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Baby John (2024) Review Kalees’ Baby John is an ambitious Hindi remake of Atlee’s Tamil blockbuster Theri. While it captures the essence of its predecessor, the film struggles to leave a lasting impact due to its inconsistent execution and over-reliance on melodrama. The story revolves around DCP Satya Verma (Varun Dhawan), a devoted father and a former police officer who fakes his death to protect his daughter from a vengeful enemy. But when danger re-emerges, he is forced to confront his past. The premise has the potential to blend emotional depth with high-octane action, yet the film often falters under the weight of its predictability. Varun Dhawan delivers a performance packed with intensity, but his character’s emotional moments lack subtlety, often feeling exaggerated. Keerthy Suresh, making her Hindi debut, offers a solid performance but is underutilized, reduced to a one-dimensional supporting role. Jackie Shroff brings his signature flair to the antagonist, but even he cannot elevate a villain that feels too generic. Wamiqa Gabbi provides some charm, but her role feels peripheral. On the technical front, Baby John is a mixed bag. Thaman S’s background score does justice to the high-stakes drama, though it occasionally drowns out quieter moments that could have deepened the emotional impact. Kiran Koushik’s cinematography shines in the action sequences, which are slickly choreographed and visually engaging. However, the film’s pacing suffers due to a bloated screenplay that lingers too long on subplots that add little to the narrative. Where Baby John excels is in its exploration of parental love and sacrifice. Certain moments between Dhawan’s character and his on-screen daughter resonate emotionally, reminding us of the film’s heart amidst the chaos. Ultimately, Baby John is a well-intentioned effort that falls short of its potential. It’s a decent watch for action lovers and fans of Varun Dhawan, but it fails to rise above the clichés of the genre. A tighter narrative and a bolder approach could have transformed this remake into a standout thriller.

Maharaj (2024) Review In Maharaj, director Siddharth P. Malhotra dives into the annals of pre-independence India, delivering a courtroom drama that pits justice against societal privilege. Inspired by a true story, the film attempts to shed light on class divides, freedom, and morality. While it has its moments of brilliance, the execution doesn’t consistently live up to its ambition. The film revolves around Junaid Khan as a fiery yet vulnerable protagonist, making a solid debut. He plays a barber who challenges societal norms by becoming an unexpected whistleblower in a high-profile case. Khan displays a natural ease on-screen, exuding conviction in emotionally charged scenes, though there are moments where his inexperience as a lead shows. Jaideep Ahlawat, as the antagonist, is flawless, adding weight and depth to every scene he inhabits. The screenplay is where Maharaj falters. The story has potential, but its pacing is uneven, with some sections dragging under the weight of melodrama. The courtroom scenes, while engaging, lack the sharpness needed to elevate the film into a gripping legal thriller. Some sequences feel overly didactic, hammering home the film's themes rather than trusting the audience to grasp them. Visually, the film captures the period beautifully. The production design and costumes immerse viewers in colonial-era India, and the cinematography has a striking, earthy quality that complements the story’s tone. Amit Trivedi’s score is evocative, though it sometimes overpowers quieter moments that would have benefited from restraint. Maharaj deserves credit for tackling important themes and for its bold take on a real-life story. However, it struggles to balance its message-driven narrative with the need for a cohesive, engaging cinematic experience. Fans of historical dramas may find it worth a watch, but as a courtroom thriller, it leaves much to be desired.