Maine Pyar Kiya, Biwi No 1, Dabangg, Kick... the list is endless!
Riteish Deshmukh talks about his films, being typecast and more...
Pompeii is one of those rare films for which I am glad that a 3D format was used. If cheesy, overdone, masala flicks are your kind of fare, this is your kind of film. For the rest of us, Pompeii just blows, rants Paloma Sharma.
'I love him (Sidharth Malhotra), there's no stress. I am not nachaoing him, in films or in real life.' Alia Bhatt gets candid about what she loves.
Salman Khan does his thing like only he can in Jai Ho. And the crowd responds. Raja Sen shows us, in his review.
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Rakeysh Omprakash Mehra's latest film lacks clarity and coherence.
'In Angamaly Diaries, dreams, kinks, small corruptions, cheap lives, and hopes are all given their due and that attitude frees us up to believe that perhaps there is more good than bad in the sum total of us.' 'This is a coming-of-age tale taken straight out of a diary written in blood,' says Sreehari Nair.
Not exactly meant for family audiences, Main Tera Hero is a refreshingly unpretentious, says Paloma Sharma.
Krrish 3 is a outrageous mishmash of Bollywood sentimentality meets E.T. meets Superman meets X-Men.
'For all its swagger and insolence, the script is full of silly loopholes, annoying clichs and glaring superficiality.'
Badlapur is all fury and fog, a revenge saga that plays out with great eyebrow-singeing intensity, says Raja S
Arthur J Pais analyses Oscar 2014 big wins and losses.
Raja Sen feels Dedh Ishqiya is a genuinely smart film.
Youngistaan neither says something new nor does it reinforce time-tested wisdom in a way that you actually want to pay attention to it, feels Paloma Sharma.
'The Maharashtra government diktat is another meddling example in an industry where politics or language has no role to play.' 'Cinema has a universal language. Filmmakers are divided across regions, but united in their passion for films,' says director Suparn Verma.
Shatranj Ke Khilari remains an accessible, yet deep period film.
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