• There are quite a few other minor drawbacks that hinder the narration and so will OKK be the classic Maniratnam movie we want it to be? Well, to an extent for sure!

  • Immaculately casted and beautifully heartfelt ‘Margarita, With A Straw’ is a movie that takes disability with dignity – a highpoint in today’s age of Indian cinema giving humanity and choice its good name back with a degree of sophisticated grace. A must for those who understand humanity and good cinema.

  • It’s a family entertainer sans memorable heroism. The second half will work with a good many number of audience. No big-ticket movies from Tollywood in the offing, this one might make a windfall.

  • …a brilliantly crafted magical eye popper of sonic élan. It’s not just a whodunit story.. it’s an adventurous journey.. a must see for its technical bravado, experimental sound and a detailed period 1940’s nostalgia..

  • You can let ‘Kallappadam’ to steal your time and money.

  • Though the movie is engaging for most part, it takes the same old route that has been travelled many times by the yesteryear ‘mass’ heroes of Kollywood. Yes, it does offers rib tickling humors and takes us to some never seen locales, but at the end, it makes us feel that we have not tasted anything newer than a regular meal with a new plate.

  • ‘Dum Laga Ke Haisha’ is a 111 minutes gem of a rom com. YRF brings the most distinguished, charming and loving love story in recent years. Push yourself to the nearest theater with your love and pull your love for your love and cinema.

  • ‘Badlapur’ is Raghavan’s classic modern revenge noir triggered by a career redefining breakthrough performances by Varun Dhawan and Nawaz’s class act. A must for the patrons of noir, dark, gritty and quality cinema.

  • A marvel of ambition, intelligence and observation NFDC’s first German collaboration ‘Qissa’ is a distinctive adage veined with thought-provoking gender defining moments and outstanding performance. A must for true connoisseur’s of art and cinema.

  • This one is NTR’s splendid ride. He excels in his dialogue delivery and demeanour, though the costumes are not up to the mark. Kajal Agarwal is vivacious but doesn’t get more than a glam-doll role. Prakash Raj is routine, with no memorable dialogues given him by Puri. Posani scores over other character artists; imagine him without those stock expressions and typical body language, instead doing some sentiment.

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