Raat Akeli Hai ( 2020 ) Review

The homicide of a compelling property manager on his wedding night, under puzzling conditions, takes a cop on a perilous mission to unwind reality.
Set in UP, Nawazuddin Siddqui plays Jatil Yadav, an unmarried cop, who is gathered to research the homicide of a family patriarch. The casualty has a place with a celebrated useless family and each part living in his rambling haveli is presently a suspect.
While each individual has motivation to murder, it is dependent upon Jatil to find, whose thought process was sufficiently able to execute the wrongdoing. On close to home front, his mom (an astounding Ila Arun at her best as usual) is occupied lady of the hour chasing for her child, who is frequently dismissed by more youthful young ladies for his tone or age.
Humiliated by his absence of decisions, being dismissed in the marriage market and his mom's efforts to land him a spouse aimlessly weddings, he covers himself in work. As destiny would have it, work drives him to cherish.
He winds up attracted to a withdrawn Radha (Radhika Apte), the lady of the hour of the older rich man, who was killed. Could his fascination for her, flounder his judgment as a cop?Can he see through the trap of falsehoods and reveal reality?
Raat Akeli Hai is an unusual whodunit, where 'who did it', is more fascinating than the 'how and why'. After Mukesh Chhabra who made his first time at the helm with Dil Bechara, noted projecting chief Honey Trehan also has wore the chief's cap without precedent for this Agatha Christie styled insightful dramatization.
Trehan's projecting credits incorporate Maqbool, Omkara, Fukrey, Dedh Ishqiya, Raees to give some examples. He has likewise been an associate chief on films by Vishal Bhardwaj and Abhishek Chaubey. The impact of these producers on his executive style is apparent. His film stays true to the subject and type.
In any case, what he needs as a first time chief is to inject the dirt that Chaubey or Bhardwaj bring to the table. A component of dread, direness, apprehensive energy and pressure are required in wrongdoing secrets. At 2 hours and 29 minutes, the film without the rush factor, feels wordy and debilitating.

Lootcase ( 2020 ) Review

Life takes a surprising turn for a print machine staff member, Nandan Kumar (Kunal Kemmu), whenever he risks upon a folder case loaded up with money sitting on a soiled road. Considering this to be a window to a superior business, Nandan takes it home.
Yet, the cash is large and searchers galore. Will this be the finish of his burdens or the start of new distresses?
An exhausted tiffin swinging from his shoulder, a thankless work environment, a pestering spouse at home and a child who wouldn't stop with his requests – Nandan Kumar is one of the numerous million countenances suffocating in the weight of his working class life. Be that as it may, a major, lustrous red bag – or 'lootcase', as they might want to call it – comes as a hint of something better over the horizon and he realizes he would be stupid to release this one.
Along these lines, prior to grasping it, he makes this fairly a guileless declaration: "Last time poonch rahaan hoon, kiska bag hain?" Once Nandan acknowledges there are no takers, off he goes! In any case, the man is a chawl inhabitant and his neighbors are a lot of loud, annoying individuals.
What's more, his better half? A 'poojari's beti' who wouldn't acknowledge this unwanted visitor in spite of the fact that she's continually giving him anguish over the family's desperate monetary circumstance.
Also, the way that the cash was taken from a first class government official, who was getting it hand conveyed to another first rate legislator's better half through a posse of hooligans, doesn't help all things considered.
Rajesh Krishnan's 'Lootcase' is a parody, a realistic stareback at a helpless man's voracious extinguish for abundance set in opposition to a rich man's fixation to gather as much as possible – by reasonable or out of line implies.
The plotline is interest embodied; given. Also, has all the fixings needed to concoct the ideal dull satire stock – those boisterous articulations, all around planned and painstakingly positioned jokes and, obviously, the stool jokes… Always the stool jokes!

Khuda Haafiz ( 2020 ) Review

The lives of love birds Nargis (Shivaleeka Oberoi) and Sameer Choudhary (Vidyut Jammwal) come disintegrating down as monetary log jam hits India in 2008 and the couple's currently jobless.
The team goes after positions in the Sultanate of Noman. Yet, as destiny would have it, Nargis is grabbed away by some perilous individuals in the unfamiliar land. Sameer makes plans to bring her home completely secure. What has happened?
In the initial grouping, a bashful Sameer inquires as to whether she had consented to wed him due to family pressure and on the off chance that she had a sweetheart that she actually has uncertain affections for.
This Lucknow kid's naivety offers to Nargis. Furthermore, before you know it, the couple goes into blessed marriage and is smashed in affection not long after saying 'Qubool Hai (I acknowledge it)' to each other.
In an alternate setting, scholars Faruk Kabir (additionally the chief) and Zaheer Abass Qureshi depict the unexpected slamming of the world economy and how India hooks under its shockwaves. Obviously, the lead pair also faces the brunt and both lose their positions promptly after getting married.
Edgy, the couple applies for work to unfamiliar nations like the Sultanate of Noman through a crude occupation situation organization in Lucknow. While Narigis' work visa shows up, Sameer needs to hang tight for five additional days. In any case, all's not well in the Noman heaven as Nargis settles on a frenzy telephone decision to her significant other, asserting "nothing's what it was by all accounts" and that "she is being dealt with severely".
Something evil is influencing everything and Sameer knows it, and ventures out from home with the sole mission of bringing his significant other back. After coming to, he is faced with the brutal truth of his conditions—Nargis is currently in the grasp of the dim rear entryways of tissue exchange. How is he going to save her, and above all, where is she?

Suraj Pe Mangal Bhari ( 2020 ) Review

Call it categorized methodology, yet Madhu Mangal Rane (Manoj Bajpayee) has promised to get lafangaas out of the relative multitude of future ladies' courses in Mumbai (at that point Bombay) and his tally is taking off; 48 grooms uncovered up until now. Be that as it may, the 49th one ends up being a bouncer in his life.
'Duduwala' (the authors' words, not our own) Suraj Singh Dhillon (Diljit Dosanjh) is 28 and that one time he attempts to show his life on the awful young men of Bollywood, Rane finds him napping and urgent Dhillon is presently without a lady… once more! 'Suraj Pe Mangal Bhaari' accounts the conflict of these two men-kids, and it is frantic fun!
At the point when Gurunam Singh Dhillon (Manoj Phawa) had gone out on a limb the and moved base to Bombay from Punjab – with the expectations of becoming wildly successful in the city – he not just wedded the affection for his life (Seema Bhargava), yet in addition acquired 22 bison.
Slice to 1995, Papa Dhillon presently has all that he had ever wanted and has assembled Jai Matarani Doondh Bhandar with adoration, dahi and loads of paneer (support yourselves: there's a great deal of dairy reference in the film for all you lactose-narrow minded peeps).
Yet, one trademark characteristic that he was unable to give over to his solitary child, Suraj Singh Dhillon (Diljit Dosanjh), is his natural capacity to prevail upon young ladies.
So when the eager intellectual gets back the kundali of an English-talking, shorts-wearing young lady from Bhandup, the whole Dhillon group hops with energy. Not all that soon; a little somebody smells of ghee and should be averted for acceptable.
Various dismissals later, Suraj's best pal Sukhi, who just copies Amitabh Bachchan from his irate youngster stage, proposes he be the baddie that young ladies generally want after. So when a possibility at long last gives her gesture, he loses that last flashing desire to a bunch of photographs of him chugging brew.