Here is every Indians ultimate tolerance test: sit through this film. I dare you.

Tamasha is not free of glaring drawbacks. The narrative tends to humour itself to the extent of supreme selfindulgence and the pace when Deepika goes missing, is languid. But the heart, the pounding bleeding heart, is always in the right place. This is a haunting fable about two fatally flawed people who think they are in love.Tamasha is a game-changer in the romantic genre.

Tamasha is a film with ambitions of being mature and experienced. It creates an alternate reality for its principal characters and lets their emotions grow naturally to a point. But then the journey gets tiring for everyone concerned.
It doesn’t really get there. But the effort is not unbearably laboured. This is a film that doesn’t entirely succeed in its endeavour to decode the heart’s enigmatic excursions. But the journey is fascinating and admirable, thought not entirely fulfilling.

X Past Is Present is an audacious experimental film that left me craving for more. And I am not too sure if I mean that in a good way.

Spectre manages to keep our attention on red-alert most of the way, in spite of a subtle subdued storytelling , a background score(Thomas Newman) that refuses to over-punctuate the drama and action, cinematography (Hoyte Van Hoytema) that peers at the most exotic countries with intriguing serenity, and an arch-villain (Christoph Waltz) who has a shared family history of resentment towards Bond but is unable to draw into the drama.

…is solidly grounded in family values. At a time when the joint family is getting fragmented here is a film from two people who would die for their family.

For Sooraj and Salman, it’s all about loving the family.And we love it…

…a spiraling thriller whose film-within-film format doesn’t quite make it into the league of the big crime tales of our times like Oye Lucky Lucky Oye and Shaitaan. But the build-up of backstabbing betrayals and bathos is interesting. Shot with hand-held cameras this is the jerks’ saga that mines an effective crime subtext out of Mumbai’s polished surface.

Though the film flounders in the over-dramatic pauses in the plot it manages to hold its precarious narrative in place almost all the way.

Finally though you come away from the film wondering what our cinema is coming to and where is it heading. Guddu Ki Gun is a one-line joke carried too far.

Guddu can’t keep it down. This film just can’t keep it up.

Charles Sobhraj gets an unexpectedly arresting lease of life in this gutsy lucid and robust bio-pic . Director Prawaal Raman sweeps us into Sobhraj’s exploits .Once in, there’s no way out.

Suffer the seduction.