• Del Toro hits a cinematic nerve in capturing an enduring love for the oddball, the beauty in the bizarre and, most importantly, reminding what it’s like to have what one wished for since a kid — a happy ending.

  • This is a spirited but emotional origins story — of a king learning the predicaments of power, a son overwhelmed by the idea of filling his father’s shoes, of co-existence and divide that is defined by colour and discriminated by history. And that it’s just as dedicatedly fun doubles the pleasure of it all.

  • It’s a bloated, prolonged mess of misplaced purpose that digresses from military misdeeds to animal cruelty.

  • PadMan has its premise in place. Now if only it had some wings.

  • Unravelling in the splendid but stifling interiors of his grand abode, Phantom Thread barely ventures into fresh air for a break. But it’s the most real, most riveting portrait of toxic love you’re likely to witness in a long, long time. 

  • Darkest Hour doesn’t even pretend to make it about anything else besides Oldman as he gloriously alternates between a exuberant bear, shrewd fox and vociferous lion.

    Though his animal instincts hit their peak, the script itself begins to lose its edge-of-the-seat momentum and disintegrates to revel in hollow glory and glib eloquence.

  • Imagine Shutter Island’s big twist taken completely out of context to reiterate Bollywood’s hurt on the same spot again solution.

    What emerges is as plausible as a pig head in a frog’s body.

  • While the kids are sure to learn a thing or two about good behaviour, it’s the spirit of community living gently conveyed in scenes of Paddington’s selfless involvement around his neighbourhood that make the film a lot more timely than expected from standard children’s fare

  • Kaalakaandi doesn’t always provide it, but there’s enough intrigue to play along.

  • Safe idealism or simply phony, you decide if you intend to endure 161 minutes of this toothless, tiring, plastic Tiger Zzzzzinda Hai.

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