STREE 2 (2024)

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Directed by: Amar Kaushik  

Written by: Niren Bhatt  

Produced by: Dinesh Vijan, Jyoti Deshpande  

Starring: Rajkummar Rao, Shraddha Kapoor, Pankaj Tripathi, Abhishek Banerjee, Aparshakti Khurana  

STORYLINE EXPLAINED 

She calls out to her mother, who is shockingly revealed to be Stree. Stree arrives and, with Vicky's assistance, defeats Sarkata by beheading him once again and dragging his body into the lava, finally destroying him. With Sarkata gone, the women are freed, and the men are released from the ghost's control. Vicky and his friends are celebrated as heroes.

 

She then reveals to Vicky that she is Stree's daughter. Stree had tried to kill her earlier because she believed her daughter was still the child who witnessed their deaths. She further discloses that she is a ghost herself and had come to Chanderi to help her mother's spirit attain salvation, with Vicky's help. She assures Vicky that she values their friendship and promises they will meet again. Before leaving, she whispers her name to Vicky.

In the forest, Bhaskar, now human, meets Jana and asks him to set him up with She. Jana refuses, but Bhaskar persists, as shown in the post-credits scene of Munjya. They talk about returning to Delhi after visiting Chanderi. Bhaskar tells Jana about a new threat in Delhi—a man who is draining blood from people’s necks, hinting at a vampire.

 

In a mid-credits scene, a mysterious pot containing Sarkata's remains arrives at a mental asylum. There, one of Sarkata's descendants inhales the flaming smoke from the remains, becoming possessed by the monster.

She calls out to her mother, who is shockingly revealed to be Stree. Stree appears, and with Vicky's help, she overpowers Sarkata, beheading him once again and dragging his remains into the lava, ensuring his permanent destruction. The women held captive by Sarkata are freed, and the men who had been controlled by the ghost are also released. Vicky and his friends are hailed as heroes for their bravery.

 

After Sarkata's defeat, She reveals a startling truth to Vicky—she is Stree’s daughter. Stree had tried to kill her earlier because she believed her daughter was still the young child who watched her die. She explains that she, too, is a ghost, and her return to Chanderi was to help her mother’s spirit find salvation, with Vicky’s assistance. She assures Vicky that their friendship is genuine, despite her true identity. Before leaving, she whispers her real name to Vicky, promising that they will meet again someday.

 

Meanwhile, in the forest, Bhaskar, now restored to human form, meets Jana and asks him to arrange a meeting with She. Jana refuses, but Bhaskar keeps pleading, a scene depicted in the post-credits sequence of *Munjya*. As they discuss their plans, they talk about returning to Delhi after their visit to Chanderi. Bhaskar informs Jana about a new menace—a man in Delhi who has been draining blood from people’s necks, hinting at the emergence of a vampire threat.

In the mid-credits scene, a pot containing Sarkata’s remains mysteriously arrives at a mental asylum. There, one of Sarkata's descendants inhales the flaming smoke from the remains, becoming possessed by the monstrous spirit of Sarkata once again, suggesting that the evil may not be gone for good.

A Quiet Place: Day One 2024

A Quiet Place: Day One

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Director:MichaelSarnoski Writers:Michael Sarnoski John Krasinski Bryan Woods

Stars:Lupita Nyong'o Joseph Quinn Alex Wolffilm

• A Quiet Place: Day One review

*A Quiet Place* was my first foray into horror cinema. I’m a self-admitted scaredy-cat, but this film opened my eyes to the genre in a way I hadn’t experienced before. Normally, when something terrifying happens on screen, my instinct is to scream or nervously munch on popcorn, but *A Quiet Place* changes that completely. In the theater, it feels like making any sound would break the spell, adding a layer of tension I’d never felt before.

 

The *A Quiet Place* franchise has grown significantly. What started as a single film evolved into two, and now there’s a third installment, which is a prequel. It’s also getting its first AAA video game later this year. Although *A Quiet Place* wasn’t John Krasinski’s directorial debut, it’s the film that established him as a filmmaker. Since then, he’s done an incredible job.

For the third installment, *A Quiet Place: Day One*, Krasinski steps back from directing and serves as a producer, a role he also held in the previous films. He continues to contribute to the emotionally driven narrative, even with his reduced role behind the camera.

 

One aspect that sets this prequel apart is its urban setting. Unlike the claustrophobic, rural environments of the previous films, this story takes place in the sprawling, chaotic city. While the city setting is interesting, it isn’t always used to its full potential. There are a couple of standout moments where the urban landscape feels fully realized—one early on before Sam meets Eric, and another in the final act. But the movie is more character-driven than creature-focused, and unlike the previous films, it doesn’t reveal anything new about the Death Angels, the terrifying creatures that hunt by sound.

The screenplay, written by Michael Sarnoski, is beautifully crafted, filled with heartfelt moments that make you fall in love with the characters. It’s rare for a horror movie to have such well-developed, three-dimensional characters, but *Day One* achieves this, largely thanks to the collaboration between Sarnoski and Krasinski. Krasinski’s storytelling prowess shines through as he masterfully weaves together horror, emotion, and connection, delivering a film that touches the soul as much as it terrifies.

The performances elevate the story to another level. Lupita Nyong’o gives a standout performance as Sam, a character with so much depth and heart. By the film’s end, her portrayal is both heartbreaking and unforgettable, a new emotional benchmark for the franchise. Joseph Quinn also impresses as Eric. Though I had some minor issues with his character's writing, Quinn’s performance doesn’t falter, proving he’s an actor to watch.

There are also two other scene-stealers in the film. Djimon Hounsou, returning briefly from *A Quiet Place Part II*, captivates in his short screen time, connecting storylines in a meaningful way. And then, there’s the cat—an unexpected but essential presence in the movie. Not only does this feline companion provide comfort to Sam, but it also manages to be an emotional anchor, stealing scenes with its endearing presence.

Overall, *A Quiet Place: Day One* delivers an outstanding story, accompanied by a well-written script and a haunting score by Alexis Grapsas. It’s a horror film that blends terror with heart, leaving you both unsettled and touched. By the end, you may even find yourself in tears—not from fear, but from the film’s emotional depth.

My Old Ass 2024

My Old Ass              2024

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Director:

    Megan park

       Writer :            Megan park

      

      Cast   Maisy Stella. Aubrey plaza. Percy Haynes white

Review : My Old Ass 2024

That summer before college can be strange, a moment suspended between life stages, and Elliott (Maisy Stella) is right in the thick of it. She’s turning 18 in the tiny picturesque community in Muskoka, Ontario, where her family has farmed cranberries for generations. She has a janky little motorboat, two best friends and a massive crush on the girl behind the counter at the local coffee shop. And she’s looking forward to heading to Toronto in a few short weeks to start the next chapter of her life.


Sounds familiar. You might even relate. But “My Old Ass,” written and directed by Megan Park, does not go in expected coming-of-age directions. It’s as much about reframing middle-aged regrets as it is a story about youth, love and possibility — and thus the emotional heft it wields is two-pronged.

Elliott belongs to a newish and very welcome variety of teen girl movie protagonist. For decades, these characters were mostly siloed into vapid types, the better for us, I guess, to “understand” them: Goths, cheerleaders, ditzes, bookish wallflowers, cool girls, bullies. Elliott, on the other hand, is funny, capable and comfortable in her own skin. She can drive a tractor and steer a boat, and also forgets to show up for her own birthday dinner with her family. She is very thoroughly 18, with as strong a sense of self as you can really have at that age, while also being kind of a jerk at times to her parents and brothers. She loves them. She just finds them kind of annoying, though she’s not above apologizing for her behavior.



Elliott’s characteristics aren’t markers of being a Strong Female Lead so much as just an actual teen girl, the kind you probably know, or maybe were. I found myself thinking of various characters played by stellar young actresses in recent films: Haley Lu Richardson in “The Edge of Seventeen,” Emilia Jones in “Coda,” Lily Collias in “Good One,” Saoirse Ronan in “Lady Bird.”



With this complexity in mind, it makes sense that on Elliott’s 18th birthday, she and her friends Ro (Kerrice Brooks) and Ruthie (Maddie Ziegler) decide, with age-appropriate recklessness, that it’s time to have a transcendent experience. They obtain psychedelic mushrooms and head to a little wooded island to camp out and experience their trips, whatever they might be like. Elliott is at first disappointed that the shrooms don’t seem to have any effect on her, but then the unimaginable occurs: Her older self suddenly appears at the campfire. (You see now where the film’s title comes from.) Elliott at age 39 (Aubrey Plaza) is a Ph.D. student and, perhaps relatedly, more cynical than she was as a teenager. But she seems delighted to meet her younger self, and offers a load of advice, including warnings to stay away from someone named Chad who might turn up soon. And though the mushrooms wear off, the connection between younger and older self outlasts the drugs’ effect, to both Elliotts’ surprise.



This all happens very early in “My Old Ass.” What follows is an idyllic summer of self-realization. Chad (Percy Hynes White) does materialize, as a suspiciously nice college student hired as a summer worker on Elliott’s family farm. Heeding her older self’s exhortations, Elliott makes a point of trying to avoid him, while doing the opposite with her family. She golfs with her brother and spends time in the kitchen with her mother, not entirely certain why she’s doing this but trusting her older self must have a reason.

Of course, those of us who were once teenage Elliott’s age understand. The day we turn 18, the idea that we’ll eventually be 39 is so remote that it might as well be fantasy. When we’re on the brink of turning 40, the idea that we were ever so young is both melancholic and laughable. Everything is so exciting when you’re on the verge of starting a new life that it’s easy to discount the old one, which is familiar and boring and kind of tiresome. Counting down the days before we move to a big city, we might forget to value the days we have left at home. We’re still too young to realize that we’ll never get them back.

That’s half the story that Park has written here: a nostalgia-tinged tale about noticing the moment and relishing in it before it becomes a memory. “My Old Ass” has the great advantage of being shot on a pristine Canadian lake in a picture-perfect small town, which gives everything the dappled-light dreaminess of our best childhood summer memories. Even then, though, the best thing about “My Old Ass” is Maisy Stella’s performance, which feels easy and authentic and lived-in. She cut her teeth as a child actress on the ABC series “Nashville,” but her work here suggests the arrival of a talent to watch.




There are, of course, some plot holes — after all, it’s essentially a movie about time travel. Smartly, Park’s screenplay never really tries to explain the mechanics of Elliott’s connection to her older self. Just take it for granted, and move forward, because this movie has a lot to say. In addition to its encouraging note about cherishing the present, the film is full of thoughts about looking toward the past with grief. Elliott’s older self harbors regrets that we understand, in the barest of outlines, have turned her from her sunny self to someone considerably more bitter and unhappy. That’s natural, to an extent. But the film dares us to consider a difficult question: If we knew what would happen in the future, would we change our decisions in the present?

Movies like “Eternal Sunshine of the Spotless Mind” and “Arrival” also deal in those questions, so it’s not untrodden territory. But in “My Old Ass,” it feels fresh, perhaps because it’s wrapped in the trappings of a coming-of-age story. This is not really a movie for teenagers or, at least, not only for teens. At many points along life’s path, we make decisions that we might later wish we could change. But life’s not a movie, and time moves in one direction. The trick to contentment is learning to live with our whole hearts anyway.

My Old Ass
Rated R for some teenage graphic chatter, sexual activity and those shrooms. Running time: 1 hour 28 minutes. In theaters.