Reviews

There's something about the character Ripley. From the original 1955 novel by Patricia Highsmith to its many film adaptations, every adaptation, including the 1960 movie Plein Soleil (Purple Noon) takes artistic licence to put their own spin on the story. Anthony Minghella's 1999 version is a colourful feast well acted by Matt Damon, Jude Law, Gwyneth Paltrow and the brilliant Philip Seymour Hoffman.

But this version in stark, gorgeous black and white is more psychological and stunning. The plot of this version is truer to the novel than the 1999 adaptation. The black and white works well with this movie making it a more moody and sinister version.

We find ourselves rooting for Ripley, a detestable human being. He's got no redeeming features whatsoever. Yet as we grow to passionately detest him, we are hoping against hope that he'll get away with it all.

Steven Zaillian, the brilliant writer behind Schindler's List and The Night Of, writes and directs this truly wonderful version. We are used to seeing beautiful people playing their roles in gloriously, glamorous locations. However, this version is stark and Andrew Scott is like a replicant. Not even a hint of emotions. Invisible. As a consequence we do all the work. While we gasp or look away, he just goes on.

Andrew Scott is absolutely perfect for this role (probably a bit older than Tom Ripley of the novel). Dakota Fanning is perfect and more like Marge of the novel.

The real star of this mini-series is the cinematography by Robert Elswit, which conveys both the mood and atmosphere of the story. In addition, the interesting camera angles work well to highlight the beauty of Italian architecture and the coast. Each shot is like a photo you wished you had snapped - total eye candy.

The noticeable lack of music helps to connect with the characters and the sounds in their environment. The sound is like an additional character in the story.

I didn't want to see a remake of the 1999 version but rather a unique vision of the original story. And on that level this version succeeds big time.

This is the truest, most beautiful piece of art I've seen in a long time.

It's rare to see a first time director get it all right on his first attempt. At the same time he has created something that has the potential to be discussed and debated for generations to come.

Jeffrey Wright does a great job in the role of Thelonious 'Monk' Ellison. He is a Harvard educated, California University literature professor, author of several books that no one, other than adoring academic critics, reads. Monk is placed on mandatory leave by his university for frequently arguing with his students on racial issues.

This draws him back to his family roots in Boston. That's where his writing career takes an unexpected turn. What starts as a prank protest of 'authentic' portrayal of black people in mainstream culture inadvertently transforms Monk into a caricature himself. He dumbs down every element of his otherwise intelligent story-telling technique. Which, to his dismay, is the path to the literary glory he has spent his entire life chasing. An intelligent man like Monk cannot wrap his head around the fact that black books pandering to white readers who are trying to follow the rules is the new path to success.

'The dumber I behave the richer I get', Monk complains to his agent. (This is not a spoiler - it's in the trailer.) Considering how intelligent the script is, it's ironic how a single word plays a crucial and hilarious role summing things up. You know the word, the unpublishable one that begins with an 'F'.

American Fiction stands as one of the best written, most damning satire about racial stereotypes. It's a brilliant commentary on a society that has twisted things to the point no one knows what to say and how to say it.

Filmmaker Cord Jefferson delivers the message in a smart, funny movie featuring a wonderful lead performance by Jeffrey Wright. With American Fiction, Jefferson has now established himself as a filmmaker to watch.

The Zone of Interest takes a unique angle in telling out the Holocaust story - through stark juxtaposition. Director Jonathan Glazer manages to create a story about the Holocaust not seen before.

It compares the matter-of-fact home making of the Hoess family against the horrendous tragedy perpetrated over their garden wall. Looking at the Holocaust from this angle shows how normalised it became to certain people.

Film opens on a long ominous musical overture by Mica Levi which transitions the viewer into a seemingly tranquil German home.

It's one of the most unsettling films in a long time. Rudolf Hoess was the commandant of Auschwitz and oversaw the killing of three million people. At the same time he was a devoted family man who lived with his wife and family in a large house just outside the camp. The camp itself is hinted but never seen.

In this story, the Nazis are banal, ordinary people who tend their gardens, bicker about normal things, spend the day bathing in the river with their kids, picknicking.... It just so happens that literally outside their backyard is daily mass murder which they can conveniently ignore since it's out of sight.

Christian Friedel and Sandra Huller give sensational performances as the commandant of Auschwitz and his pampered wife.

The film demands full attention from the viewer as the most important thing could be happening in the background or up in the corner of the frame - a column of crematorium smoke in the distance or ash floating in the atmosphere as the Nazis tend to their flower garden.

In the final moments one gets to see a glimpse of conscience in the commandant. A haunting scene to sign off a haunting movie.

Lukasz Zal let's a static camera capture wide frames. The setups are like a set-piece on stage. He deliberately keeps a distance so that the audience automatically become observers. There are a few departures from these regimented compositions when dark children's fairy tales are depicted as a camera negative getting projected.

As chilling as the visuals are the music and sound effects. Mica Levi contributes additional chilling cues with the music. Sound Designer Johnnie Burn creates a maelstrom of audio effects mixing gun shots, dog barks, human voices and mayhem. We never see the insides of the camp but the sounds are more than enough to carry the makers' intent. Levi's exit music will haunt much after it fades out.

It's a well thought out piece of cinema, but certainly won't be for everyone.

The film has a simple yet profound message, that is also terrifying at the same time. Hoess was as ordinary as any of us. The thing called civilisation is just a veneer. If we don't look after it, we'll lose it.

Everyone's experience with this film may vary depending on how much this film can draw you into its world, its characters and their nuances. At the core is a mysterious death.

It could've been an investigative thriller but it's not. Director and co-writer Justine Triet is more interested in showing it through the eyes of the people involved. Rather than the quest for the truth, the script is more concerned with how people react to bits of information they come across. It is a gripping court room drama, an acute examination of a marriage, as well as a mother/son relationship.

It also demonstrates the complexity of human relationships and the paths that lead to certain decisions in the lives of couples that can never be understood by an external audience. What happens inside every home is known only to those who live there.

Triet doesn't use a classical and comfortable approach. The viewers are almost made to feel as intruders. The camera movements are unstable, approaching the emotionally unstable characters. For example, there's a scene in which a third party speaks about the deceased. The camera first focuses on the son who is visibly uncomfortable and tries to hide it. Then it shifts to the mother. And we can see the same discomfort in her as she tries to make eye contact with her son. It's very moving and can bring tears in one's eyes. The foreground here isn't the dialogue but how it is affecting the people.

The performances are first rate, particularly by Sandra Huller. She's extraordinary from beginning to end. Bewildering the viewer whether it is murder, suicide or an accident. It has one of the best child performances I've seen in a film. It has also thrown in free of charge, the best dog performance of a lifetime.

Taut, full of suspense and compelling right till the final moment. The film progresses like a heady puzzle that tackles the messiness of existence and the often elusive nature of the truth itself.

Anatomy of a Fall is truly exceptional filmmaking.

Sleek, cool, humorous - that's just what you would expect from Guy Ritchie. Caricature characters. Embedded with witty stories. In a pause and laugh format.

I love Snatch. I love Lock Stock And Two Smoking Barrels. Don't expect anything like them, though this mess pretends to be like them. The formula that works as a fun ride for a 90 minute Guy Ritchie film repeated over eight episodes wears extremely thin.

Guy Ritchie's signature brand of frenetic crime comedy gets a half baked TV production. Starts well with lots of promise in the first episode. Then rambles on to nowhere. What's worse, it gets worse and worse.

There are twists and turns where characters don't seem to make sense. They get angry. Get betrayed. Then a few moments later everything is forgiven only to be betrayed 10 minutes later. And repeat.

After a couple of episodes it becomes a ramble with each new episode bringing new characters and newer problems. And it begins to lose pace and cohesion. The last few episodes are annoying and the ending is pure garbage.

The characters are portrayed very well. And it's well filmed. The production is great. With exceptional soundtrack and locations. But the writing lets it down badly. There are funny moments but that's as good as it gets.

This is Guy Ritchie's worst work since Swept Away and I thought it was difficult to fall below that level.

The Gentle-meh.

Dropped appropriately on February 14, Valentine's Day. Though every day would be a celebration of love.

Love Storiyaan is a celebration. No big stars or celebrities. But with something bigger - real people with their love stories; eventually triumphing against all odds. Like the TV series Modern Love, it's about relationships, love and human connections. But I found it more lovable and delightful.

6 episodes. 6 stories. Each one handled brilliantly by some of the finest directors - Hardik Mehta, Rahul Badwelkar, Vivek Soni, Shazia Iqbal, Akshay Indikar, Archana Phadke and Collin d'Cunha.

Very enjoyable, well formatted and constructed. With just the right amount of smiles and heart-warming stories. Each one could've been a full length feature film. But then the spontaneity and genuineness would get lost.

I love the way the individual characters are allowed to speak in the language they are comfortable in.

It's like a 'full course fine dining' of TV series. The dishes may be small but they are packed with flavours to satisfy the senses.

Each love story is special and different. If you have experienced a fair bit of life you will identify with the characters. And you will have a number of knowing smiles and nods as the characters navigate through the difficult waters of love.

The way some person enjoys the music of Elvis while another is a fan of The Doors, likewise everyone will have their favorites. My advice would be to just immerse yourself in the stories and not compare the different episodes.

There are moments in each episode that I will carry with me forever.

Special shoutout to the producers Karan Johar, Apoorva Mehta and Somen Mishra.

This is a high quality movie - everything from the acting to the cinematography to the relatable and thought-provoking plot, to the impeccable and enjoyable writing is of top notch quality. It's a testament to the art of storytelling on the silver screen which showcases director Alexander Payne's ability to create an artful film. Here Alexander Payne is firing on all cylinders with his Sideways actor Paul Giamatti..

It's also a masterclass in acting from the three principal characters played by Paul Giamatti, Dominic Sessa and Da'Vine Joy Randolph.

This beautiful piece of creativity doesn't hold back on the drama, while delivering a thoughtful blend of humour, coming-of-age storytelling, with a touch of romance - all wrapped around a very human plotline that anyone can relate to.

I found myself deeply connected to both the main characters - one who is older and basically dejected with life and the other who is younger but feels lost and disconnected from his family and friends.

The Holdovers is a strong, warm-hearted piece of work that gives the actors roles with powerful lines, without relying on flashy editing or special effects. The choice of songs played in the background are apt and exceptional.

The Holdovers is a movie everyone can enjoy with endearing characters who share with us our moments about loneliness peppered with the possibilities of love, hope and happiness.

Heres hoping the actors and the movie overall, get remembered come Oscars time.

I had an epiphany while watching this movie. There is no surprise. The movie is entirely predictable and lacks any significant substance. Skipping an hour on OTT won't have any impact on understanding the story.

Almost seemed like Raju Hirani has outsourced this project.

Dunki is nonsensical and without any logic. The message - Western world should allow free entry of people. Can't believe a movie can be caught up in its own fantasy that the very meaning of legality to enter a country becomes unnecessary.

The movie's screenplay too takes the Dunki route right from the beginning to it's boring end.

Rajkumar Hirani along with writers Abhijat Joshi and Kanika Dhillon has created an over simplified story of illegal immigrants and their plight to find a better life of their dreams.

For a film titled Dunki, the scenes featuring the Donkey route get skipped over soon like a short TV commercial.

There's zero chemistry between Taapsee Pannu and SRK. SRK was doing his own mimicry but with an added fake Punjabi accent. Tapsee Pannu and Boman Irani's performances come off as flat. There is no naturalness or spontaneity. If this is considered Vicky Kaushal's career best performance then one would easily doubt the publicists rather than his acting capabilities.

I was traveling when the movie released in theatres and regretted not watching it. But I've never regretted so badly after watching a movie on Netflix. It couldn't have been worse.

It's a romantic comedy. But I forgot to add family drama to the description. Even sci-fi. On second thoughts, I don't even know why I put comedy there. I mostly laughed at the unintentional awkwardness instead of the intentional wit. The genre of this film could be a great topic for a Group Discussion at a B-school.

Flashback to 2010. Shankar created the groundbreaking Indian sci-fi magnum opus, Endhiran. So, for Indian cinema, this human falling in love with a robot story is 14 years old.

(A quarter of a century, if you don't forget Artificial Intelligence (2001), Stanley Kubrick's pet project that he handed over to Steven Spielberg before passing on. What started in 2001 A Space Odyssey, where Dave Bowman is transformed into a 'super-being' and sent back to Earth; coming one full circle to a story about a robot showing emotions and feelings.) Worse, TBMAUJ seems like a high budget rip off of the Hindi serial Bahu Hamari Rajnikanth.

Wouldn't a robotic engineer know every aspect of a machine including threats and dangers? But don't expect Shahid Kapoor's character Aryan, to be aware of this basic concept. Begs the question - Is he born like this? Or has he done a special course in stupidity? How does he have sex with a robot and not even realise it?

At the age of 42, Shahid Kapoor returns to his romantic boy image. And flops. (That's still believable than this small built person taking on the great big baddies in action movies.) Kriti Sanon looks beautiful. Dimple Kapadia and Dharmendra have become like dhaniya - sprinkled on every dish. They are trophies with mediocre roles in most movies. The rest of the cast is added just to fill screen space.

As if this convoluted story is not enough, the movie ends with a 'To be Continued' announcement. There's a surprise 'Bawaal' entry in the final song to suggest a clash with Kriti Sanon in the sequel. I doubt this will get made given the lackluster box office performance of this movie.

They created art that night, and we still appreciate it almost four decades later.

I can't imagine something like this happening today. Even if a producer wanted to make one with many current artists, it would all be made with modern software technology that would make it easier to dissociate from, as a music lover.

This behind the scenes account of how Harry Belafonte inspired Lionel Ritchie, Michael Jackson and Quincy Jones is warm and beautiful. Along with some personal commentary by many of the artists that participated in that recording. It all happened in one night. That too after the AMA evening.

Lionel Ritchie and Michael Jackson did a fabulous job with the music and lyrics. It is amazing how Quincy Jones and the crew were able to find the unique combination of singers to put together for the (half) verses.

In addition, Lionel Ritchie played the role of the pacifier in this group, that too on the same night he hosted the American Music Awards and won half a dozen awards. Getting together pop stars would be even tougher than herding house cats. But Lionel Ritchie proved to be a master of the art.

Also a big shoutout to Bob Geldof who set the tone by explaining to the artists why they were there and why the song was so important.

The raw energy that is present in the archival footage will be very hard to replicate. There's even a moment when two blind musicians, Stevie Wonder and Ray Charles, accompany each other to the restroom - like where else would you hear this kind of a story?

You can see that the artists cared for the cause; cared even more for the craft and had the admiration and respect for each other. This despite their differences in age, skin colour or accolades.

We listen to the finished product and go, 'Wow'! But to see how it came all together is an even bigger 'Wow'!

One quote from the show that brings a lump in the throat - Be happy when you come back home because one day there'll be no home to come back to ....(it'll just be a house).

I enjoyed it. And it makes me sad that we are at a stage that some of the icons have left or will be leaving us someday. Nothing lasts forever. But it was good while it lasted. I'm glad the song is with us and will live for eternity.

Animal is brilliant but needs a team of psychiatrists to cure him.

We've all read thoughts on Toxic Masculinity and Misogyny in many of the write ups about this movie. Those thoughts stay. I don't have any new perspective to add. So let's talk about what the audience could be vibing about this movie making it such a big blockbuster.

The best part about Sandeep Reddy Vanga's story telling is he opens every scene with a surprise. He leads you into thinking of what's going to happen and takes you completely into a different space than what one could've thought about. He does this throughout the movie, with ease.

Everything from the story line, music, action sequences, performances are brilliantly planned and executed. The relationship between father and son is beautiful and the climax makes up for all its faults.

This can be counted at Ranbir Kapoor's best performance yet. He tears open the screen with his brilliance and ease, transforming from angry teenager to animal man. This role catapults him to the best Hindi cinema actor we have currently. Rashmika sounds like she's speaking with supari in her mouth. Anil Kapoor handles his role with stature and maturity. Bobby Deol delivers a career best performance in a role that's given him a very short screen presence.

Strictly for 18+ viewing. The adult scenes are forced and seem unnatural. The Alpha male kicks in with no worthy social message. Also wish some uncomfortable scenes were edited.

Addressing the question of logic, it can be acknowledged that this film, like many others, is inherently illogical.

Animal will have polarising views but, it's fresh and unique which is why the audiences are loving it. Also, it's aesthetically appealing and enjoyable.

Purely for theatrical viewing, may not be enjoyable at home, or worse, on the mobile.

I watched the movie without any expectations and yet was disappointed at the end.

Seems like the director got Netflix to pay for the launch of Bollywood star kids. And since it's created direct for OTT release, there's no pressure for box office collections.

It just became an annual day function for star kids. Not much effort needed when entitled kids express a desire to act. All they have to do is smile, blink their eyes and break into a song and dance at regular intervals. And speak in English accented Hindi. Expressions, emotions, voice modulation, acting - all take a back seat.

We Westernize our adaptations so much that finally they no longer seem like an Indian adaptation. It's all about Indians trying to be as non-Indian as possible.

The young faces are fresh. That's it. Suhana Khan, Khushi Kapoor, Agastya Nanda show promise. But they have a long way to go. Vedang Raina as Reggie makes an impactful debut. (But the Reggie Mantle character shows no mean streak.)

The song Sunooh has a lovely feel and introduces the key characters through a racy track. Rest of the songs seem manufactured on an assembly line. The dialogues give the term bland a new definition. Just pretty settings and costumes aren't enough ingredients for making a film interesting.

It's the most devastating tale about the human condition & yet so hopeful & positive.

I've had my heart broken a million times through the movie yet ended up thoroughly loving it .

I'll remember it for the sparkle in Shefali Shah's eyes. They are empty and expressive at the same time. She is one of the finest actors in Hindi cinema.

I'll also remember it for Jaideep Ahlawat's smile. His calmness and body language makes him completely suitable for romantic roles.

Together, these two power house actors are a delight to watch on screen.

Ably supported by Swanand Kirkire in the quintessential role of the husband who cares and respects his wife. There's one conflict scene for him in which he forces a fight with his wife. He is fantastic in this heart-wrenching scene. As also throughout the film.

There's not one high-pitched dialogue in the entire film. Everything is subtle and understated.

The Ferris wheel scene in the final act is film-making at its absolute best.

I feel this is Director and Cinematographer Avinash Arun's best work, yet. And, he already has a repertoire of brilliant work. The cinematography is simply breathtaking. He's also contributed to the screenplay alongwith Omkar Achyut Barve and Arpita Chatterjee. It has a beautiful background score by Alokananda Dasgupta, which is only used sparingly giving lots of scope for silent moments.

In this slam-bang, life-in-quick cuts world of movies this film is refreshingly different and stands apart. It is poignant and without any of the usual cliches.

But it may not appeal to everyone.

It is an experience to be appreciated on the big screen. Three of Us is worth every rupee spent.

Sam Manekshaw deserves better. There's no doubt that Field Marshal Manekshaw made a great contribution and earns the highest respect of every Indian citizen.

In this film, the director barely skims through the surface and flops in creating an engaging biopic. It's more a documentary about the Indian Army. Unfortunately there's no storytelling, just dates, incidents and facts - a series of anecdotes from SM's life, mainly disjointed.

We see Vicky Kaushal playing Dev Anand (in his Hum Dono role) playing Sam Manekshaw. Calling everyone 'Sweetie' - from his men to the Prime Minister. His sincerity shines, though. (But he was better as Sardar Uddham Singh. And yet didn't get a National Award for the role.)

I'll remember Fatima Sana Sheikh for her horrendous wig, playing former Prime Minister, Indira Gandhi. We never see the steely version of IG.

There's Sanya Malhotra, playing Sillo, SM's dutiful wife. Her role is to be jealous of Indira Gandhi and give her tough looks across a banquet hall.

As is the current flavour of the season, the Gandhi family gets mocked at every possible opportunity. Jawaharlal Nehru telling he doesn't know what to do next (in the context of the Chinese betrayal), Indira Gandhi getting corrected and patronised by SM.

Having said all this, it is extremely difficult to make a movie about the armed forces in India. One needs to get a clearance from the Ministry of Defence at every stage of the making.

In sum, Sam Bahadur is a waste of a subject. It takes the life of one of India's most significant heroes and gives us a lukewarm film. You can wait for its OTT release where you can fast forward the portions you want to avoid.

N. B. Don't get swayed by samosa critics' reviews.

Ridley Scott's Napoleon is more hysterical than historical. History is like an uninvited guest in this movie. Stunning battle visuals don't make up for gross historical approximations.

If you want to watch a masterpiece then see Waterloo, with Rod Steiger and Christopher Plummer. And if you want a historical enumeration then watch the Napoleon series with Christian Clavier, Isabella Rossalini, John Malkovich and Gerard Depardieu.

This movie was made for Apple streaming. Then they made a butchered version for cinema to be able to compete for the Oscars. The original Apple streaming version will be at least 2 hours longer. This cut version for cinema is somewhat rushed, disjointed and, as a result, confusing.

We never really learn why Napoleon was so powerful and won the admiration of so many. Here it's almost as if he stumbles through greatness. He was a great politician in reality, over here he's shown as a childish brute. The focus was more on set pieces and his relationship with Josephine.

Joaquin Phoenix can play odd or troubled characters well. Here he barely succeeds in persuading the viewers that he is Napoleon. He's too old for this role (Napoleon was 24 when Marie Antoinette was guillotined) and made the character seem bizarre than a charismatic leader. Vanessa Kirby as Josephine gets more traction.

The cinematography by Dariusz Wolski is of a very high order. The battle scenes are filmed well. Ridley Scott knows how to make action scenes slick and impressive. But overall it's a below average movie. Napoleon deserves better than this shambolic movie.

This mini series is in 3 parts - Bodybuilding, Movies, Politics. From his days of lifting weights to his success in Hollywood, time serving as the Governor of California and the joys and volatility of his family life.

Arnold is honest, sensitive and poignant. He tells everything about his childhood, his parents, his brother, his achievements and his mistakes. He hides absolutely nothing. He even admits to taking steroids preparing for Mr Olympia. Also about his personal life that went for a toss.

His failures are acknowledged and not brushed aside as insignificant. The late acceptance of his child out-of-wedlock leading to the separation from his wife Maria, are all discussed. It shows in the way he lives in his mansion around a bunch of animals and not with his family. Only one child agrees to feature in the series and even she doesn't give a sound bite. There's also a short scene of Arnold with his neglected son working out together.

At first glance it may appear to be another celebrity propaganda docu-series. But Arnold chooses to take the challenge head-on even when he could have focused only on the positive side of his career. Arnold readily takes every blow on his jaw - wouldn't expect anything less from him.

Whether you are new to Sylvester Stallone or a seasoned connoisseur of his work, this documentary has something for everyone.

One of the key tenets I try to look for in an autobiography is whether the subject has learned anything from life's experiences. This is not a problem at all for Stallone. He clearly has a solid grasp of who he was, is and wants to be. When he discusses how he drew from the metaphors of his own experiences is what makes this documentary most engaging. The depth of his emotional observations will surprise even his ardent fans.

For many, he is the muscular, action hero. This documentary sets the record straight by showing his true self as the thoughtful artist who thinks and writes well.

Talia Shire, Quentin Tarantino and Arnold Schwarzenegger have lots to say about him.

One can sense the pain when he talks about all the stages of his children's lives that he misses. And the time that he's never going to get back. What stands out are the one-liners when he refers to time, choices and regrets. This vulnerability of Stallone on film speaks a lot about him as a man.

The downside, #Sly on Netfix

Whether you are new to Sylvester Stallone or a seasoned connoisseur of his work, this documentary has something for everyone.

One of the key tenets I try to look for in an autobiography is whether the subject has learned anything from life's experiences. This is not a problem at all for Stallone. He clearly has a solid grasp of who he was, is and wants to be. When he discusses how he drew from the metaphors of his own experiences is what makes this documentary most engaging. The depth of his emotional observations will surprise even his ardent fans.

For many, he is the muscular, action hero. This documentary sets the record straight by showing his true self as the thoughtful artist who thinks and writes well.

Talia Shire, Quentin Tarantino and Arnold Schwarzenegger have lots to say about him.

One can sense the pain when he talks about all the stages of his children's lives that he misses. And the time that he's never going to get back. What stands out are the one-liners when he refers to time, choices and regrets. This vulnerability of Stallone on film speaks a lot about him as a man.

The downside, Netflix compresses a Hollywood legend's story into 95 minutes, which is not enough. But it's still a solid tribute.

Yet again, I have to thank Iti Maroli for bringing this wonderful documentary to my notice. Compresses a Hollywood legend's story into 95 minutes, which is not enough. But it's still a solid tribute.

Some things are done for the love of it. And some things are done for the money. But it's wonderful when you make a movie for the love of it and it also makes money. I gather, 12th Fail is well on the way to becoming a financial success too.

12th Fail is a big pass with distinction. It impresses and inspires. It is a cinematic triumph that excels in every department.

Vidhu Vinod Chopra's artistry shines through in every frame, turning moments into magic. He's a master story-teller. Writing and Directing a film after many years, with aplomb and ease. Film-making runs in his veins. He understands every facet of the medium.

Right from the start of the movie Sarita Joshi, as Dadi, sets the pace and tenor of the film when she censures the daroga who comes with the suspension notice.

Vikrant Massey is mostly good in whichever role he plays. But this portrayal of real-life IPS Officer Manoj Kumar Sharma demands more. And he rises to the occasion and how! He takes us through a tornado of emotions from innocence, anger, dexterity, happiness and more. Medha Shankar provides strong support. As do the entire ensemble of actors. Not one of them looks out-of-place or miscast.

Special mention for cinematographer Rangarajan Ramabadran who makes fluid use of the camera, that's unseen in Hindi films.

The anthem, Restart, lingers on for a long time. We expect no less from Shantanu Moitra who has also created the background score.

We as cinephiles deserve cinema that respects us. It's about time.

#KillersOfTheFlowerMoon in theatres.

Martin Scorsese is like fine wine, gets better with age. His love for cinema makes him go into yet another uncharted territory to create what might be his bleakest and emotionally distressing story, yet.

Much like Scorsese's best known works, the film is framed as an epic, with an in-depth study of the dark side of human nature. A film about a series of real-life killings of wealthy Osage Indians by greedy people was never going to be easy, but it's the execution that sets it apart. It disturbs and creeps up in a manner that is difficult to anticipate.

Because of the scale of the theme and plot, the film rightfully earns it's three and a half hours run-time. It needs to explore the different facets with each of the characters, as their actions and consequences thereof make for compelling viewing. While I personally like this compelling viewing approach, it may not be easy for casual viewers. This film requires patience and an attentive mind. The film's intentional slow pacing is used as a means to build tension in the atmosphere. Scorcese relies on this atmosphere as opposed to the fast-paced action of most Hollywood blockbusters.

The film is beautifully shot, masterfully edited, with minimal music. There's lots of silence in the sound mix that complements the slow burn style of this filmmaking. And the three leads - Leonardo DiCaprio, Lily Gladstone and Robert De Niro - are all deserving of awards recognition. DiCaprio and De Niro, as always, have a commanding presence in every scene they're in. But Lily Gladstone's performance is simply remarkable.

Martin Scorsese has made a career of painstaking attention to detail and creating movies that linger on long after they are viewed. Here's to many more productions from this master film-maker.

This film may not find a wide audience (there were six people in the audience for the show I saw). But if you're interested, then I would urge you to see it in a theatre. This is filmmaking at its finest.

When was the last time you saw Tabu go through an entire film with one expression? (Quite like Bruce Willis in most of his films.) Perhaps never. But there's always a first time.

Khufiya poses an interesting dilemma. From whose point of view does the director, Vishal Bhardwaj, want us to see the film?

The spy who goes rogue The R&AW officer whose personal life is a mess The housewife, literally caught between the devil and the deep blue sea The lady love of the lady The scheming grandmother The ISI who are constantly plotting against us The CIA agents who are there to do something but don't know quite what they are doing.

Or is it about a mole. Not the mole you would find on a person's body, but someone on the inside spilling secrets onto the other side. If by the end of the movie you are successful in finding out the mole, do let the director, and all of us, know.

Vishal Bhardwaj believes in equal opportunity for his entire team - Each member of the cast is wasted - Ali Fazal, Ashish Vidyarthi, Atul Kulkarni and Navnindra Behl as Maaji.

Wamiqa Gabbi is soon becoming the next Radhika Apte with hardworking but stereotypical performances.

One hour into the movie you don't care what happens next.

If you're looking for a mystery thriller then you'll be disappointed. On the other hand, if you want to watch a soulful emotional drama (with moments of unintended comedy, if I may add) then this may be the movie for you.

Consider these.

Wamika Gabbi extolling the virtues of fasting for Karwa Chauth to an American woman while pouring a glass of wine.

When an American woman asks if 'Something fishy is going on?' - the temptation is to answer - 'No! But there's mutton Rogan Josh for the main course.'

Or Tabu telling a CIA agent, 'Seems like you guys are smart only in your movies'. Dear lady, that's a lot better than movies such as this one which are the epitome of being dumb. And, getting dumber with each passing day.

You don't have to take my word. It's at home. And if you've subscribed to the platform then it's free to view. But there may not be many dumber ways to spend 2+ hours of your life than watching this. The decision is yours.

Varun Agarwal's book, 'How I Braved Anu Aunty And Co-Founded A Million Dollar Company' is a story that has motivated many to start their own journeys.

Inspired by the book, Nitesh Tiwari, Nikhil Mehrotra and Varun Agarwal's screenplay presents a simple and fun-filled story packed with life's lessons. There are moments where one can connect with the movie and the characters. In a way, the film is a pep talk for wannabe entrepreneurs, offering useful advice without being preachy.

Ishwak Singh comfortably fits into the role of Gaurav Pandey - the guy who loses his job but doesn't lose his spirit. Instead, he decides to start a business. Ishwak is at ease particularly when breaking the 4th-wall (Speaking to the audience). But the character forgets about it midway through the film.

The extremely talented Mahima Makwana plays Devika, who is as aggressive as the guys. The narrative is enriched by supporting characters played by Gaurav Pandey and Gurpreet Saini. The friendship part of the story has a feel-good vibe. But the romance part isn't as appealing.

Amala Akkineni as Gaurav's Mother is wonderful in her role. And Meghna Malik, as Anu Aunty, beautifully portrays the irritating neighborhood aunt. I wanted to throw things at her at different moments throughout the movie. Parmeet Sethi as the sly investor plays the part with his usual panache. The rest of the cast beautifully portrayed by home chefs, led by Pummy Aunty (Farida Dadi), are a delight.

Budding feature film director Abhishek Sinha manages to keep things light and vibrant for most of the film. The cinematography dazzles in the culinary sequences.

The one-liners, like 'Khajur with a date' are fun. But adding expletives and profanities in the dialogue are uncalled for over here. Perhaps the youth will vibe with them. But one expects the talented Nitesh Tiwari to take the lead in not succumbing to this now recurring OTT temptation.

Also, the showcasing of inner thoughts through T-shirts (Dead Inside or Shut Up) was like the title-cards in a silent movie. Little subtlety would've been preferred.

2+ hours of fun viewing at home for the weekend.

The movie's strength lies in its 3 main lead performers - perhaps 2 and a half. Jaideep Ahlawat steals the show. Kareena Kapoor is good in a less glamorous role. Vijay Verma seems a bit out of place here, hence half a performance. They are all the ingredients for a top-notch thrilling entertainer.

Sujoy Ghosh's movie, based on the novel by Keigo Higashino, arrives a decade after Jeethu Joseph's Drishyam including the Hindi version and its sequel.

The actors do a good job and keep us from getting distracted when you're thinking 'Why is this going on for so long! Turns out, the red herring they used to hold off pivotal plot points (only to reveal at the climax, to no one's surprise) leaves one disconnected. When it's finally revealed you go 'Oh Okay' instead of a 'Wow'. But the movie takes an unnecessary long time to reach there.

If you're game for a thriller from the 60s and 70s with modern day styling, camera work and music, then this movie will fulfill that desire.

I am not calling it a murder mystery because there's no mystery - the characters just have to tell it as it happened. Why take the convoluted route? Perhaps, that's the real mystery that Sujoy Ghosh could explain.

Sujoy Ghosh has been unable to make any impact after Kahaani. Here also he did not impress much despite 3 extremely talented actors.

You can also have some (unintended) good laughs at the martial arts moments.

I guess it's still good for home viewing.

Guy Ritchie's The Covenant on Amazon Prime .

It's not the Guy Ritchie movie you expected - but an even better one.

What I liked best about the movie is that it never quite turns out to be the movie you expect. It starts as a standard root out bad guys story. Then transitions into an escape/survival mission. After that is the effort to honour the bond that isn't honoured. In the hands of a less capable director the shifting would be disastrous. But Guy Ritchie executes it flawlessly.

Excellent cinematography, a rollicking score from Christopher Benstead and stellar casting with stand out performances by Jake Gyllenhaal and Dar Salim.

It's a far cry from Snatch or The Gentlemen but includes all of Guy Ritchie's trademarks including the same kind of energy, editing wizardry and character quirks that made him a stand out film maker.

In many ways The Covenant is a new type of film for Guy Ritchie that marks an exciting change for the the director to prove he's more than what many have pigeonholed him to be.

The movie has a hook in me. One that you cannot see. But it's there.

After watching this movie, I can confidently say, SRK is the only person who can get the promised Rs 15 lakhs in everyone's account. Read on to know why I'm saying this.

For masala movies they advise you to leave your brains at home. For Jawan, put it in a locker at home and throw the key away..

If you're looking for logic then you're in the wrong place. But if you're looking for entertainment then there's lots this movie offers.

This is an out and out SRK entertainer. Everyone else, Vijay Setupathi, Deepika Padukone, Nayanthara fall by the side.

Having said that, Bigil was a disappointment and Mersal was average. Theri very much does have the vigilante mindset. If you've seen Thala Ajith movie Aarambham, some of the Vijay-Atlee movies, the Vijay movie, Katthi, movies where the hero points out and fights the political system, then you may have a repeat with Jawan.

At worst, the film might be preachy. At best, it's the most authentic thing SRK has done till date. This film gives a good message on the corrupt state of our country. There's some strong, repetitive but necessary social commentary. That's the film's strongest and most vulnerable part. And this is delivered by the one and only King Khan.

This movie holds up a mirror to the establishment and urges the audience to demand more from the people in power. SRK breaks the fourth wall and speaks to his fans, through his art. There's nothing wrong in asking for excellence from your elected representatives regardless of their affiliations.

The action choreography is of a very high calibre. Songs by Anirudh Ravichander are average. The Background music is an assault on the senses.

If you feel like watching it, then go ahead. Otherwise, go on with your life and let the fans enjoy an SRK film.

What does one expect from a Bollywood movie? A couple of hours of escapism. Leaving your brains behind and getting absorbed in a fantasy tale that entertains.

Is there anything wrong with having opulent settings, designer clothes, larger than life events, music and colourful song sequences? In fact, that's the heart of Bollywood.

Add to that the creme de la creme of actors - Jaya Bachchan, Shabana Azmi, Aamir Bashir and the evergreen, charming Dharmendra. They have so much experience. And abundant talent to showcase. With additional pep from the younger brigade starting with Alia Bhatt and Ranveer Singh. Brazen and blitzy, not lacking any which way in acting chops.

KJo reclaims his identity and plays to his strength.

RARKPK is not without its faults but it is filled with enough memorable scenes that one can stop complaining.

The initial bits were loud and trying a bit too hard while introducing the two leads but after that it's a smooth trip. The first half is full of laughs. The second half is what makes it wholesome. It touches some serious issues which are handled well given how mainstream the film and its maker are.

Go ahead and judge me. But I enjoyed the film a lot. Go and see it in theatres. Enjoy an outing with your loved ones.