Ironically, and perhaps reflecting the sad state of Bollywood’s growth, in 2015 we get a film titled ‘Kaagaz ke Fools’, which is so regressive and dated that it just might have made some sense back in the 50s. Well, if nothing, the film makes us painfully aware of the difference between a phool and a fool.

…takes a nosedive in the second half with the lines and the script plummeting to low levels of silliness. The climax kills it altogether as it gets into the predictable clichéd preachy mode. One is disappointed at the sheer waste of a good opportunity and ensemble cast.

The star cast is pretty good. A special mention has to be made of the ever dependable Revathi, who yet again delivers a convincing act. But of course, it is Kalki who takes your breath away with a superlative performance. Undoubtedly with one of the finest performances in recent years, Kalki lives and breathes Laila with such amazing ease and conviction that she stays in your head for a long time after you have left the theatre.

A film so real that you can almost touch it. Please go watch it. The audience needs such films more than the film needing the audience.

…is one of those films that was made with public funding and that’s one reason why the director had an additional responsibility of making this a good film. Sadly, it doesn’t live up to the trust put in by the people to make sure that it sees the light of the day. The intention is right — it deals with a relevant social issue of how old parents are abandoned by their children and looked at as inconvenience — but the execution definitely is not.

Director Fuwad Khan should get the credit for choosing a sensitive subject with the right kind of intention, but unfortunately, the end result is far from what it could have been.

This is a movie so bad that one is truly curious to understand the ‘creative process’ that went into bringing it alive. It’s a semi-porn rubbish masquerading as an intense romantic story…

Don’t miss it. Even if just to go back to the magical world of nostalgia created so beautifully and earnestly by Banerjee and cinematographer Nikos Andritsakis.

The performances are decent, the story is fantastic and the climax is moving, all but spoilt by an amateurish execution.

Watch it if brazen in your face is enough to titillate you. If not, let’s wait for a more mature film dealing with sex.