Diane Keaton's wit and honesty taught us that ageing and uncertainty aren't weaknesses, they are part of what makes us human and graceful, observes Sreehari Nair.
Padmarajan's Thoovanathumbikal has become a part of Malayali mythology, just as its maker himself now possesses mythological status.
Like all the great love stories, Annayum Rasoolam has a tragic end. But not before we are transported into a world of furtive glances and hurried touches.
It stirs up your emotions and you end up feeling attached to each of the characters in Uyare like you've known them forever, feels Divya Nair
Anurag Kashyap's classic Black Friday is a must watch film.
Exquisitely shot, with shadows and light capturing the hypnotic mood of the film, Jalsaghar is a viewing treat you owe yourself.
Vihir is a balm for our troubled souls, says Aseem Chhabra. It is a like a book on life lessons -- joy, laughter and tragedy are all part of our existence.
Kumbalangi Nights is one of those movies that will put you in a good mood every time you watch it, promises Anita Aikara.
Sudhir Mishra's Iss Raat Ki Subah Nahin is relevant even today.
In Maqbool, Vishal Bhardwaj did a Godfather; in that he took something that was pulpy and fast and gripping, and made out of it something timeless and grand, feels Sreehari Nair.
How do you even define a movie that primarily exists as an invitation to its audience -- an invitation to come and merely laze around with a set of interesting characters, asks Sreehari Nair.
'The true conceit of Drishyam is that it makes its audience an honorary accomplice in the crimes that its lead characters commit.'
Malayalam film audiences, who had spent close to two decades waiting for something truly interesting to watch at the movies, seem to be finally getting their due.
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