Sneha Jaiswal's Blog, page 7

4 ‘Bads of Bollywood’ Cameos That Were Fun & 4 That Weren’t

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Netflix series ‘Bads of Bollywood‘ starring Lakshya, Bobby Deol and Sahher Bambba, leans hard on cameos to keep audiences hooked, so hard, in fact, that by the second half, the parade of stars starts to feel exhausting. Still, a few appearances are genuinely fun and add zing to Aryan Khan’s directorial debut. Here’s a breakdown: the cameos that worked, and the ones that were forgettable (or flat-out unnecessary).

First, let’s look at the fun ones!

4. Shah Rukh Khan

In any other show, a Shah Rukh Khan cameo would top the list. But in ‘Bads of Bollywood‘, his son’s directorial debut, it was expected, teased in the trailer, and thus lands at #5. Still, King is King, and his presence remains a thrill. He hosts an awards show and gets called ‘ghantey ka badshah’ by another character.

3. Rajkummar Rao

Rao pops up in an awards-night episode, one overloaded with red-carpet cameos. Yet in just a few seconds, he delivers a comical, grounded bit that feels more genuine than others, a reminder of why he’s truly a class apart.

2. Arshad Warsi

Warsi’s role as Gafoor Bhai, a flamboyant underworld don, sits somewhere between cameo and supporting character. His pomp-filled entry will make some viewers think that Sanjay Dutt is going to come on-screen, but hey, if not Munna Bhai, Circuit hi sahi!

1. Emraan Hashmi

The biggest surprise cameo in ‘Bads of Bollywood‘ belongs to Hashmi, who plays himself in episode 3. Hired as an intimacy coach for the lead pair, his meta role gets even better when Raghav Juyal’s character Parvaiz, a die-hard Hashmi fan in the series, serenades him with “Kaho Na Kaho” from Murder. It’s as hilarious as SRK’s Omi gawking at Shanti in ‘Om Shanti Om‘.

Cameos That Fell Flat in ‘Bads of Bollywood‘

Not all-star appearances hit the mark. These cameos added little to the plot and felt more like eye-candy for Netflix promos or as simple show of strength.

1. Salman Khan

A blink-and-miss moment where Salman attends a party as himself, calls it “bullshit,” then flips to, “Great party!” That’s all. Forgettable. Unnecessary. He was just there for die-hard fans of the actor to have something to look forward to in ‘Bads of Bollywood’.

2. SS Rajamouli & Aamir Khan

The Baahubali director S. S. Rajamouli and Aamir Khan have a brief and mildly funny exchange about idli vs. vada pav, but mostly there to flex star power. Aasmaan stares at them from afar thinking the cinema greats must be discussing something profound… nope.

3. Ranbir Kapoor

Seen briefly in a Karan Johar’s office in one of the later episodes, Ranbir looks exhausted and out of place in the show. His cameo neither adds to ‘Bads of Bollywood‘ nor feels necessary. We’re not counting Karan Johar’s appearance in the show as a cameo, because he has a pretty pivotal role in the story, even though his part isn’t long.

4. The Fabulous Lives of Bollywood Wives Cast

This one feels like a shameless cross-promo for the Netflix reality series. Neelam Kothari, Maheep Kapoor, Bhavna Pandey, and Shalini Passi, all of them appear in the Awards Night segment, and it would’ve been more fun to see some other Bollywood stars. But okay, Netflix had to plug in its show.

Obviously there were tonnes of other actors and celebrities that appear through the show, and Bads of Bollywood could’ve used cameos more sparingly. When they work (Emraan Hashmi, Arshad Warsi), they elevate the humor and meta vibe.

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Kraken Mare – Short Film Review

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Err…. ‘Kraken Mare’ is a short film that felt like a cryptic long trailer of a larger movie.

Written and directed by Francisco Garcia Mateos, the sci-fi story unfolds in a dystopian future on Titan, a moon of Saturn, set 32 years after what’s ominously called “The Fall.” The plot follows a group of rebels planning something, though what exactly is only revealed in the final minute.

At about 13 minutes long, ‘Kraken Mare’ offers intriguing world-building and some sleek, visually captivating graphics. But the characters are flat, the storytelling feels choppy, and the overall experience rarely manages to stoke any excitement in the viewer.

Christina Kasumba plays Princess Dorku, easily the film’s most visually striking presence. Draped in a golden crown, a shimmering mask, and wielding a sleek staff, she looks every bit a goddess. Unfortunately, the role adds little to the story, aside from a few lines asserting the fairness of her regime, even as others view her rule as tyrannical.

The rebels in ‘ Kraken Mare’ barely register, reduced to skulking through corridors and fiddling in a control room. The so-called twist in the final minute lands with a thud. Maybe this film needed a few more minutes to make a better impact and a sharper set of actors.

‘Karaken Mare’ is available on YouTube.

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Dan Da Dan Season 2 Episode 12 Review: The Joy (and Pain) of Mecha Battle

Sneha Jaiswal (Twitter | Instagram)

The ‘Teens versus Kaiju’ battle continues in Dan Da Dan!

Except this time, they’re all trapped inside a giant Transformer-style robot shaped like the Buddha, and nobody has a clue how to steer it.

Quick recap of Dan Da Dan Season 2 Episode 11: Momo, Okarun, and Aira try to fight the Kaiju that appears out of nowhere, while Jiji takes Kinta to safety. Unfortunately, a sweaty Kinta awakens Evil Eye within Jiji, and the Evil Eye comically starts looking for Okarun, convinced it’s their day to battle. With no progress in their fight against the giant monster, the kids retreat to Granny Seiko’s house to strategize. That’s when Okarun suggests transforming the alien-tech nanoblock house (the blocks can change into anything one imagines) into a weapon to fight the Kaiju, and nerdy Kinta takes it one step further, turning the house into a massive mecha.

Titled ‘Clash! Space Kaiju vs. Giant Robot’, Episode 12 of ‘Dan Da Dan‘ Season 2 hilariously opens with the teens screaming inside the robot, fumbling to figure out how to square off against the Kaiju. ‘Let’s just push any button,’ is their brilliant game-plan. Honestly, it’s not that bad an idea, but the actual result is comically far from what the teens were hoping for.

Even though this anime is meant to be an over-the-top, whimsical supernatural ride that often makes little sense, I love the realistic touch of the protagonists struggling to use their awesome-looking mecha right away to beat the hell out of their enemy. So the first few minutes are absolutely madcap.

Of-course, Momo and gang eventually find a way to battle it out, so like the title suggests, this edition of ‘Dan Da Dan’ focuses on the tense battle between the protagonists and the alien-monster. Kinta’s over the moon about living every kid’s fantasy of piloting a giant robot, though honestly, the chapter indulges him a little too much. With six other wildly amusing characters already in the mix (counting granny Seiko and kitty turbo granny, who’re visibly missing in this segment), do we really need so much of Kinta? Not really. Anyway…

Thankfully, Aira and Momo take charge in the second half of the episode, devising a new plan to decimate the Kaiju without relying entirely on their nanoblock weapon. Needless to say, I laughed hardest when Aira snaps at Kinta to “shut up” and then mid-battle demands, “who the hell are you?!”

While the Buddha-mecha’s motion is occasionally awkward, the animation overall is vibrant and entertaining, keeping the episode’s energy intact. The Dan Da Dan animators once again lean on a neon-green and yellow palette, keeping the visuals in sync with the current chapter’s sci-fi elements.

The climactic minutes almost bring the Space Kaiju chapter to an end, ending the saga with a crazy twist that comes as a huge blow to Momo Ayase, but will leave fans laughing their heads off. It’s a riotous cliffhanger!

Stream Dan Da Dan on Netflix or Crunchyroll.

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The Ba***ds of Bollywood Review: Kuch Kuch Meta Hai… and Cameo Ka Mela

Sneha Jaiswal (Twitter | Instagram) Click for audio version

If Tom Cruise can do his own stunts in ‘Mission Impossible’, so can Asmaan Singh in ‘Ba***ds of Bollywood’.

Written and directed by Aryan Khan, the seven-episode Netflix series promises a fun, parodied peek into Bollywood’s “outsider vs. insider” divide. With starry cameos that feel straight out of the “Deewangi Deewangi” song from Shah Rukh Khan’s 2007 Om Shanti Om, endless cinema callbacks, and old hit songs sprinkled throughout, the show initially plays like a satire. But soon the script starts veering into a tale of toxic helicopter parenting, ending with a climactic twist that’s equal parts surprising and WTF-level underwhelming.

Lakshya plays Aasmaan Singh, making a killer entry in an action shoot where he catches bullets with his teeth, Rajinikanth style. Fresh off a hit debut, he’s set to star in a Karan Johar (playing himself) film opposite nepo baby Karishma (Sahher Bambba). In a meta twist, the two meet at a newcomers’ roundtable, where a spoof of the viral Siddhant Chaturvedi–Ananya Panday “nepo baby” exchange unfolds. Karishma’s legendary father, veteran actor Ajay Talvar (Bobby Deol), is dead set against her debuting alongside a newcomer like Asmaan, so he goes to bizarre lengths to sabotage Asmaan’s career.

The first four episodes of ‘The Ba***ds of Bollywood’ are quite entertaining, some of which is generated by the thuggish friendship between Aasmaan and his tapori dost Parvaiz (Raghav Juyal). Vijayant Kohli and Mona Singh plays Asmaan’s doting parents, while Manoj Pahwa is endearingly fun as Aasmaan’s chachu, a struggling singer.

Manish Chaudhari plays minor antagonist Freddy Sodawallah, a powerful studio head who locks Aasmaan into a three-film exclusive deal, trouble brews when Dharma Productions comes knocking with an offer from Karan Johar. The meta-joke writes itself: in real life, Lakshya himself signed a three-movie deal with Dharma at the start of his Bollywood career.

The show lampoons everything from glitzy parties and drug scandals to paparazzi and loud TV reporters, a lot of which is chuckle-worthy. But in the last three episodes, it shifts gears into familiar Bollywood territory. Strip away the big-ticket cameos, which honestly start to feel tiresome in the second half, and ‘The Ba***ds of Bollywood’ boils down to the same old formula: a powerful dad trying to keep his daughter away from aspiring Romeo with zero assets and one hit film.

That said, some of the cameos are genuinely hilarious, especially the ones not spoiled in the trailer, so if you plan on watching ‘The Ba***ds of Bollywood’, I won’t give them away here. The background score works largely because it leans on nostalgia, for instance the ‘Baadshah’ track cues Shah Rukh Khan’s cameo entry, and Bobby Deol’s hit ‘Duniya Haseeno Ka Mela‘ plays more than once. Among the original songs, Anirudh Ravichander and Arijit Singh’s Badli Si Hawa Hai stands out as a groovy, memorable dance number.

The blossoming romance (or the lack of it) between Aasmaan and Karishma is easily the weakest part of ‘The Ba***ds of Bollywood’. We hardly see them together, and when we do, there’s zero “ride-or-die” chemistry. Parvaiz nails it in the climax, calling them a “ch**tiya couple”, and honestly, you’ll laugh, because it’s not just funny, it’s accurate. The finale tries to justify why their love story was kept so lukewarm, but instead of being clever, it just exposes how timid the writing really is. Aryan Khan clearly wasn’t ready to push the envelope, so he played it very, very safe.

Viewers might find themselves echoing Karan Johar’s line from the series: “I am entertained, but not enough.” The Ba***ds of Bollywood* could’ve been sharper if it had been trimmed down to a film or a five-episode run. Regardless, for those who love masala action flicks, this might be worth a one time watch.

Rating: 6 on 10. Watch ‘The Ba***ds of Bollywood’ on Netflix.

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Gen V Season Two Episodes 1-3 Review: Supes, Secrets, and Slaughter

Sneha Jaiswal (Twitter | Instagram)

Prime dropped the first three episode of ‘Gen V‘ Season 2 and I was going to watch them over dinner, but then thankfully remembered the kind of show this is… and changed my mind. Good decision. Because the very first minute opens with a 1967 lab flashback, where a group of scientists inject themselves with something and things go horribly wrong. We’re talking blood and guts everywhere, just a shade tamer than The Boys Season 4, Episode 4, where Homelander visits the Vought lab and massacres the scientists who tortured him as a kid.

Also Read: Gen V Season One Review – A Bloody Good Mess

For those who need it, Season 2 begins with a quick recap of past events to jog your memory. And after the cold (and bloodied) open to the 1960s, episode one, titled ‘New Year, New U’, shifts its attention back to the young protagonists of Gen V. The weeks of trauma and torture at Vought’s lab ends for supes Emma (Lizze Broadway) and Jordan (played alternately by London Thor and Derek Li), as they return to Godolkin University through a “deal” their so-called friend Cate Dunlap (Maddie Phillips) strikes with Vought. Meanwhile, Marie (Jaz Sinclair) is still on the run but manages to reclaim her spot on campus as well.

Now that the protagonists have their freedom back, they can chill, party, make tiktoks, get hammered, but they – Marie, Emma, and Jordan – also start investigating a secret program from the ’60s, one that may hold the key to finally taking down their enemies. Hamish Linklater plays Cipher, the new dean at the University, and Jordan recognizes him from the lab, so the kids are suspicious of his motives.

Not too surprisingly, Cate starts to use her mind-control powers for the new dean. Although I was most wary of Sam Riordan (Asa Germann), now no longer a lab rat, but a student like the others. However, if you remember, he is a lot stronger than the average supe, and is prone to weird hallucinations and fatal outbursts.

You will have to have seen the ‘The Boys’ Season 4 to have a better grasp over the campus politics in Gen V. In just these first three episodes there are already plenty of cameos, including Erin Moriarty’s Starlight. And Homelander of-course is the ultimate god for the superhero kids at the Godolkin University, and his name is constantly dropped in conversations. This season of ‘Gen V‘ also expands upon the “humans versus supes” conflict, with Godolkin University setting up separate entry gates for ‘human’ workers at the campus.

Once again, Lizze Broadway’s Emma is the most entertaining character in these three episodes of Gen V Season 2. She remains close friends with Marie, despite the latter’s betrayal (breaking out of the lab without her friends), and is the most enthusiastic about exposing Vought’s lies and cover-ups. As for romance, that chapter is closed, there are no more entanglements between her and Sam (Asa Germann), who continues to be a dangerous wrecking ball. But Marie and Jordan’s chemistry hasn’t cooled down in the show, so there’s still a slight sliver of romance in the show.

Gen V Episode 2, ‘Justice Never Forgets’, has Emma teaming up with Polarity (Sean Patrick Thomas) to dig through university archives for clues on the ’60s experiments. On the other hand, Marie and Jordan are forced to take a class supervised by Dean Cipher himself, which turns out to be a violently gladiator-style class.

Of course, the writers slip in plenty of little twists to keep the gore and blood steadily flowing through each Gen V episode, so fans won’t be disappointed on that front. Episode 3, ‘H is for Human’, leans more into campus politics and emotional connections. Marie seeks out an old acquaintance to learn more about her past, leading to a major revelation, while Emma gets sidetracked by a smaller side mission.

From grotesque deaths and body bits flying to wild campus parties, ego battles, and lethal accidents, Gen V’s latest episodes deliver nonstop shock and spectacle, all while stoking the disturbing rise of the “supes versus humans” war. Episode 3 ends on a tense note, leaving viewers wonder if the lead protagonist will once again find themselves locked up in a lab for daring to defy the adults of their messed up world.

Stream ‘Gen V’ on Prime Video.

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Fujitani Naoki Deserved a Love Story That Wasn’t a Cliché

Sneha Jaiswal (Twitter | Instagram)

Disclaimer: This is a fluff piece and contains story spoilers

Satoh Takeru plays musical genius Fujitani Naoki with such conviction in Japanese series ‘Glass Heart’, that he seems like a pan-sexual rock God, whose chemistry with both musical instruments and the people around him are immaculate. He could be in love with anybody. Or nobody.

‘Glass Heart’ could’ve soared if Fujitani Naoki’s romance wasn’t so flat. He’s the kind of character who skips meals, sleep, and water just to write his next song, so really, the most believable story-line would’ve been him not dating anyone at all. If he decided to marry his piano, it would be believable.

Also Read: Glass Heart Series Review: Reliable Music, Flimsy Romance

Instead, the writers of ‘Glass Heart’ (yes, I know it’s based on a novel by by Wakagi Mio, but surely the screenwriters could’ve made some tweaks to the tale) give Fujitani Naoki the most cliched romantic sub-plot. He falls for the drummer girl, Saijo Akane, which is foreshadowed in the opening seconds of the series.

The funny thing is, when Saijo tries to confess her feelings to Fujitani Naoki, he tells her that he doesn’t have the time or space for anything except for music in his life. Then why does he change his mind? The show never really gives us an explanation, nor does it deliver a solid build-up to Saijo and Naoki’s relationship. Sure, they enjoy jamming and playing music together, but he shares the same musical chemistry with pretty much every musician in ‘Glass Heart’.

In-fact, Satoh Takeru’s Fujitani Noaki had stronger screen sparks with Takaishi Akari, who plays Sakurai Yukino, a pop star with a crush on Naoki. The two of them have a scene where they jam to a song together in episode 4 of ‘Glass Heart’ and their comfort level is cozily interesting. Saijo watches them from the door and rightfully feels jealous. The song scene is embedded below.

The onscreen equation between Fujitani Naoki and drummer Saijo feels more teacher-student or mentor-mentee like throughout ‘Glass Heart’. Saijo is fresh, sweet, naive, still in college, optimistic, and her crush on the older Naoki makes sense… he is after all a good-looking, enigmatic musical genius.

If the show wanted a believable romance, it would’ve made more sense for Saijo to lean toward Sakamoto Kazushi (Shison Jun), the piano genius with a soft spot for the drummer. He’s basically a toned-down, younger Naoki, just without the quirky edge. Also, surprisingly, he even confesses his feelings, instead of being cryptic about where his heart lies.

Still, even Kazushi’s supposed crush feels a bit unconvincing. He spends the first few episodes irritated by Saijo, practically begging her to quit the band if she can’t keep up. Unless the writers were aiming for a classic “enemies-to-lovers” angle, the sudden switch to romantic interest was unnecessary. Sure, Saijo is adorable and musically gifted, but she’s hardly the type to inspire a mass bandmate meltdown of unrequited love.

Some of the earlier episodes made me wonder if something was brewing between Fujitani Naoki and his bandmate Takaoka Sho (Machida Keita). The two had such undeniable chemistry that if ‘Glass Heart’ had revealed they were secretly together all along, it wouldn’t have raised an eyebrow. They’ve worked together for years and clearly know how to play off each other.

The following were my top three contenders for Fujitani’s forever love

The Piano Sakurai YukinoTakaoka Sho

Writers really need to start getting more inventive with romantic plot-lines and stop serving us the same old band triangles. From his magnetic stage presence to effortless chemistry, Fujitani Naoki deserved a romance as bold as his music, not a predictable arc.

‘Glass Heart’ is streaming on Netflix.

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Gachiakuta Episodes 9-10 Review: Art Attack Time!

Sneha Jaiswal (Twitter | Instagram)

I have a renewed admiration for the artwork in ‘Gachiakuta’, especially since episode 9 was packed with graffiti and it makes the viewer notice the sheer amount of work animators have poured into the background designs. The edgy sketchbook style of this anime is always refreshing to watch from the other glossier stuff (although, I do love glossy animation too).

Also Read: Gachiakuta Episodes 7-8 Review: Jabber Loves the Hurt

Titled ‘The City of Graffiti’, episode 9 kicks off with a rare scene of protagonist Rudo washing his beloved gloves, exposing his scarred hands to the audience. The primary focus of the chapter is on Rudo, Enjin and a small crew of cleaners visiting ‘Canvas Town’, to meet Gob, an artist and spellcaster, to help them with their next mission.

But before that, we discover something creepy-cool about the neckbands the Cleaners wear as part of their uniform. I won’t spoil it here (especially if you haven’t read the original Gachiakuta manga by Kei Urana), but let’s just say it adds an extra layer of power to their bond.

What’s the next mission? To meet the woman who lives in “No Man’s Land” and might know how to get back to the sphere. Unfortunately, the Cleaners are met with tragic news in Canvas Town. So, the episode ends up being a mixed bag: it nearly makes you cry for a character you barely know, then flips the mood into a vivid celebration of art.

Canvas Town is chaos and creativity rolled into one, its streets are laden with artists painting nonstop, and walls exploding with graffiti. The animation for the chapter is absolute chef’s kiss. The episode also introduces a new character, Remlin Tysark, a young artist who first appears as a sniffling mess but soon pulls themselves together and surprises everyone with an energetic enthusiasm for making art.

Titled ‘Penta: The Desert No Man’s Land’, episode 10 of Gachiakuta opens with a light-hearted sequence of Remlin talking about art. Although Enjin has a hilariously hard time understanding anything! It could also be the generational gap. He he.

“Trust me it’s not worth it. If you try to go too deep into conversation with an artist, you’ll just end up more confused.” The mayor of Canvas Town warns Enjin when he gets worked up over Remlin’s ramblings about how each artist is unique. It’s definitely my favorite dialogue from these two episodes of Gachiakuta.

Anyway, after Rudo and crew finish their spell-casting work in town, they finally head to the feared No Man’s Land to gather intel on the Sphere. They also make a quick-stop at the Cleaner HQ to pick up Rudo’s new custom-made mask, which looks pretty rad.

Like most pockets of the ground, the ‘no man’s land’ is super dusty, thick with toxic air, piled high with endless heaps of trash, and crawling with giant trash monsters. Which means: it’s battle time!

The crew who accompany Rudo are Enjin, Riyo, Zanka, Delmon, Tamsy, Gris, Follo, and Tomme, which means we get tonnes of cool sequences of these cleaners fighting monsters. Actually… this edition only shows Enjin, Riyo and Zanka using their weapons to fight off the garbage-turned-villains. But well, they’re also the coolest, so that’s more than enough entertainment.

Overall, these episodes of Gachiakuta are fast-paced, with great gritty background music, and the animators are pulling their best-foot forward to bring Kei Urana’s imaginative dystopian world to life. Episode 10 closes on an ominous cliffhanger, leaving viewers eager to see if this mission takes a dark turn in the next chapter.

Watch Gachiakuta on Crunchyroll.

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Mahavatar Narsimha Review: A Divine Roar for Indian Animation

Ashley Suvarna (Instagram | Twitter)

Around two days before watching Mahavatar Narsimha, I got my hands on a copy of Ne Zha 2, an animated masterpiece that took the world by storm. So I was fresh off the hype train, and maybe a little concerned that I might end up constantly comparing this movie to the Chinese film and ruin my experience. After all, Indian animated films have had some stellar stories, though they always lagged several leagues behind the biggies like Pixar and DreamWorks in terms of production quality.

So when I say that during Mahavatar Narsimha’s entire two-hour ten-minute runtime, not for a single moment did I even think of Ne Zha 2, or any other comparable film for that matter, you can probably imagine how thoroughly the movie had my attention.

The story of Mahavatar Narsimha is a classic, one almost every Indian has grown up reading about. But for those who didn’t, it’s basically a tale of good vs evil where an almighty demon king who hates the god Vishnu, finds out that his own son has become an ardent devotee of Vishnu and tries every trick in the book to make an example out of him. The story is often taught as an example of divine intervention and the power of faith.

Right off the bat, Mahavatar Narsimha introduces us to the two demon brothers, Hiranyaksha and Hiranyakashipu, sons of the great sage Kashyap and masters of the arcane arts. No lengthy ‘once upon a time’ infodumps, no fluff, the entire plotline focuses solely on the fate of these two brothers and doesn’t make the mistake of wandering into the vastness of Indian mythology for absolutely no reason.

The two demons set out to conquer the world with their immense strength, but Hiranyaksha crosses a line when he, with his brother’s blessings, kidnaps the goddess of the earth and holds her hostage within the depths of the cosmic ocean. Which is when Vishnu, the preserver of the universe, takes on the avatar of Varaha, a colossal boar who dredges the goddess out of the ocean while also making short work of Hiranyaksha.

Stung by the loss of his brother, Hiranyakashipu, once merely dismissive to Vishnu, begins to truly hate him. Through penance, he achieves the boon of near-immortality and becomes master of the three realms, creating a kingdom where the worship of Vishnu is punishable by death. Not knowing that his own little child, Prahlad, would some day become his antithesis and eventual doom. The tussle between Prahlad’s unwavering devotion and his father’s ego forms the meat of the story.

But let’s talk about the elephant in the room – the animation. I’ve heard the production team took almost five years to finish Mahavatar Narsimha, and let me tell you, they weren’t sleeping on the job at all. The visual quality is a significant jump from what we’ve generally come to expect from Indian animation. Was it perfect? Nah, not even close. I noticed plenty of issues, particularly in terms of facial animation and the way the characters moved clunkily in certain scenes. Not to mention some pretty subpar cloth and hair physics here and there.

But Mahavatar Narsimha’s makers offset all of that with some of the best VFX and action choreography I’ve seen in Indian animation. And the lighting… The team that did the lighting for this movie deserves a medal. And a hike. And a paid vacay to the Swiss Alps.

In fact, some of the set pieces like Prahlad’s chamber and the grand hall are so beautifully lit that you might just decide to overlook any flaws that may appear. Mahavatar Narsimha‘s animation may not have Pixar’s glossy smoothness, but that’s not what this film aims for. Instead, it draws inspiration from temple art and Puranic illustrations. Palaces are ornate, forests feel alive, and the last 20 or so minutes is a spectacle — fury, divinity, and raw power captured in every frame. Although I’d say I’m not a fan of how they make all the demons look like orcs from Warcraft.

Composer Sam C. S. delivers a soundtrack that perfectly balances devotion and drama in Mahavatar Narsimha. Prahlad’s bhajans are tender, while Narasimha’s entrance gets a snazzier version of a typical south Indian massy entry theme, thundering with percussion and chants that vibrate through the
theater. The music doesn’t just accompany the visuals; it elevates them, making even familiar scenes feel monumental.

The voice cast of Mahavatar Narsimha strikes the right tone: dignified, devotional, and dramatic without slipping into caricature. Hiranyakashipu’s arrogance chills, Prahlad’s sincerity inspires, and Vishnu’s voice commands reverence. I do appreciate the fact that the makers did not turn Hiranyakashipu into a straight up, Mogambo-style villain. He commits atrocities and is driven by hate, sure, but he’s also an illustrious leader, a supportive brother, an otherwise level-headed king, and most of all, a doting father who is as heartbroken by young Prahlad’s beliefs as he is furious.

This layered representation of both the devas and the asuras is a recurring theme in Indian mythology. Neither side is inherently good or evil, both demons and gods being ultimately defined by their actions rather than birth. Hiranyakashipu’s transition from a man who just wants his son to love him more than his enemy to a king who feels the pain of having to sacrifice his child, to an indifferent creature who just wants to get rid of the boy, the movie explores his entire emotional spectrum without making him feel too sympathetic as a character.

But I think the biggest takeaway from Mahavatar Narsimha is Prahlad. Not him per se, but his nature. See, in every Indian myth and scripture, a demon’s rise to power and eventual downfall is a planned event, a predestined outcome written by the masters of the cosmos. Even Prahlad growing upto be a soft-spoken, kindhearted devotee of Vishnu was no coincidence, but a result of destiny and divine intervention. It is also true that the god-sage Narad was the one who took advantage of Hiranyakashipu’s absence and advised the pregnant demon queen to chant the name of Vishnu under the guise that it would benefit her unborn child.

But to say that Prahlad’s undying affection for Vishnu was merely the result of third party influence would be an insult to his own devotion. The boy had many chances and a whole plethora of reasons to change his mind. He could easily have followed his father’s ways and inherited a legacy that granted him dominion over the gods, and yet, he willingly chose to remain Vishnu’s servant and admirer, even at the peril of his own life, even though he believed that as someone of the demon clan, his soul would not be worthy of heaven anyway.

This is not the god-fearing devotion that organized religion often uses to control its followers, or the selfish devotion where people become worshippers mainly because of the benefits it offers, either in life, or after death. This was sheer, unconditional love, one that is neither defined by neither logic nor emotion, neither deed nor consequence, transcending every single limit of spirituality ever set by both men and gods. And yet, the whole Mahavatar Narsimha experience leaves you with a larger question – is devotion just us following some kind of preset software coding, or is it something determined by our own free will?

Perhaps a wiser man might have the answer to that. All I as a viewer can say is, the big leaguers like Ne Zha 2 may be absolute blockbusters, but Mahavatar Narsimha has its own charm and profoundness that mustn’t be sullied by putting it on a comparison chart. It is not a perfect movie, the pacing occasionally drags, and some crowd scenes could have used more polish. But these are minor quibbles in a film that otherwise soars. Mahavatar Narsimha is devotional, thrilling, and deeply moving — a cinematic experience which proves that although Indian animation still has a long way to go, it might have finally come of age.

Mahavatar Narsimha is still playing in select theaters.

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Sakamoto Days Episode 21 Review: Hard Battle Mode On

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Hahahahaha…. we weren’t expecting Nao Toramaru to give up the title of ‘Sakamoto’s Number One Fan’ so fast to Shin in ‘Sakamoto Days’. She even offers him her prized Sakamoto doll, though Shin has no time for her otaku antics. The lighthearted moment crashes when the JCC exam spirals into bloodshed as special candidate Shinaya goes on a murderous rampage! Last week’s cliffhanger already revealed he’s being remote-controlled by Gaku, part of Slur’s brutal recruitment scheme.

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Titled ‘Hard Mode’, episode 21 of ‘Sakamoto Days’ throws Shin, Nao, Mafuyu, and Joichiro Kaji (another specially recommended candidate) against the deranged Shinaya. Unaware that Gaku is pulling the strings, they’re caught in a slaughter test where survival alone marks someone “worthy” to join Slur’s side.

Interestingly, Kaji notices that Shinaya is asleep even though he is in fight mode, which makes no sense to him, while Shin also realizes something is off when he’s unable to read Shinaya’s mind. Meanwhile, Gaku is having the time of his life, gleefully beating the kids to a pulp.

This edition barrels forward with bloodied mayhem, as Shin scrambles to team up with the others and shut down Shinaya’s carnage. The climax delivers extra laughs along with the violence, when Sakamoto, who had been nonchalantly “camping” with his team, finally leaps into battle mode.

Watch ‘Sakamoto Days’ on Netflix.

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The Wrong Paris Review: Rom-Com Served With Reality-TV Tricks

Sneha Jaiswal (Twitter | Instagram)

Aspiring artist Dawn thinks she’s headed to France’s City of Love when she signs up for a Bachelor-style reality show in ‘The Wrong Paris’, planning to turn the gig into a free ride for her dream art course. But as the title suggests, she lands in Paris, Texas, and her ironclad contract forces her to play along.

Directed by Janeen Damian (‘Falling for Christmas’, ‘Irish Wish’) and written by Nicole Henrich, ‘The Wrong Paris’ stars Miranda Cosgrove as Dawn, a small-town waitress who can’t afford to attend the Paris art school she’s been accepted into. To raise money, she auditions for a dating show called HoneyPot, where a group of women compete for an eligible bachelor’s hand. Her plan is simple, take the signing bonus and get eliminated early so she can head to college. But Trey (Pierson Fode), the show’s dreamy bachelor, has other ideas.

Between reality TV drama, a swoon-worthy hunk, and feelings she never planned for, Dawn’s carefully laid plans start to get a teeny bit complicated. ‘The Wrong Paris’ plays out like a fun, silly rom-com that spoofs dating reality shows, caricaturing its contestants as over-the-top stereotypes. Madeleine Arthur (she played Lana’s BFF in the ‘To All The Boys…’ movies) is a ditsy princess type literally named Cinderella, Madison Pettis takes on Lexi Miller, a clout-chasing influencer, and Christin Park plays Jasmine, Dawn’s nerdy roommate on the show.

Like dating shows, the film too pits the women against each other through wacky games and competitions, which often leads to chaos and cat-fights. Yvonne Orji plays Rachel, one of the casting directors and producers of Honeypot, and she hilariously cheers for Dawn to get together with Trey. And for a change, the the couple do have more in common than just good looks. They come from the same region, and share a lot of similar interests.

Miranda Cosgrove’s last starred in Netflix’s bland ‘Mother of the Bride’, where she had very little chemistry with co-star Sean Teale. However, Miranda is a more fun as Dawn and her onscreen chemistry with the hunky Pierson Fode is more watch-worthy. Trey (Pierson) feels like a Disney prince run through a Magic Mike filter: handsome, hot, shiny, shirtless, and tailor-made for women to bicker over on screen.

Just like director Janeen Damian’s previous romantic movies, ‘The Wrong Paris’ is ultimately very formulaic, and predictable. But the film has a breezy ending where Dawn gets to have her cake and eat it too.

Rating: 6 on 10. Watch ‘The Wrong Paris’ on Netflix.

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