• It would be erroneous to treat this film as only a serious noire effort. It is that,yes. But it’s also a film that makes an impact in unexpectedly blithe ways, creeping up into our conscience when we least expect an intrusion and lodging itself cosily in a corner.

  • The journey here is absolutely bereft of drama, excitement, surprise and ultimate satisfaction. One doesn`t know if debutant director Joe Rajan meant the central romance to be so linear, languorous and shockproof. But that`s the way it is.

  • This is a somber, meditative, profound and yet weightless work of unfettered beauty. A life-changing experience. No less. Anand Gandhi defines life’s mysteries in mysterious ways, showing a command over his mammoth philosophical world that Mani Kaul and Jean-Luc Godard would have envied.

  • Nikhil Advani’s sixth feature film is an acutely accomplished work of art. It’s a thriller, yes. About the enforced extradition of a Dawood-like gangster. But what I came away with was a haunting love story between a mysterious Indian intelligence agent and a Pakistani sex worker, both wounded and scarred for life.

  • I recommend a national holiday for the entire nation to go and see this movie. It makes the other recent high-profile acclaimed films look hopelessly inadequate.

  • It is all fun to watch-loud, rumbustious, over the top, ear-splitting fun provided you are a Singham-Dabangg aficionado, and a Sanjay Dutt fan.

  • Let’s first get the picture right. Contrary to what the trailers and promotional images tell is Fugly is not a Fukrey-friendly flick about four friends having a ball in life. This film means business. Light on top and substantial underneath, this is the Rang De Basanti of the post-Modi era. Thoughtful and at times brilliant, it tells us a great deal about the state of a culture and people searching for reasons to keep the spirit of nationalism alive as self-serving corruption grown all around us.

  • Chittagong doesn’t portray the Britishers as only ogres and sadists. Thank Goodness for some restraint in the conflict. For cinema to accommodate history, there must be a sense of balance between drama and authenticity. Chittagong manages that balance quite well. One misses the sharp high points of drama that constitute the historical epics in Holywood by, say, David Lean. Bedabrata Pain. I suspect, doesn’t strive to create history, he recreates it.

  • You wait for the horror to get sexy. Instead the sex gets progressively horrific. No Satan or its messenger can be as scary as Emraan Hashmi chewing on his two heroines’ lips as though he has just relinquished vegetarianism.

  • “Kahaani” is one of those rare films that can easily lay claim to being a game-changer. And yet the narrative makes no claims. The destiny of the protagonist is charted in a breathless sweep of urgently persuasive episodes that tumble out as though God wrote Vidya Bagchi’s screenplay. Enthralling, absorbing and engaging the narrative never resorts to italicized emotions to get our attention. We are hooked unconditionally from scene one. We surrender to Vidya’s journey. She gives us no choice.

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