The film is directed by first timer Dan Gilroy (the brother of Tony Gilroy of the Bourne movies), yet it feels like it’s made by an auteur with a ton of experience. Despite heavy themes embedded within the narrative the film is a black comedy, and in fact a lot of fun. Some of it is even a horror movie, but whatever the shift in tone the intrigue level is always at full throttle.

This is a superhero origin story that doesn’t really feel like an origin story. There’s a waft of good-natured familiarity in the whole thing, but the feeling is that of a warm welcome back rather than a cold beginning.

Regardless of its faults Interstellar offers enough big screen thrills and even has a few interesting questions to ponder over. Is it humane to abandon everyone on this planet to continue life on another? How morally sound are you to sermonize about not abandoning people if you are perfectly okay with abandoning a humanoid to save your own self? And how much would you pay to keep the magic and market of 2D IMAX alive?

The scariest thing in this movie is the promise of a sequel, and the prospect of more such films to hit the screens.

Brad Pitt, Shia LeBouf deliver a visceral thriller on war and humanity…

Masala entertainment movie making lesson number 1: if you cast Shah Rukh Khan in your movie, it will eventually make money, no matter how stupid, tiresome and humorless it is. Case number 157: Happy New Year, aka the new Farah Khan Vanity Project for the lowest of the lowest common denominator audience.

In Captain Phillips, the filmmakers make the protagonist the good guy, but in Kill the messenger, they leave a gray shade over the hero in question. Sure, he gets to drive a motorcycle like a Hollywood action hero once, but he’s not the uber clean guy one can rely on. That in itself makes it one of the better films we have seen this year.

…the film isn’t the least bit frightening — the makers seem to forget that this is supposed to be a horror film, and in shoehorning all the action computer-generated imagery, the film loses all its thrill and sense of dread.

The film also piles on cliché after cliché, making the happy ending painfully predictable. Director Michael Dowse has made great films in the past and he does his best to bring Elan Mastai’s terrible script to life. But there’s only so much that one can do with a mediocre plot and unlikable characters.

The majority of the screen time is hogged by Downey Jr strutting around hurling his smartass lines, and the film is 150-minute long, an unacceptable amount for a plot this thin. There is also a lame attempt at shoehorning a romance between the central character and his old flame (played by Vera Farmiga) and things go downhill pretty soon.