What Indian cinema fans feel about Salman Khan is somewhat similar to what Pakistanis feel about Shahid Afridi. We will never compare him with any other player of the world. We know he doesn’t have any clue about what he is doing most of the time and we still cheer for him. He fails more than he succeeds but we love him and want him to do well. I belong to a generation that was inspired by Salman Khan, or bhai as his fans would call him. Teenagers started going to gym, their fashion sense changed and their hairstyles varied with his new looks. I also wear a small chain in my left hand although it’s much thinner and does not have a turquoise stone in it. Granted that after two decades in the industry, bhai still does not know how to do an emotional scene but to his fans, that is a mere irrelevant complication in an otherwise simple business… It’s a bhai film, it has to be watched and it has to be a hit. That’s it. As Salman himself says in Kick,

“Dil mein aata hoon, samajh mein nahin.”

What happens when a ‘conventional chocolate boy’ opts for an unconventionally intense and complicated role, contradicting his previous comical high school performances? What makes a filmmaker choose such an actor for a main lead in his movie? How good can revenge sagas be? Well, Badlapur will answer all these questions for you. Varun Dhawan, for the very first time, is seen in a role different from his usual ‘cutesy’ avatar. His performance has been surprising, to say the least. Along with him, we come across Nawazuddin Siddiqui, who, after Kick, has managed to score another meaty role with more screen presence this time. [caption id="" align="alignnone" width="499"] Photo: Badlapur film Facebook page[/caption] At the beginning of the story, Raghav (Varun) is shown as a happily married, young, successful and urban workaholic working for a marketing agency. His life flips 180 degrees when he is informed that his wife Misha (Yami Gautam) and child were killed by a bank robber Layak (Nawaz). Layak eventually gets caught but his accomplice, Harman (Vinay Pathak), manages to flee. Layak is sentenced to 20 years in prison and it is only 15 years after the incident that Raghav finds out about Harman’s escape. Overcome by rage, Raghav vows to avenge the death of his family; how he manages to do that is what Badlapur is all about. [embed width="620"]http://www.dailymotion.com/video/x2bjm47_badlapur-hd-hindi-movie-teaser-trailer-2015-varun-dhawan-nawazuddin-siddiqui-huma-qureshi-yami-gauta_shortfilms[/embed] Performance wise, Nawaz portrays his character with panache and proves yet again that if asked to portray a powerful character, he can take on the challenge effortlessly, and that is precisely why he is one of the finest actors in the industry today. In every scene, Nawaz makes sure he stands out with dominion. Let’s just say, Badlapur would not have been the twisted rollercoaster ride it is without Nawazuddin. [caption id="" align="alignnone" width="499"] Photo: Badlapur film Facebook page[/caption] Varun’s role, as a madman out for revenge, is one he has never before been seen in. His role was complicated and demanded intensity, anger, a sense of hate for almost everyone in the world, coupled with shades of being erratic behaviour and a lot more. And he managed it all beautifully! [caption id="" align="alignnone" width="500"] Photo: Badlapur film Facebook page[/caption] After Dedh Ishqiya, Huma Qureshi manages to impress the audience once again. In her short-lived screen presence, she displays the most apt emotions and expressions – an emblem of a seasoned performer. The role of Jhimli, a young, sultry prostitute was portrayed brilliantly by Huma. [caption id="" align="alignnone" width="500"] Photo: Badlapur film Facebook page[/caption] Vinay is, as usual, perfect, and the same goes for Divya Dutta as well. The scene in which Raghav goes for a “lunch date” with Harman and Shoba (Divya), an activist working for rehabilitation of prisoners, is a masterstroke of performances by all three performers. A special mention of Radhika Apte – who plays the role of Koko, Harman’s wife – is essential; not only did she delicately, and realistically, portray her role, despite her screen presence amounting to hardly three or four scenes, her performance stuck to the audience like glue. She is as natural as one could be. To me, she could easily be called the Tabu of the coming days, provided she is given the ‘right’ opportunities. Yami, as expected, gave an average performance. But the surprise came from Pratima Kazmi, playing the role of Layak’s mother, and Kumud Mishra, as a police officer, both of whom gave some great performances. To add on to the list of strong points, the music and songs are good in general but Jeena Jeena and Jee Karda have the potential to raise crowds. [embed width="620"]http://www.dailymotion.com/video/x2f1k4k[/embed] [embed width="620"]http://www.dailymotion.com/video/x2c3wzi_jee-karda-badlapur-exclusive-full-video-song-ft-varun-dhawan-huma-qureshi-hd-1080p_music[/embed] I would definitely recommend watching Badlapur and guarantee that the twisted revenge saga will keep you hooked throughout. Based on the performances and the overall experience, I would give it an easy 3.5 out of five.

I have to admit, I went to watch Bajrangi Bhaijaan (BB) with a lot of prejudice. I am not a big fan of Kabir Khan and have not liked Kareena Kapoor’s acting in any other movie than Jab We Met. I am not a Salman Khan fan either and despite that, I watch all his Eid releases on the first day. [embed width="620"]http://www.dailymotion.com/video/x2rtqx9[/embed] I had four hypotheses before going to the theatre and I had made an outline of the review I was going to write. Generally it’s a set template for a Kabir and Salman film. Nonetheless, my predetermined conclusion of BB being a mediocre film was proven wrong; it is far from a mediocre film. But first, the hypotheses. Kareena Kapoor will be unnecessary in the film – proven to be true [caption id="" align="alignnone" width="599"] Photo: Bajrangi Bhaijaan Facebook page[/caption] Not just Kareena, the entire subplot of Salman’s love interest was completely unnecessary. In the first half, a good 20 minutes were spent on establishing the love story between Salman and Kareena. As the film lasted 163 minutes, cutting 15 minutes and a song could have made the edit sharper and more gripping. The role could have been played by any actress. Salman could have been a married or single man in the film. It would not have had any impact on the final outcome. Nawazuddin Siddiqui will be brilliant – proven to be true And boy was he fantastic. His introductory sequence is a straight lift from Pakistan’s very own Chaand Nawab, and as it turns out, his character is actually called Chaand Nawab. Nawaz comes on screen only in the second half of the movie and takes the burden of carrying the film on his gifted shoulders. His chemistry with Salman is something seen very rarely between male leads of a film. Immaculately timed, comical, perfect body language, and expressive eyes. I am not going to say more, but if someone is selling t-shirts saying “I heart Nawazuddin Siddiqui”, I am ready to send my credit card details. Salman Khan will not be able to emote as per the requirements of the role – partially proven to be true. [caption id="" align="alignnone" width="595"] Photo: Bajrangi Bhaijaan Facebook page[/caption] Salman as an actor has limitations, we all know that. But have those precincts ever made any difference? No. Salman is not a method actor. He will never be Nasseerudin Shah or Aamir Khan. I only watch Salman’s movies to see whether he performed better than his previous films or not. In BB, however, the actor has put in a genuine effort to emote and get into the skin of the role. This is one of the best performances of bhai’s career, if not the best. His demeanour as a simple villager is at point and his performance towards the second half of the film is extraordinary. He has a very powerful scene in the first half at a brothel, where he struggled to convince on the emotions, but still did better than his previous films. BB has no over the top action sequences, choreography, shirtless scenes, or romantic songs. It is heavily dependent on the lead actor. Funnily enough, despite all the limitations, Salman has succeeded. I was unable to picture any other actor playing Bajrangi. BB did not need an actor, it needed Salman Khan, the star, to deliver and so he did. The good thing is that Salman is not the only superstar in the film. The other is Harshaali Malhotra, the child playing Shahida; very cute, charming, and convincing. It was a challenging role as she plays a mute girl, and she really showed her competence despite the presence of some big names in the film. [caption id="" align="alignnone" width="400"] Photo: Bajrangi Bhaijaan Facebook page[/caption] Kabir Khan is just a glorified director, slightly more intelligent than Farah Khan – proven to be wrong This is where I was completely wrong. The problem I have had with other Kabir films is that they were made on the pretence of being intelligent and logical social dramas, which in reality they were not. Be it New York or Ek Tha Tiger, they were more intellectualt than Farah Khan, Prabhudeva and Rohit Shetty films, which made the masses (read Salman Khan fans) feel that they are watching intellectual cinema. This strategy resulted in a big commercial success for Kabir, but this still does not mean that these films were good. BB is different. Kabir has been vigilant about sense and aesthetics, rather than just looking for a way to appeal to the masses. This could be a transition for Kabir, from a successful director to a good director. He has been helped a great deal by Vijayendra Prasad’s story and a capable production design team headed by Rajnish Hedao. Prasad has brought an original story with a lot of room to attract cine-goers. Hedao’s team – well known for PK, Rockstar and 3 Idiots – already has vast experience of multi-location shoots. BB spreads across various cities and weather changes, and keeping this in mind, production design and art direction is always tough for such films. Add to it the complexity of showing Pakistan without being in Pakistan. Credit goes to Kabir for utilising the resources at hand in the best possible way. I also feel that Kabir should be applauded for getting the best out of the cameo appearances by different actors. For instance, Om Puri in a beautiful warm sequence, Adnan Sami Khan as an exuberant qawwal, the actor playing a Pakistan army officer at the border and many others in small roles. [caption id="" align="alignnone" width="599"] Photo: Bajrangi Bhaijaan Facebook page[/caption] Lastly, Kabir has done a remarkable job in treating the screenplay the way it deserves to be treated. He knew when to take creative liberty in the best interest of the film (armies of both countries being lenient on borders etc.) and knew when to make things look realistic (tunnels at the border, Samjhauta express, Shahid Afridi etc.). He could have done better with the duration of the climax though, by eliminating some unnecessary emotional manipulations. Bajrangi Bhaijaan is not an anti-Pakistan film. The filmmakers have tried to be as reasonable as possible without ruining the story requirements. They have shown good and bad on both sides of the border. The film also touched upon the religious divide and has shown Muslims as the more accommodating amongst both the religions. What it does communicate strongly is the secular message of modern India. It’s a possibility that it will be a lesser commercial success than Kick or Ek Tha Tiger. That being said, Bajrangi Bhaijaan is not a typical Salman Khan film. It is not a typical Kabir Khan film. But is definitely worth watching.

It takes ages to find a plot that has the tendency to showcase different emotions, scenarios, and the journey of life i.e. transformation of one’s identity.  [embed width="620"]http://www.dailymotion.com/video/x2xvvor_manjhi-hd-hindi-movie-trailer-2015_shortfilms [/embed]  Manjhi: The Mountain Man is one such story that shares a tale of a man who believes in love, humanity, arrogance, friendship and doing what’s needed in his capacity as an individual to bring a change. It is based on the true story of Dashrath Manjhi, an unsung hero and legend who proved that nothing is impossible to achieve. The film is directed by Ketan Mehta and features Nawazuddin Siddiqui for the lead role of Manjhi. Manjhi has an able team to give what the audience of today’s world is in dire need of. Let’s dissect the movie and find out how rock steady it actually is. Manjhi was an ordinary man from Gehlaur, India, who left his hometown as a child solely because he never wanted to be a slave for Mukhia (Tigmanshu Dhulia), the landlord of the village. [caption id="" align="alignnone" width="400"] Photo: Manjhi Facebook page[/caption] At the age of 20, he returns to his hometown and meets his ‘child bride’ who he was married off to in his childhood, Phaguniya (Radhika Apte). Oblivious to the fact that they were married off as kids, he instantly falls in love with her. But when Phaguniya’s father opposed her relationship with Manjhi as he was jobless, they decide to elope. The movie takes a dramatic turn when Phaguniya accidently slips on the mountain and dies. To avenge his wife, he curses the mountain and vows to bring it down. [caption id="" align="alignnone" width="400"] Photo: Manjhi Facebook page[/caption] Siddiqui has already proved his mettle with almost every movie he has featured in but Manjhi is exceptional and can definitely be considered as one of Siddiqui’s most accomplished works. There is no match to the variety of emotions Siddiqui puts forward for his audience. His peculiar way of laughter after every unusual and weird metaphor is commendable. It’s safe to say that Manjhi is Siddiqui’s best performance till date. He truly deserves an award for this movie. Apte is another underrated actress who showcases her acting prowess in her role of Phaguniya; Mehta has managed to utilise her skills to the fullest. A sensuous mud sequence between Siddiqui and Apte is beautifully and aesthetically filmed, again thanks to Mehta. [caption id="" align="alignnone" width="600"] Photo: Indian Express[/caption] [caption id="" align="alignnone" width="400"] Photo: Manjhi Facebook page[/caption] Dhulia as Mukhiya puts forward a phenomenal performance as the oppressive landlord. He gives an earnest performance, though at times viewers might recall shades of his Gangs of Wasseypur character. Ashraful Haq as Manjhi’s father is strictly okay. Prashant Narayanan who plays the role of Jhumru, the helpless husband and powerful Naxalite, is not only effective but dominant too. [caption id="" align="alignnone" width="400"] Photo: Manjhi Facebook page[/caption] It’s hard to make people realise that it’s not any less of a wonder to keep audiences interested in a movie throughout which only has two main characters, Manjhi (the protagonist) and the Mountain (villain of Manjhi’s life). [caption id="" align="alignnone" width="400"] Photo: Manjhi Facebook page[/caption] Manjhi starts with a high voltage and power-packed scene where Manjhi vents out his anger towards a mountain and challenges to turn the towering piece of rock into scrap – that’s not usual. Or is it? [caption id="" align="alignnone" width="400"] Photo: Manjhi Facebook page[/caption] Every other scene in Manjhi is praise worthy and leaves a long-lasting imprint in the minds of the audience. Indian cinema has not seen movies like Manjhi which have a solid narrative in a while. Along with it being a cinematic delight, it also puts forth the harsh truth of civil injustice. The movie shows no matter how mountainous injustice is, when there is a will there can be a way made. Manjhi is a masterstroke and movies like these are not produced and showcased on regular basis. Manjhi offers its audience and true cinema aficionados everything they crave for – awesome direction, amazing cinematography, great screen play, fabulous acting and clap worthy dialogues. I would rate Manjhi a solid five out of five without any second thought.

2015 was a mixed bag of a year for Bollywood. On one hand, we saw a lot of new-age filmmakers come up with some really off-beat stuff, while on the other, we were subjected to some same old, regressive, masala films. The classic confusion that every movie critic faces in picking the top films of the year is whether to go with flicks that have Box Office tills ringing or go with movies that set one’s own heart fluttering. I have simply avoided the whole dilemma by including both. So without any further ado, here are the top five popular movies of the year: 1. Tanu Weds Manu Returns: Banno tera swagger is the sexiest! As the old age saying goes,

“Marriages are made in heaven, but so are thunder and lightening.”

“Dil ka bhanwar kahe sun saathiya, chup na dupatte me tu o chhaliyaa”

Staring down the barrel of a gun, with my life solely dependent on producing a visually breath-taking piece of cinematic art and the only option given is of one sub-continental city as a filming location, I would be in Kolkata with my frikking filming gear, before anyone could even count to teen. Home to parallel cinema, a film movement that originated in the 1950s, with the likes of Satyajit Ray, Mrinal Sena and Ritwik Ghatak at its helm, Kolkata has an extremely proud celluloid history. It’s also not hard to see how these pioneers, along with the city, still hold sway with serious contemporary Indian filmmakers. You have got Sujoy Ghosh of Kahaani (2012), Shoojit Sircar of Piku (2015), Dibakar Banerjee of Detective Byomkesh Bakshy! (2015) and now Ribhu Dasgupta with Te3n (2016), all having the cultural capital of India embedded as a vital character in their movies. And you know what? I wouldn’t blame any of these directors for taking liberties with the enigmatic Kolkata. Because, if settings add emotions to a visual piece then they don’t come more atmospheric than the capital of West Bengal with its elusive lanes juxtaposed with the bustling markets, and Te3n, owing in no small parts to the city, is a marvel of moody photography. [poll id="609"] A remake of 2013’s award winning Korean thriller Montage, Te3n is a gritty police procedural that splices together a disparate trio in search for clues about a kidnapping and a child murder. https://www.youtube.com/watch?v=SeBCB5ERnps With themes of loss, revenge and redemption, the visual Kolkatan treat is latest in line of grimtertainments, following Wazir (2016), Traffic (2016) and Veerappan (2016), gracing Indian cinemas this year alone. [caption id="" align="alignnone" width="600"] Amitabh Bachchan.
Photo: Screenshot[/caption] The intense whodunnit drama kicks off with John Biswas (Amitabh Bachchan) who for the past eight years is in relentless but hopeless pursuit of justice and personal closure by persuading the authorities to find the kidnapper of his grand-daughter, Angela, who dies during a ransom handover gone awry. [caption id="" align="alignnone" width="600"] Nawazuddin Siddiqui and Vidya Balan.
Photo: Screenshot[/caption] Biswas’s religious daily visits to the police station to meet sympathetic Inspector Sarita Sarkar (Vidya Balan) only ends in him being consoled, since with no leads in the case the police have almost given up on finding the abductor. [caption id="" align="alignnone" width="600"] Amitabh Bachchan and Vidya Balan.
Photo: Indian Express[/caption] But after years of resolutely pursuing in vain the trail that had apparently long gone cold, Biswas stumbles upon a clue and tries enlisting the help of a reluctant Martin Das (Nawazuddin Siddiqui), the cop originally assigned to the case. [caption id="" align="alignnone" width="600"] Nawazuddin Siddiqui.
Photo: Screenshot[/caption] Guilt-ridden over the botched-up investigation and the girl’s death, Das in seeking his own redemption leaves the police force and finds solace as a priest. He even makes a half-hearted attempt to help Biswas just for the heck of it, but it is only when another kid is uncannily abducted in exactly the same fashion that Father Das along with Inspector Sarita Sarkar and John Biswas set out to exorcise old ghosts and hunt down the perpetrator. [caption id="" align="alignnone" width="600"] Nawazuddin Siddiqui.
Photo: Screenshot[/caption] The two kidnappings are virtually identical. But is it a copycat crime or is Angela’s kidnapper back? What follows is a two-track chase to nab the criminal mastermind, with the cops chasing one set of clues, while John Biswas – despite his weary old age – is tracking down the culprit all on his own. [caption id="" align="alignnone" width="600"] Nawazuddin Siddiqui and Vidya Balan.
Photo: Screenshot[/caption] It was the mid-90s, the time when Mr Bachchan was living out his mid-life crisis and even though I wasn’t all that old, I distinctly remember writing him off completely, after watching the fella bumble it out in a stinker of a film called Insaniyat (1994).  Now almost 20 years down the lane, Amitabh Bachchan is a man resurrected! With some truly delightful performance in Piku and Wazir in recent times, Big B has reinvented himself and is now going from strength to strength. [caption id="" align="alignnone" width="600"] Amitabh Bachchan and Nawazuddin Siddiqui.
Photo: Screenshot[/caption] In Te3n, Bachchan is impeccable as the bereaved grandfather. He oozes the persona of a politely dogged septuagenarian who won’t let anything stop him from finding the kidnapper of his grandchild; not old age, no way an old rickety scooter, not even his constantly pestering wheelchair-bound wife. [caption id="" align="alignnone" width="600"] Amitabh Bachchan.
Photo: Indian Express[/caption] Nawazuddin on the other hand, was a tad underwhelming with his act as a guilt-wracked priest. But I guess it’s only since we are now so used to him sinking his teeth into complex roles like this with such élan that even a slightly below par performance has made me label it as somewhat unfulfilling. [caption id="" align="alignnone" width="600"] Nawazuddin Siddiqui.
Photo: Indian Express[/caption] Vidya with her portrayal as a no-nonsense policewoman required a bit more conviction from the accomplished actor. While a little more characterisation finesse on the script’s part would also have helped her cause. [caption id="" align="alignnone" width="600"] Vidya Balan.
Photo: Screenshot[/caption] [caption id="" align="alignnone" width="600"] Vidya Balan.
Photo: Screenshot[/caption] The strength of Te3n lies in gripping and edgy plotting which deftly criss-crosses amid the past and the present and skilfully oscillates between an unsolved child abduction and a copycat crime 15 years later. All this while throwing in some very thorny dilemmas revolving around the morality of revenge is what makes the movie such an intriguing watch. [caption id="" align="alignnone" width="600"] Vidya Balan and Nawazuddin Siddiqui.
Photo: b4umedia[/caption] Desperately wanting to succeed as a human drama, Te3n transcends the gimmickry deployment of cheap thrills by a lot of its contemporaries in employing a slow and a simmering narrative rather than being pulsating and quick-paced. So don’t go expecting too many edge-of-the-seat moments. [caption id="" align="alignnone" width="600"] Amitabh Bachchan.
Photo: Screenshot[/caption] Others might view this as a slight on their thrill sensibilities, but to me it was just another reason to let the milieu of mystifying Kolkata with its Durga immersion processions, the slowly decaying Anglo-Indian community and all the tram plus river boat rides, sink in my already delirious senses. [caption id="" align="alignnone" width="600"] Amitabh Bachchan.
Photo: Screenshot[/caption] Te3n is not without its fair share of weaknesses though. Along with minor character development glitches and nothing-to-write-home-about dialogues, the slow-burning drama about crime, tragedy, guilt and retribution is a slight drag and could have done with some snipping right at the end. But then again let’s not nit-pick and chalk these trivial flaws off as the work of an industry trying hard to mature in line with its audience’s tastes, but yet commendably committed to a new brand of realism.  [poll id="610"]

‘Some men just want to watch the world burn.’

“Do I really look like a guy with a plan? You know what I am? I’m a dog chasing cars. I wouldn’t know what to do with one if I caught it! You know, I just …‘do’ things!” – The Joker

“Sabko kisi na kisi ko maarna hota hai. Koi dange ki aad mein apni bhadas nikalta hai to koi wardi ki aad mein to koi Syria jaa ke. Mai logo ko maarta hun kyunki mujhe maarna hai. Mujhe isi mein mazaa aata hai.” – Ramanna (We all have this innate tendency to kill, but unlike others who need an excuse and slay in the name of riots, uniform or religion, I have the courage to murder intentionally. I do it because I want to, and unashamedly without any apologetic pretext!)

Nawazuddin Siddiqui is well known for his challenging roles and award-winning performances in various movies. Dekh Indian Circus (2011), Gangs of Wasseypur (2012), Talaash (2012), The Lunchbox (2013) and Manjhi (2015) are some of the more well-known movies he has starred in. He is currently making waves in Bollywood with his latest comedic role in Sohail Khan’s directorial venture Freaky Ali. The film is officially set to hit cinemas on September 9, 2016. However, the trailer has already managed to create an enormous hype by building excitement amongst filmgoers by giving them a tempting nibble of the ultimate treat. Freaky Ali’s story revolves around the character of Ali (Nawazuddin Siddiqui), who is a wannabe goon with an undying love for cricket, but destiny turns him into a golfing sensation. As a golfer, he deals with numerous challenges and ordeals because of his freaky nature, but finally ends up meeting the right woman. The trailer shows no awkward facial expressions in the name of comedy. It’s evident that we are in for a lot of witty punch lines and sharp one-liners that will captivate us! Other than the Raman Raghav 2.0 (2016) famed actor, the film also stars Amy Jackson as the lead actress and Arbaaz Khan plays the role of a thief and extortionist who helps Ali during difficult times. Freaky Ali looks like a fun-filled package of humour and never-seen-before avatar of Nawazuddin. However, a lot of cinephiles might find this film to be an Indian rendition of Adam Sandler’s Happy Gilmore (1996). The story of Sandler’s Happy Gilmore is pretty similar. Sandler played the lead role as a failed ice-hockey player who, by chance, realises his proficiency for the gentleman’s game – golf. Indecently taunting his rivals, he applies ice-hockey methods such as the slap shot-style swing for hitting golf balls and ultimately becomes a sensation in the elitist game. All credit for his success goes to his outlandish behaviour as it helps him manage the misfortunes that he encounters. He goes on to becoming a golf celebrity after defeating all the other champions. https://www.youtube.com/watch?v=aa0hSPPW1so Does the story line sound familiar? Yes, the central idea of Nawazuddin’s rom-com/sports drama is borrowed from Sandler’s comedy. Even the posters are pretty much the same with the lead men carrying golf clubs in both. Although Arbaaz Khan has denied the allegation categorically, but the slapstick humour, dramatic scenes, love interest and a few dialogues are definitely features the two movies share. https://twitter.com/himanshugaur5/status/763962646840217600 https://twitter.com/mb4uli/status/762665048242139136 https://twitter.com/BeingSalmanKhan/status/761531802813018112?ref_src=twsrc%5Etfw The only factors that make Freaky Ali different from Happy Gilmore are the songs and dances, particularly Nawazuddin’s dance in the song Din Mein Karengey Jagrata. https://www.youtube.com/watch?v=oUVRiYY8fKc Other musical scores in the movie are composed by Sajid-Wajid, which include Parinda Hai Parinda and Ya Ali Murtaza, which is a fusion of a qawwali and bhajan. All in all, it depends on the audience to decide if Freaky Ali is worth the watch or if it’s just a nostalgic reminder of Happy Gilmore. For now, we all are anxiously waiting for the release of this anticipated film featuring the master of capturing a common man on the big screen – Nawazuddin Siddiqui. Based on the hype created after the trailer, it seems as though die-hard Nawaz fans will find ample reasons to love his new avatar in this joyfully silly take on a serious game.

Nawazuddin Siddiqui is synonymous with quality oriented cinema. This time around, with the help of Salman Khan and his team, he is starring in Freaky Ali – a full out entertainer. https://www.youtube.com/watch?v=sT6ywcPNTWk It was rumoured that Freaky Ali is a remake of Adam Sandler’s Happy Gilmore. Even though some scenes may form parallels with the latter, the rumours aren’t entirely true. One needs to watch Freaky Ali to discover what it actually has in store. The main character, Ali (Nawazuddin Siddiqui) is an orphan who is adopted by a Hindu woman (Seema Biswas) but raised as a Muslim. He takes up various odd jobs, while accompanied by Maqsood (Arbaz Khan) who is a small-time goon. [caption id="" align="alignnone" width="600"] Arbaz Khan and Nawazuddin Siddiqui.
Photo: Screenshot[/caption] Ali’s life takes a turn when Kishan Lal (Asif Basra) comes across him playing golf. Kishan convinces Ali to pursue his talent. He makes him practice golf professionally in order to prepare him for the Golf Championship. There he comes across Vijay Rathore (Jas Arora) and his manager Megha (Amy Jackson). What happens next is the journey of Freaky Ali and his transformation from a goon to a professional golfer. [caption id="" align="alignnone" width="600"] Jas Arora, Amy Jackson and Nawazuddin Siddiqui.
Photo: Screenshot[/caption] It’s fairly obvious that the captain of the ship is Nawazuddin Siddiqui. He delivers an earnest performance which ranges from emotional outbursts to cynicism, with a wide range of comical elements as well. Freaky Ali would be nothing without Siddiqui. [caption id="" align="alignnone" width="600"] Nawazuddin Siddiqui.
Photo: Screenshot[/caption] Seema Biswas impresses us in a few scenes with her remarkable performance. On the other hand, Arbaz Khan’s performance is average; he doesn’t really offer anything new. Asif Basra has portrayed his role extremely well. Jas Arora was a sober choice as a villain. Amy Jackson has one purpose in the move – to add glamour. Jackie Shroff, in a cameo, makes the viewer smile. [caption id="" align="alignnone" width="600"] Jas Arora, Amy Jackson and Nawazuddin Siddiqui.
Photo: Screenshot[/caption] Music wise, Freaky Ali’s attempt is below-average. Sohail Khan’s direction is quite shaky as it lacks an element of surprise. The script of the movie has its pros and cons. The scenes between Jas and Nawaz are well written and dialogues are worth applauding. The audience will definitely love certain scenes that bring back memories of Manjhi and the good old times when Jas Arora was amongst the top models of India. [caption id="" align="alignnone" width="600"] Jas Arora.
Photo: Screenshot[/caption] Overall, Freaky Ali is an above average movie with some good elements and some instances that lack believability. There are some stale jokes embedded in bits and pieces which results in the viewer losing interest.

After directing his commercial and critical flop Bombay Velvet (2015) last year, Anurag Kashyap is back again in the lowlife underbelly of Mumbai with his crime-thriller Raman Raghav 2.0.   Raman Raghav 2.0 is a story of a scoundrel serial killer, Ramanna, who is heavily inspired by the real-life Indian serial killer of the 60s, Raman Raghav. And thus, the 2.0 in the title. As the story progresses, Ramanna’s strange obsession with a young cop by the name of Raghavan thickens the plot and reveals a strange connection between the two souls. [caption id="" align="alignnone" width="696"] Nawazuddin Siddiqui in Raman Raghav 2.0. PHOTO: IMDB[/caption] But Raman Raghav 2.0 is not just the story of a serial killer. It promotes the idea of fate, where two souls separated at birth are reunited later in life. The film parallels the life of Raman the serial killer and Raghav the police inspector. The film engages in the notion that two sides of a coin can have more in common than one usually believes. [caption id="" align="alignnone" width="696"] Raman Raghav 2.0. PHOTO: IMDB[/caption] Raman Raghav 2.0 is the territory that Kashyap feels most comfortable exploring – brutal violence with a mix of delicious dark humour. The film stars Nawazuddin Siddiqui, Vicky Kaushal, and Sobhita Dhulipala. [caption id="" align="alignnone" width="696"] Vicky Kaushal in Raman Raghav 2.0. PHOTO: IMDB[/caption] Does this film spell Kashyap’s comeback as the rebel filmmaker in the overabundance of Bollywood masala films?

With less than ten days on the calendar, get ready to lap up a potboiler in the name of the SRK brand once again. Following a delay of almost a year, Shahrukh Khan is back from taking a break from his romantic image with Raees. [caption id="" align="alignnone" width="600"] Shahrukh Khan and Mahira Khan in Raees (2017).
Photo: IMDb[/caption] Set in 1980s Gujarat, Raees tells the story of Liquor Baron Raees Alam (Shahrukh Khan), whose business is challenged by a police officer ACP Majmudar (Nawazuddin Siddiqui). How the two go head-to-head forms the crux of the narrative. First things first, the movie is a period action-thriller and judging by whatever we managed to extract from all the previews of the films, the production design is nothing to write home about. For a movie set in the 80s, only the tropes employed by the filmmaker seem to be from that particular era. Emerging from the smoke for an intended ‘whistle entry’, bravo Hashmi Surma sponsored King Khan! This particular ‘protagonist opening’ was only used a million times during the worst period of Bollywood. [caption id="" align="alignnone" width="600"] Shahrukh Khan in Raees (2017).
Photo: IMDb[/caption] Alternatively, when you have powerhouse performers like Shahrukh and Nawaz, you should be doubly conscious of the content you are providing them to work with. Case in point, these supposedly quotable lines from the trailer:

“Ammi jaan kehti thi koi dhandha chhota nahi hota, aur dhande se bada koi dharm nahi hota.” (Mother always said, no business is small, and no religion is bigger than business) “Aap mujhe kahin bhi transfer kar dijiye, Raees ko nahin chhodunga.” (No matter where you take me, I will not leave Raees). “Baniye ka dimaag aur Miyanbhai ki daring.” (The mind of a businessman and courage of a Muslim).

Raees is manna for Shah Rukh Khan fans. We watched the film at the posh Metro Cinema but it felt like we were sitting at the erstwhile Novelty in Grant Road. Like Novelty, where movie goers were as unabashedly boisterous as patrons in upper-class cinemas are restrained, the audience at Metro hooted, shrieked and even danced when Khan appeared on the screen for the first time and each time he delivered a punch-line. https://www.youtube.com/watch?v=8-Knknbbxwo In Raees, the camera is glued either to Khan’s face or his ripped body. For instance, a Muharram procession in the early minutes of the film is an excuse for a slow pan of Khan’s physique. He plays Raees, a bootlegger in Gujarat, and the scene shows his transition from a young boy flagellating himself during Ashura to a muscular adult whipping himself with knives, rivulets of blood throwing his six-pack into relief. For fans, moments such as these will be enough reason to watch the movie as there isn’t much else to it. [caption id="" align="alignnone" width="600"] Shah Rukh Khan and Mahira Khan in Raees.
Photo: Facebook[/caption] The movie is a standard cops and robbers tale The film is supposedly based on the life of Abdul Latif, who ran an illegal liquor business in Gujarat till he was shot in 1997. Though the filmmakers deny any similarity. Raees starts his career as kid couriering bottles of alcohol for Jairaj (Atul Kulkarni), the top bootlegger in the area, and goes on to run an empire of his own assisted by childhood friend and right-hand man Sadiq (Mohammed Zeeshan Ayyub). Naturally, he forms enemies – his former boss Jairaj, the cops, politicians, all of whom at various opportune moments switch from being his friends to his foes. Naturally Raees outwits each of them using, what his mentor Jairaj calls, his “baniye ka dimaag, miyanbhai ki daring” (The mind of a businessman and courage of a Muslim). [caption id="" align="alignnone" width="600"] Along the way, he gets married to the neighbourhood belle (Mahira Khan).
Photo: Facebook[/caption] Along the way, he gets married to the neighbourhood belle, Aasiya (Mahira Khan). The cop in the equation is Jaideep Majmudar (Nawazuddin Siddiqui). Nawazuddin Siddiqui is the best thing about the film Siddiqui is one of those actors who is watchable in just about any kind of movie. In Raees, the balance is entirely tipped in favour of Khan. Attention is lavished on his face, his body; he gets to mouth all the one-liners, of which there are several. [caption id="" align="alignnone" width="600"] Nawazuddin Siddiqui in Raees (2017).
Photo: IMDb[/caption] Perhaps the story might have been more compelling with a different lead. That way the narrative might have taken precedence instead of simply being a convenient star vehicle. Yet Siddiqui snares your attention with his intelligent gaze, dry humour and subtle performance. A clean cop, Majmudar is the bane of his corrupt bosses and criminals. He makes it his mission to nab Raees, who finds all sorts of ways to smuggle alcohol to people, from injecting tomatoes with booze to hiding bottles in cartons of school textbooks. The rest of the cast is practically put into the shade, including Pakistani actor Mahira Khan, who is made to do little other than simper and dance. [caption id="" align="alignnone" width="484"] Raees’s fall is tied to the bomb blasts in Bombay in 1993.
Photo: IMDb[/caption] The end is unsurprising yet significant Raees’s fall is tied to the bomb blasts in Bombay in 1993 (Abdul Latif was a suspect in the blasts case). He’s done in by a Bombay mobster, who’s no doubt an allusion to Dawood Ibrahim. Predictably, Raees, the benevolent gangster, delivers comeuppance to the orchestrators of the blasts and then hands himself over to Majmudar. While the end is a foregone conclusion, it makes something of an impact as the manner in which the coda is delivered reminds you of the Gujarat police’s shameful history of extra-judicial killings. https://www.youtube.com/watch?v=wVcyhtvpu00 https://www.youtube.com/watch?v=wTyEu2X_C04 This post originally appeared on The Daily Pao here. 

Sridevi’s Mom has been one of the most anticipated films of 2017. It was discussed amongst movie goers for multiple reasons, some which included Nawazuddin Siddiqui’s look and dialect, Akshaye Khanna’s (sort of) comeback, and the involvement of two Pakistani actors, Adnan Siddiqui and Sajal Ali. After the hit movie English Vinglish, let’s find out if Sridevi was able to recreate the same magic on the big screen. https://www.youtube.com/watch?v=hctApy_i-qg The storyline follows Devki (Sridevi), who is a biology teacher at a school. One of her students includes Arya (Sajal Aly), who also happens to be Devki’s stepdaughter. It is evident they don’t share a strong bond, since Arya maintains a cold attitude towards her stepmother. As the plot progresses, we see Arya seeking permission from her father, Anand (Adnan), to go to a Valentine’s Day party at a farmhouse with her friends. Her father is initially reluctant, but he eventually allows her to go. [caption id="" align="alignnone" width="600"] Photo: Screenshot[/caption] [caption id="" align="alignnone" width="600"] Photo: Screenshot[/caption] Regrettably, things take an unfortunate turn at the party. Mohit (Abhimanyu Shekhar Singh), a notorious individual, arrives at the party along with his elder cousin and accomplice. He begins making untoward advances towards Arya, who brushes him off. [caption id="" align="alignnone" width="600"] Photo: Screenshot[/caption] Enraged by her rejection, the three males gang rape her and leave her to die in a sewer. Arya does end up surviving, but her spirit seems entirely crushed. This incident is eerily reminiscent of the 2012 Delhi rape case. The gang rape is what sets the plot in motion. What we see next is the revenge saga of an aggrieved mother. After the failure of law agencies and judicial departments, Devki decides to take matters into her own hands. [caption id="" align="alignnone" width="600"] Photo: Screenshot[/caption] Sridevi is the epitome of talent in the role of Devki, a fact backed by her brilliant performance. It is safe to say that this is by far one of the finest and most calculated performances of Sridevi’s career. Those who thought she was brilliant in English Vinglish will surely be blown away by her performance in Mom. She managed to give me goosebumps during numerous scenes, particularly the Intensive Care Unit (ICU) scene, as well as her visit to Mohit’s cousin at the hospital. [caption id="" align="alignnone" width="600"] Photo: Screenshot[/caption] However, it was not just Sridevi who delivered a mind-blowing performance, Nawazuddin was no less. He is undoubtedly one of the finest actors in Bollywood to date. His appearance and dialect complemented his character Dayashankar Kapoor (alias DK) impeccably and he performed his role with the utmost dedication and command. His entry scene is brilliantly written, impeccably performed and a treat to watch. [caption id="" align="alignnone" width="600"] Photo: Screenshot[/caption] Moving on to other actors, Akshaye Khanna was effective in his role and delivered a mature performance. Adnan did justice to his role as well; his helplessness in the courtroom was excellent. Due to his ability to impart emotions, he leaves the audience in tears when he visits the hospital. [caption id="" align="alignnone" width="600"] Photo: Screenshot[/caption] As for Sajal Aly, who made her Bollywood debut with Mom, she acted remarkably. She handles Arya’s complicated character with sheer ease and clarity. She definitely has talent and it won’t be surprising if she gets numerous movie offers after her acting in Mom. The actors playing the rapists did a great job as well. Singh managed to prove his mettle since his character representation was on point. His performance enabled the audience to love his acting yet detest his character, which proves just how great an actor he is. [caption id="" align="alignnone" width="600"] Photo: Screenshot[/caption] Furthermore, the script of Mom was wonderful and the dialogues were effective and left a lasting impact on the audience. The gnawing issue of gang rape was presented in a very realistic way, which should be applauded since such issues are usually sidelined. Mom is a work of art in its own way. However, various critics said the film’s storyline is similar to Maatr, but Mom’s upscale production quells this comparison. [caption id="" align="alignnone" width="600"] Photo: Screenshot[/caption] I would personally classify Mom as a must watch. Its power packed dialogues and punch lines amalgamate in the form of effective performances by exceptional actors from both sides of the border. Rush to your nearest cinema and watch Mom, it’ll prove to be worth your time and money.

“All religions preach predestination,” states Luke Kenny’s scary interpretation of a cool and cold Malcom Murad. “When I was born in Luxor, Egypt and you were born in… Mumbai? It had been written that you and I will meet here.”

“Working in film does not allow for complex characterisations the way that television allows.”

Viewing the trailer of Nandita Das’s Manto was a great pleasure, especially since prior to seeing Sarmad Khoosat’s biopic of Saadat Hasan Manto released in 2015, I had not seen its trailer. Comparisons of Das’s version with Khoosat’s trailer will seem inevitable, even much-needed, given what the respective directors and main actors are trying to prove in a short span of less than three minutes, if the trailers are to be believed. https://www.youtube.com/watch?v=QFbUei2DDhc https://www.youtube.com/watch?v=7chqbd-05Q4 Das’s Manto, played by Nawazuddin Siddiqui, comes across as an iconoclast and a rebel right from the opening scene of the trailer, where Manto is shown to be in the dock facing an obscenity trial. The trailer shows him both in the Bombay of 1947 and the Lahore of 1948. We get to know that the major characters in Manto’s stories were women, particularly prostitutes. There’s a bit about his family life, a few scenes with his wife Safia, and an especially moving scene where Manto’s yet-unborn son Hamid (who passed away in infancy) is addressed by the writer, who hopes his child will be born in independent India. [caption id="" align="alignnone" width="625"] Photo: Screenshot[/caption] [caption id="" align="alignnone" width="600"] Photo: Screenshot[/caption] We are also shown scenes of the independence of India and a scene from the writer’s famous Partition story, Toba Tek Singh. The overall impression of the trailer gives a very positive image of Manto, who despite his problems remains a rebel, iconoclast and a champion of freedom of expression. This expression is established at the outset, with the aforementioned opening scene showing Manto in the courtroom, and is reinforced at the end by a rendition of Faiz Ahmad Faiz’s famous poem, Bol. [caption id="" align="alignnone" width="600"] Photo: IMDB[/caption] Anyone familiar with Das’s work and artistic vision can see how, in Modi’s India – where strict curbs on freedom of expression have been instituted, exemplified by attacks against and assassinations of prominent intellectuals, journalists and students – such a message would best be exemplified through the person of Manto. Interestingly, there is little depiction of Manto’s alcoholism, which eventually claimed his life, or his time spent in a mental asylum. [caption id="" align="alignnone" width="600"] Photo: IMDB[/caption] On the other hand, having seen Khoosat’s film twice, and reviewed it as well, the trailer of his film unfortunately paints Manto as a victim. It is certainly intense, but the overall effect leaves a negative perception of Manto in the viewer’s mind. [caption id="" align="alignnone" width="625"] Photo: Screenshot[/caption] Manto is shown to be addicted to alcohol, with the opening scene itself showing the bottle, and then repeatedly shows his greater demand for it at the cost of his family life, his squabbles with Safia, as well as his treatment in the mental asylum, all reinforcing an image of Manto as a victim. Khoosat’s trailer has more of an emphasis on glamour, with some of Pakistan’s most bankable stars cast in the film, and the trailer makes it a point to give more screen time to Khoosat, Saba Qamar (playing the legendary singer Noor Jehan) and Nimra Bucha. [caption id="" align="alignnone" width="600"] Photo: Screenshot[/caption] [caption id="" align="alignnone" width="600"] Photo: Screenshot[/caption] [caption id="" align="alignnone" width="600"] Photo: Screenshot[/caption] [caption id="" align="alignnone" width="600"] Photo: IMDB[/caption] The most interesting thing in Khoosat’s version was Manto’s humzaad (alter ego), played by Bucha, while both directors make use of Manto’s notorious short story Thanda Gosht. The haunting soundtrack from Khoosat’s film Mehram Dilan de Mahi is missing from Khoosat’s trailer, while Das incorporates a musical rendition from Faiz strategically in the film, towards the end. [caption id="" align="alignnone" width="600"] Photo: Screenshot[/caption] [caption id="" align="alignnone" width="600"] Photo: Screenshot[/caption] One way in which Khoosat’s trailer redeems itself is how it showcases Manto’s family life, showing him with his daughters in a way Das’s trailer does not. However, unlike Das’s trailer, in Khoosat’s film we learn more about the various glamorous Pakistani actors than we do about the poor writer himself. Also, Khoosat shows Manto wearing rubber shoes and riding a cycle – which he never did in his real life – so perhaps a little more research was needed on Team Khoosat’s part. Team Das was based in India, thus did not have access to the same proximity of resources, yet the trailer correctly shows Manto riding a tonga, and wearing the fashion of his time. [caption id="" align="alignnone" width="600"] Photo: Screenshot[/caption] [caption id="" align="alignnone" width="600"] Photo: Screenshot[/caption] I would say Siddiqui has played Manto with greater empathy and aplomb, while the way Khoosat played Manto was melodramatic, hysterical, and not very impressive in the final analysis. Khoosat’s film was the by-product of a 25-episode serial later broadcast on television, and thoroughly glamourised the film, showcasing its various stars. Das’s film, on the other hand, has no such baggage. It appears she has banked more on portraying the real Manto and extracting performances from a cast perhaps not as glamorous as Khoosat’s, but has definitely put in more effort in producing a convincing performance of Manto’s life and times. [caption id="" align="alignnone" width="600"] Photo: Screenshot[/caption] [caption id="" align="alignnone" width="600"] Photo: Screenshot[/caption] Although Das’s direction remains to be seen when the film is released in late September, having the benefit of hindsight from watching Khoosat’s film, I hope that both Siddiqui and Das will do justice to Manto in a way Khoosat was unable to. If only a film could be judged by its trailer!

Web series are a game changer for filmmakers and storytellers alike. After the popularity of Sacred Games on Netflix and Inside Edge by Amazon Prime, the latter is back with yet another web series called Mirzapur. https://www.youtube.com/watch?v=ZNeGF-PvRHY The plot revolves around Akhanda Tripathi, also known as Kaleen Bhaiyya, because he deals with the buying and selling of rugs and carpets. Akhanda is a don who rules Mirzapur, quite literally. Interestingly though, his only son Munna Tripathi is entirely out of his control and constantly misuses his power and position, constantly landing himself in some sort of trouble or the other. One day, Munna crosses paths with Ramakant Pandit, a lawyer and father of Guddu and Bablu. Both Guddu and Bublu violently attack Munna and his friends and are brought before Bhaiyya to receive appropriate punishment for their actions. Bhaiyya is impressed by their potential and instead of punishing them, gives them the opportunity to either join his gang or face the consequences of attacking his only son. Both Pandits are left with no choice but to accept Bhaiyya’s offer. Soon, owing to Bablu’s genius and Guddu’s ‘do or die’ principle, Bhaiyya’s business starts to prosper and they both become his loyal subordinates. Munna meanwhile feels jealous and unsuccessfully continues to scheme against the two every chance he gets. Mirzapur is the story of how two young boys nervously and unwillingly enter the underworld; a world where firing a gun is considered fun and usurping someone else’s position is the only motivation. How these two stand up against the lord of Mirzapur, knowingly or unknowingly, is what this web series is all about. Mirzapur is filled with violence, gore, slightly sexually provocative scenes and a whole lot of gaalis (expletives). Performance wise, every character leaves a lasting impression. Pankaj Tripathi is brilliant as Bhaiyya, beautifully balancing both elements of terror and composure. A few of his scenes with his wife Beena and his sons Munna and Guddu are particularly noteworthy. Ali Fazal as Guddu goes through a huge transformation for the role, evident from his physique, mannerisms and expressions, appearing as never before seen by the audience. Vikrant Massey as Bablu appears relatively brainy. From his attire to his moves and from his dialogues to his delivery, Massey makes his character relatable and believable. Divyendu Sharma too tries his best to bring Munna to life, but the character is presented with so many different facets that the audience is often left feeling confused and overwhelmed. Kulbhushan Kharbanda delivers well as Bhaiyya’s father, and although he doesn’t get a lot of stage time, his dialogues and performance are both superb. He proves that once a ‘Shakaal’, always a Shakaal; composed yet furious. The actresses prove equally impressive. Rasika Dugal, earlier seen in Kissa and Manto, surprises her audience with her impeccable performance. Cast as Bhaiyya’s scheming and plotting second wife, she is sexually dissatisfied with him and power-hungry by default. Dugal plays an interesting character, which seems to have some similarities to Nimmi from Maqbool. All in all, Dugal pulls off her character effectively and leaves an impact. Other female actresses, namely Shweta Tripathi as Golu, Shriya Pilgaonkar as Sweety and Harshita Gaur as Dimpy don’t fail to impress either. Also worth mentioning is Shaji Chaudhary, who plays Maqbool and was last seen in Thugs of Hindostan as Bhurelal. Despite having very few dialogues, the actor gives an impressive performance. This web series builds up well, has distinctive characters, good dialogues and a decently written story. Despite all this, the story keeps on going off track or falls flat after building up the initial interest level of the audience, and this pattern continues. Often scenes appear stretched and there is a lag in effective story telling. It is these factors that make Mirzapur a less-engaging series than other similar shows. Based on the script and its execution, Mirzapur is far better than Sacred Games. Understandably, Mirzapur appeals largely to younger audiences because of the excessive bloodshed, profanities and the emphasis on sex. There are a few scenes that don’t make a lot of sense and are only forced into the story to make it appeal to younger crowds. Multiple relationships are left underdeveloped and certain sexual encounters are shown without any further development. However, those who have already seen Gangs of Wasseypur and Sacred Games will know that there is no real similarity between these shows and Mirzapur. Although there is an abundance of expletives and sex scenes in all three and all three are based in the underworld, the similarities stop here. Gangs of Wasseypur has a very different plot and the characters are denser and darker than what Mirzapur has to offer. On the contrary, Sacred Games is a story between a cop played by Saif Ali Khan and an underworld gangster played by Nawazuddin Siddiqui. Paralleling these shows for the sake of comparison alone doesn’t serve much purpose. Perhaps Mirzapur should be enjoyed the way we enjoy most things coming out of Bollywood: as pure, unadulterated entertainment. All photos: Screenshots

There is no doubt that we are living in the golden age of television. With loads of new enticing televisions shows being produced every year and keeping us hooked throughout, there is no doubt that we are witnessing ‘peak TV’. Every year countless television networks and streaming services produce their own TV shows to attract as much audience as possible. The competition amongst them gets tougher by the second and we the audience, couldn’t be happier as we are treated with more and more entertaining content with each passing day. To mark the end of the year, below is a list of the five best and worst TV shows that aired in 2018.           5. Mirzapur https://www.youtube.com/watch?v=ZNeGF-PvRHY Amazon Prime’s answer to Sacred Games proves to be quite an entertaining one for the audience. Mirzapur, revolves around Munna, an heir to a criminal empire, and Bablu and Guddu, the sons of a righteous lawyer, who cross paths and sink themselves in a game of power, greed and ambition. The violence, gore and unpredictability of the show all contribute to it being a fantastic watch. The show successfully draws inspiration from Anurag Kashyap’s playbook and its talented cast ensures that the audience is blown away by the terrific performances. 4. Narcos: Mexico https://www.youtube.com/watch?v=VBLcYJ7C4F0 Narcos: Mexico had a lot of expectations riding on it so as to fulfil the meteor-sized hole left by the exit of fan favourite characters. The new show introduces a completely new cast and carries its predecessor’s formula while also making certain changes to it in order to make it stand out and the show surely did stand out once it premiered on Netflix. The top-notch setting and storytelling had viewers hooked from the very first episode. Diego Luna and Michael Pena hit the ball out of the park with their performances and certainly left us wanting more. 3. Sacred Games https://www.youtube.com/watch?v=28j8h0RRov4 Being Netflix’s first ever original Indian series surely came with a lot of baggage and expectations from the viewers. Sacred Games had solid talent to offer with names such as Saif Ali Khan and Nawazuddin Siddiqui headlining the star cast. The show was an instant success and proved to be a breaking point in Indian television. Sacred Games’ noir approach to storytelling and the mystery surrounding its characters was enough to place it on everyone’s watch list. The show was renewed for a second season in no time and the wait is already killing us. 2. Money Heist https://www.youtube.com/watch?v=ZAXA1DV4dtI Money Heist aka La Casa De Papel is a Spanish TV series which was imported by Netflix. The show revolves around a carefully planned heist and the robbers who execute it. It is sufficient to say that Money Heist is one of most clever shows I have ever watched. The writers have come up with a plot that is not only intriguing but also nerve-wrecking. The show is full of suspense and will keep you on the edge of your seat throughout. The talented cast elevates the show further. Álvaro Morte as ‘The Professor’ is particularly a treat to watch. Money Heist is in its truest sense a show worth binge-watching. 1. Bodyguard https://www.youtube.com/watch?v=tLfLU6-9lxY Another Netflix import, Bodyguard was a breakout hit when it premiered on BBC One. The show broke the record for ratings and was praised worldwide. The show traces the lives of a war veteran suffering from post-traumatic stress disorder (PTSD), who is now working as a bodyguard, and an ambitious Home Secretary, adamant on eradicating terrorism. The two cross paths when the bodyguard is tasked to protect the Home Secretary. What makes Bodyguard a hellishly entertaining watch is the dynamic between its lead characters and how they try to play each other while also caring for each other. The tense plot will leave you biting your nails and wondering what’s next. The show is brilliantly written and acted which is why it has been nominated for ‘Best Television Series – Drama’ at the 2019 Golden Globe Awards. The show has also been renewed for a second season. 5. Taken https://www.youtube.com/watch?v=HOf2IU7hXwc When you are trying to make a TV show based on a successful movie trilogy, especially one starring someone as charming as Liam Neeson, you better not screw it up. Unfortunately, Taken was unable to build upon the movie’s success and proved to be a dud. The show failed to match up to its source’s effective way of storytelling and also failed to distinguish itself from the movie series. Taken was cancelled in 2018 after just two seasons. 4. Magnum PI https://www.youtube.com/watch?v=C_R2mfgvtPQ Why would you even dare to remake a show which was already a classic and a huge success? Why even bother to take the risk of not being able to meet the high standard set by the original show? But I suppose all of us do stupid things at some point in our lives. Similarly, CBS decided to remake Magnum PI and created something which was similar to what the audience had already watched. The show is unable to stand out on its own and its action scenes alone can’t save it from every other pitfall. It is enough to say that this was another remake that wasn’t quite necessary, but the show does have room for improvement and I hope that it does improve. 3. The Neighbourhood https://www.youtube.com/watch?v=MYyoI5qfhls With a talented cast which includes Cedric Kyles (Cedric the Entertainer), Max Greenfield and Beth Behrs, The Neighbourhood was expected to be a sure shot hit for CBS but bad writing and lack of creativity turned this comedy into a one painful ride. The comedy about a white family moving into a predominantly black neighbourhood seemed like an interesting premise but the show is unable to build upon this unique premise. Although the network has ordered additional episodes of the show, it would be hard for this Neighborhood to stay populated if it keeps following its current formula. 2. Take Two https://www.youtube.com/watch?v=Ke6Tvvjghvw I watched Take Two because I had heard that it had been created by Andrew W Marlowe, the creator of Castle, which is one of my favourite shows. The plot of Take Two was quite similar to Castle, but unfortunately the lead cast came nowhere close to matching the charismatic presence of Nathan Fillion and Stana Katic. The plot was very derivative and the thrills were not thrilling enough. It felt like a B-grade production of Castle, which is why it wasn’t a surprise when it was cancelled after just one season. 1. Krypton https://www.youtube.com/watch?v=JvSZKB2WNKg There was a lot of excitement for Syfy’s Krypton which was expected to introduce the audience to Superman’s grandfather, Seg-El, as he struggles to save his home planet. But Krypton came and went with silence. Krypton can be described using a single word – boring. The show has a stretched plot that helps no one  and almost looks like a Superman spoof. Also, I don’t think we needed to know about Superman’s granddad. Krypton has been renewed by Syfy for a second season and Doomsday may be able to save it from destruction, but this seems highly unlikely. The year 2018 saw some highs and lows of television and with 2019 only a few days away, I am sure the world of television has a lot more to offer its audience. Not only will some of our favourite shows be returning, we will also get to watch some fresh and unique content. Cheers to 2019, hopefully another year where television will entice us. Happy New Year!