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.
It’s nearly impossible to be objective about Sachin: A Billion Dreams. Because Tendulkar, for me and for a million others, wasn’t just a player, he was our childhood.
Ritesh Batra’s ‘The Sense of an Ending’ nails the emotional essence of Julian Barnes’s novel.
Coincidences and product placements galore make ‘Half Girlfriend’ a dull watch.
With stereotypical characters and lazy screenwriting, Saket Chaudhary’s ‘Hindi Medium’ fails the complex social realities it’s trying to depict.
Meri Pyaari Bindu isn’t particularly profound, and you’ll probably forget it soon, but it leaves you with a smile and a faint sense of loss.
‘Sarkar 3’ is so juvenile that you can’t take it seriously and get offended; the only way to endure it is to play along and chuckle.
The ‘Baahubali’ films highlight that even violence can be lyrical, that inventive imagination can bend and break barriers.
With an eclectic body of work that recognised no boundaries, Demme’s demise is a profound loss for American cinema.
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.