• A Shamelessly Passionate Movie About A Hopelessly Passionate Musician…This is not so much a historically inaccurate biopic as it is a celebration of art through its artist

  • Because the invisible thread of kinship connecting a child to a dog is the same one that connects this filmmaker’s vision to our perception of controlled imagery. It is, in essence, a language private and beyond reason. Clearly, for Wes Anderson, all the world’s a postman, and its men and women merely dogs.

  • An Enjoyable, Well-Scripted Look At The Contrasts Of Social Stigma…

  • A Powerful, Masterfully Crafted Biopic That Dissects The Man On The Moon
    There’s much to appreciate about the way director Damien Chazelle magnifies the journey of Neil Armstrong – a man who finds solace in telescopic emotions

  • Director Nandita Das beautifully stitches five of the famous Urdu author’s short stories into the narrative of his life’s definitive five-year period

  • Anurag Kashyap’s film, essentially a story about people who crush hearts instead of bodies, features terrific performances by Taapsee Pannu and Vicky Kaushal

  • Mulk, though, is a reminder that we are all part of that courtroom. Being surprised is a condescending emotion – and inherently a product of our own preconceived notions. It is also a reminder that the right film in this country is often better than a good one. Raazi was an example, but it was perhaps Meghna Gulzar’s Talvar that had already conditioned us expect a skillful take on the rift between mulk and mazhab. In contrast, I came out of Sinha’s film admittedly humbled, and of the belief that verdicts are best delivered after the closing statements.

  • Raazi is an excellent film because of how easily it could have not been one. On another day, this might have well been a jingoistic Neeraj Pandey actioner called Naam Sehmat. But Gulzar and her co-writer Bhavani Iyer don’t lose cultural context of their material.

  • Omerta, a biographical drama on British-Pakistani terrorist Omar Saeed Sheikh directed by Hansal Mehta, opens with unidentified wails flooding a pitch-black screen. This might be the maker’s way of informing us that the story – as is often the case, but frequently neglected by Hindi cinema’s hasty biopic directors – began long before the film that will attempt to encompass it.

  • The horror film starring actor-director John Krasinski and Emily Blunt, is so current, uncomplicated and all encompassing with its narrative templates that it’s impossible not to laud its slick form of genre activism

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