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