All Reviews

Baaghi 32020

Despite a really solid and not-bad Tiger Shroff, "Baaghi-3" directed by Ahmed Khan is a silly bore and a mess with no potencial after all, and a squandered mess which provides even the minimally entertaining bita with a cliched spin.

Satya1998

There have been a lot of years, and Ram Gopal Varma has directed a lot more films now,l to pile up, but for me 'Satya' remains his most iconic piece. A gritty and surrealistically dark portraiture of Mumbai Underworld, this film is an authentic representation of the gangsters, there lives and the cultural insights which revolve around them. In a way, this is an international cinema masterstroke, with a screenplay so exceptional that it's ultimately torturous (in a great sense of word). I think at the time of it's release it was so difficult viewing that it was ultimately ahead of its time, but one thing was clear: it echoed brave narrative sound, which no one would repeat, not even it's thrilling writer Anurag Kashyap, and not it's director RGV, who then resorted to making trashy low-budget cinema. The performances are the greatest thing about this compelling film: no two questions that the cinematography by Mazhar Kamran and Gerard Hooper, who did the best work in their career in this film, was made of discomfortingly effective shots, but the terse identities of the people in the scene is what stages this drama even more frequently. Manoj Bajpayee gave one of his most memorable performances as 'Bambai Ka Raaja' Bhiku Mhatre, and his emotional dynamics with Shefali Shah's Mrs. Mhatre were quiet interesting. But the quiet dignity which JD Chakravarthy brought as Satya, the underdog who fell into the trap of gangsterism made him the best character and the best actor of this film. Urmila Matondkar as the ambitious singer Vidya was powerful, and the sequence in which she is killed, was solidly shot and gut-wrenching. Makarand Deshpande as the lawyer in the house of gangsters brings in some thought, and Govind Namdev as the politician-with-underworld-roots Bhau Thakurdas shall make you ponder about the world we are living in. The last shot especially, where the message of peace is delivered finally, makes me quiet till date. Vishal Bharadwaj's music: oh! It's genuine and genius both. But this isn't flawless cinema. The love story between Satya and Vidya looks like a mismatch even when the couple is married: it's awfully banal and does a misstep to the film because the director handles it with great measures of irresponsibility. Although all the action sequences in there own way are competent, not all of them work. But despite these bad decisions, "Satya" still remains a class in the uncomfortable. Although 'Parinda' came nine years ago with more solidity, it's just unmistakable that this RGV film remains a work of originality made with passion. Don't skip it. 4/5.

Lamhe1991

"Lamhe", hears after its release in 1991, remains my favourite Yash Raj film ever- year later, it's not rustic enough, but the romance is still there, and so are the fresh memories of an incredible actress as Sridevi. What excellence she represents as she is clad in those colourful Rajasthani attire, and what brand of romance she excellently dons as she embraces Anil Kapoor in those lush western hills! Sure there's nothing particularly wild about Yash Chopra's "Lamhe", apart from the fact that you're very happy you visited it's world. But considering the unabashed wildness of the central premise, nothing needs to be more realistic. Honestly I can't recall a film which is emotionally as intriguing and complex. The idea isn't to offer a path breaking tale of love in the form of a crowd-pleasing weepie, but to tell the story as it is and as it should be, without the trappings. Years ahead, it's still feeling normal that audience didn't accept this film. Even today, many would refuse to embrace it, giving it a liberal political angle. But they can't refuse the refreshing honesty it's humour and organic passion interweaves seamlessly. I can't remember a YRF film about enduring and unconditional love which affected me as much as this one, and it's my favourite as well, not just for it's craft, but for the ambitious story it has chosen to tell. In 1991, it was ahead of it's time. And in 2020, the film still feels the same- way progressive than even our times can digest. Maybe I'm wrong, but considering the picture of India the film tends to paint, perhaps I'm not. Maybe Pallavi and Viren's love story has ended, maybe they have separated there ways, or probably Viren has died. But what they offered still remains. 4.5/5.

Dilwale Dulhania Le Jayenge1995

As of now, I don't think Aditya Chopra's magnificent directorial debut "Dilwale Dulhaniya Le Jaayenge" has been as remarkable as the lovable nineties. What it still remains, though, is a lush, beautifully escapist but dazzlingly compelling romantic-comedy, which serves froth, cheekiness, cheesiness and cutesy charms with such palatable and palpable diligence, and with so masterful the craft, that you are absolutely glad you were there for this incredibly romantic and stirringly joyous, fun ride. Yes, you might think now that there are parts which carry little resonance today, and yes you are absolutely right in there. But I don't recall a film with as terrific romantic pairing as Kajol and Shahrukh as the demure Simran and the cutely heroic Raj. There's always a freshness imbued with this film which consistently draws you towards it's storytelling, and it's consistency. It's a film so sharply Bollywood, it's irresistible. From whichever walk of life you might be, please watch 'DDLJ'. It's an iconic romance to cherish for the ages, and it is never less than enjoyable- it's perfectly amazing, and of course, to just state the facts once again, what cheery and iconic classic! 4/5

Kabhi Kabhie1976

There's something about the understared simplicity but frequently organic Bollywood charm of Yash Chopra's 'Kabhi Kabhie' that always draws me for it. Amitabh Bachchan and Rakhi Gulzar was a freshly unusual pairing, and together they were as magical as Sahir Ludhinavi's intricately moving poetry that adores much of this beautifully made film, scripted uniquely and charmingly by Sarhadi and Pamela. In his career, Yashji has also made some gritty, starkly grim dramas such as the Dhanbad-set Kaala Patthar, the dynamic Trishul and the courtroom drama of Waqt, but none of these supposedly powerful films could match the 'essential viewing' entertainment provided by his frothier, 'unconditional-love' brand of cinema, the progressiveness of the world in 'Silsila', the uniquely attractive 'Lamhe', or the soul-stirring 'Chaandni'. And among that lot, the one that still stands tall is 'Kabhi Kabhie'. It's a little more dark than most of the films of its times and it's not afraid to be, but as it plays safe, it's more entertaining and fun than most dramas even today. All the performances are charming- all the chemistries are charming. Rishi Kapoor and Nitu Singh aren't any less together even as they are the secondary, the lesser couple here. Waheeda Rehman is also astounding in her own small way. But stealing the show even from the interesting Amitabh Bachchan is Shashi Kapoor, who breathes life into the character of Rakhi's husband with prompt grace and intricacy. Ahead of it's time, even today this soulful romantic stands as one of the most eloquently made romantics ever made. It's not the best Yash Chopra film for me ('Lamhe' is at another level), but it's still one of his best crafted ones. 4/5.

Udta Punjab2016

Even if you dont like "Udta Punjab", you have to agree that it's a very brave on the part of Bollywood- there is nothing more bold than mainstream Bollywood, which has staged frothy romantic-comedy classics like 'DDLJ' and 'Jab We Met', tackling a Punjab that survives on heroin, drug use and faces the problem of youths suffering drug addiction. Abhishek Chaubey obviously doesn't deliver the issue with heavy hand: he has already proved his distinctive storytelling style in his 'Ishqiya' and 'Dedh Ishqiya'. But this is easily his biggest film: with a mainstream star cast, uncanny romantic trappings and many screens, and hence his most ambitious piece of filmmaking. The performances are truly what elevates the experience: Shahid Kapoor as the drug-propagating rap star is a hoot, but the actor still feels short of the character because sometimes it feels a repetition of 'Haider' and 'Kaminey'. But that's more than made up by a spectacular Alia Bhatt, who easily delivers this film's most arresting performance. It was hard not to be moved when she described her struggles and her story to Shahid's Tommy. Kareena Kapoor as the anti-drug activist doctor is wonderfully vulnerable, and it's easy to be impressed by her conviction. But the film's driving force is the debut actor Diljeet Dosanjh, who absolutely lives up to his name. His sweet police officer won my heart too too easily. The writing is also solid: the dialogue is rightly in more Punjabi, more than you'd expect. It's way more... passé than you'd think it is. Like it's a Punjabi film. But truly it's the heart invested in the premise, and the flair to make it a fairly complex study of people and places, that makes it a Bollywood film in an absolutely truest sense of word. Abhishek Chaubey crafts his most deliciously effortless film here: as he crafts the first film which is beyond a familiar atmosphere he had created, he does an excellent job. So terrific, you'd not easily spot a flaw. But the film is ultimately affected by the curse of characterization: because the truth is that the film isn't as technically astounding as you'd think such a film to be, take the characters out and what you'll be left with is the message, and the characters aren't fleshed out enough. But despite these flaws there's too much to particularly enjoy. It is never less than entertaining. It's unnnerving how the film, despite making biting conversations about the political panorama in Punjab- doesn't quiet make a political comment. It presents you the hard reality of the drug addiction of the youths in the state and haunts you with it's viscerally uncomfortable visuals. It's actually a relatable film, so you could easily forgive that. 3.5/5.

Her2014

I love conventional romances because I am an eternal lover of beautiful dramas about love and longing. But there's a certain fatigue which I feel throughout if the love story is not told with a touch of delicate nuance- that's just why a beautifully romantic film like Imtiaz Ali's "Rockstar" cannot win when we compare it to his another film, the 2015 drama "Tamasha" (which in my opinion is his best work). The secret for finest romances lie in soothing background music, nice performances, warming chemistry and a heartfelt connection with the audience. Spike Jonze's "Her" doesn't just compellingly tick all the boxes, but it also deliciously entertains us, and just catches you by the collar and drives you into it's seductive charm. The film calculatingly benefits from the bounteous technical brilliance, opulent visual artwork and the effective next-generation relationship details. The film also has a terrific, proficiently written screenplay by Spike: I love the fact that he has written the film's script all alone, for her delivers some punchy freshness. I was especially drawn by the sexy hot sequences: but not because they were unapologetically pornographic, but because they work as yet another solid expressions of love, and some moments have been delivered with terrific humor. The wonderful cameos are lovely: Rooney Mara's Catherine does not have one false note, and there needs to be a special word for Spike's Alien Child. The directorial details are real best: the wonderful scene where Chris Pratt and his girlfriend go on an outing with Theodore and his Operating System girlfriend Samantha wonderfully observes the two as soulmates, and if not, soulful couples. The youthfully well-written letters recited by Joaquin's excellently performed Theodore are exceptionally filmed. Scarlett Johansson is my crush now as she lends a distinctive voice into Twombley's girl. One bit that didn't work so well was the subplot of Theodore being set up on a date and ending up talking stupid. Except that, there are subtle readings to the narrative that follows: take the moving scene where Samantha employs a living and talking human being, a woman, to be there medium for love and sex: is it the sound of the resonant future? Or the beautifully undone sequence of the messy climax, where all the operating systems shall be gone: that scene takes place in total chaos, and made me wonder: do the makers want to talk about Armageddon? The subtext here is consistently terrific, and the screenplay is the clear winner, because the finest writing makes you think, and this is a really beautiful narration, playing out like a sci-fi epic. I suggest that you watch Joaquin Phoenix's "Her". It's a disarming film that deserves every bit of what it shall earn in the award season. Don't miss it. 4.5/5.

Lady Bird2018

I think Greta Gerwig's "Lady Bird" is the yer's most confident directorial debut, which is second only to Konkona SenSharma's "A Death in The Gunj". Searing, lovely and beautifully made, this story is compellingly fashioned, without the excesses and hits the sweetest spots of every part of your body: the brains, the eyes, the privates, the lips... the everything. It promptly leaves you without emotions, which is the perfect climax you could have: and I think this impactlessness does no harm: it serves great to an entertainment-soaked joyride of a film, which is a beautifully coming-of-age, confused and perspective-precise, delightfully feminist tale as well, which is wonderfully objective. Sam Levy has to be mentioned for his lovely camerawork: the cinematography is diligent and proficient. I think this is the subtlest close it has really come to designing a film's film-making process at it's overall. I think this fucker has captured all the messiness, the humorous sex scenes, the taut and terse tension between the mother and the daughter, and the headstrong personalities of all of it's female characters is what mostly stays with you. I think the parts involving Lucas Hedges' Danny O'Neill are pretentiously made, because they don't work well, because the discovery that he is gay is something which I felt was totally out of context. Right from the start I thought that there is inherent simplistic-ness to there romance. Infact, I also had tonne of problems with Kyle and her chemistry as well, till there sexual encounter happened which I thought was an amazing scene. It truly belongs to Saoirse Ronan's Christine who is so terrific and fiercely perfect that you can't flaw anything that she does. Beanie Feldstein was also really very good, I enjoyed her because she had more to her character than a standard best friend woman. Had this been a Bollywood film, it was going to be loads of fat-shaming. But this case is perfect. There is solid affection to the brand of cinema this film brandishes and truly unleashes, because maybe it's not the finest, but it's the most restrained close teenage films can come to be great crowd-pleasers. I think it's diligent enough to be given shot. It's a clever film that shall be earning most of your whole pleasure button and body language, despite the only one hours and thirty minutes running time it has. I loved it and I think you will, too. 4/5.

Luck by Chance2009

I don't like to overstate the films which I find the most menacing, the most close to my heart. And yet, there's something about cinema about cinema which keeps me talking about it, keeps me writing frequently about it. That's the beauty and confidence of the film "Luck By Chance" which makes me keeping recommending it. It's not a classic like the other film of this decade, the wonderful "Lagaan" is, but it definitely comes across to me, for it's awesome writing and frankly complex, nuanced and layered characters, that it soars so much as a slow-burning, yet suprisingly old-fashioned film about shooting struggles at the film capital of Bollywood. It also benefits from it's extremely languid, leisurely unfolding, smart dialogue, biting emotions and heartfelt acting by Farhan Akhter and especially the memorable Konkona Sensharma. I've rarely been appreciating and falling so much for a beautified, extremely propelling and uplifting film, which I've found to be a perfect one despite being so compellingly melodramatic. It's fascinating how only in her directorial debut itself, Zoya Akhter has established herself as the finest storyteller in her family. She has made an enchanting Bollywood movie to savor for ages. 5/5.

Om Shanti Om2007

"Om Shanti Om" is wonderfully executed popcorn entertainment. There has to be a word for it's snappy jokes, crowd-pleasing movie references, fun performances delivered by Shah Rukh Khan, Shreyas Talpade and eapecially the silly melodramatic mother inside Kirron Kher. But there must be a word also for the assured debutant Deepika Padukone: you might argue that she doesn't deliver half the original and silly thrills which compliment a great spunkily modern and unusually retro affair as her love interest SRK, but she must be complimented for making out something from both of her avatars. There's the underlying sense of spikey affection that you'll develop for these characters. Farah Khan achieves a colourful palette: quiet surprisingly, she delivers her work with skilled hand, something we never came to expect from a "Main Hoon Na" level, 'entertainment director' as her. Her craft is skilled, and not one choreographed dance move, not one operatic tone of it's music, not one melody of the cinematography is out of place. It's sure to be one of the most technically brilliant films so far in Bollywood, and also this year. The corny jokes, the crackling chemistry of Om and Shanti, the villainous head rush provided by Arjun Rampal- performative and technically, it's a brilliantly nostalgic film which may put the biggest Hollywood star-cast films to shame with it's unapologetic, raw cameos delivered by almost every Bollywood A-Lister who is breathing and living right now. Sadly, it's flaws are more than you think there are- the plot of the film is nonexistent. If there are stretches of a promising prom-tom narrative, it's promptly slim. The first half especially is staggeringly silly. There is almost not one moving note with this film, not something which I noticed. The dialogues are all forgettable. This is then a film that works purely on the visual level. Consider it to be a film-about-films what films like "Dunkirk" and "1917" were to the war cinema genre: the films were devastatingly moving ones which made the skin crawl, but the history triumphs the writing. The screenplay is haywire here. And still, I find it a better achievement ahead of it's time, because the entertainment and gloss is stupendous. It has also come to be a greatly intriguing introduction to someone who craves to watch Bollywood, and has achieved that more than the actual classics like "Sholay" or "Dilwale Dulhaniya Le Jaayenge" or "Lagaan". It's definitely one of the best films of it's decade in spite of being so thin actually. It's proved impactful and tactfully crisp. 4/5.

Batman v Superman: Dawn of Justice2016

"Batman Vs Superman: Dawn of Justice" is so cringe-worthy, yawn-inducing a superhero film that to say that it's a bad film would be over-honouring it: it's such an assault on the senses! The visual effects and some humour aside, there's just no soul in this grim film of sloppy visual effects. None of the star-cast is in there top form here, and there's cheapest and the most predictable heart to the premise you can think of. It's above anything, a boring film and a testimony that there's nothing quiet like 'Marvel'. Skip it. 0.5/5.

Parinda1989

Looking at 'Parinda' as a classic or a cult classic is pleasing because it was a trendsetter for the gangster dramas in Bollywood of unsettling gore, inspiring another film 'Satya' of Ram Gopal Varma nine years later. And it carries embellished performances especially by the diligent Anil Kapoor, followed by Nana Patekar, Jackie Shroff and the young Madhuri Dikshit. But it is also a beautiful motif of taking a flight which powers it's pertinent story-telling and enjoyable plot which mines into it's peace-at-the-gunpoint nature. It's exceptional make by Vidhu Vinod Chopra also benefits it. This is a recommended watch, and an essential viewing, if only to understand how well has the skilled, un-mainstream Bollywood aged. Yes it's unwieldy and romantically fragile, but it stays with you and mostly that is enough. 'Parinda' is the most fun gangster film Bollywood has ever had. Sure there have been better films, but it's touch of lightness and lovely music makes it a realm of cinematic beauty. 3.5/5.

Thithi2016

How can a first film be the best film? Ram Reddy is so much a product of a distinctive voice, I think it will take a lot of sweat for his mainstream film to match the splendour of this heartfelt, deep comedy which is an original. To use death as an accessory for a comedy has been common to all the cinema in India. But the Kannadiga film 'Thithi' is a young, mature film of skill and sweat which uses the acting skills of non-actors with beauty, and the word 'death' with so much beauty of ridicule, it hardly feels an exercise to mine out humour. This is an interestingly metaphorical film about man and meat, spirited characters and their real, relatable situations. It's fascinating how the camera moves from the inside to the outside. The writing is not perfect, with sluggishness occurring frequently. It especially feels crude in the first hour. But it's an unforgettable and inherently sweet comic with its heart and intentions in the right place. Other than the screenwriting, which too is too interesting to be dismissed, everything is perfect in this film, if the word 'perfect' exists. Century Gowda shall stay with you, so will Thithi, so will Abhi. It won't let go. 4/5.

Darkest Hour2018

Gary Oldman-starrer 'The Darkest Hour', a conspicuously made Winston Churchill biographical, is technically stupendous an achievement. As many critics have agreed, it'd be nice to watch it with 'Dunkirk' for a simultaneous pleasure. But then, despite being so beautifully made these films, and finely acted here by Oldman, it just remains a Dunkirk- well a thing to look at, but not essential viewing. I'd pick the Claire-Foy starrer "The Crown Season 1" and recommend it if you want to watch Oldman's Churchill in a better filmmaking-set piece. It's a flawed film, but it's still worth a watch if only to look at the shining assault it'll do to your eyes, sprinkling nothing but simplistic narrative arcs here and there. But I'd suggest to skip it if you are a fan of period drama. It's more politics, even boring at times. 2.5/5.

Qarib Qarib Singlle2017

Tanuja Chandra's 'Qarib Qarib Singlle' is an effective film, if not a particularly great one. It's a romantic comedy starring Irfan Khan and Parvathi Tiruvothu, and it is certainly well-acted because both the actors are marvellous. Irfan is obviously good here, but I particularly fell for the Malayalam actress Parvathi. Despite the bland dubbing, she is lovely and lively in equal measure. The film is hilariously comic: light-hearted, delightfully hilarious and interestingly funny. But as a romantic, it's bland and close to profoundly uncinematic. It's an unrealistic and unrelatable chemistry of the leads that lets down an otherwise enjoyable attempt. Tanuja Chandra crafts the film with skill and charm, but the screenplay is repetitively sloppy. All I can say is that this is a very funny comedy, but not an affecting romantic. It's hard to feel anything in it's final acts. It's worth a watch, but it feels hard to say that it's worth repeat viewing- because maybe that might be overstating it. 2.5/5.

Lion2017

'Lion' is one of the most heartfelt and loveliest of the films I have seen in recent times. Quietly disarming yet so fascinating, this beautifully made film is delicious as it is brave- it is an unflinchingly made, and yet compellingly mainstream portraiture of the true story of Sheru, a five-year-old not separated from hai family by a train, adopted by an Australian couple, and re-united with his mother Kamla and sister Shakila after a period of twenty-five years. This is a consistently watchable film, but it has certainly more than that to it, given its prestigious Best Picture nomination. It's a lovingly etched out screenplay that does best wonders to the film. Yes, you might argue you weren't affected so much in the bits where Saroo is in Australia with hai warmed-up parents, but then it's hard to resist Dev Patel and Rooney Mara in their intimate sex scenes or the street sway scene they do, especially in the sweeping 'Urvasi' number. And then, there might arise the problem of Indianization of the colloquial dialogue in staunch Hindi- but it hardly matters when it's an American gaze. I was so moved by this film and it's inherent simplicity that by its end, I was in tears, wholly consumed by its power of love and emotions. It's a super competent film and you have to get the time and watch it. 4/5.

Dunkirk2017

Christopher Nolan is so explorative, always keen of telling stories out of his comfort zone, he could well have been named Christopher Columbus. And thankfully, his explorative storytelling stretches it's distances towards his latest 'Dunkirk' as well- from the startling first scene where armies walk with papers coasting across an unsettling breeze, or the wonderstriking last scene where an army man looks upon a newspaper sheet, his face covered in dust- it's the most riveting set-pieces combination in recent times. But fine story-telling as it is, you cannot help but just notice the lack of cohesive, concrete and coherent screenplay, which falls flat towards the first half and merely sags around the second half. It's a well-made film that's thoroughly fun as it lasts, but "gems", as they say, need more than that. A dark knight maybe (😉). Still, watch 'Dunkirk' for experiencing a fine technical experience. You even may not notice it's flaws- I didn't, I found it faultlessly made, infact. It is a film as devastating as it is moving. From another lens though, you read those dialogue in your head, and just decide to not get settled or recommend it. 3/5.

Hamid2018

'Hamid' is a politically precise film. It's intentions are all ought there. And the film is helmed with responsible beauty by it's director Aijaz Khan, who tells the story with honesty and command. He stages entire scenes sans any melodrama, which makes this film a worthy, competent one. A special word for the cinematographer John Wilmore. His beautiful Kashmir is filmed with so much detail and an attention to aesthetic, it's practically one of the best things about this film. But the weak spots of this Netflix film, unfortunately, are more than just a few: it has a sluggish screenplay with bland use of Urdu verse- the Dogri language has a way more diverse use. The performance by Rasika Dugal and the cameo of Sumit Kaul are beautiful. I loved the unnerving way there narratives unfold. But the same cannot be said about Talha Arshad and Vikas Kumar. The phone correspondence with Allah is heartfelt but crude. Despite so many bumps, I have to say that as I hit the back button on Netflix, my heart was heavy and still, I had a big smile on my face. 'Hamid' is an earnest tale told effectively. It only needed some good writing and a handful of more polished actors to be awesome. It's not perfect, but it's very watchable. 3/5.

Kal Ho Naa Ho2003

Karan Johar's early Dharma baby, 'Kal Ho Naa Ho' directed by Nikkhil Advani, has real emotions, beautiful performances delivered by Preity Zinta, Saif Ali Khan and especially the excellently vulnerable Shahrukh Khan. It also has a script that's beautifully stitched. But the directorial craft is laboured and the story-telling is too glossy and incompetent. It's passable, forgettable entertainment at best, with good songs and good performances, and little else. 2.5/5.

Kabir Singh2019

'Kabir Singh's is the official remake of Sandeep Reddy Vanga's blockbuster 'Arjun Reddy'. But right from the trailer, you go in ready for the thing that this is a film that's nothing but a frame-to-frame reworking in the North Indian context. This film is so simplistic and universal that if Shahid Kapoor and Kiara Advani, and Sohum had dubbed for Arjun, Preethy and Shiva, it would have looked the same. This is a problematic celebration of tight misogyny of its protagonist- a deplorable, bland jerk, disruptive but frightening. He might be real, but so was 'Arjun Reddy', which was original and way more compelling than this piece of poop. What worked for me however, and the reason why the film is perfectly watchable inspite of it's toxic masculinity is the romance: Kiara and Shahid have lovely chemistry, tuned in with Jubin Nautiyal and Arjit Singh's lovely songs: 'Bekhayali' might have the best lyrics of a film this year. I also liked the carefree number 'Tujhe Kitna Chahne Lage'. Added to that is the skilled performance of Shahid Kapoor: he is super competent. He doesn't match the youthful beauty of Vijay Deverakonda which uplifted the film to near-perfection, but he is so good, he is ultimately transformed. Also a word for Sohum Majumdar's Shiva, who adds necessary humour to the film. Don't mistake the film's directorial conviction. It's nothing more than a faithful remake, sans the strong screenplay or passion of the original. Infact it's so forgettable and deplorable, it's not worth more than a shot. And you can also skip it. 2/5.

Swades2004

'Swades' is an achievement because despite being as long as three hours and they minutes, it never for once feels over plodding. Yes it is tiring in parts, especially the frustrating bits of NASA. But Shahrukh Khan has a great chemistry with Ashutosh Gowariker and both the storytellers create unique magic. It is easily one of the best stories to be translated into films this year and unmissable a gem for the same reason. Had the predictability of the plot been more crisp and the trimming been slightly less conventional, this could have been almost a classic. As it is, it is both fun and uplifting at the same time and delightfully joyous. Don't miss it, because it might be one of the best Hindi films you will see this year. 3/5.

Bhavesh Joshi Superhero2018

I can't imagine a perfect director in Bollywood. But Vikramaditya Motwane comes too close to be dismissed: the craft and majesty of 'Udaan', the romantically affecting and moving drama 'Lootera', the devastatingly thrilling 'Sacred Games' or the very skilfully directed and acted 'Trapped', he never seems to get anything wrong anywhere. But in 'Bhavesh Joshi', Motwane is faultless to a fault, which is troublesome. This mostly feels like a beautiful comic bookey rendition to an Anurag Kashyap film. But it's as disappointingly bland and indulgently mounted from its important perspectives, as much as it is lavishly diverse. The film is also let down by it's lead star Harshvardhan Kapoor. Whom we thought as a fresh voice from the line of privileged actors turns out to be like his younger sister Sonam Kapoor: potential he has, but he is weak in his department. The film benefits from the upsides: it is diverse, consists of a unique character and is a homegrown tale, consuming editing, crispy poster. But that does little to help this film, because it's as boring as it is thoughtful. It'd not be completely unwatchable. But it's not entirely worth it: its clash partner Veerey Di Wedding is better even when it's just a 'not bad' film. I'm being very generous, two stars. 2/5.

Haider2014

'Haider' stands magnificently in between as the king of the Shakespearean trilogy of Vishal Bharadwaj. 'Maqbool' is undeniably the wisest of them all, sitting atop as the igh priest of VB filmography. 'Maqbool' wasn't all suitable, a film existing to provide it's lip service to Saif Ali Khan, flair in writing and execution, but not much else. But this one lies in the world in between: it's way better than 'Omkara', even when it doesn't match the opulence of 'Maqbool'. This is the best mounted film by Vishal, in his whole career. The astounding cinematography, entertaining undertones, grim period and aesthetic of performances is what makes this a winsome. Shahid Kapoor is masterful and unflinching, transcending Irrfan's vulnerability and Saif's artfulness. He is faultless, graceful and effective. He's just like Tabu, the beautiful, sultry mother and her believable, uncomfortable equation with her son that goes from absurd to unpredictable. Kay Kay Menon and Irrfan Khan deliver wholeheartedly the short bits with awesome grip. 'Haider' is politically correct and absolute. But the film has a radically unsmooth start, it's first act is not entirely convincing to the viewer in spite of the visual mountings of the Shikara and ailing people. The change-of-climax of the original 'Hamlet' is not too workable. As it is, it is an entertaining, carefree thing to watch, brimming with texture and handsomely written. And that's an achievement 3.5/5.

Maqbool2003

'Maqbool' is a compellingly made, competently acted and skilled film about love, loss and faith which transcends the boundaries of religious politics. Vishal Bharadwaj stages this quietly moving drama with such affecting touch that you feel a punch on your gut. This gripping, taut and brisk gangster thriller that, despite the reading of Shakespearean drama 'Macbeth', shall intrigue you and leave you with a hollow mouth and an empty stomach. The only fault with the film is that it's awfully long. But that's only fault in this almost classic. Watch it for the fresh performances, particularly by the heart-stealing Irfan Khan and a confident Tabu, the soul-stirring Pankaj Kapoor and the directorial craft of it's storyteller Vishal Bharadwaj. 4/5.

Ishqiya2010

'Ishqiyaa' is a black comedy classic. Khalujan and Babban make for an astounding couple, as does their chemistry alongside the wonderful Vidya Balan, who owns the running time mostly. Abhishek Chaubey has well-crafted the film and his directorial debut is assured because of the precision with which the rustic to tonality and sex has been captured. The film gathers steam, grit and magic, and does on the screens what most filmmakers don't succeed in doing. I, for one, laughed till my sides hurt. How I wished that the film had the energy of the rest of the film geared in third act! How can an almost classic film lose all of it's steam in a final act! Nevertheless, this is one of the best Hindi films, and don't miss it. 3/5.

Kick2014

At it's overall, 'Kick' might just be another Salman Khan film which offers you escapist entertainment. But if you want to give it a chance, watch it for its slick action scenes which benefit from their tense filming and unconventional trimming. At heart though, what the film strictly remains is a one-time-watch. A perfect masala introduction to Bollywood it isn't, because it's too dumb in places- but it serves more than enough splendour for the fans of Bhai reinvented.

Raabta2017

'Raabta' makers are ling because the film is vishnu the adapta yoon of the Rajamouli epic 'Magadheera' which shrey adapta the original's cheesiness, sans the eye dor conviction and visual splendor. Its a smashing bore, a film that doesn't even expend half its potential. Its also the most incompetent Hindi love story you'll see this year, saved a little bit because it's leading hero understands a little bit that he has to deliver, and Rajkumar Rao's earnestness. Without them, the film doesn't have the right to be called a 'film'. In the end of the tale I have only one thing to say to the film: Quit if you get similar scripts to be written. You have no film industry to live on.

Ra.One2011

'Ra. One' is not satisfied with a skilled execution of a water thin plot premise. It has to add some songs, some masala moments, a novelty factor and some scintillating visual effects to add up. And it does add them. Which is good because there's so much to enjoy here. But all of it comes startlingly down because the worst performance in the film is delivered by its otherwise nuanced star- yes, I am talking about Shahrukh Khan. Kareena Kapoor delivers much better with her emotional coherence. Director Anubhav Sinha is too indulgent in the craft, and that's to a measure so drastically up that writer Kanika Dhillon, at that point, doesn't even know what to do now with the characters. So she deeply delves into pointlessness and borrows from Disney and Marvel's graphic characters and ends up adding eighties-level heft to the basic plot. That's what makes it 'Ra. One' a holy mess- serviceable, bearable even- but not overtly enjoyable.

Kaaka Muttai2015

'Kaaka Muttai' means crow's eggs. Have you see one? These two brothers literally drink the juice out of it! These are not the kids with privilege. No, they are urban kids, but they live in slums. The film is wonderfully shot in the Tamil Nadu slums and gets most of its notes remarkably right. It's an excellent achievement in the form of a film. The screenplay doesn't have a dull moment in hand. On the whole you should not miss the excellent achievement that M. Manikrandan's 'Kaaka Muttai' is. After the film, you'll be craving for Pizza most likely- and you'll choke in emotion at the fact that you'll get it easily, but these kids will have to earn Rs. 300 in a month to get one. That worked for me so much, I'll promise the film's makers I'll take it in my heart. I go with five stars. Not one flawed note with the film. And if there'd be only one reason to watch this film about childlike wonder, it's the enchanting performance of the kid duo Vignesh and Ramesh.

Trapped2017

'Trapped' directed by Vikramaditya Motwane could have worked better than it does had it avoided the other side of its manipulative game. The second your feels especially wobbly. What's further disheartening is that the film comes from a diligent, qualified filmmaker who rarely makes any mistake: not something you do notice, atleast. I remember clapping joyously by the end ans cheering for 'Udaan' and that film's wonderful characters because by the end it had become one of the best films of all time for me- one of my close favourites. And 'Lootera' left me with tears in my eyes, and a broken heart. This too, was one of my favorites. Unfortunately, that quality is missing in 'Trapped'. And that's also saying that perhaps this home alone genre is too sensitive to be masterfully handled. It needs to be done away. Had it been in the hands of a Sriram Raghavan, it could have well achieved it's potential. But it's still a potently shot and written film. The director doesn't compromise on the film's any technicalities, which makes this film a good watch, even when it plays safe. What further elevates the film's otherwise wafer-thin nature is Rajkumar Rao's deep performance. His performance is disturbing, and layered, which makes it a taut one. Just try to forget that this actor's skills are not stretched towards the entire film, and you'll have a better film in hand. And I had a better experience on that thought.

Aligarh2016

Hansal Mehta's gripping human drama 'Aligarh' is a soul-stirring adaptation of a true story which is boundlessly horrifying and gratifying in equal measure. And that's largely because of two reasons: Apurva Asrani has written a thoughtful script, Hansal's camera capturing the most rustic sets and gives them a profound quality, and most important thing: Manoj Bajpayee gives one of his best performances ever. Rajkumar Rao as Deepu Sebastian is good, but his new-age charm can't match the beauty of expression that Bajpayee has mastered. But don't mistake it as India's big leap for a 'gay movie' because it's not a full-blown homosexual drama, and even if it is, it's not mainstream. But I'll remember 'Aligarh' because it's emotional consistency and brutal wraps to the same have come to stay with me for a long time. The script never fails it's issues and gets many notes right. If there is one flaw with this film it's that it is unbound and a little pretentious towards the second hour. This minor quibble is forgettable. Watch 'Aligarh'. I insist you see it.

Mom2017

'Mom' was easily a great leap for the career of Sridevi, who played a killer with originality and a mother with much-needed vulnerability. But the script sags a lot and there's not much believability in the screenplay, a stage has been set for most of the problems. The problem is that despite you are hooked to the screens thanks to its actress and an engaging plot premise, you'd never feel her reasons: and that's largely because the film has an inconsistent tonality, and waferthin ideas are camped upon by the filmmakers about the briskness of a thriller.

Malang2020

'Malang' is not unwatchable. In fact, it's thrilling and engaging. But the shots of Goa can't promise a compelling narrative. The first half is promising but less twisty. The second half makes up, springing twists and turns every six to seven minutes. The casting is very good. But little of that matters when the leads have no charm together. The film is one of the most passionless in the filmography of Mohit Suri- whose slick craft is bogged down by heavy-handed scripts.

Spider-Man: Into the Spider-Verse2018

'Spider Man: Into the Spider Verse' is a referring superhero film. The best thing about it is the pop animation: the charm of the film lies in its distinctive visuals, which are very indie to be in the mainstream, especially a big leap for the Marvel zany. The film is an incredible triumph of storytelling because the colour completely seaps and soars and scales the heights of beauty.

Half Girlfriend2017

'Malang' has an unsatisfactorily flash first half: but still shows some promise on account of its dedication for proto-type 'Student of The Year' campus, and a niftily performing Vikrant Massey. Okay, the stage is set for an engaging second half. I was ready still to forget all what I saw in the first half and was prepared to delve in. But what I got in the second half was an excruciatingly unentertaining film with a bland Chetan Bhagat plot plastered onto it and a homegrown sense of melodrama that cannot work in any film this century. The director never gets right here. Arjun Kapoor is dumb as Madhav, and Shraddha is your standard urban girl. The film's visual effects are bland and so sloppy that you want to close your eyes and sleep. As a critic I can't do that. All I can do is to give the film 1.5 stars and say that it is the worst Hindi film of 2017.

Black2005

The truth is that 'Black' by Sanjay Leela Bhansali works better for me if I view it as a biopic: a highly indianized Hindi biopic of the famous blind, deaf and mute author Helen Keller. In that way it's inspiring. As a love story, it's consistently moving: Rani Mukharji and Amitabh Bachchan steal the scenes of romantic involvement and I just couldn't imagine those moments without them. But the truth is that the film works little if we see it as a lively original: grimness is no problem here because it is by design. But not as a biopic, the film works in fits and starts because other characters are just not in place. And the truth is: the film is not a true life story. Micheal drives the film and it's very message home even when the writing disarms it. 2.5/5.

Guzaarish2010

Goa and Anglo-Indians are mere plot devices in Bhansali's passion play euthanasia love story 'Guzaarish'. I decided to re-watch the film. In fact, I'm watching each of Bhansali's filmography again to experience and just re-view each and every film of bis, hoping to carry new meaning and a new likability for each one of them. Now I'm just loving 'Saawariya': a film so ahead of its time! Hope I could have just changed the review. I watched Bhansali's 'Hum Dil De Chuke Sanam' and the definition of love as an emotion has changed for me (and it has become my favourite Bhansali film's, shooting down Khamoshi: The Musical. For 'Black', it's a tad different. Follow my review on this site to know more about that. But my views for 'Guzaarish' have changed radically. It was still 'not-bad' for me. But now I just find it terrible. Aishwarya Rai's 'rasile' and meaty moments aside, there's little to love about in this cringe-worthy antiquity decor which exhibits a model of emotions which are just so out of place and cringe-worthy that you wonder if these are really Bhansali's work! Hrithik Roshan delivers one of the worst performances of his career. Pity, because the film is oriented around him. One star.

Toy Story 42019

The reason why 'Toy Story' series' each film has a likable quality to its that each film is an original: and while the message of love, to let go and to find a persona in the most little things has been a common theme of each one of them, the characters are always beautifully written and their joys and sorrows all are equally enjoyable. The fourth sequel of the 'Toy Story' series comes off as a surprise because we thought that the story ended right there, and extends the trilogy to perhaps conclude it. There's a new kid this time, and another set of fluffy playthings- making it's undertones similar to the previous film 'TS3' released in 2010. But this one is more textured in its animation and ever-avid reading of emotions makes it an all splendours dazzler that always works. It's a heartfelt goodbye which you will keep revisiting and always choked in emotion, you'll like it. Don't miss the film till the end-credits scene, which is beautiful and brilliant. I was always a fan, now having watched the film, I feel more satisfied and happier. Please, go and watch it!

Jawaani Jaaneman2020

'Jawaani Jaaneman' has a story which shines the bulb high and low in its fun but bumpy ride, and Hussain Dalal's writing is not dalpat enough, and hugely contrived. Thankfully, the performances of the prmoising debutant Alaya F and the extremely dazzling and fine Saif Ali Khan are beautifully interwoven, which saves the day to make it an entertaining romantic comedy with an unlikely relationship and many laughs are to be had. Just, they could have done so much to the screenplay and did little. But see it.

Tanhaji2020

Om Raut's historical drama 'Tanhaji' is a celebration of India's historical warrior who, as it turns out, is unsung hero behind the most well-known of Indian medieval rajahs, Maharaje Chhatrapati Shivaji Bhonsale. While Tanhaji has been played by Ajay Devgan with right amount of heft and conviction, Saif Ali Khan's Udaybhan Rathore puts on a terrifically terrifying performance of an antagonist who'll just creep you out with his inhumane nature. But he's not a Muslim invader. Although the film takes the side of bhagwa, which results in some problematic politics, the script is compelling, the cinematography and visual effects ever enchanting (with and without 3D in equal measure) and the direction skills of Raut are nifty. The aesthetic and texture of the film compounds the new decade's historical advances and likes, technifying Bhansali's most opulent from 'Bajirao Mastani' and 'Devdas' to 'Ram-Leela' or 'Padmaavat'. Watch the film for all these and you'll be enjoying this remarkably uplifting film that's robust and bereft of jingoism.

Tanu Weds Manu: Returns2015

Anand L. Rai's sequel to the 2011 mediocre wedding drama has not changed the title, and added a word. But the same can also be said about the film as a whole. The intent is still out there, but the comment and tonality is sharper, more rustic this time. And it's double fun, and entertainment is all guns blazing! (Yeah, I'm too excited). Set in Kanpur as always, the four years leap says Tanu and Manu have separated ways after a quirky scene at a mental asylum. Kangana Ranaut in what is the best performance by an actress this year plays Tanuja, a woman with a strong will and Haryana's Kusum, a headstrong hockey player who knows what she's doing with her life. The film is a crowd-pleaser in the best sense of word, and gives us two leading ladies to root for, Kangana×2!

Badla2019

Sujoy Ghosh's 'Badla' is a smart and unpredictable thriller that has got most of it's texture right. The craft is perfect and so is the casting of the female characters. But the other cast is all over the place. Watch 'Badla' to see how even a simplistic thriller can be hugely enjoyable provided that the writing is layered and the ideas are all right.

Toilet: Ek Prem Katha2017

Although some of the dialogue in the film is genuinely witty, largely it's an insipid, boring and sputtering propaganda sermon.

Game Over2019

Ashwin Sarvanan's deliciously twisted and meticulously crafted psychological thriller 'Game Over' knows all the layers and pluses and minuses of the mix-mash of the genres, and knows the key term of each of them 'Originality'. Taapsee Pannu and Vinodini Vaidyanath do all the impact ful strands quiet closely together so that the film is committed to its surroundings. The Rashomon-style climatic sequence will send chill down your spine, but also exposes the vulnerability and emotional confidence of the film. Although it's not each and every character is designed to do something to the film: Swapna and killers only could have done: but it's only the magic of the execution of the non-linear narrative that the phenomenal paranormal and supernatural and feminist: each and every element works. Although there can be many readings for the film, I'll remember it as a revenge drama with a slasher at it's edges, all sharp. It's an essential Non-Hindi film I recommend to see.

Mohenjo Daro2016

Had it stayed a history lesson, or Aashutosh Gowariker's familiar arc of a 'cinematic historian', I would have still considered Mohenjo Daro as a mildly frustrating, entirely watchable kind of a film. But the consistencies wear out so rapidly and the performances of the able cast are so badly blended into a nothing type script that it comes into a special category close to everyone's heart, "You know, it's so bad that it's good". That only makes 'Mohenjo Daro' a must NOT watch. Please skip it, or take a capsule of disprin if you must. It's a whole barrel of frustrating romances or bad headgear.

Sonchiriya2019

The sky is bleached of all the hues in 'Sonchiriya', which, very specifically, is a bloody Abhishek Chaubey film. By an Abhishek Chaubey film, I mean a sincere ensemble of performances foiling the most insignificant of the bumps in storytelling. No, seriously! We have seen him tickling our funny bone with Naseeruddin-Arshad-Vidya starrer 'Ishqiya', doubling the woman power with Naseer, Arshad and Madhuri Dixit and Huma. In 'Udta Punjab', he elevated the talent with Diljeet, Shahid, Alia and Kareena. But this time, he transcends the boundaries of a talented star-craft, with Bhumi Pednekar, Sushant Singh Rajput, Manoj Bajpayee, Ranvir Shorey and Ashutosh Rana taking leads and playing dacoits-in-distress, India, 1975. Chambal burns in the fire of Indira Gandhi's emergency, and after seven years of 'Paan Singh Tomar' we have another spirited, finely delved in story of daakus and their reason for killing. We are not specifically introduced to the characters, they practically present them. 'Sonchiriya' is a must watch because nothing's more enticing than a Bollywood people speaking in rustic language of badlands. Well, even Gangs of Wasseypur was well-versed in language. But what makes it special is the qualified approach, this one uses practically 1% Hindi. Chaubey diligently uses his casting choice to every limitless quotient, and has well-made a drama about humans, not butchers as they seem. This is a prapt from the daaku dramas we've seen in Bollywood. It also celebrates them, in a quiet way.

Laal Kaptaan2019

This is an unmistakably bland attempt to a period drama which can't even correct it's entertainment. Saif Ali Khan delivers a bizarre performance as a Naga Sadhu and the experiment, however interesting it might have been, didn't work for me. The weakest link though is Zoya Hussain, the interesting 'Mukkabaz' debutant. I didn't expect such a bad act from an otherwise very interesting actress. Deepak Dobriyal is the strongest, the most out-and-out thing from an otherwise bland historical thriller which fails it's characters repeatedly.

Dabangg 32019

I didn't expect 'Dabangg' franchise to lose fizz... But honestly when I saw that the film has been directed by Prabhudeva and it has Salman himself on the writing team, I was sure that it's nothing more than serviceable fan-based entertainment with special biase towards Chulbul Pandey. But even when watched with modest expectations, 'Dabangg 3' can't match the nonstop entertainment of 'Dabangg' and matchless sound-and-light show presented by an otherwise average 'Dabangg 2'. You cannot relish this prequel which is even more colourful than both the more grounded, rustic two films. This first has weakened the future which we 'enjoyed'.

Baby2015

Neeraj Pandey's 'Baby' is an edge-of-the-seat spy thriller which will keep you thrilled throughout the running time. The film doesn't have the heft of originality which 'Special 26' had as a speciality, but it's a film that's as much entertaining. Akshay Kumar is in a raw form here- and it might be his most gripping, heroic performance. Taapsee Pannu makes an assured debut. Watch her as she kicks the butt of the enemies. There are many such bits on screens, and these bits make you glued to the screens. It's an immensely enjoyable and entertaining film which has a concrete- if not coherent- script. But most importantly, it's weakness isn't jingoism.

Life of Pi2012

'Life of Pi' is a brilliant achievement, and it's not simplistic storytelling which mends itself in the most exciting, boundless ways. It's that, but in the form of visual-storytelling. The events of a 'Pi Patel's in real life might be closely disturbing, but the film takes a flight of fancy. The way the animals cooperate with humans can only be the incredible imagination of the fantastical 'Rhythm and Hues', also responsible for the great cinematography of the film. The past and future in between the story has been captured in authentic grimness. The grip has also been exerted by the excellent casting choice of Kaufman, who selects the right actors: Adil Hussain has not been given much to do, but Tabu brings heft and affection in a short, crisp role as the mother. Ultimately, the performance of Suraj Sharma might, in fact, come as a loose one, but ultimately even he is provided cover by a strong Irfan Khan who surprises in even familiar notes. Watch 'Life of Pi' for a visually brilliant joyride at cinema screens. Regret would be far.

Three Billboards Outside Ebbing, Missouri2018

'Three Billboards' is nothing short of a winner. It is a boundlessly entertaining film that keeps you hooked despite a flimsy cultural and ethnically one-note entry. It is about the struggle of a mother- a protest language, which comes as a harbinger of the kind of cinema that does theme-tackling in a structural, surprisingly optimistic way. But that is only the prowess of the writing by Martin McDonagh, who infuses clichés and re-defines the textbook with textures. Frances McDormand is the best actress of this year, with ensuring that Mildred Hayes stays with you, for you, forever. She can easily be one of the soul characters of Hollywood. Sam Rockwell's officer Dixon has a another kind of complex- you may like it or beg to differ. Any ways, his name's quiet bloody hilarious, it sounds like 'dick son'! With all these, Woody Harreison plays officer Willoughby to his prowess: (spoilers ahead) when he dies and one of the billboards of Mrs. Hayes fails, it dials enough emotional resonance and clicks the right buttons of story-telling. Arrive twists like disruption of Dixon and unlawful ways by which the authorities function, and you feel the beat of why the drama has been structured to stay with you. The ethnical variations mostly arrive to nuanced structures. And that's a considerable strength to undermine the film's a little kinda flawed intent. Watch 'Three Billboards Outside Ebbing, Missouri's if you want to see what a fine winning film looks like. It's one of the best films of the decade, and for that, it's essential viewing.

Do Lafzon Ki Kahani2016

A breezy romantic, if turns unintentionally funny and ridiculous- it's the worst that can happen to it. And it's not about how much layers the character have been pushed in. Kajal Aggarwal and Randeep Hooda are decent, and for the most of the part- are real things. One and a half stars. But all let down by amusingly bad direction and writing especially done by Deepak Tijori, a director, who let's just say it, is a burden on Bollywood. Please Tijori, that was the only chance we give you. No more movies!

Rudhramadevi2015

'Rudhramadevi' over-worships it's patriotic and highly jingoistic lead. Instead of a sober research on her life, the director commits a bad mistake of using a smug, stale script and infusing it with token white people. I was laughing on the climax which was unintentionally so funny- that the Persian ruler crowns his daughter and owes by the name of Rudhramadevi. While there are some decent war scenes and thanks to the stinging performance of Anushka Shetty as a lead: a deft, reasonably good part of shouting voice that helps, but that might be the only decent thing about a terrible film which makes it's solid female lead a bore rather than celebrating her as a woman, as a warrior, and, textbook cliché lover.

Panipat2019

'Panipat' directed by Ashutosh Gowariker doesn't match the romantic consistencies which made 'Jodha Akbar' a stunning film which infused real emotions and it doesn't carry the research which made 'Lagaan' a great History movie with engrossing and deft-for-the-most-part fiction. But you must remember how much our expectations went downbeat as we watched 'Mohenjodaro'. I recall watching the movie with high expectations, lowering them in the second half and making a bad face exiting from the theatre. This wasn't the case in 'Panipat'. The visual effects are sloppy and the emotions are of soap opera, but the excellent main cast does the job solidly. Parvati Bai is almost the seventy percent match to Bhansali's iconic Kashibai, and Arjun Kapoor is immensely enjoyable as Sadashiv Rao Bhau. Padmini Kolhapuri and Zeenat Amaan are terrific. There's also ibrat music and scintillating war scene which replicates the battle with stringing nationalistic highs. It isn't a befitting jingoistic film, a nationalistic on, or something which is a staunch devotee of its Maratha sanskriti. But as a piece of political resonance in modern times, it mostly does it's job with strong, restrained dramatic strands. And how can that be a bad thing?

Jagga Jasoos2017

The film 'Jagga Jasoos' is caricaturish, and at a point indulgent. But it also comes with rich, fervent imaginativeness and straightforward story feeling. That's why it is worth watching.

Zindagi Na Milegi Dobara2011

'Zindagi Na Milegi Dobaraa' is a sweet, harmlessly fun buddy drama which unfolds at a luxurious pace. The road trips here become the unforgettable journeys of life and life itself is a harmonious concoction of enjoyment and comraderie. Although the script has little to rely upon, and the performances too aren't as solid as they SHOULD have been, but Zoya Akhter makes it work with her light, warm observation. She doesn't overstuff the film with ridiculousness and gives it a hint of beauty and garnishing of romance. Go watch 'ZNMD'. I had a smile plastered on my face watching it.

Frozen2013

Watch 'Frozen', because it might be Disney's most enjoyable, animated and freshly original and homegrown fairytale this decade. Emma and Elsa, Olaf and the boys shall stay with you long after you've left the halls. Best enjoyed with a mug of hot chocolate and a santa cap on head. The wintry shades might be devisive and distractive, but largely the storytelling is absorbing and the message shall consume you as an audience. The film has a story well written and well told. There are oodles of laughter in the way in which the narrative strands function, and you'll tear up many a times.

Pagalpanti2019

The mindless, masala humor is an excuse to cover up the obvious blandness of 'Pagalpanti'. Although it has some terrific comic shots and a particularly interesting ensemble star cast, the film has nothing else to rely upon. Tonnes of boring moments and easy dissatisfaction through the blandness will ruin your experience at the cinemas. AND I have seen it, so it's not like I am judging it: but there's also loads of sexism here. Easily one of the worst by Anees in his career.

Chennai Express2013

'Chennai Express' comes with its own contrivances. There is an over-dragged plot which is nothing but a bundle of clichés all aimed against the South Indians and multiple overlong jokes. If this was a seventies flick, it would well have been called 'Uttar aur Dakshin' (I over-imagine terribly). But it is also guilty pleasure, because its jokes are funny and the romance between Rahul and Meenamma is breezy. Shahrukh Khan has been overpowered by Deepika Padukone who also delivers constantly, especially in the second half. Its emotional bits, somewhere, though largely never, do get where they want to. The use of accented, well-done Tamil is what I found great. It's a fun mass movie which goes in exciting directions, even when it finds comfort in the familiar and overstays its welcome.

Manto2018

Manto is one of the bravest pieces of cinema helmed by a woman director. I acknowledge this, since nothing like 'Manto' has been actually seen: it has been made in a way so upbeat, written so beautifully- that you consistently feel its multi-dimensioned resonance. Nandita Das's 'Manto' is imperfect as a biographical film. Like any other docu-drama about Saadat Hasan Manto's dramatic life, its aspects are all focused on his work, his times and the people who were involved in his life. However, what sets all of them and this one apart is the seamless thread which powers its story-telling, and the smart castinc choice: it has just on-point casting: Nawazuddin Siddiqui as Manto is a unique blend of the cinematic hero ajd a genuine, middle-class men with beauty of words as a profession, Rasika Duggal as Manto's wife is affecting, and there is an ensemble cast with repetitive cameos. Nandita's script is also a joyous period sequence, it disrupts frequently as it also translates Manto's stories to the screens. She tries to echo why in this age, when the movies are going on the less travelled, 'obscene' path, there was a famous, dignified writer who was once defamed for writing obscene stories.