Guns of Banaras, Review: Where are the bullets? When Nathalia Kaur, who was born Nathalia Pinheiro Felipe Martins, in Brazil, appears in the credit titles as the lead actress in probably her first...

Thappad, Review: This slap is going to cost you dear A simple, significant, timely and relevant story line might be too thin to stretch into a full-length movie. Having settled for such a plot, the...

Bhoot, the Haunted Ship-Part I, Review: Scares are scarce Considering the negligible number of ghost stories being made in India, Bhoot, the Haunted Ship-Part I, made by names Dharma and ZEE, would...

Shukranu-Hui Emotion ki Nasbandi, Review: Tale of forced sterilisations lacks potency In modern Indian history, the Internal Emergency, proclaimed in 1975 and in place for about two years, is...

Love Aaj Kal 2020, Review: 141 minutes of messy, moronic, melodramatic mishmash What do you do when that elusive commodity called plot decides to stay clear of your net? You dig into your archives...

Malang, Review: Why knot when you cannot unknot? Six cops, a serial cop killer, a wandering maiden, a Swedish female drug peddler and a sexually starved wife form the core dramatis personae of...

MIFF 2020, Open Forum 2: “Viewers are willing to pay for docu content” Documentaries rarely provide investment returns, let alone earning profits. But that is about to change, or has it changed...

MIFF 2020, Twin Press Conferences: Son Rise and Shevanti Two film units held a joint press conference at MIFF on the 29th of January, representing the films Son Rise and Shevanti. Both films were...

Kaanchli—Life in a Slough, Review: Slough and unsteady loses the race Probably the only thing going for Kaanchli is the fact that it is based on a Vijaydan ‘Bijji’ Detha story. Detha inspired the...

Jai Mummy Di, Review: Absence of substance Two middle-aged women hate each other for reasons unknown to their spouses and their children. One of them as two sons and the other has a daughter. In a...