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Kaalkoot Review: Vijay Varma and Shweta Tripathi Sharma reveal dark secrets in the New Crime Drama

The series commences with Ravi Shanker Tripathi (Vijay Varma) resigning from his position at the Sarsi Police station due to the rampant corruption he encounters in handling cases.

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Kaalkoot Review: Vijay Verma and Shweta Tripathi Sharma reveal dark secrets in the New Crime Drama

Violence against women serves as the underlying theme in almost every genre within the OTT space, whether it’s crime thrillers, satires, or social commentaries. KaalKoot ventures into the realm of acid attack victims, incorporating familiar elements of the genre while attempting to add a darker tone to the narrative.

The series commences with Ravi Shanker Tripathi (Vijay Varma) resigning from his position at the Sarsi Police station due to the rampant corruption he encounters in handling cases. Ravi intends to not only leave his job but also distance himself from the police force altogether. Concurrently, Parul Chaturvedi (Shweta Tripathi Sharma) becomes the latest victim of an acid attack, and Ravi is assigned to the case. As the investigation unfolds, secrets are revealed that further alienate Ravi from the force.

In Kaalkoot, the protagonist-driven narrative adeptly blends Ravi’s personal life and struggles with the core premise. His family issues and internal conflicts seamlessly intertwine with the cases he encounters at the police station. The series effectively delves into how Ravi grapples with the consequences of his surroundings and unwittingly becomes complicit in the prevailing corruption. Additionally, the story seamlessly weaves in social commentary on the stigma and shaming that victims endure, highlighting the misogyny and patriarchal gaze of society, which serves as a vital subtext.

However, some cliches in the series prove to be ineffective. Seema Biswas’s portrayal of a nagging mother becomes tiresome, as her character incessantly bothers Ravi with marriage proposals during work hours. Furthermore, the worn-out trope of apathetic cops investigating cases while showing indifference towards the victims hardly adds any novelty to the storyline.

Additionally, the deliberate portrayal of Parul with questionable ethics seems contrived, as it appears to be a mere plot device to propel the series forward. Nevertheless, the standout performances of the cast shine through and elevate the overall viewing experience.

Entertainment

Kumkum Bhagya actor Sanchita Ugale dies by suicide near Mumbai at 22

Television actor Sanchita Ugale, known for Kumkum Bhagya and Wagle Ki Duniya, died by suicide at her residence near Mumbai. Police have launched an investigation.

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Sanchita Ugale

Television actor Sanchita Ugale, known for her appearances in Kumkum Bhagya, Wagle Ki Duniya and Dilwali Dulha Le Jayegi, died by suicide at her residence in Nalasopara East near Mumbai on June 14. She was 22.

According to police officials, the incident took place at her home in Achole village, Nalasopara East. Authorities said Ugale had locked herself inside her bedroom and was later found hanging from a ceiling fan. Family members and local residents rushed her to a hospital, where doctors declared her dead.

Police have registered an Accidental Death Report (ADR) and launched an investigation into the circumstances surrounding her death. Officials said inquiries are underway and the exact reason behind the incident has not yet been established.

Career across television, OTT and films

Ugale had built a growing presence in the entertainment industry through television, streaming projects and films. Apart from Kumkum Bhagya and Wagle Ki Duniya, she played a lead role in Dilwali Dulha Le Jayegi. She also appeared in OTT projects such as Crime Aaj Kal and Silence 2.

The actor was also associated with the film Chhaava, which contributed to her growing recognition among audiences.

Last social media post draws attention

Following news of her death, social media users shared and commented on Ugale’s final Instagram post, which had been uploaded hours before the incident. The post showed the actor in traditional attire lip-syncing to a classic Bollywood song. Fans expressed shock and grief after learning of her death.

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Ram Charan’s Peddi opens to mixed reviews despite strong performances and music

Peddi has received mixed reviews, with Ram Charan’s performance and AR Rahman’s music earning praise while criticism has focused on the film’s screenplay and writing.

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Peddi movie review

Ram Charan’s much-awaited Telugu sports drama Peddi hit theatres on June 4 and has generated significant discussion among critics and audiences. Directed by Buchi Babu Sana, the film marks Charan’s return to the big screen in a rural sports-based story that combines action, emotion and village politics.

Early reviews have highlighted Ram Charan’s committed performance as one of the film’s strongest assets. Critics have particularly appreciated his transformation and screen presence, with many describing the role as one that allows the actor to showcase both emotional depth and mass appeal.

Another aspect receiving widespread praise is the music and background score composed by A. R. Rahman. Several reviewers and audience members have pointed to the soundtrack and score as key elements that elevate important moments throughout the film.

However, reviews have been more divided on the film’s writing. Critics have argued that while the film contains emotionally effective sequences and well-mounted sports moments, the screenplay often follows familiar genre conventions and lacks the consistency needed to fully realise its ambitions.

The film also stars Janhvi Kapoor, Shiva Rajkumar, Jagapathi Babu and Boman Irani in important roles. Audience reactions on social media have generally described the film as an entertaining watch despite its shortcomings, with praise directed at the performances and technical departments.

Despite the mixed critical response, Peddi has opened strongly at the box office, supported by robust advance bookings and enthusiastic fan celebrations across Telugu-speaking regions.

Peddi Official Trailer:

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Entertainment

Dhurandhar raw and uncut version set for digital premiere on two major streaming platforms

In a major surprise for action film fans, the raw and uncut version of Dhurandhar is launching tomorrow across both Netflix India and JioHotstar with uncensored footage and multiple audio tracks.

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Dhurandhar

Indian cinema enthusiasts are in for an unexpected treat as the highly anticipated unfiltered version of the blockbuster film Dhurandhar is officially heading to digital platforms. In a surprising double-platform strategy, the raw and uncut cut of the action-packed movie is scheduled to begin streaming on both Netflix India and JioHotstar.

The sudden announcement from the streaming platforms has sparked significant buzz across social media. While much of the recent digital speculation has centered around the streaming schedule for the sequel, media updates have confirmed that this specific raw release applies to the franchise’s first installment. Starting tomorrow, viewers in India will be able to watch the unfiltered version of the movie in multiple regional languages, including Hindi, Telugu, and Tamil, complete with intense gore sequences and raw dialogues that were previously trimmed.

Dual-platform digital release brings uncensored action

The announcement has cleared up initial confusion among fans who were anticipating updates regarding the franchise. While international audiences have seen varied streaming distributions for the franchise, viewers within India will uniquely get access to the first film’s “undekha” (unseen) cut simultaneously on two separate streaming applications.

The standard digital premiere for the second installment, Dhurandhar 2, remains locked for June 4, 2026, on JioHotstar and will mirror the standard censored cut that was showcased during its theatrical run. However, for fans seeking an uncompromising, high-octane cinematic experience, the original film’s extended, raw edition arrives online tomorrow on both competing streaming services.

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