Tanvi: The Great (2025) Hindi Full Movie

 Tanvi: The Great (2025) Hindi Full Movie

Coolie (2025) Hindi Full Movie Watch Online Free MOVIE4HU

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Director:Lokesh Kanagaraj
‎Writers:Chandhru AnbazhaganLokesh KanagarajS
tars:RajinikanthNagarjuna AkkineniSoubin Shahir

Storyline

Tanvi Raina, a woman with autism learns of her deceased Indian Army father's dream to salute the flag at Siachen Glacier. Despite barriers facing those with autism in military service, she resolves to complete her mission.

Tanvi: The Great Review:

Anupam Kher returns to direction after more than two decades with a deeply felt drama. ‘Tanvi: The Great’ is a heartfelt film that takes you into the world of a young autistic girl who dares to dream the impossible—to join the Indian Army, like her late father. Kher’s film doesn’t rely on loud drama or larger-than-life characters. Instead, it wins you over with its sincerity, warmth, and ability to touch on an important subject without turning didactic. At its core, this is a film about acceptance—of self, of others, and of the idea that no dream is too big if someone believes in you. It educates without lecturing and moves without manipulating. Kher’s mature direction is backed by an honest script and a cast that delivers across the board.The story begins when Vidya Raina (Pallavi Joshi), an autism expert and single mother, has to attend a conference in the United States. With no other option, she takes her daughter, Tanvi (Shubhangi Dutt) to Lansdowne in Uttarakhand to stay with her grandfather, Colonel Raina (Anupam Kher). He is unfamiliar with autism and initially finds it hard to connect with Tanvi, treating her as he would any other child. Vidya tries to bridge the gap before she leaves, explaining Tanvi’s condition in gentle terms. Slowly, through shared time and small gestures, the bond between Tanvi and her grandfather begins to form. Things change when Tanvi learns about her father—Samar Pratap Raina (Karen Tacker), an army officer who died in service. Inspired, she sets her heart on becoming a soldier herself. Helping her in this journey are Brigadier Joshi (Jackie Shroff), her music teacher Raaz Saab (Boman Irani), and Major Kailash Srinivasan (Arvind Swamy), each playing a small but pivotal role in pushing her closer to her dream.At the center of the film is newcomer Shubhangi Dutt, who plays Tanvi with remarkable poise and innocence. She captures the small nuances of her character with such honesty that the performance never feels like acting. There’s no overstatement, no attempt to draw attention—and that’s exactly why it works. Anupam Kher, as her grandfather, delivers one of his most grounded performances in years. His journey from resistance to recognition is portrayed with emotional precision. Jackie Shroff, though present for a short time, brings empathy to his role. Boman Irani’s understated turn as Tanvi’s music teacher adds warmth, while Arvind Swamy impresses as the ex-Army man running a training academy, lending credibility and calm to the narrative.The screenplay, especially in the first half, is tight and effective. The writers—Suman Ankur, Abhishek Dixit, and Anupam Kher—do a commendable job of introducing characters with care, building emotional beats without rushing them. The film also deserves credit for how it portrays autism. It doesn’t over-explain or dramatize; instead, it invites viewers to observe, understand, and feel. While the second half is slightly longer than necessary and the pace dips near the end, it never becomes dull. MM Keeravani’s music is a perfect companion to the narrative, never overpowering but always present when needed. The cinematography captures the serenity of Lansdowne beautifully, creating a calm backdrop for the emotional storm brewing within the characters.Ultimately, ‘Tanvi: The Great’ is less about autism or the army and more about human connection—how understanding can grow in silence, how dreams can be nurtured by love, and how change often begins with one person choosing to listen. It’s a rare drama that sidesteps melodrama and chooses subtlety. The emotional moments aren’t loud, but they linger. There’s no high-pitched conflict, no exaggerated breakdowns—just quiet, believable relationships and a girl who dares to hope. It’s a film that may not leave you overwhelmed, but it will leave you moved. And sometimes, that’s enough.

Coolie (2025) Hindi Full Movie

Coolie (2025) Hindi Full Movie

Coolie (2025) Hindi Full Movie Watch Online Free MOVIE4HU

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Director:Lokesh Kanagaraj
‎Writers:Chandhru AnbazhaganLokesh KanagarajS
tars:RajinikanthNagarjuna AkkineniSoubin Shahir

Storyline

Deva finds about sudden death of his old friend Rajshekar and feels he has been murdered.At his funeral his daughter Preeti insults Deva and throws him out due to old grudge.Deva starts to dig past and finds Rajshekar had invented a crematorium chair which would turn bodies into ashes within seconds.But government didn't pass the project as it can land in bad hands.Deva finds Rajshekar worked for a top businessman and smuggler Simon who forced him to use the chair to eliminate many bodies by threatening to kill his daughters Deva meets Preeti and tells her that her father was killed and needs her help to find the truth.Simon is in trouble after Rajshekar's death as bodies are not getting disposed but his aide Dayal suggests Preetii"s name as she would be always there with his father.Dayal goes to kidnap Preeti but Deva insists to come along pretending to know how to operate the chair.In order to find truth of Rajshekar's death Deva and Preeti unwillingly dispose many bodies.Simon finds that Dayal is a traitor and police informer and kills him and asks Deva to bury him near police station.Deva and Preeti while trying to bury Dayal find he is alive,as Dayal asks for forgiveness Deva asks Preeti to drop him at his village as he is in bad state.Deva goes to meet Simon where he is shocked to see a video footage that Dayal actually killed Rajshekar.Deva now has to save Preeti from Dayal and also find the truth on frequent dead bodies arriving for disposal at Simon,s port.

Coolie Review:

‎If you’ve ever played three cups, you’d know that the game escalates in pace with each consecutive and more complex move. It gets increasingly hard to track the cup the ball is under. Keeping up with Coolie’s countless plot twists is a bit like that, though with less internal logic. This doesn’t mean you can’t have fun watching the film.

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‎Director Lokesh Kanagaraj’s Coolie is an over-the-top, unabashedly ludicrous, carnivalesque roar. Rajinikanth reminds you beyond doubt why he’s the Superstar. An ageing one, yes, but his performance can still pack a punch.

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‎To physically land punches on screen, it’s becoming woefully apparent that he needs the generous help of CGI and stunt ropes. What makes you look past this is how Rajini oozes his trademark style, snark, and charm.

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‎The film opens with Deva (Rajini) running a mansion for men and male students in Chennai. The students are ensured free meals and low rent as long as they abide by his no drinking and no smoking policy. Like Baasha (1995) and several other hits, there’s more to Deva’s story than that of a mere proprietor.

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‎A tragedy involving Rajasekar (Sathyaraj), an old friend, takes Deva to the Visakhapatnam port. Here, he will infiltrate the criminal operations of Simon or Kingpin (Nagarjuna Akkineni).

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‎Simon enforces a brutal and authoritarian hold over the port and its workers. Nagarjuna is at times chilling, at other times almost cartoonish. For the most part, he exudes a careless menace that makes all his confrontations with Rajini compelling.

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‎Similar to Jailer (2023), Coolie boasts an ensemble cast of actors from Hindi, Malayalam, Telugu and Kannada cinema.

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‎Soubin Shahir, known to Malayalam audiences for Kumbalangi Nights (2019), Maheshinte Prathikaaram (2016) and Manjummel Boys (2024), among other films, plays Simon’s second-in-command, Dayal. He keeps your head spinning with his unhinged violence and mercurial shifts in personality and motives. Dayal is a stark contrast to Deva and hence, an interesting antagonist.

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‎Kannada actor Uppendra provides the story’s first link to Deva’s mysterious past. Unflappable and quick on his feet, his character ratchets up the delirious energy of Coolie’s second half.

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‎When Aamir Khan makes his much-awaited cameo, the sequence has an unrestrained and maniacal intensity. This is Aamir’s Kollywood debut, and Coolie ensures it is a cinematic moment that won’t be forgotten soon.

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‎Preethi (Shruti Haasan) is mostly present to be abducted and rescued so many times, you eventually lose count. The performance is uneven, as is the dubbing. Preethi’s deer-caught-in-headlights wide-eyed obtuseness becomes quickly grating. The character is just another example of Kollywood’s unwillingness to invest much thought in writing female characters.

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‎Deva is the critical peg holding all these characters and their storylines together. Rajini carries this weight smoothly, delivering moments of grief, comedy and triumph with ease. It’s a far cry from his previous Vettaiyan (2024), in which he just seemed tired.

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‎Coolie marks fifty years of Rajini in cinema and was bound to recall the actor's hits across a long career.

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‎The most obvious, if superficial, reference is to Uzahaippali (1993) in which Rajini played a daily-wage factory worker. The older film is from an era that most Rajini fans likely grew up during. Outfitted in a striking red shirt, stylishly tied off at the ends, Tamilarasan (Rajini) is deeply suspicious of millionaires who, he points out, enrich themselves by exploiting working-class labour.

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‎Tamilarasan also wears a metal ID tag around his arm, inscribed with his employee number of 777. In Coolie, the tag makes a sort of comeback. Only this time, it is veiled in secrecy and one predictable plot twist.

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‎From the late 1970s, at least into the early 1990s, the actor played working-class heroes in several films. Sometimes, these representations were too simplistic, but the message was clear: On screen, Rajini’s loyalties were to the people, especially daily wage labourers. His characters would often rally against the rich and powerful.

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‎Films like Uzhaippali, Mullum Malram (1978), Bairavi (1978) and Mannan (1992) were not without flaws, such as misogyny, but they also highlighted the vulnerability and rights of working-class people.

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‎Whether or not Coolie has the same political acumen is hard to say without spoilers. But there are certainly some punchlines that are reminiscent of those earlier films. The final revelation of who Deva really is satisfies Rajini’s fandom while making a stormy statement on labour rights.

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‎The action sequences, despite their frequency, don’t exhaust you. Philomin Raj’s edits in Coolie are closer to his work on Vikram (2022) rather than the taxing fight scenes in Leo (2023).

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‎The comparison is also applicable to Lokesh. Leo had neither the quirkiness of Master’s (2021) first half nor the entertainingly palatable excesses of Vikram. With Coolie, the director bounces back from his previous disappointing fare.

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‎Anirudh’s music may be getting harder to tell apart with each new film when heard on its own, but it fits seamlessly into the events on screen. ‘Uyirnaadi Nanben’ is the one song that stands up without the support of the film. And its placement in Coolie adds a gentle gravitas to a touching sequence.

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‎Coolie justifies trading off logic for absorbing and fluffy entertainment. Lokesh’s latest film is ridiculously fun to watch. 

Dhadak 2 (2025) Hindi Full Movie

Dhadak 2 (2025) Hindi Full Movie

Dhadak 2  (2025) Hindi Full Movie Watch Online Free MOVIE4HU

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Director:Shazia Iqbal

Writers:Rahul BadwelkarShazia Iqbal

Stars:Siddhant ChaturvediTriptii DimriZakir Hussain

Storyline

A searing romantic drama about identity, power, and the cost of love in the world we live in.

Dhadak 2 Review:

The strength of Dhadak lies in its brimming freshness and innocence. That this film presents the new faces of Ishaan (one film old) and Janhvi (who marks her debut in Bollywood) works in the favour of its narrative. Like its original inspiration, Nagraj Manjule’s Sairat, the facet of love trying to survive the cruel world of politics and ruthless societal pressure, makes Dhadak engaging. The film follows the Sairat template for most part, but what is lacks is the grit and detailing of Manjule’s original.

Set in Udaipur, the story begins with young love blossoming in the midst of politics and a dominant class system. Parthavi (Janhvi) is the daughter of a local politician Ratan Singh (Ashutosh Rana), while Madhukar (Ishaan) is the son of a restaurant owner who comes from lower economic strata. Against societal norms, Madhu and Parthavi fall in love, and when her influential family finds out, they tear the lovers apart. The spirited young couple still find a way to elope. The film moves from Udaipur to Mumbai to Kolkata, which is a departure from the original. It's an engaging journey, but the treatment isn't consistent throughout.

With Dhadak, Shashank Khaitan steps out of the ‘Dulhania’ mould for the first time. Yet, his third outing has a lot of visual similarities to his earlier films. Owing to the source material, Dhadak is without doubt, his darkest film. He presents the naïve romance with sensitivity, even while fusing the story with ample dramatic highs. Oddly, for the subject at hand, the film looks a little too polished and slick. Even while the lead pair is struggling to make both ends meet, their fashion quotient always remains high. They rent a cramped, one-room house, but they step out looking prim and propah in almost every situation. For a film that stems from harsh reality, this glossed over aspect makes it unbelievable.

When it comes to the performances, Ishaan’s personality has the energy and zest of a newcomer, while his performance displays the cool confidence of a seasoned actor. He is pitch perfect in dramatic scenes and his puppy eyes keep the innocence of this love story alive. Janhvi looks radiant and beautiful, and her innocence catches the eye. Well, she does come across a little too raw in comparison to her co-star, especially in dramatic scenes that demand a powerful performance. It's her first film, so she's still rough at the edges, but it's a good start. Shridhar Watsar, who plays Inshaan's vertically challenged friend, is a laugh riot, and Ashutosh Rana as the menacing father and political figure is perfectly intense.

The music of the film is a definite highlight. Ajay-Atul pulls the right strings for this one, two tracks from Sairat have been reinvented, one of which is the huge hit Zingaat. The background score of the film (John Stewart Eduri) is designed interestingly and it blends in with the setting of this story. The film also has some stunning cinematography by Vishnu Rao, who makes a pretty picture out of the landscapes of Udaipur. While the editing is crisp in the first half, the pace slackens a bit in the latter parts.



While Parshya and Archi’s love story in Sairat was made with great honesty, realism and depth, giving us a perspective of the deep rooted prejudices in our society, Dhadak touches upon them too, but it merely skims the surface. Perhaps more attention to detail and delving a little deeper into the subject, would have given the film an edge. The lead up to the climax creates palpable tension, and the ending is hard-hitting, leaving you with enough to think about. With all its strengths and weaknesses, Dhadak attempts to highlight some shocking truths about our society and for that it makes a worthy watch.

Saiyaara (2025) Hindi Full Movie

 Saiyaara (2025) Hindi Full Movie

Saiyaara  (2025) Hindi Full Movie Watch Online Free MOVIE4HU

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Director:Mohit Suri

Writers:Sankalp SadanahRohan Shankar

Stars:Ahaan PandayAneet PaddaRajesh Kumar

Storyline

Vaani Batra is ditched by her fiance Mahesh on the day of her wedding for another girl and for his bright career.Six months later Vaani is still to come out of the trauma, she decides to go out and work and comes across a struggling singer Krish Kapoor.On the day of Vaani's interview Krish enters the office and wacks an employee for writing bad about him in media and not crediting him for his band Josh. Before leaving he appreciates Vaani for her writing and decides to quit his band due to dispute with others.Krish then gets an offer to collaborate with rapper Prince whose career is fading. He agrees for the collaboration that Vaani writes his lyrics.During this phase Vaani finds that Krish has a disturbed life and gives him all his support and both fall in love. Krish re joins his band and gathers huge fan following on social media .But destiny has other plans where Vaani gets diagnosed with a disease but she decides not to disclose to Krish which would impact his career.

Storyline Review:

In the anguishing character study “Storyline Story,” dreams dissolve into despair. The film, directed by Boris Lojkine, is a trying narrative about Souleymane (Abou Sangaré), a Guinean immigrant anxiously applying for asylum in France. He is a pure spirit, the kind of person who simply wants to start a new life in a new country, but is hindered by a system that prioritizes exposing one’s trauma over accepting the content of their character. Consequently, if he hopes to gain asylum, he’s tasked with what must be an unnatural act for him. Souleymane must lie.


“Storyline,” an intimate, handsome rendering of his troubles, serves as both his aching statement and a biting critique of an unjust immigration system.


When the film first premiered at Cannes 2024, I respected the picture, but I was admittedly wary of it. I’ve personally seen enough movies that trade in the traumatic memories of a Black person, particularly when a white filmmaker does it. But “Storyline Story” doesn’t fall into that category. Rather, Lojkine and Delphine Agut’s considerate script is sympathetic and discerning about how much of Souleymane’s pain we must swim through.


When we first meet Souleymane, he is awaiting his appointment. There is a bruise around his left eye and smudges on his white shirt that require wiping. We can sense he’s been through an ordeal, we’re just not sure what yet. Lojkine takes us back a few days earlier. He reveals that Souleymane is a food delivery cyclist. He also shows us the intricate approach Souleymane must take to live. Since Souleymane doesn’t have a residence in France, he must rent his delivery account from Emmanuel (Emmanuel Yovanie), who stocks shelves in a beauty store. As we learn from other immigrants like Souleymane, leasing one’s identity is a common practice that Emmanuel is profiting from heavily. With what’s left of his earnings, Souleymane takes classes from Barry (Alpha Oumar Sow), who not only provides the papers necessary for asylum hearings but also develops a cover story for Souleymane.


The tale positions the Guinean as a political refugee who fled from his home country after being arrested in 2019 for his activist activities. In the elaborate narrative, Souleymane joined the socially liberal Union of Democratic Forces of Guinea (UFDG) in response to President Alpha Condé’s demolition of the homes in his neighborhood. He became a security chief for the UFDG and was eventually arrested in one of the many protests that occurred in 2019. Tortured in prison, he eventually escaped and bounced from country to country until arriving in France. For Souleymane, an honest man who struggles to make up lies much less remember one, the tale proves difficult to memorize.


Worst yet, his earnest, misplaced trust in people pales in the face of capitalism and racism’s grip on those around him. The white people he delivers to either see him as a nuisance or as less than human. Many of the Black people he leans on, such as Emmanuel and Barry, are also quick to judge him. “You Africans, always screwing things up,” sneers Emmauel. “You’re all the same. All of you,” complains Barry. Even the man watching Souleymane’s mother in Guinea is only fixed upon Souleymane paying for his phone credits in return for caring for her. It’s telling that much of cinemagrapher Tristan Galand’s photography here assumes blue hues, and that Xavier Sirven’s repetitions of scenes featuring Souleymane cycling, which are often shot from less-than-intimate medium shots, capture Souleymane’s difficulties. In these apathetic systems, he isn’t a person. He’s an object whose value can only be summed by his trauma, his race, and the little monetary value those around him can siphon.


Thankfully, not every waking moment of Souleymane’s life is horrific. He kids around with his fellow deliverymen, receives genuine help from the people who live in his houseless shelter, and is given other tokens of kindness. A soulful Sangaré, who won the Best Performance prize at Cannes in the Un Certain Regard section, also brings vitality and life to a mostly grim story. Though the film takes inspiration from Cristian Mungiu’s “4 Months, 3 Weeks and 2 Days,” a slice-of-life narrative about a pregnant woman navigating several obstacles to obtain an abortion, Sangaré’s emotive turn also recalls Charles Jang’s incredible work in Sean Baker and Tsou Shih-Ching’s “Take Out.” Like Jang, who plays an undocumented Chinese delivery cyclist in New York City, Sangaré, through a plethora of tightly calibrated facial expressions, quietly translates despair, determination, and hopelessness without resorting to melodrama. The result is a stunningly naked performance.


While “Storyline Story” throws many roadblocks in this Guinean man’s way, it’s pretty clear where we’re heading. And while that predictability does slightly undermine the weightiness of the journey, the ending, a cathartic revelation, is granted immeasurable pathos due to Sangaré’s overwhelming openness as an actor. He pulls the immigration office scene, which in a lesser actor’s hands would be calculating, toward something on the edge of reality. That truth gnaws at every edge of “Souleymane’s Story,” a film whose depth of honesty keeps it feeling refreshingly human.