An amiable, seen-it-before romantic comedy, The Proposal is a fair bit funnier and more entertaining than other recent wedding-themed tales, says Rashid Irani.
Evidently for Michael Bay nothing succeeds like excess. The second part of a planned trilogy, this spin-off of the 2007 blockbuster bludgeons the viewer with bigger explosions, gargantuan robot warriors and a deafening metallic soundtrack, says Rashid Irani.
More than likely to meet the stratospheric expectations of millions of Potterphiles, …The Half-Blood Prince is the most impressive entry in the J.K. Rowling series, says Rashid Irani.
The first Night at the Museum outing (2006) was released here only in a Hindi dubbed version. It might help to recount that the fantasy-adventure dealt with a security guard at New York’s natural history museum where the exhibits come to life at night, says Rashid Irani.
Reportedly, Red Cliff is the realisation of the director’s long-cherished dream to adapt Romance of the Three Kingdoms, the 14th century epic Chinese novel into a film that has a universal resonance and reiterates the importance of pacifism in a strife-torn world, says Rashid Irani.
The director seeks to dazzle our senses with one high-octane set piece after another. The highlights include a chase through the streets of Paris culminating in the toppling of the Eiffel Tower, no less, says Rashid Irani.
A Christmas Carol has been adapted several times over the past years. Sorry to say, but Ghosts of Girlfriends Past falls disappointingly short of our expectations, says Rashid Irani.
Unfortunately, Race to Witch Mountain just doesn’t have the quaint charm oozed by the original Disney sci-fi adventure. It’s bogged down by banality and the leaden direction by Fickman, says Rashid Irani.
Collaborating for the fourth time with Denzel Washington, British stylist-turned-Hollywood hack Tony Scott updates the 1974 subway hijack thriller of the same name, says Rashid Irani.
The fourth installment of the teenybopper horror series sticks to the template delivering yet another chain of gruesome death scenes, writes Rashid Irani.
Disturbing and darkly atmospheric, District 9 marks one of the most accomplished recent directorial debuts. A consummate match of filmmaker and material, the trenchant sci-fi allegory grabs the viewer from the outset, not letting go until the end credits roll, writes Rashid Irani.
Miracles are possible. You wait ages for an outstanding debut film, then two turn up in the same week. Intriguingly still, 9, like District 9 is an expanded version of an earlier short, in this case Shane Acker’s award-winning 2005 animated fable, writes Rashid Irani.
If one were asked to name some of the things present-day Hollywood cinema has not been able to achieve, a sparkling romantic comedy would probably figure on top of the list. New ideas, situations or flourishes seldom surface nowadays, writes Rashid Irani.
Evidently designed to activate the viewer’s tear-ducts, the adaptation of the 2004 bestseller by Jodi Picoult is more treacly than emotionally wrenching, writes Rashid Irani.
He kills with skill. The pasha of pulp fiction is back with a vengeance after a hiatus of two years. Transporting the viewer to Nazi-occupied France, Quentin Tarantino’s subversive opus rewrites history, even ending the war a year earlier in 1944.