• By eschewing the tenets of effective filmmaking, The Tashkent Files fails to get both, the fact and fiction right.

  • The silver lining is that with a relatively more serious No Fathers in Kashmir as the only other release in theatres combined with the mood of the nation veering towards the patriotic, RAW, despite its flaws, could well have a smooth run.

  • Inventive, no? Not quite. The path-breaking horror charmer that Peele’s fans expect, Us leads us to believe there is life after death. Only to pull the rug from under our feet by showing that life itself can turn miserable enough to rival death.

  • Elephants have been such delightful protagonists in previous Hindi films that one would be forgiven for expecting Junglee, headlining action hero Vidyut Jammwal to showcase more pachyderm playfulness. Alas, this one takes the dull and dreary route to belabour the point about the peaceful co-existence of man and beast.

  • Overall, while adults will find this film tolerable, the kids are sure to lap it up with full gusto.

  • Regardless of what Photograph achieves in terms of box-office monetary gains, the film, an O’Henrisque story, leaves an idiosyncratic imprint of Mumbai and its quirky tales that we love.

  • The only missing piece is the local detailing that Ghosh masterfully embellishes his films with (Kahaani and Kahaani 2), the result perhaps of adapting a successful international story. Dialogues in this film are critical given that it is the conversations between the defendant and the defender on which the film rests and Ghosh’s and Vasant do well on that front. Editing by Monisha Baldwana plays a key role in ensuring that the film is shorn of all narrative flab.

    Overall, Badla, is a watchable revenge story worthy of its name.

  • Despite its flaws, Luka Chuppi holds the potential to spawn a genre around the live-in issue which in India has been quite the elephant in the room.

  • Given that a raucous mindless comedy has not been around for a bit, I won’t be surprised if ‘Total Dhamaal’ rakes in the moolah this weekend and is back with yet another edition, soon.

  • The immovable tropes of the horror genre in Bollywood, move! Well, somewhat. For a very long time I watched Amavas with growing apprehension that it won’t move beyond the known terror tactics. You know, the creaky doors, clanging bells, corpses banging from down under, women in negligible negligees running for their lives.

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