Latest news with #Mardaani2
Time of India
2 days ago
- Entertainment
- Time of India
Birangana Season 1 Review: A roller-coaster ride in a world of trauma, horror and thrills
After Shikarpur and Dainee, Nirjhar Mitra returns to the darker corners of the Bengali crime thriller genre with Birangana. This time, the story centers on sub-inspector Chitra (Sandipta Sen), a sharp but emotionally scarred police officer. She begins to connect the dots between a series of eerily similar 'suicides' that she suspects are actually murders. As her instincts prove correct, Chitra is given greater responsibility – only to realise that the killer is not just clever but always one step ahead. The show skillfully balances procedural elements with psychological depth. The pace is brisk, with most episodes ending on just the right note of tension. The musical score, featuring iconic tracks from the 2010s, adds unexpected emotional weight – at times delivering a nostalgic jolt. Rearranged songs from Jeet Gannguli and Anupam Roy's golden eras serve as thematic devices and mood-setters, enhancing the narrative rather than distracting from it. Viewers may even find themselves eagerly anticipating which song will play next. Visually, Birangana makes a strong impression. It features generous use of drone shots, high-angle frames, meticulously designed sets, and stylized lighting. While some murder scenes verge on theatricality, this approach highlights the cruelty of the acts. Sandipta Sen anchors the show's emotional core. As Chitra, she skillfully portrays the journey of a woman who starts off isolated and mistrusted at work, gradually earning the respect of her colleagues. One particularly memorable scene – where she's half-laughing, half-crying – lingers in the mind, capturing both the trauma she carries and the warmth of relief when someone finally stands by her. Her emotional moments hit the mark, though her action sequences could benefit from more refinement. Niranjan Mondal as Chirayu commands attention, often stealing scenes with his volatile mix of menace and wit. A standout interrogation scene crackles with unspoken tension. Anirban Bhattacharjee's Boral embodies the 'bad cop' archetype effectively, while Prateek Dutta offers a grounded counterbalance – initially judging Chitra but gradually building trust and respect. While the plot echoes elements from recent thrillers like Mardaani 2, Stree, and even Stree 2 – particularly in the villain's psychology and motives – Birangana keeps the suspense fresh through tight writing, emotional layering, and steady pacing. It's a stylish, emotionally anchored crime series that goes beyond shock value, inviting viewers to care deeply about its protagonists and their struggles – and you just might find yourself doing exactly that.
NDTV
4 days ago
- Entertainment
- NDTV
Mandala Murders Review: A Slow-Burn Thriller That Burns Itself Out
New Delhi: Every time a new show drops with words like "mandala," "sacrifice," and "secret cult" thrown into the mix, you expect either a transcendental mind-bender or a beautifully shot mess. Netflix's Mandala Murders, created by Mardaani 2 director Gopi Puthran, flirts dangerously with both. It's like the show is standing at a crossroads, one path leads to a gripping genre-bending thriller, the other to a rabbit hole of overwrought philosophy. What we end up getting is an ambitious but flawed hybrid: one part crime procedural, one part occult noir, and one part fever dream stitched together with blood, dust and a dash of half-baked particle physics. Set in the fictional town of Charandaspur, Mandala Murders opens with a crime straight out of a horror folktale, a decapitated body bobbing gently in a village pond, setting off a string of ritualistic killings that pull us across decades, from post-Independence India to a particularly sinister present. The crimes, drenched in gore and carried out with methodical precision, are linked to a secretive cult from the 1950s called Ayastha Mandala. These spiritual radicals believe in a dark god named Yast, who demands death in return for fulfilled wishes. But this isn't just a whodunit, it's a sprawling eight-episode saga where no timeline is sacred, no backstory too bizarre, and no metaphor left unexplored. Enter Vikram Singh (Vaibhav Raj Gupta), a suspended Delhi Police officer with a haunted past and a stoic frown that rarely leaves his face. Vikram, who returns to his hometown after years, becomes an unlikely partner to Rea Thomas (Vaani Kapoor), a sharp but emotionally brittle CIB officer, who arrives in Charandaspur to untangle the growing pattern of grisly murders. Rea, grappling with unresolved trauma, finds herself not just chasing a killer, but a legacy of violence rooted deep in the town's psyche. Also lurking in this shadowy world are Ananya (Surveen Chawla), a power-hungry local politician with a veiled history, a machine that grants wishes but demands thumbs in return, a priest who seems to know more than he lets on and a psychic who communes with shadows. Despite the promise of this universe, the series never quite manages to find tonal harmony. Visually, there's no denying the atmospheric strength. The dusty alleys, foreboding forests, and antique books bound in secrets set the stage for something uniquely Indian and myth-soaked. There's ambition in the detailing, from the eerily sterile interiors of the cult's hidden sanctum to the bruised colours of flashback sequences that ground the show's historical elements. Even the cinematography attempts to keep you on edge, and it works until the writing stretches itself too thin. With each episode, Mandala Murders tries to weave together a vast narrative tapestry: trauma, caste, patriarchy, systemic decay, spiritual longing, and scientific ambition all make their way into the plot. But what begins as layered storytelling soon becomes convoluted. The show often gets tangled in its own timeline-switching structure, leading to stretches where tension gives way to confusion. Characters are introduced with intrigue, but then fade without resolution or significance. Motivations are hinted at, but not explored with enough depth. By the time you find your bearings in one thread, the show has already jumped to another. That said, Vaibhav Raj Gupta brings an impressive stillness to Vikram. His performance anchors the series whenever it threatens to spiral. Vaani Kapoor, making her OTT debut with this series, is a mixed bag. While she manages restraint and looks the part of a cop with quiet fury, the emotional beats often feel undercooked. She excels more in her brief double role as physicist Nandini, a character that bizarrely appears as part of a narrative twist, than as Rea, who remains slightly too aloof to connect with fully. Surveen Chawla gives Ananya a simmering tension, but her arc is left hanging just when it starts getting interesting. The biggest problem Mandala Murders faces is not in its ambition, but in its inability to control it. The series aims for profundity, using the mandala as a symbol of order, chaos, sacrifice, and belief, but its script is so stuffed with concepts that few are given the space to breathe. And then there's the gore. The show does not shy away from body horror. Torsos without heads, heads without bodies, severed thumbs and stitched limbs are all paraded before the viewer with clinical, almost fetishistic precision. At first, it shocks. But eventually, it numbs, a symptom of overuse, not just of violence, but of style over substance. And yet, there's something about the sheer audacity of it all that holds your attention. Whether it's a politician tormented by her past, a child sucked into ritualistic bloodlust, or a machine that literally makes wishes come true (at a grotesque cost), the show throws curveballs with a conviction that's almost admirable. Some land. Others don't. But the boldness remains. In the end, Mandala Murders is less a whodunit and more a what-is-happening. It builds a compelling world and then loses its way trying to make it mean too much. A shorter run, a tighter script, and fewer tangents could've turned this from a curious thriller into something truly unforgettable. As it stands, it's a fascinating mess, occasionally brilliant, often frustrating and always drenched in blood and questions.
India Today
4 days ago
- Entertainment
- India Today
Mandala Murders Review: An ambitious thriller that dares to dig deep, but loses its way
When it comes to stories rooted in India's complex history and myth-like rituals, there's always a certain intrigue. Add to that a thriller format, currently a firm favourite among audiences, and the possibilities feel endless. 'Mandala Murders', Netflix's latest Hindi original series, attempts to tap into this potential. Created by 'Mardaani 2' director Gopi Puthran, the show is a sprawling, pulpy crime drama that draws you in with its premise but doesn't quite deliver the punch it in the fictional town of Charandaspur in Uttar Pradesh, the series kicks off with a series of gruesome ritual killings dating back decades. As these murders begin to resurface in the present day, we're introduced to Rea Thomas (Vaani Kapoor), an elite CIB officer sent to investigate. Vaani, marking her OTT debut, plays a woman haunted by her past and driven by her duty. Opposite her is Vikram Singh (Vaibhav Raj Gupta), a suspended Delhi Police officer with mysterious ties to the village and its twisted begins as a classic investigative setup soon dives into darker, more philosophical territory. The murders are linked to a cult called Ayastha Mandala, which, back in the 1950s India, believed in upending the natural order by worshipping a deity named Yast - said to grant wishes in exchange for death sacrifices. As Rea and Vikram dig deeper, they not only uncover the horrifying truth about the Mandala but also find themselves entangled in it - personally, emotionally, and the show's credit, the world-building is rich. The dusty lanes of Charandaspur, the dense eeriness of Varuna's jungle, and the dark visual tone help establish the mood effectively. The cinematography captures the haunting stillness of the UP-based town, and muted chaos with finesse. The background score, while serviceable, doesn't leave a strong impression, though it complements the suspense Kapoor, stepping into long-format storytelling for the first time, delivers a performance that's sincere but not always convincing. While she manages to bring a sense of quiet restraint to Rea Thomas, there are moments where her emotional graph feels slightly disconnected - especially in scenes that demand vulnerability or raw intensity. That said, the effort is commendable, and she holds her ground in a world that's far removed from the glossy terrain of her previous roles. On the other hand, it's Vaibhav Raj Gupta who subtly shoulders much of the series. His portrayal of Vikram, a man battling internal demons while trying to piece together external horrors, adds emotional weight to the narrative. Surveen Chawla, playing a political figure with a veiled past and an intricate connection to Vikram, brings layered energy to her screen time, even if her arc remains slightly under-explored. Shriya Pilgaonkar appears in a key role, mostly in flashbacks, and adds intrigue to the the trailer of the show here: One of 'Mandala Murders' most ambitious choices is its attempt to blend Indian mythology, socio-political commentary, and crime fiction into a cohesive story. It tries to comment on caste, patriarchy, trauma, and systemic apathy - all under the umbrella of a whodunit thriller. However, that's also where it falters. The show has too many threads, and while some are pulled effectively, others remain hanging or meander into pacing, for the most part, is decent. The initial few episodes are gripping enough to make you hit "next episode" without hesitation. But as the series progresses, it starts to feel both overwhelming and underwhelming - overwhelming in its ambition, underwhelming in its payoff. There's a point in the middle where the mystery becomes too tangled for its own good, and by the time it untangles, it feels slightly the show leans heavily into the metaphorical. The 'Mandala' isn't just a ritual system - it becomes a symbol of chaos, control, and belief. But in trying to elevate the narrative to this near-mythic plane, it sometimes loses sight of basic storytelling clarity. There are moments where the plot feels muddled, and viewers might find themselves zoning out, waiting for it to regain jarring contrast is the blending of fantasy with science. While the ritualistic elements draw from historical imagination, their overlap with modern science and conspiracy theories feels somewhat unconvincing. This genre-blending could have been brilliant, but here it feels a tad mismatched - like two puzzle pieces that almost fit, but not 'Mandala Murders' isn't a lost cause. For those who enjoy slow-burn thrillers with rich atmospheres, a touch of occult mystery, and layered characters, it offers a decent one-time watch. The final few episodes attempt to bring everything full circle, but there's a noticeable dip in emotional and narrative payoff. One may walk away intrigued, but also a little disappointed.- Ends3 stars out of 5 for 'Mandala Murders'
India Today
5 days ago
- Entertainment
- India Today
Shaan Grover on ‘Mahesh Dalle' memes after Saiyaara: Was initially disturbed
While Ahaan Panday and Aneet Padda are enjoying all the adulation and love from fans for 'Saiyaara', the bad boy from the film, Shaan Grover, who plays Mahesh, is equally in the limelight for various reasons. While on one hand, he's been trolled for playing the evil man leaving his fiance on the altar, many have also appreciated him for his strong performance. Speaking exclusively to India Today, Shaan opened up about fans' reaction to his character, especially the 'Mahesh Dalle' memes doing rounds. Grover, who was going through a lull phase in his career, spoke about how he was waiting for months for the film's release. Stating that he wasn't getting much work, he was hoping that life would change after the film. 'I am telling you very honestly, I had faith. Though yes, given that the film is about Ahaan and Aneet, I didn't know that people would give me so much love. Every time I log into social media, I see one reel about me. Even though it's about them hating my character, there's so much love that's pouring in,' he said. The actor further revealed that most of the criticism has come from men, while women have been more understanding. He admitted that he initially felt worried and scared, but over time, everything settled down. Elaborating on the emotions and the 'Mahesh Dalle' memes, Shaan said, 'I'll be honest. I was a little disturbed and shocked in the beginning. I was scared that I would get stereotyped as a villain. This is my first film and my first time getting a little popularity. So I didn't want to be known as the bad boy, which could hamper my future projects. But everyone is thankfully enjoying my work; they are saying that I did a good job.' 'However, it's also funny that men are hating me, questioning why I left Vaani in the film. They're holding me accountable as if she were their sister. I think fans are smart enough to understand that it's all about marketing and publicity. Today, they are calling me Mahesh Dalle, tomorrow, it might be something else, maybe charming Rohan or loving Raj. I am enjoying all the memes and chatter on social media, for sure,' Shaan laughed to say. Discussing further about how he bagged the project, the actor said that YRF casting director Shaano Sharma saw some of his videos on social media and reached out to him. "I always thank her for spotting me. Imagine someone who found Ranveer Singh, spotted Ahaan Panday, and me. Since 2015, I have been in awe of her. She wanted to launch me and asked me to just stick around for a year. I would spend days with her, and even auditioned for other projects. I remember auditioning for Mardaani 2 also, but they wanted someone slightly less urban for the part. And finally, this happened." On a final note, Shaan Grover spoke about romance in today's time, sharing that he's absolutely against people like Mahesh, who can break their partner's hearts. "This is why I was struggling to get into the psyche of Mahesh. I am a Shah Rukh Khan fan, so I love romance, and see love in everything. I also regard love in a very high regard. I was in a long relationship with a woman who broke up with me. Ever since I have been single, because I haven't found that kind of love. I really wanted it to be with her, but I do believe in destiny, so let's see what's in store," the actor added. In six days, 'Saiyaara', directed by Mohit Suri, has already earned more than Rs 150 crore. - Ends
Canada News.Net
5 days ago
- Entertainment
- Canada News.Net
Such opportunities come rarely in an actor's life: Vishal Jethwa on 'Homebound' success, Bollywood journey
New Delhi [India], July 24 (ANI): Neeraj Ghaywan's 'Homebound' saw the emergence of actor Vishal Jethwa, who gained popularity through his brief yet impactful roles in the television industry. After the breakout success of his latest project 'Homebound', the actor opened up on his journey, fame and future in the Bollywood industry. Vishal began his career with a memorable role as a young Akbar in the television historical period drama series 'Bharat Ka Veer Putra - Maharana Pratap'. His portrayal of Emperor Akbar was widely acclaimed by both the audience and critics. However, a breakthrough role was much-awaited by the actor in the entertainment industry. With such ambition in heart, Vishal Jethwa stepped on the pedal of fame after he landed a negative role in Rani Mukerji's 'Mardaani 2'. He played the role of a serial killer who appeared to be a little unhinged when basic human emotions were considered. Vishal's acting skills in the movie shocked cinemagoers in 2019. He captured the attention of viewers, who soon became his fans. However, the film was led by the superstar Rani Mukerji, who is no less than a superstar herself. Though this film became a domestic hit, the global fame for the actor was yet to come, as his performance was reportedly overshadowed by superstar Rani Mukerji's powerful portrayal of a cop. After brief roles in movies like 'Tiger 3' and 'IB71', the actor landed a role in Neeraj Ghaywan's 'Homebound' movie, which served as the perfect opportunity for the actor to showcase his work on global platforms after it was nominated in the Un Certain Regard award category at the 2025 Cannes Film Festival. 'Homebound' also received a nine-minute-long standing ovation at the Cannes Film Festival 2025. While talking to ANI, Vishal described the breakout success of 'Homebound' and receiving global fame as one of the 'rare opportunities' in an actor's life. 'I don't know what to expect now I do not expect also a lot from anything these days I just hope that whatever things are coming in front of me, I should enjoy it as much as possible and experience it as much as possible because all this is happening for the first time in my life and such opportunity comes very rarely in every actor's life,' said Vishal Jethwa. The actor further discussed savouring the moment. Vishal doesn't believe in rushing his decisions and has no plans or strategy in place following his breakout success in his career. 'I want to take everything one step at a time, and I want to go there and see what is happening. It's not like that now that I have gone to Cannes, so I have set a benchmark and won't do anything below that. I don't have a lot of planning. I don't have a lot of strategy in my mind. I just want to enjoy it as it is,' added Vishal Jethwa. The prime motive of Vishal to enter the entertainment industry was to achieve fame. The actor admitted that initially, he thought that it was an impossible dream of his life due to the struggle in the film industry. Cannes came out of the syllabus for him, in a good way. 'All this is a bonus. My one target was to become a little popular. I wanted to be recognised by 5-6 people out of 10, and at that time I thought it was impossible. I thought it was very difficult, and for me it was impossible to perform on television. I tried many times, but I never thought that such things would happen in my life. I never thought that I would go to Cannes,' said Vishal Jethwa. Vishal Jethwa has been nominated for the Best Actor Award at the Indian Film Festival of Melbourne, along with the film being nominated to be screened there. The Film Festival is set to take place from August 14. The film will also be screened at the 2025 Toronto International Film Festival. (ANI)
