Member Reviews

As a fan of the 2004-2010 sci-fi island drama Lost, I thought I’d never find a show that would be weirder or more out there. I was wrong. The Apple TV+ series Severance is a fascinating thriller set in the corporate world that might just be one of the most intriguing streaming series right now. Exploring the premise of having an ‘inner’ and ‘outer’ self at work and home, the show created by Dan Erickson returns for a second season that continues to examine what it means to be human in a world that is out to exploit you constantly. The second season picks up after the uprising from the innies at the Macrodata Refinement team at Lumon Industries, where Mark (Adam Scott), Helly R (Britt Lower), and Irving (John Turturro) are able to explore the outside world. Management is not happy as the gang is put through their paces initially and pushed even further as they come to terms with the added knowledge of their outie selves. Audiences get to explore more of the Lumon offices with new expanded departments and co-workers like Miss Huang (Sarah Bock), the new deputy manager who is just a child.

In 2023, The Night Agent became Netflix’s most-watched series, and it’s easy to see why. Gabriel Basso plays the earnest young government official Peter Sutherland, an FBI agent in this case, who accidentally uncovers a conspiracy to kill the president. The action drama mixed all the right ingredients, and now as it returns for Season 2, it continues where it left off, and adds more urgency. The new season takes place 10 months after the first season, with Peter on assignment as a Night Action agent. Within the first 15 minutes, there’s immediate danger, putting him in the same position as he was in Season 1, not knowing who to trust. However, the smart-thinking agent follows his own leads to find out who amongst the agency is leaking information on the outside. He is reunited with his former girlfriend Rose Larkin (Luciane Buchanan), who proves to be a great asset to him, even as another plotline on the side involves suspicious goings on at the Iranian mission to the United Nations.

Private eye Dominic, like all wannabe Sherlocks, has a habit of making quick deductions about other people just from their appearances. But, unlike in most other films, the protagonist of Gautham Vasudev Menon’s Dominic And The Ladies’ Purse gets it wrong in the opening sequence when he makes assumptions about a person aspiring to be his assistant. It is a delightful subversion of the overused detective trope, which fills one with hope for what is to follow. Unfortunately, the film does not always live up to this early promise except in a few interesting patches. Gautam Menon, in his first Malayalam outing, appears to be in a bit of a dilemma as to how to treat the star at the centre of his film. While there are a few scenes lampooning the pompous private detective Dominic (Mammootty), there are an equal number of scenes of his assistant (Gokul Suresh) being amazed by his investigative abilities.

At one point in Dominic and the Ladies’ Purse, a classic Gautham Menon-esque heroine enters the world of Dominic (Mammootty). She’s cultured, performs Bharatanatyam, speaks a bit of Tamil and Malayalam, and the English too flows elegantly. Dominic, a middle-aged single man, seems drawn to her, and if you have seen Yennai Arindhaal, you know this isn’t unfamiliar territory for the filmmaker. Except. It is. Even if initially, this might feel like an indulgent distraction from the case Dominic is so fixated on, when a revelation is presented, everything changes. It’s perhaps the earliest sign that this isn’t a film keen to populate its world with characters or relationships as cursory additions. In this world, every element, every human, exists for a reason. Even a random stranger bumping into Dominic in the beginning, gets revisited. Or take an angle that’s more substantial, like the corporate organisation subplot: you think it’s a red herring perhaps, just a way for the film to buy some time to delay the reveal of the real culprit. Yet, it evolves into something transformative, humanising one character while driving another’s arc forward. It’s a film filled with such subtle, beautiful subversions.

10 minutes into Gautham Vasudev Menon’s Dominic And The Ladies’ Purse is all it takes for one to fall in love with CI Dominic (Mammootty), the eccentric, pompous detective with a serious cash-flow issue. We meet him through Vicky (Gokul Suresh), Dominic’s new “Watson” on his first day of work, in what can best be described as a “zero introduction” scene. Dominic works out of his dilapidated home-office filled with props and furniture (his office chair is an abandoned salon seat) well past its glory days. So when he hires Vicky in a matter of seconds, it’s probably not because he’s finally found an intellectual equal, it’s just that Vicky has enough money at home to not ask for a salary.

There is honour among enemies – sometimes. When the Indian Air Force captures decorated Pakistani officer Wing Commander Hussain Ahmed (Sharad Kelkar) in the 1971 war, Wing Commander Om Ahuja (Akshay Kumar) interrogates him. And learns that Ahmed got his gallantry award for shooting down an Indian aircraft in the Sargodha attack in 1965. But the Pak officer won’t reveal anything more. After the ceasefire, Ahmed is sent back to Pakistan. India has acted honorably with a PoW. The downing of the Indian aircraft in Sargodha opens unhealed old wounds.

Last year Bollywood’s Republic-Day gift was Fighter, which zoomed in, checking several patriotic-movie boxes: brave Indian fighter pilots, going up against favourite enemy Pakistan, displaying valour and camaraderie. This year, it is Sky Force, coasting on the same elements, except this one is a thinly-disguised account of a real life incident during the 1965 Indo-Pak conflict, in which a squadron decimated a fleet of modern American jets housed at Pakistani base Sargodha, in an operation the film calls Sky Force.

An honest-to-a-fault, maths-whizz ticket collector gets embroiled, unwittingly, in the doings of a greedy banker: this one-line premise may have sounded exciting on paper, but the execution comes off contrived and clunky. Madhavan plays Radhe Mohan Sharma, who brings his affable self and a razor sharp brain to his job, whose first encounter with a comely cop (Kirti Kulhari) isn’t exactly a meet-cute. She rebuffs his offer of an orange bought from a fruit-seller at the station: ‘main chori kiye santare nahin khati’, she says.

Some films suffer from a surfeit of ambition. Others—like Ashwni Dhir’s Hisaab Barabar—have none to begin with. A middling comedy about the middle class, it tracks a common man’s crusade against fraudulent banking practices. A modest, toothless satire, the film boasts sitcom staging and visuals, lacking cinematic bite. No wonder it’s streaming on ZEE5, a platform with a near-magnetic affinity for mediocrity. It’s like one of those spec scripts that lie around in production offices gathering dust; until, one day, for some inexplicable reason, they are hurriedly greenlit. Radhe Mohan Sharma (R Madhavan) is a senior ticketing inspector with the Indian Railways. Blessed with an accountant’s eye (and ethics), he spends hours pouring over his bank statements, fishing for discrepancies. When an alarmingly high sum of ₹27.50 doesn’t tally up in his books, Radhe raises a complaint with the bank. The officials he corners first feign ignorance, then try to fob him and other customers off with compensatory gifts.