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Bachelor Movie Review: An Uneven And Tone-deaf Film About Toxic Relationships

Director: Sathish Selvakumar Cast: G V Prakash Kumar, Divyabharathi, Bagavathi Perumal, Language: Tamil

Spoilers ahead…

About an hour into the film, Subbu (Divyabharathi) tells Darling (G. V. Prakash Kumar) that she is tired from sickness and hospital visits. She asks him to make her something to eat. Darling gives her an all-knowing smirk, walks into the kitchen and starts grating a plateful of coconut. And makes barfi. If you're wondering what kind of silly person will make coconut barfi for a hungry woman recovering from sickness, you will soon realise that it is the least worrying of the myriad questions you'll have after watching Sathish Selvakumar's debut film Bachelor .

Bachelor is the story of a dozen or so men, who get their panties in a twist trying to force an unassuming young woman to abort her twins. 

The film begins with a painstakingly detailed introduction of Darling. He is an arrogant, careless, irresponsible drunk, who shows no respect for his friends, who give him physical and emotional space in their lives. He is an incompetent Arjun Reddy. One day, he meets Subbu at a friend's party and falls in lust with her. He manipulates a friend — who is also Subbu's flatmate — to take him in as her flatmate. He lives in perpetual hope of sleeping with her. He even makes an elaborate ruse to buy a condom and everything. One day, she falls sick. In a Visu film-level imaginative twist, he makes her kanji , she is attracted to him and they have sex.

Unexpectedly, Subbu becomes pregnant. Darling wants her to abort that very instant. When she refuses, he goes nuts. His friends come to his rescue, trying to talk Subbu into abortion because "his family will be heartbroken." A row ensues.

She leaves the city and goes back to Chennai, to her sister's house. Her brother-in-law is a criminal lawyer, who foists a domestic violence case on Darling and his family, faking documents to prove their marriage. The case gets serious, Darling's entire family is thrown in disarray — his sister, mother and brother are remanded to custody. To save himself, Darling claims impotency. The court asks for proof. The aforementioned dozen men go around all of Chennai and Pondicherry to prove his impotence (or erectile dysfunction, I couldn't tell). They get proof, Subbu withdraws the case and shows him the middle finger, literally. At the end of a film that lasted nearly three hours, we leave wondering what just hit us. 

The biggest problem with Bachelor is that it is self-aware. In that, the film knows and understands that Darling is an abusive, arrogant and selfish chap. Yet, it can't stop being in awe of him. It is stuck in a Stockholm syndrome with its protagonist. There are barely any frames where we don't see Darling, so many of them showing him making a puppy face. The cinematographer, Theni Eswar, is generous with slow-motion shots, building him up as the hero, while Sidhu Kumar's background score pumps up adrenaline further. 

It is so sympathetic of the abuser that there are long lingering scenes showing his plight, while he is the one making everyone's life miserable. In contrast, we barely see, hear or understand anything about Subbu. She gets no backstory, her family is one-dimensional, her emotional journey is unexplored.

To his credit, G V Prakash Kumar does a convincing job as Darling, his selfishness and lust sparkling in his eyes. Even when his Coimbatore accent feels off, he is believable as the small-town boy overwhelmed by the big city's ways. But, in choosing the point of view that it does, Bachelor is hellbent on showing Darling as the poor misguided child. It wants us to feel bad for the asshole and empathise with him.

So much so that in a film about heterosexual relationships, sexual health, living in, pregnancy, abortion and domestic violence law, we only hear men talk — every single one of them making excuses for him. When Darling and his coterie are not discussing what Subbu should do, her brother-in-law is. He snatches her phone and uses information in it against her because Darling once told him off. In absolutely no time, the film turns into a dick-measuring contest between Darling and her brother-in-law.

Speaking of the male sexual organ, Bachelor makes a big deal of the sex. Darling can't stop thinking about it nor talking about it. He gets pissed one day when Subbu's friends come home and he can't have sex in the house. So, they move to their car, parked in the lot in their building. The film wants to show us that pre-marital sex is common, but it can't resist making a big giggly deal out of it. 

On the other hand, most of the second half is crass humour about impotence. At this point, there is a ridiculous tonal shift. Even as each individual is saying that they are scared for their reputation, future, career etc., they are making juvenile jokes. There is an elaborate sequence with a charlatan called "Saami" (Mysskin), who is supposed to make Darling impotent for six months. Mysskin, for good measure, makes jokes about optimism and insanity. 

The entire sequence is flippant laying bare the inconsistencies within the narrative. Bachelor wants us to see how Subbu's brother-in-law is abusing the prevention of domestic violence law — a grossly irresponsible representation in itself — while also laughing at Darling's reluctance to turn impotent to save himself. This whole sequence is in perfect parallel with Munishkanth's hairdo, his wig sporadically appearing with no apparent trend.

In a story like Bachelor , Sathish Selvakumar had the opportunity to explore what it means to be in modern relationships. He flounders it by making yet another film about an abusive man, demanding that we pay empathetic attention to his arrogant ways. Without a persistent voice to balance the testosterone overdose, Bachelor is vacuous at best, and downright boring at its worst.

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Bachelor Movie Review: A takedown of toxic masculinity that isn’t

Rating: ( 2 / 5).

Darling (GV Prakash Kumar) in Bachelor is hardly a darling—the name, an evident attempt at a joke. He urinates on laptops, endangers friends with reckless riding, barely goes to work, lies to friends, ogles at women, gets petulant when he won’t get immediate sex… I could go on. The film seems to believe—under the mistaken assumption that duration is detail—that it is a revealing three-hour portrait of this toxic, chauvinistic man—and that it stands against him. I might have got on board, had the film’s creative choices not betrayed a desire to ingratiate itself with the ‘youth audiences’ at the cost of its subject matter. When Darling ogles at the heroine, Subbu (Divyabharathi), the camera too does this, introducing us to the woman’s posterior first. When Darling is nice to her, the film romanticises his decency. Subbu, interestingly, tells Darling, “People like you who come to the big city, romanticise even innocuous relationships.” When Darling, yet again, chooses silly aggression over common sense by threatening a lawyer, the film, with its music, celebrates this as a gesture of machismo. When Darling cons his friends, or worse, maims them, the film advertises this as comedy. It’s impossible to shake off the notion that the film likes him, even if it wants us eventually to buy that it stands against him. To buy into it, you must be as naïve as Subbu—who develops feelings because Darling, her roommate, helps her when sick, and later, makes her a thengaai barfi . During this early sequence, I gave the film the benefit of doubt, telling myself that it could be commentary on how women like Subbu are surrounded by so many unkind men that even the slightest, most polite gesture feels so grand. However, there’s only so many times that you can make arguments on behalf of a film that doesn’t seem to care as much as you do.

Director: Sathish Selvakumar

Cast: GV Prakash, Divyabharathi, Bagavathi Perumal

For a while, I wasn’t even sure if this film was going anywhere. We get long, indulgent shots of Darling dipping biscuits in tea, eating biryani, refrigerating mango juice… He’s chattering away with friends, publicly admitting to vigorous masturbation, showing great proclivity towards alcohol… For how long this film is, it’s neither a deep exploration of Darling—which perhaps is its purpose—nor a deep account of his relationship with Subbu. Perhaps most problematically, I didn’t care a lot for Subbu either, as she is not at the centre of this film. This means that when you feel catharsis at the end, it’s not because she makes a gesture; it’s because the film has come to an end.

After three hours of Bachelor , all we really know about Subbu is that she isn’t the greatest judge of character, and that she has backward notions about abortion. Strangely, despite all the focus on Darling, we don’t know much about him either, except that he’s a sociopath who likes alcohol and sex. Perhaps that’s the film’s scathing view of the average chauvinist, but such generic descriptions hardly make for engaging interpersonal dynamics. There are barely any likeable men in this film, except, I suppose, Darling’s friend who stands up to him towards the end. Just as I was beginning to like him, he makes a statement—equalising Subbu’s interest in children, with her interest in Darling—putting paid to it.

Perhaps the only really interesting portion in this film is when matters of a court come into focus, and a ‘domestic abuse’ case gets debated. There’s some comic commentary on how lawyers often exaggerate their client’s positions to win judgments in their favour. Even before you can make your peace with this flawed romance turning into a courtroom drama, the film moves on to milk castration for comedy. The very notion that castration could be punishment for a toxic man feels like it justifies the exaggerated pride men seem to take in their sexual potency in the first place. For a film that attempts to be a takedown of masculine ego, this is a strange solution to make peace with. By the time Mysskin, in a cameo, was performing varma kalai on Darling for reasons I don’t even want to get into, it had become clear that good intentions or otherwise, Bachelor had long lost its way—and worse, had done so willingly.

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Bachelor Movie Review: A takedown of toxic masculinity that isn’t

Darling (GV Prakash Kumar) in Bachelor is hardly a darling — the name, an evident attempt at a joke. He urinates on laptops, endangers friends with reckless riding, barely goes to work, lies to friends, ogles at women, gets petulant when he won’t get immediate sex … I could go on.

The film seems to believe — under the mistaken assumption that duration is detail — that it is a revealing three-hour portrait of this toxic, chauvinistic man — and that it stands against him. I might have got on board, had the film’s creative choices not betrayed a desire to ingratiate itself with the ‘youth audiences’ at the cost of its subject matter. When Darling ogles at the heroine, Subbu (Divyabharathi), the camera too does this, introducing us to the woman’s posterior first. When Darling is nice to her, the film romanticises his decency.

Subbu, interestingly, tells Darling, “People like you who come to the big city, romanticise even innocuous relationships.” When Darling, yet again, chooses silly aggression over common sense by threatening a lawyer, the film, with its music, celebrates this as a gesture of machismo. When Darling cons his friends, or worse, maims them, the film advertises this as comedy. It’s impossible to shake off the notion that the film likes him, even if it wants us eventually to buy that it stands against him. To buy into it, you must be as naïve as Subbu — who develops feelings because Darling, her roommate, helps her when sick, and later, makes her a thengaai barfi.

During this early sequence, I gave the film the benefit of doubt, telling myself that it could be commentary on how women like Subbu are surrounded by so many unkind men that even the slightest, most polite gesture feels so grand. However, there’s only so many times that you can make arguments on behalf of a film that doesn’t seem to care as much as you do.

Director: Sathish Selvakumar

Cast: GV Prakash, Divyabharathi, Bagavathi Perumal

Also read:  Sivaranjaniyum Innum Sila Pengalum Movie Review: A disturbing glimpse into the life of women

For a while, I wasn’t even sure if this film was going anywhere. We get long, indulgent shots of Darling dipping biscuits in tea, eating biryani, refrigerating mango juice… He’s chattering away with friends, publicly admitting to vigorous masturbation, showing great proclivity towards alcohol… For how long this film is, it’s neither a deep exploration of Darling — which perhaps is its purpose — nor a deep account of his relationship with Subbu. Perhaps most problematically, I didn’t care a lot for Subbu either, as she is not at the centre of this film. This means that when you feel catharsis at the end, it’s not because she makes a gesture; it’s because the film has come to an end.

After three hours of Bachelor, all we really know about Subbu is that she isn’t the greatest judge of character, and that she has backward notions about abortion. Strangely, despite all the focus on Darling, we don’t know much about him either, except that he’s a sociopath who likes alcohol and sex. Perhaps that’s the film’s scathing view of the average chauvinist, but such generic descriptions hardly make for engaging interpersonal dynamics. There are barely any likeable men in this film, except, I suppose, Darling’s friend who stands up to him towards the end. Just as I was beginning to like him, he makes a statement — equalising Subbu’s interest in children, with her interest in Darling — putting paid to it.

Perhaps the only really interesting portion in this film is when matters of a court come into focus, and a ‘domestic abuse’ case gets debated. There’s some comic commentary on how lawyers often exaggerate their client’s positions to win judgments in their favour. Even before you can make your peace with this flawed romance turning into a courtroom drama, the film moves on to milk castration for comedy. The very notion that castration could be punishment for a toxic man feels like it justifies the exaggerated pride men seem to take in their sexual potency in the first place. For a film that attempts to be a takedown of masculine ego, this is a strange solution to make peace with.

By the time Mysskin, in a cameo, was performing varma kalai on Darling for reasons I don’t even want to get into, it had become clear that good intentions or otherwise, Bachelor had long lost its way — and worse, had done so willingly.

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Home » Review » Bachelor movie review: This romantic drama, starring GV Prakash and Divyabharathi, is engaging in parts »

Bachelor movie review: This romantic drama, starring GV Prakash and Divyabharathi, is engaging in parts

The film is a slow-paced emotional drama which touches upon the complexities faced by a couple in live-in relationship. Had the makers concentrated more on its screenplay and duration, it would have been a compelling film   

A still from the movie

• Thinkal Menon

Last Updated: 05.54 PM, Dec 03, 2021

Story: A youngster with an orthodox mindset starts a live-in relationship with a bold girl. The former gets the shock of his life when he knows that his partner is pregnant. Quite concerned about his conservative family members, he forces his partner to abort pregnancy. However, she refuses to do the same and starts living separately. The girl's parents decide to take the legal route to deal with the issue. What will happen to the panicked youngster? 

Review: Sathish Selvakumar's Bachelor takes its own sweet time to establish its premise and lead characters. The story of a live-in couple is not new to Kollywood, but the director has tried to narrate it with different set of characters and conflicts in this film. Set in the backdrop of Bangalore, the story begins only after its lead characters get to know each other. 

But do they even understand each other despite having spent several days together? The long-drawn-out emotional drama with a few funny episodes has interesting moments. But is that enough to hold the attention of the viewers?

Darling (GV Prakash) is a Coimbatore-based IT employee, who works in Bangalore. Hailing from a conservative family, he lives along with his friends in the Garden City. As someone who is clueless about his needs and priorities, Darling has been leading quite a mundane life.  

His life witnesses a roller-coaster ride after Subbu's (Divyabharathi) entry. Though she is his colleague, Darling slowly gets to know her only after they get some time to spend with each other at her home. But little did they know that they would become physically close in a few days' time.      

One day, Darling, who goes to attend a family event at his native, gets overwhelmed when Subbu tells him that she is pregnant with his child. He rushes to be with her, but forces her to abort the twin babies. However, a determined Subbu decides to nurture the children.

With no option left, they part ways and Subbu's parents decide to take the legal route against Darling. Subbu's father, a criminal lawyer, comes up a slew of with fabricated evidences to trap him. Upon his friends' suggestions, Darling, on the other hand, is forced to prove that he is impotent. 

The plot, which has a partly engaging screenplay, entertains the viewers in a few sequences. The complex relationship between Darling and Subbu begin interestingly, thanks to their convincing chemistry, and the actors are apt in their roles. But as the story progresses, the director seems to have sidelined Subbu's issues.

A lot of time has been spent on highlighting Darling's family issues and the legal hassles he goes through. But we get only little on Subbu's state of mind and the trauma she goes through.

An interesting part of the screenplay is the manner in which the director portrayed the difference in the behaviour of a couple in a no strings attached relationship before and after they are about to become parents. A few sequences involving Bagavathi Perumal and Munishkanth bring the house down, thanks to some of the witty one-liners ad hilarious situations.

The entire stretch of sequences where the two actors and other friends of Darling go all out to prove his impotency to help him in the legal case is quite funny. There are a few other breezy and comic bits, too. But the problem is many of these scenes are over-stretched. 

Theni Eswar's cinematography and Siddhu Kumar's background score stand out. With a duration of close to three hours, the film tests our patience at times. The staging of few scenes remind you of some of the moments from Premam, Arjun Reddy and Ishq. The movie ends up as a long-drawn-out romantic drama with partly engaging moments.    

Verdict: Bachelor is a slow-paced emotional drama which touches upon the complexities faced by a couple in live-in relationship. Had the makers concentrated a little more on its screenplay and duration, it would have been an engaging film. 

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Bachelor Movie Review (2021): A Toxic Tango of Love, Lust, and Lies

“Bachelor Movie Review” a love story for the ages, or a cautionary tale in disguise? Dive into our in-depth review to uncover the film’s complexities.

Table of Contents

Bouncing Between Bliss and Bedlam: Unveiling the “Bachelor Movie Review” Mystery

Ever felt love’s intoxicating grip morph into a suffocating vise? Welcome to the twisted tango of “Bachelor” (2021), a film that dares to challenge our romantic illusions and expose the raw underbelly of desire. Director Sathish Selvakumar’s provocative creation isn’t a love story with neatly packaged happily-ever-afters; it’s a psychological thriller disguised as a romance, a plunge into the murky depths of obsession where love and toxicity intertwine in a dizzying dance. So, buckle up, dear reader, as we unwrap the layers of this controversial cinematic gem and answer the burning question: Is “Bachelor” a celebration of love’s power or a cautionary tale against its perilous pitfalls?

Unveiling the Enigma of Darling

Darling, the film’s enigmatic protagonist, is far from a knight in shining armor. He oozes charm, sure, but it’s a honeyed mask concealing a web of manipulation and self-absorption. Darling lives life on his terms, dragging his live-in girlfriend, Subbu, into his chaotic orbit. Witnessing his antics—from impulsive decisions to reckless disregard for Subbu’s feelings—is a rollercoaster ride of both fascination and frustration. The question hangs heavy in the air: Is Darling a charismatic rogue trapped in an unfair world, or a master manipulator weaving a web of control? This ambiguity is precisely what makes “Bachelor” so compelling, forcing us to grapple with the complexity of human nature and the blurred lines between passion and power.

Subbu’s Tangled Threads: Love, Doubt, and Dilemma

Subbu, Darling’s partner, isn’t simply a passive victim. She’s caught in a tug-of-war between love and self-preservation. The film masterfully portrays her internal conflict—the pull of attraction battling against the gnawing sense of unease. We see her grapple with Darling’s erratic behavior, questioning his motives and her own choices. Does she truly love him, or is it a toxic Stockholm syndrome masquerading as affection? “Bachelor” doesn’t offer easy answers, pushing us to empathize with Subbu’s dilemma and recognize the insidious nature of emotional manipulation.

A Taste of What’s to Come

This, dear reader, is just a glimpse into the intricate tapestry “Bachelor” weaves. Stay tuned for further exploration of the film’s themes, technical aspects, and its place in the cinematic landscape. We’ll dive deeper into the controversy surrounding its portrayal of relationships and unravel the symbolism hiding within its frames. Buckle up, for the journey into the heart of “Bachelor” promises to be as thrilling as it is thought-provoking.

Navigating the Labyrinth: Unveiling the “Bachelor” Plot Synopsis

Love stories often follow a predictable path, but “Bachelor” (2021) throws that map out the window and plunges us into a labyrinth of tangled relationships, simmering tensions, and choices rife with consequences. Brace yourself for a journey where the line between bliss and bedlam is thinner than you think.

A Glimpse into Chaotic Harmony

Darling, our resident charmer, isn’t your typical hero. He’s a free spirit, an artist who thrives on spontaneity, often to the detriment of those around him. His live-in girlfriend, Subbu, is the grounding force, the voice of reason amidst the whirlwind. They share a passionate, intense relationship, fueled by an undeniable spark. But beneath the surface of their seemingly happy cohabitation, cracks begin to show. Darling’s impulsiveness bleeds into recklessness, with his decisions impacting Subbu’s stability and future. The question arises: Can love truly flourish in such a volatile atmosphere?

A Twist of Fate, a Tangled Web

Enter the unexpected twist that disrupts their fragile equilibrium. A pregnancy test throws everything into disarray, forcing both Darling and Subbu to confront a future neither fully envisioned. This unexpected change becomes the catalyst for a chain reaction of choices, each one pushing their relationship further into uncharted territory. Darling’s reaction, a mixture of excitement and apprehension, clashes with Subbu’s internal turmoil. Her conflicting emotions—excitement at motherhood, fear of the unknown, and doubts about Darling’s commitment—paint a compelling picture of a woman at a crossroads.

Secrets Unveiled, Trust Eroded

As the weight of this life-altering decision hangs heavy, a web of secrets begins to unravel. Hidden truths and past choices resurface, casting a shadow of doubt on everything they thought they knew about each other. Trust, once the cornerstone of their relationship, starts to crumble. The film masterfully weaves these revelations into the narrative, forcing us to question the characters’ motivations and the true nature of their connection. “Bachelor” doesn’t shy away from the messy realities of relationships, reminding us that love and deception can often dance a dangerous tango.

Deciphering the Characters: Inside the Hearts of “Bachelor”

The beating heart of any film lies in its characters, and “Bachelor” (2021) boasts a complex duo whose motivations and flaws captivate and challenge. Darling, the titular bachelor, and Subbu, his live-in love, are far from archetypes; they’re intricate tapestries woven with threads of charm, self-absorption, and desperate yearning. Let’s dive into their souls, shall we?

Delving into Darling’s Enigma

There’s an undeniable magnetism to Darling. He’s an artist, a free spirit who lives life on his terms. His charisma spills off the screen, drawing Subbu and the audience into his orbit. But beneath the charm lies a darkness, a selfishness that manifests in impulsive decisions and disregard for consequences.

He’s a child in a man’s body, throwing tantrums when things don’t go his way, yet capable of moments of surprising tenderness. We grapple with Darling’s complexity, asking ourselves: Is he a misunderstood artist trapped in a stifling world or a manipulative puppeteer pulling the strings of those around him? “Bachelor” offers no easy answers, forcing us to confront the gray areas of human nature and the seductive allure of toxic charisma.

Unraveling Subbu’s Tapestry:

Subbu, Darling’s partner, is more than just a damsel in distress. She’s intelligent, strong-willed, and yearning for stability. Yet she finds herself inextricably drawn to Darling’s whirlwind energy, captivated by his passion and the promise of an exciting life. But as the film progresses, her love crumbles under the weight of his erratic behavior and hidden truths.

We see her grapple with doubt, questioning her choices, and clinging to the fading embers of their love. Is she trapped in a toxic cycle, blinded by affection, or can she find the strength to break free and forge her path? Subbu’s journey resonates with anyone who’s ever loved someone deeply, yet with a gnawing awareness that they might be pulling you towards the edge of a cliff.

Beyond the Leads: A Family Affair

But Darling and Subbu aren’t alone in their emotional tempest. Family members and friends weave their threads into the narrative, adding complexity and fuel to the fire. Darling’s overbearing mother and Subbu’s supportive sisters become catalysts for conflict, forcing both characters to confront their expectations and desires. The film masterfully portrays the intricacies of family dynamics, reminding us that love and support can take many forms, even when laced with frustration and disappointment.

Beneath the Surface: Unmasking the “Bachelor” Themes and Symbols

“Bachelor” (2021) transcends a mere love story by weaving a tapestry of potent themes and symbolic elements that linger long after the credits roll. This film is an invitation to unravel the complexities of human relationships, confront uncomfortable truths, and question the very definitions of love and control. So, let’s delve into the murky depths of “Bachelor” and dissect the hidden treasures buried within its narrative.

The Duality of Desire and Toxicity

At its core, “Bachelor” grapples with the intoxicating yet treacherous dance between desire and toxicity. Darling’s magnetism is undeniable, drawing Subbu into a whirlwind of passion. However, this passion comes at a cost, laced with manipulation, emotional neglect, and disregard for her needs. The film forces us to confront the uncomfortable truth that love and toxicity can coexist, blurring the lines of healthy affection and codependency. It sparks a crucial conversation about recognizing the seductive allure of unhealthy relationships and learning to navigate them with awareness and self-preservation.

The Cage of Expectations

Throughout the film, recurring symbols echo the characters’ internal struggles. One powerful image is the cage Darling builds for his pet parrots. While meant as a playful enclosure, it can’t help but evoke a sense of entrapment, mirroring Subbu’s growing claustrophobia within their volatile relationship. Similarly, the recurring motif of closed doors and windows emphasizes the suffocating atmosphere, hinting at the need for both characters to break free from their self-imposed and external constraints.

The Price of Self-Discovery

Beyond the toxic tango, “Bachelor” whispers another poignant theme: the price of self-discovery. Subbu’s journey becomes a testament to the courage it takes to break free from unhealthy patterns and confront one’s desires. As she faces the consequences of her choices, she grapples with self-doubt and fear. Yet, amidst the chaos, she finds glimmers of resilience and independence. We witness her reconnecting with her supportive sister, finding solace in her creativity, and taking tentative steps towards building a life beyond Darling’s shadow. “Bachelor” reminds us that the path to self-discovery is rarely linear, but the struggle for personal growth is always worth the journey.

The Metamorphosis of the Butterfly

This theme of transformation is subtly represented by the recurring butterfly motif. Initially seen as fragile and trapped, the butterfly later appears as Subbu presents her artwork, symbolizing her potential for metamorphosis. It’s a subtle yet powerful reminder that even in the darkest corners, the possibility for change and evolution lies dormant, waiting to be awakened.

Beyond Charm and Chaos: Diving into the Technical Depths of “Bachelor”

“Bachelor” (2021) isn’t just a whirlwind of emotions; it’s a meticulously crafted cinematic experience where technical aspects amplify the film’s narrative punch. From the captivating cinematography to the soul-stirring music, every element works in unison to immerse us in the characters’ tangled desires and volatile realities. So, let’s dim the lights, grab our popcorn, and delve into the technical mastery that elevates “Bachelor” beyond a mere film into a sensory feast.

A Visual Symphony: Cinematography that Captures the Tumult

The camera in “Bachelor” isn’t merely an observer; it’s a participant in the emotional rollercoaster. Sweeping handheld shots mimic the chaotic energy of Darling’s world, while moments of intimacy are bathed in close-ups that reveal the flicker of doubt in Subbu’s eyes. The contrasting use of light and shadow further underscores the film’s thematic duality, highlighting the precarious balance between love and manipulation. Whether it’s the claustrophobic atmosphere of their apartment or the liberating vastness of a beach scene, the cinematography masterfully mirrors the characters’ internal struggles, drawing us deeper into their tumultuous universe.

A Score that Speaks Volumes: Music as an Emotional Compass

The music in “Bachelor” is more than just background noise; it’s a character in its own right. The pulsating score reflects Darling’s flamboyant spirit, while melancholic strings tug at our heartstrings as Subbu wrestles with her doubts. The film cleverly juxtaposes upbeat melodies with moments of unsettling silence, amplifying the tension and leaving us on the edge of our seats. Whether it’s the hauntingly beautiful theme accompanying Subbu’s artistic expression or the jarring percussion that underscores Darling’s impulsiveness, the music in “Bachelor” becomes a powerful storyteller, guiding us through the emotional labyrinth of the narrative.

Beyond the Leads: Stellar Performances Shine Through

While the film hinges on the captivating performances of GV Prakash Kumar and Divya Prashad, the supporting cast deserves a standing ovation. Kumar flawlessly embodies Darling’s charisma and volatility, seamlessly transitioning from playful charm to explosive outbursts. Prashad, on the other hand, navigates the emotional spectrum with an authenticity that resonates deeply. The subtle nuances in her expressions, the hesitation in her voice, and the flicker of defiance in her eyes speak volumes about Subbu’s internal conflict. The ensemble cast, portraying family members and friends, further adds depth and texture to the narrative, reminding us that no relationship exists in isolation.

A Love Story Gone Rogue: Navigating the Controversy Surrounding “Bachelor”

“Bachelor” (2021) isn’t simply a film; it’s a cinematic lightning rod that has sparked heated debates and divided audiences. While some laud its raw exploration of complex relationships and applaud its daring portrayal of an unconventional protagonist, others criticize its potential glorification of toxicity and question its ethical boundaries. Let’s navigate the storm of controversy surrounding “Bachelor” and delve into the reasons behind its polarizing reception.

Walking the Tightrope: Toxic Masculinity and Its Allure

Darling, the titular bachelor, is far from the knight in shining armor. He embodies a brand of toxic masculinity that both mesmerizes and repels. His impulsive decisions, reckless disregard for consequences, and manipulative tendencies challenge our traditional notions of romance. Some viewers praised the film for presenting a refreshingly realistic portrayal of a flawed individual, arguing that sugar-coated heroes fail to capture the messy reality of human relationships. Others, however, raise concerns about the potential glorification of Darling’s behavior, fearing it might romanticize unhealthy patterns and normalize emotional abuse for some viewers. The film’s ambiguity in condemning or condoning his actions fuels the controversy, forcing us to grapple with the complex dynamics of power and control within relationships.

Crossing the Line: Blurring the Lines Between Love and Codependency

Subbu, Darling’s partner, isn’t a passive victim. Yet, her journey through codependency and self-discovery sparks another facet of the debate. Some viewers question the film’s portrayal of Subbu’s choices, citing her initial blindness to Darling’s flaws and her continued submission to his manipulative behavior. Critics argue that the film might unintentionally romanticize codependency, blurring the lines between passionate love and unhealthy attachment. Conversely, supporters of the film see Subbu’s journey as a powerful testament to female resilience and the courage it takes to break free from toxic cycles. They find her gradual awakening and steps towards self-preservation to be a hopeful message within the film’s darker undertones.

Pushing Boundaries: Storytelling Ethics and Artistic Expression

Beyond the portrayal of relationships, “Bachelor” raises questions about storytelling ethics and artistic freedom. Some viewers express discomfort with the film’s unflinching exploration of potentially triggering themes like abortion and family conflict. They argue that the film’s raw realism crosses the line, pushing emotional boundaries and potentially triggering emotional responses in unprepared audiences. Supporters, however, counter that artistic expression must have the freedom to explore uncomfortable truths, highlighting the film’s potential to spark important conversations about sensitive topics and raise awareness about unhealthy relationship dynamics.

Echoes of “Bachelor”: Unraveling the Lingering Threads

“Bachelor” (2021) isn’t a film that fades with the final credits. Its potent themes, complex characters, and raw exploration of love’s darker side leave lingering questions and emotional threads that refuse to be easily dismissed. So, let’s gather our thoughts and unravel the captivating tapestry woven by “Bachelor,” acknowledging its lasting impact and inviting further reflections.

Unflinching Honesty: Challenging Our Perceptions of Love

“Bachelor” doesn’t shy away from the messy realities of human relationships. It forces us to confront the uncomfortable truth that love can coexist with manipulation, toxicity, and self-doubt. Darling’s charm and Subbu’s vulnerability paint a nuanced picture of a relationship teetering on the edge, reminding us that fairy tales rarely capture the complex dynamics of real-life love. This unfiltered honesty, while potentially unsettling, is also essential. It sparks crucial conversations about recognizing emotional manipulation, setting healthy boundaries, and understanding the dangers of codependency. “Bachelor” challenges us to redefine our romantic ideals and embrace the complexities of love in all its messy glory.

The Ripple Effect: Navigating Personal Connections

The film’s impact extends beyond its cinematic universe. It becomes a mirror, reflecting our own experiences and relationships. We might see glimpses of Darling’s impulsiveness in a past partner, recognize Subbu’s struggle for self-worth in our journeys, or witness echoes of family dynamics within our circles. “Bachelor” encourages introspection, prompting us to examine our vulnerabilities and communication patterns. It becomes a tool for understanding both healthy and unhealthy relationship dynamics, empowering us to make informed choices and nurture connections that enrich our lives.

Fueling Dialogue: Sparking Conversations Beyond the Screen

“Bachelor” isn’t simply a film; it’s a catalyst for conversation. Its bold exploration of controversial themes generates healthy discussions about gender roles, mental health, and the ethics of storytelling. The film’s reception and its sparks of both praise and criticism highlight the importance of open dialogue and diverse perspectives. By engaging in respectful conversations about “Bachelor,” we can deepen our understanding of complex issues, challenge personal biases, and strive for healthier relationships both on and off-screen.

This journey through the lingering echoes of “Bachelor” is just the beginning. Share your thoughts and interpretations in the comments, engage in discussions with fellow viewers, and delve deeper into the film’s impact on your perspectives. Remember, “Bachelor” is a gift that keeps on giving; it’s a conversation starter, a mirror to our relationships, and a reminder that love, in all its forms, is a fascinating and multifaceted mystery waiting to be explored.

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Bachelor Movie Review (2021)

Gv prakash's bachelor movie review - film co-starring divya bharathi.

Bachelor Movie Cast & Crew

Amidst a good pre-release buzz and hype, GV Prakash's Bachelor has been released in theatres. Directed by debutant Sathish Selvakumar, Bachelor is a film that is targeted at the youth audience. Here is our take on Bachelor. 

STORY:  Bachelor follows the story of Darling (GV Prakash) and Subbu (Divya Bharathi), who are in an intimate relationship, and eventually end up becoming pregnant. Darling asks Subbu to abort the baby, but she isn't ready to kill an innocent life. This creates a rift between the couple who part ways. What were the after-effects of the pregnancy and did they find a common solution to their problem is what Bachelor is all about.  

SCREENPLAY, DIALOGUES & DIRECTION:  The first half of Bachelor is quite interestingly-packaged with a good level of fun and drama. Director Sathish Selvakumar seems to have been inspired by Alphonse Puthren's Premam as quite a lot of shots, the background score, and the edit pattern of Bachelor looks very much similar. Sathish seems to be in no hurry as he has treated the film in a calm and steady manner. The film does take its own sweet time to take off and once the conflict arises between the leads, the stage is set for an exciting second half. However, the film drifts away from its path and moves towards a completely different direction, post the half mark. When you expect to see the drama between the leads or the pain that they undergo, Sathish shifts the focus towards something else.

A major chunk of the second half revolves around GV Prakash's character and there is not even a single shot of Divya, as a result of which you don't constantly stay connected to the movie. Director Sathish's intention to tell a mature story about two people in a relationship is appreciable, but it would have been better if the second half was also centered around them and their problems. The Bachelor that we now see has a decent first half and a clueless second half. The staging of the courtroom scenes could have been more effective and convincing as the current version looks unimpactful.

The duration of the film is a concern since the pace of the movie is also slow, especially in the latter half. Had the film been high on engagement, the runtime wouldn't have mattered, but due to the slow-paced screenplay, you need to hold your patience. 

CAST:  GV Prakash has put up a fine performance that shows varied emotions. As a man of flaws and full of confusions, GV Prakash has matured as an actor, with a good level of confidence. Debutant Divya Bharathi makes a good impression with her performance, especially in the emotional scenes. Divya is sure to earn a good fan base and she seems to be a talent to watch out for. Bagavathi Perumal and Munishkanth score well with their humour among the other supporting characters. Director Mysskin helps with a few laughs in his short and delightful cameo. 

TECHNICAL: Siddhu Kumar's background music adds a special flavour to the film and it is surely a big aspect of the movie. The songs don't stay inside you for a long time. Theni Eswar's cinematography is classy and impressive aiding Sathish's vision. Bachelor is a film that has a unique presentation and San Lokesh's cuts play a major role in that. 

SO?  Bachelor is a slow-paced average film that needed more focus on the conflict between its leads!  

Verdict Bachelor starts off in an interesting fashion but loses its fizz on the go. An average watch!

Galatta Rating: ( 2.5 /5.0 )

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The bachelors, common sense media reviewers.

Touching father-son story of grief and love.

A Lot or a Little?

What you will—and won't—find in this movie.

Characters must learn how to handle their grief an

The four main characters are flawed but kind, and

A character cuts herself; she slices into her arm,

Teen kissing. A couple is shown asleep in bed toge

Several uses of "s--t" and a use of &quo

Teens hold red plastic cups at a party (contents u

Parents need to know that The Bachelors is a dramedy about a father and his teen son recovering from the death of their wife/mother. It's quite touching, with themes of empathy, and it should be fine for high-schoolers and up. A teen girl cuts herself; some slicing/blood is shown. There's a brief…

Positive Messages

Characters must learn how to handle their grief and, more importantly, how to trust others to listen and help. Ultimately champions empathy and understanding.

Positive Role Models

The four main characters are flawed but kind, and although they succumb to doubts and fears, they do seem to listen to one another and try to help one another.

Violence & Scariness

A character cuts herself; she slices into her arm, and blood is shown. A bully is bashed in the head with a lunch tray; brief fight, with punching. Slapping. A wife/mother character is said to be dead. Vomiting/passing out.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

Teen kissing. A couple is shown asleep in bed together. Women are objectified in an early scene; after attractive girls climb off a bus, a boy calls it the "muff truck." Reference to "wild, gymnastic sex." Reference to masturbation. Some sex talk.

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Several uses of "s--t" and a use of "f--k," plus "Jesus Christ" (as an exclamation), "ass," "asshat," "jackass," "dumbass," "whore," "d--k," "muff," "freak," "snots," "brain dead," "moron," and middle-finger gestures.

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Drinking, Drugs & Smoking

Teens hold red plastic cups at a party (contents unknown, but alcohol is implied). Adults drink socially. An adult takes prescription mood-enhancers.

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Parents Need to Know

Parents need to know that The Bachelors is a dramedy about a father and his teen son recovering from the death of their wife/mother. It's quite touching, with themes of empathy, and it should be fine for high-schoolers and up. A teen girl cuts herself; some slicing/blood is shown. There's a brief cafeteria fight between two teen boys; one gets hit with a lunch tray. Teens briefly kiss, and there's some sex talk. Teen girls are objectified in one scene, emerging in slow motion from a bus (the term "muff truck" is used). Language includes a few uses of "s--t" and variations on "ass," plus several other words and insults. An adult takes mood-enhancing medication and drinks socially. Teens hold red cups at a party, though the contents aren't revealed. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

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• Parents say (1)

Based on 1 parent review

A failed attempt

What's the story.

In THE BACHELORS, Bill Palet ( J.K. Simmons ) suddenly decides, following the death of his beloved wife, to move from San Francisco to Los Angeles with his teenage son, Wes ( Josh Wiggins ). There, Bill hopes for a fresh start at a prep school where an old college buddy is headmaster: Bill can be a teacher and Wes, a student. Sports are mandatory, so Wes goes out for cross-country, while Bill starts seeing a therapist ( Harold Perrineau ). Wes also has a French class in which his teacher, Carine ( Julie Delpy ), assigns him to tutor the troubled Lacey ( Odeya Rush ). Wes and Lacey begin a tentative, uneasy friendship, while Carine starts getting to know the lonesome, grieving Bill. Can these two bachelors learn to love again?

Is It Any Good?

While this tale could easily have tumbled over the edge in any direction, writer/director Kurt Voelker presents it as a balanced, nuanced, and gentle family story that becomes genuinely touching. The Bachelors could have been overly goopy or maudlin, dealing as it does with the death of a loved one, but it's brave enough to face grief in a real way. And the characters might have been one-dimensional, defined by their loss and presented as helpless, but they're not. They have realistic strengths and weaknesses.

The movie could also have been cutesy, with little musical montages and attempts at quirkiness, but even its motif of the car with the reverse-facing passenger seat seems to flow right along with the story. Credit must be given to the excellent cast, especially Simmons and Delpy, who soften the edges they've shown in other movies and play up appealing vulnerabilities. Wiggins and Rush are likewise very good, playing something close to human beings, rather than a movie's idea of "teenagers."

Talk to Your Kids About ...

Families can talk about how female characters are treated in The Bachelors. Are women objectified? Is that behavior condoned?

How does the movie deal with death and grief? What does it say about the grieving process? Can other people help?

How does the movie show the importance of empathy ? Why is that a key character strength ?

When violence is shown in the movie, is it gratuitous, or does it make sense with the story and characters? What's the difference?

How well do the father and son characters communicate with one another? Do they argue?

Movie Details

• In theaters : October 20, 2017
• On DVD or streaming : October 20, 2017
• Cast : Odeya Rush , J.K. Simmons , Julie Delpy , Josh Wiggins
• Director : Kurt Voelker
• Inclusion Information : Female actors
• Studio : Freestyle Digital Media
• Genre : Drama
• Topics : High School
• Character Strengths : Empathy
• Run time : 108 minutes
• MPAA rating : NR
• Last updated : June 20, 2023

Did we miss something on diversity?

Research shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new "Diverse Representations" section to our reviews that will be rolling out on an ongoing basis. You can help us help kids by suggesting a diversity update.

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Bachelor: Release Date, Trailer, Songs, Cast

• Release Date 3 December 2021
• Language Tamil
• Genre Drama
• Duration 2h 56min
• Cast Divya Bharathi, G. V. Prakash Kumar, Munishkanth, Bagavathi Perumal, Mysskin, Monica Chinnakotla, R. K. Vijay Murugan, Jayann, Muthu Prasad Shanmugasundharam, Nakkalites Arun, Nakkalites Dhanam, Brindha, Victor Nirmal Felx, Manoj Beads, Kotravai, Prem Kumar, K M Rasheduzzaman Rafi, Sasi kumar, Kiran R, Sriram Manivannan, Sam Isaac, Surya Veerarajan, VJ Mubashir, Mathuram, Subash Selvam, Tamizh, Prankster Rahul, TSR, Karthik Gunasehkaran
• Director Satish Selvakumar
• Writer Satish Selvakumar, K M Rasheduzzaman Rafi
• Cinematography Theni Eswar
• Music Siddhu Kumar, Dhibu Ninan Thomas, A. H. Kaashif, G. V. Prakash Kumar
• Producer G. Dillibabu
• Production Axess Film Factory
• Certificate 18+

About Bachelor Movie (2021)

Darling (G. V. Prakash Kumar), who has behavioural issues and hails from a conservative background, relocates to Bengaluru in search of a job.

He gets into a live-in relationship with a modern girl, Subbulakshmi a.k.a. Subbu (Divya Bharathi). As they live together, Darling's amateurish behaviour leads to a series of problematic events.

Bachelor Movie Cast, Release Date, Trailer, Songs and Ratings

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Bachelor Tamil Movie

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The Bachelor Parent Guide

Men, like wild mustangs, are driven to various sweet patches of grass -- tall, short, dark and blonde grasses.

Release date November 3, 1999

Run Time: 101 minutes

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The guide to our grades, parent movie review by rod gustafson.

The Bachelor begins with an analogy that men, like wild mustangs, are driven to various sweet patches of grass—tall, short, dark and blonde grasses. Over grand aerial views of wild horses on the open plains, we hear Jimmie Shannon (Chris O’Donnell) explaining that both want their freedom and “have an endless quest for…”—cut to a close-up of many shapely female legs perched at a bar.

About author

Rod Gustafson

The bachelor parents' guide.

How do movies like this, and recent television programs that focus on marrying for money, add to the growing lack of respect towards marriage in our society?

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Bachelor Movie Review

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While watching debut filmmaker Sathish Selvakumar’s Bachelor, we are bound to certain appreciations and of course, some sort of indirect references to movies like Arjun Reddy, where the lovers aren’t more poetic, but rugged. For them, the romance isn’t merely about fantasizing over a duet song in the wonderland, but with intense cuddling, PDAs, and the blatant ritual of ‘LUST’. The Post-Arjun Reddy phase had left a deep impact in K-Town, where the urban heroes overtook the rural (Madurai) heroes with long hairs and thick beards. For instance, the chocolate boy Harish Kalyan in Ispade Rajavum Idhaya Raniyum fell into the same domain. While watching the climax of this GV Prakash-Divya Bharathi starrer “Bachelor”, it does leave the slightest trace of the above mentioned Telugu flick reference, but with the female lead being contrastive in her decision. Yeah! Both are pregnant ladies, and their beaus have parted ways, only to confess and get united, but then… Sathish Selvakumar wants to make a difference here.

The visual promos have already prepared the audiences on what to expect. The makers have clearly cited that it’s not a fun-loving Rom-Com or Adult Comedy, but an intense drama. Naturally, we could sense it all from the trailers. So what’s the tale all about? GV Prakash travels all the way from Coimbatore to Bengaluru for an IT Job and leaves a happy-go-lucky life with his friends. He comes across Divya Bharathi, with whom he instantly attracted. Both of them have the same feelings, and naturally, get indulged in an intimate relationship. But the actual trouble pops up when she gets pregnant and the boy doesn’t want to take up the responsibility.

Director Sathish Selvakumar deserves special mention for the clarity he envisioned on the film’s presentation. Every single technical department has worked accordingly to his plan. Yes, he owns the panache of Director’s Cut, which not many filmmakers of this contemporary phase are enjoying. Be it songs, BGM, or cinematography, it helps a lot in keeping the scenes engrossed. The first half of the film is completely dedicated to the teens, where they can laugh out loud; self-pinch to avoid the laughter for double entendre if seated near to some elderly people out there in the theaters. In contrast, the second hour gets intense, and the play slightly gets directionless. In many places, we don’t see the lead characters have any dialogues or performances. It’s the supporting characters that dominate the space. With a running length of 3Hrs approximately, the second half lets you feel the draggy spell here and there. With 20-25 minutes of trimmed version, the narrative would have got better. The climax might look a little incomplete as it creates a sort of open ending, where the girl has her way to end this serious drama, but it might land up with different conclusions and perspectives. Well, we can get into the analysis with this climax with a stretched version, but that would become a spoiler.

Final word – End of the show! A broad-minded audience would say this – Please Grow up guys! Our society has gone far beyond those pre-marital relationships, and it has already opened to LGBTQ factors. In this aspect, Bachelor is nothing, but a repetition of a time-worn plot, which might tickle the excitements of teen audiences to a certain extent.

Bachelor is nothing, but a repetition of a time-worn plot, which might tickle the excitements of teen audiences to a certain extent.

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‘Most Eligible Bachelor’ movie review: Part-fun, part-preachy story of finding love

Pooja hegde and akhil akkineni prop up a passable rom-com that could have been so much more.

Updated - October 16, 2021 01:58 pm IST

Published - October 16, 2021 11:40 am IST

Akhil Akkineni and Pooja Hegde in ‘Most Eligible Bachelor’

• Cast: Akhil Akkineni, Pooja Hegde
• Direction: Bhaskar
• Music: Gopi Sundar

But does Harsha really know what he wants from marriage? The story throws this question at Harsha by pitting him against a more worldly wise woman, Vibha (Pooja Hegde). The shallowness in the approach of Harsha’s large, doting family is evident in the way they make arrangements for his wedding, despite the fact that he is yet to choose his bride. Harsha arrives in India on a 20-day vacation and both he and his family are confident that things will fall in place. After all, he is the most eligible bachelor.

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Many women who have gone through the rigours of matchmaking might have come across NRI grooms visiting India barely for a few days and wanting to find a life partner in that period. That sort of entitlement from a groom’s family might be accepted by some, but there will be women like Vibha who will question it.

It’s a relevant and interesting premise for a rom-com. Harsha’s meetings with prospective brides, interspersed with the comedy of errors when he runs into Vibha’s father (Murali Sharma) are fun to watch. What happens when Harsha, who does not know the world outside his cocoon, is smitten by Vibha and begins absorbing every line she says, is narrated hilariously.

To give Vibha’s character an extra edge, she is portrayed as a stand-up comic. Her jokes are almost always on marriages and relationships but the lines are rather bland. As the story progresses, we understand what gnaws at her and how she turns her agony into jokes.

So far so good. But after posing the question of what Harsha wants from marriage, the story falters. In real life, had Harsha returned from the US the second time, driven by the eagerness to meet Vibha and mend things after a spat, he might have gone and had a chat with her. But this is a rom-com without much imagination. In the garb of adding humour and drama, the narrative shows Harsha shadowing Vibha. He isn’t a creepy stalker but it still doesn’t feel like the right way to do it. Surely there are better ways by which the story could have shown how they begin to bond.

In the process of Harsha and Vibha finding their soulmates in each other, the story ends up painting all other couples around them as people stuck in unhappy marriages. Marriage is all about adjustments, characters keep reiterating. Director Bhaskar says it doesn’t have to be so, through a narrative that gets preachy. One of the tropes towards the end, because of which Vibha finds a safety net in Harsha, also comes across as manipulative.

A major portion of the story is narrated in the presence of real-life couple Rahul Ravindran and Chinmayi Sripada who are adored for standing by each other in times of turmoil. This story ends up painting even their characters as people who go through their marriage with compromises and adjustments. Sigh. It can’t be that only Harsha and Vibha are determined to lead their life with ever-lasting romance, isn’t it?

Most Eligible Bachelor has technical finesse, a pleasing lead pair, offers a few laughs and hummable songs, but doesn’t sweep you off your feet. Pooja Hegde is lovely as Vibha and shows that she has more acting potential waiting to be tapped. Akhil Akkineni shows a lot of improvement as an actor and is good as Harsha. Among the melee of supporting actors, only Murali Sharma stands out.

Somewhere in the middle of the film, Harsha tells another character that she has seen the length and breadth of an issue but not its depth. The same goes for this film. Its understanding of what makes relationships click remains at a surface level.

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When it comes to kooky, creative thrillers, Shyamalan is practically a brand. Though M. Night is the present precedent for this surname, his daughter Ishana hopes to carry the torch into the next generation, making a name for herself in a similar genre. Based on the book by A.M. Shine, “The Watchers” is Ishana Night Shyamalan ’s directorial debut, a fabled narrative that seesaws between fantastical whimsy and proposed horrific terror with lots of ambition but little finesse.

Mina ( Dakota Fanning ) is a lost soul. A twentysomething American living in Galway, she spends her days working at a pet shop and her nights cosplaying at bars as anyone but herself. When her car breaks down in the middle of a dense, directionless wood, Mina is forced to search for help. As the sun sets and every bird occupying the forest springs into a shrill, hurried flight, she’s left as (seemingly) the only living thing around. The woods become taunting: dark, growling, and with something giving chase. With her car nowhere in sight, Mina begins to run, encountering a small bunker with a woman at the door, Madeleine (Olwen Fouere), who ushers her inside. 

Also in this bunker, which they refer to as “The Coop,” resides Ciara ( Georgina Campbell ) and Daniel ( Oliver Finnegan ). The coop consists of three walls and a large one-way window, which serves as a mirror for them and a display for the forest creatures, the titular watchers. Every night, the group must greet them at the window, standing in line like shop window mannequins, and allow themselves to be observed. Madeline, Ciara, and Daniel have been trapped for months in the forest, whose labyrinthine layout and immeasurable density make it near-impossible to find a way out before dark. Their survival, and now Mina’s, hinges on a simple set of rules, the most important of which are to be in the coop before nightfall and be on time to greet the watchers when they arrive. The day is safe. but the night is not, and failure to abide by the rules is communicated to be a brutal, violent death.

Shyamalan bites off much more than she can chew with “The Watchers.” The architecture of the source material provides much to play with in terms of worldbuilding, set pieces, and character development, but Shyamalan’s limited toolbox is brutally on display. “The Watchers” lacks creative vision and guts, with only a clumsy script to fall back on. Riddled with vapid dialogue and wish-washy commitment to the genre, it struggles to establish its identity and maturity level. Madeleine's character cyclically warns against the vociferous violence of the watchers, but the film is scant to make you believe in it. It lacks teeth. The stylistic choices resemble the hopscotch cartoony, kid-friendly horror found in films like “ The Haunted Mansion ” and a few sequences that aim to draw blood, more in the styles of a James Wan classic like “ Insidious .” Shyamalan is best when leaning mystic rather than macabre, but her execution feels like blindfolded cherry picking, and “The Watchers” becomes flimsy by consequence. 

The actual design of the forest creatures is quite compelling in the dark. Nighttime sequences of silhouettes and fractional details inspire tension and buy us into the scare factor, but Shyamalan makes the classic mistake, thrusting them into the light and replacing monstrosity with the familiarity of an overused design. The exception here is when the watchers are closer to their final form, approaching an uncanny valley territory that’s imperfect but sufficient. 

“The Watchers” concerns itself thematically with the idea of duplication and voyeurism. From Mina’s peripherally mentioned twin sister, to the mimicking parrot from the pet shop she totes throughout the film, and the lore of the watchers, Shyamalan juggles ideas of individuality with Darwinian survival. The coop functions as a sort of stage, and the one DVD the group has for entertainment is a single season of “The Lair of Love,” a clear parody of “Love Island.” This parallel of an isolated group housed together to be watched for the entertainment of others is apparent, but the thesis is not. It could be that Shyamalan is taking a meta stab at the act of performance itself via the coop, an argument towards the behaviors and quotables we mimic from the world of reality TV, or perhaps how we model ourselves on the basis of celebrity, but the thinness of her pen leaves this as a hypothesis rather than a complete thought.

Performances suffer in “The Watchers,” falling victim to an unrefined script and a plethora of confounding line deliveries. As we take mental notes on the origin of the watchers, even the characters seem confused by their own words. This exposition-heavy dialogue combats characters speaking exactly their thoughts, leaving little nuance for the actors to craft. Fanning plays Mina’s hollowness well, her stoicism and seriousness shielding trauma, but she falls flat in moments that require elevation and desperation. Campbell, who’s finding her own corner in the horror sphere (“ Barbarian ,” “Black Mirror,” “ Bird Box ”), is the most interesting to watch, and the fact that she has the least dialogue is a likely testament as to why. 

“The Watchers” doesn’t leave room to breathe between crash courses in lore, heavy dialogue, and a bloated narrative. Shyamalan falters in picking between a fairytale and a horror story, and the film's potential gets lost in her indecision. Though ideas and attempts at depth are present, they’re thin, and the film fails to stand its ground. “The Watchers” prompts curiosity that’s never entirely fulfilled, displaying a director who is ambitious but still very much at the foundational levels of her artistry. 

Peyton Robinson

Peyton Robinson is a freelance film writer based in Chicago, IL. 

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Film credits.

The Watchers (2024)

Rated PG-13

102 minutes

Dakota Fanning as Mina

Georgina Campbell as Ciara

Olwen Fouéré as Madeline

Siobhan Hewlett as Mina's Mother

Alistair Brammer as John

• Ishana Night Shyamalan

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‘The Bikeriders’ Review: On the Road to Nowhere, Beautifully

Austin Butler, Jodie Comer and Tom Hardy star in a romanticized drama about a fictional motorcycle club in the 1960s.

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By Manohla Dargis

“The Bikeriders,” a romanticized ballad of tribal love, outlaw cool and the illusion of freedom, gets your motor runnin’ early. A drama flecked with absurdity and violence, it narrates the rise and inevitable dissolution of a Midwestern motorcycle club across the 1960s into the early ’70s, from the ebbing of the greaser era and past the dawning of the Age of Aquarius. Not much happens, but the people are beautiful and so too are their bikes, rumbling beasts that tribe members ride and ride on that familiar closed loop known as Nowheresville, U.S.A.

The first essential thing to know about “The Bikeriders” is that the writer-director Jeff Nichols has, improbably, based the movie on a totemic photography book of the same title by the great American photographer and filmmaker Danny Lyon . The second thing is that the movie stars Austin Butler, Jodie Comer and Tom Hardy, a troika of charisma bombs who just have to show up for me to do the same. Nicely supported by a sprawling cast of other good lookers and hard workers, these three are among the draws in a movie that understands the seductions of beauty, the sensuous lines of a human body, the curves of a chassis.

The story, such as it is, traces the evolution of a fictional Chicago-area motorcycle club, the Vandals, from its racer origins. Scrambling the chronology, Nichols opens the story midway in 1965 with one member, Benny (Butler), being harassed at a bar by two strangers who want him to remove his “colors,” his ragged denim vest adorned with the club’s name. (Why? Why not?) Soon, punches are being thrown, and one stranger is swinging a shovel at the back of Benny’s head. Nichols freezes on Benny’s face with the shovel framed behind him like a cockeyed metal halo, a wryly funny image that captures a moment in time, much as Lyon did in his photos, and heralds the violence — its threats and giddy thrills — of the bikers’ lives.

For a few years in the early and mid-1960s when Lyon was in his 20s, he rode with a real Chicago club, the Outlaws, one of the oldest such groups in the country, charting his adventure in photographs and audio recordings. In 1968, the year before Dennis Hopper ’s biker film “Easy Rider” opened, Lyon published “The Bikeriders,” a collection of black-and-white photos with accompanying interviews. One of his interviewees was the real Benny’s wife, Kathy Bauer, a philosopher of male behavior whom Nichols has made the narrator and is played by Comer with rough charm and a chewy, g-dropping accent. (You can compare her pitch-perfect interpretation of Bauer’s voice on Lyon’s website bleakbeauty.com .)

Using the book as his lodestar, Nichols borrows from Lyon by turns directly, elliptically and sometimes clumsily, while making some instructive omissions: Some of the bikers wear Iron Cross patches, but if there's a Nazi swastika or Confederate flag here, emblems flaunted by some white bikers including Danny’s old Outlaw pals, I missed it. Nichols’s most cumbersome move is to have turned Lyon into a supporting character, a bland, earnest smiler (Mike Faist), who basically holds a mic while Kathy chronicles her biker life and times. More subtle and intriguing are Nichols’s efforts to capture the power of Lyon’s photos which — with their dynamic mixture of pictorial beauty and thematic grit, hyper-masculinity and homosocial intimacy — tell a specific 20th-century American story of being and belonging.

To that end, Nichols at times re-creates the original photographs, say, with a shot of Benny riding alone across a bridge while looking backward, an image that condenses the paradoxes of his life. Like the other club members, Benny tends to rack up miles without going anywhere very far, a provincialism that is one of the most American things about them. In another scene, Kathy recounts the first time she saw Benny, head bowed, leaning on a barroom pool table with his bared, muscly arms. Nichols catches this moment memorably, as does Comer, whose face opens in wonder as the camera pushes in toward Benny and he raises his head.

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This ‘Bachelor’ Franchise Leads the Most Lasting Relationships

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The Big Picture

• Bachelor in Paradise has a longer track record of successful relationships.
• Contestants have familiar connections with one another, increasing the chances of a lasting romance.
• There are more suitors on each side and less pressure on Bachelor in Paradise, leading to a better chance of forming successful relationships.

As a new season of The Bachelorette approaches, it’s only natural to fall down the rabbit hole of the franchise's many spin-offs. Obviously, there’s The Bachelor , but there’s also the international spin-offs, as well as Bachelor Pad , and perhaps most popular, Bachelor in Paradise . Bachelor in Paradise takes on the more typical dating show format by putting a group of single men and a group of single women in the same villa and allowing them to meet and mingle and strike up a connection.

The best part about it is that the singles we follow are previous contestants from The Bachelor and The Bachelorette , meaning that even if they didn’t come out as a winner in their respective seasons, fans may still get a chance to see them again in paradise. It’s highly entertaining and gives a much more hearty mix of personalities, as well as providing just as much (if not more) drama. But upon digging into the franchises’ success stories of couples who managed to make it work in the long haul, I can’t help but notice just how many of them met in paradise. In comparison to the original show, it leaves one to ponder the thought: does Bachelor in Paradise breed the healthier relationships?

Bachelor in Paradise

Set against the idyllic backdrop of a sun-soaked beach, reality TV alumni mix and mingle in an attempt to find lasting connections. The series twists the traditional dating format by introducing eliminations and surprise newcomers, ensuring drama, romance, and heartbreak in equal measure.

‘Bachelor in Paradise’s Concept Works Better

The Bachelor and The Bachelorette are guilty pleasure television. There's no other way to describe it. They’re so addictive to watch, but if you’re actually looking to see healthy and romantic relationships being formed for the long haul, they’re maybe not the best place to start. The show has had its fair share of success stories, but it’s also had a multitude of failed relationships. A lot of them can be pinned to media and production crew meddling, a lot of the causes can also be rooted back to the show’s concept. When it comes to forming a healthy and lasting relationship, the last thing you want is to be fighting for the attention of your partner, or for said partner to be entertaining other suitors, yet that is exactly what The Bachelor is.

It follows one man or one woman who has to field through over 20 suitors and narrow the group down week by week, going on dates and forming connections with each fellow single. But giving someone that many options, and expecting them to have a clear choice in just a few weeks, isn’t exactly sustainable. In too many After the Final Rose segments, we’ve seen our Bachelor or Bachelorette express doubt about their choice, with some even going back on it completely and opting to propose to their second choice at the last minute (here’s looking at you Jason Mesnick ).

‘Bachelor in Paradise’ Offers Familiar Connections

Bachelor in Paradise strips a lot of that doubt away by giving the contestants more options. It isn’t just twenty men vying for the attention of one woman, there are multiple men and multiple women, giving everyone a fair shot at making a lasting connection. Also, unlike The Bachelor and The Bachelorette , there isn’t quite as much pressure to pop the question by the finale. Yes, it’s encouraged, because let’s be honest, who doesn't love a big romantic proposal? But many couples have left paradise not engaged but still together, and have gone on to have just as successful relationships.

One of the biggest advantages Bachelor in Paradise offers its contestants is that they’ve all likely seen one another’s seasons, or are at least vaguely familiar with one another. This means that each contestant has a general feel for who the people around them are , and doesn’t have to waste time getting to know someone that ultimately won’t be compatible with them. Of course, that isn’t always the case, because opposites do indeed attract, but it does help to narrow out the playing field and give the contestants a better chance at forming connections more likely to last. There have even been instances on the show when contestants will convey to production that they’re hoping a specific person will show up, and because the producers want all the juicy content they can get, that wished for person often does show up. Though it may not always work out in the long run, it’s a pretty helpful leg-up to have.

It’s arguably one of the bigger problems that the titular Bachelor and Bachelorette face, as they may find a connection with someone on so many topics, but ultimately differ on some glaring ones, which leads to the demise of the budding relationship. Bachelor in Paradise helps take away some of that guessing game by never introducing newbies. It’s always members of Bachelor Nation , and given that they all likely run in similar circles, there’s a better chance of connection due to familiarity.

There Are More Options in Paradise

Another glaring problem with The Bachelor and The Bachelorette is that the choices are limited on one side of things. The Bachelor himself has many options, but the women vying for his attention quite literally only have him. If they don’t feel an attraction or connection with him, then they’re just out of luck as there isn’t a backup Bachelor waiting to be picked. Bachelor in Paradise remedies this by keeping an even (or semi-even) number of suitors on either side. So if someone goes in and strikes out with the first person they talk to, they’re able to shop around and talk to the other contestants. It doesn’t always mean they’ll come out with a long-term partner, but it does give them a far better chance at connection .

Not to mention, there is a lot less pressure to impress on Bachelor in Paradise . On The Bachelor and The Bachelorette, if the suitors fail to get the attention of the Bachelor or Bachelorette, they’re sent home pretty quickly, as there isn’t time to mess around on those shows. You still have to try and make a connection with someone on Bachelor in Paradise in order to stay, but if you fail to do so with the first couple of people, there are others you can attempt to spark something with . It also bodes well for couples who break up, as it doesn’t always have to spell elimination, due to the potential of other singles in the villa.

‘Bachelor in Paradise’ Has More Success Stories

Though a lot of the above points prove that Bachelor in Paradise ’s format works better in the long run, it can also be the catalyst for a lot of drama. Yes, the added people mean there is a better chance for someone to find a real connection, but it also can spell trouble for the relationships that become established throughout the season, especially when new singles arrive in paradise. Too many times we’ve seen the arrival of a new single tear apart a seemingly strong couple . Maybe it was someone their partner had been hoping would arrive, or maybe it was an accidental connection that proved too viable to ignore. Whatever the reason may be, the extra options have certainly caused their fair share of issues. But that is true for any reality dating show , and anyone who has watched one can confirm such a thing. The contestants know what they’re signing up for, and they know that there is potential for heartbreak in the long run, but they’re still willing to take that chance and open themselves up to love.

Ultimately, Bachelor in Paradise has given Bachelor Nation a lot of successful relationships. Couples such as Jade Roper and Tanner Tolbert , Ashley Iaconetti and Jared Haibon , and Dylan Barbour and Hannah Godwin , just to name a few. There have been some relationships formed on Bachelor in Paradise that haven’t worked out , but it’s starting to feel as though Bachelor in Paradise is having more luck in creating lasting relationships than its predecessors, The Bachelor and The Bachelorette . Maybe it’s because there’s less pressure on the couples, or that there are more options, or maybe it’s just the simple romantic backdrop of paradise serving as a good luck charm. Whatever the reason may be, keep it up. We love to see these romances thrive!

Bachelor in Paradise is available to stream on Hulu in the U.S.

WATCH ON HULU

• TV Features

Google is making your movie and TV reviews visible under a new profile page

Google is making reviews of all your movies, TV shows, books, albums and games visible under one profile page starting June 24, according to an email sent to users last month. These profiles are also searchable through Google searches, which can lead to users’ being profiled based on their likes and dislikes.

The company launched the ability to post reviews of movies for India-based users in 2017 . Over the years, this functionality has expanded globally. Last year, the company told TechCrunch that they made review profiles public and searchable in some regions, starting with the U.S. and India. Now, they are making all profiles public globally.

Essentially, you can click on any user profile and look at all the reviews they have posted. Google told TechCrunch that the company provides a toggle to make their profile private. But that toggle wasn’t available until earlier this week, as observed by SEO consultant Gagan Ghotra and TechCrunch.

“Profiles make it easier for people to see and manage their reviews of things like movies and TV shows in one place and make reviews more helpful for others. These reviews were already public, and we provide people with control to make their profile private or delete it altogether, along with options to privately edit or delete their reviews,” a Google spokesperson said in a statement to TechCrunch.

Google also makes all profiles public by default. That means if you don’t know about having a profile page of your reviews or haven’t paid attention to emails from Google (which may have ended up in your spam or updates folder on Gmail), your profile will be viewable for all.

The company told TechCrunch that it sent notifications of the hiding profile control to users through the Google Profile interface. Plus, it notified users of the new Google Profile via a pop-up on their existing reviews. However, if users don’t know a new profile exists, they are unlikely to visit the page. And there is a slim chance that you would be going back to read your own review of a show or a movie frequently. Google needs to do better to notify the user of an entirely new page related to their account.

Ghotra told TechCrunch over direct messages that searchable profiles could also be used by potential employers to know the opinions of their future employees, impacting their chances of hiring. Plus, it is an easy target for advertisers to scrap this data and serve targeted ads to users.

How to hide your profile

Here is how you can make your preview profile private:

• Go to profile.google.com
• Click/tap on the three-dot menu next to your profile name
• Select the “Profile Options” item
• Turn on the Profile Privacy toggle

Even if you hide your profile, your individual reviews will still be visible under a movie or a TV show title, but it won’t link back to a page with all of your reviews. Notably, your reviews on Google Maps are not part of this rollout.

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‘The Exorcism’ Review: Russell Crowe Plays a Fallen Movie Star Playing a Priest in an Exorcist Movie. Is This the Sign of a Career Gone to Hell?

Crowe stars in his second exorcist film in a year. His acting isn't bad, but by the end the message seems to be: The power of residuals compels you.

By Owen Gleiberman

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While we’re on the subject of art-and-life parallels, this is the second exorcist film that Russell Crowe has made in a little over a year (the first, “The Pope’s Exorcist,” was released in April 2023), and that might well be the sign of a once-hot movie star’s fall from grace. But Crowe remains too good an actor to phone in what he’s doing, and his performance as Tony has an undercurrent of shaggy despair unusual for the genre.

Early on, Tony’s 16-year-old daughter, Lee (Ryan Simpkins), returns to his funky New York loft apartment after she gets kicked out of Catholic boarding school. For a while, we’re invested in whether Tony can mend fences with her, and whether he can turn his broken life around by portraying the priest in a movie whose director, played with amusing Machiavellian ruthlessness by Adam Goldberg, will do whatever it takes to wring a good performance out of his leading man, even it means abusing the hell out of him. (In this case that’s no metaphor.) “You still devout?” asks Goldberg’s Peter, saying it like it’s a dirty word. Tony is a former altar boy, so I guess that’s supposed to hit him hard.

On set, Lee bonds with Tony’s pop-musician costar, Blake (Chloe Bailey), the lead singer of Vampire Sorority. And Tony is coached by an on-set priest, Father Conor, a kind of intimacy-with-the-almighty coordinator played with amiable cynicism by David Hyde Pierce. There are omens, like Tony’s bloody nose on the first day of shooting. The bottom line is that Tony is not giving a good performance, and what’s standing in his way is his guilt for his sins, as well as the “mysterious” trauma that brought on his bad behavior. This is a movie that plays connect-the-dots with exorcist/Catholic/addict themes.

“The Exorcism” was directed by Joshua John Miller, who’s the son of Jason Miller, the late costar of “The Exorcist,” which creates, I guess, a kind of Satanic synergy. As the movie goes on, Tony starts slugging whiskey again, which on the story’s terms is a sign that the devil has appeared. The trouble is that a good exorcist movie requires a confrontation with the devil. Crowe is playing an actor playing an exorcist, and the way “The Exorcism” is structured what he needs to be is the therapeutic Father Merrin of his own soul. But the darker the movie gets, the less there is at stake, and the more that Crowe seems to be going through the motions of trying to save not his soul but his career. The power of residuals compels you.

Reviewed at Digital Arts, New York, June 13, 2024. MPA Rating: R. Running time: 93 MIN.

• Production: A Vertical Entertainment release of a Miramax, Outerbanks Entertainment production. Producers: Kevin Williamson, Ben Fast, Bill Block. Executive producers: Padraic McKinley, Scott Putman, Andrew Golov, Thomas Zadra.
• Crew: Director: Joshua John Miller. Screenplay: M.A. Fortin, Joshua John Miller. Camera: Simon Duggan. Editor: Matthew Woolley. Music: Daniel Bensi, Saunder Jurriaans.
• With: Russell Crowe, Ryan Simpjkins, Sam Worthington, Chloe Bailey, Adam Goldberg, David Hyde Pierce.

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