As a positive, Dil Dhadakne Do is very aware that it isn’t digging too deep. Making a judgment call that the glimpse is enough to give the audience an idea of what life is like if you are in the top 1% of the population – financially. It’s wears its cynical take on its sleeve by making you laugh a hearty laugh in some really dark situation – a bit of a surprise from a film posing as a “feel good” one.

…ends up being one of those that make you go, “What on earth is going on!?”and even when you are expecting the worst you want to yell, “This is not what I had signed up for.”

I left the theater with a question. I enjoyed the film while watching it, found it slightly long but it didn’t test patience at point. I liked the characters, the dialogue, the flow of the narrative, the plot till it gets carried away much like the lead character, Balraj. But, the film doesn’t leave a mark that will remind you of what you felt while watching the film, like most good films do, certainly like all Anurag Kashyap films. It doesn’t stay with you.

Piku leaves ample scope for stereotyping Bengalis but I’ll resist the temptation to go in that direction. I will say though that their “roshogulla-ness” is taken in perfectly even when they are being nasty and well – passing of motions as emotions.

Many a film have addressed corruption top to bottom and back to the top. This one hits a sweet spot by including malpractice in the private sector. Along with the bureaucrats, politicians, and law and order . Gabbar is Back takes on the misuse of power held by doctors and hospitals when a near one is unwell.

Other than this one plot point the rest of Gabbar Is Back is as run-of-the-mill as it gets.

Court effortlessly manifests that hardcore realism can serve as an engaging experience. No wonder it is indisputably the best debut of the times and Tamhane gets everything right, something that is sure to leave many of his contemporaries as well as seasoned filmmakers in awe. Films like this make me believe that the resurgence of Marathi cinema is truly a thing of reality. If anything, resurgence at its staggering best.

I appreciate the fact that despite the preachy nature of the film, a different approach was endeavoured. More power to such trials even if not many of us are taken in by them.

Byomkesh Bakshy, the character does create enough interest for you to want to watch his next adventure, even if the first one by itself wasn’t enticing.

Dibaker Banerjee scored alright then, didn’t he? You want to watch the next one, even though the first one leaves you underwhelmed.

Sure, we do need films that talk about sexuality – both male and female. There is a lot of talk about representing the sexual needs of women in films. But, the sexual needs of men too aren’t addressed other than in the context of rape. Hunterrr is fresh in that context. Beyond that though, it is a regular coming-of-age plus love story. Not very interesting once you get past the “different” part of the background.

…despite the intentional laxity in the writing, your muscles stay taut. The mind stays worked up and alert thinking of what you would do in real life, despite the unreal coincidences. Most of all, the intensity doesn’t leave you long after you’ve left the theater. How many thrillers can you say that about?