Despite being a film about a reporter, ‘Noor’ gets neither the filmmaking nor the journalism right.
‘Begum Jaan’ had the potential to provoke, but loses out thanks to the director’s constant emphasis on hammering in his point instead of letting the audience get there themselves.
Kaatru Veliyidai’s portrayal of toxic masculinity through the lens of a successful love story is much more intelligent and unsettling than it lets on.
Despite its assured storytelling and attention to detail, ‘Mukti Bhavan’ offers the same, familiar emotional experience of Hindi indies that came before it.
The film treads familiar ground of the director’s earlier films, but lacks the urgency of its predecessors
In an interview to The Wire, Rahul Bose talks about his new movie ‘Poorna’, a biopic about a 13-year-old Poorna Malavath, the youngest girl to climb Everest.
The film seethes with anger about gender disparity, but it makes its points without sacrificing the film’s plot or resorting to preachy overlong platitudes.
Above all, ‘Phillauri’ is a film about love, about its transformative powers, about the hope that it’ll be eternal.
‘Trapped’ is an example of credible writing, smart direction and masterful acting – transforming mundane to lyrical, passable to remarkable.
The film is a mishmash of analog and digital images but remains impartial and unsentimental
‘Badrinath Ki Dulhania’ is a highly uneven film, mainly because it’s marred by a constant tussle between real life and cinema.
The film raises questions about loyalty and love in a story set during the Second World War.
The director Garth Davis has powerful material to work with, but he does little with it
Had Martin Scorsese probed his protagonist’s mindscape more, ‘Silence’ would have been a more complex, more complete film.
John Wick: Chapter 2 is very much its own film – an impressive concoction with a serious lead but a film that doesn’t take itself seriously.
From understanding one small-town India to ridiculing the other, ‘Running Shaadi’ starts and ends on diametrically different notes.
Barry Jenkins’s ‘Moonlight’ is the kind of world where forgetting and forgiving takes a lot of time, a lot of effort.
The filmmaker takes the audience for granted, believing it will accept anything at face value.
The Jackie Chan-starrer is formulaic and predictable, and tries a little too hard to be funny.
The Wire spoke to Amit Masurkar, Swara Bhaskar and Neeraj Ghaywan about their reactions on the Bhansali assault, how it affected them and the perils of self-censorship.
It is difficult to decide whether the movie’s regressiveness or stupidity is more infuriating.
Shahrukh Khan’s Raees becomes so omnipotent in the story that there’s little that this film can offer, doling out one act of unchecked heroism after the other.
In making Xander Cage capable of anything, xXx: The Return of Xander Cage is absolutely devoid of conflict.
The lacklustre, indifferent performances from the film’s leads evoke the same apathy in the viewer.
Adding to Bollywood’s uneven ‘indies’, ‘Haraamkhor’ has a riveting story. But it doesn’t move or disturb you enough.
From Sairat to Kapoor and Sons, Indian cinema saw diversity, nuance and courage in the last year.
‘Dangal’ wants to have the best of both drama and reality, but ends up being stranded in no man’s land.
La La Land makes you feel like an 18-year-old again when everything held meaning and promise, when self-awareness was low, innocence was high and floating among the stars wasn’t such a distant dream.
While Aditya Chopra is laudably trying to move away from mainstream Bollywood conceptions of love, his success is only partial.
While Vidya Balan plays her fascinating character with aplomb, the film fails to pull off the genre-balancing act of the original ‘Kahaani’.
The film market serves as a platform to help young directors’ indie films get their due in the domestic and international film industry.
Virtual reality gives audiences unprecedented control over the stories they watch, collapsing the distance between viewer and subject, but it also heralds the end of the communal viewing experience.
The movie, at its core, asks several uncomfortable questions about living with people who make you feel unsafe and insecure.
Tahir Raj Bhasin is a special talent – and while he makes the film watchable, even he can’t save it.
Although Rock On 2’s tries to convey that ‘music can save lives’, it can barely save itself.
Who are these people – the ones who are so fundamentally insecure about whatever it is that they claim to love – that a movie’s name, dialogue or plot turns their devotion to agitation?
At times the film feels like another Singham, with its car crashes and a cartoonish villain.
The movie also ventures into subjects that Bollywood romantic drama is not usually known for: acceptance cloaked in rejection, the interplay between the past and the present, between forgetting and remembering.
The documentary dives into the inner workings of AAP but doesn’t lose sight of the human drama
An exemplary specimen of narrative journalism, the documentary points to the tenacity of filmmakers Shirley Abraham and Amit Madheshiya.