Category / Movie Review

by whatsonsidsmind

Family, History and Heartache: Why A Real Pain Stays with You

Written by: Siddhartha Krishnan | 3 Min Read

The problem with reviewing a film like A Real Pain is that it’s easy to get swept up in over-intellectualizing every aspect of it. In doing so, there’s a risk of missing the quiet simplicity the film also exudes. That said, it’s hard to put into words exactly what this film does to you as an audience.

The story begins at the airport, where David and Benji are about to board a flight to Poland. The brothers have planned a Jewish heritage tour, funded by money left to them by their late grandmother. Through this journey, they hope to reconnect with their Jewish roots and confront the horrors of the Holocaust that their grandmother survived. Their itinerary includes a visit to the home she once lived in and was forced to flee from during the war.

But beyond tracing their grandmother’s past, the brothers—once close—also hope to rebuild their own fractured relationship. Given their vastly different personalities, that seems like a near-impossible task.

From the outset, it’s evident that A Real Pain isn’t driven by plot. Written and directed by Jesse Eisenberg, (who also plays the role of David), the film has no dramatic twists or grand narrative arcs. Even as it takes the shape of a travelogue, the film resists the temptation of a sweeping, cinematic canvas. When the characters arrive at historically significant locations, the focus remains firmly on their personal reactions rather than the historical context—those details are mere passing references.

And yet, the screenplay remains compelling. It navigates a delicate spectrum of confusion, empathy, and detachment that the characters experience in the shadow of these haunted places. There is a lot of humor, but beneath all those funny lines and chaotic moments, there is something profound and deep. It’s the bedrock of the film and you get a sense of it from the very beginning.

In one of the film’s best scenes, while travelling first class, Benji is unable to reconcile the luxury they’re enjoying with the brutal history of those very tracks, once used to transport their ancestors to concentration camps. He suggests they move to economy class out of respect, but the others dismiss the idea, unwilling to share his discomfort. Frustrated, Benji exits the compartment in quiet protest.

This film, in terms of its acting performances, does not give a staged feel. It was fluid in a way that makes you question whether it’s a story that is unfolding or something that demands your immediate attention, for the realism of it all. It’s fiction at its best, when lies say very true things. For me, that was Kieran Culkin’s performance in this movie. He brought so much of himself into the film that I didn’t know how much was him and how much was the part he was playing.

On The Graham Norton Show, where both actors appeared together, Kieran revealed that Jesse cast him without having seen any of his work. Having known him somewhat, Jesse said he cast him based on his “essence.” This may sound bizarre—especially for a part he had originally written for himself, drawn from his own family history and a Jewish heritage trip he had taken years earlier.

However, after watching some of Kieran’s promotional interviews, his real-life persona feels remarkably similar to that of Benji. That said, he also admitted in those interviews that he wasn’t initially convinced about taking the role. But thankfully, for movie lovers, things fell into place. It couldn’t have been any other way—so far as the casting of Benji and David goes, both were perfect for their roles.

Kieran now has an Oscar for Best Supporting Actor to show for his efforts. The character of Benji is, without a doubt, the true standout of the film—dynamic, wild, and impossible to ignore. Eisenberg writes him with such finesse; he’s someone you both hate and love at the same time. Someone you don’t want to be, yet are easily enchanted by.

The way David navigates Benji’s chaotic presence is what makes A Real Pain such a deeply fulfilling watch. The backdrop of a troubled family Holocaust history gives the film its much-needed layers. But at its core, it remains very much a family drama—intimate, relatable, one that will stay with you.

IMDb rating – 7.1/10

My Rating – 4/5

A Real Pain is streaming on JioHotstar in India.

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About the author –

Siddhartha Krishnan is the author of ‘Two and a Half Rainbows – A Collection of Short Stories’. An enthusiastic blogger he shares his articles, essays, travelogues, book and movie reviews on his blog (www.whatsonsidsmind.com).

All rights of this review reserved by whatsonsidsmind.com

by whatsonsidsmind

Adolescence | Review | A Haunting Dive into the “Why” of a Crime | Netflix

Written by Siddhartha Krishnan | 4 Min Read

Adolescence is a hard-hitting British drama series that defies categorization, shifting genres across its four episodes. It begins as a police procedural, evolves into a social drama, delves into the realm of an investigative/psychological thriller, and culminates in a family drama. But it’s true novelty lies not in this fluidity, but in its multifaceted exploration of a difficult subject—examining it from every angle with unflinching depth. Equally striking is its execution, with masterful cinematography and meticulously crafted scenes that leave a lasting impact.

The miniseries wastes no time, opening with the arrest of 13-year-old Jamie Miller, accused of murdering his schoolmate—a girl his own age. The police claim to have enough evidence to charge him, thrusting his parents into a nightmare they never saw coming. They believe in their son’s innocence; in the values they instilled in him. This is where the contract is signed with the audience, by writers Jack Thorne and Stephen Graham, and what follows makes for some gripping cinema. Graham also co-creates the series, and stars as Jamie’s father. His performance is one of the highlights of Adolescence.

One of the series’ most striking feature is its use of single continuous shots—each episode, nearly an hour long, unfolds without a single cut. The sheer planning and precision required to pull off such a feat is staggering, but the payoff is undeniable. This technique immerses the audience completely, whether inside the Millers’ home, a police station, a school, or even a moving car. The cinematography heightens the urgency, drawing viewers deeper into the unfolding tension.

However, at times, the dialogue feels repetitive. This may be an intentional choice—adding to the realism and avoiding a staged feel—but in places, particularly in the second episode, it slows the momentum. A tighter edit could have sharpened the impact without losing the authenticity.

The third episode is the standout, centering on the tense interrogation of 13-year-old, Jamie (Owen Cooper) by psychologist Briony (Erin Doherty). It plays like a film in itself—raw, emotionally charged, and deeply engaging. Both actors deliver spontaneous, natural performances that heighten the episode’s intensity, making every exchange feel immediate and real.

It’s in this episode that Adolescence truly soars, unraveling its deeper intentions. When asked to classify the series, Erin Doherty cited writer Jack Thorne, saying, “It’s not a whodunnit but a whydunnit.” The show isn’t just about solving a crime—it’s about understanding the motivations behind it. The creators dig deep into the psychology of their characters, examining parenting, masculinity, sexuality, peer pressure, and the relentless need for validation among teenagers in the age of social media.

Adolescence deserves to be in the Emmy conversation next year across multiple categories. Watching it, I was reminded of Baby Reindeer, another British drama that swept the 2024 Emmys. Both series tackle difficult subjects with unflinching depth, refusing to look away. And like Baby Reindeer, Adolescence is not an easy watch.

Here, the prime accused—if we were to call this a crime drama—is a teenager. The devastation his family endures is harrowing, making parts of the series deeply unsettling. Yet, it ends on a note of hope, particularly in its exploration of parenting. It confronts generational trauma—how it seeps through unnoticed, despite our best efforts, shaping us in ways beyond our control.

With its powerhouse performances, gripping screenplay, and fearless honesty, Adolescence is essential viewing—especially for parents and teenagers.

Verdict:

IMDb rating – 8.4/10

My Rating – 4/5

Adolescence is now streaming on Netflix.

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About the author:

Siddhartha Krishnan is the author of ‘Two and a Half Rainbows – A Collection of Short Stories’. An enthusiastic blogger he shares his articles, essays, travelogues, book and movie reviews on his blog (www.whatsonsidsmind.com).

by whatsonsidsmind

Unraveling the Father-Son Knot | The Mehta Boys – Review

Written by: Siddhartha Krishnan | 3 Min Read

Boman Irani’s directorial debut, The Mehta Boys, which he has co-written with Alexander Dinelaris, the Oscar winning screenwriter of Birdman, doesn’t feel like the work of a first-time filmmaker. A celebrated actor with a career spanning 25 years, Irani steps behind the camera to tell a story of a father and son navigating a complicated relationship. But aren’t all father-son relationships tricky? What sets this film apart in a genre well-explored in Hindi cinema? This is where the film’s sharp screenplay shines, offering a fresh perspective. The Mehta Boys is often funny but turns serious when it needs to, refusing to dilute its social commentary with humor.

When Boman Irani debuted as a Hindi film actor at the turn of the millennium, he didn’t look like a newcomer. Perhaps it was because he was already 40, bringing with him a wealth of life experience that shaped his performances. It’s something today’s young actors could learn from. This approach gave us unforgettable characters like Dr. Asthana (Munna Bhai M.B.B.S.), Kishan Khurana (Khosla Ka Ghosla), and Viru Sahastrabuddhe (3 Idiots), among many others. Now, at 65, he remains at the top of his game—both as an actor and, with The Mehta Boys, as a director.

The film opens with evocative shots of Amay’s home, played by an excellent Avinash Tiwary. His house, much like him, is flawed yet functional, holding itself together despite its problems. The first thing that stands out is the meticulous production design. Each room has a distinct personality, telling its own silent story. Much of the film unfolds within these walls, making the space almost a character in itself.

Another standout aspect of The Mehta Boys is its cinematography, which instantly reminded me of Birdman—not just in the way the camera moves, but in how light and color are used to heighten emotions. The camerawork is dynamic, adapting seamlessly to the film’s tonal shifts. In the chaotic, comedic moments, it moves swiftly, almost playfully. But when the film demands weight, the camera slows, locking into tight close-ups to amplify emotion before gradually pulling back to reveal multiple perspectives. There’s an old-school simplicity to the way scenes are framed, yet it blends effortlessly with modern techniques, ensuring that not a single moment feels dull.

But the true strength of The Mehta Boys lies in its performances. Boman Irani as Shiv Mehta, Avinash Tiwary as his son Amay, Puja Sarup as daughter Anu, and Shreya Chaudhry as Amay’s love interest, Zara—all are impeccably cast, delivering pitch-perfect performances. With the film relying heavily on tight and extreme close-ups, every expression had to land, and the actors rise to the challenge.

At its core, the film is an intense exploration of the father-son dynamic, where every scene carries weight. This makes the chemistry between Boman and Avinash crucial—and it crackles with energy. Yet, the most striking moment for me is Anu’s meltdown at the airport. As she realizes that neither her father nor her brother will budge, even in the face of crisis, her frustration erupts in a way that is agonizing, hilarious, and utterly human. It’s a scene that perfectly encapsulates the film’s emotional depth and sharp writing reminding me of earlier gems in this genre like Kapoor & Sons.

In an interview with ET Now, Boman Irani shared that The Mehta Boys doesn’t offer solutions to father-son conflicts—because that was never the film’s intent. Instead, it embraces the complexity of these relationships, capturing their highs and lows with honesty. And in doing so, it takes the audience on an emotional roller coaster. I laughed wholeheartedly. I cried just as much. I saw glimpses of my own relationship with my father—the love, the friction, the unspoken words.

But what lingers most is the realization that Boman himself never met his father, having lost him six months before he was born. And yet, he writes the character of Shiv Mehta with such depth, nuance, and style. That, more than anything, tells me this is a man who has truly lived and observed life. This is a stellar directorial debut by a brilliant actor.

Verdict:

IMDb rating – 7.3/10

My Rating – 4/5

The Mehta Boys is streaming on Amazon Prime Video.

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About the author:

Siddhartha Krishnan is the author of ‘Two and a Half Rainbows – A Collection of Short Stories’. An enthusiastic blogger he shares his articles, essays, travelogues, book and movie reviews on his blog (www.whatsonsidsmind.com).

by whatsonsidsmind

Paatal Lok 2: A Slow Burn That Finds Its Fire

Written by: Siddhartha Krishnan | 4 Min Read

The second season of Paatal Lok lacks the gritty, immersive atmosphere that made its predecessor so compelling. It misses the haunting presence of characters like Hathoda Tyagi and takes time to draw you in. Unlike the first season, which gripped you from the start, this one unfolds more slowly. But once it finds its footing, it drags you deep into its netherworld and holds you there until the very end.

In this season, when Hathi Ram and Ansari first arrive in Nagaland, it feels as if they’ve carried a piece of Delhi into unfamiliar terrain. They adapt too easily, moving through this alien landscape—its politics, language, and culture—with an almost unnatural confidence. It feels off.

Adding to the dissonance is the sheer number of characters who come and go without leaving much impact, making the narrative feel cluttered and confusing. But what struck me most was how sanitized everything felt. For a neo-noir crime thriller in the vein of Delhi Crime, the raw, shadowy, and saturated visuals that defined the first season are noticeably absent. Perhaps this was a deliberate choice by the makers, but for me, it dulled the show’s edge.

That said, Paatal Lok 2 has its strengths. Setting the story in Nagaland is a bold choice, and even braver is the decision to cast several actors from the North-East—some non-actors—and let them speak in Nagamese. This adds a layer of authenticity rarely seen in mainstream narratives.

The writing also captures the region’s simmering socio-political tensions, the aspirations of its people, and the web of deceit they’ve been ensnared in for generations. In staying true to these themes, the show preserves the essence of its first season, maintaining a sense of continuity

The narrative takes a crucial turn at the end of episode four. From there, the story gathers momentum, unraveling with precision and leading to a satisfying finale that leaves the audience with a sense of closure.

The writing in the final four episodes is particularly strong—balanced, clever, and well-paced. With multiple loose ends to resolve, the screenplay ensures that every thread is tied up seamlessly, without anything feeling forced or unnecessary.

The show’s greatest strength remains its protagonist. This time, Hathi Ram Chaudhary is largely on his own, commanding maximum screen time, with a stellar Tillotama Shome in top form. But make no mistake—this is his show. The camera adores him, and Jaideep Ahlawat delivers a masterclass in acting, embodying Hathi Ram with absolute conviction.

Every detail—the weary eyes, the slight paunch, the limp, the accent—paints a portrait of a man burdened by ambition yet unwilling to compromise his integrity. He is street-smart but principled, flawed yet self-aware. One of the finest characters to emerge from the Indian OTT space, Hathi Ram feels even more layered this time around, and Jaideep surpasses his own benchmark from the first season with remarkable nuance and skill.

Verdict:

Paatal Lok 2 is a worthy successor to its predecessor. It takes time to find its footing, but once it does, it delivers a layered, immersive crime thriller that rewards patient viewers. At its heart is Jaideep Ahlawat, in peak form as Hathi Ram Chaudhary, delivering one of the finest performances in recent times.

IMDb Rating: 8.1/10
My Rating: 3.5/5

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About the author –

Siddhartha Krishnan is the author of ‘Two and a Half Rainbows – A Collection of Short Stories’. An enthusiastic blogger he shares his articles, essays, travelogues, book and movie reviews on his blog (www.whatsonsidsmind.com).

by whatsonsidsmind

Black Warrant – A Prison Drama that Locks You In

Written by: Siddhartha Krishnan | 3 Min Read

When we think of prison dramas, classics like The Shawshank Redemption, The Green Mile, and Escape from Alcatraz come to mind. Unfortunately, Indian films have rarely explored this genre in depth. While a few films have touched upon it, none have left a lasting impact. This is the reason why Black Warrant, a TV series conceived by Vikramaditya Motwane and Satyanshu Singh, and helmed by six directors, instantly piqued my interest. The fact that it is based on real-life incidents from India’s most notorious prison makes it even more compelling.

Based on the book by Sunetra Choudhury and Sunil Gupta, Black Warrant follows Gupta’s journey as a rookie jailer at Tihar Jail. Set in the 1980s, it unravels real-life events from his perspective, offering a rare, unfiltered glimpse into Tihar jail.

The series’ greatest strength lies in its razor-sharp screenplay by Satyanshu Singh and Arkesh Ajay. From the very first scene, it grips you—tense, fast-paced, and laced with unexpected humor. In an interview with film critic Baradwaj Rangan, journalist and author, Sunetra Choudhury talks about how the screenplay focused on aspects of the book that would make for compelling cinema.

The writing is intelligent, layered, and relentlessly engaging. Many scenes feel fresh and unlike anything seen before in Indian TV shows. Some kept me on the edge of my seat, others left me deep in thought, and a few even made me laugh out loud—a rare combination that makes Black Warrant truly exceptional from a writing standpoint.

Another standout aspect of the show is its impeccable casting and performances. Every actor fits their role like a glove, bringing authenticity through nuanced expressions, effortless improvisations, pitch-perfect dialogue delivery, and spot-on accents.

Among them, Rahul Bhat as DSP Rajesh Tomar and Zahan Kapoor as Sunil Gupta deliver compelling performances. Sidhant Gupta as Charles Sobhraj steals the show whenever he’s on screen, armed with some of the series’ best lines. He portrays the serial killer as a celebrity, delivering the show’s most philosophical one-liners.

The production design is also exceptional, meticulously recreating the era while keeping the storytelling sharp and modern. The editing is crisp, leaving no loose ends, making Black Warrant an engrossing, fast-paced thriller—despite being set within the confines of a prison.

Verdict:

Black Warrant is a must-watch for fans of the genre. It transports you to a bygone era, peeling back the layers of India’s most infamous prison with gripping storytelling and immersive detail. Riveting, raw, and unexpectedly entertaining—this is prison drama at its finest.

IMDb Rating: 8.1/10
My Rating: ★★★★☆

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About the author:

Siddhartha Krishnan is the author of ‘Two and a Half Rainbows – A Collection of Short Stories’. An enthusiastic blogger he shares his articles, essays, travelogues, book and movie reviews on his blog (www.whatsonsidsmind.com).

by whatsonsidsmind

13 Groundbreaking Horror Films of the Last Decade That Will Haunt Your Mind

Written by: Siddhartha Krishnan | 11-Min Read

Horror is my favorite genre because it’s fluid and adaptable, like water—filling any shape, taking on any tone. Its strength comes from something primal: fear, a pulse that flows through every living being, often in ways we barely recognize. It waits quietly beneath the surface, until some trigger—pain, grief, or madness—brings it flooding out. As Guillermo del Toro says, “Monsters are real, and ghosts are real too. They live inside us, and sometimes they win.” Horror endures because fear is universal, a constant that binds us all.

Yet horror is also a genre worn thin; tropes are overused, sub-genres fully explored and jump scares have begun to bore. But every so often, a filmmaker breaks through, pushing the boundaries and bringing fresh depth to the screen. This list celebrates 13 such films from around the world, all available on streaming (except one). Selected for their craft, impact, and originality, these aren’t big-budget spectacles but films that redefine the genre’s limits. Some had quiet releases but have since found a devoted cult following. Each deserves a place on any horror fan’s must-watch list.

Warning – None of the films in this list are for the faint of heart.

13. Longlegs (2024) : Language – English, Country – USA, Director – Osgood Perkins, Streaming – Amazon Prime Video

Longlegs introduces a chillingly real villain, Dale Ferdinand Kobble—a character so disturbing he could be the twisted sibling of Hannibal Lecter and Pennywise. Played by an unrecognizable Nicolas Cage, Kobble is the only non-supernatural villain on this list, making him even more terrifying.

The story follows FBI Agent Lee Harker, who is assigned to a long-cold serial killer case. As Harker delves deeper, new evidence emerges, hinting at occult involvement. Soon, Harker discovers a haunting personal connection to Kobble and must stop him before he strikes again.

IMDb rating – 6.7/10

My Rating – 7/10

12. Vivarium (2019) : Language – English, Country – USA, Director – Lorcan Finnegan, Streaming – Amazon Prime Video

Gemma (Imogen Poots), a high school teacher, and her boyfriend Tom (Jesse Eisenberg), a landscaper, visit a bizarre suburban development called Yonder. They’re shown house number 9 by an unsettling real estate agent, Martin, who vanishes after learning they don’t have children. As they attempt to leave, they find themselves trapped in a nightmarish maze—no matter the route, they end up back at house 9. With no choice but to stay, they’re supplied with tasteless packaged food by an unknown source. Desperate, Tom sets the house ablaze and spends the night outside with Gemma, only for them to receive a chilling package the next morning: an infant and a note reading, “Raise the child and be released.” What ensues is an absurd, terrifying descent into the surreal, where reality bends in disturbing, darkly humorous ways.

IMDb rating – 5.9/10

My rating – 7/10

11. Babadook (2014) : Language – English, Country – Australia, Director – Jennifer Kent, Streaming – Amazon Prime Video

Amelia, an exhausted single mother, struggles to cope with the trauma of her husband’s tragic death, which occurred as he drove her to the hospital while she was in labor. Now, she faces the daily challenge of raising her troubled six-year-old son, Sam, who exhibits erratic behavior and is fixated on an imaginary monster he believes is haunting them. One night, Sam asks her to read a disturbing pop-up book called Mister Babadook, which seems to appear out of nowhere and eerily describes a menacing creature. As the story convinces Sam that his monster is real, a series of terrifying events blurs the line between reality and nightmare, binding Amelia’s past, her grief, and her fears into a haunting tale of psychological horror.

IMDb rating – 6.8/10

My Rating – 7.5/10

10. The Platform (2019) : Language – Spanish, Country – Spain, Director – Galder Gaztelu-Urrutia, Streaming – Netflix

The Platform is a Spanish dystopian thriller that explores human nature through a brutal, thought-provoking lens. Set in a massive tower with hundreds of floors, inmates are fed by a descending platform that starts fully stocked at the top but dwindles to scraps—or nothing—by the lower levels. Each floor must survive on the leftovers of those above, and anyone who defies the system faces horrific punishment. Adding to the chaos, residents are randomly reassigned floors each month, thrusting them from privilege to desperation. What unfolds is a harrowing tale of survival that, while not strictly horror, taps into our deepest fears and lays bare the darkness of human behavior in a world of scarcity.

IMDb rating – 7/10

My Rating – 7.5/10

9. The Killing of a Sacred Deer (2017) : Language – English, Country – USA, Director – Yorgos Lanthimos, Streaming – Amazon Prime Video

The Killing of a Sacred Deer, directed by the audacious Yorgos Lanthimos, follows Steven, a cardiovascular surgeon, who crosses paths with a peculiar 16-year-old boy named Martin after performing an open heart surgery. Steven invites Martin for dinner, where he meets Steven’s wife and two children and quickly becomes unsettlingly close with the family. As Martin’s presence in their lives intensifies, he begins to invade Steven’s world in increasingly disturbing and inexplicable ways. A series of bizarre, even supernatural events unfold, forcing Steven to confront Martin’s dark, enigmatic motives. Lanthimos crafts a chilling, surreal narrative that leaves audiences with haunting questions—and no intention of offering any answers.

IMDb rating – 7/10

My rating – 7.5/10

8. Talk to Me (2022) : Language – English, Country – Australia, Director – Danny and Michael Philippou, Streaming – Amazon Prime Video

Talk to Me, an Australian horror film, breathes new life into the well-worn theme of spirit channeling which includes—Ouija board, table seance etc. The story follows Mia, a teenager grappling with her mother’s death, who attends a high-stakes party seeking escape. There, the kids toy with a sinister new method of contacting the dead—a disembodied hand that allows them to become mediums. What begins as a thrill quickly spirals into horror as they lose control, crossing into dangerous, unseen realms. With clever twists, stylish camerawork, a trippy background score and razor-sharp editing, Talk to Me delivers a gripping, nightmarish ride that reinvents the genre.

IMDb rating – 7.1/10

My rating – 8/10

7. Lamb (2021) : Language – Icelandic, Country – Iceland, Sweden & Poland, Director – Valdimar Jóhannsson, Streaming – MUBI

On the absurdity scale, few films rival the Icelandic film, Lamb. The story follows farmers Ingvar and Maria, a grieving couple, who live a solitary life, unable to move beyond the loss of their only child. Their days are filled with the hard, numbing work of tending to their farm—until a shocking event disrupts their routine. A sheep gives birth to a creature that is part lamb, part human. The couple decides to raise this hybrid as their own child, creating a life that’s as tender as it is unsettling. What unfolds is an eerie, darkly humorous tale that’s hauntingly original.

IMDb rating – 6.3/10

My rating – 8/10

6. Midsommar (2019) : Language – English, Country – USA & Sweden, Director – Ari Aster, Streaming – Apple TV for rent

In Midsommar, director Ari Aster weaves a disturbing tale of grief, psychological torment, and cultural horror. After a tragic family loss, Dani (Florence Pugh) accompanies her distant boyfriend, Christian, and his friends to a secluded Swedish commune’s midsummer festival. What begins as a peaceful celebration soon descends into a nightmarish ordeal. The group is subjected to brutal rituals, psychological manipulation, and strange communal customs, including sacrificial ceremonies and hallucinogenic trips. As Dani is drawn deeper into the cult’s world, she finds herself torn between horror and acceptance. The final scene’s shocking twist reveals Dani’s unsettling transformation, challenging viewers with its potent blend of folk horror and emotional vulnerability.

IMDb rating – 7.1/10

My rating – 8/10

5. Goodnight Mommy (2014) : Language – Austrian, Country – Austria, Director – Veronika Franz, Severin Fiala, Streaming – Amazon Prime Video

In the Austrian psychological thriller Goodnight Mommy, twin ten-year-old boys are unsettled when their mother returns to their idyllic lakeside home after facial surgery, her face swathed in bandages with only her eyes and mouth exposed. Her behavior is cold and unrecognizable—she imposes silence, demands the blinds stay drawn, and insists they only play outside. Convinced this is not their mother but an imposter, the boys take matters into their own hands, tying her to the bed and subjecting her to disturbing acts to make her confess. Far from a simple “torture fest,” the film explores identity and trust in a nuanced, yet chilling descent into horror, made even more haunting by the fact that the perpetrators are children.

The film was remade in English with the same name and released in 2022, starring Naomi Watts.

IMDb rating – 6.7/10

My rating – 8/10

4. Bramayugam (2024) : Language – Malayalam, Country – India, Director – Rahul Sadasivan, Streaming – Sony LIV

Bramayugam draws deeply from the folklore, myths, and legends of Kerala, telling the haunting story of Thevan, a low-caste court singer who narrowly escapes slavery only to find himself in a mysterious, ominous mana (mansion). Its owner, Kodumon Potti, is a menacing figure whose words and intentions are shrouded in deceit. As the story unfolds, it slips into the supernatural, revealing Kodumon Potti’s dark identity and malevolent plans. Set entirely in black and white, director Rahul Sadasivan’s choice evokes nostalgia, recalling tales passed down through generations, while intensifying the story’s eerie, oppressive atmosphere. Bramayugam is both a chilling supernatural thriller and a profound commentary on power, greed, and social oppression, set against the backdrop of a surreal world.

IMDb rating – 7.8/10

My rating – 8.5/10

3. The Witch (2015) : Language – English, Country – USA & Canada, Director – Robert Eggers, Streaming – Amazon Prime Video on rent

Robert Eggers’ haunting directorial debut and a breakout role for a young Anya Taylor-Joy, is a chilling New England folktale set in the 1630s. After a Puritan family is banished over a religious dispute, they build a farm on the edge of a dense, foreboding forest. Soon, sinister forces seem to close in, as their newborn mysteriously vanishes—taken, it seems, by a witch lurking in the shadows. What unfolds is far from a typical supernatural tale; it’s a slow-burning descent into dread, artfully shot and rich with subtext. The film’s use of animals to amplify terror creates an unsettling atmosphere.

IMDb rating – 7/10

My rating – 8.5/10

2. Tumbbad (2018) : Language – Hindi, Country – India, Director – Rahi Anil Barve, Streaming – Currently not streaming since it was re-released in theatres

Tumbbad is arguably India’s finest horror film in recent years—original, intelligent, and hauntingly crafted. Set in 1920s Tumbbad, it follows three generations of a family suffering the consequences of their greed after building a forbidden temple for Hastar, the first-born of the Goddess of Prosperity. Hastar, a cursed entity, can grant gold but brings ruin to those who seek it. Legend has it that when the Goddess created the world, she bore Hastar first, favoring him, but his insatiable greed led him to seize both wealth and food. In fury, his divine siblings overpowered him, sparing his life only on the condition that he would never be worshiped.

The story centers on Vinayak, a man consumed by poverty and desperate for wealth, who uncovers the dangerous secret of accessing Hastar’s riches. Tumbbad explores the boundless depths of human greed with a chilling allegory, underscored by breathtaking cinematography and masterful production and sound design. It’s a timeless tale of temptation and consequence, both eerie and unforgettable.

IMDb rating – 8.2/10

My Rating – 9/10

1. Hereditary (2018) : Language – English, Country – USA, Director – Ari Aster, Streaming – Amazon Prime Video

Ari Aster’s debut film, Hereditary, is a modern horror masterpiece that exemplifies nuanced storytelling. The story follows Annie, a miniature artist, and her family as they grapple with the death of her secretive mother. Soon, buried family secrets begin to surface, and the family’s grief opens a door to the supernatural, pulling both Annie and her family into dark, otherworldly experiences. As they confront generational trauma and sinister legacies, evil forces entwine their lives with terrifying consequences. Haunting cinematography, impeccable framing, and Toni Collette’s powerful performance elevate Hereditary, making it one of the most unforgettable horror films of the last decade.

IMDb rating – 7.3/10

My Rating – 9.5/10

You’ll notice some big-ticket films like Get Out, Train to Busan, and IT aren’t on this list. These movies have already gained massive attention, so instead, this list spotlights hidden gems that may have flown under the radar of horror fans. In terms of craft and originality, they stand shoulder-to-shoulder with the best. Hoping it’s of some use.

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About the author –

Siddhartha Krishnan is the author of ‘Two and a Half Rainbows – A Collection of Short Stories’. A mad dog lover, tripaholic and a tale-weaver who shares his essays, travelogues, book and movie reviews on his blog (www.whatsonsidsmind.com).

by whatsonsidsmind

Sector 36: A Gripping Descent into the Mind of a Psychopath and the System that Breed Them

Written by: Siddhartha Krishnan | 3-Min Read

Sector 36 delivers one of the most gripping and unsettling police interrogation scenes in recent Hindi cinema. While Kannada film Shakhahaari featured something similar, Sector 36 manages to manifest itself into something more powerful. The film rests squarely on the shoulders of its lead actors, particularly Vikrant Massey, whose portrayal of the villain is nothing short of transformative. Massey inhabits the despicable character, Prem, with chilling precision, delivering a gut-wrenching, blood-curdling performance that serves as an acting masterclass. It’s the kind of performance that industry heavyweights could learn from. The confrontation between the hero and villain in this scene is intense, raw, and unforgettable.

The film isn’t built on intricate plot twists, grand reveals, or mysteries. From the very start, the film sets the audience’s expectations—it’s not about the story, but about the characters. This is a purely character-driven narrative, and that’s where its real power lies. The writing makes it clear that the plot is secondary, guiding viewers to focus on the complexities of the individuals on screen. We’re drawn in not by what happens, but by who it happens to, and how these deeply flawed characters navigate a corrupt system and each other.

Sector 36 is not just an investigative thriller; it’s a deep dive into the mind of a psychopath and an indictment of the system that fosters such monstrosities. The film paints a picture of a corrupt, decaying society, one that becomes a breeding ground for these individuals to thrive. As Vikrant Massey explained in an interview with Baradwaj Rangan, Ramcharan Pandey (played by an excellent Deepak Dobriyal), the flawed hero of the story, mirrors society itself—he remains passive until the problem lands on his doorstep. This, Massey argues, reflects our collective psyche, where we remain indifferent until the crisis becomes personal.

The film also deftly tackles socio-economic disparity, highlighting how these inequalities fuel the crimes we see. The privileged are conditioned to believe that these problems belong to “others”—until they, too, are forced to confront the reality. This nuanced commentary is skillfully woven into the narrative, conveyed through the film’s rich, layered characters. Sector 36 is as much a character study as it is a societal critique, delivered through powerful performances that elevate the film’s underlying message.

Verdict:

IMDb – 7.5/10
My rating – 4/5

You can watch Sector 36 on Netflix.

***

About the author –

Siddhartha Krishnan is the author of ‘Two and a Half Rainbows – A Collection of Short Stories’. An enthusiastic blogger he shares his essays, travelogues, book and movie reviews on his blog (www.whatsonsidsmind.com).

by whatsonsidsmind

The Zone of Interest – Movie Review | A Unique Perspective on the Holocaust Horror

Written by: Siddhartha Krishnan | 4 Min Read

(Trailer – The Zone of Interest)

I had been eagerly awaiting the release of The Zone of Interest on OTT, since it had a limited theatrical release in India. Now, it’s available on Amazon Prime Video. The film won the Best International Feature and Best Sound Design at the 2023 Oscars. It also won the Grand Prix at the Cannes Film Festival. Notably, the Indian film All We Imagine as Light, directed by Payal Kapadia, currently holds the same honor.

Jonathan Glazer’s The Zone of Interest is a German historical drama that delves into the lives of Auschwitz commandant Rudolf Höss and his wife, Hedwig. They reside in an opulent house right next to the Auschwitz concentration camp. Shot in a near-documentary style, the film’s camera serves as a silent observer.

The Höss family goes about their daily routines, basking in the comforts of their luxurious existence. The children swim and fish, while Hedwig spends her days gardening and maintaining their household with the help of several servants. Yet, next door, there is a relentless cacophony of shouting, gunshots, roaring furnaces, and arriving trains. Rudolf’s grim task is to oversee the extermination of thousands of Jews, a horrifying job he executes with chilling precision.

The film is a profound meditation on human depravity. It starkly portrays how easily we can desensitize ourselves, transforming into monstrous beings complicit in one of history’s greatest atrocities. The film forces us to confront the banality of evil and the chilling ease with which ordinary lives can coexist with unimaginable horror.

The Zone of Interest has been rightly hailed as a masterpiece for its minimalistic yet novel approach. It presents scenes that are strikingly unique in cinema. How do you depict violence without showing it? How do you convey depravity with a nonchalant, matter-of-fact demeanor? This film is a masterclass in both.

The aesthetics are strikingly contemporary, despite being a period piece. It feels like a window where the past and present gaze at each other, blurring the lines of time.

Please keep in mind that The Zone of Interest is not your typical Holocaust or World War II film. There isn’t a single scene of bloodshed, yet the film is profoundly grotesque. Its screenplay is unlike anything seen before in this genre. At just 1 hour and 45 minutes, it covers a lot of ground at its own deliberate pace, delivering its message with immense power.

The film is as hard-hitting as the classics on the subject. Steven Spielberg even called it the best Holocaust film since his own Schindler’s List (1993). Need I say more?

Verdict –
IMDb rating: 7.4/10
My rating: 4.5/5

*****

About the author –

Siddhartha Krishnan is the author of ‘Two and a Half Rainbows – A Collection of Short Stories’. An enthusiastic blogger he shares his articles, essays, travelogues, book and movie reviews on his blog (www.whatsonsidsmind.com).

by whatsonsidsmind

Maharaja | Movie Review | A Non-Linear Thriller That Keeps You Guessing

Written by: Siddhartha Krishnan | 5 Min Read

The greatest strength of director Nithilan Swaminathan’s ‘Maharaja’ is its climax, closely followed by its intricate plot. The screenplay masterfully employs timelines to keep the suspense alive until the very end. If told in a linear fashion, the film would have lost much of its impact. By using a non-linear approach, the writer-director offers a masterclass in writing dark, psychological thrillers. However, the film does have its share of flaws that discerning viewers will easily notice.

Plot Overview:

The story unfolds in a complex weave of past and present. Maharaja, played by Vijay Sethupathi, a barber by profession, visits a police station to report a robbery. But what he claims to have lost leaves the police officers astounded.

He says that a gang of thieves raided his house, attacked him, and stole his dustbin which was of much value to him. The police are reluctant to take up the case because the stolen item is a seemingly worthless dustbin. However, they sense there is more to the story than meets the eye.

Its only much later in the film that we discover the value the dustbin had for the protagonist. Maharaja recounts a tragic accident where a truck driver lost control of his vehicle and crashed into the house where his wife and daughter were. His wife perished in the accident, but his daughter survived, saved by a metal dustbin that, as if by divine intervention, fell on her head and shielded her from the direct impact. Since then, Maharaja and his daughter have venerated the dustbin, calling it ‘Lakshmi’.

But things don’t add up for the police. They investigate and the revelations are dark to say the least.

Narrative Style:

The narrative often borders on silliness, employing humor that enhances the intrigue, maintaining an underlying sense of dread until the startling revelations unfold. The brilliance lies in delivering the unexpected and unbelievable. Events that seem like a series of happy coincidences are woven into the screenplay with such skill that they feel anything but.

The non-linear stitching of scenes heightens the impact, especially of the much-talked-about climax. By playing with time, the writer disorients the audience, much like “Parasite” did until the doorbell rang at the halfway point. This clever manipulation of past and present blurs the lines, making the audience lose track of time. The revelations deliver one shocking moment after another, making the film a clear winner in terms of sheer entertainment.

Performances:

In his 50th film, Vijay Sethupathi delivers a performance that showcases his exceptional range. The film plays to his strengths, allowing him to seamlessly embody humor, menace, and introspective silence. The supporting cast, including notable names like Abhirami, Mamta Mohandas, and Bharathiraja, have relatively minor roles. However, Natarajan Subramaniam as the corrupt Inspector Varadharajan, Aruldoss as Sub Inspector Perumalsamy, and Singampuli as the cunning Nallasivam deliver standout performances in their significant parts.

Anurag Kashyap, portraying Maharaja’s formidable foe Selvam, embodies a well-written, layered, and complex character. While his performance is largely nuanced, there are moments where a bit more restraint would have been beneficial. Additionally, his lip sync, especially at the beginning, occasionally made his dialogue seem like gibberish. Despite these minor flaws, the casting team has done an excellent job overall.

Technical Aspects:

The background score by Ajaneesh Loknath is a strong point of the film. It captures all the moods of the film, essential for the emotional roller coaster the story takes the audience on.

Conclusion:

It would have been easy for Maharaja to be just another psychological thriller. But writer-director Nithilan Swaminathan finds a way to be inventive with this revenge story. By playing with time, he keeps the audience on the edge of their seats. Despite its flaws the film’s many subplots tie up beautifully in the end, delivering an ending that lingers in the minds of audiences long after the credits have rolled.

My Verdict:

IMDb rating: 8.7/10

My rating: 4/5

‘Maharaja’ is streaming on Netflix.

*****

About the author –

Siddhartha Krishnan is the author of ‘Two and a Half Rainbows – A Collection of Short Stories’. An enthusiastic blogger he shares his articles, essays, travelogues, book and movie reviews on his blog (www.whatsonsidsmind.com).

by whatsonsidsmind

Kill: A Bloody, Genre-Defining Masterpiece that is Groundbreaking for Hindi Cinema

Written by: Siddhartha Krishnan | 6 Min Read

(Note: this piece contains links to the film’s trailer, its making and pre and post release interviews. Click on the blue fonts to view them. Trigger warning – some descriptions of extreme violence)

“Kill” premiered at the Toronto International Film Festival last September, where it was showcased in the ‘Midnight Madness’ section. It received positive reviews from critics worldwide, leading to Lionsgate acquiring the rights for its release in the US and UK—a rare big studio deal for an Indian production. However, the film’s most significant achievement came just days before its India release: the announcement that Chad Stahelski, director of the John Wick franchise, would produce its English remake. This is a big moment for the Hindi film industry, as “Kill” is the first of its kind for not just Hindi cinema but also Indian cinema as a whole.

Much of the conversation around the film before its release in India was centered around its genre. A thin line differentiates a genre film from a film genre. A genre film is one where the narrative is laser-focused on delivering what the genre promises. Anything else risks becoming like an Indian thali, offering a bit of everything. “Kill” is a genre film that promised a blood-soaked, gore-filled brawler mayhem—the kind of brutal action rarely seen in Hindi cinema. Despite this, producers Karan Johar and Guneet Monga were optimistic about getting a theatrical release in India. The challenge was not just to get past the censor board but to do so with minimal or no cuts. Surprisingly, it passed without cuts! On July 5th, “Kill” released in India.

But did it deliver on its promise to its niche audience?

Films like “Kill” are characterized by their raw and violent action that is realistic in nature, which is hard to execute convincingly. This is where the technical team comes to play: production design, sound design, action choreography, prosthetics, and, of course, writing and direction. For an action film to rise above the rest, every minute detail must be meticulously crafted. Here, “Kill” breaks the conventions of Hindi cinema.

In ten minutes, director Nikhil Nagesh Bhat introduces the characters, the world, and sets up the plot. The storyline is simple, as is often the case with genre films—Amrit and Tulika are in love. Tulika’s father, a powerful businessman, arranges her engagement against her will. Thereafter they board a train to New Delhi. Amrit and his friend Viresh also board the train to stop the marriage. But a gang of forty knife-wielding dacoits jump onto the train to loot the innocent passengers. They don’t hesitate to kill anyone who resists. What the goons don’t know is that Amrit and Viresh are army commandos. What follows is an adrenaline-filled, high-octane, and brutal ride guaranteed to keep you on the edge of your seat. Imagine John Wick, Raid, and Train to Busan; but this is quintessentially an Indian film, which itself lends it novelty.

The production design creates a dark, immersive world that feels both familiar and terrifyingly new. Every Indian knows about our trains, so creating an authentic train set that accommodates action sequences from all angles was crucial. Production designer Mayur Sharma makes us feel the claustrophobia of an all-out brawl in small spaces, leaving us wondering how certain scenes were pulled off.

The sound design of the film is stellar, amplifying every punch, stab, kick, and gunshot, making the audience flinch and cringe at the crack of bones or the tear of flesh. The prosthetics team deserves special mention for their attention to detail. Gore in slaughter films can be shown through CGI or prosthetics, but true fans know that prosthetics done right make the scenes impactful. The way blood oozes from a body, its viscosity, and the amount are crucial to the narrative when a person is stabbed, cut, shot, or hit with a blunt object. Making such films isn’t easy because the gore isn’t just part of the film—it is the film.

But it’s not just the technical prowess that sets “Kill” apart. The writing and direction are sharp, driving the narrative forward with relentless pace. The film doesn’t shy away from brutality, instead embracing it to tell a story that is both harrowing and exhilarating. However, the writing isn’t perfect; the dialogues sometimes come across as weak, and some scenes, especially between Tulika and Amrit, feel unnecessary. There is also an emotional distance with the protagonist, Amrit (Lakshya Lalwani), sometimes accentuated by a less convincing background score. On the other hand, the villain, Fani (Raghav Jugal), is a better written character. Despite the fast pace, the film truly takes off in the second half, which might be a deliberate choice by the director, who also wrote the film. This approach seems intended to let things simmer and prepare the audience for the carnage of the second half.

Clearly, the action choreography is the star of the film, around which all other facets revolve. The action had to be raw, brutal, and most importantly, real. Pre-release interviews made it clear that every detail was meticulously planned, including the gore, a hallmark of great action films. The way action choreographers Se-Yeong Oh and Parvez Shaikh, along with cinematographer Rafey Mehmood, have executed this is essential viewing. Editor Shivkumar V Panicker also deserves a mention. The editing is crisp and thankfully the overused trick of long shots is omitted.

Most of the heavy lifting in the action sequences rested on the protagonist’s shoulders, Lakshya as Amrit, who trained for almost eight months for the role. His performance in the action scenes is exemplary, and his screen presence and baritone voice help him portray the character effectively.

The casting as a whole is spot on. Raghav as Fani brings the menace and unpredictability needed for the character. The second half, which focuses on the hunters becoming the hunted, required the goons to show vulnerability through confusion. This part of the film is particularly interesting from a writing standpoint. Additionally, the forty dacoits, despite their limited screen time, were not just pulled off the streets; they were all actors who convincingly fought with the protagonist. The casting team deserves praise for maintaining high standards and not succumbing to mediocrity.

“Kill” doesn’t pander to all audiences. It’s not meant for the faint-hearted or those expecting a typical masala action film with a bit of everything. It is hyper-focused on delivering exactly what it promises; everything else is momentary or serves to drive the narrative forward. While the film falters sometimes in these moments, it delivers its core promise with absolute honesty. This train journey is a pulsating, thrilling and shocking ride.

“Kill” cannot be advertised like other Indian action films. During promotions, the cast used the tagline, “Himmat hai toh hall mein aao” (If you have the courage, come to the theater). I suggest you don’t, if you’re easily affected by violent scenes. But for cinephiles who love this genre, this is the film to watch this weekend. It’s a bloody, genre-defining masterpiece that must be experienced in a theatre. It deserves a good word of mouth.

My Verdict –

IMDb rating – 7.9/10

My rating – 4/5

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About the author –

Siddhartha Krishnan is the author of ‘Two and a Half Rainbows – A Collection of Short Stories’. He is also an enthusiastic blogger, and on his blog (www.whatsonsidsmind.com), he puts out his articles, essays, travelogues, book and movie reviews.