• This thoroughly absorbing film delves deeper to give this child a story, a name, and a face. This India portion, at least in the version I watched, has been shot in Hindi. Which is a huge relief, if you were expecting basic modicum of respect for authenticity in a film based on a true-life account — Saroo Brierley’s non-fiction novel A Long Way Home — about a 5-year-old who accidentally gets separated from his mother, a quarry worker (Priyanka Bose; outstanding!), and his brother, to find himself eventually adopted by white parents in Australia.

  • So yeah, this is also very much a musical. As you can sense, too many things have been mixed into one film. But attempted with eye-popping chutzpah. Over years, it’s another matter if you’ve liked all his movies or not, what you have to credit Bhardwaj for is sheer audacity, and flight of imagination. He takes a chance. Even when granted full indulgence, he’s been respectful of the mainstream audience’s intelligence, if not always their time. ‘Rangoon’ is not an exception.

  • Yup, you don’t take your eyes off the screen. The production design appears exceptional, because it’s unexpected. We don’t make such movies in India, even while we’ve been watching such from the West since forever.

  • Akshay Kumar’s performance as Jolly can be termed his finest yet. This one captures UP in all its notorious glory, with goons, and guns and is far more of a court-room drama, packaged as social satire, with comedy that’s subtly situational, rather than classic LOL stand-up stuff

  • This is the sort of desi exotica—starring snake charmers, and the great Indian rope trick—that you would imagine featuring in a film with the Brit James Bond, or the American Indiana Jones, back in the ’80s/’90s. Except, this is a joint Indo-Chinese production.

  • There is a lot of realism missing in what’s supposed to be a gritty thriller. Locations seem semi-fake. In portions, the film itself appears slightly cold, and thoda sa plastic.
    But if you were to keep your eyes glued to the screen and follow the blind man’s graphite walking stick right down to the picture’s climax, I’m fairly certain you won’t be disappointed. Yeah, it is, for the most part, kaabil-e-tareef!

  • This underworld drama is so over-packed with material that either 148 minutes of this film will seem too long to you, which it is; or in fact, far too short to patiently absorb the story of the rise and fall of an Ahmedabadi bootlegger don — without the audience feeling slightly hung-over by a breathless narrative-overload.

  • What do we learn about Dawood, thanks to ‘Coffee With D’? That he diverted the Malaysian Airline Flight 370, because he was travelling from KL to Karachi, but the flight itself was headed to Beijing. He just landed the plane in his house, and the missing passengers are now his servants. Eh? This is not even funny.

  • How far will this film travel? Not sure. No one ever is. It is, however, a very interesting take worth the big screen, if not in the theatre, then ideally in the comfort of home since Netflix or Amazon very much allow such options.

  • This film is breezy with light romance, and slight humour for the most part, and the lead actors, perfectly paired, add a touch of both. This is what teenagers packing into the theatres seem to have been drawn to. Beyond this, the film seems strictly okay

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