Reviews

As someone who has followed this franchise from its very beginning, Fede Alvarez's entry has given it a fresh spin, but with neat callbacks to what makes it truly iconic (yep, we have a chestburster, a face-to-face shot, and more). The symmetrical screens and gooey membranes are back, in a film that also made me an instant fan of Cailee Spaeny and David Jonsson. I feel, unlike Civil War, this is the film that put Spaeny at the forefront of affairs, giving her more to do, alongside an arc that felt more relatable. Alvarez's use of practical effects and sets really drive the point home of bringing instances of sheer terror (+ body horror) into this space station, also reminding you why Ridley Scott's original and James Cameron's sequel remain all-time greats.

Alvarez (and co-writer Rodo Sayagues) carefully write the protagonists into a corner, forcing them to take on the Xenomorphs and Face Huggers with no choice. There are cinematic liberties aplenty, but I wouldn't deny how much fun the 2h ride turned out to be. The entry also takes it back to its claustrophobic horror roots, something Alvarez effectively pulled off at a small scale in Don't Breathe. I'm left to wonder why Neill Blomkamp's version never got made -- but at least it paved the way for someone other than Sir Ridley to make an Alien flick that wasn't always busy trying to tie itself to a larger plot (and universe). Romulus reinvigorates the franchise, and the box office numbers did not lie.

I have an affinity for the grainy texture of 16mm film -- the likes of which this film was (almost entirely) shot on. The film starts off as a noir whodunnit, but it transforms into a slow descent into mental chaos for its protagonist -- the cop investigating a series of murders, who we closely follow. The clues and motives behind the murders begin to matter less, but the protagonist's obsession with finding the killer consumes him. Chengma's cinematography is fantastic, offering an aesthetic feast set in mid 90s rural China.

The (minimal) score and edit work are solid too, playing key roles in pulling us into this vortex of unexplained character layers and revelations. A hallucinatory sequence, in particular, is very tastefully executed -- it's one of the most inventive stretches I've seen in a film in recent times. Yet, Only the River Flows isn't the kind of cinema interested in giving clear-cut answers to all your questions. Call this Wei Shujun's arthouse version of Memories of Murder, minus the edge-of-the-seat thrills.

Still, a very "mid" film from someone like TJ Gnanavel -- whose melodramatic style I'm not a big fan of, and thankfully, that's not excessive here like in Jai Bhim. Gnanavel is clearly a better storyteller than a masala filmmaker, and hence, struggles to an extent trying to stage hero-elevation points, action blocks, and song-and-dance sequences. His politics is on the appreciable side, which he side-tackles using Bachchan's character but with fairly low impact, if you place this alongside Jai Bhim.

Manju Warrier gets a typical wifey role, with one scene towards the end giving her a momentary upgrade. I'm unsure if we needed someone like FaFa to fill in the role of "Battery" Patrick (even when he's spontaneously entertaining with his quirks and one-liners) -- someone like Sivakarthikeyan or Manikandan could've done the honors. Rana plays such a typical, paper-thin villain, with absurdly poor characterization. Placing him against Thalaivar also doesn't work all that well. That being said, I enjoyed one scene towards the end where conflicts pile up against the protagonists simultaneously, and how each rises to the occasion.

Anirudh's score here is better than what we witnessed in Indian 2 (phew!) although it's nowhere in the league of his top works. Again, I found the song picturization of Manassilayo to be lackluster and dull, except for that hook step. Gnanavel wanted to make a message-drama I suppose, and shoehorning all (or most) of Thalaivar's antics into the screenplay certainly did NOT work in his favor. Nonetheless, despite its somewhat flat treatment, the film is thoroughly watchable because Thalaivar still brings the swagger, and we get to see incredible performers share the silver screen.

P. S. Damnnn, Ritika Singh can handcuff me all she wants!

P. P. S. Can we NOT have rape scenes played over and over in films? It's been getting out of hand, lately.

It has sort of become an annual Spooktober routine now, with these V/H/S films. Let me review segment by segment, as I have with all the previous entires:

• "Abduction/Adduction"/frame narrative: The wraparound segment is in the style of a documentary--inspired more from the likes of BBC and WB Discovery than the Netflix format. It isn't outright scary per se, just a tone-setter. The final shot is weird in ways we've come to expect these V/H/S wraparound segments, though. (2/5)

• "Stork": Now, this I could get behind. A gory zombie actioner with an extra-terrestrial setup, I loved how the action is relentless once it starts. The bloodletting is also on the higher side, with some disgusting (but the right dose of enjoyable) creature effects. The finale is tame in comparison to the rest of the proceedings, but it's still a very solid (ACTUAL) first segment. Jordan Downey has my attention. (3.25/5)

• "Dream Girl": Never in my dreams did I imagine seeing a musical (item) number in a V/H/S movie, but this takes it one step further by embedding the extra-terrestrial within a Bollywood diva. The creature effects are captured from a distance most of the time, so I wouldn't call it the most well-shot segment. Yet, I'll give marks for the innovation in plot, setting, and some (extra) dark humour. Good job, Virat Pal. (3.25/5)

• "Live and Let Dive": Once again, a very unique setting for an alien attack -- a celebratory skydiving session. The creature CG reminded me of The Thing videogame (from 2002), and the way the scares are built and the practical effects are used -- good stuff indeed. Justin Martinez, part of Radio Silence, clearly showcases his filmmaking prowess. (3.5/5)

• "Fur Babies": Justin Long and his brother Christian Long create an extension of Tusk, with gnarly effects that are bound to irk dog lovers -- and that's probably the whole intention. This is also the only segment that doesn't imply an extra-terrestrial presence. It's fine, I suppose. (2.5/5)

• "Stowaway": While this has the most direct alien-UFO-exploration plot, it moves at a slow pace and given its late '80s setting, the visuals are (deliberately) pixelated. Flanagan and Siegel manage to create a trance-like aura of being stuck in an alien spaceship, but the segment somehow lacks the urgency and tension of an actual alien abduction. The effects can rival David Cronenberg's The Fly, but not a lot is actually revealed. (2.75/5)

P. S. That's the highest I've rated a V/H/S film since V/H/S 2.

We all know how great a performer Sarah Paulson actually is, but I just don't understand why she signs up for lacklustre films like this one. Of course, her character is the one holding it all together, and the plot carries some potential, both from the perspectives of a character study as well as a psychological horror drama. The little girls playing the daughters also do their parts well. It's just that the story keeps meandering from one thing to another, unable to find a clear landing zone. Visually, I'd say it's an okayish effort. The dust element could've been used to greater effect--I wonder how another director would've handled it (hint: Under the Shadow immediately comes to mind). Some of the drama works owing to Paulson's performance, but I wish the film overall, had more punch.

I really like Vikramaditya Motwane as a filmmaker but this is such a rip-off of so many AI-is-taking-over-our-lives thrillers that Hollywood has been churning out lately, by the dozen. It uses the computer screen to tell a story akin to the likes of Searching, Missing, C U Soon, but can't commit to the whole damn thing until the end. The last 15 minutes suddenly turn this into a regular film, with a regular aspect ratio. Ananya Panday plays different versions of Ananya Panday in every film; not much is different here. The rest of the cast is so bad that Ananya Panday comes across as a much better performer in comparison. I liked some of the (cringy) Gen Z edits used here, making the otherwise dull and predictable thriller slightly more palatable. Also, that ending -- somebody please knock some sense into the writers (on my behalf).

P. S. This only stays watchable because it's 1h 39m long. Another not-so-original "Netflix original" laid to rest!

As a buddies-but-not-really-buddies action comedy, I like to think Jon Watts delivered fairly on the promise. He brought the two Hollywood heavyweights (Pitt and Clooney) together for a (moderately) funny and engaging flick that even provides NYC's crime underbelly some distinction in the process. Watts harks back to his Cop Car days, but also brings the humourous sensibilities of his MCU Spiderman films.

Pitt's and Clooney's fixer characters are eerily similar-in their dispositions, dressing styles, and so on-making the 1h 48m affair pretty amusing and enjoyable. The trump card here is Austin Abrams, and he fits into the role of the third wheel (but also the main plot wheel) superbly. What, as a viewer, I didn't care much about though were the outcomes of character-decisions. Also, for a crime plot that spanned the whole of NYC, the settings feel tightly packed and minimal. The writing also feels put together last minute, with some scenes lacking a finite flow (like that random wedding scene.. hello?).

Well, dare I say this improved upon the original material, cutting down (a bit) on the psychological subtext and amping up the thrills. McAvoy yet again delivers a very eerie performance, and when he's the one trying to bait you, there's always a higher chance of giving in. The original Danish version was one that I found difficult to digest, not particularly because of its somber and often disturbingly violent approach, but I somehow couldn't connect with its conclusion all that much. So, when it was picked up by Blumhouse for a Hollywood remake, I wondered what tweaks they'd go for. James Watkins, the director behind The Woman in Black, Eden Lake, and an excellent Black Mirror episode, gives it his own spin.

The deceptive, manipulative parts within the plot mostly remain the same, and instead of opting for a no-holds-barred sadistic finale like the original, the Hollywood version plays more out like a straightforward slasher thriller. It also gives the characters played by MacKenzie Davis (so good!) and Scoot McNairy a lot more to do than just succumb to the circumstances. The film might be 10 minutes too long, but when McAvoy's in beast mode, I don't think I'd be bickering all that much. Also, is Aisling Franciosi becoming typecast as the weirdo in every horror flick?

The timing of this is super interesting given Monday Night Raw's set to debut on Netflix in January 2025, but there's very little shown here that I (an ardent follower of pro-wrestling and sports entertainment) didn't already know. Most of it has already been covered extensively by a bunch of YouTubers, VICE TV's Dark Side of the Ring, A&E documentaries, whatever the WWE publishes on Peacock, and so on.

The six-episode series is more of a retelling of the history of the WWE, and as such, a full-fledged spotlight is never put on Vince McMahon (or Mr. McMahon his on-screen persona). Of course, since he's been the one pulling all the strings from behind the curtains, the story naturally tends to revolve around him. Also, since most of the content here is nearly 2-3 years old, and major developments have taken place since then, a large chunk of it feels like a placeholder.

I liked getting to know 5% more about the equation between Shane and Vinne Mac; that was honestly the most interesting part for me. The rest, the allegations included, didn't offer any new insights. It's still well-shot and edited, and for nearly six hours, I found myself drawn to the world of "sports entertainment" yet again.

ARM is essentially a 3-star movie in my books-a perfectly serviceable blend of action, fantasy, and folklore-that gets an extra ½ for the characters of Maniyan (Tovino on fire) and Manikyam (Surabhi Lakshmi who dazzles). The story is told across generations, and somehow, its core comes across as a 3D version of Lal Jose's Meesa Madhavan, with better production design (Gokul Das) and stunning cinematography (Jomon T John). The 3D conversion feels a tad unnecessary, as the plot itself holds crazy potential to build upon its lore. Visually, Jithin Laal manages to crack the aesthetics of its different eras, giving it that part-folktale-part-90s-actioner vibe-even when the writing (Sujith Nambiar) doesn't pack many surprises. The action is crafted well (Tovi learning Kalaripayattu is a major plus), though I'm a little tired by the overuse of the robotic cam in every set piece. Krithi Shetty is drop-dead gorgeous as the protagonist's love interest. Dhibu Ninan Thomas' score is a bit on the nose (for me), but I can understand how it makes sense for a film of this kind.

The less you know going into Kishkindha Kaandam, the superior your experience will turn out to be. Even though the film has been out for over a week now, I somehow managed to dodge all spoiler-filled reviews and one-liners about it-that helped, that SERIOUSLY HELPED! There are two kinds of airs within the film-one of familiarity, with an uneasy father-son relationship set in a forested estate in Kerala, and one of mystery, surrounding a missing pistol and the whole saga behind it. The former lands safely, owing to the presence of a seasoned cast (Vijayaraghavan is absolutely stellar!), but it's the latter that truly surprised the hell out of me. The writing ensures there's (ALWAYS) more to the plot and the characters than what we can anticipate, and it does so with intricate pacing.

Asif Ali is enjoying a good streak lately-hope he continues to pick excellent scripts like this one. Kishkindha Kaandam truly tests the performer in him, in a very layered, very mature performance. Aparna Balamurali takes on the audiences' perspective, an interesting storytelling tool used by writer Bahul Ramesh (who's also the DoP) to retain that investigative curiosity all through. The lush green Wayanad setting and its natural inhabitants (read: monkeys) also add to the intrigue. Mujeeb Majeed's score keeps us on edge, especially when the film turns into a full-fledged mystery. Kudos to Dinjith Ayyathan on his sophomore effort-this is just FANTASTIC, SCRIPT-DRIVEN FILMMAKING.

Vaazha, directed by Anand Menen and written by Vipin Das, reinstates that the latter is in better form when he's the one writing (and not just directing-yes, I'm looking at you Guruvayoor Ambalanadayil). The first half is breezy and light-hearted with casual fun poked at clueless millennial kids from the 90s, delivered with just the right dose of relatability. I wouldn't say it's a laugh-out-loud comedy, as its humour was fairly hit-or-miss for me. The scenes with Hashir and Basil were a riot, however. The film takes an emotionally heavy turn in the second half, and this is where I feel the seniors got to shine, making it a more well-rounded experience. Jagadeesh, Kottayam Nazeer, Noby, Azees, and the rest come up with such huggable performances. Meenakshi Unnikrishnan also gets a noticeable role though I largely missed her presence in the latter half. The boys-Joemon Jyothir, Saafboi, Siju Sunny, Anuraj OB, and Amith Mohan Rajeswari-can deliver if the script gives them enough to work with. A large team of composers (Rajat Prakash, Nomadic Voice Parvatish Pradeep, Electronic Kili, Jay Stellar) provide a stellar soundtrack, making the film a (bitter)sweet, memorable affair. Not too sure about the sequel though, but chances are, it might be a lot funnier than this.

Aaron Pierre has an aura about him that screams "he can get it done!"-the voice, the eyes, the stature-all of it. Writer-director Jeremy Saulnier (one of my favourite contemporary thriller directors) uses that to stupendous effect in Rebel Ridge, a slow-burn crime thriller also starring Don Johnson and AnnaSophia Robb. There's something about the Saulnier's framing style and shot compositions that strike a chord with me as a thriller fanatic, and even if Netflix is behind the production, I can see Saulnier's stamp almost everywhere. He's also the one that edits, so there's great clarity in the length and pacing of scenes. The film won't be the same without its fantastic score (by Brooke Blair and Will Blair), adding immensely to the scene-by-scene tension. Don Johnson shines in the antagonist role, making Chief Sandy Burnne a solid addition to the Saulnier's layered baddies. It's only in the film's second act that things deliberately slow down, for making audiences understand the legal implications of whatever's going on.

P. S. Anyone expecting a straight-up action flick will be disappointed. Get a hang of Saulnier's previous works (watch them if you've got the time) and then sit down for this one!

That trigger warning in the beginning was a bit too spoilery for me, as I was on the defensive from minute one. That said, this is a pretty solid directorial debut from Zoë Kravitz, delving into some really dark themes while simultaneously offering some gory payoffs. Everyone who watches the film will also have varied opinions on the ending, and that's probably the case since it happens in haste (without so much as letting you "blink twice" and making you go "wait, whaaaaat?" as the title suggests). More than Naomi Ackie (who plays the protagonist), I enjoyed Adria Arjona's performance here-she's just the perfect (SEXY) side character who ends up overshadowing the lead-and not in a bad way. I also liked Tatum in this a lot more than Fly Me to the Moon, and for obvious reasons.

In essence, the film may seem like a mishmash of Get Out x Don't Worry Darling x The Menu x Glass Onion though with a more sinister Harvey Epstein-esque plot-Kravitz balances out the morbid nature of its underlying themes with sprinkles of dark humour and accelerated urgency in the final act. I wouldn't place it in the "unforgettable" category, yet Blink Twice is a fairly decent addition to the eat-the-rich-and-perverted subgenre. I'll be waiting with eager eyes to see what Kravitz attempts next!

Loved almost everything about the film-the performances, the lived-in Thai settings, the characterization of the leads, the tender moments, the piano-driven score, the unhurried pacing, and the moving final act. Putthipong Assaratanakul, Usha Seamkhum, Sarinrat Thomas, and the rest of the cast deliver grounded, heartwarming performances that go above and beyond what's written on paper. The changing equation between grandma and grandson is fun to watch, and while it was obvious where the plot was headed, the proceedings still made me bawl my eyes out for 30 minutes straight.

So many themes are explored in such a simple plot, and the way it's all seamlessly put together by writer-director Pat Boonnitipat deserves high praise. Visually too, it's a wonderful film-those static, slice-of-life shots are magical. The best films are often the ones that let you peek into the lives of people (all raw and unfiltered emotions included) without feeling like a camera's even there, capturing all of it. Well, this is one among those-and infinitely more relatable if you've had a childhood/adolescence spent with your grandparents.

Well, this doesn't quite match up to the deranged fun that M3GAN was, though it's marginally okay as just an AI-powered showcase for Megan Fox. Michele Morrone is the comparatively poor performer here, and the writing also treats him like a wastrel. This is the second collab between director SK Dale and Megan Fox, and it almost feels like the former is seriously pitching for a Foxy comeback of sorts. There's only so much one can extract from the "AI taking over our lives" plot, and therefore, this sticks to the basics. There's some good work going on in the practical effects side of things, but the storyline and its predictable path hamper it from kicking into high gear and offering pulpy highs. Also, this should've really been 1h 30m long (i.e. About 15 minutes shorter).

The film remains watchable thanks to the pairing of Tatum and Johansson, but it's too long for its own good, and the core plot adds a lot of plasticity to proceedings. In fact, Tatum and Johansson are barely given any texturing to work with, as the film is focused on selling the moon landing, the possibility of an alternate version of it, and a con woman (with a good heart, mind you) working at NASA all at once. It never needed to be a space thriller, a workplace romance, and a conspiracy drama (albeit in a humourous way) altogether. The romance had to take all the weightage here, with everything else paving the way for it. Tatum and Johansson also don't go out of their way to make us care, but we always know there'll be a happy ending. Woody Harrelson, as much as I like the actor, felt needless here. Great production design work-that's what keeps this boat afloat.

Elizabeth Banks makes for a dazzling skincare specialist in a middling thriller with an interesting setup. The biggest letdown is the predictability factor-the screenplay follows the same route that thriller audiences can see coming twelve miles away. I like how the film is set in 2013, right before social media took everyone's lives by storm. I think the film works in totality owing to Banks' presence. Music video director Austin Peters' effort certainly showcases some debutant snags, but those don't really affect the overall viewing experience. In its favour, the film is fairly fast-paced and just 1h 35m long-so you'll be in and out of it in roughly no time.

P. S. Now, when do we get a body horror flick with the same title by Brandon Cronenberg?

Things I loved about Didi:

• The way writer-director Sean Wang brings to life these immigrant characters longing for an identity of their own, in a distant land.

• Joan Chen's performance is hard-hitting. Hers is the most believable, easy-to-relate character in the entire film, even when she ain't the protagonist.

• The early days of social media is portrayed with a lot of honesty, as is the generation that grew up alongside it (RIP my skateboard!).

• This somehow feels like the prequel to Bo Burnham's Eighth Grade but with the immigrant angle adding more unique layers.

• The second-hand embarassments, the apprehensions, the transitioning friendships that the protagonist Chris (Izaac Wang) goes through, as a teenager in the late 2000s, are depicted with pinpoint accuracy and storytelling sincerity.

• Each subplot has rather interesting payoffs-Chris' infatuation with Madi, his mother's aspirations, the constant sibling rivalry at home, the time spent with the skateboard gang, all of it.

Netflix enters the play-it-safe territory of raunchy teen comedies and makes a mildly entertaining, mostly generic entry that'll be trending for a while before it's wholly forgotten. Mason Thames will be seen more often in films after this, though I'm unsure if the same remark applies to the rest of the cast. There's something about Thames that fits him seamlessly into the naive, vulnerable teenager roles and that's what makes parts of Incoming work, even with its overdose of Gen-Z tropes. There are callbacks to the likes of Project X, Superbad, and more, because.. who can stop Netflix from generously borrowing ideas from everyone's favorites?

Trap suffers from the same issues as most of M. Night Shyamalan's recent movies-horrible dialogue, a one-liner that sounds very exciting but lacks the intrigue when stretched, copious amounts of plot armour, and oh, here's a new entry into the list: blantant promotion of his daughter's musical career. The film is competently made, given its wacky premise-Josh Hartnett fires on all cylinders, oscillating between a doting dad and a heartless psychopath. That's not the case with everyone in the cast, however. The plot conveniences feel aplenty, just for the leads to stay constantly on the move. Like in other Shyamalan flicks, the first act is solidly laid out. It's only when the writing becomes loose and the thrills start piling up that it all feels janky.

There's no question of Trap being less engaging, even with subpar performances (except for Hartnett) and weirdly written dialogue. I also don't get the crowd behaviour during the concert-if I were to see a swarm of cops lining up at a concert venue, it definitely raises the alarm for me-also, did I see 100s of people simply walking around the venue buying tees and stuff when the supposed popstar was performing her "greatest hits"? Shyamalan needs to attend more concerts, maybe? Also, the severe lack of suspense fairly ruined what felt like an interesting start.

After watching Greedy People, it feels like the kind of film that made you believe there was more in store, from its pulpy premise. The keyword here is "made you believe." Unfortunately, the promise ends at being thoroughly engaging and not much else. You already know from Act One that none of the characters are likeable, trustworthy-and that would've been totally fine if it were only meant to be a harmless comedy. The film gets darker with each passing scene, and the humour basically transitions into a standard thrill-fest. Joseph Gordon-Levitt puts in a good show, and so does Lily James (did anyone else notice how she ate from the same spoon she fed her dog with?). The rest are functional, playing their respective roles without going overboard-it was still hard to buy into Himesh Patel as a cop.

I really wanted to believe there was more to one particular angle (revealing it would be spoiler-ish) about "respecting borders." That had the potential to really up the comedy quotient, yet it's not even explored. The ending also feels rushed (i.e. For a 1h 52m flick), with a resolution that just doesn't hold a lot of weight. There are a lot of coincidental happenings in the third act, making the plot threads easier to tie up sans emotional heft. A film like this needs the deep, character-driven approach (which it tries to some extent)-where one bad decision really wears down the leads. Not a bad film by any measure, though you'd wish there was better detailing to the key characters.

Nag Ashwin definitely had a vision. No matter how inspired the worlds, the costumes, and the characters look, there's style and flair in the conception and execution-maybe, a tad too inspired from whatever we've seen as audiences growing up. Being marketed a pan-Indian film from the get-go with such a humoungous cast, the element of religion and mythology was always going to play a big part - the question was only going to be "how big". I frankly did NOT enjoy Prabhas' parts in the first half - they either seemed to Telugu-cinema-esque for my tastes, or maybe, I just don't find Prabhas carrying that seamlessly starry aura the way many others do. The scenes meant to elevate him end up looking tepid, and he's also given the anti-hero packaging-why do that to a performer who's already not-so-easy to like?

Bachchan, on the other hand, is perfect fit. His looks, demeanor, dialogue delivery - everything about him and his presence simply lights up the screen. Him playing the character of Ashwatthama is what I'd call a masterstroke. Kamal Haasan plays the chief (Thanos-like) antagonist, and aces the look (bound to make everyone in the room go DAYUMMM!), though his actual strengths remain to be seen in sequels. Saswata Chatterjee is the namesake villain in this one, simultaneously serving as an expository storytelling tool. The ladies-Deepika Padukone, Shobana, Disha Patani, and Anna Ben-luckily aren't given the sidelining treatment (well, except for Disha, and rightfully so). Having seen Deepika handle guns and fists well in Bollywood recently, her being relegated to a mostly quiet mom-to-be was a refreshing change. Shobana plays the second-most-meaty female role, and as expected, does remarkably well. Anna Ben also gets a nice little action block, which in fact, is more impactful than Prabhas' introductory set piece.

Large chunks of the first half can easily be chopped off and the storytelling would remain unaffected. All of it features Prabhas' Bhairava, and his boring rants about the Complex. Also, Shambhala quite literally was Desi Wakanda; there at least could've been more personality to the place. Nag Ashwin did some heavy scavenging off Star Wars, Mad Max, Avengers, Dune, and more such popular franchises, and lucky for him, his technical team (especially visual effects) did not let him down. Some VFX work does look off (like Bachchan's de-aged face during the Kurukshetra portions, for instance), though those weren't constantly distracting.

SaNa's score lacks his signature this time around-I'm guessing he was asked not to add anything 'rock'-which is his forte, let's be real. The sequel can turn out to be a lot better, since there are promises of a certain kind of showdown, but then it'll again depend on how much "Bhairava & Bujji" BS we'll be subjected to, along the way. I hope Nag Ashwin spends more time working on the dialogues this time around, with fewer attempts at cringy humour. The cameos didn't do much for me.

My initial thoughts after viewing:

• The interrogation scene featuring Cage and Monroe is masterfully written, performed, shot, and edited. It'll give me the creeps for days.

• This has more of a psychological horror approach (the kind that gets under your skin slowly) than the conventional serial killer investigation flick.

• There are a lot of allusions for the ones ardently looking out for them. The mention of several "white houses", pictures of Bill Clinton and Nixon, the sudden hissing of a cat, and other Satanic implications all could mean more than just attributing to timelines and events.

• Towards the end, I wish there was more to the investigative side of the film than the occult side, as the moment one major clue was revealed, it resulted in a rushed breakthrough. Thereafter, things get dark pretty quick.

• Watching the film in a dimly-lit setting (under yellow light) can enhance the viewing experience. This is strictly a personal opinion.

• I have a tonne of questions. How did Harker become an FBI officer? Did her psychic powers play a role in solving any earlier cases? When exactly did they activate? Is Longlegs a supernatural being?

• The greatest takeaway here is Neon's marketing campaign. Read about it if you haven't already.

Action-gangster-dramas tend to follow a pattern of origins-rise-conflict-resolution, and Raayan is no different. It, in fact, has a fantastic first half. There is style oozing in every frame, and Dhanush the director takes precedence here, over the writer and performer. Some interesting-yet-familiar conflicts are established, and it gave off the feeling that the Dhanush the writer may at least have a few tricks up his sleeve in the second half (this is such an Indian movie thing - the whole first-half second-half breakdown, i.e.). But then, the writing is really loose; twists happen for the sake of twists - nothing much makes sense. The style quotient still remains on the higher side - the music (Rahman in GOAT mode), the edits (GK Prasanna), and the cinematography (Om Prakash) are top notch. I strongly believe Dhanush benefited from working with his regular collaborators, and that's visible in the film's audio-visual output.

Dushara Vijayan gets a meaty role and she even gets a fantastic set piece in the second half. However, the writing of almost every character (except the protagonist) is two-dimensional, and this includes the primary antagonist played by SJ Suryah. He brings in the eccentric mannerisms (that we didn't get to see in Indian 2), but the writing doesn't elevate him to a major threat. The metaphor of a wolf in the jungle is used to good effect, though I like to believe some Selvaraghavan interventions in the script could've helped. The brothers, played by Kalidas and Sundeep, are also well portrayed, even when their parts are badly written in the second half. Overall, it's still a fine effort from D, the director.