• The Jungle Book of today is fantastic as a movie-going experience, and somewhat less as a cathartic one. As blockbuster entertainment, it is complete in every way; as a standalone work, it is a little too dependent on its staggering legacy.

  • Even at a multiplex-friendly 125 minutes, Rocky Handsome feels too long, mainly because it has nothing of real value to offer. The way the film is written, acted, and edited, it seems very clear that not much thought has gone into it. Presumably, Kamat thought the novelty value of the action sequences would carry it through. This is what happens when you start thinking of filmmaking as a day job, instead of the privilege it should be.

  • Kapoor & Sons walks the tightrope between traditional Bollywood melodrama and a more evolved variant of the same, but its balance is all over the place. As a genuine tearjerker, I found it too superficial; as a study of characters, it felt a little incomplete. All I took away was a handful of warm and fuzzy moments. In most of them, a real-life Kapoor was present.

  • Even the title doesn’t hold up, in relation with the film. ‘Suroor’ is Urdu for joy, and there is none to be found in this movie. Now, if only there were an Urdu word that sounded just like it and meant ‘vanity’.

  • …shoddily made movie, which is already overly loud, clunky, and at 158 minutes, overlong. Jha’s Kashyap-esque use of upbeat music during moments of action or violence fails miserably, as neither the visuals nor the music are appealing enough.

  • There is also the questionable decision of showing the same incident four times in the film, which ends up crossing the line from ‘showing’ to ‘telling’. Like its protagonist, Aligarh is reluctant to assume an identity. It’s perfectly fine for an individual to make that choice; films, however, may then have to ride on the strength of adjectives that don’t necessarily tell you anything about its aesthetics.

  • The subject, the performances, and Madhvani’s restrained direction are strong enough to ensure that few will leave theatres dry-eyed. Eat your heart out, Karan Johar — this is how it’s done.

  • Deadpool is entertaining as hell, erases bad memories of Reynold’s Green Lantern (2011), and will be a great time at the movies, especially for fanboys. But it’s been two days since I saw the movie and not much has stayed with me. I suppose that’s the point, in which case, I’m okay not getting it.

  • Fitoor takes a multi-layered classic, dilutes its themes of imperialism and social hierarchies, and chooses instead to interpret it in a more Bollywood-esque manner. But that isn’t what’s wrong with it. Ultimately, what prevents the film from truly soaring are the undeniable chinks in its otherwise attractive armour…

  • I wouldn’t be too quick to dismiss Ghayal Once Again as run-of-the-mill cinematic trash. At best, it could be considered a minor stepping stone to a new aesthetic for easily digestible commercial cinema. At worst, it’s a movie you could watch with your friends for the express purpose of having a good time, preferably after getting high. There are definitely worse ways to spend two hours of your time.

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