Kapoor and Sons (Since 1921) Director: Shakun Batra Starring: Rishi Kapoor, Rajat Kapoor, Ratna Pathak Shah, Fawad Khan, Siddharth Malhotra, Alia Bhatt Rating: 3.5/5 Is there such a thing as a truly happy family? Before you issue your self-righteous
Events around the world increasingly expose the construction of the “other” and the politics of exclusion, whether through nationality, religion or gender. Such events also underline social mindsets about the normative and the acceptable. Countering this worldview is an urgent
I really wanted to write a contrarian column this month, upending the critical consensus on the two movies I was going to review. Now, having seen both the movies, I can only conclude that, sometimes, the critics reach a consensus
On a midsummer morning in 2011, when I was fifteen, two national newspapers carried, on their front pages, full-length images of a woman with a matchstick build, dressed in a sleeveless frock. Her left arm was vigorously tattooed, out of
Fitoor Director: Abhishek Kapoor Starring: Aditya Roy Kapur, Katrina Kaif, Tabu, Rahul Bhat, Akshay Oberoi Rating: 2/5 This will probably alienate about half the people who read it, but I must begin this review by reflecting on the events
Your last film Tamasha received quite bipolar reviews from audiences, and in this day and age of social media and blogs, this sort of information is easily accessible to one and all. How do you personally think Tamasha did? How
Dilwale Director: Rohit Shetty Starring: Shahrukh Khan, Kajol, Varun Dhawan, Kriti Sanon Rating: 1/5 Bajirao Mastani Director: Sanjay Leela Bhansali Starring: Ranveer Singh, Deepika Padukone, Priyanka Chopra Rating: 2/5 In Calcutta, you can tell that winter is coming
Tamasha Director: Imtiaz Ali Starring: Ranbir Kapoor, Deepika Padukone, Piyush Mishra, Javed Sheikh Rating: 2.5/5 Imtiaz Ali’s Tamasha lays its cards on the table quite early on, in the opening sequence itself. The film begins with a Brechtian
Is there really a theory to acting? You’ve been an alumnus of two of the premier national institutes for the performing arts. Apart from an introduction into the wonderful world of psychedelia and the friends and contacts you made there,
In ‘Why I Don’t Watch Films (Anymore)’, a satirical essay written soon after his painful migration to Pakistan that also attempted to distil his illustrious career and experiences in Bombay’s often deceitful and artificial pre-Partition film world, Saadat Hasan Manto