It’s easy to call Shakun Batra’s directorial debut derivative, and indeed the film does owe quite a debt to Hollywood romantic comedies and the work of Cameron Crowe, but it does show off enough charm to earn its own applause.
Imran Khan is better than ever, Kareena Kapoor is effortlessly vivacious, while Ratna Pathak Shah and Ram Kapoor appear to be having quite a blast.
It’s snappy, fun and — thanks largely to the sudden way it wraps things up, almost as if the screenwriter were afraid to write the final act — mercifully brief.
There is quite the surfeit of flavour in Sameer Sharma’s directorial debut, a film that spends a bit too much time on its characters and their earthiness before getting to the actual plot.
And yet, despite the lazy indulgence, there is much to warm up to and appreciate here, with a smashing ensemble enjoying feasting on the quirks the screenplay provides.
In this film about a forgotten recipe for a famed chicken fish, there’s a wicked twist in terms of the ingredient, and one hopes people experiment with it off-screen as well.
It’s taken a while to finally reach us, but by golly, Tigmanshu Dhulia’s film about the truly unique life and times of the steeplechase runner provided one of the year’s most enthralling stories.
Most of us knew precious little about the titular Tomar when the film began, and the incredulity of the story proved impossible to resist.
People who liked the first Wasseypur didn’t care as much for the second, and vice versa.
What we could all agree upon, though, was that if these two epics were melded into one and edited as brutally as the characters within slaughtered each other, we’d truly have a masterpiece on our hands.
That said, the very fact that a filmmaker like Anurag Kashyap could realise his massively ambitious dream, is a great sign.
I liked Part 2 more than Part 1 simply because, knowing what to expect, I could enjoy Kashyap’s dark lunacy without worrying about how it all added up.
A heady film with many a magnificent performance.
Yes, there’s far too much in this film that comes from other films, and I agree it can’t just be explained away as a tribute.
That said, Anurag Basu’s Barfi! is a film with genuine heart, and even if Basu borrows sentences from other stories to tell his own tale, it nevertheless remains a tale worth telling.
Ranbir Kapoor is extraordinary in the title role, Priyanka Chopra tries hard, and in the winsome Ileana D’Cruz we find a debutante who appears more than a pretty face.
And the film, while a bit long and, in my view, fundamentally flawed (Barfi’s relationship with the autistic Jhilmil is one of sympathy and should not be mistaken for one of love) does still transport one to a different world. The magic can’t be denied.
Based on the Australian film The Man Who Sued God, OMG – Oh My God is a dashed clever project to adapt to an Indian setting, what with our multiple gods and godmen just ripe for a big, no-holds-barred sendup.
It’s not the best produced of films, but the points it makes — about false idols, promises to gods, donations, etc — are as effective as they are unsubtle.
Paresh Rawal grounds the film with a fine everyman performance, but it is producer Akshay Kumar (in a winning turn as Krishna) and Mithun Chakraborty (clearly lampooning a certain limp-wristed religious icon) who steal the show.
There’s a little something for everyone in Vicky Donor, a romantic comedy that bucks convention and embraces it at the same time.
Shoojit Sircar takes a rather brilliant idea, that of the hero as a prolific sperm-machine, and uses it with warm familiarity, making a perhaps-taboo subject instantly and eagerly accepted by a massive chunk of the nation.
The film plays through standard Bollywood ideas — like the cross-cultural wedding cliches, for example — with inspired ease, and a routinely good cast (including the two debutants in the lead roles) makes it a film worthy of repeat viewing.
A grown-up thriller with many a pleasure secreted between the lines, Sujoy Ghosh’s Kahaani is the kind of film Hindi cinema hasn’t seen for a very, very long time.
Lovingly showcasing Kolkata both at its most sublime as well as its most slimy, this often-illogical but beautifully crafted thriller features one of the best female protagonists in recent cinema and characters that remain very hard to forget.
Vidya Balan, Parambrata Chatterjee, Nawazuddin Siddiqui and Sashwata Chatterjee all do splendidly well, and Ghosh has promised a sequel. For a change, it’s a sequel we’d actually like to see.
Girl power hit a new high with Gauri Shinde’s directorial debut.
The trailers promised us hardly anything save for a Mind Your Language takeoff, but boy, were we surprised.
A simple film about a laddoo-making entrepreneur forced to double up as a housewife, this happens also to be a sharp commentary on the way we talk down to those unskilled in English.
All Shashi, played fantastically by Sridevi, does through the film is take an English-language course, but Shinde makes sure every little triumph counts like a major one, and the film — sensitively and smartly — emerges immaculately balanced.
A perfect film, and possibly the definitive what-to-watch-with-Ma movie for our generation.
Bharat Mati Ki… Bharat Mata Ki…
It’s hard not to say Jai to Dibakar Banerjee’s bleak and gruesome take on India’s developmental delusion.
Banerjee takes Vassilis Vassilikos’ classic Z, about a very specific real-life Greek assassination, and turns it into an unrooted allegory for our times: the city is not quite Bombay, the politician is not quite Mayawati, and the IAS officer is not quite sure where he stands.
At a time when our films are content merely flexing cinematic muscle and showing off what they know, Shanghai is a film that probes, that questions, that unsettles, as important cinema must.
Banerjee is a master filmmaker, one of the most fascinating megaphone-wielders in the country, and each of his four features thus far — Khosla Ka Ghosla, Oye Lucky Lucky Oye, Love Sex Aur Dhokha and now Shanghai — have reached out and connected on a different level.
Shanghai is a film with a dismal, nearly fatalistic worldview, and yet a film that highlights just how vital every last glimmer of hope is, and how much of a difference it makes.
Emraan Hashmi delivers a standout performance, Bengali film icon Prasenjit is perfectly cast, Pitobash Tripathy and Farooque Shaikh are sneakily excellent, Abhay Deol stays impressively in semi-smarmy character and Kalki Koechlin makes the most of one glorious, tempestuous scene.
Sneha Khanwalkar and Mikey McCleary make for a darkly dazzling soundtrack, and the murky but brilliant cinematography by Nikos Andritsakis is quite something.
The script by Urmi Juvekar and Banerjee himself is a strong one, one that builds up the tension, and Banerjee takes all his flashes of individual brilliance and crams them tightly, claustrophobically together: as if packing TNT into a scary scarlet stick.