Petit’s extraordinary story was also the subject of the Oscar-winning documentary Man on Wire, whose slick blend of archival footage, still photographs, dramatic re-enactments and interviews made it an incredibly compelling watch. The only thing missing in that film was video footage of the actual walk itself.
Although recreated, it’s the piece de resistance of Zemeckis’ film.

The film itself, which suggests that it may be too late to expect that the war on drugs can be won using ‘fair means’, seldom shies from the pessimistic view that there is no triumph and no redemption here. Villeneuve communicates those thoughts compellingly in this relentless film that never lets up. Don’t miss it.

Frankly it delivers more than its awful trailer promised. But good luck protecting your eyes and ears from this sensory overload.

This is essential viewing, if only to understand the world we live in.

Bubbling with cheeky dialogue and propelled by its ‘can-do’ spirit, The Martian is an optimistic survival tale with a leading man who owns the screen. Scott puts a nice spin on the modern sci-fi, and a gives us a film that warms the heart.

…with all its faults, Singh is Bliing isn’t entirely unwatchable also because Akshay Kumar is in great form. He brings a manic energy to the comedy, infusing Raftaar Singh with goofiness and sheer likeability that stays till the end, long after the film has stopped being fun.

…a film that otherwise left me feeling all warm and fuzzy, and also hopeful that more writers would similarly reinvent the traditional rom-com format. I was surprised how much I enjoyed this film.

In the end though, while Everest” is testing brutal and spectacular in portions, there’s never enough tension to keep you consistently invested in the drama. The thrills too are fewer than you’d expect from what’s essentially a disaster film, and we never get one compelling central character to root for.
It works despite its problems and that may just be because of the magnificence of the beast.

‘Katti Batti’ has some nice tracks (by Shankar Ehsaan Loy), slick production design, and stray moments of wit. But its merits are far outweighed by its numerous contrivances, and by its hollow writing that only appears modern on paper. The film’s inventive 4-minute opening scene shot on a handicam offers promise, but little that follows lives up to it.

Cole claims to know how to manipulate the music in a way that it’ll seize your body and shut your mind off to everything else around you. You wait and wait, but alas, that never happens.