Tag Archives: Hindi Movies on Zee5

Streaming Video News: November 9, 2023

I updated my list of Bollywood movies on Amazon Prime with today’s world premiere of the Hindi war drama Pippa, starring Ishaan Khatter and Mrunal Thakur. Amazon also added the Tamil film Pulikkuthi Pandi today.

While Tiger 3 gets ready to hit theaters this weekend, its eventual streaming home is Amazon Prime, likely sometime in January.

After a forgettable theatrical run, the Abhishek Bachchan-Saiyami Kher cricket drama Ghoomer debuted today on Zee5.

I also updated my list of Bollywood movies on Hulu with today’s debut of the Tamil series Label (available in Bengali, Hindi, Kannada, Malayalam, Marathi, and Telugu as well). The first three episodes are streaming now, with new episodes coming every Friday.

Finally, I updated my list of Bollywood movies on Netflix with the addition of the Tamil film Irugapatru. Netflix also released the official trailer for The Archies, which launches December 7. It looks really cute:

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Streaming Video News: October 5, 2023

I updated my list of Bollywood movies Netflix with today’s premiere of director Vishal Bhardwaj’s spy film Khufiya, starring Tabu and Ali Fazal. Yesterday marked the streaming debut of the Telugu movie Miss Shetty Mr Polishetty. The Akshay Kumar-Pankaj Tripathi comedy OMG 2 comes to Netflix on October 7 (though it’s the censored version, unfortunately).

There are some Netflix expiration dates to keep aware of. Sanju departs the service on October 15, followed by Baadshaho (which is not great) and Mr. Chandramouli on October 17.

Besides OMG 2, the other new Independence Day theatrical release to hit streaming this weekend is Sunny Deol’s Gadar 2, which debuted today on Zee5.

I also updated my list of Bollywood movies on Amazon Prime with today’s premiere of Mumbai Diaries Season 2.

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Streaming Video News: September 7, 2023

I updated my list of Bollywood movies on Amazon Prime with the streaming debut of Superstar Rajinikanth’s film Jailer. Multiple language versions are available in the movie’s audio menu.

I also updated my list of Bollywood movies on Netflix with a September 14 streaming release date for the Telugu film Ramabanam.

Yesterday, Zee5 premiered the revenge drama Haddi, starring Nawazuddin Siddiqui. I watched about 40 minutes of it, but I found the story muddled and decided not to finish it.

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Movie Review: Tarla (2023)

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: Sirf Ek Bandaa Kaafi Hai (2023)

2.5 Stars (out of 4)

Watch Sirf Ek Bandaa Kaafi Hai on Zee5
Buy the soundtrack at Amazon

Though we may not consciously be aware of it, legal dramas often rely on shorthand that is readily understood by people who live within the legal system depicted, but which may not be so accessible to people who live outside it. That’s not a flaw of these works of fiction, but an acknowledgement that they may work better for some audiences than others.

That’s my issue with Sirf Ek Bandaa Kaafi Hai (referred to by its nickname Bandaa henceforth). Manoj Bajpayee gives another sterling performance, but the story is a little confusing to those who don’t understand the legal terms and references used in the film.

Set in 2013 in Jodhpur, the courtroom drama focuses on a case in which a powerful spiritual leader is accused of molesting a 16-year-old girl. The date of the crime is significant because it happens a year after the passing of the Protection of Children from Sexual Offenses Act, commonly known by the acronym POCSO. The Act widened the ranged of prosecutable offenses that could fall under the umbrella of abuse from a previously narrow definition with lots of loopholes.

With the law being relatively new — and with such an influential, well-funded defendant — the girl’s family needs an attorney who understands POCSO law and is impervious to bribery. That man is P. C. Solanki (Manoj Bajpayee). Despite threats to him and his family and devious legal tactics from the opposition, Solanki persists in pursuing justice for the wronged girl.

Bandaa is a straightforward courtroom drama that focuses on the procedural details of the case. It’s an interesting introduction to the Indian legal system. But without full context, the stakes don’t feel as high as they might to someone more familiar with the system. There is a lot of wrangling over properly-filed paperwork and charges that, while effective in showing Solanki’s ability to think on the fly, isn’t in itself especially riveting.

Most problematic is the fact that the characters use the acronym POCSO from very early in the story, but it’s not explained until almost 45 minutes in. Thanks to Bandaa being a streaming-exclusive release, I was able to pause the film and look up the acronym on Wikipedia. It was convenient, but not conducive to getting immersed in the flow of the story.

Again, this will likely not be a problem for the majority of the intended audience, who are already familiar with the Indian legal system. However, based on my own level of familiarity, it prevented an obstacle to my full investment.

Manoj Bajpayee is wonderful as Solanki. The easy way in which he thwarts his opponents inside the courtroom is offset by the vigilance he must maintain outside of it due to the defendant’s dangerous followers.

As much fun as it is to watch Bajpayee command the screen, the girl at the center of the case — Nu (Adrija Sinha) — deserves a more prominent place in the story. Little time is spent on her struggles, not just with the dangers of pursuing the court case but the emotional fallout from the assault. She shows up periodically so that Solanki can tell her to be strong — which is a harder task than the film makes it seem.

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Streaming Video News: April 14, 2023

I updated my list of Bollywood movies on Netflix because the Kartik Aaryan/Kriti Sanon-starrer Shehzada is now available for streaming, as is the Tamil film Kannai Nambathey.

I also updated my list of Bollywood movies on Amazon Prime because all episodes of Season 1 of the Hindi series Jubilee are now streaming, as is the Kannada film Kabzaa.

Lastly, the comic thriller Mrs. Undercover — starring Radhika Apte — debuted yesterday on Zee5.

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Movie Review: Operation Fryday (2023)

Zero Stars (out of 4)

Watch Operation Fryday on Zee5

It took more than a decade for Operation Fryday (also known as “Shooter“) to get a release, premiering with little fanfare on the streaming service Zee5. A decade wasn’t long enough.

Certainly, many of the film’s problems stem from this long time on the shelf. Actors moved on and were unavailable for re-shoots or overdubs, meaning the story had to be cobbled together from whatever footage was already shot. But I’m not sure Operation Fryday could ever have been a good movie.

I’ll give a broad overview of the story, because the details are incomprehensible. Ghulam (Randeep Hooda) works as an informant for a reckless cop named Sada Nair (Suniel Shetty), but he also kills people on behalf of a couple of warring mafia dons. When Ghulam’s brother is murdered as a result of Ghulam’s double dealing, Ghulam turns off his humanity becomes a merciless gun for hire.

One of Ghulam’s employers, Firaz (Zakir Hussain), decides that the mercenary is expendable and tries to blow him up. Ghulam’s buddy dies along with hundreds of innocent people. Overwhelmed with guilt, Ghulam slinks back to Sada Nair and offers to undertake a patriotic suicide revenge mission to find Firaz in his terrorist hideout in Pakistan.

My plot summary makes way more sense than how the story is presented. There are a bunch of random goons who shout a lot, and hundreds of people die meaningless deaths. By his own count, Ghulam kills at least 180 people — and that’s before he tosses grenades into a room full of women, children, and old folks.

As disjointed and morally hollow as the plot is, the rest of the movie isn’t any better. The whole thing looks like garbage. There are no transitions between scenes. The color palette is washed-out. Actors are back-lit or in shadows, and that’s when there aren’t objects obscuring their faces. Shaky handheld camera shots don’t look naturalistic, only unprofessional, especially since the camera is shoved in too close on the performers even in expansive outdoor shots.

Operation Fryday looks like a Ram Gopal Varma film shot on a Birdemic budget. So, it comes as no surprise that writer-director Vishram Sawant’s first movie, D, was written and produced by RGV. As an homage to his mentor, Sawant even shoots his actors from a camera positioned under a glass coffee table in one scene.

Without question, the most jarring thing about Operation Fryday is that Randeep Hooda’s voice is dubbed by an actor with a much higher-pitched voice (I think Zakir Hussain is dubbed, too). Hooda’s real voice can be heard in a couple of recorded voiceovers, but when he’s onscreen, it’s someone else speaking. Not just speaking, but making drawn out exhalations, groans, and even a “pit-TOO” sound like a cartoon cowboy spitting.

It’s kind of a shame, since Hooda fully commits to his performance. I don’t know that hearing his actual voice could have saved the movie, but it would’ve made thing less weird — and less weird would go a long way in a movie as totally (and unintentionally) weird as this.

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Movie Review: Lost (2023)

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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Streaming Video News: January 20, 2023

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: Blurr (2022)

2.5 Stars (out of 4)

Watch Blurr on Zee5

Blurr — a remake of the 2010 Spanish movie Julia’s Eyes — is like two movies in one. The first half is a compelling thriller about a married couple at odds with each other about how to deal with a family tragedy. The second half is an inadequately-set-up horror film.

Gayatri (Taapsee Pannu) gasps for breath as she wakes from a nightmare about her identical twin sister, Gautami (also Pannu). She convinces her reluctant husband Neel (Gulshan Devaiah) to drive to the forest cabin where Gautami lives to check on her. There, they find Gautami’s body hanging from a noose in the attic.

The police are eager to close the case on Gautami’s apparent suicide, but Gayatri sensed in her dream that her sister wasn’t alone when she died. Gautami hated rap music, but her stereo blasts it out at full volume when turned on. Gayatri heard the whining sound of a camera flash in her dream — a sound she hears again in the house and around town as she and Neel decide their next steps.

Gayatri’s relationship with Neel is the most interesting part of Blurr. He acts sketchy, but he’s also right that maybe Gayatri doesn’t want to accept the obvious. After all, Gautami had been blind for the last year, the result of a degenerative eye condition that Gayatri also has. Given that the condition is exacerbated by stress, Neel’s worried about his wife’s health. Pannu and Devaiah have a terrific chemistry whether their characters are fighting or reminiscing about the good times. They make a great on-screen duo.

Eventually, Neel’s fears come true, and Gayatri is forced to undergo emergency surgery to restore her sight. She must keep her eyes bandaged for two full weeks in order for them to properly heal. Instead of recovering in the hospital, Gayatri insists on returning to her sister’s house.

This is purely a plot convenience to endanger Gayatri, but it makes little sense given her state of mind to this point. Before the surgery, she was convinced that the unknown person she believes killed her sister was following her and was able to enter her house at night. Staying in a fully staffed hospital is obviously safer, so her insistence on recuperating at home is absurd.

Gayatri’s loss of eyesight dovetails with the film’s theme of social invisibility. Multiple characters mention feeling as though people look past them — a cue to the audience to pay attention to characters on the periphery of the story. But writer-director Ajay Bahl is so stingy with clues that invested viewers will not find their diligence rewarded. The film’s last act is more of a survival horror story than it is a mystery.

Even though the second half of Blurr is a letdown, it’s generally an engaging and watchable thriller. Yet the biggest mystery of all is not what happened to Gautami, but why the killer needs a darkroom to develop Polaroid photos.

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