Like his previous films, Neeraj Pandey’s ‘Aiyaary’ is a spy thriller with the heart of a family drama.
The film needed the fine strokes of a deft artist. But filmmaker R. Balki and actor Akshay Kumar prefer the broad strokes of a novice.
In ‘Phantom Thread’, the viewer is both inside the world Paul Thomas Anderson has created and outside it.
How the I&B Ministry’s Authoritarian Mindset Saw an Officially Selected Film on Kashmir Dropped From MIFF 2018
The 16-minute documentary, In the Shade of Fallen Chinar, centred on art and resistance in the Kashmir Valley had been selected in the National Competition category of the festival organised by the Films Division.
The constant invocation of Rajput courage and Muslim villainy feeds into the paranoia of the Hindu right.
Nolan, along with celebrated visual artist Tacita Dean, will headline an event called ‘Reframing the Future of Film’ on March 31 and April 1 in Mumbai.
Amid absurd scenes, rippling with humour, the film throws some unexpected moments of tenderness.
Despite a few remarkable aspects, Anurag Kashyap’s latest resorts to old tricks to regale and hook us.
Hindi cinema is historically known for sidelining its female leads. But 2017 was different.
Bollywood proved to be a disappointment this year, but the indies gave us hope.
Big-budget mainstream entertainers don’t usually rely on smart writing, but key plot turns in Tiger Zinda Hai, in place to magnify Salman Khan’s stardom, make no sense at all.
Amit Kumar’s directorial debut Monsoon Shootout gets bogged down by words where just visuals are enough.
Like any Star Wars film, The Last Jedi has intergalactic battles aplenty but misses out on the intimate – the small situations where characters live their fears and vulnerabilities.
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.