The Girl on the Train may not be at par with the October 2014 released thriller Gone Girl, in terms of an enthralling experience, but is nevertheless exciting.

Saat Uchakkey, with its profusion of profanities and an abundance of audacity, hits all the right notes for most of its playing time. Cinematographer John Jacob Payapalli shoots old Delhi with a keen eye for decadence and debauchery in conflict with a world of techno-driven instant gratification that has seeped into the crumbling walls of havelis that have seen better times.

Overall, the film leaves you with a mixed feeling of wanting to like the film and its characters, but yet there is something that holds you back from accepting them wholeheartedly.

…the film, rich in cultural texture is skilfully and sensitively handled.

With excellent production values executed by production designer Stephanie Carroll along with Mobolaji Dawodu’s striking costumes, the visuals captured by cinematographer Sean Bobbitt’s lens are appealing. And so is Alex Heffes’s lavish score which tugs at your heartstrings and compliments the visuals.
Overall, the film, rich in cultural texture is skilfully and sensitively handled.

The film is not as exciting as a one-day cricket match. Instead, it is like a Test Series that definitely touches the right nerve.

Visually the film has all the trappings of a Western. The action sequences are skilfully choreographed and every frame is aesthetically captured by Cinematographer Mauro Fiore’s lens.

Overall, this romantic triangle will truly appeal to romantics.

“Parched” celebrates the joie de vivre of shared grief among women who live their wretched lives on the edge and are only too happily to topple over when pushed and provoked. Sometimes, feminism doesn’t need a full-blown messianic clarion call. A little tug, a firm push, will do. “Parched” hits us where it hurts the most.

Pink sucks us so deep into its characters’ lives that we come away breathess and anxious.