Naslen Gafoor‘s Vineeth Madhavan in Mollywood Times is obsessive, and his pursuit is to become the greatest horror filmmaker Malayalam cinema has ever produced. Like many dreamers, he manifests it. A salt-of-the-earth individual, he believes everything will work out positively and that the people around him are supportive, until he discovers for himself the ruthlessness of reality.

Mollywood Times, the sophomore feature of Abhinav Sunder Nayak, follows Vineeth Madhavan’s quest for greatness. We first encounter Vineeth as a child who has little interest in studies but possesses a compelling gift for storytelling.

After a life-altering movie experience, Vineeth decides that his destiny is to become a horror filmmaker. He has his role model in M. Night Shyamalan. If a man born in a relatively obscure part of Kerala can make it to Hollywood, why can’t Vineeth do the same?

But as Vineeth’s father puts it, there is no Hollywood here – only Mollywood. To appeal to the hidden centres of power in the industry, Vineeth must fight vested interests, shed his idealism, navigate treacherous waters filled with fair-weather friends, and swallow some hard truths.

With a runtime of nearly three hours, Mollywood Times maintains a chapter-like narrative structure. The story progresses linearly, which helps build anticipation. The tone is one of cynical comedy.

Naslen delivers a decent performance in the first half, with his controlled delivery and natural goofiness contributing to the film’s slow build-up. In the second half, however, the film strays away from what made it engaging. What follows is a barrage of subplots, excessive exposition, unnecessary swear words, flashbacks, lazy animations, voice-overs, and ordinary performances. Some comedic moments fail to land due to poor placement or a lack of emotional weight.

The weak screenplay is largely to blame for the film’s poor second half. Most of the plot developments become clunky and cumbersome, often flying over the audience’s head. Perhaps because the story feels too personal – almost as though it happened to the filmmaker himself – it struggles to translate effectively into visual storytelling.

Naslen manages to keep his performance on track for most of the film, though there are moments where he feels surprisingly ordinary. There are a few notable cameos, but none justify the time and significance the script assigns to them. Beyond that, there are few truly memorable characters in the film.

The editing is serviceable and occasionally engaging in the first half. In the latter half, however, it becomes more of a showcase of technique than a storytelling tool, doing the film no favours. The music, too, is at times overwhelmingly loud.

Dubbed a “hate letter” to Malayalam cinema, Mollywood Times had all the ingredients to become a serious challenge to the industry’s entrenched systems. However, through its own undoing, the film crumbles midway, leaving the audience with a lingering question: what exactly is Vineeth Madhavan obsessed with? Is it really cinema?

‘Mollywood Times’ Review: Naslen Plays an Obsessive Dreamer in an Uneven Showbiz Critique

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So, going back to Skeletor, only this time he’s played by Jared Leto, his evil plan to conquer Eternia, the home planet of Prince Adam/He-Man (Nicholas Galitzine), succeeds right from the start during the opening prologue. It certainly echoes the similar high-stakes opening of the 1987 version, even though Travis Knight’s redo spends some time investing in the introduction of Adam when he is just a child (Artie Wilkinson-Hunt) learning how to fight under the guidance of Duncan a.k.a. Man-At-Arms (Idris Elba).

Knight, who is no stranger to handling a popular IP as seen in his entertainingly nostalgic Transformers spin-off, Bumblebee, delivers an assured direction during the prologue, detailing how little Adam is still a playful child who has yet to realize his true potential before everything falls apart when Skeletor and his minions invade Eternia. I can’t help but notice that the prologue follows the Superman origin template, but only to a certain extent; notably, Adam is safely sent away to Earth with the Sword of Power, an all-important magical blade that serves as a signal for returning to Eternia someday.

Of course, things don’t go as planned as the Sword of Power somehow separates from Adam during his journey to Earth. We learn that Adam has since spent the last 15 years living in Oklahoma City with his roommate, Hussein (Christian Vunipola), and working a stagnant desk job in the human resources department. He cares more about locating his missing sword through internet search and online forums than doing what most people would do.

Knight doesn’t repeat the same mistake of setting his story predominantly earthbound like the 1987 version, despite the latter not having much of a choice for doing so due to budgetary constraints. In other words, it doesn’t take long before Adam finally finds his sword, and trouble arrives, leading to a subsequent action-packed stretch in a flyover after one of Skeletor’s top right-hand men, Beast Man (voiced by Gary Martin), attempts to snatch the sword from Adam. Long story short, Adam’s childhood friend, Teela (Camila Mendes), shows up just in time to save him, and together, they travel back to Eternia on a spaceship. 

Now, by returning to Eternia, one would expect it to be an epic hero’s journey, where Adam would embrace his destiny as both warrior and savior to defeat Skeletor and his minions, especially after he wields the sword. This is where the movie starts to test my patience. Growing up watching the ‘80s animated series, I’m aware of its generally campy tone, and I’m glad Knight embraces it as such in his live-action reboot. For a while there, the self-aware humor works, and Galitzine’s game performance as a fish-out-of-water character mixes with the kind of comical energy seen in James Gunn’s Guardians of the Galaxy trilogy and Taika Waititi’s Thor movies.

But here lies the problem: Knight, who directed a screenplay written by Chris Butler, the Nee brothers (Aaron and Adam), and David Callaham, made an ill-advised choice by going overboard with the whole jokey affair. To the point that even after Adam has the power and morphs into a muscular warrior dressed in a leather loincloth, he doesn’t come across as heroic as he should be. He looks more like a nerd cosplaying a He-Man look, which in turn dilutes the supposedly escalating stakes once he starts battling against Skeletor and his minions.

The second act gets clunky as the story progresses, making the bloated 141-minute running time feel like it desperately needs some tightening to flush out some of the excesses. The movie barely recovers, save for the supporting cast, with credits particularly going to both Leto and Alison Brie’s knowingly scenery-chewing respective portrayals as Skeletor and Evil-Lyn, Mendes’s feisty turn as Teela and Elba’s no-nonsense Duncan/Man-At-Arms, with the frequent stop-start momentum that grows increasingly unfunny, while the attempt on the emotional beats in some scenes fails to hit the right note.

Then comes the third act — an inevitable showdown between He-Man and Skeletor that, instead of a battle worth waiting for, turns out to be strangely anticlimactic. Masters of the Universe ends with a mid-credits stinger because why not, since there are more stories to tell. But judging from what I saw in this reboot, it’s more of a missed opportunity than a potential franchise starter.

‘Masters of the Universe’ Review: Travis Knight’s Big-Budget Redo Gets Overly Juvenile for its Own Good

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If you’re a fan of the Backrooms on a small screen, you’ll certainly enjoy the locations big screen debut – quite frankly, it’s never been creepier. With excellent use of empty space, everyday objects that have something slightly off about them and an endless sea of rooms that just seem to go on forever, there’s something quietly unsettling about the films location. Quite often within horror, less is more, and the team behind Backrooms understand this. Most of the horror comes from spotting something out of the corner of your eye, whether it be a strange movement or a face emerging from a pile of clothes. Each scare is perfectly crafted, with some being so subtle you may not have even spotted them the first time around. The production design here is stellar; no room is the same as the last, and even the wallpaper itself becomes a vessel for scares once you spend long enough trapped alongside the characters. It’s brought to life from the internet short flawlessly. There are lengthy stretches of the run-time solely featuring a character slowly wandering around the various rooms, with nothing going on in the way of dialogue or scares, that affect the pacing a little. As we have two characters that wind up in the backrooms on separate occasions, it also has a repetitive feel. However, this does not completely detract from the horror, and some viewers may be grateful for the pause.

Backrooms is at its most effective from a horror perspective when it enters found footage mode. These moments are sparse, but add a level of kinetic energy with its shaky cam that adds an extra layer to the film. The camera moving from left to right sends a shiver down your spine as you’re scared to see what may appear – there’s a sequence around the middle of the film that showcases some of the strongest found footage horror in recent memory. The 90’s setting is perfect for a movie such as this, as the lack of technology and analog vibe adds to the immersive feel. The score from Edo van Breeman is great, not only adding to the retro tone but heightening the horror tenfold. When all elements are spliced together, a very unsettling and unnerving film is born. Sure, there are a few jump scares and elements of horror imagery that lose their fear factor once they’re fully shown, but the majority of the horror lands well.

The dedicated cast really bring this story to life, showing commitment to the strangeness of it all that ultimately makes it work. In the lead role of Clark is Chiwetel Ejiofor, playing a character we quickly learn doesn’t have much of a life outside of his furniture store. Recently splitting from his wife and only having his work colleagues to interact with, he’s the perfect victim of the no-clip, a vulnerable individual needing something more. Starring opposite as his therapist Mary is Renate Reinsve, playing another character who hasn’t had an easy go of it. She may seem put together as she coaches others on how to live their lives, but her own brain is filtered with bad memories of a sheltered childhood with her mentally ill mother. The psychologist and patient dynamic between the pair is really interesting, and their dialogue-fuelled therapy sessions are almost as gripping as the horror sequences due to their excellent delivery. When it comes to the scares, both players are more than up to the task, showcasing a high level of fear factor and excellent emotion. Working well both separately and together, Reinsve and Ejiofor turn in fantastic work.

Any film that’s based on a short has viewers worried that the feature-length treatment may not be effective, especially when filmmaking teams are prone to adding in unnecessary plot points and themes to bulk it out when this is the case. Whilst Backrooms is an effective horror film with an intriguing plot, the weakest part does happen to be the narrative. Neither of our main characters are particularly fleshed out outside of their traumas, and any supporting character that is featured feels like they’ve only been included to spur the plot forward. The movie is more concerned with delivering psychological discourse than it is fleshing out the characters or explaining what the Backrooms really is, which may leave some viewers underwhelmed or even confused. We do get  some sort of explanation during the final act, but this may not be enough for some, and comes a little too late. The attempts at story are on the weaker side, once again signifying that less is more. Viewers signed up for a journey through a liminal space – it didn’t need much else outside of that, as long as the scares were there.

Doubters of 20-year-old Kane Parsons’ ability to direct a feature film have certainly been proven wrong, as the level of filmmaking on display is great. With fantastic production design, expertly crafted horror and two noteworthy leading performances, it’s a triumph for Parsons and another win for A24. The narrative is quite weak and the slow approach is occasionally grating, but this doesn’t prevent Backrooms from being commendable and effectively eerie.

‘Backrooms’ Review: Liminal Space Has Never Been Scarier

3.5

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That farmer is Georgekutty, played by Mohanlal, and he is a man willing to go to any extent to protect his family, even if it means eliminating an “uninvited guest” who also happens to be the son of a powerful cop and burying the evidence.

In Drishyam 3, Mohanlal reprises the role of Georgekutty, but the elements required to make this a worthy third instalment barely come together. Much of the blame lies with a mediocre script seemingly written solely to turn the film into a thriller.

The film opens with monochrome footage recapping the previous two instalments, reminding us of where the story currently stands. Much like the earlier films, Georgekutty and his family are slowly easing back into normal life after years of turmoil. But, as expected, danger creeps in once again. Georgekutty is forced to confront it, act swiftly, and protect his family.

In the present timeline, Georgekutty is a successful movie producer. Drawing from the turbulent events of his personal life, he produces a film that becomes a box-office success. Yet beneath the appearance of normalcy, there are visible cracks within the family. Georgekutty is battling his inner demons while trying to maintain a calm exterior for his loved ones. His role as provider and protector becomes even more demanding as he now has to oversee his elder daughter’s marriage.

A significant portion of the film revolves around this marriage subplot. Characters enter and exit frequently, creating the impression that the narrative is running in circles without much else to explore. The first half moves at a glacial pace while setting up the story. Several characters are introduced, but none manage to generate much excitement. The second half shifts more decisively into thriller territory, complete with character revelations and an elaborate conspiracy. 

However, very little of it feels convincing or does justice to the franchise’s legacy. The developments feel hurried, forced, and at times overly clever for their own good. In typical Drishyam fashion, one character even explains the entire scheme in detail, effectively spoon-feeding the audience. Yet neither the twists nor the turns are gripping enough to create genuine intrigue.

Mohanlal does his best to salvage the film. His performance as Georgekutty feels effortless and natural, especially during quieter, everyday interactions. Even in emotionally heavy scenes, where he seemed to struggle in some of his recent outings such as L2: Empuraan and Patriot, Mohanlal delivers with conviction. Meena is also effective as the conservative Christian homemaker. Her scenes with Mohanlal occasionally recreate the warmth and chemistry of the first Drishyam film, although Jeethu Joseph tends to overuse these moments, making some conversations feel repetitive and forced after a point. Esther Anil has a solid outing, as does Ansiba Hassan. Murali Gopy reprises his role as a senior cop and gives a solid performance. Meanwhile, the film’s central antagonist is poorly written, reduced to clichéd expressions and menacing stares. The background score is another weak point. At times it becomes deafening or excessively melodramatic, evoking the feel of a television soap opera. The cinematography, too, lacks inventiveness. Most shots are functional and straightforward, with very little visual flair.

Drishyam 3 is easily the weakest film in the franchise. With such a mediocre thriller script, this would have been an average outing for Jeethu Joseph under any circumstance. What makes it somewhat watchable is Mohanlal’s performance, which once again proves that his grounded, everyday Malayali characters remain far more compelling than his larger-than-life personas.

Jeethu Joseph also teases another possible instalment – a trend increasingly common in Malayalam cinema these days. But judging purely from the trajectory of this film, that may not be the wisest decision. Perhaps it is finally time to let Georgekutty and his family live in peace.

‘Drishyam 3’ Review: Mohanlal’s Georgekutty Fights Inner Demons Amid an Elaborate Conspiracy

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When Lucasfilm was planning to make a big-screen version, I barely cared. That undeniable sense of anticipation typically associated with the release of a new Star Wars movie is now replaced by a muted feeling, making me wonder if The Mandalorian and Grogu is going to be another cinematic disappointment. The good news is that it isn’t as bad as the somewhat underwhelming trailers that I have come across so far. Besides, you gotta give it to Jon Favreau for starting his movie with a bang: a riveting, action-packed prologue focusing on Mando (Pedro Pascal) infiltrating the base of an Imperial warlord from the Galactic Empire and taking down an army of Snowtroopers… in style.

Imagine Clint Eastwood’s The Man with No Name crossed with the physical agility of John Wick as Mando shoots lasers and fires with pinpoint accuracy, even showcasing his impressive martial arts moves in close-quarter combat. It gets better from there, escalating to the encounter with the towering AT-AT walkers on the side of a snowy cliff, with cinematographer David Klein, who is no stranger to lensing several Star Wars series episodes such as The Mandalorian and The Book of Boba Fett, maintaining consistently dynamic camerawork that feels immersive on IMAX.

No doubt The Mandalorian and Grogu is off to a promising start, before Favreau, who also co-wrote the screenplay with Dave Filoni and Noah Kloor, continues getting down to business with the main plot: A new mission where Colonel Ward from the New Republic, played by Sigourney Weaver in a casually authoritative turn, requires Mando to track down the long-missing Imperial remnant named Commander Coin. If you are familiar with the storytelling beats revolving around the titular bounty hunter from the series, the movie offers a similar vibe, albeit a longer duration and a bigger budget at Favreau’s disposal.

Mando soon finds himself needing to rescue Rotta the Hutt (voiced by Jeremy Allen White), the son of deceased Jabba the Hutt, after a meeting with the Hutt twins in exchange for information. Unlike his late, sadistic and tyrannical father, Rotta the Hutt is given a significant character arc as Favreau grounded him with a surprising mix of emotional vulnerability and a heart-of-gold empathy behind his imposingly giant exterior.

And kudos to Allen, who does a good job of voicing his character with enough grit and soul. His character’s presence also contributed to an added odd-couple dynamic with Mando, the kind of two polar opposites – one is rebellious and assertive, and the other is bound by his by-the-book stoicism — straight out of the buddy-comedy tropes. The whole Mando and Rotta the Hutt conflict even extends to a few high-stakes moments, one of which includes The French Connection-like chase along the busy streets, complete with a tense you-are-there POV shot.

Not to worry, though, as Favreau still retains the mentor-and-protégé/father-and-son-like chemistry between Mando and Grogu as the main focal point. The only thing I wish Favreau would go the extra length to evolve this titular duo beyond what we have already seen in the three seasons of the series. The second half is a mixed bag, and at one point, there’s a curiously lengthy sequence focusing mainly on Grogu that could have used a tighter edit, making the movie’s 132 minutes feel like it overstretches for its own good.

The movie does pick up the pace, even though the otherwise frenetic third act suffers from a few uneven CGI, but the special effects team still deserves praise for their amazing creature design (the giant albino Dragonsnake comes to mind) and the stop-motion animation technique used for the battle-equipped droid characters, Arges and Bullethead.

‘The Mandalorian and Grogu’ Review: Jon Favreau Embraces the Old-School Fun in an Otherwise Predictable Star Wars Movie

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Interestingly, the story is mostly told from the point of view of lawyer Rachel Wild (Eiza González), complete with her recurring voiceover narration that elaborates how she uses her legal expertise to work out a complicated deal. A deal that revolves around retrieving a billion-dollar fortune stolen by a ruthless despot, Manny Salazar (Carlos Bardem), to be exact. Power players like Salazar are no pushovers, especially given his criminal influence in owning a private army of mercenaries and even the local police force on his payroll. That’s where Sid (Henry Cavill) and Bronco (Jake Gyllenhaal) come in, two field operatives in charge of protecting their employer, Rachel, at all costs.

Ritchie, who also wrote the screenplay, actually has a straightforward premise: broker a deal, and if it fails to reach a mutual agreement between Rachel and Salazar, it’s up to Sid and Bronco, along with the rest of the team (among them played by Kojo Attah and Jason Wong), to get things done using their extraction strategy to save Rachel. It’s the details that elevate the movie, even if it turns out to be surprisingly talky rather than a traditional action thriller. This may come across as a disappointment for those who are expecting In the Grey to be an action-packed ride.

But somehow, it works in Ritchie’s favor, thanks to his overall assured pacing in navigating the dialogue-heavy story with enough intrigue, and above all, dramatic urgency. I like how he lays out the foundation and expands Rachel’s deal that coordinates with Sid and Bronco’s strategic plan through multiple phases. Ritchie even lets loose by incorporating stylized on-screen texts within the moving frame that makes us feel like we are part of the interactive cinematic experience, which in turn gives his movie a sense of go-for-broke energy.

There’s one particular phase that intrigues me the most: an extended set-piece revolving around Sid and Bronco mapping out their plan with the team, like orchestrating a heist, from making sure every possible exit route to immobilize the enemy, and setting up a booby trap. Backed by Chris Benstead’s riveting score, the music plays a vital part in giving the movie a pulsating, race-against-time rhythm.

It also helps that Cavill and Gyllenhaal, both actors who worked with Ritchie in the past, share an easygoing on-screen dynamic as if their characters have been working together for a long time, even when the movie doesn’t elaborate on that. The magic lies in their chemistry and personalities: Cavill’s Sid is leaning more toward a methodical yet composed type of expert, who contrasts well with Gyllenhaal’s Bronco’s sardonic wit and no-nonsense grit. Given these two characters’ loyalty and affection towards Rachel, I’m surprised that Ritchie doesn’t go into the familiar route of a possible love triangle.

But since the movie clocks in just 98 minutes, it was actually a good move not to take a detour off the main plot in favor of a romance subplot. Instead, Ritchie is more interested in zeroing in on the whole deal and the extraction plan, while the committed cast keeps the movie watchable. And when it finally hits the third act, the payoff is worth the wait as Ritchie’s penchant for practical yet grounded action set pieces is put to good use, highlighting Sid and Bronco’s tactical aspect of their extraction strategy from gunfights to vehicular chases. The action is crisply edited to ensure sufficient visual clarity, with none of the annoyingly shaky-cam aesthetic.

Not everything works in Ritchie’s latest movie; namely, the casting of Carlos Bardem as the main antagonist doesn’t look as intimidating as I would expect from such a character. Eiza González may have the poise of playing an authoritative strategist of a lawyer, who has everything under control, but her rather one-note acting style leaves little room for drawing out emotions, despite the movie showcasing her vulnerability in some scenes.

‘In the Grey’ Review: Guy Ritchie’s Latest Movie Packs the Charismatic Energy of Henry Cavill and Jake Gyllenhaal

3.5

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When their vehicle breaks down in the mountains, three friends — Sreemoi, Sam and Beersha — seek shelter in the remote Shiv Shakti Lodge, believing it to be a temporary refuge. Presided over by its enigmatic caretakers, Ved and Malki, the lodge gradually reveals itself as more than a roadside sanctuary, as other travellers arrive and pause there before continuing their passage into Bayoul which is a divine realm of spiritual liberation. As time unfolds, the three friends begin to uncover the lodge’s unsettling mysteries and the strange behaviour of its guardians. What begins as shelter soon becomes a confrontation with an inescapable reality, forcing them to hold on desperately to what remains of lives already gone before they can surrender to truth and make peace with their fate.

In its first few minutes, Bayaar gives the impression of being a cabin-in-the-woods horror film, unfolding within the familiar design of isolation, mystery and impending dread. But as the narrative progresses, it reveals far more metaphysical ambitions. As buried sins, regrets and unresolved truths begin to surface, each character is forced to confront the illusions that once sustained them. Yet the narrative is ultimately concerned less with external terror than with the paralysis of self-consciousness itself. It presents existence as a kind of living death, where one is imprisoned by the ceaseless anxiety of judgment by others, by oneself, and by the past that cannot be revised. The film’s spiritual dimension emerges not through transcendence alone, but through its unsettling recognition that redemption may lie less in rewriting one’s history than in confronting the futility of that desire. Here the burden of existence is not simply to live, but to endure the unbearable weight of evaluation in a state where change itself may no longer be possible.

Set against the vast, forbidding expanse of the Himalayan mountains, Bayaar uses its setting not merely as atmosphere but as a profound existential device. Removed from the speed, noise and moral distractions of urban life, the characters are placed in a landscape of seclusion that strips them of the identities and comforts they have long relied upon. The mountains, with their austere grandeur and indifferent permanence, create a space where civilisation’s reassuring structures fall away, leaving the three friends suspended in an isolation that is at once physical, psychological and spiritual. In this remote terrain, they are forced to confront the fault lines in their lives, the buried guilt, self-deceptions and unresolved wounds that the routines of ordinary existence often allow one to suppress. The natural world here does not offer solace so much as exposure. Its silence becomes accusatory, compelling introspection; its vastness renders human evasions insignificant. What emerges is a setting that functions almost as a purgatorial threshold, severing the characters from urbanity in order to examine who they are beneath the social performances they inhabit. The isolation also reinforces the film’s larger spiritual inquiry, where redemption may require a radical detachment from the familiar frameworks through which one has justified one’s life. In confronting the enormity of both nature and mortality, the characters are not simply surviving a secluded ordeal, but undergoing a reckoning with the fragile narratives they have constructed about themselves. The mountains thus become a crucible place where the external journey toward Bayoul mirrors an internal passage through guilt, judgment and, perhaps, the possibility of liberation.

Performance-wise, Vinay Pathak lends Ved a calm, composed eeriness that proves deeply unsettling precisely because of its restraint. Rather than signalling menace overtly, Pathak allows it to simmer beneath a surface of quiet assurance, making Ved feel less like a conventional guide than an enigmatic custodian of moral passage. Namita Lal, as the soft-spoken and mysterious Malki, complements this with an equally controlled performance, her gentleness carrying an inscrutable gravity that suggests both comfort and quiet judgment. Together, they function less as mere caretakers than as spectral presences guiding the lost through an unsettling threshold. Among the three central figures, Shalmalee Vaidya brings emotional complexity to Sreemoi, a mother torn between her desperate desire to hold on to her daughter and the painful reality she must confront within herself. Rachita Arke, as Sam, embodies the burden of guilt with affecting precision, portraying an elder sister haunted by a youthful act born of jealousy. Her performance carries the weight of someone trapped by a single moral rupture that continues to reverberate through her consciousness. Aman Soni’s Beersha, meanwhile, is perhaps the film’s most visibly fractured presence as a man burdened not only by a heinous past but by a deeply unsettled sense of self, his discomfort extending even to his own name. Soni channels this instability into a performance marked by shame, defensiveness and suppressed anguish. 

Boban James’s cinematography captures both the physical majesty of the landscape and the intimate emotional weather of its characters with remarkable sensitivity. His frames draw deeply from the local textures of the Himalayan setting — its vast silences, imposing terrains and spiritual stillness — while never losing sight of the fragile human anxieties unfolding within it. As editor, Anshul Tiwari maintains a measured rhythm that privileges stillness over momentum, allowing scenes the necessary space to breathe, unsettle and gradually reveal their deeper resonances. Maria Anna Foti Rossitto’s sound design heightens the eerie serenity and its surrounding wilderness, turning silence, wind and spatial emptiness into expressive elements of dread and introspection. Complementing this, Robyn Patrick’s music deepens the film’s spiritual and emotional textures without overwhelming them, offering a score that moves with a composed intensity through grief, unease and transcendence. 

Bayaar is an austere and haunting meditation on guilt, memory and spiritual reckoning that confronts the uneasy weight of self-judgment with quiet conviction. In examining the fragile illusions through which its characters have understood their lives, it develops into a sombre reflection on redemption, suggesting that peace may arrive not through escape from the past, but through the courage to finally face it.

Bayaar recently had its UK premiere at the UK Asian Film Festival.

‘Bayaar’ Review: Three Souls, One Lodge, and the Burden of Redemption

3

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In true sequel fashion, Mortal Kombat II has more of everything; protagonists, villains, locations, fight sequences and lore. Proving that more doesn’t always mean better, the film unfortunately feels over-stuffed and lacking in focus. The first film did a good job setting up a likeable lead in Cole Young, played well by Lewis Tan (Deadpool 2), but here he’s sidelined for a new character to take center stage – Kitana (Adeline Rudolph). Whilst there’s certainly some heart to her story and Rudolph puts in a good enough turn, the shift feels jarring and the arc we were invested in is no longer. The movie isn’t just building up Kitana as a central figure, but fan favorite Johnny Cage, introduced to the big screen by Karl Urban (The Boys). Whilst Urban certainly has charisma and screen presence, the poor accent work is extremely distracting, and the character is mostly reduced to a comedy crutch that only pulls off a handful of jokes. A very similar approach is taken with our villain – whilst Shang Tsung (Chin Han) is still somewhat present after the end of the first instalment teasing he had bigger things to come, he is shafted by not one but two extra baddies. This diminishes both his screen time and his menacing presence he boasted in the 2021 flick. By introducing a plethora of new characters, especially leading protagonists and villains, the focus is almost altogether lost.

The saving grace with Mortal Kombat II is expectedly the fight sequences. Similarly to the first movie there are plenty of them, and they’re filtered throughout the entire run-time evenly to create an entertaining viewing experience. The martial arts scenes are easily the highlights, being both well framed and beautifully choreographed. Due to the essence of the tournament at the centre of our plot, there are often multiple fight scenes occurring at once. This means we get to experience a range of different fighting styles, locations in which the fights take place, and battles between multiple different characters who are paired up with different enemies throughout. This certainly keeps things fresh and interesting, ensuring no scuffle is the same as the last. The violence from the video games and thus this films predecessor is intact, with those who enjoy a little bloodshed likely to be happy with the mean spirited kills. If you’re buying your cinema ticket purely to be entertained by fast-paced, high energy fight sequences, as most viewers are, you’re likely to be satisfied with this portion at least.

As solid as these fight scenes are, there are a couple of issues here that prevent even the movies strongest asset from hitting a home run. As mentioned, we are often experiencing two fights at the same time, as our team is split to fight their own battles and take down the enemies one by one. Instead of letting us sit with one well choreographed and high intensity fight scene, they are spliced together, frequently flinging us back and forth between them. Unfortunately, this prevents us from feeling the stakes and becoming fully immersed in what’s happening in front of us. As soon as the fight kicks into gear and a life is at stake, we’re thrown into another location. Speaking of stakes, it’s hard to feel them at all when one fundamental piece of lore is introduced – characters can be resurrected. Due to the franchises use of Hell, and our cast of characters now including a necromancer played by Damon Herman (Once Upon a Time… In Hollywood), characters that meet their demise are often brought back in later scenes. Even characters from the 2021 movie are re-introduced, even if they’re not quite the same as they were prior. It’s hard to feel the emotion and root for the survival of our cast when we know they are likely to come back, whatever their fate.

With a misguided story that lacks both stakes and an obvious through-line due to an onslaught of new characters, Mortal Kombat II feels less focused than its predecessor and therefore a lot messier. The martial arts, use of special fighting powers and multiple unique locations is certainly intriguing and sporadically entertaining, but when bogged down with cringeworthy one-liners, a poorly used Karl Urban and choppy editing that doesn’t let you sit with the characters or events, even those highlights can’t save it. The weak CGI that’s somehow worse than what we received in 2021 is the nail in the coffin.

‘Mortal Kombat II’ Review: You Can’t Pack a Punch Without Stakes and Heart

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The system – heavy with Delhi’s suffocating air – introduces a handful of key players, including Mammootty’s Daniel, through brisk, almost impatient cuts. It feels like a conscious departure from the indulgent, star-worshipping style of mainstream Malayalam cinema, where slow reveals and overcooked buildup dominate.

A security expert and trusted advisor to a powerful minister, Dr. Daniel James is less a character and more a walking solution. Need to land a rogue aircraft? Daniel steps in. Need a suave, all-knowing operative? He morphs into a homegrown James Bond. Privilege shields him, allowing him to sidestep protocol in a department where protocol is everything. But the house of cards collapses quickly, and Daniel is branded a traitor.

What follows is a fugitive narrative that unfolds both online and off it. On the run, Daniel attempts to expose a murky surveillance deal through a vlogging platform, targeting a corrupt politician and his son. It’s a premise rooted in real life – privacy, surveillance, dissent – but the film only grazes these ideas. It uses the controversy as a backdrop rather than engaging with it meaningfully, reducing what could have been a sharp political critique into surface-level commentary.

That lack of depth bleeds into the writing. The film jumps restlessly from one issue to another, never settling long enough to build stakes or coherence. Plot holes are plenty, dialogues often veer into the crass, and several moments feel engineered for preachy impact.

Mahesh Narayanan, who also handles editing, assembles an ensemble cast – Mammootty, Mohanlal, Nayanthara, and Fahadh Faasil. Ironically, this star power works against the film. Apart from Mammootty, no one gets a role substantial enough to linger. Most characters exist merely to underline Daniel’s brilliance.

Mohanlal’s extended cameo is particularly disappointing. Clearly inserted to capitalize on the Mammootty–Mohanlal dynamic, the role lacks narrative purpose. Their exchanges, intended to be electric, instead come off as awkward and unintentionally comic. It’s pure fan service.

The biggest letdown, though, is Fahadh Faasil. Cast as a volatile corporate antagonist, he is a man possessed in every scene, resembling a dated, one-dimensional villain. Attempts to humanize him fall flat, especially in the final act where the character’s supposed emotional depth feels unearned. At times, Faasil appears less like a screen presence and more like someone performing on stage.

Clichés run rampant. Darshana Rajendran’s character fits neatly into the doomed romantic archetype.

As the film barrels into its climax, it spirals into chaos. Characters converge, speeches multiply, and Narayanan leans heavily into moralizing. The result is a noisy, overstretched finale that confuses scale with substance. In its structure and tone, Patriot often mirrors the familiar template of Hollywood-style patriotism dramas.

Technically, the film fares better. The music stands out, and the cinematography complements the tone effectively. In the end, Patriot is a film with ambition but little control. It’s clearly weighed down by weak writing and stretched far beyond its narrative limits.

‘Patriot’ Review: A Forced and Preachy Fugitive Drama that ends in a Pandemonium

2.5

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So, the last time we saw Andy chose to move on by securing a new job at a newspaper agency, thanks to Miranda vouching for her after the editor called her former workplace, Runway, for reference. That was 20 years ago, and a lot has changed in the fashion and media landscape. And it reflects these real-world market shifts right from the earlier scene, as the first movie’s director, David Frankel, hits too close to home after Andy loses her job as a journalist. She remains optimistic, and one day, she got an unlikely opportunity to return to work at Runway. Not the same position, but as a features editor to help overcome the controversy surrounding the so-called fast-fashion brand Speedfash that puts the once-dominating Runway in jeopardy.

Andy’s return isn’t receiving a warm welcome from Miranda, who barely mellowed even after decades have passed. This re-ignites the love-hate workplace dynamic between her and Andy, giving the sequel a sense of callbacks. Nostalgia sure plays a part here, but I’m glad that Frankel doesn’t let it overwhelm the story for old times’ sake. McKenna’s screenplay addresses the modern-day challenges by incorporating the cold, hard fact of digital media overshadowing traditional publishing with updated, yet relevant themes of cancel culture, shrinking budgets, layoffs, and corporate restructuring.

Frankel equally deserves mention for striking a right balance between capturing the significant changes in the industry and honoring the spirit of the 2006 original that makes The Devil Wears Prada such a beloved hit in the first place. The sequel also marks the return of Emily Charlton (Emily Blunt), a former senior assistant working for Miranda, who is now a senior executive at Dior. She was one of the best supporting characters in the first movie, and with her arc shifted to a higher level, I was expecting a turning point that would lead to a much-needed conflict to raise the dramatic stakes in the sequel. It does at some point in the movie, but at the expense of unfortunately dumbing down Emily Blunt’s character by playing it too safe for its own good. Or dare I say, a shallow characterization, despite Blunt trying her best to reprise her mean girl and sharp-tongued persona that made her such a standout in the first movie. She certainly deserves better than what she gets here.

Like the first movie, the sequel injected romantic subplots revolving around Andy, Miranda, and Emily with their respective male partners, played by Patrick Brammall, Kenneth Branagh, and Justin Theroux. Only this time, unlike the first movie’s more resonant Andy and her estranged boyfriend Nate (Adrian Grenier, who didn’t return for the sequel) relationship arc, the subplots feel mostly like fillers trying to patch some of the gaps in the sequel’s nearly two-hour runtime. Take Kenneth Branagh’s Stuart, for example, who plays Miranda’s new husband. Enlisting a reliable name actor like Branagh, only to find out his role is unfairly reduced to a thankless role, did him any favor to make his character worthwhile. 

And yet, that doesn’t mean The Devil Wears Prada 2 has collapsed under the pile of mediocrity. Far from it, actually, especially given the winning on-screen chemistry between Hathaway and Streep. They are among the main reasons that keep the sequel alive, while Stanley Tucci’s return as Runway’s fashion director Nigel Kipling has again delivered solid support.

Then, there’s the second half of the movie, as Frankel upped the ante once the story arrives at a juncture with the cruel reality of how money matters more than passion and creativity. This adds a compelling structure to the drama while retaining the glamor of the high fashion that defines The Devil Wears Prada franchise. Molly Rogers, who took over the Oscar-nominated Patricia Field from the original, does an equally good job in mixing and matching the wardrobe styling between timelessness and modernity.

‘The Devil Wears Prada 2’ Review: Anne Hathaway and Meryl Streep Return in a Worthy Sequel Blending Nostalgia and Modernity

3.5

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Set in Southern California at the elite Monte Vista Point Country Club, the story follows manager Joshua Martín (Oscar Isaac) and his socially polished wife Lindsay (Carey Mulligan), who seem to lead a perfect, privileged life. That image breaks when a private argument between them turns violent. The incident is accidentally witnessed by Austin (Charles Melton), a part-time trainer, and Ashley (Cailee Spaeny), a beverage cart worker at the club, when they visit Joshua’s house to return his wallet. Ashley discreetly records the altercation on her phone. When Ashley later learns she needs surgery for an ovarian cyst, she uses the video to blackmail the couple, knowing it could cost Joshua his job. She asks for health insurance and a promotion in return. Joshua reluctantly agrees, but only if the video is deleted. However, things don’t settle easily. He suspects there may still be copies of the clip. The situation becomes more complicated when the club’s owner, Chairwoman Park (Youn Yuh-jung), pulls Joshua into a cover-up involving her husband, Dr Kim (Song Kang-ho), and pressures him to commit forgery. Over eight episodes, what begins as a domestic conflict slowly grows into a web of manipulation, where each character is drawn into morally questionable choices.

By the final episode, the series sharpens its thematic intent. Chairwoman Park (Youn Yuh-jung) articulates a cold, almost dispassionate defence of capitalism, which she considers less as an external system than as something embedded within human instinct itself. It is a line of reasoning that retrospectively frames the actions of the principal characters, who are shown to be not only victims of structural inequality but also, at crucial moments, its willing participants. Ashley (Cailee Spaeny), initially driven by the urgent need to fund her surgery, is nudged by Austin (Charles Melton) towards a pragmatic, if ethically compromised, understanding of inequality: the system is skewed, and one survives by exploiting whatever leverage is available. Her decision to use the incriminating footage follows this logic. Yet the arrangement with Joshua Martín (Oscar Isaac) reveals its own asymmetry. He gains little beyond temporary containment, while she consolidates her position, even going so far as to forge credentials to secure Austin a job at the club. Joshua, meanwhile, drifts into a quieter form of moral erosion. Confronted with the hollowness of his achievements, he begins siphoning money from the club less out of necessity than a belated assertion of control. Lindsay (Carey Mulligan), characteristically clear-eyed, reduces their marriage to a transaction, agreeing to a divorce only if it secures her a share of his wealth. What emerges is not a simple critique of capitalism, but a more disquieting proposition, where the system persists because it mirrors the compromises individuals are already prepared to make.

Relationships remain central to the series, observed across generational lines with a quietly sceptical eye. Joshua Martín (Oscar Isaac) and Lindsay (Carey Mulligan) inhabit a marriage worn down by time and compromise. Having endured its fluctuations, they arrive at a belated recognition that they are fundamentally mismatched. Physical intimacy has long receded. In its place, Joshua retreats into the anonymity of cybersex, while Lindsay seeks validation through sexting and contemplates cosmetic surgery. Her gestures suggest not desire, but a persistent dissatisfaction with the self. Set against them are Austin (Charles Melton) and Ashley (Cailee Spaeny), a younger couple not yet fully conscious of the erosion that relationships can undergo. They speak in the language of ideals, often dispensing advice to others with a confidence that borders on naivety. Yet the series gradually subjects their bond to the same pressures, exposing fractures that mirror those they presume to understand. Meanwhile, Chairwoman Park (Youn Yuh-jung), in her second marriage to the younger Dr Kim, appears to pursue not stability but a renewed experience of intimacy with an attempt, perhaps, to reclaim something that time and power have otherwise abstracted. Taken together, these relationships lend the series a broader emotional and thematic contour. It becomes a study of intimacy not as a fixed ideal, but as something shaped, strained and, at times, quietly undone by ambition, insecurity and the passage of time.

However, as the series approaches its final stretch, a climactic detour to South Korea feels faintly out of place, as though it belongs to a different narrative register. The escalation has scale, but not always cohesion. Unlike the first season of Beef, where each narrative turns fed directly into the central feud, here the events are allowed to sprawl, entangling themselves in multiple strands. The result is thematically suggestive but structurally less precise, with greed and betrayal emerging as the dominant, if somewhat overstated, motifs. There are moments of acuity. One episode, in particular, casts a pointed eye on the inequities of the American healthcare system, revealing how access and privilege dictate the terms of survival. It is a digressive thread, perhaps, but not an inconsequential one as it echoes the series’ broader concern with systems that compel compromise. Even so, the sprawl occasionally dilutes the central conflict. And yet, by the time it reaches its conclusion, the series regains a measure of control, leaving behind an unsettled aftertaste. What lingers is not resolution but the suggestion of recurrence. The unending cycle of grievance, opportunism and moral concession is less an aberration than a pattern destined to repeat.

Comparisons with the first season of Beef are inevitable, and this second instalment lacks some of the earlier’s structural neatness and narrative precision. Even so, it remains consistently engaging, buoyed by a quartet of finely calibrated performances. Oscar Isaac lends Joshua a quiet, unraveling unease; Carey Mulligan brings a controlled sharpness to Lindsay; while Cailee Spaeny and Charles Melton capture the fragile idealism of youth under pressure with maturity. A special mention is due to Youn Yuh-jung, whose composed coldness lends the series an undercurrent of the lurking menace.

Review: ‘Beef’ Season 2 Preserves its Tension, Though the Novelty Wanes

3

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Now, let’s get this out of the way first. Fuqua doesn’t reinvent the wheel, other than following the tried-and-tested formula like A, B, C. John Logan’s screenplay condenses Michael’s milestones of his early life and career, highlighting his childhood era, performing as the lead singer of The Jackson 5, to his solo success throughout the pivotal 1979-80s period. Nothing deep since Fuqua navigates Michael’s story pretty straightforward.

Of course, in an ideal world, I would like to see the director delving into Michael’s inner psyche and his personal life, particularly how vacant he is beyond his superstar fame. Fuqua does get into the latter, but only covers the surface level. This may come across as a major disadvantage, but, surprisingly, I enjoyed most of the movie thanks to Fuqua’s assured direction.

The 127-minute runtime flies by, with the overall pacing hitting the right note. The movie gets off to a groovy start with the familiar catchy beat filling the background, followed by loud chanting and Michael walking out of the tunnel towards the stadium, before Fuqua takes us back to 1966 in Gary, Indiana. Young Michael (Juliano Krue Valdi) is in his tween years, spending most of the time after school rehearsing songs with his brothers – Jermaine (Jayden Harville), Marlon (Jaylen Lyndon Hunter), Tito (Judah Edwards), and Jackie (Nathaniel Logan McIntyre) – at home as The Jackson 5 in front of his strict father, Joseph (Colman Domingo). Domingo’s no-nonsense patriarchal role dominates the earlier stretch, showing authority over his children. He demands that they keep rehearsing as he sees fit, even if their mom (Nia Long) pities the children for going through the rigorous routine.

Unlike other kids his age, Michael’s childhood is almost non-existent, and he has no choice but to listen to his dad telling him what to do. To Joseph, discipline matters, and any mistake results in harsh physical punishment. The Jackson 5’s hard work eventually pays off after Motown’s creative assistant to Berry Gordy (Larenz Tate), Suzanne de Passe (Laura Harrier), is impressed with their performance, notably Michael’s unique vocal prowess. It’s worth noting that Valdi equally steals the show here with his undeniable energy and confidence performing some of The Jackson 5’s signature songs from ‘I’ll Be There’ to ‘ABC’.

The movie then jumps to Michael’s (now played by Jaafar Jackson) adult years, covering his determination to live a professional life under his own terms without his father’s interference. He also wants to break free from The Jackson 5, preferring to go solo by working with producer Quincy Jones (Kendrick Sampson, in an otherwise competently acted role that I wish Fuqua didn’t gloss over since Quincy Jones plays a significant part in shaping Michael’s one-of-a-kind musical identity). Their partnership led to the release of the ‘Off the Wall’ album in 1979.

But it was his groundbreaking 1982 follow-up album that got me interested the most, easily one of the best segments in the movie, including the pitch-perfect recreation of the groundbreaking ‘Thriller’ short film featuring Michael in the iconic werewolf makeup and matching red leather jacket and trousers. Credits go to Bill Corso (A Series of Unfortunate Events) for his attention to detail in the makeup department and Marci Rodgers’ spot-on costume design. Interestingly, the casting reportedly took over two years of worldwide search to find the right person to play the coveted role before Fuqua settled for Michael’s real-life nephew, Jaafar Jackson, after a successful screen test.

Casting someone like Jaafar Jackson with no prior acting experience is a massive risk, and yet, the first time I saw him on the big screen, he nailed his late uncle’s childlike and soft-spoken introverted personality, contrasting with the musical genius of a perfectionist during his work routine. As a singer and dancer himself, Jaafar looks effortless during the song-and-dance sequences, regardless of singing ‘Thriller’ in the making of the short film or performing the trademark moonwalk on stage during his ‘Billie Jean’ performance on the 1983 television special of Motown 25 – Yesterday, Today, Forever.

While he perfected Michael’s vocals and moves through the years of intensive training, he managed to surprise me with his better-than-expected acting performance. I was initially worried he might end up looking either stiff or wooden whenever the scenes do not involve him singing and dancing. But thankfully, his soulful eyes and subtle body gesture did a great job of embodying the late Michael Jackson without coming across as a mere impersonator. 

Michael finally culminates in the showstopping concert sequences, echoing the same winning third-act strategy seen in Bohemian Rhapsody. Except that Michael is just one half of the two-part biopic saga. Whether the second chapter goes deeper into the late King of Pop’s 90s and 00s era, addressing his later scandal and highly publicized trial, remains to be seen. But right now, do yourself a favor and go catch Michael on the biggest screen possible.

‘Michael’ Review: Jaafar Jackson Rules in Energetic, Well-Acted Music Biopic

4

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If Lee Cronin proved anything with Evil Dead Rise, it was that he’s not afraid to go for it where violence, gore and sheer horror is concerned. Those that enjoy that approach will be pleased to hear that The Mummy delivers more of the same. Littered with blood, body horror, jump scares and vulgar language, the film is not for the faint of heart. Sure, it occasionally enters plain old jump scare territory with booming music cues, but Cronin has far more up his sleeve than just startling us. If Evil Dead Rise made you wary of cheese graters, The Mummy ensures you will never look at nail clippers the same way again. The scary elements are also well paced, saving the best scares for last but delivering several bouts of fear throughout the entire run-time. There are times in which the horror feels a little bit familiar, especially where possession tropes are concerned, but many might appreciate the fact it feels like The Exorcist merged with Evil Dead. There’s plenty you have seen before, such as levitating, body cracking and abrasive language coming from a child, but Cronin ensures there’s plenty you haven’t seen, either.

Lee Cronin’s The Mummy isn’t just scary, it’s occasionally an emotional watch, too. Leads Jack Reynor (Midsommar) and Laia Costa (Victoria) do a good job in the role of heartbroken parents, selling you the hardship they’re facing with ease. Despite getting their daughter back, their journey is somehow harder now, and the pair deliver the emotion and anger perfectly. The film doubles up as a mystery, with dad Charlie trying desperately to figure out what his daughter Katie really went through. Who took her, why did they take her, but most brutally, what did she endure? It’s difficult seeing a child go through pain, so The Mummy definitely strikes an emotional chord alongside it’s frightening one. Young Natalie Grace does a good job with the demanding physicality of Katie, helping create one of the creepiest horror characters of the year so far. Tying the gripping story and excellent performances together is the playful filmmaking from Cronin. The split diopter shots from Evil Dead Rise went semi-viral because of how cool and gnarly they were, which Cronin clearly took notice of – this film is full of them. Sometimes less is more, as he definitely overuses this stylistic choice, but it’s undeniable that they look great and add much style. The sound design works a treat, demanding that cinema viewing experience, and the cinematography adds an immersive feel to the film. It’s very competently put together.

Unfortunately, The Mummy cannot hit a home run because its flair sometimes gets in the way of its own success. As solid and engaging as the storyline is, there’s a little too much going on. This winds up over-inflating the run-time to a lengthy 133 minutes that doesn’t always feel warranted, with a mystery that takes too long to be solved. Another large issue at play with the mystery is that the audience are ahead of most of it. We may not know the complete ins and outs of why Katie was taken, but the films makes us aware of who took her, where she was taken, and it doesn’t take an expert to put the rest of the pieces together. Being ahead of our characters greatly affects that lengthy runtime, as we’re waiting for them to gain information that we already know. Merging that slow burn with the over-use of split diopter shots and familiar possession tropes may leave many viewers underwhelmed, with some already believing it isn’t worthy of its ‘The Mummy’ title. Wherever you land on that argument, prefacing the title with Lee Cronin’s name lets you know you’re in for something very different than what you’re used to. Whether it works for you is another story. It’s just a lot – of everything.

With insane body horror, a gnarly third act and incredibly entertaining scares, Lee Cronin’s The Mummy is a more than competent horror flick. The believable performances guide the story forward, and the mystery offers another level of intrigue, even if we’ve cracked most of it already. It’s definitely too long, and those well versed in scary stories may be familiar with the tactics on display, but if you can appreciate a little excess everything, you will find plenty to enjoy.

Lee Cronin’s ‘The Mummy’ Review: An Excess of Scares, Style and Story – For Better and Worse

3.5

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Just when things begin to thicken, Midhun’s director credit flashes across the screen, followed by a message. The audience is left waiting for the next part – if there is one – to find out what happened to Shaji Pappan and his screwball gang. What a fantastic disservice.

Ambition in world-building, franchise-building, and stretching the possibilities of a cash-cow brand is by no means a sin in show business. However, it is equally important to know how to end a film. Midhun, perhaps, is playing to the tune of recent Malayalam films that have taken a step further by teasing or announcing the next installment within the climax of the current one. It is also worth remembering that many such films have turned out to be box-office duds – Lijo Jose Pellissery’s Malaikottai Valiban being a case in point.

That said, Aadu 3 is, in many ways, a fitting piece of the franchise’s jigsaw. It comfortably sits within the template the series has milked over the years: a goofball gang gets caught up in a high-stakes situation. Through silly jokes, irreverent antics, and blissful ignorance, they manage to outwit tough adversaries.

The appeal of the earlier films can be traced back to the spirit of Malayalam’s oddball comedies from the 1990s, where the script leaned heavily into humor rather than heroism. In terms of repeat value, Aadu belongs to that lineage. Those films were almost an art form of their own, but the genre gradually faded post-2000, as Malayalam cinema moved toward noir-inspired, realistic, and cathartic storytelling influenced by Western cinema.

In Aadu 3, the narrative stretches across timelines, linking the past and the future while allowing characters to retain their quirks in a loosely constructed multiverse-like setup. Despite the expanded scope, the film manages to hold on to its core silliness. Midhun Manuel Thomas deserves credit for keeping the story grounded in its tone without losing itself in the scale of its ambition. The hyperlinking elements, in particular, work quite well.

The humor, true to Aadu fashion, remains deliberately lame, forced, and silly. A few jokes land, but most fall flat – though fans won’t mind. Jayasurya maintains the rhythm of his role from the previous installments with ease, while Vinayakan, without a doubt, appears fully immersed in his character. There are only a few moments where his performance feels off or slightly cringeworthy. The rest of the cast, despite limited dialogue and exaggerated acting, manage to sustain the film’s pace convincingly.

Another notable performance comes from Dharmajan Bolgatty, who hogs more screen time than usual. Vijay Babu, despite faltering in some comedic beats, keeps the mood afloat. Saiju Kurup delivers a decent performance, and Indrans, as always, does justice to his role.

The screenplay remains tidy, even if it often leans into fan service. The WWE-style character themes and massy introductions work effectively in the first half. However, as the second half progresses, these elements begin to feel overbearing, especially when the audience is more invested in the story.

A significant shift in the Aadu universe is the introduction of a foreign antagonist. While Alleya Bourne is visually striking and brings a certain flair to the action, the character feels out of place in a franchise known for its inherently goofy villains. There is also an item song that adds little value and could have easily been omitted.

The climax, as expected in Aadu tradition, builds toward a chaotic fight sequence. However, this time it feels only half as effective as in previous installments. Just as the film approaches what could have been its most engaging and crucial stretch, Midhun does the unthinkable. Like abruptly changing a channel, he diverts the narrative to tease a fourth installment. It undoes what was otherwise a decent effort.

Aadu 3 definitely deserved a better ending. Thanks to Midhun’s unnecessary flourish, it ends up feeling like an unfinished film – one that had all the potential to be, or even become, a worthy addition to the Aadu folklore.

‘Aadu 3’ Review: A Three-Hour Teaser for the Fourth Installment

2.5

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Peaky Blinders: The Immortal Man, the long-awaited feature-length continuation from the sixth season, jumps a few years ahead to 1940. We learn that the Nazi government has come up with an elaborate scheme to bring down the British economy by crippling the banking system with mass counterfeit currency to win the war. Nazi sympathizer John Beckett (Tim Roth), who leads the scam, soon approaches Duke (Barry Keoghan) to help with the distribution. The latter, who is the grown-up eldest son of Tommy, has since taken over the Peaky Blinders gang. Unlike his father back in the day, Duke’s way of running the gang cares more about money, even if it means collaborating with someone morally repugnant like John Beckett. Keoghan is always good at playing a volatile, f—the-rules type of character, whose reckless action reminds me of his recent thief supporting turn in Crime 101.

Going back to Tommy, he has been living in a self-imposed exile with Johnny Dogs (Packy Lee) keeping him company. The first half is dedicated to portraying the rather passive Tommy, who spends time brooding around in a manor writing his own memoir, smoking opium, and occasionally haunted by the ghosts of his past, particularly his deceased daughter Ruby. It would take a long while for the movie to pick up the pace.

But even with the first half’s meandering stretch, what keeps me watching is the level of commitment that Murphy brings to his role as a broken man, exuding a deeply melancholic performance. Of course, it certainly helps a lot if you have invested in the six-season series to resonate with Tommy’s plight. The movie also introduces a new character played by Rebecca Ferguson, whose appearance subsequently ends with Tommy returning to Small Heath, Birmingham. Having Ferguson on board may seem like an inspired casting, but her presence is nothing more than spewing exposition and relegating her to an obligatory love interest role. 

So, the second half is where Peaky Blinders: The Immortal Man comes alive. Tom Harper, a Peaky Blinders series veteran who previously directed a few episodes, does a good job of fulfilling the fan service moments. We see the previously dejected Tommy now looking sharp and dapper once he puts on his iconic flat cap and three-piece suit, complete with the stylized slo-mo walk and a well-placed needle drop filling in the background. The best scene is when he walks into the Garrison pub back in his home turf, encountering an arrogant young soldier, who’s taunting him and even exclaimed: “Who the f— is Tommy Shelby?” And watching Tommy unfazed before he teaches him a lesson is easily the peak moment here. The kind that would have you cheer for Tommy standing up against a bully like him.

With a significant budget at Harper’s disposal, the second half is packed with gunfights (the showdown between Tommy and John comes to mind) and explosions. Like the series, the movie doesn’t shy away from graphic violence. Peaky Blinders: The Immortal Man also looks visually stunning, with George Steel’s atmospheric cinematography capturing the gritty look of the tumultuous 1940s war-torn era, while thankfully devoid of the same old uniform Netflix aesthetic and style that plagued many of its in-house original films.

Still, at 112 minutes, I wish the movie had been longer or, better yet, making it a limited series. This is especially true with Steven Knight’s screenplay, which wanted to tie up the loose ends left hanging from the series while simultaneously expanding the Peaky Blinders franchise with new characters and storylines. As much as I enjoy Keoghan’s performance, the movie somehow shortchanges the potentially strong father-son dynamic between Tommy and Duke, and what I have here is rather perfunctory. The introduction of a new antagonist played by Tim Roth may have been the right fit to play a Nazi sympathizer, but his character is sadly one-dimensional.

After an excruciating four-year wait after the series concluded, the movie’s cinematic coda isn’t the great send-off that I’m expecting from Steven Knight, the creator who gave us one of the best British series over the last decade.

‘Peaky Blinders: The Immortal Man’ Review: It’s Far from the Best, But Cillian Murphy Still Rules in This Feature-Length Culmination of Tommy Shelby’s Story

3

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Fans of Samara Weaving can rest assured that she’s expectedly kick-ass here. It’s ridiculously fun to have Grace back on our screens, and this time, she’s a little bit more experienced and rightly so, furious at her situation. Weaving continues her winning streak as Grace by providing further layers to the character which make her even more likeable; the experience under her belt leads to better decision making and hilarious, angsty sarcasm. Ruthless, cut throat but with a caring, emotional streak towards her sister, she’s the best she’s ever been. Starring as on-screen sister Faith is another horror favourite Kathryn Newton (Abigail), and their dynamic is certainly intriguing. Estranged due to their messy family and Faith feeling ‘left behind’ by Grace, their already fractured relationship is really put to the test, and it’s interesting to see them figure this out as the run-time moves forward. Newton gives another good turn here, continuing her streak of admirable horror performances. With plenty of new additions to the cast, we have a real ensemble on our hands, but the two that will likely impress the most are Elijah Wood (The Lord of the Rings) and Sarah Michelle Gellar (I Know What You Did Last Summer). Both have a natural ability to elevate the material given, and they’re always a joy to see on the big screen.

Horror sequels tend to go down the path of delivering more of everything; characters, gore, kills, scares and sometimes even laughs where the more comedy-skewed entries are concerned. This is definitely a sentiment that Bettinelli-Olpin and Gillett took on board. From the get-go, it’s obvious that this flick isn’t holding off in the blood and violence department, as you can expect combustions, fist fights and plenty of bloodshed from start to end. A bigger cast just means more asses for Grace to kick, and although we know that the characters in this now-franchise are prone to exploding before our eyes, the film still keeps things inventive by providing creative demises. Of course, the competing families are satirically rich and annoying fools, so watching them meet their grizzly end is ever exciting, and makes rooting for Grace natural and easy. In terms of humour, there is a lot more on display here than in its predecessor, one scene in particular involving pepper spray causing belly laughs from the entire audience. It fully embraces the splatter-fest campiness of it all, ensuring you’re as entertained and amused as you are grossed out. Even the location seems grander, the Danforth Estate providing acres of land and multiple rooms for our violence to occur in. It may not be as visually stunning as the interior of the Le Domas house, but it’s still impressive.

For the most part, the script of Ready or Not 2 warrants the films existence by providing a believable means of the story continuing, a genuine reason behind Grace slipping into her blood-soaked wedding dress and enough fun for us not to care much about those prior two points anyway. However, it does suffer from one element the first instalment avoided – convolution. Bogged down by rules and lore dating back to when certain pacts and agreements were made, the film has to make frequent pauses to explain the contract at play to both the characters and the audience. In the first one, the rules were simple – kill or be killed – but in this second outing, there is a lot more to take into account. This paves the way for pacing issues, dialogue heavy sequences that detract from the carnage candy and an overall feeling of overwhelm. Although the sisterly bond between Grace and Faith is certainly an intriguing aspect of the plot, it is also partially responsible for the pacing issues. Too often, our characters (who are being hunted, may I add) stop to loudly converse about their upbringing, life experiences and what drew them apart. Of course, this dialogue is present to ensure us as an audience care for the duo, but those conversations occasionally feel awkwardly placed and not in keeping with the urgency of the plot. Due to these reasons above, this instalment doesn’t feel as cohesive as the first.

Ready or Not 2 can easily be summed up as ‘more of the same’, though the final product isn’t as slick and surprising as the first instalment was. Still, the pacing issues and plot convolution don’t mean you’ll have a bad viewing experience, as this sequel entertains with action, sickens with gory violence whilst blessing us with a gorgeous location and a likeable cast. It’s certainly messy, but undeniably fun. Samara Weaving singlehandedly provides a reason why this sequel should exist.

‘Ready or Not 2’ Review: Here I Come Review – Double The Fun, But Double The Rules

3

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Ryan Gosling is a heavily acclaimed actor and rightly so, but one aspect of his talent that often slips under the radar is his comedic timing. Project Hail Mary not only shows how naturally hilarious Gosling can be, but how masterfully he can balance emotion. Despite being ridiculously clever, Ryland Grace is an everyman, meaning Gosling’s natural charm and likability is key here. He might have a wealth of knowledge that most of us would never dream of possessing, but working as a school teacher and being reluctant to help the cause due to doubting his bravery, he’s someone we can easily get behind. Carrying the film on his back with ease, Gosling gives perhaps one of the best turns of his career to date. He makes us laugh with his superb delivery and physicality, but when the time comes, he can easily make us shed a tear alongside him as he makes sacrifices and difficult moral choices. It’s often a one-man show due to Grace being in his ship for the majority of the run-time, but we are also blessed with good supporting performances from Sandra Huller (Anatomy of a Fall) and Lionel Boyce (The Bear).

In terms of a sci-fi blockbuster, Project Hail Mary has every single ingredient needed to make virtually all audience members have a blast. Visually it’s a masterpiece, with consistently playful cinematography, masses of vibrant colour and some of the best space shots we’ve seen in years. Worth seeing on the biggest screen available to you, specifically IMAX due to the ratio changes, it’s nothing short of a spectacle. The audio matches this grandiose perfectly, with an excellent original score from Daniel Pemberton (Spider-Man: Into the Spider-Verse) that balances the films fun and emotional tones expertly, and clever use of sound design that utilises silence and noise to create further impact. The production design is off the charts, with every set boasting something unique to the heavily saturated sci-fi genre. Despite the majority of the movie being set on one ship, the entire space is used and it’s kept as engaging as possible. From a large room that stimulates earthly phenomenons including beaches and fireworks, to the tunnel that joins Ryland to his new found friend, there’s a lot on offer that we haven’t seen before. 

Perhaps most importantly of all, Project Hail Mary offers a new Grogu-esque alien character for audiences to fall in love with named Rocky. He might not be as visually adorable as our Star Wars offering, but by the time the credits roll, audiences are likely to love him just as much. Just like his human counterpart Ryland Grace, Rocky is funny and charming whilst also being ridiculously smart. An engineer with his own language, visual look and method of communication, Rocky portrays an alien life form very different from anything we’ve seen in pop culture before. Rocky has the ability to make us laugh until our stomachs hurt, struggling with the English language and rolling around like a lost puppy, but he equally impresses us with his smarts and emotional capabilities. The story is very entertaining before Rocky comes along, the science-heavy jargon being explained extremely well to help audiences have a full grasp on the stakes our planet faces. However, once Rocky shows up and the pair start working together to save their respective planets, Project Hail Mary becomes a different beast all together. The script not only explores the possibility of a life outside of humanity but themes of connection, friendship, sacrifice and most importantly, bravery. Rocky and Ryland, through learning to communicate and problem-solve as one, learn more about themselves than they do each other. With thought-provoking moral dilemmas and high stakes, it’s impossible not to root for the pair on their dysfunctional, heartfelt journey.

Project Hail Mary is not only the best film 2026 has to offer so far, but may be one of the most impressive science fiction outings we’ve had this decade. Hopefully paving the way for a new generation to fall in love with the genre through its mesmerizing visuals and loveable characters, it’s an achievement in all areas that should be seen and celebrated everywhere. From Ryan Gosling’s fantastic performance to Lord and Miller’s exceptional direction whilst bringing the novel to life, Project Hail Mary is a triumph. By the filmmaking team managing to include something for everyone, Rocky and Grace have the ability to find a way into all our hearts.

‘Project Hail Mary’ Review – A Sci-Fi Epic for a New Generation

4.5

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The movie begins with Ritchson’s character as a combat engineer and his younger brother, played by Jai Courtney in a small role, where we never learn his name as well at the desert road in Kandahar, Afghanistan. They tease each other and mention joining the Ranger Assessment Selection Program (RASP) before things turn into chaos. It was a brief prologue that establishes Ritchson’s character as a PTSD-inflicted soldier who keeps reliving his traumatic flashback every now and then.

The story jumps forward to two years later as we see him taking part in the RASP at the Ranger Training Base in Colorado. From there, it’s a series of familiar training montages, where the Ranger recruits go through hell and back to endure the eight-week program under the supervision of a commanding army officer, Torres (Esai Morales). Like the rest of the recruits, Ritchson’s character is assigned a specific number, where his is 81.

Hughes, best known for directing The Expendables 3 and the two Hitman’s Bodyguard movies, does a decent job navigating 81’s time during the training between his sheer determination of succeeding every endurance test and suffering in silence over his recurring trauma. He doesn’t talk much and barely making any friends, even to the point of having a meal alone in the dining facility. His lack of communication resulted in his army sergeant major (a gruff Dennis Quaid) and Torres viewing him as a liability, particularly with 81’s trauma remaining unresolved.

But War Machine isn’t interested in delving deep into his situation other than addressing the part in a surface-level storytelling. By the time the first act ends, this is where Hughes switches gear in the following act as 81, who’s been selected as the squad leader for the unit that makes it to the final training round, is sent over on a simulated mission. But their mission turns out to be a deadly encounter in the form of an alien robot. The special effect for the robot is technically proficient, while Hughes depicts this machine as a remorseless killer, whose sole objective is nothing more than search, scan and destroy using its heavy weapons. I can’t help but feel like I’m watching a Predator movie. The first one, that is, where a team of soldiers find themselves facing an extraterrestrial threat, echoes the narrative similarity with War Machine. Except that Predator has more personalities, not only from the human characters led by Schwarzenegger’s Major Dutch but also from the titular antagonist.

By contrast, Hughes’ movie cares more about the all-out action moments, just enough to distract me while keeping me entertained to a point. Once the robot attacks, it’s a visceral mayhem all the way that doesn’t back down on the violence and gory parts, which at one point, an unfortunate Ranger recruit suffers from impalement following an explosion that hurls them off the cliff. Another good thing is that Hughes shoots the action sequences in a mix of crisp and dynamic camerawork minus the annoying shaky-cam aesthetics.

Not to mention his commitment to filming them as practically as possible, including a on-location shoot in the rugged Victorian High Country in Australia without relying too much on the green screen. This, in turn, gives the movie a tactile sense of palpability and grounded realism, even with its sci-fi-heavy elements. A significant action set-piece that I enjoy the most is the Cliffhanger-like moment, but instead of the heights between two mountains, the scene involves the Rangers’ attempt to scale a suspension rope above the treacherous rapids. 

As for the cast, Ritchson’s stoicism is put to good use, and he’s at his best during the physically demanding stretches while the rest of the supporting actors are reduced to usual archetypes.

‘War Machine’ Review: It’s Man vs. Machine in Netflix’s Disposable But Visceral Sci-Fi Action Thriller

3

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You see, I love the 1935’s Bride of Frankenstein, one of the rare great sequels that surpassed the original, even though the introduction of Elsa Lanchester’s titular character doesn’t have much of a screen time. And yet, her appearance – from the way she looks, moves and speaks – leaves a lasting impression. Which begs an all-important question of whether Gyllenhaal manages to do justice to her interpretation of that familiar story of Frankenstein wanting a companion. Interestingly, she isn’t looking to go down the same path as James Whale did ninety-one years ago.

The basis remains intact, but Gyllenhaal, who also wrote the screenplay, flips the script by re-imagining The Bride character as a rebel of sorts who’s far from the one seen in Lanchester’s portrayal. She’s wild, with a capital “W”, and that exclamation point in the title justifies the bold and aggressive nature of the titular role, played by Jessie Buckley. Even before she becomes a reanimated corpse brought back to life later in the movie, Gyllenhaal establishes her volatile character right from the get-go. It’s 1930s Chicago, where we are introduced to an unhinged Ida (Buckley) before her life is wasted. She’s dead but not for long, especially after a humanoid monster named Frank a.k.a Frankenstein (Christian Bale) digs her up from the ground one night.

Having lived in solitude for so long after his late creator created him over a century ago, he’s looking to overcome his loneliness once and for all. A “bride” would be an answer, leading to Frank seeking help from a scientist named Dr. Euphronious (Annette Bening). The latter is initially reluctant to fulfill Frank’s wish of creating a companion out of the female dead body, which somehow leads to Ida’s corpse. The experiment works, but The Bride, who awakens from the table, is like an untamed being seeking liberty and identity.

At first, watching Buckley’s intense, fired-up performance showcases the actress’s versatility in embodying such a character, a 180-degree turn from what I saw her emotionally vulnerable performance in Hamnet, that’s been gaining traction in the awards circuit. Her character also sports a distinct appearance, including her prominent orange satin dress, a deliberate choice of vibrant color that serves as a radical contrast with the movie’s largely gothic-style atmosphere. The Bride’s messy and textured blonde hairstyle mirrors her rebellious personality, complete with smudged ink-like blotches that line from one side of her lips to her cheek as if it’s a permanent avant-garde tattoo.

But here lies the problem: Her character’s sense of reckless abandon ultimately annoys me as I sit through the movie watching her unrestrained performance. Somehow, acting loud most of the time doesn’t equal subtlety. It’s like a showy performance without much of an emotional depth or weight, despite her character is technically undead. However, The Bride! is also a love story, which is meant to portray the ill-fated romance between her and the lonely Frank. There are times their chemistry soars, but otherwise, these two reanimated lovers do not resonate as much as I would expect from them. They even depicted like the outlaws, Bonnie and Clyde, played by Warren Beatty and Faye Dunaway in the 1967 seminal classic. But instead of serial bank robbers, The Bride and Frank are running away from the law after killing two men at one point.

Their love story may have been a mixed bag, but Gyllenhaal proves to be quite adept at depicting visceral violence and brutality in some scenes. As for Bale, his sympathetic turn as Frank has its moments, but far from the best performance, while Bening does what she can in pulling off a decent supporting role as the obsessive but conflicted Dr. Euphronious. And so does Jake Gyllenhaal, playing famous movie star Ronnie Reed, whom Frank idolizes. Beyond the story of The Bride and Frank’s fickle relationship,

Gyllenhaal also incorporates an added subplot revolving around Detective Jake Wiles (Peter Sarsgaard) and his eager partner, Myrna (Penelope Cruz), working on a case to investigate the murder. In what could have been a gritty crime-thriller angle, the subplot is rather clunky in its execution, frequently disrupting the momentum of this already uneven movie. 

Technically speaking, The Bride! looks visually incredible, thanks to Lawrence Sher’s evocative cinematography, along with Karen Murphy’s intricate production design and Sandy Powell’s eclectic costume design. Gyllenhaal’s ambition may have been undeniable, but it’s hard to deny most of the movie’s shortcomings.

‘The Bride!’ Review: Jessie Buckley’s Unhinged Performance Comes Undone in Maggie Gyllenhaal’s Bold But Uneven Gothic Romance

2.5

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While his upcoming Toy Story 5 this summer remains to be seen whether it’s a worthy entry or a desperate cash grab riding on nostalgia and brand recognition, here is Stanton unexpectedly hits an all-time low in Hulu’s straight-to-streaming sci-fi drama, In the Blink of an Eye. On paper, the underlying theme of shared humanity spanning across generations from the prehistoric era to the present day and the future is right in Stanton’s wheelhouse, especially given his robust experience in crafting genuine human stories seen in the best of his Pixar movies. But how ironic it is that his latest live-action attempt loses sight of what makes a story like this resonant to the viewers.

Working from Spaceman’s Colby Day’s screenplay, which landed on 2016’s Black List, the story follows three interconnected stories that begin with the Neanderthal family at 45,000 B.C.E., focusing on a caveman named Thorn (Jorge Vargas) and his family – pregnant wife Hera (Tanaya Beatty), teenage daughter Lark (Skywalker Hughes) and their newborn son. They live in solitude somewhere on a beach, and when they speak in a foreign language, there’s no English subtitle appears on the screen, but rest assured, their story is universal, making it easier to understand.

Personally, I find the Neanderthal family segment emphasizing on the minimalist storytelling, coupled with Ole Brett Birkeland’s gorgeous nighttime and daytime cinematography shot on the rugged British Columbia locations, works the best to an extent. But the two other segments feel like a chore to sit through, beginning with the 2025-set present time, where the story follows Claire (Rashida Jones), an anthropology researcher whose relationship with her partner Greg (Daveed Diggs) is merely restricted to sex at first. However, their initial carnal pleasure slowly blossoms into a mutually romantic connection. Then, things become complicated when her mother is gravely ill. It’s hard for me to root for Claire’s plight juggling between dealing with her sick mother and her relationship with Greg. The main problem here lies in the lack of emotional weight, resulting in watching her segment unfold like a tedious slog struggling to reach the finish line.

The third segment, set in the futuristic 2417, involves Coakley (Kate McKinnon), a longevity-enhanced pilot on a lone mission to transport human embryos to a planet called Kepler-16b for the purpose of population. Her only companion to talk to is an A.I. dubbed ROSCO (voiced by Rhona Rees). I was expecting a dynamic between Coakley and ROSCO, but their chemistry comes across as hollow, and it doesn’t help that McKinnon is woefully miscast for such a role. She just doesn’t have the necessary dramatic flair to play a crucial character in charge of populating a planet, although the subsequent setback revolving around a mysterious virus threatens to spread across the spaceship, including the oxygen supply that is vital to keep everyone on board alive. I also can’t help but every time I look at her trying to maintain a certain sense of composure, she’s going to break character anytime soon by falling back into her comedic comfort zone. Which she did at one point for a brief moment, even though it was intentionally meant for her to act that way.

Stanton tells his story by incorporating match cuts that interweaves these three segments back and forth while highlighting relevant themes of hope, mortality and human connection along the way. But what should have been a well-meaning sci-fi drama is sadly hampered by Stanton’s surprisingly surface-level storytelling. Save for the Neanderthal family segment, everything here is perfunctory to the point I find the seemingly short 94 minutes feels like it overstays its welcome long before it ends.

Technically speaking, In the Blink of an Eye boasts Thomas Newman’s beautifully elegiac score, which is among the saving grace here, and so are the seamless CGI and production design. Too bad these aren’t enough to offset most of the movie’s glaring flaws, especially since it fails to generate interest and, above all, both emotional and dramatic stakes.

‘In the Blink of an Eye’ Review: Andrew Stanton’s Era-Spanning Sci-Fi Drama Navigates a Well-Meaning But Mostly Dull Journey of Shared Humanity

2

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