…It’s easy to see why the film is scooping those awards. For it may be about two con artists, an ambitious FBI agent, and a showman, if do-gooder politician, but rarely will you see character sketches as detailed about largely middle-aged people dealing with “the art of survival”.

The Wolf of Wall Street isn’t about Belfort the stock manipulator who cheated poor people of hard-earned savings. It isn’t really about Wall Street either. It is about the culture that allows one to breed the other, and vice-versa.

Jackson builds up quite a spectacle as he conjures up different lands, particularly the Lake People. However, as was the case with The Unexpected Journey, his eye appears to have moved from the characters to the circumstances they find themselves in, and you often long to care for some of them.

As movies of this budget, bandwidth and expectations go, Catching Fire is not exceptional. But it can’t be dismissed either. And that is good enough.

Parallels have been drawn with A Mighty Heart, even Zero Dark Thirty, but that’s only because all three films are set in what passes for Pakistan. However, D-Day’s imagining of Karachi is entirely Indian and far more intimate. Advani should take a bow, as for the most part, it works.

Luhrmann, who also co-wrote the screenplay, stuns you — and not in a nice way — with this introduction to Gatsby’s world and with later how Gatsby makes an appearance himself.

…you don’t wander about that much as the journey, complete with fantastical plants and animals, is interesting and funny enough — that too, without any songs.

The action sequences are spectacular, particularly the destruction of Stark’s sea-cliff home and the skydiving scene where Iron Man rescues people who have been thrown off the US President’s plane. Stark also gets a chance to be back where he started and to see if he can do it all over again, with the help of a child. – See more at: http://www.indianexpress.com/news/movie-review-iron-man-3/1108053/0#sthash.i78UbdwG.dpuf

It’s how well the characters are etched, in white and grey and the varying shades in between, that makes the first half of Silver Linings Playbook, directed and written for the screen by David O Russell from a Matthew Quick book, such a delight.

TIME travel is a conveninent science fiction tool,allowing many a story to cut corners and jump loopholes. Not here. In Looper,it’s a starting point to tell a story about actions,consequences and choices — the smaller moments,not 30-year back-and-forth travel,which bend and shape lives.