'I love Chalti Ka Naam Gaadi. I grew up watching it and find it very funny. I am a huge Kishore Kumar fan.' Zoya Akhtar discusses the one thing she loves -- movies!
There is a group of La La Land haters -- especially jazz aficionados who feel the film gives too much importance to a white man who sets out to save the musical genre associated with the African American community, points out Aseem Chhabra.
Raja Sen wishes Francis Ford Coppola, the legendary filmmaker who transformed The Godfather into an immortal screen classic, a happy 75th birthday.
When it comes wildlife, stock market investors can immediately identify with bulls and bears. But there are other animals in the stock market jungle too.
There's a lot happening in Bollywood, Hollywood and world cinema this year.
The 86th Annual Academy Awards have been announced. Here's a quick glance at the winners.
'If you can tell the quality of a movie-watching experience, only and only by referring to set standards, you *aren't really* going to the movies,' argues Sreehari Nair.
The movies that impressed, puzzled and stunned Sukanya Verma at MAMI this year.
Bombay Velvet spends too much time on period details and loses focus, notes Aseem Chhabra.
Sanjay Leela Bhansali celebrates the success of his dream project.
Interstellar is an incredible ride, a film that will scare and stupefy and drop jaws and make us weep, the kind of film that makes our hearts thump against our ribs for forty straight-minutes and makes us believe in the glory of the movies.
For starters, Mad Max: Fury Road is gloriously nuts, says Raja Sen.
Watch the trailers and predict the winner at the end.
'In Sanju, Rajkumar Hirani has essentially found a Rajkumar Hirani story buried inside Sanjay Dutt's life.' 'Now if you think that's scary, sample the alternative: Perhaps Sanjay Dutt had been living his life to suit the narrative of a Rajkumar Hirani film,' says Sreehari Nair.
Sukanya Verma shares her exciting filmi week with us.
Sreehari Nair is *not* impressed by this lot of films at all.
P K Nair dedicated his life to restoring and archiving films.
'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.
'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.'
'There is no way you can view the movie from a distance, from a moral high ground, and get to its core.' 'To truly appreciate what Anurag Kashyap is trying to do here, you may have to lose a part of yourself to it, first,' says Sreehari Nair.
'The real problem that has affected Tarantino's films is not their amorality. On the contrary, it's their misplaced morality.' 'The basic pitches for his movies, off late, tackle such pre-resolved issues, that they don't quite allow his pop-culture sensibilities to hit a crescendo and instead reduces them to trinkets in service of broad movie prototypes.' 'Which means that neither history nor cinema triumphs.'
'Badlapur,' says Sreehari Nair, 'proves that sometimes there are more personal truths to be discovered in our trash cans than in our neatly arranged book-shelves.'
'The starting point of the Udta Punjab casting was that we didn't think stars would do a film like this, so we'd take non-stars. As the names kept rolling in and we had Kareena Kapoor and Shahid and Alia Bhatt, I was like yaar yeh ho kya raha hai?'
© 2026 Rediff.com - Investor Information - Advertise with us - Disclaimer - Privacy Policy - Sitemap - Feedback - About us - Terms of use - Grievances