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  • Reporting Live Review: Whistleblower Drama Lacks Punch | ‘Reporting Live’ Movie Review: Parin…

    Reporting Live Review: Whistleblower Drama Lacks Punch | ‘Reporting Live’ Movie Review: Parin…

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    Reporting Live Review: Whistleblower Drama Lacks Punch

    Hurt and humiliation is skin deep in Reporting Live’s truth-seeking, which is why its cynical view of a crusader’s fate leaves no impact, notes Sukanya Verma.

    Inspired by true events surrounding illegal sand mining, Dhruv Tripathi’s directorial debut co-written with Mihir Jadhav means to shed the light on how those wielding power conceal the truth and suppress the voice of dissent to fulfil their ambitions at the cost of human life and safety.

    Until a pair of daredevil journalists make it their life’s mission to bring out the blatant abuse of power out in the open.

    ‘Reporting Live’ Movie Review: Parineeti Chopra Is Miscast In A Journalism-For-Dummies Drama

    There are two kinds of Indian journalism movies. Neither of them is nice — which perhaps reflects the state of journalism itself — but it is what it is. The first kind of movie unfolds with the confidence of having spoken to one former reporter as research; it explains the profession like a teacher in third grade because it’s also learning simultaneously. The second kind of movie unfolds with the confidence of having spoken to several reporters from different newsrooms, past and present, so that this research can be reduced to a journalism-for-dummies template; it, too, explains the profession like a teacher in third grade because it thinks that the viewers are learning something they’ve never heard of before.  

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    ‘Reporting Live’ movie review: Lost in the shifting sands

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  • The Social Reckoning review: Aaron Sorkin’s drama puts Facebook on trial, but it won’t change any…

    The Social Reckoning review: Aaron Sorkin’s drama puts Facebook on trial, but it won’t change any…

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    The Social Reckoning review: Aaron Sorkin's drama puts Facebook on trial, but it won't change anyone's minds ★★☆☆☆

    This sequel to The Social Network dramatises how a Facebook whistleblower exposed the company's secrets. But with a "dead-eyed" Jeremy Strong as Mark Zuckerberg, it lacks thrills.

    It may be a film about a bunch of nerds setting up a website, but The Social Network (2010) won three Oscars and was nominated for five more. Directed by David Fincher, scripted by Aaron Sorkin, and starring Jesse Eisenberg as Mark Zuckerberg, it somehow made Facebook's teething problems as dazzlingly entertaining as any stunt-packed spy caper. Sixteen years on, we have The Social Reckoning, a sort-of sequel which had the potential to be even more exciting.

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    The Social Reckoning review – Aaron Sorkin’s jittery sequel with all-new evil puppet Zuckerberg

    Jeremy Strong’s slow-talking Facebook founder turns into a cameo, background to a thriller about a whistleblower that somehow never mentions Trump

    Here is a film for all those people who solemnly deplore social media in conversation but haven’t quite got round to deleting their accounts. Sixteen years have gone by since The Social Network, written by Aaron Sorkin and directed by David Fincher; this was the addictive, obsessive-compulsive movie about the birth of Facebook in Harvard’s macho-competitive cauldron of student sexism and nerdy self-pity, starring Jesse Eisenberg as the fast-talking, arrogant, not-necessarily-evil genius Mark Zuckerberg. Now Sorkin is back with a sequel of sorts, directing his own script – and now Zuckerberg is basically evil, but also weirdly slow talking, as if all the zinging, smart-alecky Sorkinesque dialogue energy of the first film has been siphoned away in early middle age and dispersed among the insurgents in the new cast.

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  • Drishyam 3 Review: Come For Ajay Devgn, Stay For Jaideep Ahlawat | Review: Drishyam: The Conclusi…

    Drishyam 3 Review: Come For Ajay Devgn, Stay For Jaideep Ahlawat | Review: Drishyam: The Conclusi…

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    Review: Drishyam: The Conclusion Goes All Guns Blazing

    Only the sluggish pace one has to endure to get there elicits more yawns than yays, notes Sukanya Verma.

    Vijay Salgaonkar's mind hasn't stopped ticking for over a decade now.

    Thinking two steps ahead of the law every living second, he expects the Damocles sword hanging above his head to drop any day and destroy the people he so intently protects. It's a dysfunctional dynamic to function in but the Salgaonkars don't mind so long as they survive the storm as a close-knit family. At what cost? The makers of Drishyam do not ask.

    Over the course of these 11 years, they've started to resemble apparitions going around in circles and conning the cops as a team. The ghost of Sameer Deshmukh's unresolved mystery continues to loom large over the franchise, which arrives at its conclusion in the final instalment of the trilogy.

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  • ‘Unabomber’ Review: A Portrait of the Terrorist as a Young Man, Given a Hokey TV-Movie Gloss …

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    ‘Unabomber’ Review: A Portrait of the Terrorist as a Young Man, Given a Hokey TV-Movie Gloss

    Jacob Tremblay doesn't convince as the teenage Ted Kaczynski in this Netflix filler, which alternates a semi-interesting psychological origin story with a by-the-numbers procedural following his capture.

    The Unabomber may be a figure of enduring public fascination, but it’s hard to see that extending to “Unabomber,” Netflix‘s unimaginatively titled and prosaically assembled drama about how domestic terrorist Ted Kaczynski was radicalized, and how he was caught. Alternating between a standard-issue procedural thriller, dramatizing the FBI’s final year of investigation on the case, and psychologically revealing flashbacks to the 16-year-old Kaczynski’s freshman year at Harvard, Janus Metz‘s film has some built-in intrigue from its subject matter alone, but rote dialogue and autopilot true-crime styling do little to fire the imagination. Meanwhile, the dual timelines never spur or inform each other in any meaningful way; the sense that two disparate but half-baked Unabomber projects have been unhappily welded together is hard to shake.

    ‘Unabomber’ Review: Jacob Tremblay and Russell Crowe in a Facile Rendering of Ted Kaczynski’s College Days

    Director Janus Metz's thriller, also starring Shailene Woodley, attempts to plumb the depths of a pivotal moment in the infamous murderer’s life — his time as a Harvard student.

    While Netflix has Ryan Murphy busy investigating (or flat-out making up) the motives of killers like Jeffery Dahmer, the Menendez Brothers and Lizzie Borden, the streamer has enlisted director Janus Metz to tell the story of Ted Kaczynski, the math prodigy turned reclusive murderer known as the Unabomber — also the movie’s title. But Unabomber, written by Sam Chalsen and Nelson Greaves, is not some sweeping birth-to-death survey of Kaczynski’s life. It instead focuses on a young Kaczynski’s time at Harvard University, where he participated in a brutal psychological study that, in the movie’s framing, may have helped form the anarchic worldview that eventually led to his infamous deeds.

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    Review: Netflix’s ‘Unabomber’ Can’t Even Do True Crime Right

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    To the modern true-crime aficionado, the Unabomber must present an intriguing dilemma. To those of us who were around during his yearslong campaign of bombings and his subsequent capture, he’s a figure just familiar and haunting enough that we come to the story with a mixture of anticipation and preconception. (I once had a professor who’d lost a hand to one of the Unabomber’s explosives; proximity to a victim tends to render the perpetrator uniquely terrifying — and maybe also a little fascinating.) To later generations, though, he might not seem as fearsome as some of the grislier, more hands-on serial killers, the demon cannibals and psycho snatchers who regularly inspire suburban nightmares and streaming miniseries. No, the Unabomber, a onetime math genius and professor named Ted Kaczynski, was basically a hermit nerd in a Montana cabin who mailed bombs to scientists, engineers, professors, and other elites. In that sense, he was more a terrorist than a serial killer — a deadly lunatic with an agenda who killed three and injured dozens. And his agenda (once he deigned to reveal it, following years of terrorizing and murdering his fellow humans) was greeted by some as a compelling one: The 1995 publication of Kaczynski’s 35,000-word manifesto, Industrial Society and Its Future, captured the imagination of many a neo-Luddite writer and thinker. (Perhaps ironically, growing interest in his anti-tech treatise was helped along by the internet, which began expanding into everyday life around the same time.)

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  • The Love Hypothesis review – hit BookTok romcom lacks spark on screen | The Love Hypothesis and…

    The Love Hypothesis review – hit BookTok romcom lacks spark on screen | The Love Hypothesis and…

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    The Love Hypothesis review – hit BookTok romcom lacks spark on screen

    Riverdale’s Lili Reinhart does some heavy lifting in adaptation of Ali Hazelwood’s hit book, but it’s not quite enough

    Fans of the dearly departed Riverdale – or, moreover, admirers of all the batshit things the CW comic soap could make its bright young actors say with straining sincerity – have long rooted for Lili Reinhart. The Betty Cooper of yore was the best of that talented crop (Charles Melton and Camila Mendes among them) at rising above her subpar surroundings, her impressively expressive eyes able to sell the unsellable with complete conviction. She is the type of helplessly endearing performer suited to roles of naivety who masks surprise steeliness, as in her notable turn in 2019’s Hustlers or, better yet, romcoms, though there remains a dearth of worthy material. (A dual role in 2022’s Look Both Ways, a Netflix homage to Sliding Doors, didn’t cut it.)

    The Love Hypothesis and the rise of romance adaptations: how readers became part of the marketing machine

    By the time a romance book reaches the screen, readers have often already built a whole world around it: analysing it, recommending it and imagining its characters. The Love Hypothesis, a romantic comedy set in the world of STEM (science, technology, engineering, mathematics) academia, is one such example.

    The bestselling 2021 novel by neuroscientist-turned-author Ali Hazelwood revolves around biology PhD student Olive Smith and Dr Adam Carlsen, a young professor in the same department. The pair pretend to be in a relationship to convince Olive’s friend and Adam’s boss that their love life is on track. As they are forced to spend more time together, the lines between fake and real get increasingly blurred.

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    The Book Started as a Steamy Star Wars Fanfic. Now the Movie Adaptation Is Here. Uh-oh.

    In Sex Reviews, writers offer a sober critical assessment of the sex scenes in new films and television series. This installment contains spoilers for The Love Hypothesis. 

    While the covers of Ali Hazelwood’s bestselling novels blend right in with other contemporary millennial romance fare, what’s between the pages is distinctive for the genre. Hazelwood, a former neuroscience professor, favors a combination of STEM milieus (two books set at Stanford, others at NASA’s Johnson Space Center, MIT, and an Arctic research center) and STEM heroes and heroines (every person in a Hazelwood book is an engineer, a scientist, or a game developer) with what can sometimes be extremely detailed and extensive sex scenes. Her Not in Love series and her campus romance Deep End can barely be read in public, so flushed will your face become. The Hazelwood fantasy is something that can only be described as “best-case Bay Area”: nerds with broad chests who, when tested, display an unexpected ability to apply themselves … both in and out of bed.

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  • The Love Hypothesis review – hit BookTok romcom lacks spark on screen | This movie just committ…

    The Love Hypothesis review – hit BookTok romcom lacks spark on screen | This movie just committ…

    Explore the latest developments concerning The Love Hypothesis.

    The Love Hypothesis review – hit BookTok romcom lacks spark on screen

    Riverdale’s Lili Reinhart does some heavy lifting in Ali Hazelwood’s hit book, but it’s not quite enough

    Fans of the dearly departed Riverdale – or, moreover, admirers of all the batshit things the CW comic soap could make its bright young actors say with straining sincerity – have long rooted for Lili Reinhart. The Betty Cooper of yore was the best of that talented crop (Charles Melton and Camila Mendes among them) at rising above her subpar surroundings, her impressively expressive eyes able to sell the unsellable with complete conviction. She is the type of helplessly endearing performer suited to roles of naivety who masks surprise steeliness, as in her notable turn in 2019’s Hustlers or, better yet, romcoms, though there remains a dearth of worthy material. (A dual role in 2022’s Look Both Ways, a Netflix homage to Sliding Doors, didn’t cut it.)

    This movie just committed a ‘cardinal sin’, and it’s going to divide viewers

    This may sound like a paradox, but The Love Hypothesis movie is actually better than Ali Hazelwood’s book because it commits what some readers would consider a cardinal sin: it doesn’t stay true to the novel.

    I spent the first 20 minutes of the film cringing through a slightly awkward voice-over that matched the book almost word for word and feared the rest of the film would do the same.

    It’s a classic fake-dating rom-com, and I ate it UP. Prime Video

    Having read the book, I knew I was in for a lot of second-hand embarrassment if that was the case.

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    The dynamic landscape of current events often brings forth significant discussions. Monitoring these developments provides crucial insights.

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  • The Love Hypothesis review – hit BookTok romcom lacks spark on screen | This movie just committ…

    The Love Hypothesis review – hit BookTok romcom lacks spark on screen | This movie just committ…

    Explore the latest developments concerning The Love Hypothesis.

    The Love Hypothesis review – hit BookTok romcom lacks spark on screen

    Riverdale’s Lili Reinhart does some heavy lifting in Ali Hazelwood’s hit book, but it’s not quite enough

    Fans of the dearly departed Riverdale – or, moreover, admirers of all the batshit things the CW comic soap could make its bright young actors say with straining sincerity – have long rooted for Lili Reinhart. The Betty Cooper of yore was the best of that talented crop (Charles Melton and Camila Mendes among them) at rising above her subpar surroundings, her impressively expressive eyes able to sell the unsellable with complete conviction. She is the type of helplessly endearing performer suited to roles of naivety who masks surprise steeliness, as in her notable turn in 2019’s Hustlers or, better yet, romcoms, though there remains a dearth of worthy material. (A dual role in 2022’s Look Both Ways, a Netflix homage to Sliding Doors, didn’t cut it.)

    This movie just committed a ‘cardinal sin’, and it’s going to divide viewers

    This may sound like a paradox, but The Love Hypothesis movie is actually better than Ali Hazelwood’s book because it commits what some readers would consider a cardinal sin: it doesn’t stay true to the novel.

    I spent the first 20 minutes of the film cringing through a slightly awkward voice-over that matched the book almost word for word and feared the rest of the film would do the same.

    It’s a classic fake-dating rom-com, and I ate it UP. Prime Video

    Having read the book, I knew I was in for a lot of second-hand embarrassment if that was the case.

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    What Time Does ‘The Love Hypothesis’ Come Out In Australia Today?

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    No one has committed to a press tour with such devotion as Lili Reinhart has with The Love Hypothesis. From the early wave of TikTok videos with her co-star, Tom Bateman, that perfectly played up their character’s grumpy-sunshine dynamic to the continuum of looks paying homage to some of cinema’s most-loved rom-coms. So prolific has the press tour been that it has felt never-ending, but here we finally are with The Love Hypothesis premiering on Prime Video today.If, unlike us, you haven’t been counting down the days to the film’s release and aren’t familiar with the premise, let me catch you up.The Love Hypothesis is based on the book of the same name by author Ali Hazelwood. Like many of Hazelwood’s works, the story is a STEM romance and centres on PhD candidate Olive, and a professor, Adam, having to engage in our favourite romance trope: fake dating.

    For more detailed information, explore updates concerning The Love Hypothesis.

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  • ‘Best of the Best’ Review: They Think They Can Dance | Best of the Best review – college co…

    ‘Best of the Best’ Review: They Think They Can Dance | Best of the Best review – college co…

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    Best of the Best review – college comedy formula gets a Bollywood makeover

    What’s engaging in this tale of two best girl friends and a dance competition is not the familiar plot but the whip-fast telling and brilliant choreograpy

    There is absolutely nothing unexpected about this Netflix comedy set in the world of rival Bollywood dance groups on American campuses. Each plot twist is instantly familiar, every character recognisable, the essential formula untweaked from a dozen previous college comedies. But it’s funny and snappy, and directed with infectious energy by Lena Khan, one of the few Muslim female film-makers working in Hollywood. The scriptwriters are Hasan Minhaj and Prashanth Venkataramanujam, a pair of millennial comedians who look as if they’ve done enough research on the inner workings of gen Z behaviour to write a PhD.

    Best of the Best Star Priyanka Kedia Is Dancing Her Way to the Top

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    The '70s had Saturday Night Fever. The '80s had Dirty Dancing. The '90s had Strictly Ballroom. The early aughts had Save the Last Dance. Now, we have Best of the Best, Netflix's joyful comedy centered on the cutthroat world of collegiate Bollywood-fusion dance.

    Billed as Bollywood meets Bring It On (need we say more?), the film follows childhood best friends Maya (Maitreyi Ramakrishnan) and Anjali (Priyanka Kedia), who join UCLA's competitive dance team, only to have their skills and friendship tested on the bumpy road to winning the U.S. championship. It's a story about sisterhood and self-acceptance coupled with high-impact, heart-pounding Bollywood dance sequences that are quite literally a feast for the eyes.

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  • iPhone 18 Pro review: the biggest upgrade Apple’s made in years, hiding in plain sight | New iP…

    iPhone 18 Pro review: the biggest upgrade Apple’s made in years, hiding in plain sight | New iP…

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    iPhone 18 Pro review: the biggest upgrade Apple’s made in years, hiding in plain sight

    While all the attention is on Apple’s new foldable form factor smartphone the iPhone Duo – we’ve got a month to wait to see that one in stores, so in the meantime orders will be flooding in for the upgraded Pro level phones – the iPhone 18 Pro and Pro Max.

    Apple’s iPhone 18 Pro looks almost identical to last year’s model.

    Apple’s iPhone 18 Pro looks almost identical to last year’s model. Jackson Long

    Same size, same shape, my old 17 Pro Max case fits perfectly, with the only listed physical difference being an extra 7 grams in weight.

    iPhone 18 Pro vs iPhone 17 Pro: Should You Upgrade?

    The iPhone 18 Pro adds a variable-aperture camera, A20 Pro chip, faster charging, and more storage, but iPhone 17 Pro owners may have fewer reasons to upgrade after just one year. Image generated via ChatGPT.

    iPhone 18 Pro adds a new camera, faster chip, better battery life, and more storage. Here’s whether those upgrades are enough to leave the 17 Pro behind.

    A year after the iPhone 17 Pro arrived, Apple is asking buyers to spend more for another round of upgrades. The iPhone 18 Pro brings a new A20 Pro chip, a variable-aperture camera, faster charging, slightly longer battery life, a smaller Dynamic Island, and up to 2TB of storage.

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  • Lanterns review – Kyle Chandler and Aaron Pierre’s alien-hunting superhero caper is a bust | …

    Lanterns review – Kyle Chandler and Aaron Pierre’s alien-hunting superhero caper is a bust | …

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    Lanterns review – Kyle Chandler and Aaron Pierre’s alien-hunting superhero caper is a bust

    Sure, it’s got evil extraterrestrials trying to detonate whole towns … but not even the almighty Green Lantern and his mesmerising protege can save this show from feeling a whole lot of meh

    It is my personal belief that you are starting off on the back foot whenever you’re given a superhero who draws their powers from an extrinsic item. Captain America is nothing without his shield. Elon Musk could build a metal suit and proto-heart and become Iron Man, which tells you everything you need to know about the problem. And, most pertinently, as we’re about to discuss the latest iteration of the Green Lantern legend, there’s the Green Lantern and his big green ring. It grants the wearer mighty powers but periodically needs recharging from a big green power pack. Plus, Green Lanterns themselves are ultimately employees of Green Lantern Corps, a cosmic law enforcement agency run by the Guardians. They are a race of immortals who live on the planet Oa, but by that point there’s a lot of meh to cut your way through.

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    I’m not really into traumatic superhero stories, but Lanterns had me in its grip

    Superheroes and mortals alike return to the same question in HBO Max’s gritty, psychological take on DC’s Green Lantern franchise: “Are you afraid?”

    The three words become a mantra for John Stewart (Aaron Pierre, Rebel Ridge; The Morning Show), a Lantern-in-training assigned to follow around Earth’s long-standing Lantern, Hal Jordan (Kyle Chandler, Friday Night Lights). Together, they investigate a strange shooting in Nevada with suspected intergalactic links.

    Without mental resolve, these intergalactic law officers can’t use their weapons – a magical emerald green ring that lets them fly and create objects, force fields and more out of sheer mind power. But fear itself is the powering force of Lanterns, a show that examines how it is used to justify acts of love, war and hatred across interpersonal relationships and intergalactic colonialism alike.

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