True misogyny is when you stop being curious about women, and Milind Dhaimade directs his actresses with a sense of wonder. Tu Hai Mera Sunday has delightful women characters, sketchy men, and individual threads that work better than the whole package, feels Sreehari Nair.
Raag Desh is one of the best films of the year, Sreehari Nair raves.
Gajraj Rao's performance in Badhaai Ho is the finest by an actor in a Hindi film this year, applauds Sreehari Nair.
'How can you blame poor Kabir Khan for the Tubelight fiasco?' 'We know that his Job Description expects him to work below full capacity, to sell his soul, and we know his SOP-sheet has the title: Design the next Salman Khan Project.' Sreehari Nair sees through Kabir Khan's cunning.
Shah Rukh Khan had David Letterman in his grip, giving him no quarter whatsoever, declares Sreehari Nair.
'2 hours and 20 minutes later, I walked out of Sachin: A Billion Dreams learning not one additional thing about Tendulkar: Not one factoid, not one statistic.' 'Maybe it's convenient filmmaking, or maybe just the essence of God,' says Sreehari Nair.
'Parts of Pad Man look like a Vicco Turmeric commercial, parts of it look like a Tourism Ad and parts of it like a commercial for Etihad Airlines. But almost all of it, unmistakably, sounds like one big town-hall message,' says Sreehari Nair.
Sreehari Nair lists some movies, documentaries, recorded-performance films, and literature and music suggestions that might help.
And it's written with tears, blood and unspoken lines.
'During casting calls, people want you to a copy-paste version of who they think is good enough to be in Bollywood, especially if you are a girl. I didn't fit into that at all.'
Soni is a soft treatment of a very complex subject, feels Sreehari Nair.
'He may be a scientist, a poet and a brat. And in addition to all this, Virat Kohli is also cricket's No 1 Rollerblade-Artist,' says Sreehari Nair.
'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.
Jaspal Bhatti's feel for the grime, the confusions, and the madness in our system was so complete that he could take on every kind of woman or man God ever gave to the institutions of India, feels Sreehari Nair.
'The directors of these movies to me are less like artists and more like red-pen remarkists, whose idea of a script is basically checking off the broadest of issues in the broadest possible ways: Sexism, Check. Misogyny, Check. Loving yourself, Check,' says Sreehari Nair.
Dibakar Banerjee delivers his finest work to date, and Sreehari Nair makes sure to applaud him.
'Kaala's sin is not that it is presented as a mouthpiece for its director Pa Ranjith's political viewpoints, but that it makes a travesty of them.' 'Ranjith turns Marx into merchandise, all the while functioning as a hired hand for Brand Rajinikanth,' points out Sreehari Nair.
'The way the daredevil feats are set up, they don't have the maniacal feeling of actual gun battles, or good jazz, or a whacked-out dance performance -- they just don't provide you that giddy tingle you go looking for in such films,' feels Sreehari Nair.
'You walk out of Mukkabaaz feeling good about yourself, but unlike Kashyap's best pictures, it releases you from the responsibility of seeing yourself in it; the movie is darn clever, most of the way, but it hardly has any wisdom,' says Sreehari Nair.
'This colliding of worlds is a feature of chawl life in Mumbai, where the clashes in one household often become prime-time television for the neighbours; where the boundaries of good sex, lechery, and incest are frequently blurred,' says Sreehari Nair.
Quentin Tarantino, declares Sreehari Nair, will be remembered as someone who made just two great movies, and who then brought misery upon himself.
'Sriram Raghavan is mainstream Hindi cinema's greatest gift to us,' declares Sreehari Nair after watching the director's latest movie caper.
'Sudhir Mishra takes us into the dreams and fears of our politicians, into their self-deceiving pitches, and he shows us their demons and angels,' says Sreehari Nair.
'This is a movie, which if you allow it to, will wash itself all over you, so that you emerge from it a little drenched but wide awake,' says Sreehari Nair.
If Manto, the film, falls short of being a masterpiece it's because Nandita Das could not quite crack the Manto code: She couldn't quite see the wholeness of her subject with the same eyes that Manto saw his people. This imperfection in the film, in a way, becomes the greatest tribute to Manto, feels Sreehari Nair.
There are no real people in Tamasha -- there are only character-types written in little pink balloon-letters, all floating in cloudland, feels Sreehari Nair.
Director Shanker Raman, with an appetite for noir and a natural temperament for fast-cutting, takes you so swiftly and so deeply inside Gurgaon's anomie that you may mistake his vision of the city for some dystopian view of the future, feels Sreehari Nair.
'This is a film that trumpets out its sex -- it is content in being a girl's version of the archetypical boy's locker-room picture.' 'And if it was just that, that would have been fun too, but Lipstick Under My Burkha doesn't want to affect your senses, it wants to control your mind!' Sreehari Nair comes away unimpressed.
'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.
The key to every Daniel Day-Lewis performance was a big theme and a thousand details. And in the final phase of his acting career, says Sreehari Nair, America became his big theme, and the details... well, he just popped them out like waffles.
...But a comedy about Class Wars. Sreehari Nair tells us why.
Chaitanya Tamhane's National Award-winning film seems more relevant today than when it released, says Sreehari Nair.
Part of what make Ee.Ma.Yau so special is its ability to focus our attention on things that conventional movies throw away under the pretext of storytelling, says Sreehari Nair.
'Don't let anybody tell you that Kadvi Hawa is a manifesto for the fight against climate change or that it's an austere, unforgiving movie.' 'This is an intensely felt, beautifully expressed piece of cinema,' says Sreehari Nair.
When you walk out of Thithi, you walk out with a feeling of having been completely inside its characters' heads, says Sreehari Nair.
'Love Sonia is a motion picture with the ambitions of a novel.' 'When I walked out of Love Sonia this Monday night, I walked out with a hushed audience that seemed too overcome by the raw power of the film to even pause for applause,' notes Sreehari Nair.
'The overarching fact of modern social behaviour isn't that we are irresponsible women and men, but that we are never quite sure, when and how to act responsibly.' 'This is the real side of every Twitter outrage, where those who tweet about stories of 'unreported domestic abuse' end up feeling superior to those neighbours who are summoned up as clueless witnesses.' 'This view of the supposed spiritual decay of our times, which is at the core of Gali Guleiyan, is thus more fashionable than perceptive,' says Sreehari Nair.
'Of all the Superstar Khans, I still believe that Shah Rukh Khan is the one most capable of surprising me,' says Sreehari Nair. 'I always have this feeling that that great Shah Rukh Khan turn that would somehow hold all his vaporously brilliant elements together is just around the corner.'
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