• A Hero

    A Hero


    There will be the heroes who will want to maintain their reputation for goodness and then there will be the villains who will want to be named a hero just to gain acceptance into society. Finally there will be the rest who simply want to stay out of trouble and will be deeply suspicious of both the heroes and the villains.
    The pathetic situation of the shifty protagonist in Farhadi’s picture questions if there will ever be a door to acceptance into society once you are incarcerated as a villain.

  • Summer Hours

    Summer Hours


    Nothing is sacred and permanent except that which remains of practical use.
    Sentiments are better served when objects as well as relationships remain functional.
    Assayas has managed to distill this quite beautifully with his lovingly intimate images of a family and an unsentimental view of the death of its matriarch. 
    Life just like economics is difficult to predict except that it will continue to create and destroy new objects and memories.

  • The Green Knight

    The Green Knight


    Call it a moral tale or simply a fantasy, feels appropriate for both a family audience and cinephiles, although the theater I watched this in was empty.
    It has some obtuse self seriousness and gloomy cinematography to make the audience ponder but has just enough tongue in cheek humor to get its message across. It was surprisingly enjoyable.

  • The Disciple

    The Disciple


    Let me first of all say that I wanted to like this film, very much. Tamhane's debut film Court had piqued my interest in his filmmaking technique. I am glad to say that this film although did not rise to greatness, definitely did not disappoint. It warrants a re-watch in the future.

    The Disciple has a lot of the camera placement techniques that we saw in Court. In concert performances you are either viewing the action from the vantage point…

  • The Great Indian Kitchen

    The Great Indian Kitchen


    A critical look at the great Indian kitchen’s not so great exploitation of house wives who toil day and night often in hazardous conditions  to keep their families functional.
    Along with the labor and restriction of educated women to these positions, there are other customs concerning menstruation and how it supposedly defiles the holiness of the kitchen that are highlighted in the film. Ironically, the kitchen factory will always have another woman to take someone’s place and continue the production…

  • À Nous la Liberté

    À Nous la Liberté


    The carefree exuberance of the former jail mates as they wink at each other, chase each other like children around the dull and lifeless human constructs like the posh villa or the factory offices are so delightful to watch. It made me feel the irreverence of a Marx Brothers film and yet somehow has that innocence and sincerity of a Jacques Tati film.
    Claire believes the true nature of human liberty is to find happiness however man’s greed for money…

  • Hotel Monterey

    Hotel Monterey


    The interplay of shadows and lights in the elevator, the grubby yellows of the narrow corridors and the occasional glimpses of the world outside are  lonely, haunting and strangely beautiful at the same time. The final burst into the open space as we trace the conical outlines of the chimneys and overhead tanks against the pointed parapet fences, the decaying yellow black brick buildings, the cloudy skies , the glistening waters of the East river and the movement of the…

  • The Lunchbox

    The Lunchbox


    Delightful use of montage, the sparseness of dialogue; excellent use of space - which is a commodity whether at homes, streets or public transport; the abundance of people but lack of true friends; the constant money woes and finally the insightful letter writing give a fairly accurate and bitter sweet portrait of life in Mumbai city.

  • Le Bonheur

    Le Bonheur


    Varda’s reinterpretation of Murnau’s Sunrise and the Adam/Eve story in the context of the 60s sexual revolution. This film rejects the black and white dichotomy of the characters of the older film and instead portrays the skewed sexual dynamics in the sometimes beautiful and other times sickening color palette where even in the modern age, the women will come and go like the change of seasons; the men will remain, basking in their delusions of love and double standards of fidelity against the sometimes uplifting and other times foreboding strains of Mozart. The devil, if any, is in the man.

  • The Irishman

    The Irishman


    Leave that door just a little ajar,
    For you may still live.
    Life is a fight unto death,
    But death need not be final.
    If there be a stone,
    To show you existed.

  • Ghanchakkar



    Emraan Hashmi's seriously amnesiac thief and the helplessness of people around him create some great absurdist comedy and a surprisingly taut suspense thriller. Amit Trivedi's pulsating background music make this even more delectable.
    Oh and who acted in Ghajni, again? That one moment of collective amnesia is just priceless.

  • Ae Dil Hai Mushkil

    Ae Dil Hai Mushkil


    No Mr. Johar, not every Bollywood fan aspires to live out scenes and songs from Chopra and Johar films. Despite the self congratulatory tone of the film, it exceeds expectations mainly through the performances of Kapoor and Sharma. Also towards the end when I was almost certain Johar was getting into Kal Ho Na Ho territory , he surprised me once again with that ending. An extra half star just for that Channa Mereya song sequence at the wedding; no Kapoor has channeled his inner Chaplin better than in that scene.