Movie Reviews

Josh Safdie’s Marty Supreme is not your typical sports movie. Forget the traditional underdog stories where the hero wins and everyone goes home happy. This is a gritty, high-energy, and often hilarious look at the world of professional table tennis in the 1950s. It feels less like a sports drama and more like a high-stakes heist movie, where the "score" is a world championship trophy and a sense of self-worth that is always just out of reach.

The film belongs entirely to Timothée Chalamet, who gives a performance that is leagues away from his usual brooding or romantic roles. As Marty Mauser, he is a fast-talking, sharp-witted hustler who views table tennis as a battleground. Chalamet plays him with a restless, almost frantic energy, he’s a man who can’t sit still because he’s always thinking three moves ahead. Whether he is selling shoes in his uncle's shop or gambling in smoky New York clubs, his confidence is his currency. He is arrogant, often unlikable, and deeply flawed, but you cannot take your eyes off him.

The supporting cast is just as impressive. Gwyneth Paltrow is excellent as Kay Stone, a sophisticated socialite who enters a transactional and complex relationship with Marty. Her cool, measured performance acts as a perfect foil to Chalamet’s heat. Tyler, The Creator also makes a surprising and effective appearance as Marty’s partner-in-hustling, proving he has a natural screen presence that fits the Safdie aesthetic perfectly.

Director Josh Safdie brings his signature "anxiety-inducing" style to the mid-century setting. The cinematography by Darius Khondji is stunning, using tight close-ups and a grainy, golden palette that makes 1950s New York feel alive and dangerous. The sound design and the synth-heavy score create a constant hum of tension, making a simple game of ping-pong feel as intense as a shootout. The film moves at a breakneck pace, dragging you across the globe from New York to London and Japan, reflecting Marty's own inability to stay grounded.

Why 3.8 stars? While the film is a technical masterpiece and a performance tour de force, the narrative can feel a bit repetitive in the middle act. Marty’s "sociopathic" tendencies mean that it’s sometimes hard to find an emotional anchor in the story. However, as a character study of American ambition and the "grindset" culture of the 1950s, it is brilliant. It is a solid, high-quality watch that respects the audience's intelligence and offers a unique, stylish take on the sports genre.

Following the sheer brilliance of Bhoothakaalam and Bramayugam, director Rahul Sadasivan has returned to complete what many are calling his unofficial "Horror Trilogy." Dies Irae (Latin for "Day of Wrath") is a sleek, modern descent into madness that trades the crumbling walls of old houses for the cold, minimalist lines of high-end architecture. While it doesn't quite reach the psychological heights of his previous works, it remains a formidable entry in Indian horror.

The Setup

The film follows Rohan (Pranav Mohanlal), a privileged architect whose life begins to unravel after he pockets a small keepsake, a hair clip, from the room of a former classmate who recently committed suicide. What follows is a relentless haunting that turns his sprawling, glass-walled mansion into a trap. Pranav Mohanlal delivers arguably his most grounded performance to date. He effectively portrays a man stripped of his "urban cool" and reduced to a state of primal, shivering fear.

The Technical Brilliance

Technically, Dies Irae is flawless. Shehnad Jalal’s cinematography is a masterclass in using light and shadow. He manages to make broad daylight feel more threatening than a dark alley. The sound design by Jayadevan Chakkadath and the jarring, visceral score by Christo Xavier are the real stars here. Every creak, every jingling of a chilanka (anklet), and every "glitch" in the environment is designed to keep the audience’s heart rate at an uncomfortable high.

Why the 3.3?

While the first half is a masterclass in slow-burn tension, the script falters slightly in the second act. The transition from a mysterious psychological haunt to a more tangible, "in-your-face" thriller feels a bit traditional compared to Sadasivan’s earlier, more ambiguous narratives. Some of the plot beats involving the "stalker spirit" feel a tad familiar, and the pacing dips slightly before the explosive climax. The ending, while chilling, leaves several threads dangling that may frustrate viewers looking for a concrete resolution.

Final Verdict

Dies Irae is a must-watch for horror aficionados, purely for its "making" and atmospheric dread. It’s an immersive theatrical experience that proves Rahul Sadasivan is currently the best in the business when it comes to scaring an audience with pure craft.

In a cinematic landscape often dominated by gritty realism or high-octane action, Sarvam Maya arrives like a gentle, cool breeze on a summer afternoon. Directed by Akhil Sathyan, this film is less of a "ghost story" and more of a heartwarming exploration of human connections, closure, and the magic of the everyday. It is a quintessential feel-good entertainer that manages to be both poignant and light-hearted.

The Return of the Vintage Nivin

The biggest win for the film is undoubtedly Nivin Pauly. After a hiatus from his "boy-next-door" roles, Nivin is back in his element as Prabhendu, an atheist guitarist forced by circumstances to moonlight as a priest. His comic timing, especially in the scenes shared with Aju Varghese, is impeccable. It’s a joy to see him embrace a character that is vulnerable, slightly cynical, yet deeply empathetic.

A Ghost with a Heart

The film’s central conceit involves Delulu (Riya Shibu), a Gen Z ghost who begins tailing Prabhendu. Riya Shibu is a revelation in her debut; she plays the "spirit" with such infectious energy and "pookie" charm that you quickly forget she’s supposed to be supernatural. The chemistry between the skeptic priest and the preachy ghost forms the emotional spine of the movie. Their bond isn't about jump scares; it's about two lost souls helping each other find peace.

Technical Harmony

Visually, the film is stunning. Sharan Velayudhan’s cinematography captures the lush, green landscapes of Kerala with a warmth that complements the story’s "cozy" vibe. Justin Prabhakaran’s soulful score adds the perfect layer of gravitas, particularly during the more emotional stretches of the second half.

Final Verdict

While the film is slightly long at nearly 150 minutes and follows a somewhat predictable "Sathyan Anthikad-esque" template, its earnestness is hard to resist. The climax might feel a bit rushed for some, but the emotional payoff, focusing on closure and moving forward, is handled with great maturity. Sarvam Maya is a comforting hug of a movie that reminds us that while life may be an illusion (Maya), the love we share is very real.

After the massive success of Minnal Murali, the bar for Malayalam superhero films was set sky-high. Lokah: Chapter 1 Chandra doesn’t just meet that bar; it builds an entirely new skyscraper next to it. Directed by Dominic Arun, this isn't your typical "cape and cowl" story. It is a moody, neon-soaked fusion of Kerala folklore and contemporary urban fantasy that feels incredibly fresh.

The Vision & World-Building

Set in a fictionalized, almost dystopian version of Bengaluru, the film follows Chandra (Kalyani Priyadarshan), a reclusive woman with a mysterious past. The world-building is the real star here. Cinematographer Nimish Ravi uses a stunning palette of electric blues and deep reds that make the city feel like a character in its own right. The way the script integrates the legend of Kalliyankattu Neeli into a modern setting is genius, it feels culturally rooted rather than a lazy copy of Western tropes.

Performances

Kalyani Priyadarshan delivers a career-best performance. She plays Chandra with a stoic, measured intensity, letting her physicality do most of the talking during the sleek action sequences. On the flip side, Naslen provides the much-needed soul and humor. His chemistry with Chandu Salimkumar offers some great "everyman" perspective to the supernatural chaos unfolding around them. Special mention to Sandy, who portrays a truly vile antagonist without over-acting, making the stakes feel personal and gritty.

Technical Brilliance

The BGM by Jakes Bejoy is hauntingly good, especially during the high-octane interval block which features some of the best stunt choreography (thanks to Yannick Ben) I’ve seen in Indian cinema lately. The VFX, despite a modest budget, is handled with restraint and artistic flair.

Wait for the post-credits - they are absolute game-changers!

After a string of larger-than-life "mass" avatars that felt increasingly detached from reality, Thudarum brings back the version of Mohanlal that many of us have been yearning for: the grounded, vulnerable everyday man. Directed by Tharun Moorthy (Operation Java, Saudi Vellakka), the film is a curious hybrid, a heartwarming family drama that sharply pivots into a dark, primal revenge thriller.

The Setup & Atmosphere

The film opens with a beautifully lived-in atmosphere in the hilly terrains of Ranni. We meet Shanmughan (aka Benz), a taxi driver whose life revolves around his family and his pristine vintage Ambassador. The first hour is absolute gold for those who miss the "old Lalettan." His chemistry with Shobana is effortless and nostalgic; they don't need heavy dialogue to convey a decade of marriage, a simple glance or a playful bicker does the job.

The Shift in Gear

The narrative tension begins to simmer when Benz's car is seized by the police under suspicious circumstances. What starts as a common man’s struggle against a bureaucratic hurdle slowly unearths a much more sinister undercurrent involving local law enforcement. Prakash Varma, making a notable mark as the antagonist, plays the corrupt CI with a chilling, quiet menace that acts as a perfect foil to Mohanlal’s gradual transformation from a jovial father to a man possessed by grief.

Final Verdict

Thudarum is a significant step up from the actor's recent filmography. It’s not as intellectually tight as Drishyam, but it’s emotionally heavier and far more visceral. It’s a reminder that when given a script with soul, Mohanlal can still hold a frame better than anyone else.

Kantara: A Legend Chapter-1 blows the original out of the water in every single aspect, it's like Rishab Shetty took all the magic from the first film and cranked it up to eleven, creating something that's not just a sequel but a full-blown epic. From the get-go, the first half hooks you with its grounded storytelling, weaving in cultural depth and emotional layers that feel so real and heartfelt, drawing you into the world of folklore and tradition without ever feeling forced. But man, it's the second half that really explodes, pure adrenaline, packed with those spine-tingling, goosebump-worthy moments that had me gripping my seat, cheering inwardly as the action and drama unfold in waves of intensity. The interval block is a game-changer, building suspense that carries right into the post-interval scenes, and the climax? Absolute fire, it's crafted with such precision and passion that it leaves you in awe, replaying those epic sequences in your head long after the lights come up. All of this is thanks to Rishab Shetty, the guy who's wearing multiple hats here as actor, director, and visionary, and he absolutely crushes it; his performance is raw and commanding, channeling a fierce energy that makes his character unforgettable, while his direction keeps everything tight, immersive, and visually stunning. Shoutout to the cinematography too, those sweeping shots of lush forests, intense rituals, and high-stakes confrontations are breathtaking, capturing the essence of the story's mythical roots with a gritty realism that pulls you in. And let's not forget Ajaneesh Loknath's background score; the man's a wizard, delivering BGM that's nothing short of phenomenal, thundering drums during the action peaks, haunting melodies in the quieter, reflective bits, all syncing perfectly to amp up the emotions and make every scene hit harder. It's the kind of music that sticks with you, elevating the whole experience to another level, just like he did in the first one but even better here. Overall, Kantara Chapter-1 isn't just living up to the massive hype; it's shattering it, proving to be a true cinematic gem that blends heart-pounding thrills, cultural pride, and storytelling mastery into something extraordinary. If you're a fan of Indian cinema or just love a good blockbuster with soul, do yourself a favor and catch this on the big screen, it's an experience you won't forget, one that reminds you why movies can feel like pure magic.

Aditya Dhar's Dhurandhar is the kind of spy thriller that grabs you right from the opening scene and doesn't let go until the credits roll, leaving you breathless and reflective. As someone who's seen plenty of action flicks, this one stands out for its raw intensity, blending high-stakes espionage with the heartbreaking reality of the 26/11 Mumbai attacks in a way that feels both respectful and unflinching. Dhar directs with a sharp eye for detail, using real locations like the bustling streets of Mumbai and tense border outposts to ground the story in authenticity, you can almost feel the chaos and urgency seeping through the screen. The cast is a powerhouse, elevating every moment; Ranveer Singh brings a fiery, charismatic energy to his role as the determined operative, channeling raw emotion and grit that makes his character's journey hit hard, while Akshaye Khanna delivers a chilling, nuanced performance as the shadowy antagonist, his subtle menace stealing scenes without overdoing it. The supporting actors hold their own too, adding layers to the ensemble that make the film feel alive and real. What really ties it all together is the music and background score by Shashwat Sachdev, who crafts these pulsating rhythms and haunting melodies that perfectly mirror the film's pulse, think tense, building synths during the covert ops that ramp up your heartbeat, or those somber, string-heavy tracks underscoring the tragedy of the attacks, evoking a deep sense of loss and resolve without ever feeling manipulative. Sachdev's work here builds on his previous successes, like in Uri, but feels even more evolved, seamlessly weaving patriotic anthems with gritty, modern beats that amplify the brutality and heroism on display. It's brutal stuff, the violence is graphic, the dialogues between handlers crackle with tension, showing the cold calculations behind terror, and it's not for everyone, especially if you're squeamish. But for those who can handle it, Dhurandhar is a gut-punch of a movie that honors the real events while spinning a gripping tale of revenge and resilience. I'm already counting down to Part 2; this one's got me hooked.