Kairam Vaashi reviews The Raja Saab, directed by Maruthi and starring Prabhas. The film follows Raju, whose sole mission is to reunite his Alzheimer's-afflicted grandmother Gangamma, played beautifully by Zarina Wahab, with her long-lost husband Kanakaraju, played by Sanjay Dutt. Kairam admits he was nervous about this project from day one, questioning whether Maruthi could deliver a Prabhas film given the director hadn't previously worked with a Telugu Tier-1 star or handled films of this scale. Unfortunately, those fears have largely been realised.

Kairam finds the second half genuinely fun once the characters enter a haunted palace, with engaging mind-game sequences between Sanjay and Boman Irani, and between Sanjay and Prabhas forming the strongest dramatic portions. However, the first half struggles with a lack of focus as it plods through Nidhhi Agerwal's track, Malavika Mohanan's track, and Samuthirakani appearing in and out of the narrative without real dramatic or comedic energy. While Kairam gives kudos to Prabhas for choosing a film outside his familiar action-gangster zone, he notes the star doesn't appear comfortable in songs and lacks his full vigour. Thaman's music, particularly "Rebel Saab" and "Sahana," sounds good on the big screen, but the picturisation could have been far better. Kairam concludes that in The Raja Saab, the second half is the Raja, the first half is the sob, making it a middling outing for Prabhas.

Anupama Chopra reviews Laalo – Krishna Sada Sahaayate, the Hindi dub of Gujarati cinema's biggest blockbuster. Released in October with minimal fanfare, the original became a word-of-mouth sensation and the first Gujarati film to cross 100 crores at the box office. With a modest budget of one crore 10 lakh, Anupama argues it's arguably 2025's most successful film in terms of ROI. Debutant director Ankit Sakhiya has crafted an emotionally resonant morality tale about Laalo, a rickshaw driver in Junagadh whose life has been eroded by alcohol addiction.

Anupama highlights Karan Joshi's layered performance as the broken protagonist, rendering his hollow masculinity, cruelty, and inherent goodness with equal conviction. Shruhad Goswami plays Lord Krishna with a lovely lingering smile and benevolent mischief, while Reeva Rachh delivers a solid turn as Tulsi. Though the film occasionally slips into preachiness, Ankit largely resists heavy-handedness, presenting Lord Krishna as a friend and guide. Anupama concludes that while the film draws from Frank Capra's It's a Wonderful Life and Vikramaditya Motwane's Trapped, it ultimately delivers a universal message about living with grace and generosity.

Suchin Mehrotra reviews Freedom At Midnight Season 2, the concluding chapter of the Nikkhil Advani-directed series based on Dominique Lapierre and Larry Collins's book of the same name. Streaming on SonyLIV, this seven-episode season follows the weeks and months leading up to India's independence, the horrors of Partition, and the challenging period that followed. Suchin finds the second season far stronger and more affecting than its admirable yet emotionally distant predecessor, tackling explosive events from the largest mass migration in human history to the assassination of Mahatma Gandhi.

Suchin highlights the conviction and sophistication in the storytelling, praising the writing team of Abhinandan Gupta, Gundeep Kaur, Adwitiya Kareng Das, Divy Nidhi Sharma, Revanta Sarabhai, and Ethan Taylor, along with DOP Malay Prakash's painstaking frames and Ashutosh Pathak's sensitive score. The performances shine, particularly Rajendra Chawla as a scene-stealing Sardar Patel, Luke McGibney as a surprisingly dimensional Lord Mountbatten, and powerful cameos from Abhishek Banerjee and Anurag Thakur. While Sidhant Gupta's Nehru hits hardest in vulnerable moments and Arif Zakaria's Jinnah risks feeling like a villain, editor Shweta Venkat ensures episodes feel alive through striking montages marrying real-life footage with fiction. Suchin concludes that if this show indicates the calibre of storytelling ahead, there may still be hope for the year.

In The Hollywood Reporter India’s Best Hindi Shows of 2025, deputy editor Suchin Mehrotra celebrates a year that proved the finest Hindi-language storytelling continues to thrive on streaming platforms. From Vikramaditya Motwane and Satyanshu Singh’s tremendously crafted prison drama Black Warrant, featuring Zahan Kapoor’s excellent turn as a Tihar jail superintendent, to Sudip Sharma’s stunning sophomore season of Paatal Lok with Jaideep Ahlawat delivering one of the great performances as the tragic Hathi Ram Chaudhary. Writer-director Pushkar Sunil Mahabal’s dazzlingly inventive true-crime thriller Black White And Gray earns praise as one of the coolest and most distinctive Indian shows Suchin has ever watched.

The list also spotlights creator Smita Singh’s singular supernatural series Khauf, where Monica Panwar navigates the bone-chilling horrors of being a woman in Delhi—proving that nothing is scarier than real life. Rounding out the picks is the achingly sincere Real Kashmir Football Club, starring Mohammad Zeeshan Ayyub and Manav Kaul as two men building Kashmir’s first professional football club from nothing. Special mentions go to Nagesh Kukunoor’s The Hunt for its brave finale, Netflix’s Bads Of Bollywood for its comedy gold, and Maharani Season 4 for remaining deliciously watchable after four seasons. These shows represent the ambitious, boundary-pushing storytelling that Indian streaming was always meant to champion.

In The Hollywood Reporter India's Top 5 Films of 2025, editor Anupama Chopra curates her definitive list of the year's most powerful cinema. From Neeraj Ghaywan's deeply urgent COVID-19 drama Homebound, which chronicles the friendship between a Muslim man and a Dalit man battling impossible circumstances, to Rohan Parashuram Kanawade's languid and lyrical Sabar Bonda—a gay love story set in rural Maharashtra that surprises with its tenderness and grace. Writer-director-actor Rishab Shetty's Kantara: A Legend Chapter 1 delivers a dazzling prequel set 1,500 years ago, featuring action sequences and a performance unlike anything Anupama has ever witnessed.

Mari Selvaraj's ferocious sports drama Bison Kaalamaadan earns the number two spot, with Dhruv Vikram delivering a blistering performance as a kabaddi player from an oppressed caste navigating caste politics and a fraught relationship with his father. But the crown belongs to Lokah Chapter 1: Chandra—writer-director Dominic Arun and dramaturgist Santhy Balachandran's critically acclaimed blockbuster that proves a female vampire superhero can be both heartbreaking and thrilling. From Netflix to Amazon Prime Video to Jio Hotstar, this list spans languages, genres, and streaming platforms, showcasing Indian cinema at its most diverse and daring. These five films represent storytelling that challenges, moves, and entertains in equal measure.

Kairam Vaashi reviews 45, the directorial debut of celebrated Kannada music director Arjun Janya. The film stars Shiva Rajkumar, Upendra, and Raj B Shetty in a fantasy drama rooted in themes from the Garuda Purana—exploring death, karma, and the five fundamental fears one must conquer in life.

Kairam examines how Vinay, played by Raj, becomes the axis of the story after a fateful action brings him into conflict with Upendra's Raayappa, while Shiva's Shivappa steps in as his unlikely protector. The review breaks down where the film's ambitious vision connects and where it falls short—from stretched sequences and a weak love track to inconsistent VFX and a jarring background score.

For Kairam, the film truly finds its spark only when Shiva enters the narrative, bringing screen presence, playfulness, and dignity that keep 45 afloat. He also touches on the Garuda Gamana Vrishabha Vahana callback, retro song choices, and a climax surprise.

The THR India verdict? Full marks for effort and ambition, but the execution doesn't quite match the promise.

Kairam Vaashi reviews The Devil, the latest Kannada film starring Darshan Thoogudeepa, which released to packed theatres despite its leading man being in judicial custody. Kairam notes this marks the second time in Darshan's career that a film has released under such circumstances, following Saarathi fourteen years ago. The review examines how director Prakash kept the film's central plot twist hidden from the trailer, revealing a mistaken identity narrative that offers Darshan two distinct shades to portray—the virtuous do-gooder and the titular devil.

While acknowledging the film's production challenges, uneven pacing, and dated treatment, Kairam finds the interplay between Darshan's dual roles to be the film's strongest element. Supporting performances from Mahesh Manjrekar and Achyuth Kumar start promisingly but don't quite sustain, and Rachana Rai's role remains underwritten. For hardcore fans, there's plenty to celebrate, but Kairam concludes that beyond Darshan's performance, The Devil doesn't offer much beyond a watchable experience carried largely by its star's devoted fanbase.

In his review for THR India, Vishal Menon calls Kalamkaval a genre refiner for Malayalam cinema — a film that redefines the serial killer thriller through its masterful blend of screenwriting and editing. Directed by debutant Jithin K. Jose, the film features Mammootty in a role unlike any in his 400+ film career, playing a brutal serial killer with chilling precision. Vishal highlights a stunning 20-minute sequence in the first hour as possibly the most elegant stretch of Malayalam cinema this year, where timelines, victims, and identities merge seamlessly. The music by Mujeeb Majeed and cinematography by Faisal Ali create a labyrinthine atmosphere impossible to escape, while Vinayakan anchors the film as the obsessive officer on the killer's trail.

Vishal notes that unlike films such as Anjaam Pathiraa, Abraham Ozler, or the Tamil hit Ratsasan, Kalamkaval doesn't work overtime to justify its killer's psyche through elaborate backstories. Instead, Jithin lets images from Stanley's past speak for themselves, trusting the audience to grasp the horror without spoon-feeding. For Vishal, it's Mammootty who steals the film — embodying both the charm of a debonair and the menace of a murderer in the same breath. Who ever thought we could love him even more by playing a character that deserves all the hate in the world?

In this review, Anupama Chopra examines Tere Ishk Mein, the romantic drama directed by Aanand L. Rai and written by Himanshu Sharma and Neeraj Yadav. The film stars Dhanush as Shankar, an angry law student from humble beginnings with severe anger management issues, and Kriti Sanon as Mukti, a privileged PhD student who makes him her thesis project to prove that violence can be reformed out of anyone. Anupama acknowledges that both Dhanush and Kriti commit fiercely to their roles, running the gamut from love to rage to self-destruction, but finds their strenuous efforts undermined by a far-fetched, convoluted script.

Marketed as being from the world of Raanjhanaa, Aanand's 2013 film also starring Dhanush, Anupama notes that Tere Ishk Mein lacks the sparkle and sincerity of its predecessor. The plot veers from bewildering to outrageous, incorporating everything from UPSC exam preparation to a war with Pakistan and China, petrol bomb attacks, and a female Devdas arc. While she highlights A.R. Rahman's songs with lyrics by Irshad Kamil and Prakash Raj's moving performance as Shankar's long-suffering father as redeeming factors, Anupama ultimately concludes that Tere Ishk Mein is inanity disguised as profundity.

In this review, Anupama Chopra examines Gustaakh Ishq, the romantic drama directed by Vibhu Puri and produced by Manish Malhotra. Set in 1998, the film follows Nawabuddin (Vijay Varma), a printing press owner who schemes to publish the poetry of reclusive poet Aziz Baig (Naseeruddin Shah), only to fall for Aziz's daughter Minni (Fatima Sana Shaikh). Anupama appreciates the old-world charm, the beautiful Urdu dialogue, and the nostalgic recreation of Purani Dilli and Punjab, noting how the film poses thoughtful questions about art, audience, and commerce.

However, Anupama finds that while the film boasts gorgeous aesthetics courtesy of DOP Manush Nandan and stunning costumes, the stilted storytelling and convenient plotting undermine its emotional impact. She praises the three solid performances and highlights the music by Gulzar and Vishal Bhardwaj, particularly the song "Ul-jalool Ishq," but notes that the screenplay flatlines early with unexplained loose ends. The film strains for poignancy but only occasionally hits its high notes, making the journey to its climax a test of patience.

Kairam Vaashi from The Hollywood Reporter reviews Andhra King Taluka, a dense yet beautifully crafted film directed by Mahesh Babu P. He describes it as a rare movie where every fan, hero, and cinema lover will see themselves on screen. The film follows Sagar P, played by Ram Pothineni, a die-hard devotee of superstar Andhra King Surya, portrayed by Upendra. Kairam praises the meta-layered narrative that explores fan devotion, a tender love story with Mahalakshmi played by Bhagyashri Borse, and the emotional depths of cinematic fandom. He notes that despite the complexity, Mahesh and his writing team masterfully tie up every detail, supported by Siddhartha Nuni and Avinash Kolla's immersive visuals that transport viewers to the mid-90s and early 2000s.

Kairam highlights the film's emotional core, particularly the pure-hearted protagonist Sagar and his unwavering bond with his father, played by Rao Ramesh. He commends the screenplay's effective use of flashbacks, the respectful portrayal of the heroine, and Vivek and Mervin's understated yet powerful background score. Kairam notes that Ram delivers a career-defining performance, returning to form after a perceived slump. He concludes that Andhra King Taluka is not just a biopic of a fan but an epic tribute to cinema itself—a film that equates a movie hall to a temple and rewards the very audience that sustains it.

Suchin Mehrotra reviews the highly anticipated return of Raj and DK's The Family Man Season 3, starring Manoj Bajpayee as the beloved Srikant Tiwari. This season takes the action to Nagaland where Srikant must track down his mentor's killer, a deadly assassin named Rukma played by Jaideep Ahlawat, while uncovering a larger conspiracy involving political destabilization ahead of a peace summit. The show expands its scope significantly, introducing new antagonists including a London-based billionaire puppet-master played by Jugal Hansraj and his mysterious fixer played by Nimrat Kaur, while bringing back fan favorites like JK (Sharib Hashmi), Srikant's wife Shuchi (Priyamani), and their children.

Suchin notes that while the season throws numerous subplots and familiar action sequel tropes at viewers - including Srikant going rogue, moles at TASC, and multiple antagonists - it maintains the show's signature winning banter, tension, and thrilling action sequences. He particularly praises the rare quiet moments between the relentless pacing, such as Srikant's touching conversation with his daughter Dhriti and Manoj's devastating performance dealing with his mentor's death. Though the plot can be overwhelming with its various puzzle pieces, and the season ends on an abrupt cliffhanger, Suchin finds it familiar but still immensely fun, with Raj and DK continuing to deliver some of Hindi cinema's best action sequences.

Vishal Menon reviews Kaantha, calling it a beautifully-shot meta drama that excels as a captivating character study. He praises Dulquer Salmaan's incredible performance as TK Mahadevan, a superstar trapped by his own images, becoming unrecognizable to himself. Vishal highlights director Selvamani Selvaraj's masterful use of mirrors as narrative devices that serve as the film's conscience, reflecting truths the complex characters cannot admit. The review explores how Mahadevan exists as multiple personas - a god to his fans, a creation of his director Ayya (played by Samuthirakani), and a man caught between who he was and who he's become.

Vishal delves into the film's exploration of a narcissist simultaneously in love with and disgusted by himself, noting how Mahadevan's habit of playing to the gallery stems from a childhood where applause meant survival. He commends Selvamani for creating a truly special film that transcends both meta drama and investigative thriller genres, seamlessly juggling multiple narrators, timelines, and aspect ratios. Vishal particularly praises cinematographer Dani Sanchez-Lopez for effortlessly switching between film noir sophistication and classic Indian cinema staging. He concludes that Dulquer delivers the best performance of his career, with Kaantha evolving from a love letter to cinema into an epic tragedy about a man destroyed by his own reflection.

Anupama Chopra reviews the sequel to 2019's De De Pyaar De for The Hollywood Reporter India. The film follows the continuing saga of Ashish Mehra (Ajay Devgn), a 50-plus man, and his much younger partner Ayesha Verma (Rakul Preet Singh) as they now face the challenge of getting Ayesha's parents on board with their relationship. The plot thickens when Ayesha's father Rakesh (R. Madhavan) discovers that his daughter's partner is his own age, leading to comedic attempts to break up the couple, including introducing the young and handsome Adi (Meezan Jafri) as a potential rival.

Anupama finds the film convoluted and exhausting, noting that while the first installment had flashes of fun elevated by Tabu's presence as ex-wife Manju, the sequel lacks both emotional logic and sufficient laughs. She observes that despite the film's performative progressiveness about modern relationships, it's riddled with double standards and relies heavily on obvious age-gap jokes and nostalgia. Anupama particularly critiques Rakul's overly energetic performance and Ajay's coasting on his stardom, though she appreciates R. Madhavan as the most compelling character and Jaaved Jaaferi's bromance with Ajay. The review concludes with bewilderment at the head-scratching climax and a plea to bring back Tabu for any future installment.

Suchin Mehrotra delivers his comprehensive review of Delhi Crime Season 3, the latest installment of Netflix's International Emmy-winning series. The series stars Shefali Shah as DCP Vartika Chaturvedi and this season explores a child trafficking racket led by the villainous Badi Didi played by Huma Qureshi, while following the investigation across multiple Indian states from Assam to Rajasthan.

Suchin provides an honest assessment of how the series has evolved, discussing both its strengths—including outstanding performances from Shefali Shah, Rasika Dugal, Rajesh Tailang, and the supporting cast—and its weaknesses, particularly the formulaic elements that have crept into the narrative. He highlights standout moments like bone-chilling interrogation scenes and the haunting portrayal of systemic failures, while critiquing the season's pacing issues, underutilized ensemble cast including Anurag Arora and Jaya Bhattacharya, and the disappointing final showdown. The review concludes that while individual scenes remain powerful, the season struggles to maintain the cohesive emotional journey of its predecessors.

Kairam Vaashi reviews The Girlfriend, directed by Rahul Ravindran, noting that while it appears to be a typical college love story with predictable beats, the film feels refreshing in its ability to make audiences deeply empathize with Bhooma, played by Rashmika Mandanna. He observes how Bhooma, an MA Literature student who lost her mother at birth, lives under crushing social conditioning that has slowly drained the life from her. Kairam highlights the two patriarchal men in her life - her boyfriend Vikram (Dheekshith Shetty) who wants a girlfriend like his mother, and her father - both dismissing her words and feelings until Vikram’s arm around her neck begins to feel suffocating.

Kairam appreciates how The Girlfriend is an intentional film that takes a clear stance on gender dynamics, though he notes the storytelling never completely drew him in, taking familiar routes and convenient choices. He praises Rashmika’s challenging performance, showing her growth as an actor, alongside Dheekshith’s confident portrayal and Rohini’s shocking role that makes viewers question themselves. Kairam particularly admires the understated moments - from Bhooma peeling skin on her finger to the tension echoed throughout, supported by Prashanth R Vihari’s effective background score. He concludes that The Girlfriend is an important, thought-provoking film, even if not entirely emotion-evoking.