Using humor and pathos, it raises pertinent questions. You’ll be happy to spend two hours in the company of these ladies.

There’s nothing ‘angry’, to start with, about this bunch of young women which gets together to reminisce, giggle and celebrate. These are flesh-and-blood women, and the film is delightful till they stay that way. Being labelled ‘goddesses’ seems like a ploy to reel in non-Indians looking for exotica, something the director does well. It doesn’t do these lovely ladies any favours.

Ultimately, Angry Indian Goddesses is a decent watch as long as the fun lasts but tumbles downhill with gathering pace as the ‘anger’ kicks in. Watch it for its good acting, the director’s bravery in picking his premise and protagonists, but don’t expect a statement on feminism or a revolutionary Bollywood film’. You will be sorely disappointed.

…there are times when the movie, despite interesting narration of every character, appears to be running in all directions. But the real essence of the movie is always maintained. When the movies goes get serious towards the end, the visuals and the well-written dialogues will leave a shock value. It is not a predictable Hindi movie with clichés. You grow with the characters and their journey is very much identifiable.

Considering the treatment it got by the censor board, I don’t know if Angry Indian Goddesses changes anything. Still, it’s so good to see a film that revels in womanhood as much as this one. 

Angry Indian Goddesses is a must-see and not only because it is unlike anything Hindi cinema has produced before.

It strikes a fine and rare balance between thematic gravitas and breezy entertainment.

Angry Indian Goddesses is a decent watch if you keep you expectations in check. It is a perfect example of how anger does very little good afterall.

Pan Nalin’s “Angry Indian Goddesses” is a chick flick in denial – superficial and skin-deep as most other films, but fools itself into thinking that it is about woman power and women’s rights by throwing big words at the audience and framing shots in slow motion.

Angry Indian Goddesses is a film that explores womanhood in a brilliant manner. Yes, we are women who discuss sex, who are irritated of fighting over equality, who know how to deal with a pervert, who can juggle being Kaali, Lakshmi, Saraswati (goddesses) and that is exactly what we see.

…would appeal only to the urban audience, as the others would neither relate to the characters nor some of their shocking behaviour.

Angry Indian Goddesses charts an unprecedented path. It would have set a benchmark had it not settled for a mainstream climax.

For long we have been treated with heroines as objects of desire, to be just a decorative piece in a film that has the male as the super star. There have been female-oriented films in between. THE DIRTY PICTURE, KAHAANI and QUEEN for instance. AIG takes several steps forward. The women hold centre-stage and it is a very brave man who comes in for a brief moment and sparkles with his act. No qualms in playing eight fiddle.

It feels as if Nalin packed in all the issues in case another film this witty and powerful would never get made again, which partly works in his favour. It’s a must watch film that will likely spark a dialogue around women’s issues, which is so vital at this time.

Angry Indian Goddesses arrives with audience awards from Toronto and Rome, and it’s easy to see why an international audience would appreciate this film. It presents India’s gender issues on a platter to them, which is congruent with what they read; it’s the same reason acclaimed films set in Africa often happen to be about genocide and extreme poverty.

Watch it you must, for the attempt made to highlight some real issues yet presented in a light, entertaining manner.

This is  a wonderful wonderful film with moments and performances that I will cherish forever. What stays long after the film is its admirable equanimity in portraying gender equations. If men ogle at women as though by birthright, here women to attain orgasmic contentment watching the shirtless boynextdoor wash his car.

Hell hath no fury like a woman teased or disrespected. The film has all the right intentions and ideas and actors but it’s just not effective enough. Between celebrating womanhood and showing their inequality angst, the story loses steam halfway.

On the whole, Angry Indian Goddesses is a well-made film with fantastic performances by all the actors. It will win a lot of critical acclaim. But its commercial prospects are poor because of several reasons – its class-appealing subject, its odd English title (due to which many in the public will wrongly assume that the film is in English), too many muted dialogues and lack of awareness about the film’s release among members of the public.

The film is good in parts, meh in others and has its share of fun moments, especially when ‘the neighbour’ (Anuj Choudhry) is objectified by all the women, while he washes his car, shirtless. But every sequence ends up with a “we-are-trying-to-do-something-important-here” tone and spoils all the fun. After the end credits have rolled to a song that I’ve already forgotten, I can’t make up mind if I liked the film or not.

The balance the film achieves is admirable even as it ticks all the right boxes.
One of the most exciting films of the year by far, Angry Indian Goddesses deserves the support of all those who like their cinema to look for fresh thematic pastures and narrative approaches.

Go, watch this film anyway for this is a very unlikely Hindi film coming your way. It is brilliant how the film manages to balance the deep-shit, intense situations with cool-ass, breezy moments! The film is a must watch for men and women alike.

…its best moments are the ones with the six women sitting around, cussing, getting drunk, and talking about everything that comes into their minds, with Lakshmi hovering somewhere in the background. When’s the last time you saw a female character in a Hindi film have a wet dream, or come out to her friends? If the answer is ‘never’, Angry Indian Goddesses might make for instructive viewing.

AIG’s selling point is the honesty with which the leading women approach their characters and the uncontainable chutzpah they exude.

Movies like Angry Indian Goddesses are honest renditions of sensible storytellers like Nalin and in times like today’s this movie holds immense relevance as it asks certain tough questions about our society that we need to answer soon. It also in a way provides more power to our women by affirming that ‘only by breaching the societal curfew will they truly claim their place in this world’.

Though the movie has been shot in a fashionably jittery, hand-held style, and the overlapping conversations and rapid-fire editing suggest momentum and purpose, the 120-minute running time is a stretch. Since the movie has saddled each of its female characters with a Problem, it feels duty-bound to address every one of them. The conceit of being a non-formulaic movie that examines Indian social problems in a realistic manner blows up in the preposterous climax, which faithfully follows the scripting rule book that a gun in the first scene must be fired by the end.

Book your tickets right away if you want to see a well made, relatable and a realistic film which is quite a rarity nowadays.

Make no mistake – this film could only have been about Indian women. It lays bare their inherent battles without being too gimmicky, pretentious or offering immediate solutions.