarian innovations spread throughout her apartment complex, and soon she’s teaching her speedy, tasty recipes to all the young women of marriageable age. Though the girls’ moms see the lessons as a way to boost to their daughters’ marital prospects, Tarla sees it as a means for the girls to secure themselves as much freedom and as many opportunities as they can. All the women understand that many aspects of their lives will require their husband’s permission (it is the early 1970s, after all), and knowing how to cook demonstrates responsibility. As a bonus, making tasty food keeps husbands and in-laws in a good mood. Tarla jokingly calls one of her dishes, “The recipe to let you wear jeans after marriage.”

Besides, even a single girl has to eat, so why not learn how to make delicious food for oneself?

Nalin recognizes his wife’s talent as a chef and a teacher. When his factory shuts down, he uses his free time to type up Tarla’s recipes, turning them into a cookbook that the couple self-publishes. The book eventually takes off, and a culinary star is born.

The movie gets to a point where things almost feel too easy. Tarla and Nalin are both kind people we want to see succeed, but every story needs some uncertainty. This is where things get especially interesting. With Tarla focused on starting a TV show, things begin to fall apart at home, even though Nalin is not working and they employ a maid and a cook. The characters have a realization about the way in which household management and the emotional labor it entails is too often considered woman’s work, even by a husband as otherwise progressive as Nalin.

Tarla explores aspects of gender roles that are nuanced and often ignored in mainstream Hindi films in favor of generic “all mothers are superheroes” pablum (looking at you, Mrs. Undercover). Filmmaker Piyush Gupta trusts his audience to get the message without dumbing it down.

Qureshi and Hashmi do a lovely job portraying two caring people who want one another to be happy while sometimes struggling to define happiness for themselves. Their performances are endearing and convey the qualities that must have drawn audiences to Tarla’s TV show in real life. Gupta’s film about the late celebrity chef is thoughtful and thoroughly enjoyable.

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Movie Review: Lust Stories 2 (2023)

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3.5 Stars (out of 4)

Watch Lust Stories 2 on Netflix

The Netflix Original anthology Lust Stories 2 gives viewers four more short films by four new directors, marking the first movie in the anthology series — which includes Bombay Talkies, Lust Stories, and Ghost Stories — not to include works by directors Karan Johar, Zoya Akhtar, Anurag Kashyap, or Dibakar Banerjee. The sequel is a fitting entry in the series, with quick-hitting, powerful stories from directors with interesting viewpoints on the subject of lust. The new collection has no weak points and features some top-tier performances.

Here are brief reviews of each of the short films:

R. Balki – “Made for Each Other”

The collection eases viewers in with the very enjoyable “Made for Each Other.” Arjun (Angad Bedi) and Veda (Mrunal Thakur) seem to be, as the title suggests, made for each other. They’re both fantastic looking, they have similar ambitions and interests, and their dads are longtime friends. The only person who puts a pause on their wedding plans is Veda’s grandmother (played by Neena Gupta), who bluntly asks the couple in front of their parents if they’ve had sex yet, and if it was any good. As embarrassing as it is for everyone, Grandma prompts the couple to consider what it would be like to spend the next several decades with someone they were conjugally incompatible with. Thakur is especially cute in this, and her scenes with Gupta are a highlight.

Konkona Sen Sharma – “The Mirror”

Konkona Sen Sharma’s contribution is easily the most complex of the short stories, starting out lighthearted and taking on added depth as it proceeds. Like “Made for Each Other,” “The Mirror” centers its story around women’s sexual desires. Graphic designer Isheeta (Tillotama Shome) returns home early from work to find her maid Seema (Amruta Subhash) having sex with a man in Isheeta’s bed. Though she’s able to sneak out undetected, the initial awkwardness is nothing compared with what’s to come. The short film could’ve been a few minutes shorter, but Shome and Subhash are just terrific.

Sujoy Ghosh – “Sex with Ex”

Kahaani fans will not be surprised that director Sujoy Ghosh’s “Sex with Ex” is a bit mysterious. CEO Vijay (Vijay Varma) must cut a visit to his mistress short when he’s summoned to an urgent company meeting. While driving back, he watches her strip over a video call and crashes his car near a small village. There he spots a familiar woman, Shanti (Tamannaah Bhatia) — but Shanti disappeared ten years ago. “Sex with Ex” has an unusual visual style that takes some getting used to, but it works for the vibe Ghosh is trying to set. His story pacing is so good that “Sex with Ex” goes by in a flash, yet it feels precisely as long as it needs to be.

Amit Ravindernath Sharma – “Tilchatta”

The anthology ends with the darkest of the stories. Viewers who don’t want to watch a segment that features sexual assault can bail out at this point. Kajol plays Devyani, wife of Suraj (Kumud Mishra), who is letting his ancestral estate fall into ruin because pride won’t let him sell it — and because it would deprive him of the ability to impose his will on everyone around him. All Devyani wants is to secure a better future for their son, Ankur (Zeeshan Nadaf), away from a place that’s decaying, morally and physically. Kajol is heartbreaking as the suffering wife, and Mishra is absolutely chilling as the drunken, abusive husband.

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Movie Review: Polite Society (2023)

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3.5 Stars (out of 4)

Buy Polite Society at Amazon

Polite Society is a raucous good time. Stories about sisterhood should always have this much martial arts action.

British high school student Ria Khan (Priya Kansara) knows what she wants to be in life: a stuntwoman. She records her moves for her YouTube channel, shouting, “I am the fury!” in her garden while her older sister Lena (Ritu Arya) holds the camera.

Lena’s future isn’t so clear. She dropped out of art school, and now she mopes around in bed until Ria literally drags her out of it.

The girls’ parents Fatima (Shobu Kapoor) and Raff (Jeff Mirza) are supportive of their oddball daughters, but the pressure from their Pakistani-British social circle is mounting. There are only so many ways to deflect thinly-veiled insults.

It’s a surprise when the middle class Khans are invited to an Eid celebration at the mansion of one of the wealthiest women in the group, Raheela Shah (Nimra Bucha). It’s even more of a surprise to Ria when Lena chats with Raheela’s handsome doctor son Salim (Akshay Khanna) and actually appears to be enjoying herself.

Ria is convinced that there’s something suspicious about the Shahs. Why else would Salim and his mom take an interest in artsy Lena? Ria enlists her hilarious friends/sidekicks Alba (Ella Bruccoleri) and Clara (Seraphina Beh) to find dirt on Salim, but their spying only drives a wedge between the sisters. Is it so wrong for Lena to be happy receiving attention from a rich hunk who’s looking to settle down?

Polite Society has so much going for it that it’s hard to know where to begin. What is undeniable is Priya Kansara’s magnetism as Ria. Her performance commands attention and rewards it with an absolute star-making turn. She’s funny, snarky, and charismatic, and a total pro at the action sequences as well.

The martial arts fight scenes in Polite Society are terrific, smoothly integrated into the plot but surprising all the same. Though the fights are used for comic effect, they are totally hardcore — a delightful subversion of gender tropes given that the fights take place mostly between women in women’s spaces (a girls high school, a widow’s mansion, Ria’s bedroom, etc.).

Ritu Arya’s Lena is quite the fighter, too, as is Nimra Bucha as Raheela. Fresh off her turn as the villain in the Disney+ series Ms. Marvel, Bucha is proving to be the go-to intimidating South Asian mom of the moment. Arya plays off of Kansara beautifully, making the sisters’ relationship feel familiar and believable.

The Khan parents provide the moral center of the film in a subtle way. In contrast with Raheela’s eagerness to find a bride for Salim, the Khans are content to let their girls find their own way. While they are aware that marriage and family are a potential path to stability (and one that would make it easier for Fatima to socialize with the other moms), they aren’t pushy about it. Fatima encourages Lena to date Salim because it seems to make Lena happy. As long as the girls aren’t getting into serious trouble, their happiness is all that matters to their parents.

Filmmaker Nida Manzoor’s fresh screenplay and direction deftly mix social commentary with a lot of laughs — and plenty of flying kicks. Polite Society is a top-class effort from a young filmmaker to watch.

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Movie Review: Joyland (2022)

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3.5 Stars (out of 4)

Rent or buy Joyland at Amazon

A seemingly content family in Lahore disintegrates when they fall back into patriarchal patterns in the film Joyland — an ironic title if there ever was one.

Haider (Ali Junejo) and his wife Mumtaz (Rasti Farooq) live with his elderly father (Salmaan Peerzada), Haider’s older brother Saleem (Sameer Sohail), Saleem’s wife Nucchi (Sarwat Gilani), and their four young daughters. Mumtaz is a talented makeup artist who works outside the home, while Haider cooks and helps with his nieces. It’s a slightly unconventional setup for this otherwise traditional family, but it works.

Everything changes when Haider’s friend finds him a job. Running the household is too much for Nucchi to manage alone, so Father decides that Mumtaz will quit her job and stay home. Mumtaz’s objections are ignored, and Haider is too timid to stand up to his dad.

The thing is, Haider’s new job isn’t exactly “respectable.” He’s a backup dancer in an erotic dance theater. He tells his dad that he’s the theater manager, but he’s honest with Mumtaz about what he does.

What Haider fails to tell his wife is that he’s infatuated with the starlet he dances behind — a transgender woman named Biba (Alina Khan). It’s not just that Biba is beautiful, but she has all of the self-respect and willpower that Haider lacks. She’s learned how to stand up for herself because no one else will. Her confidence — coupled with the freedom Haider experiences upon being liberated from his oppressive house — inspires him to act more boldly than he ever has, including starting an affair with Biba.

The fallout from Haider taking his new job is a mess of isolation, secrecy, conservative gender expectations, and unmet sexual needs for multiple members of the family. Trapped in the house, Mumtaz becomes all but invisible to everyone, including Haider. She goes through the motions of being excited when she finds out she’s pregnant with a boy — all of the accolades for said feat go to Haider — but she longs to escape.

No one in the family is happy, even with the household operating exactly the way Father wants it to. Rigid adherence to expectations makes everyone miserable when it requires erasing individual identities to do meet them. Biba is unique in asserting her own identity, but it comes at an enormous cost to her as well.

Saim Sadiq’s writing and directing of his first feature film are excellent, as is Joyland‘s talented cast. All the women in the ensemble are terrific at eliciting sympathy for their characters, particularly Rasti Farooq as Mumtaz. Ali Junejo’s job has an extra challenge because Haider is legitimately frustrating at times, but he’s a man ill-equipped to live as his authentic self within the confines of his family. No matter how exasperating his behavior, the root of everyone’s problems is a strict set of social norms that punishes individuality for no discernible benefit.

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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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Movie Review: Monica, O My Darling (2022)

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3.5 Stars (out of 4)

Watch Monica, O My Darling on Netflix

Sometimes, getting everything you ever wanted just isn’t worth it. Monica, O My Darling — based on mystery author Keigo Higashino’s story “Burûtasu No Shinzou” — explores the dangers that lurk at the top of the socioeconomic ladder.

Jay (Rajkummar Rao) worked his way up from nothing to become an engineer. He’s just been named to the board of directors of Unicorn Robotics, and he’s engaged to Niki (Akansha Ranjan Kapoor), the bubbly daughter of Unicorn’s founder and CEO.

Jay’s also about to lose everything thanks to an affair with the CEO’s assistant, Monica (Huma Qureshi). She tells Jay she’s pregnant with his baby, which she wants to keep. She’ll happily stay quiet about it so long as he pays her.

Jay considers confessing his infidelity to Niki. But when Niki relays a story about a man who cheated on her cousin and says her family will likely kill him or send him to jail, Jay believes her and says nothing.

The thing about Jay is, he’s ambitious but not ruthless. Not in the way rich people are. Not in the way his jealous future brother-in-law Nishi (Sikander Kher) is.

Nishi arranges a meeting with Jay and Arvind (Bagavathi Perumal) — the company’s head of accounting — at a seedy motel. (Special kudos to whoever is responsible for the delightfully bizarre animal art on the walls of the motel.) Apparently, Monica has told all three men that they are the father of her baby and demanded money from each of them. Nishi’s solution is to kill Monica and have Jay and Arvind dispose of the body. If they’re all involved, then none of them will rat on the others. There’s no way regular guys like Jay and Arvind would come up with something so dastardly on their own.

Of course, there are hiccups in the plan’s execution. People die, and Jay falls under suspicion from an unusual detective, ACP Naidu (Radhika Apte).

The tone of Monica, O My Darling isn’t that of a straightforward mystery, but it’s not as colorful and brash as another Netflix Original comic thriller, Ludo. Director Vasan Bala strikes a balance where the film feels simultaneously realistic and unrealistic. The audience is aware they’re watching a film — in particular in scenes when a frame appears around the edges of the screen to mimic the shape of an old TV console and the men imagine Monica scheming like a movie villain — but the stakes feel high nonetheless.

Perhaps the best example of this is in the film’s fight scenes. There are only a few fights in Monica, O My Darling, but they are the movie’s most emotionally impactful sequences. The fight choreography is loose to the point that it appears at first like the actors are just goofing around. As the fight drags on, the gravity of the situation builds and becomes oppressive.

The casting in Monica, O My Darling is outstanding. Rao is the perfect normal guy and Qureshi an ideal vamp. Perumal provides great comic relief. Sukant Goel is creepy as Gaurya — a childhood acquaintance of Jay who wants to be more important than he is. Kher and Apte chew through their scenery like a couple of sharks. They are so fun to watch.

The mystery driving the story forward is compelling, but the payoff is a little unsatisfying. It doesn’t meet Aristotle’s standard of “surprising yet inevitable.” Nevertheless, Monica, O My Darling is an engrossing film with a killer soundtrack. It’s a wonderful followup to Bala’s previous feature film: the excellent karate movie Mard Ko Dard Nahi Hota (“The Man Who Feels No Pain.”)

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