'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.
A big part of October's charm is in its taking of a cinematic tragedy and presenting to us how we may experience it in real life, says Sreehari Nair.
Preetisheel Singh lets us into some star secrets.
Badlapur is all fury and fog, a revenge saga that plays out with great eyebrow-singeing intensity, says Raja S
'Pink a movie that's assembled especially for that section of prejudice-free Indians who are all on this side of the screen.' 'Look...there's virtuosity staring at you, 24 Frames per Second.' 'Soak it in; more power to the revolution, more wax to the candlelight vigils,' says Sreehari Nair.
'In Vishal Bhardwaj's now fully set world of manufactured poetry, characters wear their emotions at their most prescribed anatomical positions -- courage on their chins, pride over their chests, and innocence in their faces,' observes Sreehari Nair.
Brilliant cinema at the ongoing Mumbai Film Festival, raves Sukanya Verma.
'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.
Barring a Shah Rukh Khan, an Akshay Kumar or a Preity Zinta, it is near impossible for most Indians to break into Bollywood's exclusive club of star children. Hearteningly, it is still possible for Indians born in middle class homes to become star technicians like 3 Idiots director Rajkumar Hirani. Patcy N and photographer N V Reuben traveled to Raju Hirani's home town Nagpur last week to discover how his journey to directorial superstardom began.
