hindi movie review 2022

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The 5 Best Indian Films of 2022 That Weren’t RRR

One of the year’s biggest entertainment stories was RRR — or Rise. Roar. Revolt. — S.S. Rajamouli’s enrapturing Tollywood epic, which has broken through a western barrier that seemed impenetrable for Indian films, becoming a critical and commercial hit. A quintessential theatrical experience between its audacious dance number and raucous scenes of animal mauling, the Telugu-language period musical has also found global success online following its surprise streaming release in May via its Hindi dub on Netflix (and, to a lesser degree, its original version on the Indian streaming service Zee5 ). For many viewers outside South Asia, it was their first experience with an Indian movie of any kind, potentially opening the door to a wider exploration of the world’s largest film industry.

India’s nearly 2,000 annual productions are spread across several regional and language-specific subindustries. The Hindi-language Bollywood was the unprecedented financial leader until recently , when it was overtaken by industries in the nation’s south thanks in part to the dual Telugu and Tamil releases of Rajamouli’s own Baahubali duology (also available on Netflix ). But while RRR typifies what some of the Indian mainstream has on tap — violent bombast, banger tunes, emotional sincerity, and sometimes-uncomfortable jingoism — this year has played host to a wide variety of great Indian pictures. Some play in the same sandbox as RRR , though they express their splendor and action in different modes. Others depart significantly in their style and politics, acting almost as counterweights to the perception of Indian films in the West as colorful, spectacle-first musical melodramas.

Of course, none of these movies were made with the express intent of changing that perception (even RRR wasn’t created with western viewers in mind), but since the curiosity now exists, a quick scroll through your chosen streaming service will likely turn up a litany of Indian movies you may not have noticed before. Five of the year’s best are now streaming on various platforms, and they each represent wildly different facets of Indian filmmaking from ongoing independent movements to mainstream sister industries with their own lengthy histories of stars and styles.

Director: Lokesh Kanagaraj Language: Tamil

Vikram is a prime example of how even star-driven, over-the-top extravaganzas can feel nothing like RRR . The second entry in director Lokesh Kanagaraj’s shared black-ops universe — though you don’t need to have seen predecessor Kaithi to keep up — it’s a seedy action spectacle led by 68-year-old superstar Kamal Haasan, who plays an intriguing dual role of sorts (the less revealed beforehand, the better). With his signature buttery-smooth bravado in tow, he leads a string of conceptually original action scenes that explode Vikram ’s crime-drama plot from within.

Haasan’s mysterious character crosses paths with black-ops officer Agent Amar (Fahadh Faasil), whose covert unit skirts the law in pursuit of drug kingpin Sandhanam (played by Vijay Sethupathi, one of the world’s most magnetic character actors in an especially zany role). However, this seemingly straightforward genre romp collides headfirst with a parallel tale of a masked, militarized cult seeking to wipe out corruption before all hell breaks loose in a series of tightly wound, white-knuckle set pieces. Cinematographer Girish Gangadharan’s camera crafts a lurid atmosphere as it follows each man down dark corridors and murky moral paths in one of the most ludicrously enjoyable movies of 2022.

Gangubai Kathiawadi

Director: Sanjay Leela Bhansali Language: Hindi

Starring Alia Bhatt and Ajay Devgn (who also appear in RRR ), Gangubai Kathiawadi is the latest period musical from the purveyor of modern Bollywood’s most visually intoxicating works, Sanjay Leela Bhansali, whose stylized expressionism lends credence to the idea that places can be characters, too. A loose biopic based on the book Mafia Queens of Mumbai , it follows a young girl sold into prostitution, Ganga (Bhatt), and her subsequent 1960s rise to crime-boss madame and, eventually, pro–sex work politician.

Set in an ornate, heightened red-light district, it’s the kind of operatic character piece at which Bhatt excels, centered on a tough-as-nails woman with concealed vulnerabilities. Devgn, despite having a smaller role as a local gangster who takes Ganga under his wing, forms a vital part of the feminist credo of the film, which attempts to normalize and even valorize sex work — often demonized by Indian society — with surprising appeals to mainstream sensibilities (in the vein of Bollywood’s “social issues” filmmaking). Rather than trying to eke out a new place for sex workers in conservative society, it makes the convincing case that they are already a vital fixture.

Director: Achal Mishra Language: Maithili

Achal Mishra’s photography background seeps into each frame of Dhuin , his restrained, 50-minute filmic novella about a young stage actor during the pandemic. An emerging master of composition, Mishra’s carefully considered 4:3 vistas draw particular focus to unspoken social dynamics as protagonist Pankaj (Abhinav Jha) absorbs the quiet indignities often foisted upon young artists in a utilitarian world and even dishes them out himself on occasion.

A frigid mist sets in over the small town of Darbhanga. Soon, Pankaj’s dreams of moving to Mumbai turn similarly foggy, torn between his duty toward his elderly father — a worker displaced by COVID, a story Mishra wove from the struggles of an actor on his previous film, Gamak Ghar — and Pankaj’s realizations of his own artistic shortcomings the more he compares himself with his peers. Even in group scenes, Mishra’s camera rarely averts its gaze from Jha’s subtle performance, resulting in a quiet portrait of insecurity and the fragility of dreams beset by harsh realities.

Director: Nagraj Manjule Language: Hindi

One of the premier voices in Marathi-language cinema, Nagraj Manjule’s Bollywood breakout is a fitting biopic to watch in a World Cup year. Starring screen legend Amitabh Bachchan as Vijay Borade (based on Slum Soccer founder Vijay Barse), Jhund brings a unique flair to the Indian sports drama and leaves you wishing you could spend more time with its characters even after three whole hours.

With an ensemble of newcomers scouted from actual slums — and a few regulars from Manjule’s previous films, Fandry and Sairat — it’s led by a fiery first-time performance from Ankush Gedam as a listless youth who battles not only perception (of caste and economic circumstance) but the legal limits of personhood in a world where something as fundamental as identity requires money and paper. Manjule and cinematographer Sudhakar Reddy Yakkanti imbue each movement with enormity — practically every second shot in the opening act is a dolly zoom — and each dialogue exchange with intimacy, building a stylish, propulsive, and resonant tale of frustrations channeled through sport.

A Night of Knowing Nothing

Director: Payal Kapadia Language: Bengali, Hindi

Ideologically and aesthetically, Payal Kapadia’s debut feature is the polar opposite of RRR , though it’s just as (if not more) exacting in its use of cinematic imagery. A haunting piece of docu-fiction, it weaves a dreamlike narrative about lost film reels found at the prestigious Film and Television Institute of India — the director’s alma mater — discovered alongside love letters written by an anonymous student. As these mournful notes are read aloud, Kapadia combines this story with real footage of student protest and resistance against Narendra Modi’s right-wing Hindu government, revealing a lucid collage of life in modern India.

A tapestry born of light and physical texture (its digital impersonation of 16-mm. film grain is nothing short of magical), A Night of Knowing Nothing is a rousing example of cinema as activism and an avenue to confronting the deep, unavoidable entanglements between the personal and the political.

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The 10 Best Hindi Movies of 2022

Before we talk about the Hindi movies of 2022, let’s look back at the year that was. 2022 was thankfully a year when people went back to the cinemas. The threat of the coronavirus left us all with a sense of unease – scaring some of us from forever leaving our humble abode and venturing out to the theatres. But this year saw a gradual change, and as things turned for the better, people did actually leave their now-favorite OTT platforms to enjoy the sense of community-watching experience.

For Bollywood movies, 2022 was a year that hinged on two pertinent keywords – ‘Pan-India’ and ‘Boycott.’ While the prior was something that always existed and was often sidelined by calling ‘Bollywood’ the biggest film industry in India, the inclination of audiences to rather watch movies from the South than the same-old, riled-up stories, served as a wake-up call.

The latter was a social media trend that almost ruined the Box Office for supposedly big releases, including the much-anticipated Aamir Khan starrer, ‘ Laal Singh Chaddha .’ The extremely toxic trend was short-lived, with the big success of another tentative boycott title, ‘ Brahmāstra: Part One – Shiva ,’ doing wonders when it comes to minting money. But, this led to some of the more renowned producers rethinking if their movies are, in fact, made for the big screen. As to whether this trend had some positive outcome is still debatable, but the release schedule of Hindi movies in 2023 will be an interesting thing to witness nonetheless.

Talking about ‘toxic’ things, 2022 would also serve as some kind of benchmark for producing the maximum number of Propaganda movies whose sole purpose was to peddle the central government’s Hindutva mindset. From the incredibly successful but downright vulgar ‘ Kashmir Files ’ to star-studded vehicles like ‘ Samrat Prithviraj ,’ ‘ Rocketry: The Nambi Effect ,’ and ‘ Rashtra Kavach Om ,’ among many others, filmmakers tried their best to mislead audiences and twist the narrative so that the naive section of the audience is forced to believe in a lie, that’s packaged as the ultimate truth.

Having said that, 2022 was a better year for Hindi cinema. After two years of absolute garbage being served in the name of movies full of lazy filmmaking antiques, 2022 saw some interesting stories that used the canvas to tell them in the right way. Of course, there were some big disappointments and mediocre efforts, but for me, 2022 did well.

So, before we dive into the list of the 10 Best Hindi Movies of 2022, I would also like to quickly mention a few honorable mentions that could have made the cut but didn’t for some reason or the other.

First up, Rajat Kapoor’s self-reflective yet inert meta film ‘ RK/Rkay , ’ which takes a dig at filmmaking but doesn’t quite lead its original idea to fructification.

Second, Suresh Trivedi’s ‘ Jalsa ,’ which features two exceptional leading performances from Vidya Balan and Shefali Shah but loses its well-rounded crime-thriller proceeding over jarring sound design, convenient plot progression, and a cathartic moment that undermines one of the character’s drive over the other. (Streaming on Prime Video).

Third, Behzad Khambata’s spiritual sequel to Neeraj Pandey’s acclaimed 2008 film, ‘ A Thursday ,’ which uses its Korean cinema inspirations to mount a well-staged thriller that ends up becoming implausible and predictable. (Streaming on Disney+Hotstar).

And lastly, Raj Singh Chaudhary’s ‘ Thar ,’   – a gorgeously shot neo-western that gives the Kapoors (Anil & Harshvardhan) a set of meaty roles; but never becomes as compelling as it could have been due to the unnecessary subplots. (Streaming on Netflix).

Special Mention:

Gangubai kathiawadi.

Based on Hussain Zaidi’s Mafia Queens of Mumbai, ‘ Gangubai Kathiawadi ’  is a traditional Sanjay Leela Bhansali joint. A filmmaker who often exchanges gloss over realism might not be the right person to translate the life of the famous Kamathipura courtesan, but his rendition soars. Thanks in parts to his dizzying sense of cinematic caliber, making the supposedly ordinary seem like a grand world of its own, and largely because of Alia Bhatt. In what would be a definite star-making turn, the Bollywood actor is electrifying from start to finish.

She is the heart, soul, and body of this occasionally trite adaptation. The actor, who was initially met with blatantly miscast allegations, dips her toe in this transition from an innocent girl with gooey-eyed dreams of working in Bollywood to being forced into prostitution before championing the rights of sex workers by getting into politics.

It’s a hard, larger-than-life persona to be cracked on the cinema screen, but Bhatt; with only little to no help from Bhansali’s bravado – makes the statement that “She came to Bombay to become an actress but ended up being cinema” feel all the more true.

Streaming on Netflix

Now that we are done with this bunch, let’s get to the 10 best Hindi movies of 2022:

10. Sharmaji Namkeen

Hitesh Bhatia’s ‘ Sharmaji Namkeen ’ is essentially a straightforward, feel-good movie that’s a little too saccharine for my taste. And yet it tells such an honest story about a forcefully retired 58-year-old named Brij Gopal Sharma that it is hard to look away.

What does one do when all they have ever known is to work all their life? Brij doesn’t have the answers, which is why he keeps tossing the question around million different things that he can do around the house. That is until he discovers the joy that lies in the essence of making food for others.

Now, the art of making food, especially in an Indian household, has been associated with being such a female-centric job that it has been dumbed down from being an art form to just something that is to be done. When Sharma decides to start a catering gig on his own, serving lip-smacking food to women at kitty parties, his only wish is to pass his time doing something he loves to do. Little does he know that this decision might rattle his son, who now runs the household.

Sharmaji Namkeen questions ageism and how we define what is age-appropriate behavior. It lightly hits at the cords that are attached to our prejudices and present a feel-good yarn that works because it is also a cheery swan song to the late Rishi Kapoor. For people who are interested to witness something more, it also serves as an interesting outtake as to how different actors (Paresh Rawal steps in to complete the missing parts of Kapoor’s work) interpret the same character.

Streaming on Prime Video

Related to best hindi movies of 2022 – sharmaji namkeen [2022] review: a deliciously crafted tribute to rishi kapoor, 9. laal singh chaddha.

While Tom Hanks’ ‘ Forrest Gump ’ is often deemed to be one of the most iconic American movies ever made, people overlook its simplistic and often regressive political stance. So, when Advait Chandan’s ‘ Laal Singh Chaddha ,’ which is written by actor Atul Kulkarni was announced, it made me quite skeptical. Seeing how the entire Bollywood industry is quietly steering towards a right-wing agenda, I expected it just to recalibrate Gump’s dormant republican standpoint or blatantly ape its protagonist’s apolitical stance to make no statement whatsoever.

I was proved wrong. Laal Singh Chaddha, which is as light-feathered and feel-goody as any movie could be, is also loaded and told on the curves of a political outset. It tells the story of a Sikh Man who falls in love with a Christian Girl, befriends a South Indian, and saves a Pakistani. It is a decades-long-sprawling journey shown through the eyes of an apolitical character, who, in a way, recalibrates what we have been sorely missing from our mainstream films; it’s not about a religion or cast or creed, but about love, art, and stories.

That said, Aamir Khan , who is supposed to be the heart of the film, is its weakest element. The tangents in his act are either too off-track or not too subtle at all, making Laal Singh Chaddha – in spite of fixing and humanizing the problematic ‘Jenny’ subplot from Forrest Gump, fall short of greatness.

8. Dobaaraa

Remaking a renowned film is always a bad idea. However, remaking a renowned film with major narrative flaws could be even worse. Thankfully, Anurag Kashyap is someone who understands that. So, with ‘Dobaaraa,’  which is a movie that is about changing the narrative itself, he is not just able to fix the flaws but also able to use the gimmick of time travel to tell an interesting story about the fatality of life. His rendition of the film is not just a basic genre fare about time travel or loop jumps; his is a story about how even something as time-shattering as a change in reality, can’t change one’s identity.

Kashyap’s heroine finds herself in a parallel universe, but deep down, she is still rooted in another that she wanted to leave behind. So, his story becomes more about Antra (played by Tapsee Pannu) trying to understand what she needs to leave behind to bridge the gap between what she is and what she wants.

Like Mirage (the original Spanish film ), the confounding twist and turns here don’t leave the viewer in a constant state of bewilderment. The remake streamlines the new narrative with the old so seamlessly that it surpasses the impact of the original by a great measure. While still inherently flawed with flat characterization, Dobaaraa can be seen as a great example of how to adapt a genre fare by making it more perceptive.

Related to Best Hindi Movies of 2022 – Dobaaraa (2022): Movie Review & Ending Explained

7. an action hero.

The most interesting thing about debutant director Anirudh Iyer’s ‘ An Action Hero ’ is how it can be seen as one big chase sequence when, for the not-so-casual viewers, it can be something much more than that . Playing and taking digs at a lot of aspects of a viewer and star relationship, the film would remain memorable because of its super-urgent satire on how the press and the audience is not just ever ready to put their favorite stars on a pedestal; but they are also just as eager to put them down.

In fact, I like it more because it makes a very blatant political statement by saying how the entirety of the media in the country is so hell-bent on entertaining that they have forgotten to question the government about the lapses in their duties. With a tone that brings an outstanding balance between the great Jaideep Ahlawat’s straight-faced black comedy and Ayushmann Khurrana’s frustrated, narcissistic take, An Action Hero instantly becomes one of those meta-films that is both urgent in its demeanor and more grass-root in its messaging.

To add to all that, the big-bloated conspiracy and investigative narrative of the film both hint at Bollywood’s obsession with the patriotic, jingoistic cinema and Boycott-Bollywood trend, with a quick-witted look at our constantly disappearing attention span for the content fed to us.

Streaming soon on Netflix

R. Balki and I have a strange relationship. Except for his debut film ‘ Cheeni Kum ,’  and in some measures ‘ Paa ,’  I have only liked his other movies on paper. They are all great ideas that somehow don’t translate to the screen and end up being so full of themselves that they never become memorable.

With ‘ Chup: Revenge of the Artist ,’ a film that directly speaks to me, R.Balki dives straight into Black Comedy with a story that winks and smudges the campiness of its premise on the viewer’s face. What works for the film, however, isn’t its gleefully odd premise – A serial killer who kills film critics?, but how Balki and his co-writers doll up a Bollywood-styled romance, a psychological thriller & and an investigative drama, with a homage to the unsung artists who never get their dues.

While the movie’s understanding of film criticism is far from being nuanced, the film is constantly engaging and deliciously unhinged. Thanks in large part to some of the more unconventional casting choices – Sunny Deol stars a cop with zero understanding of film criticism (get it?) slowly trying to piece together who the killer is and its ability to somehow balance the more wacky tonal shifts with ease.

Streaming on Zee5

Related to best hindi movies of 2022 – chup: revenge of the artist (2022) review ― a unique & absorbing thriller which is also a love letter to the unheard voices of cinema.

Having not been a fan of his acclaimed ‘ Stree ,’ I wasn’t too eager for Amar Kaushik’s take on the werewolve subgenre. However, I wasn’t aware that he was going to prove me wrong with a surprisingly poignant and subtle eco-fable that is out with biting teeth and sharpened claws to dig into the skins of the capitalists.

Starring Varun Dhawan as Bhaskar – a greedy contractor from Delhi with an affinity for money, the story sees him traveling to the Northeastern region of Ziro. His aim is to get the vote of the locals so that he can chop off the state’s natural resources (the jungle) and build a road there. But before he can get his task done, he is bitten in the ass by a wolf which later makes him transform into one.

The horror-comedy elements of Kaushik’s film thus serve as a metaphor for allowing the beast inside to be unleashed to the realization of what greed is doing to a man. The heightened senses help Bhaskar realize that he is avoiding the calls of the people and nature around him, slowly turning a blind eye to what’s important for everyone’s piece of mind. The comedy is sharp, grounded, and self-reflexive about cultural appropriation, and the horror is thankfully helmed in a composition that uses the surprisingly well-done VFX to transform the protagonist into a grown-up.

Streaming soon on JioCinema

Related to Best Hindi Movies of 2022 – Bhediya (2022) Review: The Impending Ecological Catastrophe Masquerading as a Killer in the Jungle

4. gehraiyaan.

Technically speaking, ‘Gehraiyaan’ feels like a flawed film. The post-production is occasionally patchy, and the editing (at least in the first half of the film) is overdone. And yet, it proves once again why Shakun Batra is one of the better filmmakers we have in Hindi cinema. You can see that his clear agenda, in spite of casting A-lister, is not to show them off but to tell a story. He is someone who understands that human emotion, no matter what frequency you dial them to, will have to be grounded in a naturalistic progression that doesn’t inherently exchange and lose one element to prioritize the other.

Outwardly, this is a basic tale of desire getting the better of us. So, to make it more palpable, believable, and even a wee bit cathartic, Batra populates it with characters with shattered lives who are trying to escape the identity that their family history has bestowed upon them. This inconsequential measure comes in handy because he is looking at the lives of people with a certain privilege. The way he addresses the slight gap between those with enough money and those on the edge of ‘making enough money’ makes Gehraiyaan more complex than it actually is.

It also helps that Batra mostly takes an honest approach toward his characters. Alisha is disturbed from the first sequence itself, and her lack of belief in her luck destines her in a kind of loop that no love can save her from. The same goes for Zain. His inability to have what he wants and still not have anything concrete of his own has also put him in a loop that he so readily and desperately wants to escape from.

It is obvious that this is a tale that will explode at some point in time, but when it does, it still feels unexpected and alarming. Point in time, we aren’t expecting these people to mess up, even though they are almost always on the clear path of fucking up. This makes Batra’s approach feel like a thriller in the way of Woody Allen (the Match Point Allen, I mean), as written by Asghar Farhadi .

Related to Best Hindi Movies of 2022 – Gehraiyaan (2022) Review: About The Complex Impulses and Motivations of a Ethically Conflicted Youth

3. doctor g.

It comes to me as a surprise, too, that two of Ayushman Khurana movies are on this list. The star, who has unknowingly invented the small-town social message sub-genre, has been stuck in its vacuum for so long that I wasn’t expecting a movie about the female-private parts as seen from the lowbrow male-savior complex to break the chain. Anubhuti Kashyap’s ‘ Doctor G ’  doesn’t just break the chain; it makes the supposed hero see a mirror of his own problematic wrongdoings. Thereby upholding the need for the female gaze in a story that is majorly about them.

It is a film that doesn’t just call out the pseudo-liberal-feminist hero; it makes him confront his own sorry image of himself. As much as the film is about normalizing gender-specified fields, it is also about the self-deception that we, as humans, impose on ourselves. What makes it great is how Kashyap presents these implicated truths in a comedy that knows how to balance all its varied elements well.

It never over-does the comedy to hide its serious truth, it never hides its serious tonal shifts by punctuating them with slapstick humor, and it never allows the audiences, who usually like to see a narrative unfurl – to settle down. It actually treats them with respect and acknowledges their intelligence to drive a more profound point across. In short, Doctor G is my favorite kind of mainstream comedy; one that knows its sole aim is to entertain but also never restricts itself to being just that.

While far from Marathi filmmaker Nagraj Manjule’s ( ‘ Fandry ,’ ‘ Sairat ’ ) best work, his debut Hindi film ‘ Jhund ’ is a story that can’t go as unnoticed as it has been. Starring acting legend Amitabh Bacchan in a role that never lets him take center stage, this is a powerful story that carefully maneuvers through the generic sports drama about the underdogs to become a fable about the obstacles that actually define that trope.

Featuring an ensemble cast that mostly features first-time actors – Manjule rounds up a group of Dalit Boys to play a version of themselves. The story, on the other hand, pivots on cluelessness before manifesting the real divide between two sets of people – the posh upper-class school kids that live on the other side of the wall and the begging, stealing, and drug-addicted slum kids who find some solace in hitting a ball around.

This, however, isn’t a straightforward redemption story either, as it doesn’t end where the poor win over the rich, but it leads us into a more complicated puzzle. The fact that these kids have no identity forms its crux. The redemption thus lies in allowing us to see beyond the criminality of their arc. Manjule allows us to see that these kids are victims of their fate, and to get out of it; they would need more than just a win. The climax, which, in a typical sports drama, would be about a flight being taken towards greatness, becomes more about passing through the security check.

Related to Best Hindi Movies of 2022 – Jhund (2022) Review: A Realist And Transfixing Tale That Deserves To Be Seen Despite Its Contrived Tone

1. badhaai do.

Queer representation in Hindi cinema is not as affluent an affair as we would like it to be. Even in movies like ‘ Shubh Mangal Zyada Saavdhan ’ – a film that champions itself as being the first mainstream film to showcase same-sex love, the whole idea is rigged in a narrative that ends up generalizing everything to an extent where it borderlines problematic. More so, these are movies that bill themselves as comedy and end up cracking a joke at the expense of homosexuality itself.

Simply put, Badhaai Do looks at Shardul and Shumi in a lavender marriage – the duo decides to get married but pursue each other’s personal love interests in guise. And while Shumi is quite comfortable with her sexual identity, it is Shardul who really needs to come out of the closet . Director Harshavardhan Kulkarni devices a genuinely funny small-town comedy, but he and his co-writers are pretty aware that they need to do it without making jokes about loving people and/or stereotyping them like most of what Hindi cinema has done to date.

The sensitivity with which everything in Badhaai Do is treated feels like such a departure that we don’t really mind the familiarity of these characters. Their sexuality is humanized, normalized, and presented in a way that most stories only dream of achieving. Which is what makes Badhaai Do the best Hindi movie of 2022.

Related to Best Hindi Movies of 2022 – Badhaai Do [2022] – Ending and Themes Explained

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Getting fat with the wife. Absolutely loves the all-consuming, indulgent world of cinema.

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‘Bhediya’ Review: Overlong Bollywood Werewolf Comedy Delivers Powerful Environmental Message

A road work contractor's plans to destroy the jungles of Northeastern India are foiled by a werewolf in an entertaining creature feature with plenty of laughs.

By Naman Ramachandran

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Horror-comedy has held Indian audiences in thrall since the early 2000s, with more than 100 films in the genre being released. Amar Kaushik’s “ Bhediya ” (literally “wolf”), Bollywood’s first creature comedy, despite its punishing length, is a terrifically entertaining romp through the jungles of Northeastern India that delivers pro-environment and anti-racism messages and also has the potential to become a franchise.

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The accent in “Bhediya” is more on the often juvenile and sometimes scatological comedy than the creatures. When the creatures do appear, it is a triumph of top notch visual effects, executed by the team that also worked on blockbuster “RRR” at London’s MPC. Performances are excellent throughout with Dhawan and Sanon carrying the film with ease, but the standout is Banerjee, an actor who can pull off psychopaths and bumbling comics with equal felicity and timing.

With a running time of more than two and a half hours, the film overstays its welcome, compounded by the traditional Bollywood speed breakers of song and dance and romantic interludes, which periodically interrupt the werewolf tale plot. There are a couple of MCU-style Easter eggs in the end credits and the second of them places “Bhediya” squarely in the “Stree” universe. A franchise surely beckons.

Reviewed International Film Festival of India, Goa, Nov. 26, 2022. Running time: 152 MIN.

• Production: (India) Jio Studios & Dinesh Vijan presentation of a Maddock Films Prod. production.
• Crew: Director: Amar Kaushik. Screenplay: Niren Bhatt. Camera: Jishnu Bhattacharjee. Editor: Sanyukta Kaza. Music: Sachin Sanghvi, Jigar Saraiya.
• With: Varun Dhawan, Kriti Sanon, Abhishek Banerjee, Deepak Dobriyal, Paalin Kabaak.

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27 Hindi Films To Look Forward To In 2022

2022 . The year sounds hopeful and heavy at the same time. After two years of struggling and coping through the pandemic, a new year could very well feel like just another change in the dateline. The postponement of the theatrical releases of Jersey and RRR has only added to the woes. However, what we do have is the slate of cinema the year will – potentially – bring with it. Hindi cinema in 2022 looks like the year of experiments, a plethora of mass entertainers and some promising, reflective cinema. It looks like a year of scale and superstars, and at the same time, of subtlety and novelty. It looks like the year of films with a pan-India intent, like RRR , Adipurush , KGF Chapter 2 and Liger . And it also looks like the year we will hopefully see a Shah Rukh Khan film in the theatres – no official announcements have been made yet, however.

Here's a list of upcoming films that have piqued our interest. Of course, we don't know if these films would release as per schedule or how they would ultimately turn out to be, but we're excited to find out.

Director: SS Rajamouli

Think Rajamouli and you can instantly picture scale, enriching visuals and a vision so unique that it'll leave you in wonder. With RRR , he paints a fictional world with two real-life freedom fighters. Not just that, he brings together a star-studded, legit pan-India ensemble of Jr. NTR, Ram Charan, Ajay Devgn and Alia Bhatt, pulling off a feat so rare that one can't help but take notice.

Director: Shakun Batra

Releasing On: January 25, 2022

Shakun Batra is a master at depicting complex urban dynamics with utmost sensitivity. He has done it in the past with Ek Main Aur Ekk Tu and Kapoor & Sons . His upcoming film – a deep-dive on urban relationships hinting at infidelity – starring Deepika Padukone, Siddhant Chaturvedi, Ananya Panday and Dhairya Karwa looks no different. [Also, can we talk about the aesthetics of that teaser?]

Director: Harshavardhan Kulkarni

Tentatively Releasing On: February 4, 2022

The film, starring Rajkumar Rao and Bhumi Pednekar, is a 'spiritual sequel' of the 2018 hit Badhaai Ho – where Rao plays the role of the sole male cop in his headquarters while Pednekar plays a PT teacher. Both actors have an impressive comic timing and it'll be interesting to see how they team up to carry forward the novelty of the predecessor.

Gangubai Kathiawadi

Director: Sanjay Leela Bhansali

Tentatively Releasing On: February 18, 2022

We know we can do with some Sanjay Leela Bhansali grandiose right about now. The director's frames and colours are like paintings in motion, and with the talented Alia Bhatt headlining the film in a never-seen-before role as a mafia queen, this could be one dream combination.

Laal Singh Chaddha

Director: Advait Chandan

Tentatively Releasing On: April 14, 2022

Aamir Khan handles emotional characters with aplomb. And in the Hindi-language remake of a classic like Forrest Gump , you expect just that. Also starring Kareena Kapoor Khan and Naga Chaitanya, what's compelling is that the film has been shot in more than a 100 locations across the country.

KGF Chapter 2

Director: Prashanth Neel

KGF Chapter 2 is being billed as the most expensive Kannada film ever made. Yash and Srinidhi Shetty reprise their roles from the original, and are joined by Sanjay Dutt and Raveena Tandon in pivotal roles. The first film set new records for Kannada cinema, with its dubbed version gaining tremendous popularity among the Hindi-speaking audience. It won't be wrong then to anticipate something bigger and better from the sequel.

Director: Anubhuti Kashyap

Tentatively Releasing On: June 17, 2022

Ayushmann Khurrana as a gynaecologist? Hell yes.

  View this post on Instagram   A post shared by Ayushmann Khurrana (@ayushmannk)

Phone Bhoot

Director: Gurmmeet Singh

Tentatively Releasing On: July 15, 2022

Horror comedies are the new trend in Bollywood. However, the idea of casting Katrina Kaif, Ishaan Khatter and Siddhant Chaturvedi as professional ghostbusters is fresh and has us hooked to its updates.

Director: Puri Jagannadh

Tentatively Releasing On: August 25, 2022

Jagannadh's distinct, massy brand of cinema combined with Vijay Deverakonda's return to the angry young man avatar post Arjun Reddy might just have the right ingredients for the next big success story at the Box Office.

Director: Ayan Mukerji

Tentatively Releasing On: September 9, 2022

The film was officially announced in 2017 but continues to be one of the most-anticipated projects five years on. While Hindi cinema continues to hunt for homegrown superheroes of their own, the return of the Ayan Mukerji-Ranbir Kapoor combination might just be the missing link. The first motion picture of the film saw an intriguing image of Kapoor with a burning trident along with a silhouette of Lord Shiva holding his Trishul in the background.

Director: Amar Kaushik

Tentatively Releasing On: November 25, 2022

After Stree and Roohi , producer Dinesh Vijan returns with his third horror-comedy instalment, Bhediya . What makes this project a head turner is that it'll form Vijan's own horror-comedy universe, with Varun Dhawan's Bhediya coming together with Janhvi Kapoor's Roohi and Flora Saini's Stree. Also, the last time we recall a man transforming into an animal was Rahul Roy in Junoon . It'll be fascinating to see how Dhawan pulls off the transition.

Director: Amit Ravindernath Sharma

Tentatively Releasing On: June 3, 2022

The director of Badhaai Ho teaming up with Ajay Devgn for a sports biopic on the legendary football coach Syed Abdul Rahim? We're listening. Devgn as Rahim appears to be a great casting choice, and a film on the golden era of Indian football (1952-1962) – with the likes of football greats like Chuni Goswami and PK Banerjee playing for the team – seems long overdue.

Looop Lapeta

Director: Aakash Bhatia

Starring Taapsee Pannu, Tahir Raj Bhasin and Shreya Dhanwanthary, the film is a remake of the 1998 German thriller Run Lola Run . The original was fun, clever, trippy and anything but a run-of-the-mill (pun intended) love story. If the Hindi adaptation is anything close to it, we have a winner on our hands.

Director: Anvita Dutt

After Bulbbul , the team of Anvita Dutt and Tripti Dimri are back with Qala, which marks the debut of the late Irrfan's son, Babil. Essentially a story of a daughter longing for her mother's love, the snow-clad mountains and its crystally white frames gives it a rare mystical charm – reminiscent of the reds and blues of Bulbbul .

Monica, Oh My Darling

Director: Vasan Bala

Vasan Bala is back after Mard Ko Dard Nahi Hota , and honestly, that's enough to make us excited. Starring Rajkumar Rao, Radhika Apte and Huma Qureshi, the noir film will combine elements of thrill, dark comedy and old worldly mystery with a diabolical ploy to pull off 'the perfect murder.'

Director: Sameer Saxena

Don't we love the vulnerability Jitendra Kumar manages to bring through his performances? This film looks no different as this time, Kumar essays the role of a magician hoping to magically gain some athletic prowess to win a football match and marry the love of his life.

Director: Karan Malhotra

The period action drama starring Ranbir Kapoor, Vaani Kapoor and Sanjay Dutt started to film in 2018. Now that it's finally ready to release with extensive detailing and VFX in place, it'll be fascinating to see Ranbir donning the role of a vigilante in the disguise of a dacoit.

Jayeshbhai Jordaar

Director: Divyang Thakkar

Whatever Ranveer Singh does, he does well. He gets into the skin of his characters in a way we rarely see in today's time. Through its poster, it looks like a colourful film with a social message where Singh plays a Gujarati man who aspires to bring about equality between men and women in a patriarchal society.

  View this post on Instagram   A post shared by Ranveer Singh (@ranveersingh)

Director: Anubhav Sinha

Anubhav Sinha-Ayushmann Khurrana team up again post Article 15 in what will be a political thriller set in the Northeast. While we have seen Khurrana experiment with a variety of roles over the years, the fact that he calls this film 'genre-breaking' for him has us intrigued.

Rocketry: The Nambi Effect

Director: Madhavan

The biographical drama chronicles the life of S. Nambi Narayanan, a former rocket scientist at the Indian Space Reasearch Organisation, who was wrongly charged with espionage. The film, spanning across timelines, has been directed, written, produced and acted by R Madhavan. Actors venturing into direction isn't a new trend but we're curious to see the way Madhavan details a tricky, research-laden topic with sensitivity.

Mrs Chatterjee Vs Norway

Director: Ashima Chibber

We are all for the all-woman team of Ashima Chibber (Mere Dad Ki Maruti) and Rani Mukerji. The powerhouse performer that she is, Mukerji will be seen in a story based on a real-life incident where a mother fights back after getting separated from her children by the Norwegian Child Welfare Services.

Director: Om Raut

We have seen several adaptations of Ramayana in the past, but what makes Raut's Adipurush exciting is that the director knows how to tell a grand-scale mythological story. Prabhas as Ram is the perfect take-off from Baahubali , and Saif Ali Khan's role as Lankesh might just give him in 2022 what Langda Tyagi gave him in 2006.

Director: Rohit Shetty

With Rohit Shetty venturing into Shakespearean landscape with the official adaptation of William Shakespeare's classic, The Comedy Of Errors , we can only imagine what a massy, big-scale re-interpretation it could potentially turn out to be. Also, did we mention it has Ranveer Singh in his first-ever double role?

Vikram Vedha

Directors: Pushkar–Gayathri

If the Tamil-language version of the classic thriller had Madhavan and Vijay Sethupathi coming together, the Hindi version will see the exciting combination of Saif Ali Khan and Hrithik Roshan. It's quite rare to see two top actors in Bollywood collaborating for a film and with the original directors helming it, we hope the authenticity of the original will remain intact.

Mr And Mrs Mahi

Director: Sharan Sharma

The film is written and directed by Sharma, whose previous film, Gunjan Saxena: The Kargil Girl impressed on many accounts. It was tender, sensitive and empowering – much-needed in today's times. His next venture, starring Rajkumar Rao and Janhvi Kapoor, is expected to generate similar emotions; this time, with a story set in the backdrop of cricket.

Director: Maneesh Sharma

The Tiger franchise, starring Salman Khan and Katrina Kaif, has lived up to its billing of being a solid entertainer over the years. With Sharma [returning as a director post Fan ] carrying it forward with the third instalment, both the action and the narrative are expected to be taken a notch higher. The addition of Emraan Hashmi in the main cast is generating curiosity; plus, there's a guest appearance from Shah Rukh Khan too.

Director: Nagraj Manjule

Manjule understands the intricacies of human emotions. We have seen that in his past films like Sairat and Fandry . In his Bollywood debut, he teams up with Amitabh Bachchan to tell the real-life tale of Vijay Barse, the founder of Slum Soccer – an NGO that empowered underprivileged kids through football. If its first look, released in 2020 – just through its music [by Ajay-Atul], visuals of kids walking with cricket bats and stumps in a slum area and Bachchan's voiceover – could be powerful, we wonder what the film in itself would be like.

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‘Drishyam 2’ Hindi movie review: Ajay Devgn’s gripping sequel provides more than just a sense of déjà vu

The ajay devgn-starrer, a remake of jeethu joseph’s malayalam movie, rides on an engaging storyline that marries emotion with rationale.

November 18, 2022 12:53 pm | Updated 12:53 pm IST

Ajay Devgn in a still from ‘Drishyam 2’ | Photo Credit: T-Series

Drishyam 2 is yet another remake of a non-Hindi film that smoothly travels through the language barrier, all thanks to a gripping storyline that doesn’t surrender logic in an attempt to hold on to emotion. It is Jeethu Joseph’s writing that makes the remake of the Malayalam hit work, almost seven years after Vijay Salgaocar (Ajay Devgn) sold his riveting story to us.

We are told that the modest cable operator’s take on the alleged murder of Sameer Deshmukh, son of top cop Meera Deshmukh (Tabu), is not as foolproof as it sounded by the end of the first part, in which he and his family were saved from the might of the system. Now, a new officer (Akshaye Khanna) in town has planted his sources around the Salgaocar family to get to the bottom of the truth. Will the papa pay for his actions to safeguard his family?

Drishyam 2 (Hindi)

Debutant director Abhishek Pathak doesn’t really hit the ground running, but the source material is so engaging that it is hard to go astray from the line of investigation. Beyond the nuts and bolts of a thriller, Jeethu has oiled the scenario with observations on the idea of right and wrong, guilt consciousness, and forgiveness that makes the proceedings not only nuanced but also relatable. Meera can’t get over the fact that Vijay outmanoeuvred her years of experience in the police. More importantly, it is the mother in her that propels her to seek revenge on a father who doesn’t see beyond the safety of his family. In a society that celebrates poetic justice more than courtroom judgment, it is a potent recipe, and Jeethu Joseph milks it well.

However, there is a long stretch between what happened — which made the makers reopen Vijay’s file and summon us to the theatres — and how it happened. Nothing really happens in this stretch, except for Akshaye Khanna chewing the scenery in his inimitable style. Few actors could convey a sense of desperation and authority in one frame as Akshaye does. It is his performance, one laced with some sharp one-liners (dialogues by Aamil Keeyan Khan), that keeps us awake during the middle overs.

No comparison with Mohanlal, but Ajay Devgn is dependable as usual in a role that expects him to tone down his star power. The only concern is after a certain age, stars begin to sound like their mimics in scenes where an emerging filmmaker (who perhaps is in awe of the actor) asks them to raise the emotional pitch. It happened with Sr. Bachchan, and Devgn should also guard against it, particularly in films where there is no blaring background sound to balance it out.

Shriya Saran continues her tryst to become the docile housewife, but off and on her diction and body language blurt out that she is putting up an act. Kamlesh Sawant acts as if he knows that his Gaitonde evoked interest in the first part. Tabu and Rajat Kapoor show how to carry on a character in a sequel.

Of course, the film is not meant for those who have watched the Malayalam version. For the rest, Drishyam 2 provides more than just a sense of déjà vu.

Drishyam 2 is currently running in theatres

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