This weekend, we lost Diane Keaton, that piece of American heart, Hollywood's darling hummingbird. Thank God she is still alive in her films. Aseem Chhabra on the Hollywood star he was in love with.
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.
Hollywood's iconic actor passed into the ages on October 11.
The Critics Choice Awards was held at the Barker Hangar in Santa Monica and saw Hollywood's A-listers get honoured at the first awards ceremony of the year.
One can only pray he finds his peace while we take comfort in the knowledge of having a true friend and the therapeutic power of humour. Sukanya Verma mourns the passing of Matthew Perry.
Here's what the critics have to say about the Slumdog star's role in Woody Allen's You Will Meet A Tall Dark Stranger.
The film is a slick, madly crazy production that is mostly funny.
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.
This is a film packed with laughs and pathos, but the emotional manipulation is too blatant, too obvious, says Raja Sen.
Sukanya Verma tells you everything you need to know about the Oscars.
A good deal of the 92nd Academy Awards (going hostless second year in a row) was a drag what with a staggeringly dull red carpet, long-winded, lacklustre speeches and uneven live acts following too quickly one after another.
The Judge formulaic but never mechanical, says Paloma Sharma.
Naresh Chandra was most certainly among the greatest patriots two generations of Indian strategists have seen.
'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.'
Martin Scorsese's The Wolf Of Wall Street could set a bad precedent, feels Aseem Chhabra.
Kanu Behl's Titli is one of the best films from India in recent years, says Aseem Chhabra from the Zurich film festival.
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.
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