Thudarum

 

After Drushyam, I don’t recall Mohanlal acting in another family thriller. He’s mostly been focusing on pan-Indian or big action dramas like L2: Empuraan. While he’s done a few suspense thrillers here and there, they didn’t really fall into the family thriller category. Now, after several years, he’s back in that space with Thudarum. I wouldn’t compare it to Drushyam—even though many are drawing parallels—because this one has a unique story and a completely different screenplay. Still, it comfortably fits under the “family thriller” label.

What’s impressive is that Thudarum, made on a modest budget of around ₹30 crore, has already grossed over ₹200 crore. That kind of success clearly comes down to its strong story, direction, and screenplay.

Thanks to OTT platforms, I’ve recently been watching more Malayalam films, and honestly, the Malayalam industry feels like the Korean film industry of India. There’s a clear focus on storytelling and screenplay rather than just star power. Thudarum is another solid example of that quality. Of course, having a star like Mohanlal helps—it definitely contributed to the film’s reach and collections.

The film follows Benz, a taxi driver leading a simple life. He was once a stunt double in films, but after an accident involving a close friend, he had to leave that line of work. Now, a misunderstanding leads to his beloved taxi being seized by the police. Despite his repeated pleas, a stubborn officer, SI Benny, refuses to return the car. But Benz is determined to get it back, no matter what. That determination kicks off a series of unexpected events that shape the rest of the story—something you’ll want to experience firsthand.

True to the spirit of Malayalam cinema, Thudarum offers depth—both in characters and in the multi-layered screenplay. Each character feels real and well-developed, and the layered storytelling keeps you hooked throughout.

Mohanlal is fantastic. He completely disappears into the role of Benz. Whether it’s helplessness, frustration, quiet rage, or subtle emotion, he nails every shade. There are some commercial touches too—action scenes and fights—but they feel believable because Benz is established as a former stuntman. Shobana, who plays his wife, is excellent as always. But the real surprise is Prakash Varma as CI George Mathan. I can’t say too much without spoiling things, but his performance is one of the highlights.

Tharun Moorthy’s direction is top-notch, and the music adds to the film’s atmosphere. Editing by Nishadh and Shafeeque is sharp and crucial for a film like this—it keeps the pace tight without losing emotional depth.

Overall, Thudarum is another gem from the Malayalam industry. And with Mohanlal leading the way, the film strikes a balance between class and mass appeal. Both kinds of audiences will find something to enjoy here.

My rating: 8/10.

HIT3

 

HIT: The 3rd Case is the third installment in the HIT series, and this time, Natural Star Nani plays the lead. Nani has been on a solid streak lately—not just as an actor delivering back-to-back hits, but also as a producer, backing films like Court. He has that relatable, common-man charm, and he often says he listens to stories as an audience member first, not with any box office calculations in mind.

However, lately, he seems to be making a serious effort to rebrand himself as an action hero—with films like Dasara, Saripodhaa Sanivaaram, and now HIT 3. This film feels like another attempt in that direction, but unlike his earlier efforts, it doesn’t quite land.

In his previous films, the strength of the story helped audiences accept him in intense roles. But HIT 3 lacks that grip. It feels like a mashup of various recent movies and internet stories, without a clear, fresh voice. Director Sailesh Kolanu had an interesting premise—mystery murders happening across India—but he failed to explore the characters deeply, especially the hero and the villain.

Nani plays Arjun Sarkar, a brooding, angry cop. But we never get a proper explanation for his rage. Is it childhood trauma? Personal loss? Without those layers, his character feels forced. For someone like Nani, who’s known for his boy-next-door charm and emotional depth, we need a well-written role to justify this kind of aggression—like in Saripodhaa Sanivaaram, where his intensity was rooted in a solid backstory. That kind of writing is missing here.

The villain is another big letdown. Why cast someone just because they’re tall and muscular when they can’t even speak proper Telugu? It’s not about appearance—HIT 2 had a villain who was just a regular dental doctor, yet he sent chills down the spine with his performance. That kind of impact comes from acting, not abs.

Also, I didn’t understand the need for so many cuss words. Is it to sound edgy? It just felt unnecessary. Big action films like KGF, Leo, or Vikram have intense violence and mass appeal, but they don’t rely on foul language to make an impact. It’s possible to be gritty without being vulgar.

Another misfire is the background music by Mickey J Meyer. I'm not sure who thought he was the right choice for an adrenaline-pumping action thriller. His music is generally soothing and melodic, which doesn’t match the mood this film needed. With the right BGM, several scenes could have had a lot more impact. Also, the track between Nani and Srinidhi Shetty feels too similar to something from a recent Venkatesh film. And that scene where Srinidhi uses AI to make Nani’s mother speak through an old photo? It was awkward and out of place. I don’t know how that made it past editing.

To be fair, the screenplay has its moments, especially in the action sequences. But overall, the film leans more on stylish stunts than strong writing or emotional engagement. The final sequence dragged on too long—I found myself checking my phone until the cameo appearances showed up. Introducing the HIT 4 hero at the end was a nice idea, but if Sailesh continues in this direction, it's going to be hard to build any real excitement around the series.

This film might still do decently at the box office thanks to Nani’s popularity. But as a movie, it’s just average.

My rating: 6/10

Officer On Duty

 

I watched Officer On Duty on Netflix after seeing all the excellent feedback online. Yet again, the Malayalam film industry delivers one of the finest thrillers. This is the fourth Malayalam movie I’ve watched this year that I really liked—all of them thrillers, action-packed, and story-driven. It’s amazing to see so many good films coming out in such a short time from the same industry. It really shows the strength of Malayalam cinema—especially the writing and direction.

The story revolves around police officer Hari, who starts off investigating a case of counterfeit jewelry. What begins as a seemingly small crime slowly unravels into something much bigger, affecting him both professionally and personally. The way this investigation ties into his personal life, and how it connects to drug rackets, is something best experienced while watching.

From the very beginning, the movie grabs your attention. It starts with curiosity, introduces Hari and the case, and then gradually builds up with twists and emotional layers. The screenplay connects all the dots beautifully by the climax. If someone narrates the plot in a straight line, it might sound like a simple story. But the way it’s told—nonlinear, revealing bits and pieces as it goes—makes it so much more gripping. That’s what sets Malayalam films apart. They don’t follow the usual Hero-Heroine-Villain formula. Instead, they focus on telling a good story in an engaging way. I really hope they keep making films like this. And I’m happy that this one also did well commercially.

The casting is spot-on. Kunchacko Boban, who plays Hari, is fantastic. Known mostly for his romantic roles, he completely transforms here with a calm yet intense performance. He carries the seriousness throughout the film so well—you wouldn’t think this genre is new for him. Priyamani, who plays his wife, also fits her role nicely. There’s also a group of friends in the film, and their connection to the story is something you should watch unfold. They all acted brilliantly and added a lot of tension and depth.

Like the hit film Pani, this movie also touches on the issue of drug use among today’s youth—how they’re getting pulled into crime for the sake of fun and thrill after getting high. It’s a disturbing trend, and the movie handles it without being preachy.

The background score by Jakes Bejoy is excellent—some beats even feel Hollywood-style. Roby Varghese Raj’s cinematography is brilliant. I watched some behind-the-scenes footage of the chase scenes, and you can clearly see the effort that went into filming those sequences on real locations. The color palette in many scenes also helps set the mood perfectly. The action choreography is also well done—neither too flashy nor too dull.

It’s hard to believe this is director Jithu Ashraf’s debut film. He handles everything with confidence—from the storytelling to maintaining the tone and character consistency. It never feels like a first-time effort.

Overall, this is yet another superb film from the Malayalam industry. If you enjoy thrillers, suspense, and well-written stories, you should definitely give this one a try.

My rating: 8/10.

Ponman

Ponman is yet another gem from the Malayalam film industry. I'm always fascinated by how their writers and directors can take a simple premise and turn it into an engaging film for over two hours. This one follows the story of a jewelry salesman who advances gold to brides’ families on the condition that they repay him with the returned wedding gifts.

I went into this movie without even watching the trailer, so I had no idea where the story would go. The only reason I decided to watch it was Basil Joseph. Having seen several of his films before, I trust his choices. He’s not just an excellent actor but also a talented director, known for films like Minnal Murali. I often compare him to Telugu star Nani—neither has the conventional "hero" physique or charm, but both have great taste in movies and are effortlessly natural actors. With that confidence in Basil, I watched Ponman without any expectations, and it truly surprised me.

At first, when Basil Joseph’s character, PP Ajesh, gives gold to Steffi’s family for her wedding to Mariyono, I assumed he was a con man—maybe handing out fake gold and scamming brides. But the story took an entirely different turn. Steffi's family ends up unable to pay the full amount, and when Ajesh asks for some of his gold back, Steffi refuses and leaves for her husband’s home without informing him. What follows is a gripping journey of whether Ajesh manages to reclaim his gold from Steffi and Mariyono.

What makes this movie stand out is its screenplay. With such a simple yet unique premise, the challenge was to keep the audience engaged throughout. If this were a Telugu mass entertainer, it would have been resolved in a single fight scene, with the hero easily reclaiming the gold. But this is a Malayalam film. Writers G.R. Indugopan and Justin Mathew, along with director Jothish Shankar, take their time to show how an ordinary, seemingly weak man remains persistent and determined against all odds. It’s a true testament to resilience and the never-give-up attitude—something that today’s generation desperately needs to see. There's even a scene in the film that directly addresses this, with PP Ajesh delivering lines that serve as a lesson to young people struggling with life’s difficulties.

Jothish Shankar’s direction is excellent. The screenplay by G.R. Indugopan and Justin Mathew is impressive—it’s no small feat to engage audiences with such a straightforward conflict. Basil Joseph delivers a fantastic performance, portraying a helpless yet determined man who understands Steffi’s struggles but is also bound by his duty to return the gold to his employer. Lilomol Jose is good as Steffi, while Sajin Gopu is outstanding as Mariyono—his performance as the antagonist might open doors for him in other industries. The rest of the cast does a great job, and Sanu’s cinematography beautifully captures Kollam. The locations in Kerala continue to amaze me.

Once again, the Malayalam film industry delivers a solid, story-driven film. If you enjoy thrillers with a family drama backdrop, this one is worth watching.

Rating: 8/10.

Return of the Dragon

 

I didn’t pay much attention when Return of the Dragon (Dragon in Tamil) was released a couple of days ago since it was a dubbed film. Though actor Pradeep Ranganathan became a sensation with his second movie Love Today, for some reason, I wasn’t inclined to watch this one initially. However, after hearing good feedback, I decided to give it a shot and see what he had done differently this time. And he didn’t disappoint.

After the massive success of Love Today, Pradeep has once again delivered a solid coming-of-age story that resonates with students and the general audience alike. It’s refreshing to see a film set in a college backdrop that brings something new to the table. We’ve seen many college-based films before, some with similar themes—like Raghuvaran B.Tech and Aadavari Matalaku Arthale Verule—which made me wonder what more could be explored in this setting. Usually, college stories revolve around politics, romance, and struggles, but Pradeep and director Ashwath have managed to present a fresh perspective.

The film follows Raghavan, a once-brilliant student in his 12th grade who turns into a rebellious college student nicknamed “Dragon.” Influenced by his high school crush’s remark that girls prefer rugged guys over studious ones, he goes down the wrong path, accumulating 48 backlogs in his engineering course. Despite this, he secures a software job using fake certificates. The real story unfolds when his principal discovers the deception and gives him an ultimatum—clear his backlogs or face the consequences.

The narrative has multiple layers. One explores his breakup with Anupama Parameswaran’s character and how it impacts him. Another focuses on his loving and supportive parents, who stand by him despite his declining academic performance. Then there’s his close-knit group of friends, who stay together and support each other. The character of a junior student who idolizes “Dragon” and becomes a mini version of him adds another interesting dynamic. The title Return of the Dragon is beautifully justified within the story.

If you have studied engineering or medicine, you’ve likely encountered students who were toppers in school but lost their way in college, ending up with backlogs due to bad influences or habits. I’ve seen such cases in my own college—students with sharp minds but the wrong company leading them astray. The film also highlights a common reality: during college, girls often admire the daring, carefree boys who skip classes and appear cool, but when it comes to marriage, they prefer stable, career-oriented men, even if they look less appealing. This irony is depicted beautifully in the movie. Additionally, it touches on the impatience of today’s youth, who look for shortcuts—like fake certificates and proxy interviews—to secure jobs. This aspect feels incredibly relevant in today’s world.

The movie ends on a strong, philosophical note, delivering an important message: if you build your life or career on lies, you’ll never find true happiness. Deep down, you’ll always know it’s fake, and it can all collapse at any moment. A college degree might not seem glamorous, but an honest life and career bring genuine satisfaction and peace.

Though the film is tailored for today’s youth, it never crosses the line into vulgarity, double-meaning dialogues, or forced comedy. Instead, it subtly imparts valuable lessons. A couple of standout scenes include one where Raghavan refuses a tequila shot at a pub because he has to drive his fiancée home and another where he warns his friend “Chota Dragon” against driving drunk. These moments deliver important messages without feeling preachy. This proves that with creativity, filmmakers can craft engaging stories that connect with the youth without resorting to cheap gimmicks.

As for performances, Pradeep Ranganathan impresses once again. He reminds me of Tamil superstars like Rajinikanth and Dhanush—not because of his looks but due to his acting prowess and ability to express a range of emotions. He even throws self-deprecating satire about his lean frame, which adds to his charm. This film has earned him my respect for both his story choices and his acting skills, and I eagerly look forward to his future projects. Anupama Parameswaran delivers a stellar performance as his love interest, bringing depth to her role. Kayadu Lohar, the second female lead, also does well, capturing attention with her screen presence. Special mention goes to George Maryan (of Kaithi and Leo fame), who shines as Raghavan’s caring and supportive father. The supporting cast, especially Raghavan’s group of friends, have all done a commendable job.

Director Ashwath Marimuthu, in just his second film, has handled the subject beautifully. The only aspect that could have been better is the music—while the background score is decent, the songs could have been stronger.

Overall, in an era where people often complain about a lack of fresh stories and rehashed narratives, Return of the Dragon stands out. It delivers an engaging college-based story without exaggerated elevation scenes, over-the-top villains, or unnecessary grandeur. Instead, it remains entertaining, relatable, and meaningful, ending with a powerful message. If you liked Love Today, you’ll likely enjoy this film even more. I highly recommend watching it.

My rating: 9/10.

Captain America: Brave New World

 

There used to be so much excitement whenever Marvel Studios released a movie. At one point, their films were incredible—gripping stories, great action choreography, groundbreaking CGI, and spectacular performances from the actors. However, after the Avengers series, something changed. Their movies no longer had that same impact. Maybe it started feeling repetitive—the same old stories, conveniently using the multiverse and time travel to spin off endless films. It felt like they were just milking their previous successes. But with the recent success of Wolverine and Deadpool, there is hope that Marvel can recapture its former magic.

When Sam Wilson became the new Captain America, Marvel followed up with a Disney+ series, The Falcon and the Winter Soldier. I really liked that series. It felt different—it explored Sam Wilson's internal struggle, his doubts about being a worthy successor to Steve Rogers. Along with the personal conflict, the storyline was solid, and the action sequences were on par with the actual movies. After its success, Marvel decided to give Sam his own film, which is the latest installment in their Phase 5 series, Captain America: Brave New World. 

The movie is good. It brings back several characters from previous films, like Thaddeus Ross (who first appeared in The Incredible Hulk), Dr. Samuel Stern, a new character from Black Widow, the Serpent Society, and many more. The story kicks off with Ross becoming the new President of the United States. During a presentation unveiling a new element, Adamantium, there's an assassination attempt on him. Sam Wilson takes on the investigation to uncover the mastermind behind it all. This mystery element is engaging and keeps you hooked, which is refreshing for a Marvel film, as they often rely solely on superhero action. The investigative angle is reminiscent of Captain America: The Winter Soldier.

The action sequences are well done. I particularly liked Sam Wilson's introduction scene—he arrives at supersonic speed, lands among the bad guys, warns them to "wait for it," and then boom—the sound wave knocks them out, proving he moves faster than sound. The film also delves deeper into Sam's self-doubt, questioning whether he can live up to Steve Rogers despite lacking superhuman abilities. There's also a surprise connection to Dr. Samuel Stern that longtime fans of The Incredible Hulk might appreciate.

Harrison Ford plays Thaddeus Ross, and I think he does a good job. In the comics and previous films, Ross always had a thick mustache, whereas Ford does not. The movie even jokes about this with a line: "Lose the mustache or lose the election." I found that funny. Another interesting detail is how they depict world leaders. The Indian Prime Minister, for example, resembles Narendra Modi, though the film shows him with a wife—whereas Modi is actually a bachelor.

The movie also lays the groundwork for the next Avengers films. Ross asks Sam to form a new Avengers team, which aligns with Marvel's plan for two more Avengers movies. A key moment is when Harrison Ford’s character turns into Red Hulk. Ford does his best to appear as angry as possible, but given his charming persona, it's hard to take him seriously as a raging monster. The climax features a duel between Red Hulk and Sam Wilson, but it ends abruptly. They could have extended the fight a bit more. The transformation of Red Hulk back to normal also felt like déjà vu, as we've seen this same sequence with Bruce Banner countless times before. Additionally, the movie is shorter than typical MCU films, running under two hours.

Anthony Mackie delivers a fantastic performance. It’s great to see him go from playing a supporting role in the MCU to leading a major film and carrying it on his shoulders. He portrays Sam Wilson’s inner struggles exceptionally well, paralleling his own journey as an actor stepping into a leading role. The rest of the cast, including Harrison Ford and Israeli actress Shira Haas, also do a commendable job.

Julius Onah’s direction is solid. The music and sound editing are great. However, I felt the CGI was underwhelming. Even after two decades, the effects looked similar to the original Hulk movie. It’s unclear where all the budget went, but the visuals didn’t feel as polished as they should have.

Overall, the movie does a great job of establishing Sam Wilson as the new Captain America. The investigation angle, action sequences, and character payoffs make it worth watching. I recommend watching a recap on YouTube beforehand, as otherwise, you might struggle to remember who all these returning characters are.

I’d give the movie a 7 out of 10.

Thandel

Naga Chaitanya has been struggling with a string of flops and desperately needed a solid hit. When he announced Thandel with Geetha Arts, it immediately created a buzz. A film backed by prestigious producers like Allu Aravind and Bunny Vasu is usually a sign that there’s something special about it. The film stars Sai Pallavi, who previously acted with Naga Chaitanya in Love Story, a blockbuster. With music by Devi Sri Prasad and direction by Chandoo Mondeti, the film had all the makings of a big success. Plus, the team took over a year to complete it.

Adding to the intrigue, Thandel is based on real incidents about Indian fishermen captured by Pakistani soldiers and the struggles they and their families faced before their release.

I liked the movie. At first, I wondered why Sai Pallavi always ends up in emotional roles where she has to cry a lot. But as the story progressed, I got invested and felt satisfied by the end. One refreshing aspect was that the lead pair was already deeply in love when the movie began. Most films spend too much time on the hero's journey to win over the heroine, but here, the love story was already established. That allowed the narrative to focus more on what happens after their relationship is tested.

Naga Chaitanya and Sai Pallavi are a hit pair. They complement each other with stellar performances. The pre-interval conflict was done exceptionally well—many will relate to it. There’s a moment where the female lead refuses to talk to the hero, and no matter what he does, she sticks to her decision. Naga Chaitanya’s performance in this sequence is superb, perfectly capturing the frustration and pain of not being able to communicate with his lover. Sai Pallavi, as always, is fantastic.

The second half is well-executed, showcasing real political incidents from that time and how they affected the captured fishermen. One aspect I appreciated was the portrayal of the Pakistani jailer. Rather than making him a stereotypical villain, they showed him as a man simply doing his duty while understanding that the fishermen were innocent. It was refreshing to see this nuanced take—despite the India-Pakistan rivalry, regular people on both sides don’t necessarily hate each other. Of course, the film does highlight extremists who despise India, adding moments of tension. One particular jail scene was quite uncomfortable to watch. I won’t spoil it, but I think it was necessary to add emotional weight.

Thandel is a commendable attempt at telling a real-life-inspired story. The background score by Devi Sri Prasad is excellent, especially the signature theme used to showcase the love between the lead pair. Performance-wise, as mentioned earlier, Naga Chaitanya did a great job. With his long hair and beard, he looked like a rustic fisherman and convincingly portrayed a lover deeply in love while also emerging as a leader (Thandel means leader) for his fellow fishermen.

I particularly liked one supporting character who wanted to marry Sai Pallavi—his role was well-written. The rest of the cast was good, but some didn’t quite fit as fishermen, and their accents felt off. Given that the team took a year to make this film, they could have provided better training to make the accents more authentic. Cinematography and art direction were solid. As for the director, Chandoo Mondeti surprised me. I didn’t expect him to handle a love story so well while also delivering strong emotions.

Sai Pallavi’s role felt tailor-made for her, and she did full justice to it. The opening sequence felt like it was edited to create a hook, but later, the director introduced Sai Pallavi as if we were seeing her for the first time, which felt a bit inconsistent.

You should give this film a try. My rating: 8/10.