Top Rated Films
R.M. Vijayakar's Film Reviews
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The only plus-point of the film is that it is non-judgmental, which is expected from Onir. It may not be atrocious as “Bas Ek Pal,” which remains one of the worst films I have ever watched, but it is listless, too tiresome despite its 108-minute length, and with all the unanswered questions and fence-sitting at the end, a complete waste of time.
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Thumbs Down for Mediocre Plot, Clichéd Humor and Illogical Climax
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This one fell into the latter category, as most Salman Khan films do, but is certainly the star’s weakest film since “Jai Ho!” – in every department but Salman Khan himself.
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Of the three foreign films (“xXx: The Return Of Xander Cage” and “Kung-Fu Yoga”) with principal Indian artists this year, this one, by leagues, is the best. Correction: it is the only one of the three that is worth a watch. Go to the movies and be entertained.
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“Death In The Gunj” has everything going for it as a film, and we hope that the niche movie breaks even as it releases alongside two Hollywood and four or five, mostly nondescript, Hindi movies on a crowded Friday. As a thriller, it ambles as placidly as a Jack Diickson Carr novel or an old-fashioned British story, and the climax is actually implosive rather than explosive.
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For the cricket and Sachin lovers (synonymous in most cases), this one is an experience worth spending time and money on in the theater. And I am not quarreling with that view just because I prefer biopics to documentaries as a personal choice.
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If you want gut-wrenching truths told with searing honesty and sans showiness and sham, check out this film. You will take back quite a few characters and sequences from it. This is one film that haunts me even as I write this review. And I hope that the box-office is kind to it.
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Bhardwaj must be appreciated for jettisoning the dark cinema he has patronized for 15 long years but it will need a lot more—like far better material and far superior associates at concept and creation levels—to connect with smart mainstream audiences that endorse everything from a “3 Idiots” and a “M.S. Dhoni” to a “Yeh Jawaani Hai Deewani” and a “Wanted.” I am repeating the oft-repeated conviction of mine that a mainstream talent can easily make great offbeat cinema but the reverse has yet to be proved true. And this a truism whose proof is written in golden letters across decades of great Indian cinema.
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The only aspect I took home from the film was the fairly engaging hyena sequence. And for a lot of tepid Kung Fu, there was barely any Yoga. As an entertainer, this is presumably strictly for Chan fans, and may work on the very novelty it offers to audiences worldwide – its mediocre Indian slant.
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“Kaabil” is classic commercial cinema and will find many takers thanks to the all-powerful word-of-mouth despite the slow start.