Author: Staff Reporter

In Raid 2, Ajay Devgn returns as Amey, a no-nonsense and upright officer now stationed in Bhoj, Rajasthan. This time, his battle is against a man who is worshipped like a demi-god—Dada Bhai, whose real name is Manohar Sarang, portrayed compellingly by Riteish Deshmukh. Dada Bhai has built a mass following, thanks to his modest beginnings as a cobbler and his tireless work for the welfare of the underprivileged. Riding on this goodwill, he wins an election and starts a Foundation that not only aids the common man but also gives them job opportunities and dignity through work.

What elevates Dada Bhai’s appeal even more is his reverence for his mother, Amma, played by Supriya Pathak Kapur. His devotion to her is profound—“worshipping whose feet are more important than any deity for him.” This bond cements his image as a man of virtue in the public eye, making it difficult for anyone to even consider questioning his intentions or actions.

Amey’s support team includes Geeta, portrayed by Shruti Pandey, who has long admired him. His team is fully loyal, committed to his cause and leadership. However, Amey soon begins to notice troubling signs suggesting that Dada Bhai is far from the saintly figure he appears to be. Determined to expose the truth, Amey embarks on a mission to bring him down. But this is no easy feat. The odds are stacked against him—not only does Dada Bhai have the unwavering support of the public, but Amma herself refuses to accept the possibility of her son doing any wrong.

Amey’s task becomes even more difficult when a raid he leads fails to uncover any incriminating evidence. As a result, he is suspended, and his replacement, Lallan, played by Amit Sial, is clearly more accommodating to Dada Bhai’s financial “negotiations.” Yet, Amey does not back down. Despite the suspension, his perseverance leads to significant breakthroughs. His wife, portrayed by Vaani Kapoor, becomes a vital player in these developments, providing support and stepping in when it matters most. Her involvement proves crucial in the unraveling of Dada Bhai’s carefully curated image.

The climax of the film is both powerful and believable, offering a fitting resolution to the story. It confirms that Amey’s unwavering commitment to justice ultimately pays off and that integrity can triumph, even when the system seems rigged.

Director and co-writer Raj Kumar Gupta shows considerable growth since the original Raid. He embraces a more grounded approach to commercial cinema, blending realism with mass appeal. One item number, Nasha, featuring Tamannaah Bhatia, is smartly woven into the narrative and doesn’t feel out of place. Meanwhile, the energetic Money Money is creatively used during the end credits. The script, written by Gupta along with Ritesh Shah (who also worked on the first film), Jaideep Yadav, Karan Vyas, and Akshat Tiwari, is sharp, suspenseful, and filled with unexpected turns. Throughout its 139-minute runtime, there is not a single dull moment.

Though the family scenes in the movie are limited and somewhat predictable, they add a natural layer to the story. The characters are well-developed and resonate with authenticity. One particularly engaging subplot involves Tauji, played by Saurabh Shukla, Amey’s earlier adversary from Raid (2018). Still imprisoned after Amey’s earlier crackdown on him, Tauji watches Amey’s latest mission with reluctant respect and a sense of amusement. His character adds depth to the narrative and ties the sequel back to the original film in a meaningful way.

Performances across the board are robust and elevate the film. Ajay Devgn is superb as Amey. His expressions convey volumes, and his powerful delivery anchors the film. However, there are a few moments where his diction slips into a gruff tone that can be hard to hear clearly. Vaani Kapoor fits seamlessly into the role of Malini. She embodies the character’s blend of ardency and compassion, and her portrayal arguably surpasses the actress who played the role in the original film. “She looks more like the character she is supposed to be: ardent and yet caring.”

Riteish Deshmukh is exceptional as Dada Bhai. His performance is commanding, adding credibility to a character who walks a fine line between public hero and manipulative fraud. His previous portrayals of grey and negative characters have been impressive, and this role continues that trend. Supriya Pathak Kapur as Amma brings gravitas and warmth to her role, while Amit Sial’s portrayal of the easily corruptible Lallan is both convincing and infuriating. Saurabh Shukla is once again brilliant as Tauji, maintaining his unique balance of menace and humor.

Shruti Pandey brings energy and depth to the role of Geeta, and the chubby member of Amey’s team adds an extra touch of charm and credibility to the group dynamics. Among the experienced cast, Rajat Kapoor plays Amey’s boss with quiet authority, Govind Namdeo is effective as the man approached for a bribe, and Brijendra Kala and Mukesh Tiwari shine in their smaller but impactful roles.

Technically, the film is top-tier. Sudhir K. Chaudhary’s cinematography captures the mood and tension beautifully, adding texture and polish to the storytelling. The background score by Amit Trivedi enhances the overall tone and elevates key moments with precision.

In a rare case for sequels, Raid 2 not only lives up to its predecessor but surpasses it in many respects. The narrative is more layered, the stakes higher, and the execution more mature. The direction, writing, performances, and technical craftsmanship come together to deliver a gripping and satisfying cinematic experience.

Raid 2 is a film that grips from start to finish, combining suspense, drama, and a hard-hitting message about corruption and justice. For those who enjoyed the first installment, this one is even better. And for new viewers, it stands strong on its own as a high-stakes thriller that never loses its emotional core.

“This one’s not to be missed.”

**Rating: **1/2

T-Series Films’ and Panorama Studios’ Raid 2

Produced by: Bhushan Kumar, Krishan Kumar, Kumar Mangat Pathak & Abhishek Pathak

Directed by: Raj Kumar Gupta

Written by: Ritesh Shah, Raj Kumar Gupta, Jaideep Yadav, Karan Vyas & Akshat Tiwari

Music: Amit Trivedi, White Noise Collective (Sachin-Jigar), Yo Yo Honey Singh, Rochak Kohli (with Nusrat Fateh Ali Khan) & Sachet-Parampara, with original songs by Laxmikant-Pyarelal and Bappi Lahiri

Starring: Ajay Devgn, Riteish Deshmukh, Vaani Kapoor, Amit Sial, Saurabh Shukla, Supriya Pathak Kapur, Rajat Kapur, Brijendra Kala, Shruti Pandey, Mukesh Tiwari, Govind Namdeo

Special Appearances: Yo Yo Honey Singh, Jacqueline Fernandez, Tamannaah Bhatia

Deepika Padukone recently opened up about her debut in the Hindi film industry and revealed that she never experienced the feeling of being an outsider, largely due to the support she received from director Farah Khan. She made these comments at the WAVES 2025 event held in Mumbai, where she joined superstar Shah Rukh Khan in a session titled The Journey, moderated by filmmaker Karan Johar.

During the session, Karan Johar brought up the ongoing debate about insiders versus outsiders in Bollywood, a topic that continues to spark discussions within the industry and among fans. When asked for her thoughts on the matter, Deepika reflected on her own experience entering Bollywood back in 2007 with the film Om Shanti Om, which was directed by Farah Khan and starred Shah Rukh Khan.

“These are terms that we seem to be discussing now, insider-outsider,” Deepika said. “When I began, it was just a new world. I was a 16-17 year old girl, came from Bangalore, and Farah Khan showed interest in casting me in a movie.”

At the time, Deepika was transitioning between Bangalore and Mumbai and was relatively new to the film world, having built a name for herself as a successful model. She recalled her early interactions with Farah Khan, including a key audition and a memorable meeting.

“She did an audition. I remember doing a meeting with her once. She said, I wanted to meet Shah Rukh once. He was shooting for Chakde in Australia at the time. She said once he’s back, we’ll do a meeting. That was it,” Deepika shared.

According to Deepika, her career in Bollywood began quite naturally. She didn’t overthink her entry into films or view it through the lens of being an outsider breaking into a closed industry. Instead, she focused on the work and let her passion and determination guide her path.

“For me, it just happened because I was a model before that. They’d seen some of my work. But I never felt like I was an outsider trying to make my place in a new industry. I had the dedication, I had the passion, I had the determination, the hard work. Those were the things in my control. And those were the things that I applied to what I was passionate about,” she said.

Her debut in Om Shanti Om turned out to be a massive success, instantly making her a household name across India. The film was not only a box-office hit but also marked the beginning of one of the most successful acting careers in modern Hindi cinema. Deepika’s performance received critical acclaim, and she has since gone on to become one of the most respected and versatile actors in the industry.

Shah Rukh Khan, who co-starred with Deepika in the film and played a pivotal role in her introduction to Bollywood audiences, also participated in the session and shared his own perspective on entering the film industry. Like Deepika, Shah Rukh did not come from a film family and had to carve his own path in the entertainment world.

He spoke candidly about his early days in Mumbai and how he viewed the film industry not as something to infiltrate, but as a place where he naturally belonged.

“Jab main yahan (Mumbai) aaya tha, I never thought ki main outsider hoon iss liye main iss duniya ka hissa nahi ban sakta… I believed this is my world… Mujhe laga yeh duniya meri hai… yeh jagah meri hai,” Shah Rukh said.

This mindset, Shah Rukh implied, played a key role in helping him overcome any potential barriers or insecurities about not having connections within the film industry. His words echoed Deepika’s sentiments about focusing on what is in one’s control — hard work, belief, and determination.

Their joint appearance at the event provided a unique opportunity for fans and industry professionals to hear firsthand how two of the biggest stars in Bollywood navigated the beginning of their careers without industry backing. Both emphasized how their outlook and dedication shaped their journeys, rather than focusing on whether they were insiders or outsiders.

While the insider-outsider debate remains a topic of frequent discussion in Bollywood, especially following controversies in recent years, Deepika and Shah Rukh’s comments offered a refreshing perspective. Rather than blaming or critiquing the system, they highlighted the importance of personal drive and the support of mentors who believed in their potential.

Farah Khan, who played a pivotal role in launching Deepika’s film career, was praised indirectly through Deepika’s words. By showing confidence in a young model with no film experience, Farah not only broke conventional casting norms but also gave Bollywood one of its most beloved leading ladies.

Deepika’s experience stands out in the current climate where many newcomers voice concerns about being sidelined due to lack of connections. Her story reflects that sometimes, the right opportunities combined with hard work and belief in oneself can lead to extraordinary outcomes.

It’s also worth noting that her collaboration with Shah Rukh Khan didn’t end with Om Shanti Om. The two have worked together in several hit films since then, creating a successful on-screen partnership that audiences continue to admire. Their mutual respect and shared beginnings as outsiders-turned-insiders have become a defining part of their journeys in Bollywood.

Their appearance at WAVES 2025 wasn’t just a nostalgic look back at their debut days. It also served as an inspiring moment for aspiring actors and artists who might be uncertain about entering the film industry without backing. By sharing their stories, both Deepika and Shah Rukh reinforced the idea that Bollywood, while competitive and at times insular, can still be a place of opportunity for those who are persistent, passionate, and prepared.

Deepika’s candid reflection and Shah Rukh’s optimistic philosophy both pointed toward a central message: one’s background doesn’t have to dictate one’s future in Bollywood. What truly matters is what you bring to the table — your work ethic, your passion, and your belief that you belong.

Their conversation with Karan Johar at WAVES 2025 added a meaningful chapter to the insider-outsider debate, not by taking sides, but by offering real-life experiences that show how success can emerge from authenticity, effort, and the right guidance.

Set in the serene hill town of Ranni in Pathanamthitta, Thudarum tells the deeply personal and moving story of Shanmugham, endearingly known as “Benz.” He is a humble taxi driver whose most treasured possession is his vintage Mark-I Ambassador car. His quiet and simple life takes a sharp turn when corrupt police officers unjustly seize his beloved car under fabricated drug charges. What follows is an emotional and determined battle by Shanmugham to reclaim his dignity and seek justice in a world that seems increasingly indifferent.

Director Tharun Moorthy brings this poignant story to life in Thudarum, skillfully weaving together elements of personal hardship with a broader social message. The film centers on the strength and resilience of an ordinary man who refuses to back down when wronged. Through Shanmugham’s struggle, Moorthy reflects on the larger flaws within the system while staying grounded in the emotional truth of one individual’s journey. His storytelling touches on themes that are both deeply personal and widely relatable.

The film begins on a gentle, even playful note, marked by a series of nostalgic references to Mohanlal’s earlier films and subtle nods to his iconic public image. These moments are never overwhelming and are handled with a light touch, ensuring that the integrity of Shanmugham’s character remains intact. This initial lightheartedness gives the audience space to connect with the protagonist, making his later challenges feel all the more real. The pacing is measured and, at times, slow — which allows the characters to breathe and the story to develop organically, though it occasionally tests the viewer’s patience.

For the attentive audience, early scenes plant clues that slowly unravel the larger mystery. However, due to the film’s understated approach, certain elements of the plot may appear less fleshed out than others. The story takes a sharper turn with the arrival of SI Benny, played by Binu Pappu, and CI George Mathan, portrayed by Prakash Varma. With their entry, the narrative shifts into thriller territory, as the tension starts to build steadily with each passing scene.

Mohanlal delivers a remarkable and heartfelt performance as Shanmugham. He embodies the character with genuine emotion and quiet strength, transforming him from a victim into a symbol of resistance. His talent is most visible in the subtleties — a quiet sigh, a hesitant glance, or a thoughtful pause speaks volumes. While some may be tempted to compare this role to his past performances in Bhramaram or Drishyam, Shanmugham stands apart. As a character, he brings something fresh and uniquely understated to Mohanlal’s filmography. The actor still delivers a few crowd-pleasing moments that feel entirely earned and never forced. As the review rightly notes, “Mohanlal’s mastery lies in his ability to convey entire emotional arcs through the simplest of gestures — a sigh, a glance, a pause.”

The return of Shobana to the big screen after over a decade is another high point. She plays Lalitha, Shanmugham’s wife, and her performance is both grounded and compelling. The chemistry between Mohanlal and Shobana brings warmth and authenticity to their relationship, making it easy for the audience to invest emotionally in their shared journey. Their scenes together have a lived-in feel, adding depth to the film’s emotional core.

The supporting cast also delivers consistently strong performances. Prakash Varma, in his debut as CI George Mathan, creates a striking antagonist — a mix of intimidation and manipulation. His portrayal anchors the film’s conflict with a sense of real danger. “Prakash Varma plays CI George Mathan with a compelling mix of menace and calculation,” notes the original review. Binu Pappu as SI Benny adds another layer of intensity, contributing significantly to the film’s suspenseful edge.

Younger actors such as Farhaan Faasil, Thomas Mathew, and Aarsha Baiju help round out the ensemble, each playing their part in the unfolding drama. Additionally, the film features a handful of clever cameos — some that advance the plot and at least one that acts as a playful misdirect for viewers.

Visually, Thudarum is a treat. Cinematographer Shaji Kumar captures the lush, natural beauty of Kerala with finesse, creating a visual contrast between the vast, open landscapes and the psychological confinement Shanmugham experiences. The imagery not only supports the story but deepens it. Water, and specifically rain, becomes a recurring visual theme. It serves a dual purpose, symbolizing both the washing away of injustice and the emotional release that follows hardship. As the review notes, “Water, especially rain, plays a poetic central motif at different stages of the film’s narrative where it stands for both retribution and relief.”

Jakes Bejoy’s music complements the film’s tone perfectly. His score is emotive without being overbearing, elevating key moments while respecting the quiet strength of the narrative. The music subtly underscores the film’s emotional peaks, enhancing its power without distracting from it.  Jakes Bejoy’s music score is both stirring and restrained, heightening the emotional pulse of the film without ever overpowering the narrative.

Despite its many strengths, Thudarum is not without its challenges. Its pacing and dedication to subtlety may not appeal to every viewer. The film takes its time unfolding, and those expecting more traditional dramatic climaxes might feel unsatisfied. Emotional payoffs are few, and the film’s deliberate pace may cause some to lose engagement. A slightly more urgent edit, particularly in the second half, could have made the narrative more gripping overall. As the review states, “A tighter edit and slightly more urgency in the second half could have strengthened the overall impact.”

Nevertheless, Thudarum is a powerful and rewarding cinematic experience for those who appreciate slow-burning dramas with emotional depth and thematic richness. It offers a thoughtful portrait of one man’s resilience against institutional injustice, driven by love, pride, and a longing for dignity. The film stands out not only for its performances but for the authenticity of its storytelling and the grace with which it handles its subject matter.

In the end, Thudarum leaves a lasting impression. It invites the audience to sit with the quiet moments, to feel the weight of injustice, and to witness the strength of a man who simply refuses to be broken. Ultimately, Thudarum is a well-made drama that rewards viewers who appreciate slow-burn storytelling.

BOTTOM LINE No Drishyam, But Fine

RATING 2.5/5

CENSOR U/A, 2h 43m

What is the Film About?

Thudarum revolves around Shanmugam, also known as Benz, played by Mohanlal, and his family. Once a stuntman, Benz now earns a living driving an old Ambassador car. His simple life takes a turn when he travels to Chennai for the funeral of his master. While there, the local police seize his car, leading Benz to plead with the officers to release it. Whether or not Benz succeeds, and the unexpected twists that unfold during his conflict with the authorities, form the core of the story. The movie captures the tussle between an ordinary man and the system with some surprising developments along the way.

Performances

After portraying a larger-than-life role in the action-packed Empuraan, Mohanlal steps back into a grounded, lower middle-class setting. Here, he effortlessly embodies a common man with a cheerful family life. The charm, as with any Mohanlal performance, lies in the film’s world and the subtle quirks he brings to his character. His performance shines especially during fight sequences, where his past as a stuntman is reflected in the way he moves. His approach to drama and emotional scenes carries his trademark intensity. Initially, Benz is depicted as a talkative character, but as the narrative progresses, he becomes increasingly serious and quiet, with a growing sense of frustration and anger. Mohanlal portrays these transitions seamlessly, showcasing his incredible acting skills. As noted, “Mohanlal is a brilliant actor that needs no special mention,” but Thudarum offers a refreshing reminder of his depth as an actor even within a commercial setup.

Shobhana, meanwhile, brings her usual elegance to her role, despite having limited screen time. She delivers her few scenes effortlessly, proving once again that she can command attention with minimal effort, as described: “Shobhana has a few moments and she goes through them without breaking any sweat.”

Analysis

Directed by Tharun Moorty, Thudarum leans heavily into drama, incorporating action primarily towards the climax. For seasoned viewers of Malayalam cinema, the slow start and deliberate pacing of Thudarum will not be surprising. However, for those less accustomed to this style, the film’s first half may feel tedious and slow. The narrative invests a significant amount of time in world-building and introducing characters before diving into the main plot, which only gains momentum around the pre-interval and interval points. The real shift occurs with the arrival of George, whose interactions with Benz re-energize the story. Although the interval block is not particularly striking, it signals that the movie is finally picking up pace.

Post-intermission, the emotional drama blends well with the intrigue, though the suspense itself does not stay gripping for long. Still, the emotional weight, carried largely by Mohanlal’s performance, sustains the film’s momentum. As noted, “The drama, thanks to brilliant Mohanlal, works out,” even if the story itself follows familiar and predictable patterns.

George’s character introduces a refreshing element to the film, providing a strong adversary for Benz. The intense emotional confrontation between George and Benz, combined with the portrayal of cruelty in George’s character, keeps the final half-hour engaging. The action sequences sprinkled throughout the climax are well-executed, and although the ending is predictable, it delivers a satisfying conclusion.

Ultimately, as the review succinctly puts it, “Overall, Thudarum is no Drishyam. What it is is a revenge drama and it goes about it satisfactorily.” The film’s blend of emotion and action in its final hour makes it a decent, if not groundbreaking, one-time watch.

Performances by Other Actors

As is common in Malayalam cinema, Thudarum features a large ensemble cast that helps create a vivid and lived-in world. Among them, Prakash Varma stands out with a performance that nearly steals the spotlight from Mohanlal. Playing CI George, Varma impresses with his debut performance. The review states, “Prakash Varma is excellent. Leave aside the continuous grin, the evilness he brings to the role with going overboard is superb.” His dynamic with Mohanlal elevates several key scenes, adding intensity and tension that keep viewers engaged.

Music and Other Departments

Jakes Bejoy, a familiar name in Malayalam film music, composed the soundtrack and background score for Thudarum. While the songs themselves are forgettable, and even more so due to the “terrible dubbing” in Telugu, the background music does a competent job of enhancing the mood. However, there are moments when the background score overwhelms the dialogues, disrupting the viewing experience.

The cinematography captures the hilly landscapes and rainy ambiance beautifully, providing a natural and picturesque backdrop that complements the realistic tone of the film. Editing, on the other hand, could have been tighter, especially to improve pacing for non-Malayalam speaking audiences who may find the lengthy build-up taxing. The action sequences are choreographed well, adding to the movie’s emotional punch. Unfortunately, the Telugu dubbing quality detracts from the overall experience, as highlighted: “Coming to the dubbing, it’s bad in Telugu.”

Highlights

The main highlights of Thudarum include Mohanlal’s powerful performance, Prakash Varma’s excellent portrayal of CI George, the intriguing pre-interval and interval sequences, and the emotional action-packed final hour.

Drawbacks

The film’s primary drawbacks are its sluggish first half, moments of excessive lag, and a story that ultimately sticks to a “regular routine revenge drama” formula without offering major surprises.

Did I Enjoy It?

Yes

Will You Recommend It?

Yes, but only “with keeping the right expectations.”

Thudarum stands out as one of the most highly awaited Malayalam films of the year, promising audiences a Mohanlal portrayal of a common man, a refreshing shift after many larger-than-life characters he has embodied recently. Although it might sound routine, for those familiar with Mohanlal’s illustrious career, the significance of this film is immense. Rarely do viewers get to witness Mohanlal stepping into the shoes of vulnerable, ordinary characters, as he typically dominates the screen in roles of powerful crime bosses or near-invincible figures.

The collaboration between Mohanlal and director Tharun Murthy, who previously helmed successful films like Operation Java (2021) and Saudi Vellakka (2022), further heightened expectations for a cinematic offering that would be more stylistically rigorous than the superstar’s latest ventures. In this respect, Thudarum not only fulfills its promises but also presents an engaging family drama layered with suspense and emotional depth.

While the film doesn’t chart any entirely new territory, it cleverly reworks familiar family story tropes into a hybrid genre piece. In Thudarum, Mohanlal portrays Benz Shanmugham, a former stuntman who now leads a peaceful life with his family in the rural backdrop of Pathanamthitta. As a filmmaker, Tharun Murthy thrives on capturing the minutiae of everyday life. He meticulously constructs the daily rhythms of his seemingly unremarkable protagonist, with moments of transcendence subtly conveyed through Shanmugham’s small yet intimate family interactions.

Positioning Mohanlal at the heart of an ensemble narrative, Thudarum unfolds across different tonal and narrative terrains. The storyline takes a turn when a police officer complicates Shanmugham’s life by confiscating his beloved Ambassador car, an object far more valuable to him than its monetary worth. This loss sets off a series of bizarre events that disrupt his previously mundane existence, compelling him to embark on a redemptive journey.

Given the intricately woven nature of the screenplay, revealing too much would risk spoiling the film’s most delightful surprises. The narrative relies heavily on the audience’s understanding of Shanmugham’s softer, more human side, which makes the sudden transformation in his character all the more gripping in the film’s second half.

Mohanlal shares the screen with Shobana, reuniting with her after what feels like a considerable hiatus. Their onscreen chemistry captures the essence of a long-term relationship, communicated through “glances, eye rolls and little secrets that come up a lifetime of marriage.”

Cinematographer Shaji Kumar, who is typically associated with grand commercial ventures, brings a refreshing approach to the visual language of Thudarum. His work creates a palpable sense of intimacy and interconnectedness among the characters without resorting to overly sentimental or theatrical techniques. Tharun Murthy’s observational filmmaking style finds a perfect match in Shaji Kumar’s naturalistic, “flatly-lit frames that pick up the little details without being stagey.”

Writers Tharun Murthy and K R Sunil resist the urge to overload the narrative with exposition or intricate plotting in an attempt to seem intellectually superior. Instead, they focus on slowly unveiling the immediate environment surrounding Shanmugham, thereby painting a rich emotional backdrop and revealing the fundamental conflict at the story’s core.

The music by Jakes Bejoy complements the film’s constantly shifting tone, seamlessly blending into the narrative and maintaining suspense throughout. “The score and songs fit in nicely with the everyday textures of this self-contained story world,” allowing the soundtrack to enrich the atmosphere without ever overwhelming the story.

Although supporting actors like Maniyanpilla Raju, Irshad, Farhaan Faasil, and Binu Pappu have limited screen time, their characters play crucial roles in shaping Shanmugham’s journey. The supporting performances “fall smoothly within the umbrella of Tharun’s sporadic vision of a small town tale with their character quirks and personalities,” ensuring that every minor figure contributes meaningfully to the overall narrative fabric.

Visual motifs are used judiciously to isolate Shanmugham, highlighting his growing sense of entrapment and helplessness as the film progresses. This visual storytelling approach provides Mohanlal with a platform to delve into the more intense emotional territories, spaces that his recent roles have rarely allowed him to explore.

Mohanlal’s performance demonstrates an extraordinary synergy with the material, as he skillfully balances restraint and emotional explosiveness. Rather than dominating the narrative through sheer star power, he embodies a man consumed by revelations and “ever-changing moral conflicts.” His portrayal feels deeply lived-in, allowing the audience to experience the character’s internal struggles firsthand.

Director Tharun Moorthy succeeds in delivering a low-key family drama that simultaneously serves as a character study of a man at odds with his own identity and principles. It’s a significant change of pace for Mohanlal, providing audiences the rare pleasure of seeing him fully inhabit the role of an everyday man, complete with all the emotional complexities that entails. The performance is grounded and consistent, breathing life into a character that might have easily been overshadowed by lesser writing or direction.

The writing, while rooted in a fairly conventional setting, is clever enough to sustain both engagement and emotional investment throughout the runtime. By maintaining a sharp focus on character development and interpersonal dynamics, Thudarum transforms what could have been a simple story into a richly textured cinematic experience.

Ultimately, Thudarum stands as “a masterpiece for adults, a serious yet self-aware piece of cinema that has something for everybody.” It is a film that respects its audience’s intelligence, offering an emotionally resonant, thought-provoking drama without the crutch of unnecessary spectacle or melodrama.

Through carefully crafted storytelling, strong performances, and an underlying emotional sincerity, Thudarum not only meets the high expectations surrounding it but also carves a unique place for itself among the best films of the year. For Mohanlal fans and general moviegoers alike, it is a rare treat that reminds everyone why he remains one of Indian cinema’s most beloved and enduring stars.

Malayalam cinema has long been known for its rich and diverse storytelling, but it also carries a dynamic tradition of “fanboy films”—mass entertainers centered around beloved stars like Mohanlal and Mammootty. These movies are engineered to thrill their fanbases, offering bombastic action sequences, striking visuals, punchy dialogues, and characters that tower over the screen. Their core aim is to evoke whistles, applause, and cheers from die-hard followers. However, this genre treads a very thin line between success and failure, as the emphasis on spectacle often overshadows substance.

The fanboy genre often sacrifices deep, intricate storytelling in favor of visual dazzle and larger-than-life depictions of its lead actors. While this formula can electrify theaters when executed well, it doesn’t always hit the mark. Films like ‘L2: Empuraan’ (2025) showcase how to successfully blend style and scope, achieving a polished and ambitious cinematic result. On the flip side, others like ‘Aaraattu’ (2022) serve as cautionary tales—projects that falter due to poorly executed narratives or misaligned viewer expectations.

The high stakes involved in such films lie in their dependence on star power. When a movie leans too heavily on its lead actor’s persona and neglects the broader cinematic experience, it risks alienating the general audience. While devoted fans may be thrilled, a wider demographic might find the film lacking in emotional depth or storytelling coherence. The director and scriptwriter are thus tasked with a difficult balancing act: incorporating fan service while still delivering compelling content that resonates with all viewers.

Adding too many elements to pander exclusively to fans or overloading the film with celebratory moments can actually backfire. When fan service overwhelms the narrative structure, it disrupts the balance necessary for the film to succeed on a larger scale. “Fanboy films,” therefore, represent a cinematic gamble, often falling somewhere between soaring success and major disappointment.

A perfect example of this tightrope walk is the multi-starrer film ‘Twenty-Twenty.’ Though it primarily catered to fans by assembling some of the biggest names in the industry, it managed to strike a balance with its moderately engaging story. While the content may not have been extraordinary, it had enough merit to keep general audiences entertained. The film exemplifies how even a fan-centric project can do well if it pays some attention to story and structure.

On the other hand, some movies aim for both fan delight and narrative quality but still manage to stand apart. Films like ‘Harikrishnans’ achieved this dual goal by providing both the pleasure of seeing two leading men—Mohanlal and Mammootty—together and delivering a story that appealed to wider sensibilities. When done right, such fan-driven films can truly captivate a broad spectrum of viewers.

Among underwhelming efforts in this category, ‘Aaraattu’ remains one of the most frequently cited examples. Starring Mohanlal, the film generated significant buzz before release but ended up disappointing many. Director B. Unnikrishnan has been open about the film’s failure and does not shy away from taking responsibility. Speaking to Vishal Menon, Unnikrishnan said, “I take full responsibility for the movie’s failure.”

In a separate interview, Unnikrishnan elaborated that the film was actually intended as a spoof, a satirical nod to Mohanlal’s past roles and legendary dialogues. Unfortunately, audiences didn’t perceive it in that light, and the intended humor failed to translate. He admitted, “Mistakes are part of the journey—we grow through them. I’m not affected by criticism or social media chatter. However, I do believe that criticism should be expressed with a sense of democracy and basic courtesy. Just because I respond to criticism doesn’t make me some kind of hero.”

This kind of honest reflection is rare, especially in an industry where public image often overshadows introspection. Unnikrishnan’s remarks also highlight another essential aspect of the fanboy genre: how vital it is for the creators to understand the pulse of the audience. Misjudging audience sentiment or tone can have serious consequences, as seen in ‘Aaraattu.’

Despite occasional missteps, there are stellar examples that prove a fanboy film can be both a commercial and critical success. One such example is Prithviraj Sukumaran’s directorial debut, ‘Lucifer.’ Unlike most fan-centric films, ‘Lucifer’ chose not to oversaturate the screen with its leading man, Mohanlal. Instead, it offered a well-crafted story written by Murali Gopy, filled with suspense, layered characters, and sharp dialogue. Mohanlal’s limited screen time became an asset, allowing for a slow build-up of his character’s mythos rather than relying on constant presence.

Prithviraj’s approach in ‘Lucifer’ was widely appreciated because it didn’t treat fan service as a crutch but rather as a tool to elevate the narrative. By blending style with substance, the film created a blueprint for how to approach fanboy cinema in a more mature and sophisticated manner. The movie wasn’t just a visual treat; it was a complete package that resonated across audiences. As Prithviraj himself has stated, “Nobody becomes a star. You can only aspire to be a good actor.”

His remark underscores the idea that true stardom isn’t simply about playing to fanfare, but about embracing quality, craftsmanship, and storytelling. It’s a lesson worth remembering for filmmakers aiming to make fan-oriented cinema. Striking a chord with fans doesn’t require abandoning artistic sensibilities; rather, it calls for integrating them meaningfully into the narrative framework.

Malayalam cinema’s flirtation with fanboy films is likely to continue, especially given the passionate following that stars like Mohanlal and Mammootty enjoy. These movies offer a unique blend of nostalgia, heroism, and excitement that few other genres can match. But as audiences evolve and become more discerning, the demand for thoughtful storytelling alongside star-driven moments is only going to grow.

In the end, the most successful fanboy films are those that not only respect the aura of the star but also honor the intelligence of the audience. When done right, they become memorable celebrations of cinema. When done wrong, they serve as reminders that even the brightest stars can’t carry a film without a solid foundation.

As the Vatican readies itself for the election of a new pope, people worldwide are turning their attention to a cinematic portrayal of the process—by streaming the film Conclave. The movie, directed by Edward Berger and winner of this year’s Oscar for Best Adapted Screenplay, offers an intimate look into the Vatican’s secretive papal election rituals. Following the death of Pope Francis on Monday, the film witnessed a significant spike in viewership, according to entertainment data analytics firm Luminate.

Set against the backdrop of the Vatican, Conclave dives into the intricacies of the pope selection process, a ritual steeped in centuries-old tradition. Berger’s film takes creative liberties while staying largely faithful to the actual procedures, and features a power struggle among cardinals portrayed by renowned actors Ralph Fiennes, Stanley Tucci, and John Lithgow. The movie is distributed by Focus Features, which is owned by NBC News’ parent company, Comcast.

Since its initial release in October, the movie has amassed a devoted fan following online. Social media platforms have been flooded with viral memes and creative fan edits comparing the film to mainstream pop culture icons like The Real Housewives and Mean Girls. As tributes to Pope Francis continued to pour in from around the world, a growing number of both longtime fans and new viewers turned to Conclave to gain insights into what happens behind Vatican walls during such pivotal moments.

From Sunday to Monday, Luminate reported that viewership of Conclave surged by a staggering 283 percent. On Sunday, the film logged an average of 1.8 million minutes viewed. That figure leaped to 6.9 million minutes by Monday. Luminate compiles data from major streaming platforms including Netflix, Peacock, Paramount+, Disney+, and Max.

Despite the film’s dramatic rise in popularity, Focus Features did not respond to a request for comment on the recent streaming numbers.

On social media, many pointed out the uncanny parallels between the film’s storyline and the actual events surrounding the papal succession. The timing of Pope Francis’ death and the content of Conclave seemed to resonate with global audiences, sparking renewed discussion about the themes explored in the movie.

Among the voices chiming in was the administrator behind “Pope Crave,” a fan account on X dedicated entirely to Conclave. The person behind the account spoke with NBC News via email and requested anonymity, asking to be referred to only by their username due to the need for “separation” between their professional career and their “fandom extracurriculars.” Pope Crave, who commands a following of 16,000 on X, offered insight into the film’s relevance during a time of collective mourning and transition.

“I think there’s a lot of grief and pain attached to current events, and being able to use Conclave memes as a common/shared language of community offers some brevity and humor to a clandestine process and historical event that will significantly alter the trajectory of many peoples’ lives,” Pope Crave said.

When asked about the religious demographics of the film’s fan base, Pope Crave noted, “I cannot speak for the religious breakdown of Conclave fans, but it doesn’t shock me that Catholic fans of the film would be engaged in the actual papal conclave outcomes. And for the non-Catholic Conclave fans, I would hypothesize there’s something to be said about the abrupt relevance and sudden application of their film knowledge and fandom enthusiasm to a seismically important current global event that holds importance to over 1.25 billion practitioners (and even more non-believers).”

Michael Moreland, a professor specializing in law and religion at Villanova University, said the movie’s popularity highlights the enduring fascination with the Catholic Church’s ancient customs, even in a largely secular world. The papal conclave process involves cardinals from around the world, all under the age of 80, who are sworn to secrecy. They gather in the Sistine Chapel and cast paper ballots until one among them secures a two-thirds majority to become the next pope.

“All the charisma and the mystery around Catholicism and the ways in which these men in the College of Cardinals go about assembling and deliberating and voting in the secret process that no one except one of them has seen,” Moreland explained. “All of that is very fascinating.”

Moreland also noted that Conclave provides a fairly accurate portrayal of how potential papal candidates gain and lose traction during the voting rounds. However, he was critical of the film’s emphasis on political ideology, stating that the movie sometimes reduces the election process to a simplistic binary of left versus right.

“The significance of the theological and spiritual aspects of Catholicism and this process of electing a pope was kind of reduced into partisan politics,” Moreland remarked.

Coincidentally, Amazon Prime made Conclave available to stream on Tuesday, though Amazon clarified that the release was pre-scheduled and not timed with the pope’s passing. The availability of the film on Amazon added to its soaring popularity. By the end of the day Tuesday, the film had shattered its previous viewership records, with a reported 18.3 million views across all streaming services. This marked a massive 3,200 percent increase in week-over-week viewership, according to Luminate’s updated data.

Although many cast members from Conclave have yet to issue public statements regarding the death of Pope Francis, they previously spoke about the film’s topical relevance. At the Screen Actors Guild Awards in February, during a period when Pope Francis was critically ill, the cast commented on how current events had increased the film’s impact.

“The film has ended up extremely timely … and it’s about the social organism electing a leader,” said John Lithgow, who plays Cardinal Tremblay, one of the leading contenders for the papacy in the film.

“You cannot help seeing Conclave and not thinking what happens when different tribes quarrel with each other trying to decide on who is their leader,” he added. “That’s one big reason why people are paying attention to Conclave, beyond the fact that it’s simply a beautiful film that you just don’t see storytelling on film like that much anymore.”

The Vatican announced that Pope Francis’ funeral will be held at 10 a.m. local time (4 a.m. Eastern Time) on Saturday in St. Peter’s Square, in front of the iconic St. Peter’s Basilica. The conclave to elect his successor will follow the funeral service.