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INDU SARKAR STORY: Indu’s husband, a government employee, believes in using the state of Emergency to advance his career, but a moral and ideological discrepancy sets her on a own path.

INDU SARKAR REVIEW: Madhur Bhandarkar seems to be taking calculated baby steps back to the time when he insisted on telling real stories as opposed to making superficial subjects seem real.




To this end, he even breaks with his usual formula of attacking and “unmasking” a particular industry and roots Indu’s (Kirti Kulhari) fictitious tale in the factual setting of the state of Emergency that the country was shrouded in from 1975 to 1977.

Indu, an introverted orphan who stutters, finds a companion in Navin Sarkar (Tota Roy Chowdhury), who is the first person to look beyond her speech impediment and ask her what she wants from life. She only finds the answer to his question after their wedding, when she sees him in cahoots with the ministers who bend the rules to benefit from the Emergency. The moral conundrum pushes her into a life of rebellion and forces her to part with her hard-earned normalcy.

The movie presents a fairly irregular account of the 19 months of Emergency in hurried montages. The party leaders are overtly villainous and members of the rebellious Himmat India Sangathan (including Indu) are overwhelmingly righteous; Bhandarkar fails to achieve political neutrality. Another issue is the film’s dialogue by Sanjay Chhel; some fantastic lines get lost in throwaway scenes and clichés like, "gareebon ko jeene ka haq nahi hai?" take prominence. Halfway through the movie, when you’re just getting used to the pace, a surprise qawwali jumps at you and throws you off.

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However, Indu Sarkar is at its best when it focuses on its protagonist's emotional struggles and dilemmas, leaving the politics behind. Indu and Navin’s story by itself is far more palatable than the elaborate political schemes surrounding them. Kirti Kulhari shoulders the responsibility of the central role with a lot of earnestness and keeps you interested. Tota Roy Chowdhury makes for a good foil to Indu.

With Indu Sarkar, Bhandarkar drops most gimmicks and turns the page. But he is still far from Page 3

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Inspired by a true story, the film follows a group of US war veterans after they return from their long stint in Iraq and the struggles they face as they try to adjust to life back home while dealing with painful memories that refuse to go away.

REVIEW: There have been a number of films that focus on war veterans and the trying times they face once they return home from the war, and Thank You For Your Service doesn’t quite go off the beaten track. The film begins with Staff Sergeant Adam Schumann (Miles Teller) going back home after 15 months to his wife Saskia (Haley Bennett) and their two young children. His absence from home has resulted in the kids viewing their father more like a stranger since he has missed a chunk of their childhood while fighting battles in war-torn Iraq. Although happy to be back with his family amidst familiar surroundings, Adam struggles to get back to normalcy thanks to the fact that he is suffering from Post-Traumatic Stress Disorder (PTSD) that causes terrifying flashbacks and difficulty adjusting to domestic life. As Saskia goes through her own torment of watching her husband deteriorate in front of her eyes, she convinces him to get help at the Department of Veterans Affairs, which is already overwhelmed with physically and mentally stunted soldiers. Adam finds comfort in two fellow soldiers — Solo Aeiti (Beulah Koale) and Billy Waller (Joe Cole) who are battling their own demons after returning home from the horrors of war.

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With a fairly talented cast, Thank You For Your Service deftly showcases the emotional trauma that soldiers go through during combat, and more importantly, after it. From the performances, Teller and Koale stand out, as the remorseful soldiers who are struggling to come to terms with traumatic events. The rest of the supporting cast ably showcase the lives of war veterans and their families without going over the top.

The range of emotions — from anger and guilt to fear and redemption — is subtly captured by director Jason Hall. You do feel sorry for the characters as they try to manoeuvre through a web of emotions. Unfortunately, although the film engages you in the beginning, the pace tends to slow down towards the end. While war films aren’t always everyone’s cup of tea, thanks to their (usually) dramatic storyline, this one’s worth a watch if you’re in the mood for something serious. 

SHAADI MEIN ZAROOR AANA MOVIE download from tubemate

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Hailing from a conservative family, Aarti Shukla (Kriti Kharbanda), an educated girl from Kanpur, falls in love with her arranged match Satyendra (Rajkummar Rao). Sattu’s stable government job (clerk in excise dept) and upper class family background impresses her parents; while his humility and liberal thoughts, win over the girl. But the love story takes a drastic turn when Aarti flees on her wedding day, leaving Satyendra at the altar.

REVIEW: Fearing she’ll end up as a housewife after marriage, an ambitious Aarti sacrifices her love for Sattu as she chooses career and independence. Scarred with rejection, heartbreak and societal humiliation, Sattu becomes a changed man. Years later, fate brings them together. What unfolds forms the story.

Though director Ratnaa Sinha addresses various social issues (dowry, bribe, gender equality) in her overstretched and a tad outdated tale, her film is predominantly a romantic drama that seems inspired by Jane Austen’s Persuasion. Class and gender disparity, revenge, jealousy and eternal love – it ticks all boxes.

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However, unlike Austen’s classic that beautifully captures the simmering tension, regret and passion between two former lovers, this one leaves a lot to imagination.

What then keeps you engaged despite the rather implausible plot riddled with misunderstandings is some real good performances, led by the very talented Rajkummar Rao. Whatever he touches turns to gold. His subtle and honest portrayal of Sattu is a testament to his much talked about acting brilliance. Kriti Kharbanda exudes charm and simplicity, thus complimenting Raj perfectly.

The film could have been much better than it eventually turns out to be. But if you don’t mind watching a modest family drama, reminiscent of the 90s, you won’t mind being privy to this emotional alliance.

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A group of survivors are met with numerous obstacles as they go on a mission to find a cure for a deadly virus that is threatening to obliterate the world’s population

REVIEW: The third and last installment in the series, Maze Runner: The Death Cure takes off with the Gladers — Thomas (Dylan O’Brien), Frypan (Dexter Darden) and Newt (Thomas Brodie-Sangster) on a dangerous mission to save one of their friends, Minho (Ki Hong Lee) and, of course, the world from a terrifying end. Among the last few to have remained immune to Flare, the deadly virus that has laid siege on a majority of the world’s population, the Gladers are running against time to find a cure. As they attempt to sneak into the Last City, they encounter a series of obstacles that threaten their very existence.

There are several fast-paced action sequences in the film that will keep you engaged but only till a certain point. The interminable length of the film stretched to way over two hours is a dampener. It ensures that your mind keeps meandering and eventually makes it difficult to keep up with the incessant twists and turns in the plot. Shot on a fairly lavish scale, the special effects deserve a mention for their superiority. However, you wish director Wes Ball had gone with a more measured screenplay, which would have made the film enjoyable even for those who haven’t watched the previous two installments. The film also suffers a bit because it tries to juggle too many plot lines without being able to balance them well.

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Among the cast, O’Brien stands out as the loyal friend and tormented lover, who wants to make sure his loved ones face no harm. Scodelario tries hard but fails to impress as the doctor, torn between her ethics and inability to maintain relationships with those closest to her. The rest of the cast do a decent job of playing their characters well. If you’re a fan of the franchise, enjoy watching ‘save the world from the apocalypse’ type of action thrillers and have been following the story over the years, this finale might be of interest to you. 

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Assistant Commissioner of police, Ashwini Dixit sets out to find the person behind a series of murders but things take a turn for the worse when his wife goes missing as well.

REVIEW: Debutant director Kushal Srivastava’s Vodka Diaries begins like any other suspense thriller. The story is set in the freezing climes of Shimla where dead bodies start piling up at a local hotel named Vodka Diaries. While a cop, (Kay Kay Menon) is trying to zero in on the murderer, his wife (Mandira Bedi) disappears. He gets a mysterious call from an unknown woman (Raima Sen) who tells him to connect the clues left behind by the murderer and then to solve the mystery which will eventually lead him to his wife.

The genre of suspense thrillers is a difficult one to crack. Not only does the story have to keep the viewers on the edge of their seats but also ensure that they are invested in the process of cracking the case. Vodka Diaries fails to deliver on both counts. The background music in the film reminds one of old Hindi thrillers which were intended to make you jump out of your skin, but in this case your head throbs with a dull ache more than the film throbs with chills. That’s not all; the story starts off as a murder mystery with a quintessential twist in the tale that’s not entirely unpredictable.

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What works for the film are the performances by its lead actors. Kay Kay Menon, as a cop who is hot on the trail of the murderer, who is also a romantic at heart, does the best he can with the material at hand. But even an accomplished performer like him cannot save a film that sounds conceptually good, but is derailed by its poor execution. Mandira Bedi as a poetess is competent and Raima Sen delivers despite the limited scope of her character. Sharib Hashmi as the cop’s side-kick has been wasted in a role that doesn’t add much to the narrative. The film’s dialogue writing also leaves much to be desired. While the mystery should be intriguing in a suspense thriller, what remains a mystery is the lack of anything intriguing.

ALL THE MONEY IN THE WORLD MOVIE download from tubemate

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ALL THE MONEY IN THE WORLD STORY: 16-year-old John Paul Getty III is kidnapped. His mother desperately tries to convince his billionaire grandfather to pay the ransom.

ALL THE MONEY IN THE WORLD REVIEW: This crime drama by Ridley Scott is based on the real-life kidnapping of John Paul Getty III. The production experienced its own behind-the-scenes drama following allegations of sexual harassment against Kevin Spacey who had finished shooting all his scenes as Jean Paul Getty. Spacey was replaced by Christopher Plummer in the title role – a recasting that works brilliantly in the film’s favor. Not only is it great to have a veteran actor who actually looks the part of an old, and tired billionaire, but Christopher Plummer is so gripping every time he appears on screen that he erases any memory of Spacey’s involvement with the project.

In other performances, Michelle Williams gives another strong turn as the desperate and distraught mother Abigail Harris, and Romain Duris is nuanced as Cinquanta – one of the kidnappers. On the other hand, Charlie Plummer as the kidnapped son is unable to evoke the emotion required to care enough about him, while Mark Wahlberg seems to be just playing himself. Italy turns out to be an intriguing character in itself, captured in all its 70’s glory, filled with enough pasta, art, paparazzi, and scooters to transport you into that era.

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Greed, frugality, and the strange nature of power are the core themes explored in this film and Ridley Scott takes his time to address the question of what really holds us hostage. He chooses a disjointed narrative style that lacks a sense of urgency warranted by a real-life story that was stranger than fiction. This results in an uneven pacing and tonality, which doesn’t take away from the fact that this is an engrossing series of events, but it might be a detrimental factor to those expecting a taut thriller. The main reason to watch ‘All the Money in the World’ is the last-minute character revamp by Christopher Plummer that makes this film worthwhile.

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A career-ending accident leaves ballerina Domenika Egorova (Jennifer
Lawrence) with no choice. She is coerced into taking up her uncle’s sordid offer to support her ailing mother. The dancer becomes a ‘sparrow’, a Russian seductress-spy, who must sexually manipulate her targets to win their trust and source secret information for her country.

REVIEW: One of her assignments expects her to befriend Nash, a CIA agent (Joel Edgerton), who can further lead her to a mole in the Russian intelligence service. However, things get tricky when she falls for Nash and he persuades her to become a double agent.

Based on a spy novel by Jason Matthews, Red Sparrow is a gripping but somewhat pointless thriller that overrates its own intelligence. Francis Lawrence and his star protagonist, lend a strange beauty to this obnoxiously bizarre film that feeds on violence and assault. An air of mystery surrounds every character and their intentions, which ups the intrigue and paranoia.

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However, without any substantial gains at stake, Domenika’s ‘sexual sacrifices’ and manipulative games seem inconsequential. Even the sparrow training programme or in JLaw’s own words (whore school) which expects her to endure the perverse and sadistic activities, ends up looking dim-witted instead of dangerous. You chuckle when the instructor tells the new recruits in a stern voice, “Your body belongs to the state now.”

A torture porn with the sensibility of a 50 Shades… like erotic fantasy, Red Sparrow fails to take flight as the chilling spy thriller, you’d expect it to be. Even a decent climax is unable to salvage a sluggish buildup. Jennifer Lawrence’s terrible Russian accent and deadpan act, don’t help either.

Despite the genre and an attractive cast, the film’s mind games are way too tiring and uninspiring to arouse any emotions or thrill.