The Girl On The Train review: Overstated writing and choppy contrivances make Parineeti Chopra film go off the rails.
Naandhi review: The Allari Naresh starrer is not a perfect film with its 141-minute. It runs a little longer than necessary and misses the beat a few times.
Watch Flora and Ulysses, curled up on the couch, preferably with your family. With the year that the entire world has had, we could do with such films, which make you believe that better things are around the corner.
Pitta Kathalu review: The directors of this Shruthi Haasan, Eesha Rebba, Amala Paul and Saanve Megghana starrer have tried to be bold and daring, but it doesn't go far enough to make this Netflix anthology memorable.
Drishyam 2 review: It’s not easy to craft murder-mystery sequels. Jeethu Joseph’s film jumps over the familiarity hurdle by broadening its ambit on crime and punishment.
To All The Boys Always And Forever review: Despite some flat patches, and the predictable arcs, we stay invested in LJ and Peter, because there’s real sweetness to them, even as they get ‘their meet-cute’ and ‘their song’.
Milla Jovovich and Tony Jaa are dragged through some superhuman challenges, lot of physical harm, and monsters that keep coming and coming. However, it is ultimately Anderson's mumbo jumbo effort to clothe this ordeal in "reality" that does the film in.
The performances and visual quality of Penguin Bloom save it from being a retread.
This is a film which needs to be essential watching. The characters are very specific, the locations are in Kerala, but the situations which obtain through the film are horrifyingly universal.
Post-MeToo, Misbehaviour seems a dash too polite, and a little too hesitant, in asking to change the world.
Richa Chadha is in every frame, and shares some winsome moments with Shukla, but sadly, Madam Chief Minister ends up being strictly passable.
Priyanka Chopra does her bit, though her American-desi rebellious ‘bahu’ is a bit fuzzily dealt with. But the film belongs to Adarsh Gourav, who channels that very specific, razor-sharp mixture of obsequiousness and rage, to come up with a stellar performance.
Tribhanga review: What I really like about Tribhanga is the clear-eyed, unsentimental treatment of relationships, which can often be so cloyingly exaggerated in mainstream cinema.
Eeswaran is nothing but a two-hour-long verbal and visual flow of cues that reinforce the patriarchal view of women's subservient role to men in a family.
Lakshman has some really good ideas for an educational and inspiring movie. But, it is a great shame that neither does he have the required understanding of the matter at hand nor the skillset to turn all the information and statistics into a compelling drama.
There are some redeeming ideas in Master that shows Lokesh Kanagaraj's real talent as a storyteller. Especially, the way he has written his hero and the antagonist.
Marc Munden's The Secret Garden takes an inordinately long and circuitous route to the point of the story, with the secret garden and its significance not likely to be clear to people who haven't read the book.
Maara review: Madhavan is appropriately loose-limbed and dishy as he ambles through the film, spreading grizzled, warm charm.
Kaagaz movie review: The plot is littered with clichés, and comes off distressingly dated: the evil aunt rolls her eyes, the bad guys swirl their ‘moochch’, the item girl swings her waist, the sarkari cogs-in-the-wheel smirk, and so on.
A few things are overstated, a couple of facts are fuzzily presented, but despite the occasional eye-roll, Nail Polish, buoyed by a wonderful performance from Manav Kaul, and ably supported by the rest, keep us engaged.
Quite often, the film reminds you of similar situations you’ve been in. In some places, I found the acerbic overhang and the good-natured ribbing turning into something edgier, the quality which makes this kind of film stand out, dissolving a little.
Coolie No 1 movie review: When you see Varun Dhawan, who has channelled Govinda in many of his films much better, tread almost the same path, mouthing almost the same lines, there’s no laughter, only despair.
Vikramaditya Motwane’s movie is not just meta. It’s meta-meta, especially when some parts hit too close to the mark, and some are just tantalisingly off the mark.
When Gal Gadot swings, swishes, slides and sashays into a fight, and slings the bad guys with her lasso, she remains a delight to watch. However, the story takes too long to get around to fights worth fighting for, wasting its first punches and precious screen time on two-penny, amateur robbers.
The Midnight Sky drifts along almost meaninglessly, between space and Earth, not able to decide what it wants to be except an elegy to heroism.
PHOTOSSara Ali Khan's day out with Saba Pataudi and Soha Ali Khan