Aman SharmaJii

Ek Diwane Ki Diwaniyat is worth a watch for Harshvardhan Rane’s magnetic performance and Sonam Bajwa's solid acting. The story and plot feel predictable at times, with a familiar Bollywood-style ending, but the movie shines in its portrayal of north indian politics. Dialogues are simple yet memorable, and the cast brings the scenario to life. A good watch if you enjoy strong performances over a groundbreaking plot.

Shakthi Thirumagan, dubbed in Hindi as Bhadrakali, is a powerful and engaging political drama that feels real from start to end. What makes it stand out is the way the story unfolds simple yet intense. The actors have done an amazing job without any extra glamour or overacting. Every scene has meaning, showing how politics, power, and hidden agendas actually work behind the curtain. The story keeps building with each step, and by the time it ends, you’re left thinking about how deep politics really runs in our system. The ending is smart and satisfying definitely worth watching if you enjoy serious, story-driven cinema.

It's a solid watch, the story and suspense are spot on and keep you hooked till the end. The only thing missing was stronger character development and maybe a small hint about what to expect in the next chapter to build more hype. Arshad Warsi’s performance feels a bit like he’s still carrying his Asur vibe, but Jeetu absolutely steals the show — he’s brilliant as always. Overall, it’s a gripping and entertaining movie — definitely worth watching!

AJEY tells the story of Yogi Adityanath with strong storytelling and powerful scenes that feel very real. The casting overall is amazing and adds weight to the narrative. The only weak point is Paresh Rawal’s role. Despite being a great actor, his performance here feels unconvincing and light, especially for a character based on such a respected saint from Gorakhpur. The portrayal lacked the depth and authenticity it deserved. Still, the movie holds together with its pace, emotion, and engaging story. A must-watch for anyone interested in political and biographical dramas.

The Bengal Files is bold and emotional, powered by strong monologues. Darshan Kumar’s role connects the Kashmir exodus with Bengal beautifully, while Sourav Das as Gopal Patha delivers one of the best scenes with Gandhi. Simrat Kaur impresses, and Anupam Kher as Gandhi fits well, though Pallavi Joshi feels underused. On the downside, the ending could have been stronger, the constant jumps between past and present ruin the flow at times, and Sohrawardy’s character deserved more depth. Some roles shine, others feel half-baked. Still, it’s a powerful film — not perfect, but unforgettable in parts.

Param Sandari" is proof that Bollywood is still stuck in lazy stereotypes and recycled formulas. The film tries to copy the Chennai Express vibe but fails in every possible way. The plot is illogical, the dialogues are cringeworthy, and the stereotypes about Punjabis and Malayalis are not just outdated but offensive. Siddharth Malhotra plays yet another cardboard Punjabi hero, while Janhvi Kapoor struggles with a fake accent that's distracting from the first scene. Manjot Singh is the only actor who brings life to the film, but he alone cannot save it. Apart from the background score of the title track, there's nothing memorable here. Conclusion : Flat, stupid, and a total waste of time. Bollywood needs to move past these stereotypes.

The Bhootnii is actually a fun watch. The story has its ups and downs, and honestly some parts feel like they were written by a kid-like the whole Virgin Tree angle, which is just ridiculous. But the comedy and punchlines really land -especially from Asif Khan and Nikunj (Nick). The conversations between Asif, Nick, Sunny and Sanjay Dutt were hilarious. Sanjay Dutt's narration and Mouni Roy's role stand out, while Palak Tiwari still needs to polish her acting. Overall, a solid mix of humor, spirituality, and drama. The plot is weak, but it still works because of the performances.

Watched Malik today starring Rajkummar Rao. The movie was okay overall, with confusing storytelling but an intense suspense in the last act. The female lead's dialogue delivery was quite weak, and the attempt to recreate old Allahabad didn't feel real, though the village scenes were done well. The last 15 minutes in the empty village were gripping, but the film feels heavily influenced by KGF/Pushpa style of fights and gun battles. Story of criminals and politicians is nothing new. One-time watch for me, seeing Rajkumar Rao in these kind of role is quite amazing.

Tehran is a powerful mix of emotion, action, and patriotism, with John Abraham delivering one of his most intense performances. The story keeps you hooked like a roller coaster, showing not just the thrill of espionage but also the pain of loss and sacrifice. The film captures Tehran's landscapes beautifully, making the city a character in itself. It's sharp, heartfelt, and proves once again how John is carving his own space in patriotic cinema. A must-watch.

I watched the film today in Pune, and honestly, I walked in with excitement and walked out with disappointment. With a cast like this and Lokesh Kanagaraj at the helm, you'd expect fireworks, but what we got was a confusing, surface-level movie that didn’t know what to do with its own ambition. Lokesh clearly aimed to make a true pan-India spectacle — he brought in Rajinikanth to anchor the film with his unmatched charisma (which, to be fair, still hits effortlessly), then added Nagarjuna Akkineni from Telugu cinema, Upendra from Kannada, and even Aamir Khan to pull in the Hindi audience. On paper, that looks like a genius move, but in execution, it falls flat. It felt like he just collected stars from different industries for box office reach rather than giving them meaningful characters or arcs. Nagarjuna was decent, but his character felt like a slightly elevated gangster role — almost like a recycled Danny from Don. Upendra had all this mysterious buildup with that locked room subplot, and it went absolutely nowhere. Zero payoff. Just pure hype that fizzled out. Aamir Khan, of all people, was reduced to a blink-and-miss role that served no real purpose — if you’re bringing in someone of his stature, give him something substantial. Instead, he was just there to tick the "Bollywood star" box. Shruti Haasan’s role was possibly the weakest of the lot — not only underwritten but also completely emotionless. And that’s where the biggest failure lies: the emotional core. The father-daughter dynamic, which was supposed to be the soul of the story, felt so undercooked and disconnected that it didn’t move me at all. Especially when you look at how powerfully Vikram handled father-son emotion or how Leo brought intensity through the brother-sister bond — this just felt hollow in comparison. The first half had some pace and decent buildup, and Anirudh’s BGM absolutely elevated moments that would’ve otherwise fallen flat. But post-intermission, the film lost all steam. It dragged, twisted itself into knots for the sake of complexity, and by the end, it was just noise — flashy action, convoluted scenes, and an ending that didn’t make a lick of sense. Lokesh Kanagaraj, who once gave us gritty, engaging storytelling in films like Kaithi and Vikram, feels like he’s now more focused on stacking star power and crafting ‘mass moments’ than building a coherent story. This film tried to be everything — action-packed, emotional, massy, pan-India — and ended up being nothing. It was all spectacle, no soul. Honestly, I won’t be rewatching this on OTT or otherwise. It’s easily Lokesh’s weakest film to date, and despite the superstar cameos and loud BGM, it left no lasting impact.