• With Manmarziyaan, it is this kind of love story that Kashyap, I think, is out to challenge.

    His lovers are too messy for an external force to cause any real harm.

    They have no enemies to shoot, and so they take aim at each other.

  • This view of the supposed spiritual decay of our times, which is at the core of Gali Guleiyan, is thus more fashionable than perceptive…

  • Not only are the concerns expressed in Stree (patriarchy, consent, prejudice against women) mere excuses to touch our ‘sentimental hotspots’, the movie itself is a few tricks cobbled together…

  • Vishwaroop 2 is a motion picture conceived almost entirely inside Kamal Haasan’s bedroom without him even bothering to take a walk outside.

    This means that every single thing in Vishwaroop 2 is reduced to Haasan’s reading of that thing, his feeling for that thing, his excitement for that thing, and also his limited understanding of that thing.

  • ‘Mulk gets a lot of things right, including its vision of the country as a place where underneath the punctilious, forced-secular surface there are volatilities waiting to go off…

  • If anything, Bhavesh Joshi proves right that maxim, unsaid but true: That Fixed Ideology, Self-righteousness and Superheroism run parallel to each other.

  • What we have here, I guess, is a director who understands how people fight, but has not a clue about how they make love.

  • Oddly enough, everything Raazi cannot explain or put a finger on, it glosses over in the name of patriotism or watan-love; glorifying thereby the very sentiment it had set out to mock.

    This is the unique tragedy of the film: it becomes less of a counterpoint to pseudo-patriotism and more of a companion piece.

  • A sense of injustice has been flaring in Mehta too since the time his face was blackened by Hindu fundamentalists. The face behind the black paint has since then, been his main subject.

    In Omerta, he tries to close in on those who smear the paint, and with that change in focus, he achieves something he hadn’t achieved yet.

    Something indescribable; something that terrorists and artists both die trying for: Salvation.

  • Sudhir Mishra is perhaps telling us that we are all politicians waiting for our chance at the podium and that it takes a real silly to see the absurdity of it all.

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