Rocky Aur Rani Kii Prem Kahani, Review: All rhyme, no reason When a film tries too hard to please too many viewers, it shows. When it has too many stars, including stars of yesteryear, predictably, its length grows. When the maker goes back three generations and sets one chunk of the story in 1978, the public knows. When a layman at a bus-stop on a rainy night tells you lots about a film he has not seen because, perhaps, he has seen the trailer and read stuff about the movie, you know that&rs...

Ticket to Paradise, Review: Destination rom-com that loses track of both the rom and the com When you have actors of the calibre of Julia Roberts and George Clooney on board, you can pretty much get them to do anything. And when you ask them to deliver motor-mouth dialogue, full of love-hate content, it becomes a long spat that is occasionally funny but, at times, unfortunately, predictable. Pretty Woman Julia and Batman (1997) George have a ball, as do the co-actors, for most of the action i...

Haryana, Review: But for Alia She is not in the film. Reading the names of the cast, you will realise and confirm this fact. But then why this head-line? Because Alia Bhatt is the premise of almost one-third of the film, the last one third, that is, and her name is mentioned at least 100 times in the dialogue. Now that is not fair, you might grumble. The film is titled Haryana, isn’t it? Well, there is a lot of Haryana and a lot of Aliana in the movie. A well-intentioned film, with seve...

Gangubai Kathiawadi, Review: Guess what is the oldest profession in the world, and meet its President Gangubai, a variation of Ganga, is the most common name of Maharashtrian maid-servants in Mumbai. Ganga becoming Gangu is quite normal, while the Bai here refers to her designation as maid. An engaging film was made in 2013, with the maid as the central character, only it was spelt phonetically more correct, Gangoobai. In other parts of the country, Bai could mean a courtesan, a classical sin...

Student of the Year-2, Review: Kya baddi kya baddi Kya baddi Karan Johar, what was the earth-shaking supersonic idea that made you cash in on the ‘The biggest franchise of Bollywood’ (imdb’s words, not mine) and redraw the Archie-Betty-Veronica isosceles triangle for the umpteenth time, after you yourself had milked it silica gel dry exactly 20 years ago, as Kuch Kuch Hota Hai (185 minutes), and launch a pomp-romp-stomp-clomp-chomp-whomp called Student of the Year 2 (mercifu...

Kalank, Review: Masochistic miasma Everything in Kalank (blemish, stigma) is grand, both in content and in form. Sets and décor, riches and poverty, locales and vehicles, make-up and costumes, dances and fights, colours and luminance, all are designed to make your jaw drop in awe. All this opulence is merely the canvas on which a heart-wrenching tragedy is painted, around the time of India’s partition, with the entire ensemble cast at the receiving end of a woeful operatic wail, ...

Raazi, Review: Lying and spying, willing and killing As spy thrillers go, Raazi is, at best, average fare. During the first half, it runs the risk of becoming a pedestrian assemblage of trope followed by trope followed by trope. Then, just in time, the writers and the director took booster shots and shaped out the human dilemma, counterpoising it with murder and mayhem. In scale and mounting, Raazi can pass off as a modest Spielberg vehicle, but the total experience remains just about watchab...

MFF 17, by Jio-MAMI, Festival Diary, part I  MFF 17, by Jio-MAMI, Festival Diary, II                                       Kiran Rao and Anupama Chandra Come 28 October, and we learnt that the inauguration of Jio MAMI 17th Mumbai Film Festival would be held on 29th October in open-air at Mumbai’s most famous landmark, the Gateway of India. It was also learnt that the inaugural fi...

Shaandaar, Review: Insomniacs, maniacs, megalomaniacs and necrophiliacs It’s a Shaandaar combination. Producers of this eagerly-awaited film include the Dharma banner owner Karan Johar (Kuch Kuch Hota Hai, My Name is Khan, Student of the Year; also director), Vikramaditya Motwane (director of the mini-classic, Udaan, and co-owner of the production house, Phantom Films, with Shaandaar director Vikas Bahl, Anurag Kashyap, and Madhu Mantena) and Anurag Kashyap himself, the director of such...