‘Metro In Dino' Review: Aditya Roy Kapur and Sara Ali Khan's chemistry divides viewers—Hit or Miss? Check tweets before you watch!
Anurag Basu
's comeback to directing after a five-year break. Through a series of interconnected stories, this romantic musical drama examines contemporary relationships and urban loneliness by combining romance, music, and human emotions.
Metro In Dino seeks to evoke strong feelings in modern audiences with its soulful music by
Pritam
and Basu's unique storytelling.
For those who are unfamiliar, Metro In Dino is an anthology of several touching tales of modern couples. In addition to Sara,
Aditya Roy Kapur
, Pankaj Tripathi,
Neena Gupta
, Anupam Kher, Fatima Sana Shaikh,
Konkona Sen Sharma
, and Ali Fazal are featured in the film. Metro In Dino's captivating trailer and endearing songs have generated a lot of buzz in the community.
And since it's been released, tweets about Metro In Dino are flying around social media.
One viewer called Metro In Dino a pleasant feel-good film, rating it 4 stars. The film scores with music, editing, and cinematography with supercast; the film emotionally attracts different lifestyles of people, has some fun moments, and has good background work. Overall, it will make you smile and happy!.
A second viewer described the film as a 'marvelous' movie with tremendous appeal for Gen Z....
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Ada jeragat, terus nampak tua! Minum ni je, beli kat Guardian
URUHIME MOMOKO
Undo
Every performance is a highlight.... The youth will identify with the film tremendously, rating it 4 stars.
A third fan emphasized the film: Whatever may be the reviews of the movie, the songs of this movie are very, very good, and after a long time, a good album has come to Bollywood.
It is becoming evident that Anurag Basu's Metro In Dino is resonating with the younger audience as it continues to stir discourse on social media and its cinema release. While audience reception is still mixed for the lead cast's pairing, viewers seem to agree on the moving emotional center of the film, Pritam's evocative music, and the multifaceted performances as creating a touching work. For fans of Pritam's music, those nostalgically remembering 'Life In A… Metro,' or those intrigued by the depiction of modern romance, 'Metro In Dino' presents a thoughtfully crafted film.
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Indian Express
23 minutes ago
- Indian Express
With Metro… In Dino, Anurag Basu defies box office logic as he makes yet another mad, messy musical
Chaos is the currency for Anurag Basu. It is both the means and the end for him. It fuels him, until it finishes him. He builds from it, until it starts breaking him. He falls prey to it, despite knowing it will eat his creation. He strives for it despite knowing that it will eventually create dissonance. As much as he talks in interviews about how you can't define an 'Anurag Basu film', but in truth, it is very much definable. In fact, in one pure word: chaos. As much as he says in his interviews that he is still figuring out his voice, but in truth, it is already formed. In fact, it can also be put into one word: madness. Madness not as loss of control, but as the only way to survive the noise. And he achieves this madness like an Imtiaz Ali protagonist, which is through music. Music becomes the map, the mirror, the method. If chaos is the question, then music is the only language he trusts to answer. It is some delight to witness Basu and his long-time partner in crime, Pritam, return to the roots of the musical with their recently released Metro… In Dino, even after the commercial stumble of their last theatrical outing, Jagga Jasoos. As a spiritual successor to the now-iconic Life in a… Metro, the expectation was clear: music would play a major role. But what I didn't anticipate was just how much of the film would be a musical, not simply driven by songs, but shaped and shaded by them. That's the thing with Basu: he knows how to remain palatable, even familiar, and yet, out of nowhere, he jolts you with pure invention. For a significant portion of Metro… In Dino, there's some joy in watching both Basu and Pritam abandon the metrics of box office logic and lose themselves in their own brand of madness. It is a some pleasure, especially in contemporary Bollywood, to see a filmmaker resist formula, to resist the pull of the customary, and instead, use a mainstream production banner not as a cage, but as a canvas for his unruly signature. And what a mad musical canvas it is. As always, Basu doesn't give a damn about cinematic conventions. Continuity is tossed into the air, spatiality is thrown out of the window, and temporality has no place here. You never realise when a rooftop performance by Pritam and his band, high above the city skyline, begins to dissolve into a sweeping introduction of the film's principal characters. Each of them bending to the musical cues, breaking the fourth wall, singing their past and present straight into the camera's eye. You never notice the moment you move from a vibrant Holi party in Bengaluru, where Thumri (Sara Ali Khan) dances in a trance of free-flowing joy, to Kolkata, where her mother Shibani (Neena Gupta) revels in colour at her own Holi celebration, then to Mumbai, where her other daughter, Kajol (Konkona Sen Sharma), argues in a car with her husband Monty (Pankaj Tripathi), while their daughter sits quietly in the back seat, struggling with her own adolescent anxieties. You never figure when the detour leads you back to Bengaluru, but this time, it's another Holi party, where Akash (Ali Fazal), Shruti (Fatima Sana Shaikh), and Parth (Aditya Roy Kapur) lose themselves in music. And you never register when, amidst this glowing, music-drenched introduction of characters, he also throws sadness into the mix, as Parimal (Anupam Kher), alongside his widowed daughter-in-law (Darshana Banik), stares outside their Kolkata house. Also Read | Metro In Dino movie review: Sara Ali Khan plays a Kareena Kapoor-coded character in Anurag Basu's annoying and exhilarating film That's truly a lot. But Basu leaps from one track to another, one city to the next, one character to the other, with such absurd confidence that you can't help but admire the sheer audacity of it. Jagga Jasoos was musical in its very syntax, every line, every cut, every beat rooted in rhythm. But here, he treats the medium almost like a Broadway musical, where reality shifts with the music. As the camera pulls back, the set rearranges itself in the background; as it pans, you move from a roadside walkway into a corporate alley; and as it tilts down, you fall from a sky-high highway, where characters are skydiving, straight into the middle of a wedding ceremony. There is no sense of geographical logic, and none is needed. It's Basu's world, a world where feeling overrides form, where emotion bends architecture. A world where youngsters in cafes sing out their dating adventures, and in another cafe, not far away, old lovers grieve their long-lost pasts in song. It's a world as messy as it can get, perhaps just like falling in love, perhaps just like life itself. It can be argued that the film truly peaks at the interval point. But through most of its second half, it begins to sag. The inventiveness slowly fades, the musicality vanishes, and the characters, much like Basu himself, begin to make strange, unconvincing choices. It feels as if someone whispered to him to hold back, to rein it in. It feels as if someone watched the second half of Jagga Jasoos and panicked, afraid he might wander down that wild, winding road once more. It feels as if a full stop had been imposed on a sentence still being written. So, the narrative, like the lives of its characters, begins to move in circles, aimless and without flavour, drained of the wild, unpredictable taste it once had. And this, in many ways, is the clearest reflection of a deeper issue in contemporary Bollywood: where big names in even bigger studios make the biggest decisions in the name of the commerce, but end up doing a disservice to the art. I don't know who made Basu pause, but whoever it was missed the point entirely. Because what they fail to understand is that indulgence is his greatest strength. Because, unlike any other filmmaker working today, he can hear the music.
Time of India
24 minutes ago
- Time of India
Did Son Suk Ku cancel his break? The artist to star alongside Ha Jung Woo – deets inside!
Actor Suk Ku had earlier this year announced that he would be taking a much-needed break from his career and would focus on delving into other fields after closing up certain commitments. Recent reports, however, suggest otherwise. The actor is said to be in talks for a role in ' Ordinary People ' with Ha Jung Woo . Son Suk Ku might be embarking on another film project The actor went viral after his role in ' Heavenly Ever After ' was praised as one of the best performances the actor has presented on screen. During a promotional interview for the K-drama, the star revealed that he wishes to go on a break to rest and focus on other ventures in the entertainment industry. getting sukku & ha jungwoo casting news wasn't even on my 2025 bingo card 😭😭 — ✮ (@skylnay) July 4, 2025 by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Is your tinnitus getting worse? Do this immediately (Watch) Hearing Magazine Undo As per JTBC Entertainment News from July 4, the actor might be joining the cast for 'Ordinary People', a historically driven drama based on the time when Roh Tae Woo was serving his presidential term in the country. All about 'Ordinary People' 'Ordinary People' will deal with scenarios set in the background of Roh Tae Woo's administration. The plot of the series itself has not yet been unveiled. Roh Tae Woo was the sixth president from 1988 to 1993 in South Korea. He is credited with being one of the main reasons for South Korea's shift towards a more democratic administration as well. The production team of the drama has not yet confirmed anything about the upcoming project; however, as per reports, the show is set to begin the production process officially by next year. About Son Suk Ku Son Suk Ku starred in two back-to-back hits in a row with his K-dramas. While he returned to acting with 'Heavenly Ever After', he also joined the star-studded cast of ' Nine Puzzles '. Both of his roles were a major success, and he managed to gain a lot of fame for his roles on screen, making this an even bigger issue.
Time of India
25 minutes ago
- Time of India
Ahead of their time: Basheer's women
By: Jisa Jose Though he naturally maintains moderation in his writing, Vaikom Muhammad Basheer often becomes eloquent when it comes to women. His words brim with love, compassion and playful mischief. He deeply observed the world of women and the female mind. At the heart of his work are women's stories—vivid portraits of their diverse lives, adventures, and survival. The women in Basheer's stories, with their rural wisdom and simple perspectives, transform dull everyday life into a cheerful experience, as seen in Pathummayude Aadu. The novel, subtitled Pennungalude Budhi (Cleverness of Women), celebrates not bookish knowledge, but the lived intelligence women draw from experience. The writer stands in awe as a witness to the marvel of their world. Even ordinary events—like a goat's birth, eating habits, or economic planning—appear new and fascinating to Basheer. His women often hold subtle authority over men, humorously undermining patriarchal norms. Basheer's stance isn't shaped by academic feminism but by a lived, compassionate understanding of women's realities. His gender awareness stems from integrating stories he saw and heard—naturally, equitably. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like 5 Books Warren Buffett Wants You to Read In 2025 Blinkist: Warren Buffett's Reading List Undo Many of Basheer's women feel ahead of their time. Ayesha in Ntuppuppakkoranendarnnu (1953), insists on finishing her BA before marrying. Sharp, socially aware and humorous, she has a scientific and liberal view of religion. While Nisar Ahmed tries to 'modernize' Kunhipathumma with love, Ayesha does it through friendship, education, and clarity. Her romance is merely a backdrop to a woman's transformation. Through Ayesha's character in 1953, Basheer articulated a profoundly modern perspective on women's freedom. This vision remains pertinent today and in retrospect, considering society's limited advancement, Basheer's foresight proves astonishing. Basheer's women aren't confined to kitchens—they are smart and adaptive. When Kunhipathumma loses her home, she exclaims, 'It's a disaster, but we can meet people, breathe fresh air, stand in sunlight…' Her father cooks because neither she nor her mother knows how. In Poovampazham, Jameela Begum, without shame, suggests hiring a maid, noting she didn't earn a BA to cook. Saramma in Premalekhanam (1943) remains iconic—bold, witty, independent, and non-religious in her love. Jameela Beebi in Poovampazham, who famously responds to a declaration of deep love with 'Glad to hear, what other news from the town?', is a miniature version of Saramma. Basheer's works are filled with many such clever women. In Viddikalude Swargam, the protagonist, drawn by the inviting gaze of a prostitute, follows her into her home—only to flee in dismay upon witnessing the squalor within. 'Was it for this that she looked at me with such a heart-wrenching longing?' he wonders. Indeed, the piercing gazes of women—whether brimming with love, desire, or maternal tenderness—lie at the heart of Basheer's narratives. These looks linger, unsettling us, stirring laughter, sorrow, and pain. Through them, his women confront men, awaken them, and guide them toward seeing women as equals. No other Malayalam writer has portrayed the individuality and depth of women with such gravity or sincerity as Basheer (The writer has authored several books and is the principal of Kunnamangalam Govt Arts & Science College, Kozhikode)
