Jehanabad: Of Love And War authentically captures Bihar's political skullduggery and caste violence, observes Deepa Gahlot.
The hits and misses of the week.
The hits and misses of the week.
Before Kuttey's release, co-produced and co-penned by VB, Sukanya Verma takes a look back at the filmmaker's unique body of work.
Thappad aspires to be Arth-worthy. Unfortunately, it doesn't make the cut, feels Rediff reader Sumeet Nadkarni.
At best, a serviceable buffoon with a flair for repartee, Kapil Sharma is awfully limited in his humour and screen presence to perk up this half-decent premise, feels Sukanya Verma.
With any luck, Bollywood will get back on its feet again and give us much to awe and amaze about.
Slipshod direction and listless story produce a superfluous drama about how a judge turns into a murderer, notes Prasanna D Zore.
'I've played Salman Khan's friend. How can I play anyone else's friend?' Meet Sultan actor Anant Vidhaat.
A spectacular Taapsee Pannu brings out the shift of a happy homemaker to a heartbroken woman most strikingly in her deeply affecting performance, applauds Sukanya Verma.
Bangistan is not the political satire it claims to be, says Nishi Tiwari.
'Alkazisaab trained innumerable actors to be good human beings.'
'Article 15 is not the work of a hack, or of someone merely scooping a plot out of newspaper headlines.' 'It is a well-researched, clear-headed movie; but its findings have a purpose,' says Sreehari Nair.
'I got a call from Shah Rukh Khan.' 'Gana leak ho gaya,' he said. 'Leak ho gaya, toh ho gaya. Nikal jayega,' I said. 'And that's what happened.' 'Chammak Challo went viral overnight!'
Rukh may be lit like a YouTube Short Film, and may have its share of other technical problems, but there's something disturbingly original about director Atanu Mukherjee's vision, Sreehari Nair feels.
Aiyaary is a bloated, prolonged mess of misplaced purpose that digresses from military misdeeds to animal cruelty, feels Sukanya Verma.
Jolly LLB did well with its droll depiction of a small-time lawyer and how his guilty conscience encourages him in vindicating the downtrodden. In its sequel, Akshay Kumar does it even better, feels Sukanya Verma.
'I find drawing inspiration for characters from real life very limiting.'
Lekar Hum Deewana Dil struggles to find its own voice, according to Nishi Tiwari.
'Mulk gets a lot of things right, including its vision of the country as a place where underneath the punctilious, forced-secular surface there are volatilities waiting to go off,' says Sreehari Nair.
'Oh what a beauty Akshay's performance is. Old-school gallantry, contemporary tone, his measured delivery is the soul of and savoir in Airlift,' says Sukanya Verma.
Rock On 2 does more for Meghalaya tourism than it does for rock music, feels Sukanya Verma.
De De Pyaar De is a Radio Play being passed off as a Motion Picture, says Sreehari Nair.
Filmistaan has a strong plot and well-developed characters, says Paloma Sharma.
The top posts on social media from your favourite Bollywood celebrities.
'I haven't experienced such a thing ever. It was beautiful.'
'Even though the film focuses on caste discriminations in rural India, it is first of all a riveting police procedural, and one of the best made in India,' says Aseem Chhabra.
Sukanya Verma looks at the various baap-beti equations depicted on the screen.
Tiger Zinda Hai returns to the same moronic space where it's all about slow-motion Salman, his checkered scarf, his fleeting shirtless-ness, his unrealistically beefed up body and a taken-for-granted indestructibility, says Sukanya Verma.
'These experiences were necessary for my journey.'
Director Ali Abbas Zafar relies solely on Salman Khan's drawing power and offers nothing novel in terms of storytelling, feels Sukanya Verma.
'Chanting slogans, chest thumping, calling us big nationalists, but you don't stop at traffic lights.' 'What nationalism are you talking about?'
'Even when toasting a true story, say our movies, a superstar is worth more than a real hero,' says Raja Sen.
'I think I have been lucky that I have found directors who take me for what I am and what they think I am capable of, rather than go on my previous films and see what I have done.'
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