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.

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.

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.

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?

Dum Laga Ke Haisha is not a very serious film. Sure, it addresses a social flaw and how the people that make the same society are coping with it. At the same time it isn’t too satirical or dark. It brings a smile because the characters have their quirks and keeps you interested because the characters are like you and me, only with different quirks. What else can one ask from a film that aims to do exactly that! And this once I mean that in a nice way.

Starting with a philosophy “The axe forgets. The tree remembers.”, Badlapur obviously aims at being a psychological thriller. Unfortunately, it neither is whole-heartedly psychological nor a thriller. Even though it makes you introspect your attitude towards crime and justice.

While I am a huge fan of the voice and was rapt every time I heard it; while I am a huge fan of the man to an extent that he is one of the few people I think who has earned the right to be arrogant; while I think if there is a personality whose career deserves a film, it is him – I’d like to see it in a documentary or a film that is blatantly about that. Not in a film that is masked as a story about how incomplete the voice is without a face while clearly being overwhelmed by the voice.