Sreehari Nair presents his Top 20 movies of the decade.
More than 25 years after the Babri Masjid was destroyed, another generation proclaims its commitment to building a Ram temple.
How many of the 319 films Aseem Chhabra watched in 2018 have you seen?
A hard, unrelenting film that doesn't give in to over-sentimentality, Citylights is like the city of Mumbai -- it beats you down and when you are broken, takes you in its arms and loves you. Suparn Verma, who has directed films like Aatma, Acid Factory and Ek Khiladi and Ek Haseena, raves about the film.
Hindi Medium works because it manages to stretch itself beyond its scrubby elements, easy half-baked jokes, lessons about consumerism and our love for English, into a simple story about a boy who would do anything to see his girl smile, feels Sreehari Nair.
Aseem Chhabra picks the scenes that left him impressed this year.
Bajrangi Bhaijaan is an overearnest, oversimplified, preposterously sweet and frequently schlocky film, which works because of a finely picked supporting cast, some sharp lines of dialogue and, most crucially, because of its overall heart, writes Raja Sen.
Veteran actor Sadashiv Amrapurkar, who breathed his last this morning at Kokilaben hospital in Mumbai, will be remembered for his remarkable ability to make us both adore and abhor him with his on screen antics. Here's a look at his best performances.
'I find it hard to watch my own films. I prefer to watch my face when it is covered with some facial hair. I like certain moments in my films. Most of them are in Lootera.'
Old songs, retro fashion, 1980s pop culture, childhood icons and sharing space with Kundan Shah on paper, the theme of Sukanya Verma's super-filmi week was consistently nostalgic.
Read about Rishi Kapoor's page-turning debut, SRK's super-charged turn in Raees, Sridevi as potential Dhoom vamp, Sanjay Dutt's contribution to Andaz Apna Apna and more in Sukanya Verma's super-film week.
There is something about Anurag Kashyap that puts the cinema watchdogs on alert, says Veenu Sandhu.
In the world of harebrained Bhai films, Kick is the best made and the most fun, says Raja Sen.
'How can you blame poor Kabir Khan for the Tubelight fiasco?' 'We know that his Job Description expects him to work below full capacity, to sell his soul, and we know his SOP-sheet has the title: Design the next Salman Khan Project.' Sreehari Nair sees through Kabir Khan's cunning.
Nandita Das on why she wants to make Manto so badly.
We look at 52 of them, spread over 52 Fridays, in a two-part special. Here's the first part.
'2016 was the age of convenience for Hindi movies; of down pat effrontery and planned feeling triumphing over attempts to discern something complexly beautiful,' says Sreehari Nair.
'As a director, I am happy to take the blame because that's mine but I get blamed for everything.' Anurag Kashyap gets candid.
'2015 gave us a set of Hindi films that brought to light, the true uncorrupted joys of filmmaking even in their roughness.' 'Films which told us why we loved films in the first place. Films that were less ashamed of revealing their weakness and ones that took chances with audience expectations.'
Despite four screenplay writers and Salman Khan's best efforts, Kick fails to impress, says Sukanya Verma.
'If I have become a star with limited talent, I think of myself in these 25 years. I need to believe that people have given me so much, they expect some of it back.' Shah Rukh Khan gets reflective.
'You don't need a godfather to protect you from dangers of Bollywood because nobody will.'
'This is a movie made with this gaze fixed on its immediate well-wishers, while at the same time it squints hard looking for those swaying back and forth on the fence,' notes Rohit Sathish Nair.
'When the same rotten paratha is served to someone year after year, it shocks them when all of a sudden there is a change in taste.' Kay Kay Menon justifies why he took up Yudh.
A big part of October's charm is in its taking of a cinematic tragedy and presenting to us how we may experience it in real life, says Sreehari Nair.
'It's like a railway compartment which is really crowded and you have to make your own space, work harder for that seat.' Divya Dutta makes her presence felt.
Preetisheel Singh lets us into some star secrets.
Manoj Bajpayee confides in Rediff.com's Ronjita Kulkarni about his 'long journey filled with rejection, betrayal, misery, failures and disillusionment.'
Putting together a play about the Father of the Nation is no easy task. But when that play is a musical, the challenges increase.
'I don't get angry in real life and to get this anger out in front of the camera was tough.' Varun Dhawan gets ready with Badlapur.
'Please, ye gods of Bollywood: Someday, give us a tightly edited film, with believable characters and dialogue, definitely without endless close-ups of dabbas. Then maybe you won't need to moan mournfully about missing the Oscar bus with a film that doesn't belong there anyway,' says Dilip D'Souza.
Meet Bollywood's finest casting director Mukesh Chhabra.
'Of the countless protagonists I encountered at the movies in 2015,' says Sukanya Verma, 'these seven are enduringly unique and notable. They possess that extra something that's not always on paper but earns distinction on the silver screen.'
Badlapur is all fury and fog, a revenge saga that plays out with great eyebrow-singeing intensity, says Raja S
Kareena: Bajrangi Bhaijaan will be the biggest hit of the year
Raja Sen feels The Lunchbox id this generation's Masoom.
Bollywood is in shock after Sridevi's death.
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