• You want to feel more for this character. I ended up feeling more for the actor Irrfan, on the other hand. As we speak, he is undergoing treatment for a serious health issue. If anything, this movie tells us, he needs to get better soon, and come back with much, much better stuff. The audiences, like me, are praying, patiently waiting.

  • Sure, we could do with a fine, desi version of Dead Poets Society (1989). This film’s intentions—even if multiple, and therefore all mixed up—are laudable, no doubt. But, naah, doesn’t quite cut it, you know. Or at least doesn’t seem like worth cutting classes for, anyway.

  • Have we seen such anthologies on the Indian screen before? Joshi himself was part of Life In A Metro, similarly a slice of life kinda collection of shorts, set in a metro. But this one is more like Dus Kahaniyan, if you may, only less exhausting, since lengths of films don’t matter as much as moving from one experience to another, without much of a breather, does.

  • This Thriller About A Smart Secret Service Agent Cutting Himself Loose (Gone Rogue) In Itself Is So Loosely Cut (At 160 Minutes) That You Can’t Help But Come Up With Conspiracy Theories On How The Filmmakers Could’ve So Horribly Lost The Plot

  • Indu Sarkar is the name of the lead character in this film; Sarkar, being her Bengali husband’s last name. That play of words is by far the only thing clever about this blatantly political propaganda picture.

  • One just begins to feel indifferent towards it beyond a point. Which isn’t a good thing, I know. But then, if “it is what it is” kinda casual indifference follows plain dejection, and natural helplessness, then so be it.
    I liked this film’s end though. You might too. If you can remain fresh and alert enough until then, that is.

  • Pandey has written this prequel, split into two totally separate films. And to be fair when the movie does cut to the chase eventually, to chase down the villain, some of the thrills do kick in. Sadly you’ve polished off your popcorn tub already, taking in the corniness until that point, while your head spins in circles in this pointless spin-off, listening to the zany ‘Zubi zubi zubi’ number from Mithun’s ‘Dance Dance’ (1987), and so much else.

  • Both the Shashank Khaitan movie and Varun Dhawan’s character have very few redeeming features. This seems like a film from the ’90s. In the ’90s, of course, one could get away with all kinds of stuff. Maybe, even now you can after all the lead actors look so effortless and easygoing on screen

  • 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.

  • 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.

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