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.
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.
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.
‘Badrinath Ki Dulhania’ is a highly uneven film, mainly because it’s marred by a constant tussle between real life and cinema.
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 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.
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 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.
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.
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’.
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.
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.
The documentary playing MAMI humanises Kim Jong-il and shows the ‘despot’ as someone trapped in a game he didn’t fully understand.
In terms of being a distraction from the hyper-nationalism going around, the Mumbai Film Festival couldn’t come at a better time. And there’s plenty to look forward to.
The film, ‘M.S. Dhoni: The Untold Story’ has a lot of cricket but it needed some heart, too.