Ayushmann Khurrana’s knack for social satire is marred by a script and aesthetics more suitable for television than cinema

Omung Kumar’s hagiography on the Hindu nationalist leader makes you wonder if life is a parody of this film

If you look beyond the film’s messaging and twisted sexual politics, its aesthetics is meant for television viewing. Constant close-ups, sitcom-y film score and blurred background shots of London make you feel trapped, with very little movement happening. The film’s craft adds to its staleness and anachronistic feel. As much as the film wants to be an iconoclast, it reinstates the same conservatism it pretends to take down.

With no conviction and utter confusion, the film is evidently more drama than reality. But the concern here is one of possibility: what if this was a potent, well-crafted propaganda film that released a day after India went to polls, slipping under the Election Commission radar?

Jordan Peele’s Us can be read as an allegory, a metaphor or allusion – but in the end is an urgent critique of American ills

Mary Poppins Returns is an overdosed saccharine panacea to the cynical times we live in

The superficial biopic on Queen refuses to look beyond its heteronormative worldview

Helicopter Eela is a loud, tone-deaf mother-son coming-of-age saga that lacks insights and observational humour

he rustic tale of sibling enmity provides an abundance of wisecracks
Pataakha has everything that makes it a perfect fit in Vishal Bhardwaj’s oeuvre: literary adaptation, feisty women, rustic hinterland, unapologetic use of dialect and free-flowing gaalis. Yet, the film doesn’t feel contrived or formulaic.

This coming of age comedy about two opposite personalities is tiresome and repetitive…