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Manorama's last celluloid work was for Deepa Mehta's Water, in which she played the leery and vulgar widow who heads a widows' ashram. → Read More
The latest video where Nawazuddin Siddiqui stands outside the gate of his own home, locked out of his own paradise, is very troubling. → Read More
This is the world that commands our respect for its simplicity: no machines, no technology, no complications. → Read More
Nolly is suffused with memorable moments and characters, all so effortlessly lined up that we don’t feel emotionally manipulated for even a second. → Read More
Sanjay Leela Bhansali an ardent admirer of Lekh Tandon’s work says, 'Amrapali inspired my historicals Bajirao Mastani and Padmaavat.' → Read More
In an era when actors shouted to be heard, Vinod Mehra was the mute performer. His performances never screamed for attention. → Read More
Urvashi Rautela had earlier similarly fastened her tweet belt with cricketer Rishabh Pant. → Read More
Farzi has some very interesting plot twists. It is mounted impressively, with the settings and locations exuding the musk of misguided materialism. → Read More
For an action film, Michael finds ample room for the women to bloom. Anusaya Bhardwaj as the archvillain Gautham Menon’s borderline psychotic wife overdoes it. → Read More
The belief that Lata Mangeshkar did not allow Vani’s career to take off is laughably invalid. Only failed female singers made this allegation. → Read More
Anurag Kashyap’s screenplay is a whammy. Elegant and eccentric at the same time as only the filmmaker can be, the storytelling moves in two separate zones, moods and colour palettes. → Read More
Preity proudly preens that most of her films are clean entertainers. Out of the 37 films that she has done 36 have been ‘PG13’ (kids below 13 can see the films when accompanied by parents). → Read More
While Megan definitely is a humorous horror venture, to call it a horror-comedy would be impolite. → Read More
Saturday Night is an incurably imbecilic film which thinks friends are bonded by rowdyism. Little do they know. → Read More
Ishqiya released in 2010, is the kind of cinema which you can love or hate, but cannot be indifferent to. → Read More
In his 45-year career, Priyadarshan has two abiding regrets. He has never been able to collaborate with writer MT Vasudevan Nair, and he has never been able to work with Amitabh Bachchan. → Read More
Ghai says his male actors have stayed connected with him. 'Whether it is Anupam Kher, Anil Kapoor, Jackie Shroff, Shah Rukh Khan, Salman Khan or Sanjay Dutt...they’ve stayed in touch. The male actors have given me respect, the female actors have not.' → Read More
The power of Shakti is star power at its starkest. But it’s also the power of the director and the actors to maintain an aesthetic and dramatic equilibrium between narrative and populism. → Read More
Cinema Marte Dum Tak breaks the glass ceiling with bare ankles. It breaks open the taboo on ‘that’ kind of cinema in the 1990s which the sex-starved audience insisted on frequenting. → Read More
It’s not that The Pale Blue Eye doesn’t have moments of glorious epiphany. But they occur much too infrequently. Most of the narration is like plodding in the snow that covers the frames. → Read More