If you are willing to have patience, Dhobi Ghat comes together nicely. It has a poetry and melancholy that stays with you. I recommend that you give it a shot.

A strangely uneven film. Its beginning feels amateurishly put together ; as it heads onwards, though, it finds an easy, flowing rhythm with just the occasional stutter.

For entertainment or emotional stimulation look elsewhere. There’s every reason you can miss this one. Unless you like to believe you’re among the intelligentsia.

On the whole, Dhobi Ghat is a gentry film for a very select audience which likes festival films. It will have to rely on Aamir Khan’s presence in its cast and the Republic Day holiday mid-week to take its collections to a somewhat respectable level.

DHOBI GHAT is surely a different and brave step in Indian cinema; but not exactly a pleasing one.

Dhobi Ghat is meant for Mumbai lovers. For good and bad, Mumbai is what it is: home to millions who adore the city which is covered beautifully by Kiran Rao.

Beautifully shot and aided by an evocative background score, ‘Dhobi Ghat’ is occasionally indulgent and moves at a glacial pace. Yet Rao creates some endearing characters, and embraces Mumbai despite its dichotomies. The result is a film that slowly grows on you.

This film is first-rate tribute; it’s visceral, I realise — both clichés for compliments. Nothing more appropriate comes to mind.

Dhobi Ghat is a middling debut, watchable due to its nuances but simply not interesting enough to recommend. Yet Rao seems assured of her craft, and worth looking out for in the future.

A lyrical ode to the modern malady — metro-eccentricity — Dhobi Ghat is intelligent and artistic cinema.