Reviews

A lanky Caucasian man, sitting in front of a make-up table painting his face white. Through his pondering eyes rolls a tear, smudging his mascara, while he pulls his mouth wide as if forcing a smile. Meet Arthur Fleck, a 30-something impoverished party-clown who's still mentally recuperating after years in the asylum.

With a neurological disorder of uncontrollable laughter citing his traumatic childhood, Fleck struggles every day to make ends meet with futile attempts to tackle bullying in public and taking care of a delusional mother at home. Set in the 80's Gotham, where a worker's strike lead to city-wide garbage congestion and thus, rise in the anti-establishment views at large. Both of the above circumstances foreshadow the inevitable. And then, a cataclysmic event by a desperate act of self-defence pushes our helpless clown over the edge. We see Fleck in makeup breaking into a slow-ballet and sashay to his music, wrapped in a calming trance of his own inner turmoil. We know it then, for sure, that our villain has arrived.

Having said so, JOKER doesn't overcook the rhymes and reasons but is a textbook on the anatomy of a psychopath. It is well-structured, moderately paced with a compelling character-origin story. Director Todd Phillips and cinematographer Lawrence Sher ("The Hangover", "War Dogs") create an enigma of sorts amidst tight close-ups over the ominous grave themes in cello by upcoming composer Hildur Guðnadóttir ("Chernobyl") - all in a harmony. They make Fleck's circumstantial actions seem so justified that it's hard not to feel for him - even when he does things because he can.

Been spoken about those influential comparisons with prior inspirations, such as - "The Man Who Laughs" (a 1928 Victor Hugo novel's adaptation), or "King of Comedy" (Martin Scorsese's 1983 dark-comedy, also starring De Niro, who plays a pivotal role here); the one with Jack Nicholson (1989) or, the most remembered "THE Heath Ledger's portrayal" (Christopher Nolan's 2008 "The Dark Knight") - all seem justified. However, just like the latter did for 'Batman', this film does for the psychotic super-villain - viz. "to make it incredibly more human".

And, who else could have done it better than Joaquin Phoenix? Much like some previous performances - "Walk the Line", "Her" - his portrayal is rhythmically alarming, comical, self-driven and empathetic that it wouldn't be an exaggeration to call it among the finest screen-acting in the last few decades. Embodying Arthur Fleck and his personality's grim deterioration are imploring enough to search for something personal in those exhausting cackles, painful failures and delusions of grandeur, humiliations, the agony of being overlooked and stepped-over. Hence, it feels triumphant when the retaliation comes through a cacophony of riots as the Joker rises with a wide smile, unforced and natural this time.

So, until we have reservations with the portrayal of mental illness and violence on-screen, please don't miss this rare gem of a psychological-drama. We may have the last laugh with this one.

Hypnotic and near brilliant! (8.75/10)

This review is delayed, yet it seems befitting to talk about the sequel, cinematic adaptation of one of the most revered horror stories in modern English literature.

Part two, or say the continuation of the prior story, is 'not' all about the terrifying clown. Set about 27 years after the horrifying clown-spirit Pennywise was sent to hiding by 7 lanky teenagers (a.k.a. "Losers"), the haunting resurfaces to the town of Derry - recharged and more sinister. Bounded by their blood oath, those teenagers - now adults, reluctantly return to their hometown for the end game. Though, it shall take more than their presence for those losers to be united. As they became what they were running away from, together recollect an unsettling, fearful past to nab the 'fear' of the present.

Scary, graphic and jump-scare thrills make most of "IT: Chapter 2". Much like its first-part, Director Andy Muschietti ("IT", "Mama") and horror screenwriter Gary Dauberman carefully excerpt and modernize the even darker novel by Stephen King (who makes a rare cameo subtly criticizing his own story-endings). The allegory of facing fears as children to fight until death is remarkably executed. Given the master casting choices (with prowess and literal lookalikes to teenage actors) which include - Jessica Chastain (the girl-with-issues Beverly), James McAvoy (the stuttering Bill), Jay Ryan (the fat-boy Ben), Isaiah Mustafa (the black orphan Mike), Bill Hader and James Ransome (the latter two being brilliant as foul-mouthed Richie and hypochondriac Eddie) along with Bill "The Pennywise" Skarsgard, make worth spending nearly 3 hours in a theatre.

However, good an effort, this film feels deliberate. The terror-tainted background score (Benjamin Wallfisch, "Blade Runner 2049") is well-crafted with conventional operatic overtures and unsettling string accompaniments, yet there's too much of it. Then, just like King puts it, the film falters in concluding its characterization properly, making it look like a rush job of ending on heartfelt introspection. Though, it doesn't nose dive from its own previous benchmark of horror and would get your heart-pounding and even, laughing-out-loud on more instants.

So, there's no reason to leave this follow-up act out of your watch list for it doesn't (again, thankfully) do a "Hangover 3". Yet, for a few "pennies wiser", it would have been exceptional to match "IT" itself.

The "Before..." trilogy and "Boyhood" have been a few films for which film-maker Richard Linklater was in recent news. The trilogy happens to be one of the most celebrated romantic-dramas in the last few decades, whereas, the other, a remarkable 12-year long coming-of-age drama about the metamorphic journey of growing from a boy into a man.

Then arrives "Last Flag Flying", a multi-character narrative on the death of a loved one. Surprisingly, its all about life and living.

It's December 2003. A widower, Vietnam War-Veteran, "Doc" (Steve Carell, "The Office"), is on his way to collect the casket of his son, killed-in-action in Iraq. Before the scheduled burial with state-honours, Doc has a plan of his own to cope up with the events - to visit 'not' his best friends, but former "brothers-in-arms".

Enter - "Sal" (Bryan Cranston, "Breaking Bad"), a carefree, reckless owner of a small-bar and with no hoots for humanity; and then "Mueller" (Launrence Fishburne, "The Matrix"), now a grandfather and a God preaching-reverend. Poles apart, but they stick along with Doc.

"Men make the wars and wars make the men" - resonate their minds as they argue over differing school-of-thoughts and realising their mutual guilt over their past. Hence, beginning from an obligatory stand-point their camaraderie grows up to believing "...that even old men should become threats." So, our 'boys' not just share their sadness but also laughs at boy-funny jokes and eventually, just bond like old homies.

I've grown up reading Ruskin Bond and Mark Twain on 'bromance'. However, apparently it's not too melodramatic to experience friendship in its truest colours. It lies within talking about stupid versions of their philosophies, laughing your lungs out while travelling in an uncomfortable train, or by getting suspected as terrorists, or just buying mobile phones for the first time - the cheap-thrills, the idiosyncrasies are the 'fizz' and the 'buzz'.

But, those old veterans had their best years behind them with nothing more to gain and carried pain in their hearts over their old and new experiences, esp. Doc who lost his son and wife. "Pain is Pain", said Sal; though, in just being together reminiscing past frolics and failures must have brought them some catharsis. Maybe in emptiness, that does look like a sound start to pick-up our lives.

Righteously, as the end-titles role comes a bitter-sweet song "Not Dark Yet" by Bob Dylan.

"I can't even remember what it was I came here to get away from Don't even hear the murmur of a prayer It's not dark yet, but it's gettin' there."

There's still some hope, even in the worst of our ends.

One remarkable control of Linklater is that his films may stay within the boundaries of crossing-over to pathos but, he puts forth the living in the most relatable of circumstances. That all may seem too articulated esp. around this scenario which may turn overwhelming for viewers. So at two-hours long drama and slow sequences it could be a drag. Nevertheless, I'd watch this film any given day again for Carrell, Cranston and Fishburne reminding how friends are - "not the best, but still ours."

That African proverb makes more sense now - "If you want to walk fast, walk alone. If you want to go far, walk with a friend."

A lukewarm, yet pleasing - 7.5/10

"...how beautifully fragile are we that so many things can take but a moment to alter who we are for forever?"

• Samuel Decker Thomson

As we open to the stage being set through the moving facades and focused dim-lights of a half-furnished empty theatre (the dress-rehearsal of Arthur Miller's "Death of a Salesman" by the protagonists and friends), we soon cut towards the cacophony of evacuating a building - with its façade collapsing. Through such irony and chaos, we are introduced to Emad (Shahab Hosseini, "A Separation") and Rana (Taraneh Alidoosti, "About Elly") - a married couple in their 30s harbouring those collective dreams, who were picking up their household and securing a new apartment.

Little did they know that moving houses shall cost them a home. The new apartment had a shady history - the last dweller being an escort woman, who hurriedly left without her belongings citing issues with her clients. Then one ominous day, Rana alone in the new apartment is mistaken for her previous tenant and assaulted by an intruder. Though only physically hurt, she struggles terribly with her mental trauma which also got the better of Emad. Again, as they try picking up their lives while goofing up their parts in the play, they both knew that it would take time - but, only if time healed all wounds, esp. the ones given by the 'times' itself.

So, as Rana sets her foot down to avoid a revenge (and subsequent guilt) with the intruder (an old, rattled carpet-seller) Emad painfully complies by letting the man go with just a slap. Soon enough, they find him passing-out with a heart-attack surrounded by the unaware family of his own. Much like the Salesman who courted failures of his profession and personal life, Emad and Rana tried their hardest to reinstate the tranquillity of their marriage. In the aftermath, as the drained out couple sits for another pre-run make-up session, their eyes draw a blank semblance of ghosts of their shared grief.

The film carries "story-within-a-story" format (Miller's "...Salesman" and Farhadi's Emad and Rana) sharing the theme of the "abomination of living". Asghar Farhadi's treatment towards his pivotal middle-class Iranian life (familiarized in his first Academy Award-winning - "A Separation") retrospect through one's own misgivings and vulnerabilities is surprisingly inspiring.

Nevertheless, writer-director Asghar Farhadi builds up an innocent-seeming ambience and then, almost mercilessly, smashing it to smithereens. Still, this film isn't a usual tragedy; neither a completely unusual one. It does portray genuine apathy but doesn't drop to any deliberate pathos. Without overselling anything, "the Salesman", evokes some reassurance even while fighting a losing war.

This well-shot (Cinematography by Hossein Jafarian "About Elly") work is masterfully merged with one of the best screenplays of previous years, winning dual Cannes Awards ("Best Screenwriting" for Farhadi and "Best Actor" for Hosseini) and further acclaim by a second Oscar for "Best Foreign Language Film". In a sensitive global-political environment, it is a slight nod to the times that we live in where we may have to not just protect but nurture our families with utmost care for crafting a better future.

Heartbreaking and Remarkable! An 8.5/10.

Comedy, as said, is a serious business. Therefore, 'horror-comedy' in its 'thrills' and 'tickles' may be considered a feat of its own.

Enough with the definitions; but actually, that's where all the fun begins. Based on the early 2000's "Nale Ba" mysteries ('come tomorrow' in Kannada), we're introduced to a ridiculously true phenomenon - the fable of "Stree" (here 'the ghost-lady'). The spirit fearfully haunts the sub-urban town of Chanderi during a festival every year. The simple townsfolk paint " O Stree, Kall Aana!" outside their homes to protect exclusively their young men from the ghastly abductions.

Enter - an uber-good looking ladies tailor (Rajkummar Rao "Newton") who in his pursuit of one, true-calling falls for a mysterious looking lady customer (Shraddha Kapoor "ABCD 2"). Enter his 2 friends (Aparshakti Khuraana "Dangal" and Abhishek Bannerjee "TVF Pitchers") - who half-doubt and half-worry over their lover-boy's new found lady. Come along a Pundit ji (a "paranologist" - dealing in macabre and historical paranormal tales; played by Pankaj Tripathi "Newton") who spreads free-knowledge to the spooked-up on ways of avoiding Stree.

Wandering plot so far, isn't it? As those abductions continue these characters come together to attempt saving all from Stree - who by now means "serious business" (pun and no-pun intended). Whilst digging deep with them, we come across more sinister reasons behind the origins and the doom of "warring the witch."

In its humble clumsiness, "Stree" is smart-entertainer throughout. Dialogues (Sumit Arora "24") and the Direction (debutant Amar Kaushik) work a lethal combo in making its sequences ROFL funny and genuinely scary. Though, the film on a whole lacks tempo, often deliberating with its excellently casted ensemble (Shiv Chauhan and Ashish Khare "Daddy") but underuses its characters barring the leading man. There are carefully written scenes for highlighting all the good, but not enough to cover plot-predictability and unreasonable filler portions.

Thankfully, the narrative manages to keep one curious enough for the next. The music and songs (including promo-chartbusters such as "Aao Kabhi Haveli Pe" and the beautifully lyricized but, underappreciated "Dill ka Darzi") are passable; however, the film certainly isn't. Amidst liberal usage of innuendoes along with subtle adult-humour, the film surprisingly emerges as a "mass/family entertainer". So, it hurts a little to say that "Stree" might have been an A-list "hor-com" film.

For the ones who haven't yet watched it, could look forward to a balance between slapstick and old-school humour. A value-for-money, 2 hours of enjoyable theatre-time. Going with 7/10.

"Sanju" - an anecdotal account of one of India's most controversial and popular film-personalities - Sanjay "Baba" Datt, the film has been a well-intended effort to tell a behind-the-scenes story.

Despite his stature as a cinema-idol, an already well-known account of Sanjay's life events is presented - starting from a brat struggling to lip sync while first-facing the camera under his father's direction; dealing terribly with the untimely demise of his beloved mother, his horrendous drug addiction causing loss of his first love, the infamous underworld connections destroying his family life as he kept losing his dearest of friends in addition to his Terrorist Act court cases and not to mention his commercial failures. However, he ended up improving his ways by not quitting or running away, to make a comeback through his family's support and sheer resilience.

Clearly, it is all a rather favourable depiction. And why not, when its full of fun, frolic and sentiments sprinkled tastefully across this Rajkumar Hirani film, who does take dramatic liberties throughout but ends up making a likably semi-fictional account.

But, been in news for a considerably long period of time, the film doesn't live up to the galactic hype of its promos. Just like Sanju's nature, the film has its thorough flaws - forgone assumptions about the background of his parents and his relationships with his siblings, the absence of mentioning any of his previous marriages and influential friends, his childhood - are only to name a few.

Though, the most glaring shortcoming - the unilateral lambasting the media. Seemingly it had unanimously sensationalised and questioned the man's existence. There's vivid, intense hatred towards the "dimwitted" media covering the better part of the film making it a preachy and even moronically foolish, culminating with an entire song (featuring the real and real Sanju) - "Baba Bolta Hain Bas Ho Gaya".

That brings us to the music which is barely passable and certainly forgettable. I was surprised and disappointed at the same time to know that one of the composers was A.R. Rahman.

Now, coming to the good parts - the cinematography by Hirani and Ravi Verman ("Barfi!") are massive pluses for watching a seamless transition of events. The film's dialogues by are full of references with yesteryear's memorable songs (whose lyricists are referred fondly as "Ustaads"). "Naa Sarr Jhukha ke Jiyo...", "Iss Duniya mein Jeena hoh toh Kaam kar, Pyaare...", "Kuch toh Logg Kahenge..." - each coming with passing on a lesson from father to his son.

Therefore, just it went in reality, the backbone of the film is its narration of the evergreen bond between late Sunil Datt and Sanjay. There are some genuinely moving scenes with a sublime Paresh Rawal (National Film Award receipient) and Ranbir - sharing their pains and dealings. Hirani, who deftly handles his actors (a special mention for Manisha Koirala and Vicky Kaushal, the other two pillars) without over-enunciating their parts and uplifts from the film's not so engaging portions (involving brief, forgettable Anushka Sharma, Dia Mirza and Jim Sarbh). Undoubtedly, this film is what it has become because of Ranbir Kapoor. His mannerisms seem on-point and never once become caricaturish. As he famously stated in an interview that while an actor impersonating someone on-screen, after the first few minutes of warming up to that presence it becomes the actor's responsibility to convince all that there's no difference between the subject and the portrayer. So, Ranbir does everything with his inimitable honesty. Yet, in places, he moves away from the portrayal which, unfortunately, can't be helped but noticed. Still, it's an overall soul-stirring experience to watch him.

"Sanju" may serve as a shrine for fans of Sanjay Datt, but for others, it doesn't hold much. Sadly, the film is not at par with any of the Rajkumar Hirani films made, and neither does complete justice to such a highly eventful life of a film-star.

Chronicling the semi-autobiographical story of the courtship of a real-life inter-racial couple, "The Big Sick" is a drama rom-com set in Chicago. Stand-up comedian of Pakistani-origin, Kumail Nanjiani (playing himself) and an American psychology student Emily Gardner (Zoe Kazan, "What If...") couldn't struggle long enough to keep their romance alive when one unfortunate day, Emily takes critically ill only to be put into an induced coma. What follows goes beyond the tests of conventional norms of human relationships which would shape the lives of one another.

Kumail and the "real" Emily (now happily married) pen a tale that at its heart is about "togetherness". Carefully touching upon tedious conventional issues of arranged marriages and inter-cultural faith it thankfully doesn't make things too serious through its smart and often brainy humourous- exchanges. At the same time, the film freely steps away from the stereotype of sacrificing family for love and vice-versa. In a scene, Kumail comes to dinner to his parents (Anupam Kher and Zenobia Shroff, "Ek Mai aur Ekk Tu") who disowned him for falling for a non-Muslim, where he adeptly declares via conversation display cards that "he refuses to allow them to reject him". Similarly, before Emily's surgery while still in medical coma, her parents (Oscar winner Holly Hunter and Ray Romano, "Everybody Loves Raymond") enter the film with an air of parental protectiveness which though, staunch and skeptic grows upon the viewers quite like the way it did for Kumail in both reel and real-life.

What's subtly remarkable in the film is the usage of "stand-up" performance portions. "Heckling" marks the first meeting occasion for our protagonists; plus, as a spot when Emily's distraught parents lashing out a racist attendee in one of Kumail's bits and later, improving their bond with him. And then at a beautiful climax, when a heckle calls back a gush of heartwarming emotions.

So, is "The Big Sick" an overly sensitive film? Yes and No. Some may call it "excessively pleasant" citing it carries a thoroughly positive undercurrent without overflowing its goodness factor. However, it doesn't get mushy about romance and depicts a multitude of human-bonds without overstaying the spot. Involving some heavily seasoned writing skills (a rightful Academy Award nomination for the Best Original Screenplay) with one of the best casting choices (esp. with Zoe and Holly), it won't be an exaggeration to call it one amongst the marvels of the previous year's new-age independent English cinema which righteously deserves to be watched and remembered.

A homely-likable 8.25/10

An injured stuntman (Lee Pace, "Guardians of the Galaxy") and a young orange-picker girl (the uber talented - Catinca Untaru) - both "fell and fractured" - strike a chance friendship in their hospital. Roy begins telling her a story of romance, bandits, adventure with Charles Darwin, a Pyrotechnic, an Indian Warrior, a Free-Slave as their peers. The epic-plot flushed out of Roy's own remorse and heartbreak, ironically set in the magnificent palaces of India, though, it is with little Alexandria's potent and pure imagination we all see a world beyond the helpless shortsightedness.

To have fallen is human, but to have risen must feel divine.

It's surprising to have found "hope" in the most unlikely of places; but, that becomes "soul enriching" to have attained so from a child's vision.

A moving, heartfelt account of fantasy-drama, which couldn't have been summarised any better by Alain de Botton... 'The moment we cry in a film is not when things are sad but when they turn out to be more beautiful than we expected them to be.'

... so, indeed.

Outstanding!

A Hero, A Hunk, An Underdog, A Villain - Arjun Rampal has splendidly played them all. In "Daddy" he comes out as an "anti-hero" with the part of one of the most infamous Indian gangsters – Arun Gulab Gawli.

Spanning from the late-70s when Mumbai mills were shut-down, costing about 200,000 their daily wages uptil a decade back, to legal-uproar in the aftermath of Maharashtra's State Elections – in which Gawli scored a landslide victory, after more than 3 decades of unlawful exploits.

What makes this film worth watching is the tale of a man who apparently rose ranks - unwillingly so - when times were perfect breeding grounds for crime. Gawli became a 'criminal lord' not just against his wishes but also against the underworld's biggest. From fighting for the better part of his life for the lion's share of Mumbai's underbelly, to rising in stature in the hearts of Dagdi Chawl's slum-dwellers when his humanitarian efforts moulded his image as "Robin Hood", a protector – a.k.a. "daddy". Alas, the police and rivals' tagged enmity got the better of Gawli, who attempted to mend his ways – unfortunately, fell from grace.

Arjun Rampal is tremendously influential in his mobster portrayal. His raw grit and volatility are inspiring; which goes the same for his arch-rival – Inspector Vijaykar (by ace director-actor Nishikant Kamath, "Force duology", "404: Error Not Found"). Their tiff becomes the drive for the good, the bad and the ugly happening in this multi-character narrative. In fact, the lesser known casting choices added needful leverage; be it with Gawli's wife (Aishwarya Rajesh from Tamil cinema's "Vivegam"), a snitch (Shruti Bapna, "The Lunchbox"), a firing fast-friend (Rajesh Shringarpore, "Sarkaar Raj") or with the Dawood-fashioned nemesis (a surprising - Farhan Akhtar).

However, the valiant effort of the debuting co-writer and producer Rampal went off the road several times. The idea of many stories converging to tell one – was interesting; until too many plot points savaged the momentum. The homages to the 70s era songs, the lackluster background-score and editing– don't add up either. The film gracefully attempted to portray a 'mobster with a heart of gold'; but empathizing with a criminal might've only made a lucrative screenplay. The direction (Ashim Ahluwalia, National Film Awardee "Ms. Lovely") has blunt visualization with guns, romance, lust, action and what not – but mostly in vain.

I actually hoped that it should've have been more than an "occupational hazards of being a gangster" film. It wasn't boring, but surely not captivating enough. Sincerely hoping to see Arjun Rampal with more - a 6.25/10.

A minimalist expressive style from the perspective of a municipal garbage collection man of limited means and victories; Almost felt like an older counterpart of Wes Anderson's classic storytelling style ("The Darjeeling Limited", "The Grand Budapest Hotel").

As people, we expect something livid and visibly bad even in an seemingly alright world though, what lies 'within' could be more defying than external stuffs.

"Why do I keep losing?", asked Nikander. And, answered his friend, " Maybe you aren't trying to win."

Stoic, simple... A little too bland from present standards, and yet a curious account of the lives that 'should' matter even when they seemingly don't.

#SimpleReview

Some may have watched it, and as usual liked or disliked it; whereas, others genuinely doubt it. Though, by now almost everyone would have heard about "Lipstick Under My Burkha". After more than a year of outcry with the CBFC, along with countless festival selections and international awards later, the revised version released in its homeland. Though, with the underlining question – "what does this outspoken social-drama really represent?"

Once a "critical person" from PIKU said - "All that a husband wants is that wife should serve food during the day and sex at night." Truly, a caustic way of explaining patriarchy at its worst; not to forget that domination over the fairer sex isn't limited to the aforementioned.

So ENTER - ladies from different ages and beliefs with their simple lives. A 55-years old "buaji" (Ratna Pathak Shah), widowed and childless, heading an extended family of generations of 'halwaais'; a burkha- clad 30-something mother of three (Konkona Sen Sharma) being a conservative and obedient homemaker; a 25-ish beautician (Aahaana Kumra) living with her long-widowed mother, arranged to marry a decent man; and then a teenage college girl (Plabita Borthakur) who sews burkhas in her family's tailor shop.

However, experience tells us that people are always more than one thing – because our Buaji longed for a lover's touch while making anonymous, amorous calls to her young strapping swimming instructor while reading lusty pulp-fiction; that homemaker moonlighted during the day as a sales-woman yet, unable to tell her lust-hungry, dominating husband of her job. Our beautician held big-city-dreams with her photographer boyfriend and their steamy relationship; whereas, our teenaged lady, a.k.a "aspiring Miley Cyrus", demanded her 'right to live' in college through her shoplifted apparels.

Desires, dreams and mischiefs – our ladies' club bustled in that middle-class Bhopal; up to the point when the narrative created and subsequently broke the façade of societal free-will. Adding a heartfelt touch of Buaji taking a while to answer her real name on being asked by her crush, or the saleswoman wife cleverly confronting her husband's girlfriend - were amongst several embellishments.

The climax depicting those smoke-puffing heroines' glumly-giggling faces, doomed for the lifetime gently reminding of warriors – beaten, broken but undefeated. Amidst the beautiful scoring (Mangesh Dhakde, "Hawaizaada") and merry music (Zebunissa Bangash of Coke Studio) tailored by a spic- and-span editing (Chaaru Shree Roy, "Haraamkhor"), the writer- director Alankrita Srivastava delivered a matured study in modern womanhood. Garnered by brilliant casting – especially the gem of Pathak Shah with her "middle-class" act – in a team effort of young and veterans in emoting both bravely and unabashedly even when the film didn't end up to a solution but, raised genuine questions with aplomb.

From the pulsating call to end dress code or the freedom to earn a living, this is an articulate attempt to clear any airs about those who took this film as 'vulgar' (citing A-certification and what not), or something as basic as criticizing a working woman for stepping out of a well-off home. That disparity our present, 'modern' society can't be overlooked in the process of being a mother, a wife, a daughter, a friend, a sister. Not world domination, but at least simple independence should come at lower costs.

Therefore, it made good sense when Priyanka Chopra told Kapil Sharma on being asked about her ever increasing wealth and fame, "Since us women have to put four times the effort than men to earn the same; hence, I'll work harder to earn as much as you." Amidst a thunderous applause, even Kapil couldn't help but flash a smile at that.

A 8.25/10 for a rare effort in cinema, and a refreshed sense of understanding.

"Your words and my alcohol, both have the same taste - a lingering sense of bitter-sweet." (Adapted from an internet quote)

A passive tribute to the most memorable Indian brand of foreign liquor, and the memories that once were lived and of the ones that were loved - both long gone, but not forgotten.

Even though, this short isn't really a masterpiece yet it touches upon the lesser talked personal aspects - just like a man who buys stock of 'rum' everyday to recollect his youth along with a friend (Sanjai Mishra, "Masaan" and Jitu Shastri). Thereby, we gently 'rummage' through our own stock of nostalgia of the times that we once were. And, amidst that light intoxication of the past selection, we gather ourselves - a bit half-heartedly - to live a life again, being one with the world and yet being indifferent – much like a "monk".

Apparently one of the last reviews (if not 'the' very last) on "the highest grossing Indian film ever", also dubbed as "a legend on celluloid" – "Bahubali 2 – The Conclusion". A film that everyone would have already watched by now (if not 'about to'/'willing to soon'). Despite this review's redundancy, the film is indeed all that's been said about, and then some more.

Long ago, when B.R. Chopra's "Mahabharat" was in pre-production, its casting director Gufi Paintal (a.k.a. "Shakuni") was given a guideline – 'not to cast humans, but the ones with exceptionally herculean personalities'; which held true for this Telegu cinema's first 4K High Definition flick.

The film opened with the 'porcelain-stroked' animated stills from "Bahubali - The Beginning" amidst the thumping song "Shivam", and immediately we knew that the makers meant business. The 'mythological reality' of Mahishwati calling back to the bloodshed and sacrifices which paved the throne of evil.

Though, such antics have merely begun. The film mainly focused on the glories of an epic compassionate warrior rightfully worthy of being the king, Amarendra Bahubali – the father of Mahendra/Shivdu (both played by Prabhas). When leading a charge in a power-packed ambush, Bahubali and his lady Devasena (Anushka Shetty) come closer and subsequently marry. Meanwhile Bahubali's envious vile elder brother Bhallaldeva (Rana Daggubati) schemed to dethrone him with his undiplomatic father Bijjaldeva (Nassar). They dupe Queenmother Sivagami (Ramya Krishnan) and banish Bahubali, get him murdered through the loyal Katappa (Sathyaraj), the newborn son had to grow up in exile unbeknownst of his history and fate. Thus, the good empire fell; only now a spectacular war would be to avenge.

S.S. Rajamouli's writing-direction is 'incredible' in painting a fictional-mythology with real flesh and bone. The gauntlet of creating a more enigmatic film than its previous part had been picked and delivered with aplomb. The mastery came in sync with the monumental sets, the state of the art VFX and sound design along with signature South cinema emotions. Despite popular Western comparisons – with "Avatar" and even "The Lion King" his embellished work is inherently and marvelously Indian. Prabhas is phenomenal and so is Anushka, who play their characters better than others. Daggubati felt rightfully antagonizing and Subbaraju added to plot- twists and turns; although, Tammanah is blink and miss in this one. Another massive plus - M.M. Keeravani's music, the film's pulsating soul. From "Jiyo Re" for the mighty Bahubali to his fantastical- romance with Devasena's "Veero Ke Veer". Even more majestic is his adept orchestral background- scoring, without which the the film wouldn't have been the same.

The much talked action-choreography's aura came as an industrial stunner, packed with the adrenaline of a stadium. None could expect adapting the panache of combat-nuances of a Japanese-manga action presented in thrilling beauty. Those "speed ramping" shots – alternating between deliberately slowing down and exaggeratingly speeding up action movements – are inspiring. The symbolism of love, respect and hate through 'blood' is perhaps used one of the most impressive ways imaginable and despite graphic violence there is a lack of cringe worthy gore.

Even with such brilliance, "Bahubali 2" went slightly off course with legit character-development and storyline. The Screen writing incorporated pretty complex aspects however, in the process lost some sheen. Adding up, the climax doesn't excite any further due to the fact that the excitement never fell once through the three acts – which seemed pretty good, but definitively exhausting. Post- climax, the end speeds up to completion.

Only real disappointment is the answer to the "cliffhanger of the year" – "Katappa ne Bahubali ko kyun maara?" Adequate, but undercooked and amidst the hype doesn't impress one bit where one could take Katappa as a 'dimwit'. Even with the unevenness none shall not be bored.

An applaudable "8.25/10" for its milestone cinematic, technical and popular feat; the "Sholay" of this millennium!

Remember those Ruskin Bond-ish stories of mystery and mountains, which included a rest-house in the middle of forest and visited by a couple of people doing uneventful, laid-back things on a vacation? Peculiarly, those usual activities had some false-but-likely grimness attached leading to something untowardly happening.

"A Death in the Gunj" is a close screen-adaptation of such fables.

The suspense-drama, apparently based on a true story, traversed through a weeklong excursion to a rural parental home. An old married couple been visited by their son, his wife and their young daughter, some childhood friends with a 20-something cousin. Clearly, the latter is the least important of all; true and false.

Shutu (Vikrant Massey, "Lootera" & "Dil Dhadakne Do") is a troubled young-man who fell from grace after his father's demise. Keeping distance from his widowed mother and his failures, he battled his over-sensitive nature when his cousins (Gulshan Deviah, "Shaitaan") and their friends (Ranvir Shorey, "Bheja Fry" and Jim Sarbh, "Neerja") invariably made him do odd-jobs at home, frivolously bully and taking him for granted. He found little solace with his niece in doodling and homely games, while juggling his attraction a sis-in- law's promiscuous sibling (Kalki Koechlin). Despite his capabilities to be better, the circumstances made matters worse, thereby, climaxing in unfortunate implosion of events.

Being an 'ace film-actress', Konkona Sen Sharma's directorial debut is remarkable for its screen writing and character development, inspiring plethora of emotions on celluloid. The poignance of a short-story amidst lack of human empathy transpired beautifully throughout. Massey is incredible as the protagonist and towers amongst his co- stars comprising the likes of – late Om Puri, Tanuja, Telotama Shome, Shorey and even Kalki.

Despite genuine talent, there were strong drawbacks. Its overly- inclined towards moral pathos along with the slow pacing, causing the concentration and interest both waiver. Climax been well founded – possibly a subtle touch to thoughts of 'existential' lingo - proved, a little abrupt and disappointing. Even less than two-hours of runtime, doesn't help much.

Nevertheless, it's an uncommon release – a reason enough for sincere cine-goers to give this a chance. Therefore, an appreciative "6.75/10" for the craftsmanship of Sen Sharma and hoping many more in the future.

So far, the finest viewing experiences of any gameplay, ever!

Based on the spoils of retired treasure-hunter, Nathan Drake, who reunites with his brother Sam and longtime partner Sullivan to hunt for the 'mother' of all fortunes - the amassed treasure of the real pirate captain Henry Avery.

The semi-fictional plot line only makes the in-game involvement better while urging a player/viewer to learn more whilst connecting the threads of a lost past and the exceptionally thrilling present.

Despite the emphasis on parkour and street-fighting skills, this has been one of the most beautifully depicted and cinematically captivating game in its genre. The open-designing not only allows more scope for the in-game thrills, maneuvers, sound and background scoring but also with explorative movements in stealth, vehicles and combat.

The package in offer goes on for apparently the widest acclaimed console-game of 2016; thus, there's less of a surprise to know about multiple "Game of the Year" awards bestowed on this Sony's PlayStation4 publishing.

"Uncharted 4: A Thief's End" in the simplest of terms - "enjoyable" for both players and viewers, alike. Those who are suckers for action-adventure and treasure-hunting stories and/or gaming, please plan your weekends way before picking up this one for it may turn out to be "sheer binge" for your senses!

"London Has Fallen" as a sequel does get real loud, expansive and even a little unnecessary; not to mention unreal.

The death of UK's Prime Minister has summoned the world leaders at London in mourning, giving a clear opportunity for their revenge seeking enemies. As the terrorists bomb down London assassinating the premieres, POTUS and his personal bodyguard run to survive the caper. Clearly an uncomplicated, straight plot doesn't come as a surprise and one has to only follow its method.

Gerald Butler and Aaron Eckhart own their reprisal; whereas, Morgan Freeman is underused and Melissa Leo goes unnoticed. Film's gimmicks are heavy on explosions and VFX, with body counts piling up. Amidst unrequired plot-points and dry humour, the shooting-sequence between militants and the military has a moderately likable "Call of Duty" touch to it.

Then again, the film's direction cries hoarse the already blaring screenplay; which couldn't really be complained about citing its predecessor.

Still, the thrill of over-the-top, destructive action (sans-gore) makes for some good, laid back (plus sadistic) fun, and there's nothing wrong with that. Another plus – it works quite well as a standalone film, too. Therefore, anyone could go for it since #LHF is perhaps at best an easy evening's, near above-average watch away from the usual telly premiers.

Nevertheless, it could have all "fallen" together a lot better. A stretched (pun intended) - 6.25/10

"Jeevan ke safar mein raahi... Kya 'sach-much' milte hai bichhadh jaane ko?"

Just like the most surprising instants, we find ourselves in an odd place amongst good company with no certain reason. That innocently judgmental small-talk gravitates soon enough into those childhood stories cluttered amidst long-forgotten memories. And, as the presumptions of appearances are shed, the nostalgic empathy isn't that difficult to comprehend.

Therefore, when a sharp polyglot travel-writer Raina ("Night"; Manjari Phadnis, "Jaane Tu Ya Jaane Na") and a suave automative-designer Udayan ("Morning"; Harshvardhan Rane, "Sanam Teri Kasam") meet this way, a lot unearths between that car break-down and catching an alternative bus. Just like them, we feel glad to have taken that trip as we wholeheartedly wait for the 'night and day' to meet.

Under the upcoming film-director Aarti S. Bagdi, it oozes with a story- telling delight; as the protagonists - (esp. Rane - who has come a long way since his Hindi film-debut) are spot on for our heart and curiosity both lie in their chemistry.

"Khamakha" serves as a sensible, 'clear-of-any-flashy-hoopla' example of modern, coming-of-age film-making in the largest film industry. There is decent editing, a background-score and a small track - thus, even the connoisseurs (and critics) wouldn't complain of watching this "Filmfare's People's Choice Award winner for Best Short- Film". The new-era of cine-goers could perhaps, still have higher hopes; nevertheless they'd be on the lookout for more such works.