We give you *your* space to tell us just what you felt about the film.
Konkona Sen Sharma's short Mirror in Lust Stories 2 is a rare thing: A feminist film that is also very, very funny, states Sreehari Nair.
It was a year of so many contradictions and contrasts that it became dangerous to talk about movies, people lost their heads discussing Friday releases, psychiatrists began dabbling in film criticism, and film critics turned into psychiatrists, says Sreehari Nair.
Though the lies hardly go beyond extramarital affairs and conception problems, they are laid out by arresting storytellers who raise the stakes while speaking in tongues not wiped clean to make progressive points (No Made in Heaven-type diddling, here), notes Sreehari Nair.
Salman Khan's much awaited Eid release Tubelight turned out to be a damp squib at the box office. Distributors stand to lose on their investments.
Let us get high on Pathaan and his simple-minded antics, sure, but let us also take a moment to think about Jim who, with that one cunning piece of dialogue, goes on to boldly state that patriotism is a many-hued thing, observes Sreehari Nair.
Vinod Mirani gives us his weekly verdict.
'If it weren't for Om Puri, a whole range of our big city experiences wouldn't have found their honest representations on the screen.'
Ayushmann Khurana, who is shooting, was missing at the celebrations.
Was Akshay Kumar's new film what you expected it to be?
Check out the winners at the News18 Reel Movie Awards 2019.
The hits and misses of the week.
'I believe it's not the success of RRR or KGF that we must actually investigate but what makes these two films our marquee events,' argues Sreehari Nair.
The hits and misses of the week.
Sikandar Kher's Nishikant Adhikari is a solitary poet by the corner, trying to remind us that the honest plans of honest people don't always come to respectable ends, observes Sreehari Nair.
These films, even at their saddest, darkest and grossest, retain their sense of humour, their sense of proportion, which again is something you associate with a Malayali.
The hits and misses of the week.
Once you are done paying your respect to God and Grasshoppers, you circle back to the human beings in Gold, and that's when things become progressively more and more muddled, observes Sreehari Nair.
'The pride of the devoted Seinfeld fan is that he happens to love a show that doesn't take his love for granted, so that even on repeat viewings he is never really sure what directions an episode might take,' observes Sreehari Nair.
The hits and misses of the week.
Salman Khan's big Eid release Tubelight is also a major loser.
Doctor G is outwardly all for women, but evidently has no interest in them, observes Sreehari Nair.
'The common ground between a film-maker and a film critic is a mad masochistic love for the movie.'
In a year of overwrought spectacles that slavishly sucked up to the audience, I found refuge in a bunch of 'mainstream' Indian films that espoused such old-fashioned values as dedication to craft, close observation and casual bravery, explains Sreehari Nair.
Nanpakal Nerathu Mayakkam is a masterpiece, and like most masterpieces of the cinema, it's a great act of folly, observes Sreehari Nair.
The films that mattered: Here's looking at the half yearly box office report of 2017.
I thought Saudi Vellakka a glancing, loving depiction of the judicial system as a pageantry filled with performers trying to do right by everyone, do everything by the book, and failing despite their best attempts, observes Sreehari Nair.
'If you can tell the quality of a movie-watching experience, only and only by referring to set standards, you *aren't really* going to the movies,' argues Sreehari Nair.
MS Dhoni or Sachin A Billion Dreams? Dangal or Mary Kom?
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