Reviews

Taking a cue from Hollywood's Step Up series, director-choreographer Remo D'Souza packs in a television dance competition, several elaborate dance sequences, a romantic rivalry and the requisite rich-poor divide. Anupama Chopra writes.

Salman Rushdie's 1981 novel Midnight's Children had long been thought unfilmable. A measure of credit is due, then, to director Deepa Mehta for attempting the challenge of compressing the 600-plus page book into a two-and-a-half hour movie. Rashid Irani writes.

Vishwaroop has to be admired for its scale and ambition. Kamal Haasan attempts to give the terrorists a context. The film shows us the damage inflicted by America’s war on terror. Anupama Chopra writes.

Race 2 is essentially a big-budget cartoon in which coolness is all. The director duo Abbas-Mustan have no pretensions about what they are making - full-on masala with a dash of revenge. Anupama Chopra writes.

Greater Elephant, Krishnan's second feature - his first was the mumblecore independent film, The Untitled Krishnan Project - was intended to be a dark film. Suprateek Chatterjee writes.

Although he hasn't made a new film for over a decade, it's apparent that Walter Hill, whose credits include classics like The Warriors and 48 Hrs., remains a dab hand at visceral action thrillers.

Crafted with care by Tom Hooper, the Oscar-winning director’s follow-up to The King’s Speech (2010) is the first big-screen version of the Broadway musical. Rashid Irani writes.

Hello again, Russell Crowe. In his second release this week, the Academy Award winning actor portrays a New York City mayor determined to get re-elected at any cost. The implausibilities start piling up early on in this formulaic crime thriller.

Sixty-three years ago, in the classic Rashomon, director Akira Kurosawa showed us that truth is slippery, subjective and ultimately unknowable. In Inkaar, writer-director Sudhir Mishra attempts a similar take on sexual politics in the workplace.

A Vishal Bhardwaj film is guaranteed to evoke a strong reaction. You can love it – as I did Maqbool and Kaminey – or dislike it. Anupama Chopra writes.