Last Updated:April 17, 2025, 13:10 IST

Logout movie review: The film succeeds where it counts — it gets people talking. It reflects the toxic cycle of influencer culture, where self-worth is measured in numbers and genuine emotions are staged to please the algorithm.

Logout movie review: Babil Khan takes centerstage in Logout, a taut tech thriller that unfolds over a nerve-wracking 48 hours. Directed by Amit Golani, the film dives into the dark side of influencer culture, digital dependence and the terrifying fragility of our online identities. With Babil playing a popular Instagram influencer whose life is derailed after a fan hijacks his phone and personal data, Logout delivers a timely, thought-provoking premise — and Babil carries it with striking intensity.

Babil’s character, Pratyush AKA Pratman, is on the brink of a major social media milestone: 10 million followers. But just as he’s riding high on digital fame, a seemingly harmless fan interaction spirals into a nightmare. When his phone is stolen and his passwords compromised, Pratyush is dragged into a psychological game with an anonymous stalker who begins controlling his online persona — and slowly, his life.

As Pratyush begins to unravel, Babil leans fully into the role. He’s raw, explosive and emotionally honest. From helpless outbursts of rage to quieter, more desperate moments of introspection — especially as he reflects on his family or the validation he’s addicted to — Babil breathes life into every frame. He captures the suffocating panic of being cut off from your own digital identity with heartbreaking realism.

The film’s tension builds well, with the viewer feeling increasingly claustrophobic as Pratyush tries to piece together who’s behind the attack. The stalker, played by a convincing Nimisha Nair, stays mostly in the shadows. Her voice, calm and emotionless, carries a sense of eerie control. She knows exactly what she’s doing and that calm confidence is what makes her character so disturbing. Rasika Dugal as Pratyush’s sister, makes a fleeting appearance in a blink-and-miss role.

Director Amit Golani deserves credit for creating a sharp, edge-of-the-seat thriller that taps into our shared fear of losing control in the digital world. He shows how smartphones and social media have become part of who we are — and how lost we feel without them. Logout also reminds us how social media can pull us away from our families, making us more focused on online approval than real-life connections. It raises important questions: Who are we without our phones? And have we let them define us too much?

That said, the film has a few weak spots. Some plot points feel unfinished or not fully thought through. For example, it’s hard to believe that Pratyush never tries to get a backup phone early on or ask someone for help by simply stepping out. In a world where we’re always connected, an influencer with millions of followers would likely have some kind of plan. These moments make the story feel less believable in parts, especially for a film that leans on realism.

Still, Logout succeeds where it matters — it sparks conversation. It holds up a mirror to the toxic validation loop of influencer culture, where numbers define worth and real-life emotions are curated for the algorithm.

In the end, Logout is a psychological reflection of the world we live in and Babil Khan ensures we feel every second of its unraveling. A good, one-time watch.

Amanda Bynes just wants to talk with her fans — at least with the ones willing to pay. The former child actor has joined OnlyFans.

“I’m on onlyfans now!” Bynes wrote in an Instagram story Tuesday. “Disclaimer: I’m doing onlyfans to chat with my fans through dm’s. I won’t be posting any sleazy content. Excited to join.” (Though it has created seven-figure income for some creators, OnlyFans does have a reputation for NSFW content.)

She has set her subscription rate at $50 a month and has yet to post anything on her account.

The 39-year-old, who did Nickelodeon’s “All That” sketch show from 1996 to 2002, has been trying to settle on a future path for a while now after announcing she was retiring from acting in June 2010 and then unannouncing it a week later.

“Being an actress isn’t as fun as it may seem,” said Bynes, then 24, in her retirement announcement. “If I don’t love something anymore, I stop doing it. I don’t love acting anymore, so I’ve stopped doing it.” Upon her return, she said simply, “I’m unretired.”

Soon after that, life began to spiral for the “She’s the Man” star.

Bynes went under conservatorship late in fall 2013, while she was undergoing court-ordered psychiatric care after reportedly starting a small fire in July in the driveway of a Thousand Oaks home.

Prior to that, Bynes had engaged in a range of erratic behavior — including incidents involving alleged hit-and-run and DUI — before she was possibly diagnosed with mental illness in 2014. Her parents said in mid-2013 that she was paranoid, using drugs and had spent $1.2 million in only a few months. Bynes’ attorney denied that the former actor had been diagnosed with schizophrenia.

She accused her father of sexual and verbal abuse in October 2014, then recanted her allegations. At the time, mom Lynn Bynes told E! News through her attorney, “It saddens me beyond belief that my husband’s character could be slandered in such a way.”

“My clients are very concerned about their daughter,” Tamar Arminak, Lynn Bynes’ attorney, told ABC News in a statement at the time. “Despite what is being reported, they are doing everything they can to help Amanda.”

Amanda Bynes was soon released from a psychiatric facility where she’d been on involuntary hold and a month later said in a series of tweets, “I’m so mad at my parents. They are with holding my belongings and money from me so I don’t have new clothes or enough money to rent an apartment. We aren’t speaking. So until I get a different conservator ill look terrible because I don’t have enough to get new clothes or anything I need.”

Amanda Bynes as Viola at a debutante luncheon in the 2006 movie “She’s the Man.”

(DreamWorks Pictures)

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A few weeks later, she apologized through her attorney for saying in leaked recordings that she wanted to kill her parents and burn down her mom’s house.

She has since gotten sober. In 2019, Bynes graduated from the Fashion Institute of Design and Merchandising with an associate’s degree in product management. She got engaged in 2020 to Paul Michael, whom she met in the context of rehab, though they broke up about two years later.

In 2022, she successfully removed herself from that conservatorship, which had control of her estate and her person — i.e. her money and her body — for almost nine years. “In the last several years, I have been working hard to improve my health so that I can live and work independently,” Bynes said in a statement to People, “and I will continue to prioritize my well-being in this next chapter.” She also thanked her attorney and her parents for their help.

However, in 2023 she came into contact with authorities twice. The first time, she was found roaming naked near downtown L.A. and placed on a psychiatric hold. The second time, police responded to a call from a woman in distress who TMZ said was later determined to be Bynes. She was taken in for a mental health evaluation.

Bynes launched a podcast with friend Paul Sieminski later that year, but that ground to a halt after only one episode. A promised reboot never manifested. Then in 2024 she told fans via social media that she had been struggling with depression. A few months later, in October, People reported that she had collaborated with a fashion designer, providing the original art that went on shirts and shorts. The capsule collection sold out.

Now to see if Bynes’ OnlyFans effort is as successful.

Cwtch, which means embracing someone to offer a sense of warmth, is a famous Welsh word some of us might be familiar with. An inter-title before Naangal commences introduces us to another one word — Hiraeth — which means homesickness for a home one cannot return to or one that never existed. Very rarely can an entire film’s plot, conflict and resolution be summed up in a word, and director Avinash Prakash establishes precisely that in the first frame of his film, which also doubles as his biographical.

With Naangal, Avinash puts us in the middle of three brothers’ traumatic yet transformative upbringing in a dysfunctional family. Rajkumar (Abdul Rafe) is a man whose once-affluent family is now bankrupt. After parting ways with his wife and some financial setbacks, he has become the chairman of a run-down school. With no place to assert dominance, he takes it out on his three children — Karthik (Mithun V), Dhruv (Rithik Mohan) and Gautam (Nithin D) — who stay with him and are forced to endure his physical and emotional torture. What happens when their resilience gets tested forms the rest of Naangal.

The film, drawn from Avinash’s own experiences, captures the trials and tribulations of this troubled family from August, 1998 to the summer of 2002, and every time the timestamp appears on screen, a sense of how long the characters have endured their fates hits us. Enduring pain is a common trait among all the characters. Rajkumar has to manage his crumbling empire where some of his employees prefer running away when he needs them the most or, after years of service, don’t have the heart to leave even when he begs them to. His estranged wife Padma (Prarthana Srikaanth) hopes for a future with her family, and even the youngest member of their family, Kathy (Roxy the canine), has a rough upbringing. But Naangal is predominantly the story of the three kids who, along with Kathy, are innocent souls caught in an adult’s world, one where dysfunction is considered everyday life.

Avinash does not hesitate to utilise most of the film’s runtime to show their daily routine, day in and day out. Despite the large estate, it’s the boys who have to run outside with plastic cans to fetch water as they don’t water supply. The first couple of nights show their home battered down by rain, which we assume is the reason for the power outage, only to be informed later that it is due to their bill dues. Even their everyday meal becomes plain rice with pickles or sandwiches made from the heel pieces of bread. In a mainstream film, this family would be the textbook example of the ‘vaazhnthu ketta kudumbam’ (a family that has seen better days) trope. But here, the film does not milk their plight for our sympathy and instead holds a mirror to showcase another day in their lives.

In a scene a few minutes into the film, a pitch-dark rainy night’s silence is broken by a sound. it leads the two youngest boys to investigate, with one of them certain that it’s a ghost. When we breathe a sigh of relief to know it’s just their dad, we immediately learn how the kids would have rather preferred that it were an evil spirit haunting the old property. To further drive home the point, the scenes turn to monochrome, denoting how the joy gets sucked out of their life when their father is around. The film does a fantastic job of showing the adults through the kids’ eyes. As time progresses and the kids learn it’s not all dark with their parents, we understand that they are also victims of their circumstances.

Despite some violent sequences, such as the ones where the kids are manhandled by their authoritative father, Naangal has its share of lightness, like a scene where one of the kids dunks their father’s shaving brush in toilet water to take his share of revenge. For every slap or a show of misplaced anger, the kids also meet folks who show them how love, empathy and kindness should not be a luxury — like those who’ve worked for their family, their maternal granddad or even a random girl they bump into on a bus ride. The filmmaker expertly hits us with sequences that bring out multiple emotions. Like the scene where one of the kids bites into their farm-grown, lusciously red strawberry only to twitch from its acerbic taste, the film takes us on a rollercoaster ride of sentiments.

A still from ‘Naangal’
| Photo Credit:
Special Arrangement

Similar to the thick blanket of fog that slowly engulfs the hills, Naangal takes its time to unfold. Thankfully, this slow-burn nature works in tandem with establishing the tedious routine the boys are put into by their father. But that does not stop Avinash from having a little fun; the film that the kids sneak out to catch is Baby’s Day Out, one of the children sings ‘Raja, Rajathi Rajan Indha Raja’ while cleaning the toilet bowl, and — in a beautiful touch — Guna’s screenwriter Sab John is roped in for a small but effective role. Speaking of Kamal Haasan starrers, considering the backdrop, the kids’ fondness for Phantom comics, and the abusive father, the film also reminds us of Aalavandhan, but thankfully, no one goes on a killing spree in Naangal.

With cinematography and editing also handled by Avinash, ideas such as the one to show the same sequence in motion despite a cut in between are bold moves. While the makers have opted for live sound, not all the dialogue reaches us the way they are intended to. Ved Shanker Sugavanam’s music rightly elevates the mood the film opts for in each scene, and his use of deafening silence makes the punches land harder. Despite this being the feature debut for almost all of the film’s primary cast, the kids Mithun, Nithin and Rithik, along with Abdul, pull off a neat job, especially considering the number of lengthy takes the film has.

Naangal takes you on a trip down memory lane to your childhood days without assuring you that all of those memories would be pleasant. It is a profoundly personal work from a filmmaker who, with the title, tells the world that this is who they are without letting this chapter of life define them. And for that, he deserves a cwtch!

Naangal is releasing in theatres this Friday