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Highly RECOMMENDED in cinemas. Please try to watch this film in a Dolby Atmos venue or at least a 4K Laser venue. This is a beautiful treat for your eyes, your ears and your soul as well.
English Review: https://t.co/8aLTH9wYxK
#CinemaWithParth | #HeartOfTheBeast
My heart is full 🥹; my soul is content, though my mind feels somewhat numb, and I feel deep gratitude for those who craft such stories. Long live cinema. I might have perished long ago without cinema.
A full review will follow, but here is how I am feeling after watching #HeartOfTheBeast
Top tip: This film is a perfect demo content to check your Dolby Vision TV, to check your Dolby Atmos soundbars and to check your sub-woofers.
#CinemaWithParth - ⭐️ 🌟 (1.5/5)
The story has the potential to do something good, but genuinely, the execution is so bad that it becomes a patience-testing film.
The first half has an interesting start and a decent interval, but that’s pretty much where the positives end. The second half is even worse with senseless writing, tedious narration and almost zero emotional connect. There are moments where you can see the potential, but everything feels so artificial, from the staging and performances to the action.
The film suffers badly from excessive slow-motion and extremely stupid and unconvincing fight sequences. In the quest to create elevation scenes, they completely forget the basic physics of action choreography. Nothing feels natural. You can see the scene trying very hard to make you whistle, but it never really gets there.
The editing is choppy and the abrupt cuts make the film even more chaotic. And the sound mixing is genuinely painful. Everything is unnecessarily loud, while dialogues are difficult to follow at times. I literally had to take medicine because of how bad the sound mixing was.
Even Anirudh’s BGM feels surprisingly weak, apart from the one song. Which is honestly disappointing because some of these scenes could have worked much better with the right music and sound design.
They also tried the chapter-wise presentation that worked so well in Dhurandhar, but you can’t even remember a single chapter name once the movie is over. They couldn’t even reach the D of Dhurandhar. It feels like they copied the format without understanding what made it effective there.
Odela completely fumbles the writing and execution. It’s honestly a head-scratcher how he followed Dasara with this. Nani puts in the effort, but even he feels like a misfit in this world that screams I am fake and not real.
The director somehow feels stuck in the past. There’s a constant attempt to manufacture mass moments instead of letting the action, emotions and characters create those moments naturally. And the emotions almost never connect. Almost never.
I genuinely feel filmmakers should be careful about signing OTT deals before the theatrical release if it ends up putting this kind of pressure on the production. When a film feels rushed and half-baked, it hurts the theatrical experience badly. At some point, not releasing the film is probably better than putting out something that clearly needed more work.
And that ending… just makes the whole experience even worse. A good idea buried under poor writing, artificial action, weak editing, terrible sound mixing and an execution that simply doesn’t work.
#TheParadise
#TheParadise - First Half Review
Direction is all over the place.
Unconvincing action choreography.
Emotions aren’t connecting at all; you feel almost nothing.
Extremely poor sound mixing; dialogues from Raghav Juyal aren’t clear.
Torturous first half, some things aren’t connecting well in story.
Some good things:
The pre-interval block received cheers from the audience, a well-crafted scene.
Occupancy is almost 70%, with a very good crowd through spot bookings.
#Daayra review - a film that reveals the whole plot in the trailer itself.
My full review: https://t.co/s6zyw5L1wg
#CinemaWithParth
Review time: #ResidentEvil ⭐️ ⭐️ ⭐️ ⭐️
Short review – Resident Evil turned theatre into a survival game. I was kinda into the action and trying to survive along with the actor. Such a good and well-executed film.
Long Review: https://t.co/guA7L0OGQG
#CinemaWithParth | @SonyPicsIndia | @shonypanjikaran
Today I watched #Ghamasaan #Salaar (twice) & #Natural, will drop my reviews on Letterboxd. The First one is here.
my review: https://t.co/gluprgdAyB
#CinemaWithParth | @dirtigmanshu
Mayday on AppleTV+ | Recommended.
My review: https://t.co/g0SX8Vl8iP
#CinemaWithParth | #MayDay | @VancityReynolds
#CinemaWithParth - Mirzapur Review
Mirzapur: The Movie traverses familiar territory, taking us back to Mirzapur and Jaunpur between Episodes 6 and 7 of Season 1. What works particularly well is how seamlessly the makers connect this completely new arc with the existing narrative, without making it feel like a detached side story. For fans of the series, the nostalgia of seeing these familiar characters alive on the big screen, doing familiar things, is undoubtedly going to be a major part of the experience. Ravi Kishan, however, completely steals the show. There are 4-5 genuinely high-octane elevation moments that land well, while the BGM does a very decent job of amplifying them. The rap portions, in particular, leave an impact. The songs, on the other hand, feel largely unnecessary. Apart from the devotional tracks, the other two seem forced into the narrative.
The first half takes considerable time introducing characters and establishing the setting, and at places it over-explains things that could have been handled more organically. Thankfully, the dialogue-baazi and a couple of strong elevation moments keep it engaging. The bigger problem arrives in the second half, which feels stretched and drags considerably before reaching the climax. The climax itself works, with plenty of gunfire, a few predictable turns and an entertaining hand-to-hand combat sequence between Ravi Kishan and Guddu Pandit.
A key issue with the film is that, despite being made for the big screen, it never truly feels like a film. The treatment, pacing and narrative structure remain very much in the language of the web series. That familiarity is a strength for existing fans, but it also means the movie doesn’t quite deliver the cinematic momentum one would expect from a theatrical feature. It often feels like an extended chapter of Mirzapur rather than a film that has evolved beyond its original format.
Overall, Mirzapur: The Movie is a decent watch with some genuinely memorable moments, strong performances and enough nostalgia to make the journey worthwhile for fans. 3.5/5 for Mirzapur fans. For someone who hasn’t watched the series, however, the slow setup, character-heavy first half and web-series-like treatment may make the experience considerably less engaging. 2.5/5 for them who haven’t seen the series.
#Mirzapur - First Half Review
The first half is decent with at least three elevated moments. The background music is great and the handling of the movie is pretty good so far. However, there’s a lot of over-explaining which feels like a stretched web series on a big screen. This doesn’t detract from the first half though; it remains interesting thanks to the characters and some popular dialogue. Fans of web series will find it above average but if you’re neutral or unaware of the world it feels a bit stretched with just two or three genuinely high moments. The first song is unnecessary but the Vindhyavasini Mata song was good.
Overall, a decent first half.
#CinemaWithParth - Review of #2001ASpaceOdyssey
2001: A Space Odyssey | ⭐ 3/5
I can understand why 2001: A Space Odyssey is regarded as a landmark in cinema. Kubrick’s vision of space in 1968 is genuinely remarkable. The spacecraft, artificial gravity, space stations and the movement of technology all feel incredibly ahead of their time.
The ideas are even more impressive. Human evolution, artificial intelligence, our dependence on technology and the possibility of something beyond human understanding are explored without treating the audience like they need everything explained. HAL 9000, in particular, remains one of the most fascinating portrayals of AI in cinema.
But the film didn’t completely work for me as an experience. The pacing is extremely deliberate, and several sequences felt much longer than necessary. I could appreciate what Kubrick was trying to achieve with the silence, scale and stillness of space, but I often found myself observing the film rather than being emotionally drawn into it.
The final act is visually spectacular, but its abstract nature also created a distance for me. Ambiguity can be powerful, but here I sometimes felt that the film was more interested in making me contemplate its ideas than making me connect with the story or characters.
I respect 2001 enormously more than I enjoyed it. Its influence, technical achievement and visionary thinking are undeniable, and I can see why filmmakers consider it a masterpiece. But personally, the experience was too slow and emotionally detached for me to place it among my favourites. A remarkable piece of filmmaking, but not a remarkable viewing experience for me.
#CinemaWithParth - #ToxicTheMovie
Full review: marked myself safe after watching the film.
Here is my full review.. :)
#ToxicTheMovie First Half Review:
#CinemaWithParth - #InTheGrey starts really well, to be honest. It catches your attention from frame one and doesn’t lose its grip for a long time. It’s classic Guy Ritchie, and the bullet sequence in the bar is a treat to watch.
What I actually liked is how much the film focuses on preparation. These guys don’t just magically know what to do. We see them plan, rehearse and build everything up for the eventual escape. It gives the action a sense of purpose, even if the film sometimes spends a little too much time explaining things.
I think the climax became a little too convenient. Could’ve been better, especially after all that preparation. And from someone who owns a fucking island, I was expecting a little more fight. 😅
The film also feels a little too emotionally restrained. Everyone is extremely good at what they do, but sometimes that makes the characters feel almost too comfortable in situations that should feel more dangerous. Still, the action pieces work, the performances stay controlled, and Guy Ritchie’s direction keeps the whole thing moving.
It’s definitely not Ritchie at his best, but it’s a stylish, well-made action film that kept me engaged. A solid 3/5 for me. And yes, recommended to watch in Dolby Atmos for the full experience.
I am a big fan of Guy Ritchie’s work. I am at halfway point of this film #InTheGrey and so far it’s f**king brilliant! The kind of tension he builds, the kind of slow-motion he uses without diverting your attention is simply too good. He doesn’t let you rest for a moment. Loving it.
#CinemaWithParth - #TheInvite - Review
I watched The Invite, and I think what stayed with me most wasn’t the sexual angle or the dinner-party chaos. It was the marriage. Coming from an Indian background, where marriage is often treated almost like a lifelong duty, I found myself looking at Joe and Angela differently. We grow up seeing couples stay together through everything. Sometimes love remains, sometimes only responsibility remains, and sometimes even the people inside the marriage don’t know when one became the other. This film takes that very ordinary feeling and puts it under a microscope.
The characters live in a very different world from the one most of us grew up in. They talk openly about sex, attraction and relationships in a way that can initially feel quite alien to an Indian audience. I actually found myself laughing at some of their conversations simply because, bhai, imagine having this discussion at a typical Indian family dinner. It would be chaos. But once I got past that cultural difference, the emotions felt surprisingly familiar. The frustration, the insecurity, the feeling that your partner doesn’t really see you anymore… these things don’t belong to any one society.
What I liked is that the film doesn’t make one couple look enlightened and the other backward. Everyone has their own problems. The supposedly free and adventurous couple aren’t necessarily happier, and the conventional married couple aren’t necessarily better people. That made the film more interesting for me. In India, we’re very quick to put relationships into boxes. Good marriage. Bad marriage. Sanskari. Modern. Successful. Failed. The Invite doesn’t make it that easy. It keeps asking what actually makes two people happy when nobody else is watching.
And Seth Rogen and Olivia Wilde work really well together. Their arguments don’t feel like movie arguments where people conveniently say exactly what the script wants them to say. There’s irritation, awkwardness, sarcasm and a lot of things that people probably wish they hadn’t said five seconds after saying them. I especially liked how the film slowly reveals that their problem isn’t really the neighbours. The neighbours are just the trigger. The real problem has been sitting between them for years. The dinner simply gives it a reason to finally come out.
By the end, I didn’t come out thinking, “What a crazy film about relationships.” I came out thinking about how easily two people can become strangers while continuing to live the same life every day. That part felt very universal to me. We Indians have our own way of hiding such problems behind family, children, responsibilities and the idea that “sab theek ho jayega.” Sometimes it does. Sometimes people simply learn to live with the distance. The Invite isn’t a perfect film, and I thought the final stretch could have been stronger, but I genuinely liked what it was trying to say. Beneath all the awkward sex talk, humour and madness, it’s actually a film about two people asking a very simple question: when did we stop being in love, and can we find our way back?
@Sethrogen @oliviawilde
#CinemaWithParth - just adding hashtag to find review easily later.
#Awarapan2 - full review
Music:
The film constantly reminds you that you’re watching Awarapan, rather than just a sequel, by leaning heavily on the music of the first film. And honestly, it sounds fantastic. The new songs aren’t quite as impactful, but the familiar themes and melodies from Part 1 do a great job of bringing back that emotional connection. There’s a certain nostalgia in hearing that music again, and it works beautifully within the film.
Story:
The story is fairly linear, and you can predict most of it within the first 30 to 40 minutes. There aren’t many surprises or major twists. At its core, it’s a familiar Bollywood setup: a hero gets involved in rescuing someone being trafficked by an international gang. There’s nothing particularly new about the premise.
But if you remember Shivam Pandit from Part 1, the story feels more convincing because it stays within the character’s established world and motivations. It’s familiar territory, and that familiarity works in the film’s favour.
Direction:
Nitin Kakkar, who has previously directed Notebook, Filmistaan and Jawaani Jaaneman, delivers a solid effort here. While those films didn’t achieve major commercial success, Awarapan 2 could very well change that.
His direction keeps the film engaging despite the simplicity of the story. There are a few moments where I felt the screenplay and execution could have benefited from a little more brainstorming, particularly in certain action and dramatic sequences. But overall, it’s a decent and confident attempt.
Acting:
Emraan Hashmi’s screen presence remains one of the biggest strengths of the film. His physique is fantastic, and he absolutely owns the frame whenever he appears. He carries the character with the same intensity and restraint that made Shivam Pandit memorable in the first film.
The only places where he feels slightly less convincing are the car chase and a few action blocks. But I’d largely attribute that to the action choreography and possibly the use of stunt doubles rather than Emraan himself.
Disha Patani is a pleasant surprise. For the first time, I found her performance genuinely restrained and effective. She doesn’t overdo the character and brings a certain subtlety to the role.
Shabana Azmi is another welcome addition. She brings gravitas to the film, although I wish the character had been written to feel a little more dangerous and lethal.
Overall:
I enjoyed Awarapan 2 in a cinema. It’s definitely not as good as the first film, and the story is far too predictable for its own good. But it’s also nowhere near disappointing.
What works is the execution. The film takes a fairly straightforward story and presents it with enough style, emotion, music and atmosphere to keep you invested. And then, of course, there’s Emraan Hashmi, who does exactly what you expect him to do.
Awarapan 2 may not recreate the magic of Part 1, but it respects its world, delivers a solid theatrical experience and never feels like a completely unnecessary sequel.
I’d recommend watching it in cinemas.
#CinemaWithParth - Review / #TheLastHouse on NETFLIX
The Last House is not a bad movie, but it had a much better concept than the film it eventually became. When it started, I was genuinely fascinated by the idea of a family trapped inside their house during a lockdown, while these strange creatures, possibly aliens or some kind of sea creatures, seem to control the doors and windows and prevent them from leaving. I kept waiting to understand what these creatures were, why they were doing this, and how they had this kind of control. Sadly, the movie never gives a satisfying answer. Saying that “this is their home” didn’t feel convincing enough for me.
Until the second act, I was actually very interested. I liked seeing the family understand the situation, try different ways to survive, and figure out what the creatures could and couldn’t do. There was a good mystery at the centre of it, and I kept hoping the movie would eventually explain everything. But the final part didn’t give me the payoff I wanted. The creatures, the survival strategies and the climax all felt less interesting than the setup. The act of mercy is fine as an ending, but I was expecting something more, maybe a proper explanation or at least a more grounded conclusion.
I love science-fiction, so I really wanted this to work for me. And I wouldn’t call The Last House terrible. There are some good ideas here, and the first half especially kept me invested. But by the end, I felt like I was watching a movie with a fascinating premise that didn’t fully know what to do with it. It’s a decent one-time watch if you have nothing better to watch, but I wouldn’t strongly recommend it.
#CinemaWithParth - DC - Full Review
Short: a very decent action flick that provides enough entertainment in its runtime.
The second half drags a bit. The film’s predictability is a problem; the climax is predictable and generic. Lokesh’s screen presence is good but his acting is just decent.
Positives: the banger music and BGM are fantastic. They elevate the film and make it feel fresh. @iWamiqaGabbi’s performance is really well done and I loved her character arc. The pace is mostly good and keeps you invested.
Overall, it’s a decent film, perfect for a cinema experience. You might not enjoy it at home.
#DC - First Half - very engaging film throughout. Very few dull moments. Action set piece especially near the interval is kind of larger than life, not convincing, and doesn’t land well. Other than that, a good drama so far… but at the same time, also very predictable.
The inspector who’s hunting down Lokesh (Devadas) in this film did a very good job. I don’t know his name, but he really good acting and very convincing.
Biggest positive is @anirudhofficial music, he has potential to go International and I wish he explore Hollywood and make some movies more awesome there. It’s out and out Anirudh show. Refreshing BGM and works really well.
#CinemaWithParth - review of #RaoBahadur
#RaoBahadur is a well-made film, but not an easy one. It takes its own time and is more interested in exploring its characters than delivering a conventional thriller. If you’re expecting constant twists or a fast-paced narrative, this may not be the film you’re looking for.
The performances are solid, and the cinematography, sound design and overall atmosphere stand out. The director has a clear vision and sticks to it throughout. There is genuine craft on display, and I appreciated that the film never tries to become commercial for the sake of it.
My biggest issue is the pacing. The film asks for a lot of patience, but I personally didn’t feel the payoff was strong enough to justify the slow build. It has its moments, but it never reached the emotional or narrative high I was hoping for.
Overall, I think Rao Bahadur is a decent film with good intentions and strong technical work, but it doesn’t completely come together. It will definitely find its audience, but it didn’t fully work for me.
Rating: ★★★☆☆ (3/5)
#THEODYSSEY | #CinemaWithParth
There are stories about men who go to war, and there are stories about men who return from one. Christopher Nolan’s The Odyssey belongs to the second kind. Troy has fallen, and Odysseus has already given ten years of his life to a land far away from home. He has survived what should have been the greatest battle of his life. He does not know yet that winning the war was the easier part.
ACT 1: THE WAR ENDS, THE PUNISHMENT BEGINS
The first act begins with the feeling that one great story has already ended somewhere behind us. Troy is now a memory, but its shadow follows Odysseus everywhere. All he wants is to return home, yet Nolan is in no hurry to take him there. The film moves slowly, sometimes slower than I would have liked, but it introduces a world where men may win wars and still remain helpless before the Gods. Odysseus has survived ten years of battle, only to discover that the sea between him and home may demand even more.
And what a world Nolan creates. The ships do not feel like sets, the beaches do not exist merely to look beautiful, and the sea is never just a background. Everything feels touched by time and weather. Hoyte van Hoytema photographs it with extraordinary beauty, but the most interesting thing is how the larger the frame becomes, the smaller Odysseus seems inside it. A man who helped defeat Troy can still look completely powerless between an endless sea and an angry sky.
Matt Damon understands this man beautifully. He does not play Odysseus as someone who knows legends will be written about him, but as a tired man who has already been away from home for too long. Tom Holland, Zendaya, Jon Bernthal and Robert Pattinson are all here, but most have surprisingly limited time to truly become the heart of this journey. Some leave a stronger impression than others, but this story never belongs to them. The Odyssey is an out-and-out Matt Damon show.
My only real struggle with Act 1 is its pace. Sometimes I found myself admiring the filmmaking instead of being completely lost in the story. But there is a quiet intelligence to this beginning. Odysseus believes he is travelling home. Slowly, we understand that he is entering another war, only this time there is no army standing before him. His enemies are the sea, fate and the Gods themselves.
ACT 2: WHEN THE SEA REFUSES TO LET YOU GO
By the second act, the journey has become a punishment. Every time Odysseus appears closer to home, the world finds another way to push him back. The film keeps changing its face. One moment it is an adventure, another fantasy, and then something darker enters the frame and it almost becomes horror. Yet through all of it remains one painfully simple thought: somewhere beyond this impossible sea is a home that Odysseus is slowly beginning to fear he may never see again.
This is where the scale becomes staggering. Even when the impossible arrives, Nolan gives it weight and presence. You believe these men are standing before something they cannot understand. Van Hoytema captures the spectacle magnificently, but some of the most powerful images are the quiet ones, when Odysseus stands surrounded by beauty and danger yet looks completely alone. The sea that once promised to take him home has slowly become his prison.
And yet, this is also where the film tested my patience the most. Act 2 has extraordinary sequences, but the journey occasionally begins to feel as long for us as it does for Odysseus. Perhaps some of that is intentional, but intention does not always remove the feeling. Despite everything happening on screen, I sometimes remained emotionally distant. I understood his suffering before I completely felt it.
I had a similar feeling about Ludwig Göransson’s background score. There are moments when the music is enormous and the sheer force of sound can be felt physically. But I kept thinking about Oppenheimer. There, the score felt like a thread woven into the cloth itself. Music, character and story were almost impossible to separate. Here, the score brilliantly elevates individual moments but, for me, does not always travel inside the story in the same way. It can shake the theatre, but it does not always shake the heart.
ACT 3: AND THEN, EVERYTHING COMES HOME
And then Act 3 arrives, and something changes. The film that had been asking for patience suddenly begins returning it with interest. The journey stops being a collection of impossible obstacles and becomes deeply personal. After ten years of war and almost another decade trying to return, the question is no longer whether Odysseus can reach home. It is whether the man who reaches it can still call it home. Time has passed there too. People have waited, children have grown, and loyalties have changed.
This is where Matt Damon completely takes possession of the film. The exhaustion on his face suddenly carries the weight of every mile behind him. Nolan’s direction becomes sharper, the tension tighter and the emotions immediate. Earlier, the enormous landscapes showed how small Odysseus was against the world. Now the camera becomes interested in the man inside that world. After watching Gods, monsters and nature test him, we realise that his most difficult battle may have always been waiting at the end.
The final act gives the film what I was missing earlier: a true emotional payoff. Moments that once seemed slow begin to carry more meaning because we finally understand what those lost years have cost him. Nolan does not erase every pacing issue, but he gives the journey a destination worthy of its length. The adventure, mythology and spectacle finally meet the human story that had been quietly waiting underneath them.
And that is where The Odyssey truly elevated itself for me. Not because it became bigger, but because it became more intimate. A man waited ten years for Troy to fall, believing perhaps that surviving the war had earned him the right to return home. Instead, the Gods asked for more. Fate asked for more. The sea asked for more. By the end, home is no longer simply a place across the water. It is everything time has taken from him, and everything he has refused to stop fighting for.
Christopher Nolan’s movie is a huge and stunning experience, even if it isn't perfect. The beginning could be faster, some great actors are barely in it, and sometimes the film feels more impressive than emotional. But this actually makes sense. *The Odyssey* is a story about a brutal twenty-year struggle, filled with wars, unbeatable forces, and endless years lost at sea, so it is fitting that the journey feels long and difficult.
In the end, what stays with you isn't the giant sets, the huge battles, or the amazing camera work. It is the simple, beating heart of the story. After facing everything the world could throw at him, Odysseus just wants one thing: to go home. Nolan powerfully shows us that sometimes, the shortest distance on a map can be the hardest journey of a person's life.
#ChristopherNolan @WarnerBrosIndia @UniversalIND
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