Even though it is not his best, Kabir Khan’s latest film continues his efforts to challenge mainstream tropes
A remake of ‘Little Boy’, ‘Tubelight’ is marred by bad acting from its lead, bad direction and bad script writing.
“We’ve granted a ‘UA’ to the trailer of Jab Harry Met Sejal on condition of deletion of the dialogue about intercourse”, said censor board chief Pahlaj Nihalani.
For more than five decades, Soumitra Chatterjee has remained a quintessential part of Bengali cultural life.
In conversation with Khushboo Ranka and Vinay Shukla, directors of political documentary ‘An Insignificant Man’.
Like everywhere else, people in Bundelkhand have moved from cinemas to TVs to smartphones. But the nostalgia remains.
What makes Wonder Woman a good superhero movie is not that the female superhero wins, but that she isn’t always heroic.
With a deceptive ease of storytelling, filmmaker Mostafa Sarwar Farooki gets under the skin of Dhaka and its people, exploring the aspirations and fantasies of the lower middle class youth.
The documentary on the student’s suicide was denied a ‘certificate of exemption’ by the information and broadcasting ministry.
A documentary seeks to capture the contribution of Jews to Indian cinema right from the early days.
The Film Certification Appellate Tribunal has advised the CBFC to reconsider certifying movies that were willing to accept cuts and additions.
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.
In the smoothly manufactured narrative of the 44-year-old cricketer’s life, there was no room to explore the personal tensions that may have existed.
While experts have raised doubts over the legality of such a demand, film-makers Khusboo Ranka and Vinay Shukla are determined to fight against the CBFC’s request to get permission from Modi and other senior politicians.
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.
His 12 years as James Bond, the British agent with a voracious appetite for danger and sex, made Moore a millionaire and a heartthrob the world over.
Filled with wit and self-deprecating humour, Karan Johar’s autobiography is about coming-of-age and ‘coming out’.
Ritesh Batra’s ‘The Sense of an Ending’ nails the emotional essence of Julian Barnes’s novel.
With stereotypical characters and lazy screenwriting, Saket Chaudhary’s ‘Hindi Medium’ fails the complex social realities it’s trying to depict.
‘King Arthur: Legend of the Sword’ is an at times thrilling, at times bizarre, viewing experience that blends classic English myth with a gangster aesthetic.
Reema Lagoo acted in hit films like Maine Pyar Kiya, Saajan, Vaastav, Kuch Kuch Hota Hai and Hum Saath Saath Hain among others.
The documentary on the cats of Istanbul portrays a face of Turkey that goes beyond the usual stereotypes.
‘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.
Stylish and handsome, the star had a legion of swooning female fans even though he often played the villain
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.
Indian movies are embracing the fact that real relationships can be messy because individuals are.
In conversation with the directors of Soz: A Ballad of Maladies that reveals how heavy militarisation in the Valley has led to the emergence of political hip-hop, rock and folk music as weapons of resistance.
‘Lipstick Under My Burkha’ follows the lives of four women with sartorial, professional, spousal and sexual desires in small-town Bhopal.
The provisions of these laws, Amol Palekar has said, have not been questioned in the last 47 years and have failed to keep up with the times.
‘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.
In conversation with Kenny Basumatary about filmmaking, raising finances through crowdfunding, viewers’ expectations and more.
Delhi’s nostalgia-ridden fans gave a rousing send-off to one of their favourite cinema houses.
Since the censor board’s decision committee failed to agree on what classification to award the movie, the final call now rests with Pahlaj Nihalani.
The film treads familiar ground of the director’s earlier films, but lacks the urgency of its predecessors
Above all, ‘Phillauri’ is a film about love, about its transformative powers, about the hope that it’ll be eternal.
The machinery of making a film is the same in India, Britain and Hollywood, says the director