Amazon Prime Video has announced a huge number of assorted Web series and movies, and the slate sure looks interesting.
Sukanya Verma gives you various untried Bollywood combinations we would like to see on screen.
Subhash K Jha looks back at 2020, and lists the films that left him underwhelmed.
Akshay Kumar is King of the box office!
Meeruthiya Gangsters is a decent attempt from a debutant director, says Nishi Tiwari.
A look at this week's hits and misses.
A look at this week's hits and misses.
Deepa Gahlot lists some 2023 movies that you need to watch if you haven't already.
Bhaiaji Superhit is bah baloney! sighs Sukanya Verma.
Sandeep Aur Pinky Faraar is an intriguing mess, feels Sukanya Verma.
'We can't live in a delusional world of just I, me, myself.'
The best films are not necessarily the most successful -- that would be another list altogether -- although sometimes quality and commerce do converge.
Sukanya Verma looks at the recent spate of book-to-screen adaptations.
'Where are the funny writers on Indian television and OTT platforms?' 'Where are the sitcoms?' asks Vanita Kohli Khandekar.
Of the six out of eight episodes shared by Netflix, I finished all in one effortless go, says Sukanya Verma who applauds this well-made thriller.
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.
Director Neeraj Ghaywan explains why his cinema challenges the traditional notion of good and evil.
'It's really sad to see a promising career cut short so rudely.'
This is a film where random storylines are padded together with obscure Internet facts, observes Sreehari Nair.
Lovingly made, heartfelt stories that speak the truths about our lives.
Baaghi 3 is a senseless beast of a movie that solely exists to rupture the screen in images of broken, blasting, blaring men or machines flying mid-air and slow motion, feels Sukanya Verma.
Dibakar Banerjee delivers his finest work to date, and Sreehari Nair makes sure to applaud him.
'These actors have come at the right time, when cinema is changing.'
Bhumi Pednekar, Radhika Apte, Manisha Koirala, Kiara Advani luminate Netflix's Lust Stories, notes Sukanya Verma.
Home-grown fare, international discoveries, brand new seasons of hugely anticipated series, Sukanya Verma lists her top 10 OTT shows.
'He was once a hero. He was the poster boy of investigative journalism.' 'Then suddenly, because the TRPs of his channel were down, his boss decides to sack him.'
'When you are crafting a story, it's always important to see how authentic that story is because if it is authentic and rooted, it will stand the test of time.'
'Raazi is being hailed for breaking the glass ceiling for Daughters of Bollywood Inc,' says Sunil Sethi.
'Why is it that we are so forgiving of the glaring problems in grand multi-starrers like Dil Dhadakne Do,' asks Sreehari Nair, 'but when a small film with a truly personal vision seeks our approval, we analyse it through a prism of formal perfection?' 'With its Seinfeldian humour, episodic structure and performers who play off each other's energies, Meeruthiya Gangsters goes farther than most Hindi movies.'
'Oddly enough, everything Raazi cannot explain or put a finger on, it glosses over in the name of patriotism or watan-love; glorifying thereby the very sentiment it had set out to mock.' 'This is the unique tragedy of the film: it becomes less of a counterpoint to pseudo-patriotism and more of a companion piece,' says Sreehari Nair.
'India is called the largest democracy in the world, and one cannot believe that there are two Constitutions, two penal codes and two sets of laws.'
'Live and be joyful for what you have because one day, it will be all gone.'
Here is a look at some of Aseem Chhabra's favourite memories of 2020 in Hindi cinema, performances by well-known and new actors, special moments in films and shows.
'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.'
