Reviews

First time I wanted the convicted character being tried to be termed completely GUILTY. I had zero empathy for that NAZ character. Awfully portrayed.. Corse, gruffly and shuffling on feet.. Anxiou.. that was NAZ to me. And that American drawl sing song voice NAZ keeps appearing to plead in.!!? Another marvel was the lawyer kissing her client on a prison visit.??! Unprecedented. The convict's parents complimenting the lawyer's.. Beauty on her visit to them. Lots of absolute banalities speckle this harangued series. Painfully slow. Severely unbelievable. The series lacks empathy in every frame. NAZ needed to STAY in prison for two life terms.

The himalayas in all its glory. The animation, the soundtrack is glorious. Sublime work. Loved every frame. The French are leading the way in animation. Outstanding piece of art. I doubt the year will see any better animation movie.

It's trite subject matter ie that of immigrants joining gangs but shot extraordinarily beautifully. Filmed in hackney, London and you can see the neighbourhood shine beautifully in the backdrop., almost like a character to the main plot. The evening shots are spectacular. I loved the film. Its on YouTube, where I watched it. I suggest you all ought to too. No excess, or ham scenes if time is of essence to your existence. Great and intelligent film.

I have watched only one episode, and absolutely adored this beautiful ensemble. Every woman has a personality and isn't a prop to some boring man. Reels have gorgeous frames that are scintillating, empowering the aesthetic senses and an assertion of positive representation for an entire gender with hobbies and a functioning mind. God willing, everyone of this cast and crew should go on to achieve lofty heights, they each really deserve it all. Its rightly being compared to chewing gum by Michaela Cole by vested critics in trade publications. The writing is sharp, engaging and the acting is superlative. No wasted moments and forced excesses. See you all in the 2022 awards season, lovelies. Well done all.

Who am I to review the cult classic khoon bhari maang, just a mere mortal, who has watched this film 500 times atleast. Those crocodiles, the revenge sequence, the plastic surgery, the dirty tricks for wealth, stables with horses, crying innocent children, a loyal house help, inheritance etc. Every making of a perfect piece of an unprecedented Indian family revenge drama. Rekha never shone so bright, nor did the roshans, nor did sonu walia, or kabir bedi and nor were benevolent Indian reptiles represented so perfectly again. Superlative.

First, it is disrespectful that an entire song titled TOBA TEK SINGH has NO mention of SIKHS.!! How can writers attempt a song about a SIKH dominated village during the Indian partition literally named TOBA ie pond in punjabi and after TEK SINGH, the SIKH man who lived in the SIKH dominated village.

Master of revisionist history. I only wish writers attempting full length films weren't so poorly read and audiences had higher expectations.

Also, I cannot for the life of me believe that this congealed narcissistic second generation immigrant congee without seasoning and spare bits, was joyously reviewed by serious critics in mainstream papers and film publications. Most of the film scenes are garbled and regular dialogue is substituted with gibberish and makes ZERO sense.

ONCE AGAIN, a standard helping of the unoriginal *riz ahmed representation merchant staple salad* was served by a wretched but relentless PR team and endorsed by the polite western press who alternatively referred to this rigmarole as either *activism* or *South Asian cultural or stretching/milestone*or *woke* and most importantly sounded the gong off on *representation*. But for whom, only God knows, best or maybe the view is that South Asians deserve precisely these wandering daft elements.

Writers understanding of the Indian partition is egregious. There is a train journey montage ostensibly to depict the Indian partition where a silly kid keeps popping his head in and out to depict the largest mass migration in history. Supplemented with an unending loo montage, reams of strewn toilet paper, yellow urine trails, with the male protagonist ie Mr. Ahmed wandering in various hospital corridors, muttering indecipherable mumbo jumbo praising his own birth incessantly wearing an embroidered mirror work pink kaftan.

The above scenes has me convinced that the film was sanctioned by the sanitation ministry of some obscure third world country. What an utter utter waste of the beautiful and sublime anjana vasan. Why was she forcibly buried under a dodgy, clownish 70s subhash ghai film toupee!?. The Film's aesthetics are the ugliest, I have ever seen on celluloid, harking right back to the cheap B-grade 90s bollywood hefty trauma inducing films ie. Naagin/khoon bhari maang, ajooba, hatimtai, tridev, subhash ghai's films. This is a nauseating vanity project centered around one feeble fellow desperate to use the loo: whether at home, in hospitals etc etc. Toilet seeking mowgli at the expense of your patience of course.

The grief of the Partition of British India should not be sold as an extension of one's (lack of) personality or excavated as a marketable brand. Neoliberalism must end.