As the title indicates, this tepid thriller does indeed feature a man on a ledge for almost the entire running time of 100 minutes.
Rashid Irani writes.
Disappointing both on its terms and as an adaptation of Jules Verne's 1874 novel, this obligatory sequel to Journey to the Center of the Earth (2008) falls flat despite the domination of 3D effects.
Rashid Irani writes.
This is a one-day snapshot of the band Indian Ocean, at work and at play in the old, partly-derelict house that was their practice pad for several years.
This relentless, blind hatred reflects the Indian middle class’ chief pre-occupation. The under-classes that this film, given the grammar, targets though, probably has fewer such issues with their netas, reports
Mayank Shekhar.
The Descendants is an indelible portrait of loss and self-discovery. Based on the acclaimed debut novel by the Hawaiian author Kaui Hart Hemmings, the serio-comic family drama focuses on a prosperous middle-aged lawyer (Clooney).
Rashid Irani writes.
A genuinely iconoclastic American filmmaker, Steven Soderbergh has demonstrated his command over the medium with both his Hollywood hits (the three Ocean's capers) and indie gems (The Girlfriend Experience).
Rashid Irani writes.
This one's from the connoisseurs of kitsch. Five years ago, Quentin Tarantino, who is forever referencing B-grade Hollywood in films such as Pulp Fiction and Kill Bill, hooked up with Robert Rodriguez, the maker of Desperado and Sin City, to produce a double-bill called Grindhouse, after the American slang for cheap potboilers. They co-wrote the two films and then directed them under individual names: Rodriguez made Planet Terror while Tarantino put out Death Proof.
The debutant director is an unapologetic devotee of Bollywood's old-world scale and melodrama that few get right. An earnest Vijay Dinanath Chauhan delivers poetic justice before a nearly packed hall on the proverbial 'first day first show'.
Mayank Shekhar writes.
It’s absorbing story-telling time. No living director can be as traditional and yet modern a raconteur as Clint Eastwood can.
Rashid Irani writes.
A bold, often bloody reinterpretation of one of Shakespeare’s relatively neglected plays, Coriolanus, marks the directing debut of Ralph Fiennes.
Contrary to popular belief, the Palme D’Or is not the filmic equivalent of the Booker prize. It’s not seen as a deterrent — an early warning of turgidity and self-consciousness — rather than an attraction.