When it comes down to it, the main selling point of Isekai Quartet as a whole is watching characters from across entirely different series interact—and often in comical ways. Does this film do this as well as the TV series? The answer is a simple “yes.”

The film begins with our heroes being transported to a post-apocalyptic fantasy world and promptly being attacked. This, in turn, splits them into three main groups. The majority end up with Subaru—though notably without the rest of the titular quartet and Emilia. This allows for lots of humorous interactions between the characters as their leaders are all notably absent. At the same time, Subaru is forced into the role of de facto head of the class and serves as the main point of contact between our heroes and two of the characters already occupying this world, Alec and Pantagruel.

Meanwhile, Ainz and Kazuma (who make a great odd-couple pair) meet up with the final inhabitant of this world, a woman clad in the same style of uniform as Tanya, named Vera. She reveals that she had been isekai’d to this world and is attempting to return to her old world at the head of an army of golems to bring an end to the war. This has brought her into conflict with Alec and Pantagruel, as they wish to stay in this world and are against her returning to her own.

This brings us to the main themes of the film—loneliness and lies. Vera is a woman suffering from extreme betrayal. The Saga of Tanya the Evil world’s equivalent of a first-generation German-American, she suffered greatly once the war in Europe began. She found herself and her family shunned by the community she had grown up in—and vowed revenge on those responsible.

Yet, in this ruined world with Alec and Pantagruel, she found peace and a new family. Subsequently, being betrayed by them—being lied to about not being able to return to her old world—has made her even more distrustful of others and hyper-focused on her original goal.

However, Vera wasn’t the only one alone. Pantagruel spent 400 years on this desolate world as its only conscious inhabitant. With the arrival of Alec and Vera, she finally had someone to talk to—to live life with. Giving that up, even when she knew she should tell Vera what she and Alec had discovered about traveling to other worlds, was too hard for her to do.

Though this web of lies and loneliness puts Pantagruel, Alec, and Vera at the center of the film’s story, that doesn’t mean our heroes from across the Kadokawa multiverse are unrelated to it. The golems that populate the film are related to both the KONOSUBA and Overlord worlds. Likewise, Alec himself has deep ties with the past of the Re:Zero world that set up the problems Subaru and Emilia now face there.

Yet, the deepest connection in the film is that between Tanya and Vera. While Tanya does not know Vera, Vera most certainly knows about the infamous Tanya “White Silver” von Degurechaff. And through her, Tanya is confronted with her own role in starting a world war. But the real meat of their shared story is the question of how much, if at all, Tanya has changed since the start of Isekai Quartet. Is she still the overly rational, empathy-lacking, stickler for the rules she always was in her own anime? Or has she grown to the point where she can sympathize with the plight of a stranger—or, perhaps, even an enemy?

One of the best-selling points of this film is that it actually feels like a movie. Rather than the school setting of the series, we are instead treated to a true fantasy world of ruins, deserts, forests, and golems. Beyond that, the cinematography is greatly improved with surprisingly clever camera work and some legitimately striking moments of visual composition. And then there’s the big extended fight scene at the climax. It’s far beyond anything we’ve seen in the TV anime, and not only does it look good, but it also creatively uses the characters’ powers and backstories from across all the different series to achieve victory.

Isekai Quartet The Movie: Another World is clearly made by a group of people who have an insanely in-depth knowledge of all the series they’re combining. It’s full of fun moments and comedic beats—but also manages to delve into a surprising bit of heartfelt drama. Of course, the insane bar for entry is the weakest aspect of this film, as it’s best if you’ve not only seen all four main anime plus The Rising of The Shield Hero but also the previous two seasons of Isekai Quartet. However, if you’ve seen at least two of the big four anime Isekai Quartet is based on, I think you’ll be surprised at how much you enjoy this film.

Story: Vishnu Das, a tour guide at the Taj Mahal, faces public humiliation after a video of his candid opinions about the monument goes viral. Determined to reclaim his dignity, he sets out on a quest to uncover what he believes is the real story behind the Taj.Review: ‘The Taj Story’ follows a familiar path reminiscent of films like ‘The Kerala Story’ and ‘The Bengal Files.’ It attempts to unravel what it calls the “real” history of the Taj Mahal, suggesting through dramatized research and testimonies that the monument was once a palace owned by King Jai Singh and later acquired by Emperor Shah Jahan. The film uses its narrative to project this interpretation with conviction. The first half holds attention as Vishnu Das, the protagonist, fights to have his public interest litigation taken up by the court. But the second half becomes bogged down in repetitive arguments, counterarguments, and lengthy court scenes that dilute its impact. While it aims to challenge long-held narratives, it ultimately struggles to stay engaging as it keeps circling the same debate without fresh insight.The story begins with Vishnu Das (Paresh Rawal), a veteran guide who has spent thirty years showing tourists around the Taj Mahal. When he decides to contest for the post of president of the guides’ association, a journalist interviews him about the monument’s history. Unable to answer probing questions, he later confesses during a private drinking session that much of what he tells visitors about the Taj is not true. When this confession is captured on video and goes viral, he becomes a social outcast, suspended from duty while his son, Avinash (Namit Das), faces the fallout. Humiliated and furious, Vishnu seeks legal help from a local lawyer, Shashikant (Brijendra Kala), who advises him to file a PIL after backing out of the case himself. Once the court accepts the plea, a long legal battle unfolds between Vishnu and the opposing counsel, Anwar Rashid (Zakir Hussain), each armed with historical interpretations and moral convictions.From the outset, it’s clear where the story is headed, and the film rarely deviates from that predictable route. Narratively, ‘The Taj Story’ lacks creative spark—it unfolds in a linear fashion with no real surprises. The first half works better as it captures Vishnu’s family life and his determination to stand by his beliefs. But the courtroom-heavy second half becomes a slog, filled with expert testimonies, threats, and predictable dramatic beats. The tension feels rehearsed, and the dialogue-heavy exchanges test one’s patience. Still, there are brief flashes of sincerity in moments where the film reflects on the personal cost of obsession and truth-seeking, even if it’s weighed down by excess exposition.Paresh Rawal lends sincerity and a touch of humour to Vishnu Das, giving the film its rare moments of spark. His wit and quiet defiance keep the proceedings from turning entirely lifeless. Zakir Hussain as the opposing lawyer Anwar Rashid is suitably commanding, while Namit Das and Amruta Khanvilkar play their parts earnestly, though they’re underused and underwritten. In the end, ‘The Taj Story’ is a middling watch that plays safe within a familiar framework. It raises provocative questions but stops short of exploring them with nuance or restraint. What remains is a film that wants to be bold but ends up being predictable—a tale that begins with curiosity and ends with fatigue. Ultimately, it neither shakes your beliefs nor stirs your emotions, leaving you detached from its intent. With sharper writing and tighter direction, it could have been the thought-provoking film it aspires to be.