• What seemed missing in Tumbbad was that screwiness, that kinkiness, which shades so many of our best parables…

  • If Manto, the film, falls short of being a masterpiece, it’s ironically because Nandita Das the filmmaker does not quite crack the Manto code herself: she doesn’t quite see her subject with the same wholeness that Manto saw his people. ‘
    ‘This imperfection in the film, in a way, becomes the greatest tribute to Manto

  • 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.

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