Rajkummar Rao to lead Maddock Films’ Prahaar – The Ujjwal Nikam Story; to release on August 7, 2026

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Producer Dinesh Vijan and actor Rajkummar Rao are set to collaborate once again for Prahaar – The Ujjwal Nikam Story, a new drama inspired by events that left a lasting impact on the nation. The film is scheduled to release in cinemas on August 7, 2026. Directed by Avinash Arun, the project will see Rajkummar Rao in the lead role. The cast also includes Wamiqa Gabbi, Sikander Kher, and Jaideep Ahlawat in pivotal roles. The film is being produced under the banner of Maddock Films. While the makers have kept plot details under wraps, the title indicates that the film will draw inspiration from the life and work of Ujjwal Nikam, one of India's most prominent public prosecutors. The announcement describes the film as a hard-hitting drama inspired by incidents that shaped public discourse and captured national attention. The project marks another chapter in the long-standing creative partnership between Rajkummar Rao and Maddock Films. Over the years, the actor has become one of the st...
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The Strays review – Netflix’s baity social thriller fizzles out

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The shadow of Get Out looms over Nathaniel Martello-White’s chiller about a light-skinned woman whose past unravels her manicured suburban life

There’s a heavy-handed ominousness from the first frame of The Strays, Netflix’s new entry into the stuffed category of social horror. Dissonant music plays over a concrete block apartment building in London, in which Cheryl (Ashley Madekwe), a light-skinned Black woman, appears in distress. There are bank statements crumpled on the counter, a headline blaring “Black kids betrayed by schools”, a mention of credit card debt in a phone call to her sister, a voice-cracking lament of wanting more. It’s the mid-2000s, and someone keeps calling Cheryl on her old brick phone before she walks out the door with a duffel bag and note about popping to the hairdresser, presumably on the run.

It’s an unsettling, propulsive start that provokes several promising questions – where is she going, why is she leaving, who is the sinister voice on the answering machine, the baselines of a thriller. Some get answered, but most do not, in any satisfying or specific way. British actor/writer Nathaniel Martello-White’s directorial debut nudges at some uncomfortable fault lines of race and class, but tends to over-index unearned suspense for character development or insight.

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