What Director Mahesh Narayanan captures perfectly in C U Soon is the texture of our online conversations, observes Sreehari Nair.
Every film that Sriram Raghavan makes is a compendium of ideas and sensations that tickle him. Trying to remake a Sriram Raghavan film is like getting excited by somebody else's goosebumps, observes Sreehari Nair.
A Nedumudi Venu character was happiest when moving his head to a piece of music with his eyes closed; or, when inventing off of a note that a co-actor had left unfinished; or, when reciting a poem by Kavalam Narayana Panicker where a hymn about nature descends into a musing about cheating, depression and death, feels Sreehari Nair.
'In Udaan and in Lootera, the initial sensations that drove Vikramaditya Motwane to make those pictures never quite travelled beyond the walls that contained them.' 'Here, in Trapped, this sensations-strangled-by-the-walls feeling becomes the movie's real tune,' says Sreehari Nair.
'A big reason for its low recall value is that Rangbaaz's colourful characters are all essentially punks,' feels Sreehari Nair.
'I might in the future step out of a Dileesh Pothan movie not completely satisfied, but content I'll be in the knowledge that our greatest living film-maker had failed striving to be something more than just an auteur,' notes Sreehari Nair.
Amit Mistry was a wicked actor, someone who could chance a broken arm, who could take deep dives, who could ram his head into walls, all without bothering about the outcome. And, as with that closing bit, the knowledge of where he might have arrived at eludes us now, observes Sreehari Nair.
'We feel thrust into a motion picture that has all the makings of a carnival but no real fireworks,' Sreehari Nair notes after watching Malik.
Sreehari Nair reviews Ayyappanum Koshiyum.
Beneath its dazzling veneer, this emperor has no clothes, says J Jagannath.
Criminal Justice: Behind Closed Doors is not a great show, but an efficient one, notes Sreehari Nair.
'Of all artists who openly support the current political dispensation, she is far and away the finest,' argues Sreehari Nair. 'With the exception of perhaps Tabu, no Indian actress has done more to extend the range of the feminine mystique in Hindi cinema.'
This is a film where random storylines are padded together with obscure Internet facts, observes Sreehari Nair.
It is the two women directors in Shuruaat Ka Twist who end up making the best films, feels Sreehari Nair.
The propaganda aspect of the movie -- despite it stemming purely from the writer's deepest convictions -- is a clincher for it is highly unlikely that you'll walk out of a screening of Talvar saying, 'I loved the movie, but I still think the parents are guilty.' If you are swept away by the power of the movie, it's also sure to swing your perception in a certain direction,' says Sreehari Nair.
Half a dozen reasons why Sridevi is to the camera born. Sreehari Nair lists them out.
These videos are like butterflies in a case, says Sreehari Nair. They have neither aged badly nor grown over-familiar.
Despite the Oscars, the box office glory, and the universal acclaim, Francis Ford Coppola, I am sure, remembers The Godfather with as much frustration as pride. Like Michael Corleone, he got into it with the best of intentions, and got out of it on top but lost in the heights. Sreehari Nair revisits the film as it turns 50 this month.
'It's also a movie-crazed kid's idea of a great time,' discovers Sreehari Nair.
'A film is not all about the hero. He is part of the journey, yes, but there is a lot more to the story.' After Maheshinte Prathikaram, Fahadh Faasil is back with a bang!
Ittefaq has a gagster attitude, plenty of light touches, and it announces Abhay Chopra as a mainstream talent to watch out for, says Sreehari Nair.
If Irrfan could have been our finest professor of empirical philosophy, and Nawaz is our foremost poet of that space halfway between the gutter and the stars, then Jaideep Ahlawat has to be our greatest artist-scientist, asserts Sreehari Nair.
'What seemed missing in Tumbbad was that screwiness, that kinkiness, which shades so many of our best parables,' observes Sreehari Nair.
All through Moothon, you can sense Mohandas trying hard to empathise with her characters; I just wish she was interested in them, declares Sreehari Nair.
'The true conceit of Drishyam is that it makes its audience an honorary accomplice in the crimes that its lead characters commit.'
Despite its many problems, A Death in the Gunj is an important work says Sreehari Nair.
Laali Ki Shaadi Mein Laaddoo Deewana is insipid, terribly made, and yet a Warm Enterprise, feels Sreehari Nair.
There is no escaping Rahul Bose's compassion. He wears it like a name tag in Poorna, feels Sreehari Nair.
There's something very pompous about the basic pitch of this movie that slowly chews away at its core, feels Sreehari Nair.
'Since Piku, Irrfan seemed content in delighting us with his finesse than striking a nerve.' 'Now, why was this so?' 'Why did our No 1 soul-searching actor suddenly decide that he'd rather be a heart-warmer?' 'Did those journeys take too much out of him?' asks Sreehari Nair.
Though it is a little too neat and a little too light, Rubaru Roshni is important because it is telling us stories of people who have experienced an 'Inner Migration' in their lives, notes Sreehari Nair.
...A hate letter to our system, feels Sreehari Nair.
...But ends up being oddly moving, says Sreehari Nair.
Neeraj Pandey's Aiyaary is the sort of spy fantasy story that drunks narrate in bars, says Sreehari Nair.
If you think the film is gutsy, you are simply being blind to the truth that the whole men-are-worthless slant is saleable right now, argues Sreehari Nair.
'Cynics don't make it big in advertising.' 'Often, the medium calls for a rock-like commitment to puny, easily digestible ideas.' 'Here's a text that understands this facet of advertising and one that keeps its tone breezy and reporter-like; that's set across a wide canvas but one that never overstates its own importance,' says Sreehari Nair.
In an online chat with readers, Vidhu Shekar, CFA, country head-India, CFA Institute shared advice on how to crack the CFA exam.
'What we have is 'masala redeemed' as opposed to just 'masala resurrected',' argues Sreehari Nair.
'I don't have a godfather.' 'When your film doesn't do well, opportunities become even more limited.'
The heist stretch of the movie is not without imagination, but arriving at that chunk, and sitting through what follows, can be bad for your skin, warns Sreehari Nair.
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