Chiraiya is a socially important series that highlights issues such as marital abuse, consent, and patriarchal norms. The story effectively highlights injustice and moral dilemmas, though the intensity of their vigilante actions due to legal gaps could have been explored more.
The real problem, though, was the script by director Anil Kumar. It is regressive storytelling at best, reinforcing the narrative that the best way to deal with heartbreak is to spew hatred towards women and the notion of love itself.
Hello Bachhon is not just a mere series; it is indeed an inspiring and heartwarming story that celebrates the power of perseverance, compassion, and the true purpose of education.
When a puppy becomes a source of hope for a young autistic child and, at the same time, a symbol of greed for corrupt politicians, Lucky The Superstar hints at subtle philosophical layers. Unfortunately, these ideas remain largely underdeveloped, making the film one that neither strongly impresses nor actively disappoints.
There is a definitive end to the story, but one that didn’t really evoke an emotion. Irrespective of whether the reaction is good, bad or ugly, any film should make a viewer feel something; Neeli Hakki didn’t quite do that, despite an impressive and understated performance by young Aman S Karkera.
Arpita Sarkar of OTT Play rated it 1/5 stars and writes that "There were high expectations from Tejasswi Prakash’s OTT debut, but she fails to impress, turning this romantic-thriller into a disappointing saga."
In addition, Das was on the International Jury of the Generation 14plus in 2020, so this is her fourth official outing here. Das’ direction is confident in a world she knows — most of her films are shot with family members and neighbours (mostly non-actors) — in her village, Chhaygaon in Assam. Bhuman Bhargav Das, who plays the lead, is superb: he is Das’ nephew, while Sukanya Boruah, who plays Pahi, is a professional actor. Das’ screenplay is more interested in moments of emotional resonance, than a narrative plot structure, which is reflected in the cinematography and editing. Das has mostly been a one-woman army, being writer, director, producer, cinematographer, production designer, editor and a casting director on most of her previous films. This time, she has Aditya Varma do the cinematography — and he does a fine job, with a gentle pace, and mostly a fixed camera.
The movie moves swiftly to reveal each character without going into too much depth thanks to a simple yet predictable plot that is based on real events.
Youth is fun when it wants to be. With the whole narrative taking place during the school days, precisely high school, Youth taps into the benefit of being innocently unaware. The film shows some good writing instincts when Unnikrishnan says he values his wife more than his son at a critical point. As much as this simple dialogue carries great depths, the film’s overarching and concluding ideas are yet to become fully mature, making Youth an incomplete entertainer.
Thadayam sets out to be a crime drama and have its own flavour to it, with its period setting, peculiar killings and detailed protagonist. But somewhere it loses focus and becomes a preachy lesson with its sudden want to take up social responsibilities.
Theertharoopa Thandeyavarige is a lost opportunity to present a heart-warming tale of family and relationships. There's an attempt, but it doesn't quite come together cohesively.