Well acted, well intentioned and inspiringly brave, Pink is the film that can shake up feudal mindsets in India. It is a bit theatrical in its approach, but some causes need to be shouted from the rooftops. So that’s what Pink does. It stands tall and it lets out a roar of defiance against gender inequality and women exploitation. More power to girls.

Even with its slightly convenient climax, Sully makes a strong comment on its subject. Courage, heroism and compassion are virtues that make common people extra ordinary human beings. Best of all, every man and woman is capable of being a hero. All we need to do is try. That Sully successfully puts across the message with sublime effortlessness is the triumph of  good cinema. 

On the technical side of filmmaking, Island City is just superlative. But fact is, this film is not meant for everyone. You need to have an appetite for Isaac Asimov kind of sci-fi coupled with a taste for fine cinema. Else you’ll find yourself a little lost in the detailed and very dystopian world of this film. It’s a real mind bender but also not for the average joe.

Akira is like any other action movie you’ve seen before, where the hero is framed and has to prove himself right. The difference here is the film’s ability to successfully tell that tale with a girl at its centre. It may seem like an exercise in women’s rights, but AR Murugadoss’ approach to make things entertaining and detailed makes this movie worth a watch. This one’s all about girl power.

War Dogs is not some serious war movie plotting an expose on world politics. It’s a light-hearted comedy that makes good use of classic guy material. There’s loads of guns, money, cocaine, weed, fast cars and popular music (background score) on offer here. It’s the perfect flavour of Pineapple Express.

The movie employs a lot of CGI to recreate an authentic period feel. That coupled with the entertainment value does make Rustom a decent watch. But the fact that the film makes no mention of Nanavati’s subsequent trial and conviction by the Bombay High Court is a bit of a grey area. But for all its diversions from authenticity, end of the day, Rustom manages to entertain. That’s the film’s closing statement.

…does not have the thrills and gimmicks to draw big numbers. But that’s exactly what the film deserves. The stupendous storytelling of this film deserves a lot more than 100 crores. Just like it’s protagonist in real-life, it needs a fighting chance. To run itself onto glory.

The climax especially is phenomenally fast and the action is fast and furious. Matt Damon looks a bit wrinkled but his prime physical condition (upper body muscles) just does not give the idea that he’s 46 and been missing from the super spy genre for almost a decade. He fits into the Bourne mould like a tailor-stitched glove. His presence makes the movie engaging, director Paul Greengrass’ action-blockbuster treatment takes care of the entertainment. It’s a win-win situation as long as you don’t expect any cerebral arguments. This one’s a good, old-fashioned action flick.

There are certain moments in the first half of Madaari that are both powerful and subtle. Even though the second half barely manages to scrape through, this film on the broad and capable shoulders of Irrfan Khan manages to deliver the right punch. This Madaari will have your dormant nationalism and parental emotions dancing out with thundering effect. The message here is loud and clear.

It’s a hint at alternate couple partnerships like live-ins. Of how the youth just doesn’t want to conform to wedding, settling down etc. And that’s why SDR works. It plays out part fantasy and part reality. And it does so with the right amount of repartee.