The latest attempt to cash in on the popularity of the youth culture phenomenon Stephenie Meyer yields one of the most dispiriting movies in recent memory. In comparison to The Host, the earlier adaptations of her Twilight trilogy seem positively skilful. Rashid Irani writes.
The nightmare of a kidnapping and surviving in a confined space has been turned into a generic race-against-time thriller. Relying too heavily on contrivances and hoary plot twists, The Call is certainly not meant for claustrophobes or the faint-hearted. Rashid Irani writes.
A Honey Singh track claims something to the effect that Punjabis have their batteries charged 24x7. You understand when that becomes the next big party anthem in north India. But when it captures the essence and intent of a film, you know the bar’s set rather low.
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.
Ex-CIA agents never give up. They can't, because the past--distant or recent--catches up with them. Incidentally, that plot premise is also convenient for hacking out utterly dismaying sequel flicks like Taken 2, made three years after the original which had its quota of James Bond-ish spills, thrills and slivers of sophistication. Rashid Irani writes.
First filmed back in 1995 under the title Judge Dredd, the campy Sylvester Stallone version of the cult British comic book series was justifiably derided. The bad news is that Dredd 3D is only marginally better. Rashid Irani writes.
Hours before the film releases and a day before the reviews appear, here’s what you can expect from this week’s release.
What do film stars with waning mojos do when they fail to win awards? Swig whisky on the rocks and wallow in self-pity? Raaz 3’s megalomaniac, mantra-reciting, tacky-costume-wearing heroine Shanaya (Bipasha Basu) plays out those clichés...
Following his recent cinematic forays in London (Cassandra’s Dream), Barcelona (Vicky Cristina Barcelona) and Paris (Midnight In Paris), Woody Allen’s European excursion continues on the sun-dappled streets of “the eternal city”. Rashid Irani
In Barfi, writer-director Anurag Basu creates a gossamer, fairy-tale world. Sometime in the 1970s, somewhere in the misty hills of Darjeeling, a penniless but irresistibly charming deaf-mute boy named Barfi gets the prettiest girl in town to kiss him. Anupama Chopra
There’s alcohol, affairs, a sex tape and even – gasp – a lesbian one-night stand. But Heroine doesn’t even deliver the frisson of a good Stardust story. It’s limp and, more incredibly, boring. Anupama Chopra
Quirky, whimsical and surprisingly thoughtful, Moonrise Kingdom is a masterful addition to the still-modest directorial career (this is only his seventh feature) of Wes Anderson. Rashid Irani
First filmed in 1995 under the title Judge Dredd, the Stallone version of the British comic book series was justifiably derided. The bad news is that Dredd 3D is only marginally better.
Based on Joseph Kosinski’s graphic novel, Oblivion is superior to anything we’ve experienced in the genre in recent years. The cerebral sci-fi odyssey is stylish, exciting and biggest surprise of all, emotionally stirring. Rashid Irani reports.
How much you enjoy Commando – A One Man Army depends entirely on how much you like action. What is your threshold for bodies breaking, bones snapping, flesh tearing and blood spurting?