Rediff

...revenge drama that attempts to weave a complex narrative of crime and retribution but often loses its way amidst a multitude of bizarre subplots.

by Deepa Gahlot

The film works when it seeks to portray the tragedy of war too. The tanks, grenades, guns and bayonets are out in full force, but the little scenes work, like a man using up rationed cooking oil, to keep a lamp lit outside a temple because it was a promise. This is overdone later, however, when his blood drips into the lamp as he dies.

by Sreeju Sudhakaran

Fun premise and a handful of clever scams, but its biggest con is failing to convince you it's smarter than it really is

You can sense trouble when a film marketed as a comedy relies heavily on its background score to cue laughter. Instead of trusting its humour, Ginny Wedss Sunny 2 inserts exaggerated sound effects after almost every punchline, as if desperately reminding the audience that a joke has just been delivered. The bigger issue is that the humour itself rarely works. Much of it consists of characters talking over each other, indulging in weak puns or jokes (like comparing a man's privates to TV remotes), or resorting to physical antics like kicking and biting. The actors try their best, but the writing and editing leave them stranded, unable to generate genuine laughs.

by Sukanya Verma

Haiwaan's staggeringly foolish notions make for unintended comedy.

Look, I am not a huge fan of the horror genre, but I know that what makes a good horror film work is how real the scares feel to the audience. And firstly, for that, the setting needs to feel believable, even if the paranormal doesn't. Vikram Bhatt's earlier horror films like Raaz (2002) and 1920 (2008) were shot in convincing locations, which made the horror feel tangible. Here, almost the entire film has been shot inside a cheap VFX studio, where the foreground, the background and even the underground look completely artificial. Combined with the abuse of AI-generated imagery, the movie becomes a disconcerting visual experience made even terrible with the 3D glasses on.

by Sreeju Sudhakaran

Last Man In Tower works because it understands that its most frightening villains are not monsters, but ordinary people blinded by greed and the promise of a better life.

by Mayur Sanap

Thankfully, the climax is terrific and gives the drama the payoff it needs.

by Sreeju Sudhakaran

The dark humour used never trivialises the seriousness of Vineeth's struggle. Instead, it makes the setbacks easier to absorb while keeping the storytelling lively and engaging. Nayak and fellow editor Nidhin Raj Arol ensure that even the quieter stretches are presented with enough visual flair and momentum to hold your attention, with Jakes Bejoy's score doing the rest of the uplifting. Still, it is the writing that emerges as Mollywood Times' greatest strength. Ramu Sunil's screenplay excels at throwing one unexpected obstacle after another in Vineeth's path, beginning with the rude reality check he receives at a short-film festival. The movie never attempts to soften his flaws either. Vineeth is conceited, self-preserving and often blinded by a confidence he fails to realise can be off-putting to those around him.

by Deepa Gahlot

Deepa Gahlot of Rediff.com rated it 1.5/5 stars and writes that "Every lead character is nuts in Psycho Saiyaan."

by Utkarsh Mishra

In conclusion, the film fails in achieving the big objective that it had set for itself. While it ends with a visible victory of the narrative favouring the RSS, it is not so convincing a victory for the viewer.

by Mayur Sanap

Sakhi Gokhale is the real surprise in Adkitta, who gives her most mature performance yet, cheers Mayur Sanap.

by Sreeju Sudhakaran

Which is already a problem in a film whose writing promises an ambitious political commentary by attempting to tie the Sri Lankan genocide with the goonda activities of Thiruvananthapuram, only to reduce everything to a revenge drama that you have seen umpteen times before.

by Sreeju Sudhakaran

I found Pari Elavazhagan's performance also to be a mixed bag. He is impressive in several portions, especially the lighter scenes, and his outburst in the climax works well. But in some of the more dramatic stretches, he comes up short.

by Sreeju Sudhakaran

Emraan Hashmi delivers a sincere and committed performance, but it cannot overcome the script's ordinariness.

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