What are the OTT releases this week? So many titles out but most of them feel average or above average. But if you’re in the mood to watch something worthwhile, Officer On Duty, Dragon, and Nodidavaru Enantare (2025) are the ones I’d recommend this week. Why I picked these three? Scroll down to read a short review without spoilers.
OTT Releases March 22, 2025
Gandhi Tatha Chettu (2025): A Tree, A Grandfather, and a Young Girl’s Promise
📺 Where to watch:Amazon Prime 🎬 Director: Padmavathi Malladi ⭐ Cast: Sukriti Veni Bandreddi, Anand Chakrapani, Rag Mayur, Bhanu Prakash
Gandhi Tatha Chettu (2025) Trailer
Plot & Review Highlights
Set in a Telangana village in the year 2000, this film follows Gandhi, a schoolgirl, who promises her dying grandfather to protect a neem tree planted in memory of Mahatma Gandhi. As the village faces pressure to sell land to a factory, young Gandhi uses non-violent methods to resist.
❤️ Sukriti Veni gives a natural, bold debut — she even tonsured her head for the role ❤️ First half is simple, grounded, and emotionally strong ❤️ Captures rural life with warmth and honesty
❌ The second half turns weak and dramatic ❌ The climax feels rushed and unrealistic
My Opinion: This is not a perfect film — but it dares to speak gently in a loud world. If you have the patience for a quiet story with an honest heart, give it a watch. Sukriti makes it worth it.
Dragon (2025): A Massy Ride With Two Climaxes and One Honest Heart
Ragavan, a gold medalist, turns into ‘Dragon’—a college don—for love. Then comes redemption, success, and a second fall. But wait, there’s more. This film gives two full arcs: one downfall and comeback, then another. Almost like watching two stories in one.
❤️ Pradeep Ranganathan goes full mass and full emotion ❤️ Mysskin as the calm, moral principal is a surprise package ❤️ Every small scene has a smart callback — no filler
❌ Second half feels too convenient at times ❌ Women characters deserved more than being plot bridges
My Opinion: Dragon is like a Rajini-style redemption tale for this generation. Over the top, yes — but sincere. If you’re okay with some cliched moments, this one rewards you with good drama, comedy, and that rare cathartic moments.
Baby and Baby (2025): Old Wine in an Older Bottle
📺 Where to watch: Sun NXT 🎬 Director: Prathap ⭐ Cast: Jai, Yogi Babu, Sathyaraj, Pragya Nagra
Baby and Baby (2025) trailer
Plot & Review Highlights
Two friends mix up their babies on a flight back home. One family wants a baby boy, the other believes a baby girl is lucky. Lies, confusion, and kidnapping plans follow.
❤️ Yogi Babu’s one-liners (some land, some don’t) ❤️ A couple of emotional scenes save it from total collapse
❌ Cringe comedy and dated visuals ❌ Wastes veterans like Sathyaraj and Nizhalgal Ravi ❌ Feels like a 2005 DVD re-release
My Opinion: This isn’t a comedy; it’s a time capsule. Even nostalgia can’t save it. Watch only if you want to test your patience—or enjoy chaos with zero logic.
Nodidavaru Enantare (2025): A Soul-Searching Journey That Doesn’t Play Safe
📺 Streaming on: Amazon Prime 🎬 Director: Kuldeep Cariappa ⭐ Cast: Naveen Shankar, Apoorva Bharadwaj, Padmavati Rao, Ayra Krishna
Nodidavaru Enantare (2025) trailer
Plot & Review Highlights
Siddharth loses love, loses his job, and then loses his father. Instead of fixing things, he hits the road — to escape, to think, and maybe, to start over.
❤️ Naveen Shankar delivers a raw, silent, and moving performance ❤️ Road trip mood meets existential crisis — slow but deep ❤️ Strong visual storytelling, with emotions that don’t need dialogue
❌ Begins clunky and a bit preachy ❌ Not for those expecting commercial payoffs
My Opinion: This is not a feel-good film. It’s a feel-real one. A quiet but sharp look at loneliness, pressure, and choosing dreams over stability. Not perfect — but it lingers.
Officer On Duty (2025): First Half Hooks, Second Half Cooks
📺 Where to watch: Netflix 🎬 Director: Jithu Ashraf ⭐ Cast: Kunchacko Boban, Priyamani, Muthumani
Plot & Review Highlights
CI Harishankar, demoted and damaged, takes up a fake gold case. From their case moves to a deeper, darker past. The first half builds tension. The second half… flips the genre.
❤️ Kunchacko Boban’s intense, layered performance ❤️ Tight first half with solid investigative buildup ❤️ Jakes Bejoy’s background score keeps the grip
❌ Second half turns too commercial ❌ Emotional drama weakens the thriller tone ❌ Same old cop tropes and character shifts
My Opinion: Starts as a gripping police procedural, ends up as a stylised supercop story. Watch it for the craft, not for surprises. 📖 Want a deeper review? Read More Here
Sky Force (2025): A War Hero’s Story Hijacked Mid-Air
📺 Streaming on: Amazon Prime 🎬 Directors: Sandeep Kewlani & Abhishek Anil Kapur ⭐ Cast: Akshay Kumar, Veer Pahariya, Sara Ali Khan, Nimrat Kaur
Sky Force (2025) Trailer
Plot & Review Highlights
Based on India’s first air strike on Pakistani soil, the film should’ve flown high with the forgotten hero Vijayan. Instead, it turns into an Akshay Kumar show — again.
❤️ Veer Pahariya gives it soul, especially in the final act ❤️ Real story behind the 1965 Sargodha strike is powerful
❌ Akshay Kumar overshadows the real hero ❌ Female characters written like props ❌ Too much posturing, too little emotional weight
My Opinion: This could’ve been a landmark war film. But it forgets whose story it is. Watch for the visuals, stay for the last 20 mins, skip the star worship.
Khakee: The Bengal Chapter (2025): Familiar Faces, Flat Storytelling
📺 Where to watch: Netflix 🎬 Creator: Neeraj Pandey ⭐ Cast: Jeet, Prosenjit, Saswata, Parambrata, Ritwik, Chitrangada Singh
Khakee: The Bengal Chapter
Plot & Review Highlights
Set in 2000s Bengal, this cops vs gangsters drama shows the rise of don Shankar Barua and the honest cop Arjun Maitra trying to clean the city. But beyond the setup, the show struggles to rise.
❤️ Saswata Chatterjee nails the flashback portions ❤️ Jeet fits well as the upright officer ❤️ A few interesting twists in the middle
❌ Too many clichés, too little depth ❌ Wasted talents like Parambrata & Chitrangada ❌ Bengal setting feels generic — not rooted
My Opinion: A show with top Bengali actors but no real Bengali soul. It starts with promise but quickly becomes just another slow-moving crime drama. Nothing you haven’t seen before.
Nilavukku Enmel Ennadi Kobam (2025): Love, Closure, and a Scene-Stealing Friend
📺 Streaming on: Amazon Prime 🎬 Director: Dhanush ⭐ Cast: Pavish, Anikha Surendran, Mathew Thomas, Priya Prakash Varrier
A song from NEEK
Plot & Review Highlights
Prabhu attends his ex’s wedding hoping for closure — while a new match awaits back home. What follows is a cocktail of confusion, nostalgia, and young love.
❤️ Mathew Thomas & Anikha steals every scene — the true MVP ❤️ Light-hearted take on Gen Z love & heartbreak ❤️ Dhanush’s flavour is everywhere — from house interiors to ringtone choices
❌ Lead pair lacks chemistry, performances feel uneven ❌ Too many threads, not enough depth ❌ Some scenes feel like extended Instagram reels
My Opinion: It’s Dhanush’s weakest directorial so far, but it’s still likeable — not loveable. Watch it for its charm, subtle callbacks, and a reminder that love today comes with 2x speed and emoji reactions.
What are the OTT releases this week? With so many releases across platforms, unfortunately, I couldn’t find many great options for you this week, since most releases are average; if you have time, try Ponman (Malayalam) or Kaadhal Enbadhu Podhu Udamai (Tamil) Why I Pick That; scroll down to read more.
March 15, 2025 OTT Releases
Ponman (2025): A Gritty Drama That Goes Beyond the Gold
This is not just another film about dowry; Ponman doesn’t preach; it shows; it makes you feel the pain; finally, it’s your judgement, not the writer’s.
Gold dealer Ajesh lends gold for a village wedding in Kollam. However, the reluctant bride, Steffi, is not ready to return the gold after the marriage. The story takes a tragic turn when Mariano (Sajin Gopu), her husband, confronts Ajesh.
❤️ Basil Joseph shines —far from his comfort zone ❤️ A realistic, layered take on dowry, without cliché melodrama or preachiness ❤️ Well-written screenplay with gripping moments set in unexpected places ❌ A slow-burn that demands patience
My Opinion: Ponman doesn’t just criticise a system—it immerses you in it, making you see its victims and perpetrators as flawed, complex individuals. A smartly written, must watch film, considering the impact it is worth more than just its weight in gold.
Ramam Raghavam (2025): A Gritty Tale of Family, Betrayal & Redemption
📺 Streaming on: Sun NXT 🎬 Director: Dhanraj Koranani ⭐ Cast: Dhanraj Koranani, Samuthirakani, Satya, Pramodini, Harish Uthaman, Sunil, Mokksha
Plot & Highlights
Raghava (Dhanraj Koranani) is stuck in life, making one bad decision after another. His father, Ramam (Samuthirakani), tries to guide him, but the gap between them only grows. One day, Raghava does something shocking, changing everything. From there, the film becomes a tense battle of emotions and consequences.
❤️ A raw, intense family drama that doesn’t sugarcoat emotions ❌ Misses the emotional depth needed to fully connect with Raghava’s journey ❌ Some characters feel underdeveloped, limiting their impact
My Opinion: Ramam Raghavam takes a complex moral dilemma and presents it in a brutal, unfiltered way. While the execution stumbles, the film stays with you—especially in its haunting final act. Can give it a try if you have time.
Kaadhal Enbadhu Podhu Udamai (2025): A Bold Step for Queer Cinema
Kaadhal Enbadhu Podhu Udamai isn’t just about love; it’s about how society decides who deserves it.
When Sam (Lijomol Jose) reveals she is in love with Nandhini (Anusha Prabhu), her mother Lakshmi (Rohini) and father Devaraj (Vineeth) struggle to accept it. The film focuses on their hypocrisy, their contradictions, and the silent pain of those forced to justify their existence.
❤️ A rare Tamil film that puts queer identity at the centre ❤️ Rohini delivers a stunning performance as a mother caught in conflict ❌ Sam and Nandhini’s relationship feels underdeveloped ❌ At times, the film feels more like a debate than a story
My Opinion: Kaadhal Enbadhu Podhu Udamai is not perfect, but it’s important. It doesn’t just argue—it demands to be heard. A much-needed step for Tamil cinema, even if it leaves you wishing for a deeper, more personal look at its queer leads.
2K Love Story (2025): A Forced Take on Friendship That Lacks Heart
📺 Streaming on: Aha Tamil 🎬 Director: Suseenthiran ⭐ Cast: Meenakshi Govindarajan, Jagaveer, Bala Saravanan
2k Love Story Trailer
Plot & Highlights
Can a man and a woman just be friends? 2K Love Story sets out to prove they can, but instead of exploring their bond naturally, it forces the message with clichés and weak storytelling.
Karthik (Jagaveer) and Moni (Meenakshi Govindarajan) run a wedding planning business together. Despite being constantly thrown into situations where love could bloom, they stick to their “friends forever” pact. But when a new person enters their lives, their friendship faces the ultimate test.
❤️ A refreshing idea that challenges relationship stereotypes ❌ Tries too hard to be progressive, but lacks emotional depth ❌ Tonally confused—part love triangle, part comedy, but never compelling ❌ Shallow character development makes it hard to care about their struggles
My Opinion: 2K Love Story wants to be different but ends up feeling staged and empty. Friendship deserves a better story, one with real emotions—not just a forced message.
Emergency (2025): A Selective Retelling of History
Kangana Ranaut plays Indira Gandhi, recreating the events surrounding the 1975 Emergency. While the film captures key moments—the power struggle, the political arrests, and the press censorship—it often feels like a highlight reel rather than a layered exploration. Indira’s strengths are downplayed, her insecurities exaggerated, and her adversaries glorified, creating an uneven narrative.
❤️ Kangana delivers a powerful performance, capturing Indira’s intensity ❤️ Cinematography and music elevates the storytelling ❌ More a political statement than a balanced biopic ❌ Key historical events feel oversimplified or conveniently left out ❌ Fails to provide a nuanced take on Indira’s political journey
My Opinion: Emergency is ambitious but one-sided. While Kangana shines as Indira, the film picks and chooses its facts to fit a narrative rather than offering an honest portrayal. Watch it for the performances, but don’t expect the full picture.
Vanvaas (2025): Nana Patekar Shines in a Predictable Tearjerker
A familiar story of an aging father abandoned by his children, Vanvaas follows Deepak Tyagi (Nana Patekar), a man battling memory loss and betrayal. Left alone in Varanasi, he finds an unlikely ally in Veeru (Utkarsh Sharma), a small-time crook with a heart of gold.
The film sticks to the Baghban-style formula, where the noble parent suffers, the children are heartless, and the saviour arrives in the form of a selfless outsider. While it tugs at the emotions, the storytelling feels outdated and exaggerated.
❤️ Moments of poetic monologues add emotional weight ❤️ Visually rich with glimpses of Varanasi’s culture ❌ Predictable, melodramatic, and overly theatrical ❌ Utkarsh Sharma struggles to match Nana Patekar’s intensity ❌ One-dimensional characters with little depth
My Opinion: Vanvaas is powered by Nana Patekar’s presence, but the film itself feels like a relic of the past. It has moments of emotion, but the outdated storytelling and forced drama hold it back. Watch it if you love old-school family dramas, but don’t expect surprises.
Moana 2 (2025): A Visual Spectacle, But an Unnecessary Voyage
📺 Streaming on: JioHotstar 🎬 Directors: David Derrick Jr., Jason Hand, Dana Ledoux Miller ⭐ Cast: Auliʻi Cravalho, Dwayne Johnson, Hualālai Chung, Rose Matafeo, David Fane
Moana 2 Trailer
Plot & Highlights
Moana is back on the seas, but this time, the waves aren’t as thrilling.
When her ancestors warn her about an ancient storm god’s curse, Moana (Auliʻi Cravalho) sets out on a mission they failed—to reunite the islands and restore balance. Unlike her first solo journey, she’s joined by a crew of fellow islanders, along with the ever-charismatic Maui (Dwayne Johnson).
❤️ Visually stunning, with breathtaking ocean landscapes ❤️ Kakamora pirates steal the show in their brief screen time ❌ Lacks the emotional depth of the first film ❌ Music fails to match the magic of the original soundtrack
My Opinion: Moana 2 is beautiful to look at, but it lacks the soul that made the first film special. While kids might enjoy the adventure, it feels like Disney is just trying to keep the franchise afloat. Not a disaster, but definitely not smooth sailing.
What are the OTT releases this week? With so many releases across platforms, unfortunately, I couldn’t find many great options for you this week, since most releases are average; if you have time, try Rekhachithram (Malayalam), Kudumbasthan (Tamil) or Baapu( Telugu). Why I pick that; scroll down to read more.
OTT Releases 07, March 2025
Rekhachithram (2025): A Smart Thriller That Blends Mystery with Cinema Nostalgia
📺 Streaming on: Sony LIV 🎬 Director: Jofin T Chacko ⭐ Cast: Asif Ali, Anaswara Rajan, Indrans, Saikumar, Manoj K Jayan
Rekhachithram is a gripping investigative thriller. The film follows Vivek Gopinath (Asif Ali), a cop trying to redeem himself, as he investigates a 40-year-old skeleton linked to an 80s film set. As Vivek pieces together clues from a time when technology was limited, the case becomes a thrilling.
❤️ A refreshing take on crime thrillers with a unique premise ❤️ Anaswara Rajan shines as Rekha, adding depth to her character ❤️ A treat for cinephiles with nods to 80s Malayalam cinema
❌ The film’s slow-burn pace may not work for everyone ❌ Manoj K Jayan feels underutilised
My Opinion: Rekhachithram isn’t just a mystery—it’s a love letter to Malayalam cinema.Though it takes its time to build up, the final twist is worth the wait. If you love thrillers with a nostalgic touch, this one is a must-watch!
Kudumbasthan (2025): A Fun Family Comedy with Manikandan’s Winning Touch
📺 Streaming on: ZEE5 🎬 Director: Rajeshwar Kalisamy ⭐ Cast: Manikandan, Guru Somasundaram, Saanve Megghana, R Sundarrajan
Kudumbasthan Trailer
Plot & Highlights
Being the sole breadwinner of a middle-class family is no joke—literally! Kudumbasthan follows Naveen (Manikandan), a newly married man juggling endless financial responsibilities, from funding his mother’s pilgrimage to paying for his wife’s Civil Service exam. Adding to his stress is his brother-in-law Rajendran (Guru Somasundaram), who constantly undermines him. As Kudumbasthan—surviving it is the real challenge.
❤️ Manikandan nails another relatable underdog role ❤️ Hilarious moments keep the film lighthearted and engaging
❌ Some jokes may not work for everyone ❌ The film feels slightly stretched at 155 minutes
My Opinion: Kudumbasthan blends classic family drama with modern humour, making it funny and relatable. Strong performances from Manikandan and Guru Somasundaram keep it engaging. A good watch for those who enjoy heartwarming comedies.
Nadaaniyan (2025): A Glossy but Shallow High-School Rom-Com
📺 Streaming on: Netflix 🎬 Director: Shauna Gautam ⭐ Cast: Ibrahim Ali Khan, Khushi Kapoor, Suniel Shetty, Dia Mirza
Nadaaniyan | Official Trailer
Plot & Highlights
Fake relationships, social class struggles, and high school drama—Nadaaniyan brings them all together in a lighthearted rom-com. Pia (Khushi Kapoor) is a rich girl who needs a boyfriend to keep her friendships intact. Arjun (Ibrahim Ali Khan), a scholarship student with big career dreams, becomes the perfect candidate. But as their fake relationship unfolds, they must navigate class differences, family expectations, and their own changing feelings.
❤️ Khushi Kapoor and Ibrahim Ali Khan bring youthful charm ❤️ Fun, breezy moments make it watchable ❤️ Nods to classic Karan Johar films add nostalgia
❌ A predictable, surface-level story ❌ Social themes feel forced rather than impactful ❌ Characters and settings don’t feel real or relatable
My Opinion: Nadaaniyan is a glossy, high-school rom-com that feels superficial despite its attempts at depth. The lead actors try their best, but the film remains predictable. Skip if you watched movies like Love Today (Tamil) or Perfect Date.
Manamey (2024): A Lighthearted Rom-Com That Plays It Safe
📺 Streaming on: Amazon Prime Video 🎬 Director: Sriram Adittya ⭐ Cast: Sharwanand, Krithi Shetty, Vennela Kishore, Rahul Ravindran
Manamey Trailer
Plot & Highlights
What happens when a carefree man is forced to take responsibility? Manamey follows Vikram (Sharwanand), a happy-go-lucky guy who avoids commitments—until his best friend’s sudden passing leaves him as a temporary guardian for their two-year-old son. Subhadra (Krithi Shetty), a responsible and practical woman, also steps in as the child’s caretaker. As they clash over parenting styles, love slowly blossoms between them.
❤️ Sharwanand shines in a fun, laid-back role ❤️ A few genuinely funny moments keep it entertaining ❤️ Hesham Abdul Wahab’s music adds charm
❌ Predictable story with familiar rom-com tropes ❌ Supporting characters feel underused ❌ Antagonist subplot feels unnecessary and weak
My Opinion: Manamey is a breezy, feel-good rom-com that plays it safe. Sharwanand’s playful performance adds charm, but the film remains predictable. Worth a casual watch, but nothing fresh or surprising.
Thandel (2025): A Beautiful Love Story That Loses Focus in Its Second Half
📺 Streaming on: Netflix 🎬 Director: Chandoo Mondeti ⭐ Cast: Naga Chaitanya, Sai Pallavi, Karunakaran, Divya Pillai
Plot & Highlights
Thandel is about the longing and devotion (melo-drama medium) in a romance shaped by distance. Raju (Naga Chaitanya), a fisherman from Srikakulam, spends most of the year away at sea. Sathya (Sai Pallavi), his love, accepts this way of life with patience and pride. When Raju is caught in a tragic twist of fate and lands in a Pakistani prison, their love is put to the ultimate test.
❤️ Naga Chaitanya deliver heartfelt performances ❤️ Devi Sri Prasad’s music adds emotional depth ❤️ Stunning cinematography captures the vast sea and emotions beautifully
❌ The Pakistan prison subplot lacks depth ❌ Side characters feel underdeveloped ❌ Misses the opportunity to explore the real struggles of the 22 fishermen
My Opinion: Thandel is an average love story but loses its emotional depth when it shifts to the Pakistan prison subplot. The political drama feels rushed, but the romance and music keep it engaging. It works for fans of poetic (chocolate) love stories.
Narayaneente Moonnaanmakkal (2025): A Thoughtful, Restrained Family Drama
📺 Streaming on: Amazon Prime Video 🎬 Director: Sharan Venugopal ⭐ Cast: Joju George, Suraj Venjaramood, Alencier Lay Lopez, Garggi Ananthan, Shelly Kishore
Plot & Highlights
When three estranged brothers reunite at their ancestral home as their mother lies on her deathbed, old wounds resurface, and buried conflicts return. Vishwanathan (Alencier Lay Lopez) still carries the weight of past casteist insults, Bhaskar (Suraj Venjaramood) is an outsider in his own home, and Sethu (Joju George) finds himself stuck between them. Meanwhile, the younger generation—Athira (Garggi Ananthan) and Nikhil (Thomas Mathew)—try to make sense of the tensions while dealing with their own unresolved emotions.
❤️ A subtle, character-driven story without melodrama ❤️ Joju George and Garggi Ananthan deliver deeply layered performances ❤️ A realistic portrayal of family conflicts and generational differences
❌ The slow, quiet storytelling may not work for everyone ❌ Lacks big dramatic moments, making it feel subdued
My Opinion: Narayaneente Moonnaanmakkal is a nuanced, slow-burning family drama that avoids melodrama. A worthwhile watch for those who enjoy subtle, character-driven narratives.
Baapu (2025): A Family Drama with Moments of Brilliance but an Uneven Narrative
Set in rural Telangana, Baapu follows a struggling farmer’s family burdened by debt. Mallanna (Brahmaji) and his wife Saroja (Aamani) are trying to make ends meet through cotton farming, while their children battle their own hardships. Meanwhile, a subplot involving a hidden golden idol adds another layer of intrigue.
❤️ Brahmaji delivers a strong lead performance ❤️ Authentic rural setting and black comedy elements work well ❤️ A few engaging moments, especially around the family’s moral dilemma
❌ Predictable and lacks depth in emotional moments ❌ Romance subplots feel unnecessary and underdeveloped ❌ Feels like a short film stretched into a feature-length movie
My Opinion: Baapu has an interesting premise with its dark comedy and performances. However, weak character arcs and a predictable story hold it back. Watch it for the performances, but don’t expect a deeply engaging family drama.
What are the OTT releases this week? After two weeks of dip in quality, this week’s OTT lineup are packed with good enetrtainers. But if you’re looking for the best picks,Hello Mummy is a fun watch, followed by Love Under Construction and Dabba Cartel. Scroll down for more!
Feb 28 – 2025 – OTT Releases
Dabba Cartel (2025): A Spicy Mix of Crime and Chaos
What happens when a group of ordinary women accidentally step into the world of crime? Dabba Cartel answers that with a mix of thrills, chaos, and dark humour.
Between shady pharma companies, investigating officers, and dangerous criminals, 5 women must outsmart a system built to crush them.
❤️ Shabana Azmi steals the show with her effortless transformation into a no-nonsense matriarch. ❤️ The show balances humour and suspense well, making it an entertaining watch.
❌ Some moments feel exaggerated, making the plot less believable. ❌ The gangsta elements sometimes feel forced.
My Opinion:Dabba Cartel is an entertaining mix of crime and comedy, with a strong female-led cast. A good watch if you like crime dramas with a fresh twist.
Vidaamuyarchi (2025): A Gritty Actioner With a Vulnerable Ajith Kumar
Vidaamuyarchi is about Arjun (Ajith Kumar), an ordinary man thrown into extraordinary circumstances. What starts as a road trip to drop his estranged wife, Kayal (Trisha), at her parents’ place turns into a nightmare. As Kayal is kidnapped, Arjun finds himself in a deadly game where survival is the only option.
❤️ Ajith delivers one of his most grounded performances in years. ❤️ Regina Cassandra surprises with her eerie and unpredictable character. ❤️ The film’s technical aspects—cinematography, action sequences, and background score—are top-notch.
❌ Predictable twists make the suspense feel weak. ❌ Trisha’s character remains underdeveloped, serving only as a plot device. ❌ Some mass moments lack the emotional depth needed for true impact.
My Opinion:Vidaamuyarchi may entertain because of Ajith’s compelling performance and the film’s slick execution. But the film’s predictable screenplay and lack of emotional weight in key moments hold it back from being a great entertainer.
Love Under Construction (2025): A Middle-Class Man’s Battle Between Home and Heart
What happens when your biggest dream becomes your biggest struggle? Love Under Construction follows Vinod (Neeraj Madhav), a middle-class Malayali man living in Dubai, who dreams of building his own home back in Kerala. But as his home construction turns into a never-ending headache, so does his personal life. His relationship with Gauri (Gouri Kishan) is at a crossroads—while Vinod wants a home, Gauri wants to move to Canada. Between family drama, financial struggles, and society’s pressures, Vinod must figure out what truly matters.
❤️ Neeraj Madhav delivers a natural, relatable performance as Vinod. ❤️ Gouri Kishan’s character is refreshingly practical, breaking the usual heroine stereotypes.
❌ Some subplots feel stretched, slowing down the pacing. ❌ The conflicts, though realistic, sometimes resolve a little too easily.
My Opinion:Love Under Construction is a heartwarming and relatable feel good story that every middle-class family can see themselves in. I recommend it to those who ever tried to build a dream—be it a home or a relationship.
Sankranthiki Vasthunam (2025): A Comedy Overload That Mostly Works
Anil Ravipudi’s Sankranthiki Vasthunam is an all-out comedy that throws logic out of the window and works on Ravipudi spices. The film revolves around Raju (Venkatesh), a devoted husband stuck between his possessive wife Bhagyalakshmi (Aishwarya Rajesh) and his ex-girlfriend-turned-police-officer Meenakshi (Meenaakshi Chaudhary). When Meenakshi re-enters his life for a high-stakes mission, chaos started, mixing romance, action, and non-stop gags.
❤️ Venkatesh shines, effortlessly balancing comedy and action. ❤️ Aishwarya Rajesh delivers a quirky, endearing performance. ❤️ The supporting cast, especially Upendra Limaye and child artist Revanth, provide some of the biggest laughs.
❌ Too many gags crammed in, leading to moments of exhaustion. ❌ Some jokes and subplots feel unnecessary, especially towards the climax.
My Opinion:Sankranthiki Vasthunam is an entertainer but if you’re looking for realism, this isn’t the film for you. But if you enjoy over-the-top, slapstick humour, then Ravipudi delivers yet another laugh riot.
Hello Mummy (2024): A Fun Horror-Comedy That Keeps You Hooked
Platform:Amazon Prime Video Director: Vaishakh Elans Cast: Sharaf U Dheen, Aishwarya Lekshmi, Jagadish, Johny Antony, Aju Varghese, Bindu Panicker
Hello Mummy trailer
Plot & Highlights:Hello Mummy (2024)
Hello Mummy is a mix of horror, comedy, and family drama into an entertaining ride. The story revolves around Boney (Sharaf U Dheen), a spoiled rich kid forced into marriage with Stephy (Aishwarya Lekshmi), an ambitious scholar. But marriage comes with an unexpected guest—Stephy’s mother, Gracy (Jagadish), who just happens to be a ghost!
While Boney just wants a normal married life, Gracy has other plans, leading to a series of comic encounters, spooky moments, and unexpected twists.
❤️ Sharaf U Dheen’s impeccable comic timing carries the film. ❤️ The mix of humour and horror keeps it engaging without getting too dark. ❤️ Supporting cast, especially Jagadish and Johny Antony, add to the fun.
❌ Some subplots feel unnecessary and underdeveloped. ❌ The climax is stretched and could have been tighter.
My Opinion:Hello Mummy is a simple yet laugh-out-loud entertainer that doesn’t take itself too seriously. While the second half could have been sharper, the film’s humour and performances make it worth a watch. If you’re in the mood for a fun horror-comedy with a heart, this one’s for you!
Directed by Jithu Ashraf, Officer On Duty is built on writer Shahi Kabir’s signature investigative thriller framework. If you’ve seen Joseph or Ela Veezha Poonchira, you know what to expect—meticulously crafted police procedural scenes, morally grey officers, and layered storytelling. That was my only reason for watching Officer On Duty, hoping for another gripping police procedural. But this time, there’s a shift.
OFFICER on Duty Title Card
No Nonsense, Straight to the Case
As expected, there’s no unnecessary drama. Within five minutes, the film is on track. It kicks off with a chilling prologue before shifting to the introduction of CI Harishankar (Kunchacko Boban). I have to appreciate Kunchacko for approving an intro scene where his character harasses a pregnant woman—not something most stars would dare to do. Mollywood continues to stand apart in its willingness to portray morally grey characters, even with leading actors.
The story follows DYSP Harishankar, who is demoted to CI after physically assaulting his senior officer. He’s battling psychological trauma, and on his first day as CI, he gets assigned a counterfeit gold case. But this small case unexpectedly leads him to something much bigger—something connected to his own past. The way Shahi Kabir sets up these connections using the plant and payoff technique is brilliant.
First Half – Packed with Suspense & Character Depth
A major strength of the first half is how it establishes Harishankar’s character. We get to see his shades—his flaws, his aggression, and his vulnerabilities. Sure, there are a few unnecessary moments like Muthumani’s ‘chocolate hero’ commentary or Priyamani’s repetitive domestic scenes, but overall, the first half keeps us engaged, slowly building curiosity for what’s next. Foreshadowing in the writing plays a big role in keeping us hooked.
Second Half – Too Much Drama, Too Many Compromises
Shahi Kabir has a pattern. His second halves usually shift into family drama or emotional conflicts (Joseph, Ela Veezha Poonchira). So, I was expecting that. But in Officer On Duty, the shift felt too drastic. There’s a lot of cinematic drama, and while that might help at the box office, it also dilutes the soul of the film.
The biggest issue? Character inconsistency. Harishankar in the first half and Harishankar in the second half feel like two different people. It’s as if the film forgets its grounded realism and switches into a supercop action thriller. Thankfully, Kunchacko Boban’s performance smooths over some of the rough edges. He carries the weight of the transformation with conviction, but it’s still hard to ignore how much the tone changes.
Repetitive Writing –Fridging and the Same Old Cop Tropes
I have to ask—why are writers so obsessed with ‘fridging’ female characters in investigative thrillers? The idea that a woman must suffer to motivate the hero is overused and outdated. And why is every troubled police officer a failed family man dealing with a divorce? We’ve seen this formula so many times—an emotionally broken cop, a family crisis, and in the end, a personal stake in the case. It’s predictable if you watch thrillers often.
Officer On Duty Trailer
What Worked – Technical Brilliance & Performances
If Kunchacko Boban is the emotional anchor of the film, Jakes Bejoy is the soul. His background score elevates the tension and keeps the narrative gripping. In fact, it was Bejoy and Kunchacko who made this film worth watching for me, not the screenplay.
Kunchacko, as Harishankar, is completely convincing. His haunted eyes, his rough exterior, and the visible trauma in his body language make the character believable. He put in the effort, and it shows.
Kunchako Boban CI Harishankar
Technically, the film shines. Roby Varghese Raj’s cinematography and Chaman Chacko’s editing set the perfect dark, intense tone. The action sequences are well-executed, especially considering the film’s production scale. The mortuary fight and climax sequences were particularly well-shot, making the brutality feel raw but not excessive.
Final Opinion – From ‘What’s Next?’ to ‘Here We Go Again’
Officer On Duty starts off as an exciting investigative thriller, making us wonder, “What’s next?” But by the end, it turns into a supercop action film, filled with predictable twists, overused tropes, and cinematic hero moments for the whistles and cheers.
Does it deserve to be a super-hit? Yes. Does it work as a solid thriller? Not for me. I had high expectations from Shahi Kabir, but this time, it felt like he chose commercial appeal over storytelling depth.
Watch it for Kunchacko Boban and Jakes Bejoy. Just lower your expectations if you’re looking for a realistic thriller.
Directed by Arun D Jose, Bromance follows his familiar formula of making youth-centric films, as seen in Jo & Jo and 18+. Here there is a slight shift.
How do you make a comedy film? There are many ways, but in Malayalam cinema, the popular ones are Priyadarshan-style slapstick, dark humour, everyday observational comedy like Premalu, or deadpan delivery, where the humour comes from an actor’s serious and emotionless reactions—like Biju Menon’s humour characters.
Bromance Movie Title Card
Written by Thomas P. Sebastian and Raveesh Nath, Bromance (2025) tries to blend all these styles here and there. But does it work? Only in the second half.
A Cliché Bromance Setup with a Predictable Plot
The movie begins with a cliche Setup. The elder brother, Shinto, is the responsible one, while the younger brother, Binto, is the reckless slacker. As expected, Shinto takes care of Binto, even funding his rave parties.
Then comes The Inciting Incident—Shinto goes missing. This leads to the introduction of characters from Shinto’s world: his ex-girlfriend (Mahima Nambiar), his best friend (Arjun Ashokan), a rowdy (Kalabhavan Shajon), and an ethical hacker (Sangeeth Prathap).
The rest of the movie is about how this mismatched gang tries to solve the case.
Weak Emotional Depth and Character Motivations
The writers attempt to create comedy through contrast—placing Arjun Ashokan’s calm, timid character alongside Mathew’s hot-headed young man. But it doesn’t work.
Over-the-top humour isn’t everyone’s cup of tea, and it’s tough to pull off. When we see Manavalan or Dasamoolam Dhamu, we don’t think about logic—we just enjoy the humour because their caricatured personalities are established from the beginning. Here, when Mathew and Sangeeth Prathap go over the top, it feels annoying, clichéd, or like forced cringe comedy.
Another issue is the forced emotional beats. The bond between the brothers isn’t developed organically. Some scenes, like a social media bullying victim taking revenge and saying, “I will share this video with my daughter,” felt completely out of place.
The way the team comes together for the mission also feels unconvincing—why are they all risking it? The writing could have been sharper, with better confrontations to make this an exciting screwball comedy thriller. Instead, it ends up feeling like a missed opportunity. Some side characters also feel force-fitted into the story.
Does that mean the film isn’t entertaining? A big No!!!
Second Half Brings the Laughs
Despite all the friction in the first half, the second half is decent. There are genuinely funny moments, especially with Arjun Ashokan, Mahima Nambiar, and Kalabhavan Shajon. They bring energy, presence, and great comic timing.
Since the climax and story are predictable, what surprised me was Arjun Ashokan’s over-the-top performance in the second half.
After Romancham, he proves once again that he can handle humour as well as serious roles—he is a perfect actor to create comedic incongruity. I hope more directors explore this side of him. Similarly, Kalabhavan Shajon’s one-liners and Mahima’s screen presence made the second half more enjoyable.
Bromance Movie Poster
Cinematography & Music: Stylish And Matches the Vibe
Cinematographer Akhil George does a decent job in maintaining the vibrant, youthful visual style, it helped us matching the vibe. The night scenes and party sequences are well-shot, adding a stylish touch, and elevated the film beyond its script’s limitations.
Music by Govind Vasantha follows a familiar template—while it complements the film’s mood, there are no memorable tracks that stand out. The background score does help in setting the comedic tone, but it lacks freshness.
Bromance had the potential to be a great comedy thriller but ends up being just an okay entertainer.
The humour is hit-or-miss, the writing could have been tighter, and some characters feel unnecessary. However, if you can sit through the uneven first half, the second half has enough fun moments to make it worth a watch.
In the Mood for Love isn’t just a film. It’s a whisper. A story that exists not in words, but in silences—never claimed, never lost, only carried in memory. But what makes In the Mood for Love so powerful? Why does it haunt us, years after watching it?
This is my favourite movie ever, but I’ve never written a single line about it on any platform. Do you know why?
Because I can’t finish it.
Every time I try, it feels incomplete—like there’s always more to say.
In The Mood For Love DVD Pack
I first got this movie from a friend on DVD when I was a teenager. I watched a few scenes, got bored, struggled to read the subtitles while keeping up with the visuals, and then—I did what every impatient teenager would do—I fast-forwarded through it, searching for any love making scenes. Couldn’t find a single one. Not even a lip-lock scene. I felt completely disappointed and never looked back.
I Didn’t Move On, I Moved In
Then came my first breakup.
I was 21, scrolling for movies to watch, and somehow, this one came back to me. This time, I was older. More patient. No longer obsessed with love making scenes. Started falling in love with stories—where films don’t just tell stories, they flow like an autumn stream.
In The Mood For Love Trailer
Things changed—like a slow poison. I kept consuming it. Every time I felt low, I watched In the Mood for Love. I cried. Slept. I woke up. And then I watched it again. Movies like In the Mood for Love, 3-Iron, Spring, Summer, Fall, Winter… and Spring taught me something—how to escape reality and live inside a fantasy. Because that’s what the heroes in these films do. They build their own world. Find happiness there. They live inside it.
I fell in love again.
But this time, when she stepped back, I didn’t fall. Instead, I found myself slipping deeper into the world of In the Mood for Love. Every year, I went back to her city. I imagined she was still there, waiting for me at the airport. Stayed in the same hotels. I sat at the same temples we once prayed in together. Travelled again and again, not for closure, not for her—but for the world I had built inside my mind.
And now, after all these years, I think it’s finally time to write about this movie.
But a warning—don’t jump into this movie straight away. If you haven’t seen The Lunchboxor Photograph, don’t even think about starting In the Mood for Love yet. It’s injurious to health if you’re not ready.
A Shot from The Lunchbox
So this Valentine’s Day, start small. Watch Ritesh Batra’s The Lunchbox or Photograph. Or if you’re up for something different, go for Wong Kar-Wai’s Chungking Express.
And when you’re ready—when your heart has learned how to ache beautifully—then step into the world of In the Mood for Love.
And let it ruin you.
🔶 I. The Story: A Love That Could Have Been
1.1Two Strangers, One Betrayal: A Love Story That Never Was
They met because of someone else’s betrayal.
Hong Kong, 1962. A cramped apartment complex where walls are thin, and your privacy is protected by that thin wall. Mr. Chow (Tony Leung) and Mrs. Chan (Maggie Cheung) live in adjacent rooms, separated by nothing but a corridor and the weight of silence.
Their partners are having an affair. A cruel coincidence.
But instead of confrontation, instead of screaming accusations or bitter revenge, Mr. Chow and Mrs. Chan do something else—they try to understand.
They meet at a restaurant, recreate conversations their spouses might have had.
A shot from In The Mood For Love
They rehearse the affair like a scene from a play, they step into the shoes of their unfaithful partners, acting out heartbreak with careful, measured words.
I was genuinely shocked when I first watched it. What an approach. What’s the best way to empathize with someone? Step into their shoes.
It doesn’t just make you understand—it makes you calm. It doesn’t just soften the pain—it dissolves the grudge before it can consume you.
And maybe that’s the secret. Maybe that’s how we stop hurting. Not by fighting back, not by seeking closure—but by seeing through their eyes until we can finally let go.
And somewhere in the middle of all that pretending, they start to feel something real.
But they hold back. Because they don’t want to be like them—the ones who gave in too easily.
1.2 The Weight of Hold On: Why Don’t They Give In?
If you’ve ever wanted something so much it hurt, you’ll understand them.
Every glance between them feels like a confession, every pause between words feels like a decision not made. The way he lights a cigarette. Or the way she brushes her hair. The way they pretend they don’t want what they already know is there.
The Staircase scene
They meet in staircases, in dimly lit rooms, in spaces too small to breathe, but too vast to cross.
They never cross the line, but it’s not virtue—it’s fear.
Fear of becoming like their spouses. A Fear of gossip. Fear of what happens if they let go—because once you start, there’s no going back.
Mr. Chow once tells Mrs. Chan that when he was single, he was free to do anything. Now, his marriage defines his choices. Mrs. Chan wonders if she would have been happier alone.
They know what love could look like—but they are trapped in the lives they’ve already built.
And so, they hold back.
Not because they don’t love each other, but because they don’t know how to love without consequence.
1.3 A Love Story Told in Missed Chances
Theirs is not a story of passion—it’s a story of hesitation.
She runs to his hotel room to say something—maybe everything—but she’s too late. He’s gone.
She secretly visits his apartment in Singapore, calls him—but says nothing.
And in the end, he walks past her home, never knowing she’s there.
Love doesn’t die in In the Mood for Love. It just never arrives on time.
🔶 II. The Language of the Film: Wong Kar-Wai’s Visual Poetry
If In the Mood for Love was just a love story, it would have been told in words. But words are too easy. This is where I recommend this movie to every film enthusiasts in the world. Learn the language of cinema with “In The Mood For Love”
Wong Kar-Wai tells it in glances, silences, colors, and reflections. He doesn’t just let you watch—he traps you inside it, making you feel what the characters feel. The longing. The hesitation. The unbearable restraint. Honestly speaking it’s like holding back an orgasm, you really want to burst out, you wish for that till the end, but won’t!!
This is not just storytelling. This is visual poetry.
2.1Watching Without Acting: Framing a Love That Stays Unspoken
Have you ever looked at someone through a half-open door? Caught a reflection in a mirror? That’s how we watch Mr. Chow and Mrs. Chan—never directly, always from a distance.
Every shot is framed within a frame.
They are seen through doorways, through windows, in narrow corridors. They are boxed in, not just by the camera—but by the world, by society, by their own fear.
And we, the audience, are left watching them the way they watch each other—wanting something to happen, knowing it never will.
Wong Kar-Wai doesn’t just show their restraint—he makes us feel it. This is what I love most, see how Nolan did in Memento, you will experience what Shelby is going through. Think about Denis Villeneuve’s Incendies, you will experience rather than watching and sympathising.
Mr. Chow and Mrs. Chan are trapped. Not by walls, but by rules, by expectations, by a world that won’t let them choose differently.
Their love is not hide and seek kisses or passionate hugs— it’s a slow suffocation, a love held in place by invisible hands.
2.2Costume: Speaking Without Words
Mrs. Chan wears 46 different cheongsams throughout the film. Each one is a second skin, telling us what she cannot say.
Mr. Chow is always in his suit—pressed, polished, pristine. Mrs. Chan wearscheongsams so flawless, they look like armour.
They never break character.
Society expects them to be dignified, so they are. They live in a world where gossip can ruin lives, where respectability is everything.
So they dress like people who have it all together—when inside, they are coming apart thread by thread.
They only allow themselves to grieve in secret corners, dimly lit hallways, shared silences over dinner.
Not even once does their dress wrinkle. Not even once does her hair fall out of place.
Every cheongsam is pristine, every strand of hair perfectly pinned, every suit pressed as if it was just taken out of the dry cleaner’s.
Because that dress… that dress isn’t just clothing. It’s distance.
The tight collar, the stiff fabric, the way it clings but never embraces— It’s a reminder that no matter how close they stand, they are always apart.
It mirrors them perfectly—close enough to feel each other’s warmth, never close enough to touch.
It’s about the way a dress can hold a woman together when her heart is trying to break.
They aren’t just pretending for society.
They are pretending for themselves.
Some days, she blends into the red wallpaper, lost in the background. Other days, she stands out like a flame, her red dress burning against the world that refuses to acknowledge her heartbreak.
2.3 The Colours of Pain and Loneliness
Red. Green.Blue.The colours of passion, longing, and restraint.
Because when the heart is in chaos, the only thing left to control is appearance. Wong Kar-Wai painted that appearance with colours—red for passion, green for longing, blue for restraint.
Anyone who watches only the frames of this film will fall in love, be hypnotized by its beauty.
Colour palette : In the Mood For Love
But when you look deeper—when you stop admiring and start feeling the characters—you’ll realise that beneath the colours, beneath the elegance, there is only pain.
And once you see it, you can never unsee it.
Because the beauty of this film is unbearable pain masked with colours.
2.4Slow Motion & Repetition: The Mechanics of Memory
Love doesn’t move fast in In the Mood for Love. It lingers. Repeats again. It slows down.
Wong Kar-Wai uses repetition, just like memory does.
Have you ever noticed how painful memories never ask for permission? They arrive uninvited, poke at your heart when you least expect it, linger just long enough to make you cry, and then fade away—only to return again when you think you’ve moved on.
It’s a process. A loop.
One moment, you’re fine. The next, a song, a scent, a familiar street pulls you back into a past you thought you had left behind.
That’s exactly how In the Mood for Love unfolds—moments repeat, emotions replay, each time with a little more weight, a little more ache.
A slow-motion walk down the corridor. A brush of the sleeve. A glance that lasts a second too long.
The film doesn’t just tell a story—it makes you feel like you are remembering it.
Because that’s what love like this becomes. Not something lived, but something remembered.
🔶 III. The Cinematic Techniques That Make It Timeless
Memory isn’t linear. Neither is this film.
Scenes fade in and out, shifting in time without warning, without explanation. One moment, they’re meeting in a quiet alley. The next, weeks—or maybe months—have passed, and everything has changed without us even realizing it.
There is no clear timeline. No obvious markers. Just moments, disconnected yet intertwined—exactly the way we remember things.
This isn’t an accident. Wong Kar-Wai never had a complete script.
But think about it—if our life were a movie, how would it look?
Probably boring. Slow. Uneventful.
In a year, most things wouldn’t change much. No grand confessions. Not any thrilling confrontations. No perfect happy endings wrapped up in a final act.
Because real life isn’t a tight screenplay with a beginning, middle, and end. It’s messy, unfinished, and full of pauses that last longer than they should.
And that’s exactly why In the Mood for Love feels so real—because it doesn’t play by the rules of cinema. It plays by the rules of life.
Reflections
He didn’t direct a movie. He let it emerge.
That’s why watching In the Mood for Love feels less like witnessing a story and more like remembering a feeling you once had.
3.1 The Absence of the Spouses: Shadows Without Faces
You never see their spouses’ faces. Not once.
You hear them. Sense them. You feel their presence. But they are never shown—because they don’t matter.
What matters is how Mr. Chow and Mrs. Chan feel about them.
Their betrayal is a ghost, haunting every conversation, every hesitation, every missed opportunity. But like all ghosts, it is intangible—a presence that shapes everything without ever being seen.
By keeping them faceless, Wong Kar-Wai ensures that the film isn’t about them.
It’s about the ones left behind.
3.2The Role of Music: Love as an Echo
Some directors use music to support a film. Wong Kar-Wai makes music the film itself.
Yumeji’s Theme plays again and again—a melody that drifts in, pulling you back into the same emotions, the same longing, the same sadness.
In the Mood For love: Original Sound Track
It doesn’t just set the mood. It is the mood.
Like memory, it repeats, loops, reappears, each time carrying more weight, more unspoken pain.
Before you even understand what’s happening, you feel it. That’s the power of Wong Kar-Wai’s music—it speaks before words do.
🔶 IV. The Ending: A Secret Buried in Stone
Love, when unspoken, doesn’t vanish. It doesn’t fade, it doesn’t die—it just finds new places to live.
That settles into the quiet spaces between your thoughts. It becomes the lump in your throat when you hear a lyrics like I Love you 3000 And hides in the places you avoid, the streets you no longer walk, the cafe you can’t bring yourself to enter.
That’s why In the Mood for Love doesn’t end with a hug, or a goodbye, or even a glance exchanged across a crowded street.
It ends with a whisper.
A love so restrained, so contained, that it is never spoken aloud—not to the person it was meant for, not even to the wind pass by.
Instead, it is sealed inside an ancient ruin, lost to time.
4.1The Angkor Wat Scene: Ending Explained
In the end, Mr. Chow travels to Cambodia, alone. He stands before the crumbling walls of Angkor Wat, an ancient temple where time has slowed, where the past still lingers like a faded memory.
Angkor Wat Temple & Red Lillies
Then he steps forward. He leans into a hollow in the stone. And he whispers.
A secret. A confession. A love that will never be answered.
This isn’t just about letting go. It’s about preserving.
When you truly love someone, you preserve every memory—every moment, every touch, every object—like food sealed in a tin can, with no expiry date.
In an old legend, it’s said that people would whisper their deepest secrets into a tree, then seal it with mud—so that no one would ever hear, but the secret would always exist.
Mr. Chow does the same.
Climax: In The Mood For Love
He doesn’t write a letter. Or doesn’t send a message. He doesn’t seek closure.
Instead, he buries his love where no one will ever find it—not even himself.
Because some things are too sacred to be spoken aloud.
And as we watch him walk away, we know— He will carry it with him, always.
But he will never speak of it again.
🔶 V. In the Mood for Love: A Legacy
I keep travelling.
We all have places we return to—not because we expect to find someone waiting, but because they once held something we can’t let go of.
Every year, I find myself in another Southeast Asian city, in another ancient temple, standing before another Buddha, whispering secrets into the silence. Maybe it’s a habit. Maybe it’s my own version of what Mr. Chow did.
Wat Pa Dong Rai
Every time my flight lands, my heart races. Maybe—just maybe—this time, I’ll see her again. Maybe she’ll be there, in that same cafe, where the sign on the wall reads:
Once in a Lifetime You Be My Guest
Like Mr. Chow whispering his love into an ancient ruin, we all have stories we keep alive—not in reality, but in memory. Not in words, but in the places we return to, hoping to feel what once was.
What are the OTT releases this week? With so many releases across platforms, unfortunately, I couldn’t find any great options for you this week, since all releases are mediocre; if you have time, try The Mehta Boys or Mrs. Why I pick that; scroll down to read more.
Richa (Sanya Malhotra), a vibrant young woman, enters an arranged marriage expecting love and companionship. But she soon finds herself trapped in a suffocating routine of a toxic patriarchal system and emotional neglect.
❤️ Sanya Malhotra’s stellar performance—she carries the film with quiet strength. ❤️ Brilliant use of food as a metaphor, showing Richa’s gradual emotional exhaustion.
❌ Some moments feel too on-the-nose, reducing the impact of subtler themes. ❌ The male characters, though well-acted, remain one-dimensional in their toxicity.
My Opinion: Mrs. is a hard-hitting, must watch film that holds a mirror to the silent struggles of countless women. While it may not add much new to The Great Indian Kitchen’s narrative, Sanya Malhotra’s performance and the film’s emotional weight make it worth watching. A must-watch if you appreciate films that challenge societal norms.
Game Changer (2024): A Political Thriller With Instant Highs, But No Lasting Impact
Platform:Amazon Prime Director: S. Shankar Cast: Ram Charan, Kiara Advani, SJ Suryah, Anjali
Game Changer Trailer
Plot & Review: Game Changer (2024)
Ram Nandan (Ram Charan), a principled IAS officer, takes on a ruthless politician, Bobbili Mopidevi (SJ Suryah), in a battle for power and governance. The film blends past and present political drama, tackling themes of corruption and electoral reforms, but prioritises style over substance.
❤️ Ram Charan’s powerful double role, especially his emotional portrayal of Appanna. ❤️ SJ Suryah’s scene-stealing performance adds energy to the film.
❌ The story feels rushed and choppy, lacking emotional depth. ❌ Supporting characters, including Kiara Advani, are underutilised. ❌ The climax drags with an over-the-top action sequence, diminishing its impact.
My Opinion: Game Changer delivers instant gratification with stylish action and a weak political drama but lacks the depth and emotional connection. Watch it for the style, but don’t expect a game-changing experience.
Daaku Maharaaj (2024): A Stylish Action Drama With a Weak Core
Platform:Netflix (Feb 9) Director: Bobby Kolli Cast: Nandamuri Balakrishna, Shraddha Srinath, Bobby Deol, Pragya Jaiswal
Trailer
Plot & Review: Daaku Maharaaj (2024)
When a young girl in a hill station is threatened by local gangsters, a mysterious dacoit, Maharaaj (Balakrishna), steps in under the guise of a driver. As his violent past reveals, the film attempts to mix action, hero worship, and social drama, but struggles to keep the narrative engaging.
❤️ Stylish cinematography and action sequences keep the film visually engaging.
❌ A weak villain (Bobby Deol) fails to create tension. ❌ Unnecessary subplots and underdeveloped characters dilute the impact. ❌ Forced comedy and romance feel outdated and disrupt the pacing.
My Opinion: Daaku Maharaaj delivers slick action and striking visuals, but lacks a solid emotional and narrative core. While Balakrishna and Shraddha Srinath elevate the film, the underwhelming antagonist and stretched screenplay hold it back. Watch it for high-octane action, but expect a headache if you are not used to Balayya tortures.
Madraskaaran (2024): A Predictable Action Drama That Wastes Its Potential
Sathya (Shane Nigam), a Chennai native, returns to his hometown for his wedding, but a reckless car accident turns his life upside down. A fender-bender with Durai Singam (Kalaiyarasan) escalates into an ego-fueled clash, leading to tragic consequences that force Sathya to uncover the truth behind the accident.
❤️ Kalaiyarasan delivers a strong performance, though the script lets him down. ❤️ Some intense moments in the second half provide mild engagement.
❌ Weak writing choices make key moments predictable and unconvincing. ❌ Female characters are sidelined, despite being crucial to the plot. ❌ The film rushes into unnecessary twists, diluting the emotional impact. ❌ Songs and stretched-out flashbacks disrupt the pacing.
My Opinion: Madraskaaran starts with a promising setup but quickly turns into a formulaic action drama with forced twists and underwhelming execution. Shane Nigam and Kalaiyarasan do their best, but the predictable writing and lack of emotional depth make this a forgettable watch. Skip it unless you’re a fan of ego-driven action thrillers.
The Mehta Boys: A Heartfelt Father-Son Drama with Global Appeal
The Mehta Boys follows Amay (Avinash Tiwary), a young architect grappling with the loss of his mother while trying to balance his career and relationship with his girlfriend, Zara (Shreya Chaudhry). His already complicated life takes an unexpected turn when his father, Mehta (Boman Irani), is forced to stay with him for an extended period.
❤️ Boman Irani’s Directorial Debut – The veteran actor steps behind the camera for the first time, bringing years of storytelling experience to craft an intimate, emotional, and universally relatable narrative. ❤️ An International Screenplay Touch – Co-written by Academy Award winner Alexander Dinelaris (Birdman)
Final Thoughts: The Mehta Boys promises to be an emotionally rewarding and explore relationships with a mix of humour, heart, and realism.
What are the OTT releases this week? With so many releases across platforms, unfortunately, I couldn’t find any great options for you this week, since all releases are mediocre; if you have time, try Identity or The Secret of the Shiledars. Why I pick that; scroll down to read more.
OTT Releases : Jan 31, 2025
Identity (Malayalam): A Twisted Thriller That Overcomplicates
Platform:ZEE5 Directors: Akhil Paul & Anas Khan Cast: Tovino Thomas, Trisha Krishnan, Vinay Rai
Plot & Review: Identity (2024)
Alisha (Trisha Krishnan), a key witness to a crime, is placed under police protection. Sketch artist Haran (Tovino Thomas) tries to help her identify the killer, but her memory condition complicates things. The first half sets up an engaging thriller, but the second half spirals into chaos—multiple villains, forced twists, and moments where logic completely disappears.
Identity Trailer
❤️ What Works: ✔High production value, well-shot action sequences. ✔Tovino Thomas brings intensity, though his character is built just to highlight his skills.
❌ What Doesn’t: ✖The second half feels overstuffed with unnecessary subplots. ✖Trisha’s character is barely developed beyond her memory condition. ✖Some scenes defy logic—people survive fatal injuries, planes magically land.
My Opinion: While Identity starts as an intriguing thriller, it loses itself in an overcomplicated mess of twists. The film sacrifices clarity for shock value, making the second half feel like a puzzle with missing pieces. Watch if you love stylish thriller, skip if you have other choices.
The first half revisits familiar themes—Pushpa outwitting the cops, proving his dominance, and flexing his brand. The only standout is the ‘Gangamma Jatara’ sequence, where Allu Arjun, draped in a sari, exudes both ferocity and grace. But beyond these moments, the film stretches itself thin, focusing more on ego battles than storytelling.
❤️ What Works: ✔Allu Arjun’s larger-than-life presence, especially in the Jatara scene. ✔ Stunning visuals and music.
❌ What Doesn’t: ✖ A predictable plot—too many recycled elements from part one. ✖ Shekhawat lacks menace; he’s more ego-driven than strategic.
My Opinion: The highs are high, but the narrative feels stretched, lacking the punch that made the first one special. Watch for the grandeur, but don’t expect anything fresh.
Emakku Thozhil Romance:A Rom-Com Without the Romance or Comedy
Uma (Ashok Selvan) is an aspiring filmmaker who dreams of winning an Oscar but spends most of the film entangled in relationship misunderstandings with Leo (Avantika Mishra).
❤️ What Works: ✔ Urvashi brings life to an otherwise forgettable film. ✔ A few slapstick comedy moments land well. ✔ Short runtime (100 minutes) prevents complete exhaustion ;-).
❌ What Doesn’t: ✖ The romance feels hollow, with no real depth in writing. ✖ The conflicts are forced and repetitive.
My Opinion: While Emakku Thozhil Romance tries to be a lighthearted rom-com, it lacks both charm and originality. Watch if you enjoy mindless entertainment, but don’t expect much else.
The Secret of the Shiledars: A Historical Treasure Hunt With a Modern Twist
Dr. Ravi Bhatt (Rajeev Khandelwal) discovers he is part of the legendary Shiledars, a secret group protecting Chhatrapati Shivaji’s lost treasure. Along with Aditya (Gaurav Amlani) and Priya (Sai Tamhankar), he embarks on a dangerous mission to uncover the truth, battling hidden enemies and solving age-old mysteries
❤️ What Works: ✔ Rich historical backdrop adds depth to the mystery. ✔ Rajeev Khandelwal delivers a solid performance. ✔ Crisp runtime (35 min episodes) keeps it engaging.
❌ What Doesn’t: ✖ The supporting cast lacks strong character development. ✖ A few predictable plot points take away the thrill.
My Opinion: While The Secret of the Shiledars is an entertaining mix of history and adventure, it doesn’t reinvent the treasure hunt genre. Watch if you love mystery thrillers with a historical touch, but don’t expect a mind-blowing revelation.
Dhoom Dhaam (Telugu): A Predictable Comedy That Struggles to Stand Out
Platform:Amazon Prime Video Director: Sai Kishore Macha Cast: Chetan Krishna, Hebah Patel, Sai Kumar, Vennela Kishore, Prithviraj, Goparaju Ramana
Dhoom Dhaam Trailer
Plot & Review: Dhoom Dhaam (2024)
Karthik (Chetan Krishna) falls in love with Suhan (Hebah Patel) and plans to marry her with their parents’ blessings. However, things take a turn when he realizes her father, Mahendra Bhupati (Vinay Varma), has a mysterious past connection with his family. What follows is a mix of comedy, misunderstandings, and family drama.
❤️ What Works: ✔ Vennela Kishore’s humor saves the second half. ✔ Decent music and vibrant visuals.
❌ What Doesn’t: ✖ Predictable storyline with no surprises. ✖ The first half lacks energy and feels stretched. ✖ Chetan Krishna’s performance is serviceable but lacks depth.
My Opinion:While Dhoom Dhaam has a few entertaining moments, it mostly feels like an old story with a new cast. Watch if you’re in the mood for a time-pass entertainer, but don’t expect anything fresh.
I did my first pitch at the age of 22 during my final college year in 2014. In 6 months, we found an investor. Three years after that, we shut down our project. And now, a decade later, I found myself doing it all over again. Pitching is a strange game—equal parts confidence, clarity, and survival. Over the years, I’ve seen and made every mistake possible. Let’s break down WHY MOST PITCHES fail.
1. Overusing Buzzwords
“We’re revolutionising the industry!”
“It’s the OpenAI of X!”
“We empower stakeholders to drive synergies and unlock value!”
Stop. Just stop. Overloading a pitch with buzzwords makes it sound hollow. Investors have heard every version of “next-gen, innovative, game-changing” before. The more you rely on vague, overused terms, the less you seem to understand your own business.
Why it won’t work: People trust specificity. When pitches are filled with generic hype, the brain categorises them as marketing fluff rather than substance. It’s why saying, “We help small retailers increase repeat purchases by 40% through AI-powered inventory forecasting,” is 100x better than “We disrupt retail with AI.”
2. Focusing More on Idea Than Execution
The idea itself isn’t the hard part—execution is. Every investor knows that ideas are cheap. If your pitch spends more time on “why this is a great idea” instead of “how we’re actually making it happen,” you’ve already lost them.
Why it won’t work: A great pitch isn’t about why the problem exists; it’s about why you are the best person to solve it. The execution plan, traction, and market insights separate a winning pitch from wishful thinking.
3. Vagueness
If a founder can’t answer basic questions—“Who is your target audience? How will you acquire customers? How will you make money?”—it’s over. Investors don’t fund question marks.
The Science of Persuasion: People buy (or invest) in what they understand. If you can’t explain your business in one clear sentence, you don’t understand it well enough.
4. Over-Promising or Forcing AI into Everything
“We’re going to change the world!”
“Our AI-powered toothbrush will disrupt the dental industry!”
Not everything needs AI. If your business can’t survive without adding trendy tech for the sake of it, then it’s not a real business—it’s a gimmick.
Why it won’t work: People are skeptical of exaggerated claims. The more you promise, the higher the mental resistance. Investors and customers both respond better to grounded, achievable milestones.
5. Dodging Tough Questions
Nothing screams “I haven’t thought this through” like avoiding a tough question. Investors will challenge your numbers, your strategy, and your risks. If you dodge, deflect, or get defensive, they know you’re not prepared.
Psychology of Confidence: The best founders don’t bluff. They acknowledge weaknesses but show they have a plan. Transparency builds trust; avoidance kills it.
6. No Social Proof or Testimonials
“Do you have examples of past work?”
“Sorry, it’s all confidential.”
🚩🚩🚩
If you can’t show results—case studies, testimonials, pilot runs—why should anyone believe you? Whether it’s an investor or a potential client, people need proof that what you say isn’t just theory.
Consumer Trust Principle: Humans rely on social proof to make decisions. That’s why reviews and case studies convert. If you can’t provide proof, people assume the worst.
7. Acting Like a “Founder Persona” Instead of a Real Person
Rehearsed, robotic, over-the-top confidence? Investors see through it.
The best pitches are conversations. If you believe in what you’re building and have real traction, you don’t need to “perform.” Just be real, know your numbers, and explain your business like you’re talking to a smart friend.
How to Fix Your Pitch
Cut the buzzwords—be specific.
Talk about execution, not just the idea.
Answer questions with clarity, not fluff.
Don’t force AI or trends where they don’t belong.
Show proof. Numbers, testimonials, traction.
Be a person. Have a conversation.
The best founders don’t sell a dream; they sell a plan. And the best investors don’t fund hype; they fund execution.So next time you pitch, ask yourself: Is this real, or is this just noise.
