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.
Amit Masurkar’s film is one of several from South Asia in the Berlin Film Festival.
Originally released only on CDs, Mollywood is now popular in cinemas across western Uttar Pradesh.
The filmmaker takes the audience for granted, believing it will accept anything at face value.
Lost archives of the pioneering film studio Bombay Talkies have gone on display at an exhibition in Australia.
Nothing much has changed from the time I was attacked by goons 17 years ago, says director Hansal Mehta
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.
Hurt, who battled pancreatic cancer, died Friday in London according to his agent Charles McDonald.
Rajput activists say its because Bhansali is presenting wrong facts in his new historical drama Padmavati
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.
The film, which claims to be a biographical account of the life of Majaz, is a shoddy and slapdash attempt, where even the basic facts of the poet’s life and time are presented incorrectly.
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.
What do films produced during the run up to Nazi rule say about the mood in Germany at the time?
From Aligarh to Udta Punjab, Hindi cinema this past year has explored unusual themes of homosexuality, drug abuse and patriarchy that not too long ago were unthinkable in mainstream cinema.
Dangal succeeds in making us cheer for young women who break gender stereotypes. But it fails to problematise the patriarchy of the central protagonist.
Though ‘Dangal’ tries to have women challenge traditional male spaces, the patriarchal notions of the Khap panchayat are replicated in the baap played by Aamir Khan.
Prabhakar Sharan takes Latin America’s interest in Bollywood to the next level.
‘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.
Why should a completely legal economic activity need the permission of an extra-constitutional bully like the MNS? And why is the state continuing to look the other way?
From mainstream Bollywood films like Befikre and a Manipuri movie, to a virtual reality short, Indian films at this year’s festival covered a wide cinematic range.
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 depicts the rousing anti-caste movement in Ichchapur , where a first-of-its-kind Shudra collective is boycotting the village’s Brahmins.
The film market serves as a platform to help young directors’ indie films get their due in the domestic and international film industry.
‘Arrival’ takes advantage of a conflict between the past and the future to reveal how language can change the way we understand our purpose.
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 French film director discusses her evolution as a queer filmmaker, the rise of homophobia in France, her opposition to the right-wing and more.
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.
In Dharamshala, home to many Tibetans refugees, it is films preoccupied with an immigrant’s bid to live freely and be heard that draw the keenest throng of local filmgoers.
There remain and will always remain, on both sides of the border, peace-loving citizens who will reach out to each other and say: “I friend you for life”. And the movie supports this message.
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.