Pradeep Sarkar’s “Helicopter Eela” should have been called “How Not To Parent” and shown as a cautionary tale for those who think hovering perennially over their offspring is a good thing. A shrill, dated and insipid story of a co-dependent relationship between a mother and her son, the film is as enjoyable as having your mother breathing down your neck all day.
The rain never stops in Rahi Anil Barve’s “Tumbbad”. It pelts the ground relentlessly, rendering everything else insignificant and giving the film an eerie atmosphere and a sense of foreboding. This gloom is what gives the film its best attribute – atmospherics. Barve’s film is redolent with a texture and detail that is rare in Indian films.
Arjun Kapoor is preoccupied with his social media feed to an extent that he won’t let a full day of promotional interviews stop him from relentless checking and updating. That’s common for his generation of Bollywood stars. Reuters interviewed him as he maintained his brand.
The #MeToo movement in India has gathered momentum in recent days, with more than a dozen complaints of sexual harassment and other sexual misconduct leveled online against prominent journalists, actors, movie directors, comedians and other public figures.
When it comes to crime and thrillers in Bollywood, there is no one better than Sriram Raghavan. From “Johnny Gaddar” to “Ek Haseena Thi” the filmmaker has managed to perfect the Indian thriller genre by borrowing stylistic elements from Alfred Hitchcock and the Coen brothers.
If the first movie character you play on screen is called “Susu”, it cannot portend well for the future. For all the effort that seems to have gone into Aayush Sharma’s Bollywood debut, the makers of “Loveyatri” overlooked one aspect – the leading man is called by a name that is a synonym for peeing.
The sewing machine is the saviour in Sharat Katariya's "Sui Dhaaga - Made in India". It saves the protagonist from a life devoid of dignity and infuses in him an entrepreneurial spirit that is at the heart of this story.
Bollywood is full of stories about brothers and sisters who will do anything to show their love for their siblings. Vishal Bhardwaj’s “Pataakha” (Firecracker) is a complete departure from that trope.
A couple of years ago, filmmaker Sharat Katariya saw a tailor stitching on the side of a street while visiting Delhi, the city of his birth. That’s when the thought of making a movie about everyday heroes struck him. The result is “Sui Dhaaga: Made in India”, the tale of a young man who sets up a sewing business against all odds.
One of the first few scenes in Shree Narayan Singh’s “Batti Gul Meter Chalu” (Lights off Meter On) shows a town which is pitch dark due to a power outage. For the next 175 minutes, the movie tries very hard but struggles to see the light. A sanctimonious tale about the evils of big power corporations, erratic electricity supplies and corrupt officials, “Batti Gul Meter Chalu” is one of those films that does its cause more harm than good.