Fukrey Returns unfolds like a series of gags, each trying to outdo the other.
The film, centered on the 1980 Wimbledon final, explores the clash between not just two players, but also two lifestyles, personalities, and worldviews.
The narrative of Indian film censorship is slowly changing. It is no longer just for big releases, but also indies, documentaries and shorts, and the film festivals that screen them.
The director is so taken by art-house aesthetics – long scenes shot in single takes, uninterrupted stretches of silence – that they seem indulgent, reducing the movie’s emotional heft.
The Vidya Balan-starrer is about reinventing lives and giving ourselves a second chance despite discouragement.
The documentary dives into the inner workings of AAP but doesn’t lose sight of the human drama.
Parvathy and Irrfan Khan are both good actors, but they cannot rise above the weak story.
The festival initiates conversations among directors, actors, journalists, festival programmers and audiences, while also exposing the locals to Indian and world cinema.
Despite competent acting and direction, Rukh is mediocre and forgettable.
Revolving around the difficulty of art’s inclusivity, the Ruben Östlund-directed film is not just hard-hitting and profound but also funny and topical.
The film about a girl trying to break out of a patriarchal family to follow her calling is an easy film to like
In A Suitable Girl, India and Indians are difficult to understand, progressive and regressive ideas jostle for space and cultures and generations are in a state of constant collision.
Loving Vincent isn’t hagiography but deep sincere reverence, attempting to understand and celebrate one of the finest minds of the 19th century, one that sadly gained prominence only posthumously.
Even with its flaws, Victoria & Abdul is a sweet reaffirmation of how similar we are, regardless of skin colour, language or ethnicity.
Tu Hai Mera Sunday with its terrific casting and credible performances is serious about its intentions but doesn’t take itself too seriously.
Raja Krishna Menon’s Chef doesn’t preach or pander, try to please or impress. It is concerned with a few essential life truths, but doesn’t make a big deal out of them.
Ritesh Batra has managed to elegantly capture the soul of Kent Haruf’s novel and the pulse of the small US town it is set in – where the days are lonely, and the nights lonelier.
David Dhawan is still stuck somewhere in the 1990s, and it shows in the crude jokes in the film.
‘In Naxal-controlled villages, if people vote, they are seen as government agents, if they don’t, they are called Maoist sympathisers.’
‘Newton’ isn’t just political; it’s also deeply personal, searing with existential angst seldom seen in Hindi cinema these days.
Based on a familiar motif, the futility of crime, Babumoshai Bandookbaaz tries to rise above its limitations but is too inconsistent and jaded for its own good.
The well known characters – Gandhi, Nehru and Jinnah – are painted in broad brushstrokes and seem to have walked in from history textbooks.
The best thing about ‘Bareilly Ki Barfi’ is Rajkummar Rao’s excellent supporting performance, but it isn’t enough to save the film.
‘Toilet: Ek Prem Katha’ looks less like a sincere effort to deconstruct and depict a complex reality, and more like an attempt to sidle up to one particular political party.
Gurgaon, just like the family it examines, hides secrets aplenty – secrets that are dark, disturbing, disgusting.
Between its deeply regressive ideological pronouncements and terrible filmmaking, ‘Jab Harry Met Sejal’ has no redeeming qualities.
The characters in ‘Indu Sarkar’ are either all good or all bad; there is no middle-ground here.
Dunkirk, aided by plenty point-of-view shots, puts us right in the thick of things and allows its scenes to grow on us and to soak in the settings.
The film benefits from the director’s light touch and solid performances by the actors.
In conversation with Denzil Smith about his experience of being a somewhat unusual actor in Bollywood, his takeaways from playing Mohammed Ali Jinnah in the forthcoming film Viceroy’s House and more.
There’s a good film and a solid story somewhere in ‘Jagga Jasoos,’ but it can be only accessed beneath its layers of indulgence and confusion and ambition.
Despite what the trailers suggested, Mom is not a thriller. It is a hot mess, an op-ed piece masquerading as a fictional film.
Nanjiani, who was good in Silicon Valley finds it difficult to emotionally rise to the occasion
Par Ek Din is about drowning the clutter of city life, being indifferent to indifference, and making something of your own – something that, irrespective of the audience’s might, is uncompromised, true, and original.
A remake of ‘Little Boy’, ‘Tubelight’ is marred by bad acting from its lead, bad direction and bad script writing.
The Assamese indie is cheeky, irreverent and sticks to its brand of humour – goofy, charming and silly – while telling a simple story.
In conversation with Khushboo Ranka and Vinay Shukla, directors of political documentary ‘An Insignificant Man’.
A documentary seeks to capture the contribution of Jews to Indian cinema right from the early days.
Baywatch has a paper-thin plot, which has been unnecessarily padded to pass off as something substantial.
Konkana Sen Sharma respects her audience; her A Death in Gunj is subtle, it expects the viewer to be able to make the finer connections.