• Playing a developmentally disabled young man, Salman Khan gives one of the worst performances of his career

  • I suggest you avoid this moist mess. The reason the Baywatch series became such a sensation – only outside of the United States, mind you – was that for many countries, this was one of the hottest things we could watch while pretending there was a plot in there somewhere. This was a time before the internet, or at least before the World Wide Web allowed us to download images fast enough. “I’ll be there,” as Hasselhoff sang during those unforgettable opening credits, was a promise that Baywatch would bring us sun and skimpiness and spunk. Now it feels like a threat.

  • If you’re a believer, you’ll smile, sob and love this, albeit because of the subject and not the film itself. Film, in fact, is an inadequate word. This is a pilgrimage.

  • The plotting is oafish, the character motivations are boringly shallow, and there seems to have been a catastrophic misreading of what palace politics entail. Bajpayee, Bachchan and Ronit Roy are wasted, but have it better than the women. The great Rohini Hattangadi is given nothing to do and vanishes midway through, while Yami Gautam appears incredibly vacuous, the actress perhaps unaware what to do because she doesn’t usually get to stay alive and unharmed in her films.

  • Baahubali 2: Rajamouli never loosens his grip on the narrative. Prabhas is a hero to celebrate. This is the rare sequel that is better than the first…

  • The fundamental problem with Phillauri, I believe, may be one of miscasting. Raza Murad, the man with the greatest voice of all, is around but doesn’t get to speak much. Sharma, similarly, is perfectly suitable as a ghost when gliding around or trying to blow out a chandelier bulb, but, despite sparkly translucence, she has no aura. It is in flashback that she sparks brightest, when she listens to a record for the first time, or when she allows herself to grin at the idea of shamelessness. Life becomes her.

  • Vikramaditya Motwane’s ingenuous new film, Trapped, exploits this detachedness the city gets off on, simply by taking the island metaphor further

  • What makes Badrinath Ki Dulhania¬†work, really, is the intent and the two principal actors…

  • Logan is a relentless and thrilling film, a film that takes things farther than you may imagine…

  • Rangoon haunts in unlikely fashion and, while the director’s most straightforward picture, holds enough of its own marvels to justify multiple viewings.

    Like a song-and-dance troupe trampling all over a map of Europe to tell their own fractured, misguided jokes, or an old man cosily swilling wine after having faked his own death, Rangoon may be direct, but it is never obvious.

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