Santosh (2024)

Bradshaw finds the film tense, politically astute and satisfying, praising its lead performances by Shahana Goswami and Sunita Rajwar. He especially singles out how their uneasy partnership exposes sexism, caste prejudice and abuses of police power.

The review presents the film as gripping and powerfully feminist. It praises its crime-procedural approach to murder and corruption.

Gyarkye finds the film smart, compelling, and immersive, while noting that more detail about Santosh’s grief would help. She particularly praises the performances of Shahana Goswami and Sunita Rajwar, and the screenplay’s subtle portrayal of India’s political realities.

Khosla finds the film subtle and thought-provoking, letting its social critique emerge through story rather than speeches. She praises the naturalistic non-actors and lead performances, especially their grounded portrayal of life in rural India.

The critic finds the film extremely effective as a depiction of bleak systemic realities, though its crime-mystery turns are seldom surprising. They praise Shahana Goswami’s restrained performance and the film’s portrayal of how power can recruit the vulnerable into oppression.

The critic finds that Suri largely succeeds in exposing corruption and prejudice within the police system, though the film leaves some of its ideas underdeveloped. They praise the bond between Santosh and Geeta as a rare source of affection amid the violence and misogyny.

Vishnevetsky finds the film compelling as a subverted police procedural but ultimately too predictable and moralizing. He praises the dimensionality of Santosh and Geeta, while criticizing the unsubtle thesis statement at the climax.

Abele finds the film intelligent and compelling, though its clinical distance keeps it from fully realizing its human drama. He praises its incisive critique of police cliques and institutional abuse, supported by coolly observant cinematography.

The accessible page does not reveal Ide’s verdict or specific praise or criticism. Its standfirst frames the film as a probing Indian police procedural centered on a female officer’s controversial case.

The review finds the film intellectually stimulating and sharply critical, though often emotionally distancing. It praises Shahana Goswami and Sunita Rajwar’s performances for revealing how caste, religion, and status shape the exercise of police power.

The page is identified as a review of Santosh, but its review text is inaccessible. The critic’s verdict and specific praise or criticism cannot be established from the available page.

Jenkins finds the film engrossing and compelling, though he thinks it overstates its thesis. He praises its detailed procedural intrigue but criticizes its failure to sustain ambiguity and its efforts to absolve Santosh.

The critic finds the film an effective, unsettling examination of policing and injustice. Shahana Goswami’s nuanced performance and the film’s restrained closing shot are singled out for praise.

Wilkinson finds the film a compelling crime drama whose moral scrutiny grows more rigorous as the thriller unfolds. She praises the crackling performances of Shahana Goswami and Sunita Rajwar, while stressing that society’s acceptance of corruption is the film’s sharpest indictment.