• Homecoming fuses the kinky-swiftness of the original superhero movies with the silly concerns of a 2017’s teenager…

  • 2 hours and 20 minutes later, I walked out of Sachin: A Billion Dreams learning not one additional thing about Tendulkar: Not one factoid, not one statistic.

    Maybe it’s convenient filmmaking, or maybe just the essence of God.

  • Hindi Medium works because it manages to stretch itself beyond its scrubby elements, easy half-baked jokes, lessons about consumerism and our love for English, into a simple story about a boy who would do anything to see his girl smile…

  • Ram Gopal Varma is back with Part Three of that series, which presented to us the first clear evidence that the great man was slipping…

  • Despite its gargantuan cast, there are not more than 10 people in Baahubali who actually talk; the others merely exist as echoes. These are people forever chanting their support, nodding their heads in accord, or following directions.

    If you think about it, this lop-sided view of heroism is in complete disagreement with the spirit of great movies. But in a world of sheer campy values, as this one, such problems became the very essence of the experience.

  • If you want to be disappointed, there are better movies to be disappointed by.

    This is a half-star picture with one extra star for how ignorant it is about its own quality.

  • This movie is a perfect example of a city-bred director scanning our heartlands, and instead of taking in all the complexity, all the denseness, stopping to ask himself, “What are the corrections I can highlight in these lives, and how do I stitch together a narrative around these corrections?”

  • In his first full-length feature itself, Raam Reddy seems to have mastered something that’s most difficult to master in cinema: a way of suggesting a dreamlike clarity in a brazen setting…

  • Very briefly, we see an honest film and some three-dimensional characters. The dread in Imtiaz Ali’s Tamasha feels real. The silliness, however, comes across as too orchestrated.

  • In its misappropriation of Freudian themes, the movie gives its protagonist a truckload of guilt, but nothing more to chew on. And all this, means that the grand statement made isn’t anything more than a South Mumbai kid’s version of the all-conquering, all-observing, all-knowing feminine power.

    There’s a lot of worship for women that’s comes through in X. But is there enough love?

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