Haseen Dillruba Review: Wild, wicked but with warts
Nothing that goes on in this story actually prepares you for the end. If the test of a thriller lies in keeping its audience guessing, "Haseen Dillruba" would pass the test.
Nothing that goes on in this story actually prepares you for the end. If the test of a thriller lies in keeping its audience guessing, "Haseen Dillruba" would pass the test.
Mumbai Saga; Cast: John Abraham, Emraan Hashmi, Mahesh Manjrekar, Amole Gupte, Suniel Shetty, Kajal Aggarwal, Rohit Roy, Anjana Sukhani, Prateik Babbar; Direction: Sanjay Gupta; Rating: * * (two stars)
It leaves you intrigued all the more because the man who gets it so right -- Iranian-American filmmaker Ramin Bahrani -- has never lived in either India.
"Penguin" (film in Tamil and Telugu languages streaming on Amazon Prime); Cast: Keerthy Suresh, Lingaa, Advaith, Mathi; Direction: Eashvar Karthic; Rating: * * and 1/2 (two and a half stars)
A kind of a comedy that comes in once in a while with refreshing dialogue, new situational comedy elements and is just plain fun.
A first of a kind venture that comes with the legacy of 75 years stronghold from the United States and wishes to establish itself in line with popular giants like McDonald's, it still has a long way to go.
After John Abraham set an impressive example with Batla House, a chink in the armour of Nationalist Cinema, Vidyut Jammwal’s Commando 3 re-established the godly suave and unquestionable swagger of a ‘bharatwadi’ as he calls himself in the film.
As Motichoor Chaknachoor came to a close, one began wondering whether our obsession with marriage as a society will ever wean away. Almost all romantic comedies these days thrive on the idea of looking for a lover or a to-be bride/ groom or something similar to that. Let alone the experimentation with form, we are obsessed with the same content and the tensions around it.
Without trying to generalize, perhaps the reason being their timing as such, films like Dream Girl and Bala are part of the self-love phase chapter of the society.
Coming from a debutant director Tushar Hiranandini, the perspective and portrayal of women is done through a sensitivity of a kind that is rare in ‘men’ filmmakers.
